Panel Notes: We Are The Knights Who Say F***!

[Yes, I’ve finally got around to writing up some of my notes from Anticipation. This is the panel from which I have the most complete, and most interesting, set of notes – it was one of the best panels I attended. But of course bear in mind that the notes below are still very partial – links between different comments are not always recorded – and you should assume that everything here is a paraphrase. Corrections or additions are, of course, welcomed.]

When: Sat 12:30
Location: P-518A
Session ID: 627

Participants: David Anthony Durham, Guy Gavriel Kay (moderator), Marc Gascoigne, Pat Rothfuss [Ellen Kushner was added at the start of the panel]
Description: Diction in fantasy used to be pretty formal, and, indeed, this can be a problem for the contemporary reader in getting on with The Lord of the Rings. But more recent epic fantasies have had their characters speaking more demotic language (and with a fair bit of Anglo-Saxon thrown in). What are the costs of doing this? Does it really make things easier for readers?
Duration: 1 hour 30 minutes

[Guy Gavriel Kay opened with the canonical “change four words” passage from “From Elfland to Poughkeepsie”, and asked the panellists for their responses.]

EK: The ways in which we use language in fantasy have changed since Le Guin wrote that essay. I’m in sympathy with what she says, but I’m not sure how it relates to the modern genre.

DAD: You couldn’t change four words in my book and make it a contemporary novel, but you might be able to change four words and make it into a historical novel. I’m not sure what I think of that yet. And I’m not sure how non-fantastic fantasy fits in.

MG: The assumption of Angry Robot is that the audience for our books will have grown up with computer game fantasy. For them the idea that fantasy should transport is crucial. But it can have the same plot as, say, a crime novel.

PR: It’s a stage magician trick on Le Guin’s part. The payoff of wonder and delight that she speaks of is a certain kind of fantasy, but it’s not all fantasy.

GGK: Are perceptions of travel different today? Is there more of a desire to explore the remote but remain anchored in the familiar? Do we have a generation of readers who have grown up with that as their default and who cannot read in the way Le Guin wants?

PR: It’s always been an issue. Fairy stories – include urban fantasy in this – are about the interaction of the real with fantasy.

EK: This links to diction. The words that you use and how they are ordered are part of the world you are creating.

GGK: Cites a discussion on a librarian’s email list about a loss of sensitivity to language among readers, a desire for a mirror of the familiar.

DAD: I’m reluctant to use historical patterns of diction to mark a fantasy world.

PR: I remember reading A Clockwork Orange and thinking: what you’ve done here is impressive, but I don’t want to fight this hard.

GGK: Do we need to differentiate between challenges of language and challenges of theme or content?

EK: A joy of urban fantasy is the intersection of different dictions. Two guys walk into a bar, and you can tell who the elf is by how they talk.

GGK: The TV series Merlin, the film A Knight’s Tale – these have an obviously deliberate mix-up of the historical or mythic with modern dialogue. Is hearing King Arthur say “screw you!” a payoff or a betrayal for readers?

MG: Shakespeare was writing in his time’s contemporary English.

EK: But their language was glorious! Much more metaphorically rich than ours is.

MG: Ben Johnson was the venal gutter writer. The Joe Abercrombie of his age.

GGK: It was a glorious language, but it’s true that he made no attempt to evoke historical settings. Caesar’s dialogue should all be in Latin, not just Et tu, Brute?

MG: You need the ability to move between the two modes we’re discussing.

GGK: It’s true to say it’s all in the execution, but there are situations where we can say it’s a good thing to make the reader work, to make them comprehend the alien.

PR: I pay attention to idiomatic speech. “Pulling my leg” has no place in a secondary world, it must have its own idioms. That’s what got me about Abercrombie’s books (which I like) – he has references to Shakespeare in his titles, epigraphs from our world. Is that a cheat?

EK: Fantasy is in the end made up. I’m a fantasist second and a contemporary novelist first. I’m not going to be able to create from whole cloth, I make something new out of parts.

GGK: So you’re playing? I’m with you on that.

EK: If the reader never questions it you’re doing your job.

DAD: Pat’s idioms struck me as vibrant but not foreign.

PR: There’s more foreign-ness in the second book.

EK: Another way of thinking about it: I’m writing for you in translation.

GGK: Going back to some of what Pat said, is it always a good thing to have an immediate approachable “hook”? To what extent is that an assumption in contemporary fantasy?

PR: It has to be legitimate, not a trick. It took me a long time to work out how to start The Name of the Wind.

MG: We’re not used to lengthy prologues, as readers. What we expect as a good story – we as mass culture – has changed.

DAD: I’m aware of having to promise that what comes later will be action-y and exciting. I don’t necessarily have that immediate hook, but I feel that need.

EK: I think language may vary, mileage may vary, for different readers at different times. I couldn’t read Austen until I was in my 20s. You can learn. I suspect that contemporary genre fantasy can be a gateway to older works and different ways of using language.

Worldcon Schedule

As I think I’ve mentioned, I’m going to Worldcon this year. The full draft programme is now available [pdf]; and if you’re going, should you want to you can find me on these items:

Thursday 17.00-18.30
Bookgroup: Neal Stephenson’s Anathem

Discussion of one of last year’s blockbusters, led by Niall Harrison.
Location: P-523A

Thursday 22.00-23.00
I’ll Be Back

Who could have guessed 25 years ago that “The Terminator” was starring a future governor of California? Having spawned several sequels and a TV series this jarring image of a bleak future that might yet be averted or changed continues to hold our attention. Why have the “Terminator” films been so influential, and what do they say about the times that produced them? How does “Terminator Salvation” fit in?
Jeanne Cavelos, Niall Harrison, Russell Blackford (m), Seanan McGuire
Location: P-511BE

Friday 14.00-15.30
The Hugo Award: Short Form Dramatic Presentation

The nominees: who will win, who should win, who was overlooked? What does it say about the state of the art as of 2008?
James Zavaglia, Lee Whiteside, Mandy Slater (m), Niall Harrison, Vincent Docherty
Location: P-524B

Friday 17.00-18.30
Handicapping the Hugos II: The Short Fiction

Our panellists survey the Hugo-nominated short stories, novelettes, and novellas: they tell us what they want to win, what will win, and why.
Ann VanderMeer (m), Jonathan Strahan, Karen Burnham, Niall Harrison, Bill Fawcett
Location: P-516AB

Saturday 17.00-18.00
Is Blogging an Art Form, or Just a Fanzine by Any Other Name?

Does a blog require a different style? A different layout? A different mode of approach? Do the technical requirements make it more or less accessible a medium?
Cheryl Morgan, Kathryn Cramer, Niall Harrison, Heather McDougal, Tobias Buckell
Location: P-514AB

Sunday 10.00-11.00
Kaffeeklatsch: Niall Harrison and Graham Sleight

Two non-fiction editors answer your questions.
Location: P-521B

Monday 11.00-12.00
Non-Fiction for SF Fans

What non-fiction should SF fans be reading? The panel recommends and discussed recently published books and perennial classics.
Geoff Ryman, James Cambias, Kari Sperring, Niall Harrison (m), Vincent Docherty
Location: P-511BE

If you’re not going, you should feel free to share your thoughts on any of these topics, so that I may steal them and pass them off as my own.