Guest Post: Gail Martin on Gender and Genre

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Gender and Genre
By Gail Z. Martin

There’s been a lot of discussion in various places around the Net about gender and genre, specifically about women, sci-fi and fantasy. You can find that for yourself online if you’re interested: I won’t rehash. But SciFiChick asked for my 2-cents, so I’ll preface this by saying that it’s my opinion, for what it’s worth, as someone who has made a living writing epic fantasy for several years.

Maybe some of my perspective is difference because I came out of the corporate world in the 1980s and 1990s. I’m used to being the only female executive in a room, dealing with men who hailed from the Mad Men era and holding my own. As the head of Corporate Communications departments, I often worked with the CEO and Chairman, and I learned early on to hold my ground and never let ’em see you sweat. I’ve stared down boards of directors and attorneys, as well as pushy reporters. And I can flip and pin my 90 pound dog when he gets obstreperous. Maybe it was the perfect background for coming into the genre.

I’ve never run into discourteous behavior from my publishers, editors or agents. They’ve all been wonderful to work with, collaborative, respectful and professional. I know there are some folks who keep a running tally of how many women win or are nominated for certain awards, how many sit on particular boards, and that kind of thing. Maybe it’s my corporate background, but except for when I worked for a non-profit, I have never been in a work setting that was 50-50 men to women, so I don’t notice that kind of thing unless you point it out to me. I don’t expect it, so not getting it doesn’t faze me.

I look around at my author friends, some of whom are waiting for their first big break, some who are climbing up the mid-list, some who are sitting on top of the heap and some who are navigating creative transitions. I can’t say that I’ve seen those struggles go any easier for men than for women, or that I’ve seen men rocket to the top while women slog. Sometimes, I’d say that I’ve observed the opposite. I don’t think it’s entirely a gender issue, although discrimination is real and it does exist. Many times, I think frustration can be a matter of timing and luck. Sometimes you’re in the right place at the right time with the right story, and sometimes you’re not.

I think we’ve come a long way since George Sands turned out to be female and everyone got the vapors. By the middle of the Harry Potter series, everyone knew that JK was female and boys didn’t stop reading. I think publishers may be more hung up on perceived reader opinions than the readers are. After all, if people immediately see a writer who goes by initials, and assume the writer is female, it’s not much of a subterfuge! Are there individual dinosaurs out there, either on the consumer or publishing side, who think women “can’t” write a particular type of book? Probably. There were men who didn’t think women could or should hold certain types of corporate jobs. Flip the one-finger salute and keep moving on. Other people will recognize talent and not care which restroom you use.

When I was ten years old, my Great-Aunt Minerva sat me down for a talk. She was born in 1895, and she was a medical doctor, following in the footsteps of her father. She had co-habitated with her long-time partner Frank for 40 years, but they never married, the family rumor said, because they didn’t want to mingle their stock portfolios. Minerva was a force of nature. And she told me to do what I pleased with my life and to hell with what anybody’s opinion was.

I guess that stuck with me. An awful lot of people tried to tell me that I couldn’t be something or do something, and they had their reasons, that it wasn’t ladylike or that their view of God didn’t like it. Salute and move on. I don’t have time to keep tallies. Too busy doing what I do. In the long run, succeeding at what you want to do makes your point better than any argument. That’s my story, and I’m sticking to it.

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Guest Post: Anton Strout

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Author Anton Strout joins SciFiChick.com to talk about his latest release STONECAST and the latest trends in urban fantasy!

“Blank is the New Vampire”
By Anton Strout

I’ve been in the publishing industry for sixteen years now. Six of those years have been as an author: first, for my Simon Canderous paranormal detective novels and now for second series the gargoyle-tastic Spellmason Chronicles, which includes ALCHEMYSTIC and the just released STONECAST. During my time in the book world, I get asked at a minimum of at least twice the same rumbling industry wide question: what’s the next paranormal trend?

When I started behind the scenes in 1998 at one of the Big Six, vampires were the big undead man on campus. Even then, the industry was saying vampire literature was a dying trend (no pun intended). Yet here we are, years later, with vampires still making the bestseller list. Not so dead, are they?

In recent years (I’m looking in your direction, PRIDE & PREJUDICE & ZOMBIES) everyone’s favorite brain eaters have become super hot. Werewolves and other shapeshifters have also declared the new hotness. There was even a trend out there of publishing books about selkies, which—as best I can recall without looking it up—are shape shifting were-seals out for some sexay times. Over and over fantasy/romance trend pieces try to put their finger on what the next monster hotness will be, but does anyone really know?

Man, I hope it’s gargoyles.

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Guest Post & Giveaway: The Thinking Woman’s Guide to Real Magic

Language and World-Building
by Emily Croy Barker

What sort of languages do they speak in other worlds? I gave some serious thought to this matter in writing my novel, The Thinking Woman’s Guide to Real Magic—and was intrigued and inspired to discover, in reading about the life of J.R.R. Tolkien, that the same question had helped spark the creation of Middle-earth itself.

Tolkien was 22 years old and a philology student at Oxford University when he encountered the eighth-century Old English poem Crist by Cynewulf. As Colin Duriez writes in J.R.R. Tolkien: The Making of a Legend, the poem included a couple of lines that Tolkien found intensely evocative:

Eala Earendel engla beorhtast
Ofer middangeard monnum sended.

“Hail, Earendel, of angels the brightest,
Sent over middle-earth to mankind.”

Tolkien was struck particularly by the name “Earendel,” which has roots in older, Germanic languages and which he called “euphonic to a peculiar degree.” It inspired him to write his own poem about a hero’s quest.

Instead of just borrowing the name “Earendel,” however, as a good philologist Tolkien worked out an equivalent in Elvish, the private language that he had been developing from Norse and Germanic roots. Earendel becomes “Eärendil” in Tolkien’s poem—and in the sprawling mythology that would eventually underlie The Lord of the Rings and The Silmarillion.

“…The name could not be adopted just like that,” Tolkien later wrote. “It had to be accommodated to the Elvish linguistic situation, at the same time as a place for this person was made in legend.” Elvish, he went on to say, “was beginning, after many tentative starts in boyhood, to take definite shape at the time of the name’s adoption….” In a foreword to The Lord of the Rings, he wrote that the legends and myths of Middle-earth were “primarily linguistic in inspiration and was begun in order to provide the necessary background of ‘history’ for Elvish tongues.” For Tolkien, the creation of a fantasy world, its history, and its language were inextricably intertwined.

Creating my own fantasy world, I kept that lesson in mind. In my novel, Nora, a graduate student in literature, wanders into an entirely different world, where she ultimately begins the study of magic. Before that, however, she has to learn the language.

Luckily, she’s able to pick up the basics of the common tongue, Ors, while under a translation spell. But it still takes her a while to grasp the nuances of the language and to develop real fluency, not to mention to lose the unfortunate accent that she accidently acquired while under the spell. As she masters Ors, she also learns more about the strange, often frustrating new world in which she finds herself. There are 12 different words for sheep. Given names in the ruling class are all patronymics. Women are supposed to speak slightly differently—more hesitantly—than men. Nora learns just what some of her new friends think of her when she overhears them referring to her with a pronoun used for inanimate objects, animals, or servants.

I want to be perfectly clear: In inventing a language, I was nowhere near as rigorous, analytical, or sophisticated as Tolkien was. There’s no Ors dictionary or grammar. But including just a few details of how the language worked added interesting texture to the world that I’d imagined.

It also helped me show how foreign this place initially seems to Nora. More than once, she’s frustrated because there’s no Ors equivalent for the English word she has in mind. For an academic like Nora, being suddenly illiterate is quietly terrifying. The first time that she even begins to feel at home in this alien world is when she picks up a child’s lesson book in Ors and realizes that she can teach herself to read.

Language is what we build stories out of. We can also use it to build worlds.

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Courtesy of Viking, I have a copy of The Thinking Woman’s Guide to Real Magic by Emily Crow Barker for one (1) lucky winner!

Contest is open to US residents only. No PO Boxes, please. To enter, just fill out the form below. Contest ends August 23. I’ll draw a name on August 24, and notify winners via email.

ENTER DAILY TO INCREASE YOUR CHANCE OF WINNING!

Good luck!

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