Glenda Larke

There’s a lovely review of Heart of the Mirage up on the site of the speciality Galaxy Bookstore in Sydney (can’t wait to visit in one day). The book is their selected “fave rave” new title for this month. I think this is the best review I’ve ever had anywhere.

Larke has granted the reader a near-perfect escape into a breathtaking adventure. Heart of the Mirage is so real, your pulse will race and your breath catch…

The review ends with this:

To my mind, Larke’s self-assurance, insight and guts – much in the traditon of Robin Hobb, Carol Berg and even Elizabeth Moon – firmly places her on the list as one of the very best Australian writers of fantasy fiction.

Moments don’t get much better than this.

One of the toughest things about writing is getting the language right. I don’t mean style or the order of words – I mean the actual vocabulary.

You work hard to draw your reader into your world, to have them believe in it, and each time you use an inappropriate word, you fling him or her back into the present. The moment someone is jerked out of their belief in your setting and period, you – the writer – have to struggle to regain their trust.

Some things are obvious. You can’t have a man living in a medieval world say “Ok”. But lots of other choices are more subtle. Can you have him say, “Run that by me one more time?” (Not in my book, you can’t. The phrase just sounds too modern.) Can you have someone in your made-up, pre-industrial fantasy world use the word “teenager”? Or does that sound too modern? Can the healer refer to a heart attack? Or a stroke? Or is he more likely to say apoplexy? Did Roman ladies wear “make-up” or is the word cosmetics better? I have just annoyed a reader by using the word “minutes” in a society that uses only sundials to tell the time. Appropriate or not? Not to that reader – it jerked her out of her sense of place, and that’s enough to have me think I shan’t do it again.

And then there’s those foreign words which we use all the time – but are they appropriate? Can you say “deja vu” in your world? What about “run amok”? “An Oedipus complex”? Or “spartan”?

Sometimes it’s the little things that count.

“Heart of the Mirage” hit the bestseller list at Sydney’s Galaxy bookstore last week, which was lovely to see. I believe some Dymock’s stores are also listing it as a bestseller. Many thanks to all those customers who had faith in my writing!

Emails and message board posts are all positive so far…seems I have been responsible for miscellaneous ills including sleepless nights spent sitting up reading, getting back from work late and getting into trouble with the boss, and – with two people at least – the necessity of taking a cold shower. (I was unaware the book was that sexy, as I do not tend to be particularly, er, graphic!)

I was pondering the need for feedback yesterday, after receiving a lovely email from someone over in Nevada, who was desperate for reassurance on the ending of the Isles of Glory trilogy as the third book is not yet out in the States! That email made my day.

For years I wrote and wrote with no feedback at all. Writing was just to fulfil my own need to create. The joy was in the act, not in the feedback. Most of my work I never showed to anyone. My first published book, Havenstar, was seen by no one at all before I sent it off to my agent. It was not even read by a member of my family, let alone a more critical commentator. Same with the next, The Aware.

But those days are gone, and I find myself desperate for feedback, both before and after publication. Beta readers have become very important in my writing life, and I wonder how on earth I ever did without their input prior to sending the book off to the publisher. And reader input has become a joy. I love to know what impact I have had, if any; I want to know what worked and even more – I want to know what didn’t. If there is anything that is boring or sub standard or confusing, I want to know it so that I can prevent a similar mistake elsewhere. Writing is a continuum of learning. I even take reviews as opportunities to think more deeply about my work and how to improve it. I would hate to be one of those writers about whom everyone says: “Oh, she never wrote anything as good as her first book...”

I have to be off to the airport at 5am, so I really ought to be getting some sleep. Instead, Gillian over at gillpolack over at livejournal started me thinking about worldbuilding. She has thought more deeply about the way I do things than I have myself!

For those who don’t know much about writing sff: think about this. If I tell you I am writing a mainstream novel set in London in 2006, you already know a helluva lot about my novel before you’ve read a word. You have a sense of place, time, culture. You could probably make a stab at what my characters have for breakfast without me telling you. If I tell you my main character teaches at a government secondary school, then you already have an idea of his socio-economic position.

But what if I told you my book was set in Sebundancia in the forty-sixth century after the cataclysm and my main character makes corrabuds for a living? You would be none the wiser. A fantasy writer has to build a whole world and make it believable. If they don’t do it well, the whole book flops, even though the plot may be a scorcher and the characters marvellously drawn.

Gillian says: “I am reading Glenda Larke’s work and it strikes me that her worlds are a lot more convincing that those of a lot of other writers. When you get down to it, though, she doesn’t have a great deal more information than many fantasy novels, and she definitely has less than some. Why do her worlds work? “

“…It isn’t the amount of background you add to your novel, though the amount of effort you spend worldbuilding most definitely helps. The important thing is what detail you select. And Glenda chooses her detail with extraordinary care. Her worlds work because she mimics the sense we sometimes get in our own lives: that things are interlinked and complex.”
And : “The detail is *so* telling, that we can infer much more from her hints than is said on the page.”

I was delighted when I read that, because that was the result I was striving for. I have a horror of boring the reader with a myriad of details, for example about what you can order for breakfast in the local inn and how the food actually got there… Yet I don’t want the reader to ever be jerked into a sense of disbelief. (Hey, wait a moment, this inn is in the middle of the desert, how come they have fresh bread and what do they use for fuel to heat the ovens if there’s no trees?)
I don’t think I do nearly as much written work to build my world as some authors do. You won’t find my study strewn with plans of the economic life of the Gorthan Spit or notes on the details of how the Hub Race affected the social status of the Middling Isles…and yet I do know those things. I could tell you if you asked. So how do I do it?

I spend a year (at least) thinking about a novel before I write it – and most of what I think about is the place. How it is governed and stratified. What the conflicts are and how the economy works. I don’t write this down. I don’t do it in painstaking detail. And I don’t do it as an academic exercise either – I do it through my PoV characters, in the amount of detail that they would understand.

Let’s say Ferria is a chambermaid in Sebundancia and she is one of my main protagonists. She works for the corrabud-maker. I think about her a lot. How she spends her day. What she thinks about, the work she does, where she lives, what her family does. She probably doesn’t know much about how trade is done with the people who live in the neighbouring valley over the other side of the hills, but she will know some things – where those silk sheets on the beds come from, for example, and how much they cost. And that small snippet of info will also mean that there are silk merchants and silk traders and silk caravans, which I will probably mention somewhere or other. And if there are silk sheets on the bed, then making corrabuds is very lucrative…

Gillian says – and she is absolutely right:

“And that is the strongest argument I can think of for thinking about how that world needs to appear in the book at least as much as you think about building your world in the first place. When a writer gets the appropriate detail -the telling detail – and links it closely into plot and people then fantasy and SF reading becomes a whole new ballgame. We feel as if we are entering those strange lands ourselves.”

Writers tend to sit. A lot. Some of us don’t even have a normal outside- the-house job that gets you moving (as far as the car in the garage anyway). When living in West Malaysia, my husband and I try to walk every morning, just at dawn, by going to a local park on the banks of a river.

In Sabah though, I reckon we have one of the best morning walks ever. It takes less than an hour, and I suspect we will speed it up even more when we get used to climbing the mountain involved (well, it’s gotta be a mountain, doesn’t it? – it has a trig point on top!!)

We start at the pond, and from there on, it’s climbing most of the way. As we go, the view unfolds: tantalising glimpses of the South China Sea through the trees, then a full blown vista, Kota Kinabalu, the islands of the marine park, and the hills in the other direction.

And then, right at the top, the Crocker Range and the sun over the distant many peaks of Mt Kinabalu. And the trig point.

In the pix with the buildings, our starting point, the apartment is that pinkish building behind the long white block. Taken halfway up the hill.

If you look hard at the pix with the sun, you will see the pale blue rocky peaks of Kinabalu in the distance.