Every year we ask our summer intern to do a survey of cover art elements for the top US fantasy novels published in the previous year. This year we looked at covers from 2009, and compared them against 2008′s findings. (more…)
Every year we ask our summer intern to do a survey of cover art elements for the top fantasy novels published in the previous year. This year, our wonderful intern Jennifer looked at covers from 2009, and compared them against 2008’s findings. Over the next few days we’ll be releasing a number of charts that show what she found. After the jump, some initial observations on the data. And join us in the comments to talk about the trends.
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OK – we admit it. The UK and Australian readers have been getting a raw deal, having to wait for Nicole Peeler‘s sweet, sassy and sexy urban fantasy series to float their way, whilst the US readers have been bathing in its glory for a few months. But now the wait is over, and Tempest Rising (UK | US | ANZ) and Tracking the Tempest (UK | US | ANZ) have finally washed up on our shores all at once. Featuring the naughty scrumpet Jane True as our half-selkie heroine – think of it as Sookie Stackhouse meets Splash!
Nicole was over in the UK recently and, in what’s becoming a bit of an Orbit UK habit, we took her aside to cross-examine her about her series and the Urban Fantasy genre. She is an assistant professor of literature, so she should know her stuff after all! Take a look at the video below (and excuse my sniggering at points in the background – this lady cracks me up!)
You can read an extract of Tempest Rising here.
Calling all Kelley fans! It’s official: Waking the Witch (UK | ANZ) has arrived in a bookshop near you and it’s looking fantabulously gorgeous. It’s the brand new title in the Women of the Otherworld series from international bestseller Kelley Armstrong, and it’s the first hardback to be whipped out with Kelley’s striking new cover style.
During the author’s recent tour to the UK we managed to steal her away from her hectic schedule, corner her in a tiny, tiny room with a camera and throw some questions her way. We think she did exceptionally well considering the circumstances . . . Take a peek here for comments on her series and Urban Fantasy in general (after all, she was one of the ladies responsible for starting the whole genre off in the first place!):
And here’s a sneaky preview of Waking the Witch to tide you over until the book is safely in your hands . . .
Out this month is the gun-blazing, throat-slitting, hover-riding, brain-augmenting THE TERMINAL STATE (UK/ US/ ANZ), the fourth book in Jeff Somers’ near-future thriller series, the Avery Cates sequence.
To celebrate its release, you might remember that Jeff Somers ran a competition to give his readers the chance to act out the roles of their favourite characters, by providing voiceovers for several videos based on the book. Jeff obviously managed to get people’s creative juices flowing, and received some highly inspired entries. The winners have now been chosen and they are the following:
Canny Orel – read by Ben Linford
Wa Belling – read by Tyrel Devlin from Burnaby, British Columbia, Canada
The Poet – read by Jeffrey Lamar from Chandler, Arizona
Mara – read by Patty Blount from Framingville, New York
The videos, with readers’ voices added, are now up on the site right here: www.theterminalstate.com (roll over the images to find the hidden footage).
If you haven’t checked out the Avery Cates novels and want to find out why SFX has called them ‘brash, brutal, [and] brilliant’, and the Guardian ‘an exhilarating example of powerful and entertaining storytelling’ then you can read an extract from the first book here.
The other day I happened to be reading through Janet Fitch’s post on 10 Writing Tips That Can Help Almost Anyone. The list is worth reading, but I was particularly struck by Tip #7: Smarten up your protagonist.
Fitch writes, “The more observant [your protagonist] can be, the more vivid will be the world you’re creating.” This is no doubt true, but it’s not what leaps to my mind when I think about smart protagonists. (more…)
When it comes to fantasy, I don’t mind if a writer ignores reality. This shouldn’t be that odd. Fantasy is, by definition, an escape from reality. Or, if not an escape, at least a chance to see a world that might have been. The important element is that, either way, fantasy is just reality as we know it with a tweak here or there that allows the impossible to happen.
I go into fantasy with eyes wide open, knowing that reality can be, will be, discarded if it allows a human to teleport or an invasion of space robots. I don’t need a justification beyond this is fantasy, and that’s what makes it awesome. (more…)
There seem to be two types of people who read Cormac McCarthy’s The Road—those who cry at the end and feel wrung out but deeply improved by the experience, and those who don’t see what all the fuss is about. Each of these types seems incapable of understanding the other. The moved readers suspect unmoved readers are callow or incapable of understanding McCarthy’s style, much less intent. Unmoved readers point to the relentless gloom of the subject matter, the repetition of dreary plot points, lack of conventional punctuation, and the cut-to-the-bone prose, and say they’ve certainly read better books. The internet carries conversations of people on the opposing sides, trying to convince their counterparts of the logic of their reactions to The Road, but no minds have been changed, as far as I can tell. (more…)
No discussion of great post-apocalyptic books would be complete without mention of George R. Stewart’s 1949 classic, EARTH ABIDES. It’s been reported that it was Stephen King’s inspiration for THE STAND, and worthy inspiration it is. This book is part Robinson Crusoe, part brilliant speculative anthropology, and part Moby Dick, all laid out in scenes of decay like the ones depicted in The History Channel’s LIFE AFTER PEOPLE. This book portrays what it would be like to lose our technology, nearly everything from the bow and arrow onward, and start anew in our tribes.
But EARTH ABIDES doesn’t begin with loincloths and venison roasting on the spit. It begins with young Isherwood Williams alone in the Northern California wilderness, performing research for his graduate thesis. The tension begins immediately. He’s bitten by a snake and then he contracts a nasty virus, but he recovers from both. He then tries to end his lonely and quite nearly life-ending sojourn by driving into the nearest town—only to discover that the people are gone. He drives further into the town, blaring his car horn, but there’s no response. He gets out. Finally he reads the last edition of The San Francisco Chronicle, a single folded sheet carrying the headline: CRISIS ACUTE. (more…)
Some may prefer to think of an M-16-packing Will Smith as the protagonist of Richard Matheson’s I AM LEGEND. Some may picture OMEGA MAN’s Charleton Heston driving a convertible Mustang through darkening streets, his submachine gun slung on the seat beside him. But when others read LEGEND, they see a dusty man in baggy clothes. There’s nothing glamorous about him, not a hint of the jaw-clenching confidence of a Hollywood star. He’s thin. His eyes are red-rimmed and he appears to be as mad as Don Quixote alone a hundred years into purgatory, tilting at corpses.
What is it about early postwar sci-fi that makes its worlds seem so dark and realistically shabby? Proximity to nuclear annihilation? The poorly forgotten horrors of World War Two? The rote mediocrity of peace after the time of global death and flame ended, the famished beginning of the age of mass consumption? Or is it only that we’ve been conditioned by the black-and-white movies of that time? (more…)
