Category: links, lists, and snippets

Super Sad True Link Story

And finally finally: don’t forget that next week around these parts is going to be about sf by women. In particular, if you haven’t voted in the ongoing poll, please do email me your top ten sf novels by women from the last ten years (2001–2010). Deadline 23.59 on Sunday 5 December, results all next week.

The Half-Made Links (2)

The Half-Made Links (1)

How to Finish a Review

By popular demand! Or at least by one request. It turns out that I don’t think there are neat little identifiable gambits to end a review with, at least not in the same way that I think there can be gambits to open with, so this post is less glib. Endings, at least for any review of more than a few hundred words, are about synthesis, which means they’re probably going to have several of the features identified below. The mix will depend on the focus of the review; I don’t think you can pick most of these and bolt them on to a generic review. It’s more a case of recognising the sort of review you’re going to write, or occasionally the sort of review you’ve written, and what it needs to wrap up satisfactorily.

1. Evaluation.

Not, actually, as important as you might think; it’s going to be hard to get to your conclusion without having made it pretty clear what you think of the book. But a straightforward endorsement or dismissal can be a nicely emphatic full stop.

2. Summation.

Again, more common than it is necessary. After a long — I’m talking several thousand words — review of a book that identifies a goodly number of positives and negatives, you might want to recap. But even then you might just be repeating yourself (perhaps the most boring way to start a conclusion is: “Overall…”) or not examining your own views hard enough: how many books are you really that split-down-the-middle on?

3. Culmination (narrative)

All synopsis, being selective and partial, is criticism. Not all criticism is synoptic, but if yours is, you’ll probably need to talk about the ending of the work being discussed; and structuring your review so that you talk about the book’s ending in your conclusion — even if only in affective terms, rather than in specifics — can be pretty effective.

4. Culmination (thematic)

There’s a good chance that, by the time you reach your conclusion, you’ve already written this: the perfect encapsulation of the book’s central thesis (either what works about it or what doesn’t), the verdict that all your examples point towards. So go back and steal it, and save it for the conclusion, where it will look like everything you’ve been saying about the book coming neatly together.

5. Culmination (yours)

That is, of the argument you’re making — about the book, the author, the genre, whatever — rather than the argument the book is making. Particularly useful for structuring reviews of short story collections, and again, you’d be amazed how often you write it half-way through without realising.

6. Slingshot.

Works particularly well with the Jeopardy opening: you answer your question, and identify the next question, leaving it for the reader to answer

7. Speculation.

In which you suggest answers to the next question. Characteristic of reviews of series fiction: where is it all going?

8. Reframing.

In which your last paragraph attacks the issues you’ve been discussing from a new angle, and hopefully the parallax generates some light. One way of doing this is to save your “A third of the way into the book…” and use it at the end of the review, rather than the start. Another is to talk about The Larger Point: open the review up to consider the author’s body of work, or the genre as a whole, if you haven’t been doing so to that point. In fact, now that I think of it, you could probably use any of the opening gambits in this way, as long as you haven’t deployed them already…

Link Plenty

No Present Like Links

How To Link Safely in a Science-Fictional Universe

Well, the reading is done, and the class starts tomorrow, which means I’ll be offline for the weekend and it’s time for a long-overdue links post.

A New Feature

Over at Strange Horizons, Alvaro Zinos-Amaro is starting a project to read and review the twenty-five volumes of Isaac Asimov Presents the Great SF Stories, which reprint work published between 1939 and 1963. He’ll be tackling one volume every couple of months. Read on…

I’m approaching much of this work as a first-time reader, presumably like many of you. I’m sure that in the course of this ongoing project, in which I’d like to review all twenty-five volumes in the anthology series, I’ll find plenty of surprises. My intent with this review series is as much descriptive as it is analytic. There are more specialized works which deal full-on with the philosophical implications of specific stories or which dissect them academically. The idea here is to gain familiarity with the material and an appreciation for its continued relevance.

So, let us step back in time. 1939: a watershed year for SF. The World Science Fiction Convention was held for the first time, and the field saw the first published stories of Isaac Asimov, Alfred Bester, A. E. van Vogt, Robert A. Heinlein, Fritz Leiber, and Theodore Sturgeon. Isaac Asimov Presents the Great SF Stories: Volume 1, 1939 (IAPGSFS 1) collects twenty noteworthy fictions, including those firsts by van Vogt, Heinlein, and Sturgeon.

Linkbreaker

It’s been a while, hasn’t it?

A Matter of Links