This is the Judge Dredd movie that needed to be made.
Not just to wipe away the stain the Sly movie made on the character's reputation. Not just to show both Karl Urban and Olivia Thirlby are rather fine actors. No, this movie needed to be made for one very important reason:
It shows that sci-fi can be small and still work.
Mega-City One is a sprawling metropolis covering what little non-irradiated ground exists on the east coast of North America. It's a massive choking slum/cesspool of crime, corruption, and indifference, an anarchist state in all but name where people live in fear of both criminals and the law. And Dredd the movie doesn't try and change that.
Instead of trying to tell an epic tale in an attempt to match the setting, Dredd focuses on a pair of judges, veteran Joe Dredd and his rookie partner Judge Anderson, as they're trapped in a bloc and have to fight the troops of drug-dealing ex-prostitute Ma-Ma. It's a focused story that covers a day in the life of a Mega-City judge, and it's exactly what I've been craving for a long time.
Unfortunately, at times directors and writers seem to think that sci-fi, especially stuff not set in the near future or in a carbon-copy of the real world, needs to be big and bombastic in order to work. This isn't the case. Just like in literature, sometimes the stakes don't need to be high. They only need to be personal.
I wish more movie-makers would make films like this, enough of them so that audiences would come to accept what I know to be true, that a movie can be sci-fi and many other things at the same time. Dredd is a beautifully brutal film about two cops in a bad situation. The sci-fi elements support the story without dominating it.
Aside from the extreme violence, Dredd has two outstanding performances from its lead characters. Urban is delightfully menacing and growling as Judge Joe Dredd, a cynical and scarred Judge who's seen it all. Even while wearing a full helmet he's able to get across emotion, not a small feat. Thirlby is even more impressive. While she doesn't wear a helmet for a good portion of the film her expression changes very little but she's still able to convey a wide variety of emotion. She can get more across with a slight movement of her eyebrow than Kristen Stewart could with her entire body. Casting directors everywhere take note of these two and give them more work!
Go and see Dredd in theaters while you can. I think it's destined to become a cult classic at the very least. Now if we could just get the same director and cast to do a Warhammer 40K flick I'd be set. Urban as a Space Marine, Thirlby as a Sister of Battle, yeah, it could work.
Friday, September 28, 2012
Friday, September 14, 2012
Why We Shouldn't Be Afraid To Make The Hard Choice
Okay, I have to start by admiting something. Sometimes..man this is hard to say...I watch...the Clone Wars animated television show.
Yes, I admit it. It's terrible. Not because it's animated, cause hey, there are tons of good animated shows out there. (Avatar the Last Airbender anyone?)
No, the reason I'm embarrassed to say I watch it is that the writers seem incapable or contractually obligated to avoid making hard choices.
First off, when they focus on the major characters such as Obi-Wan or Anakin or any of the ones that appear in the movies there's no tension because you know these characters will live no matter what happens. The stories involving them are almost invariably trite and at best rise to the level of pretty adventure stories with very little soul.
The few redeemable moments for the show come when it focuses on the clones and their lot in life. I mean, think about it, here is a group of living beings that were created for the soul purpose of waging war. The clone centric episodes focus on the cost of war, of what it means to be a soldier, of what it means to put your life on the line for something you're not sure you believe in. They put the focus on themes that I find interesting and wish to see explored in greater detail. But only if they're willing to make the hard choice.
What do I mean by that? Let me give you an example. In a recent arc I was watching the clone troopers were being led by an four-armed Jedi who spent their lives callously. I was really enjoying it right up until the end when it was revealed that, hold onto your seats, the Jedi isn't really a Jedi he's a traitor who's getting ready to go over to the other side. Gah!
They took what could have been an interesting villain and transformed him into a mustache twirling git! Worse yet, they undermined the whole theme they'd been working on for the entire arc. Instead of the story being about the lengths war will drive some leaders to and the callous nature of command it became a story about a traitor manipulating others without any great reason why he was doing it. Again, gah!
The writers failed to make the hard choice. If they'd made the villain a true Jedi then it would have cast doubt on every action taken by the Jedi from that point on and the clones willing subjugation to them. I mean, come on, this is almost an entire race that was bred to be willing and compliant soldiers. Setting things up so that they start questioning their place in the war and their reasons for fighting it could have led down some interesting narrative paths, and showing the Jedi as less than noble or even callous at times would have made them more multi-dimensional as well.
This is why I think writers and authors need to be allowed and not afraid to make the hard choice, the one that takes them into unsafe territory. If we don't allow ourselves to do that, if we play it safe in our stories then we miss the opportunity to tell those really great tales that will be remembered, that will have an impact.
Don't be afraid of the hard choice.
(And yes, I writing this to remind myself as much as to tell others to do it.)
Yes, I admit it. It's terrible. Not because it's animated, cause hey, there are tons of good animated shows out there. (Avatar the Last Airbender anyone?)
No, the reason I'm embarrassed to say I watch it is that the writers seem incapable or contractually obligated to avoid making hard choices.
First off, when they focus on the major characters such as Obi-Wan or Anakin or any of the ones that appear in the movies there's no tension because you know these characters will live no matter what happens. The stories involving them are almost invariably trite and at best rise to the level of pretty adventure stories with very little soul.
The few redeemable moments for the show come when it focuses on the clones and their lot in life. I mean, think about it, here is a group of living beings that were created for the soul purpose of waging war. The clone centric episodes focus on the cost of war, of what it means to be a soldier, of what it means to put your life on the line for something you're not sure you believe in. They put the focus on themes that I find interesting and wish to see explored in greater detail. But only if they're willing to make the hard choice.
What do I mean by that? Let me give you an example. In a recent arc I was watching the clone troopers were being led by an four-armed Jedi who spent their lives callously. I was really enjoying it right up until the end when it was revealed that, hold onto your seats, the Jedi isn't really a Jedi he's a traitor who's getting ready to go over to the other side. Gah!
They took what could have been an interesting villain and transformed him into a mustache twirling git! Worse yet, they undermined the whole theme they'd been working on for the entire arc. Instead of the story being about the lengths war will drive some leaders to and the callous nature of command it became a story about a traitor manipulating others without any great reason why he was doing it. Again, gah!
The writers failed to make the hard choice. If they'd made the villain a true Jedi then it would have cast doubt on every action taken by the Jedi from that point on and the clones willing subjugation to them. I mean, come on, this is almost an entire race that was bred to be willing and compliant soldiers. Setting things up so that they start questioning their place in the war and their reasons for fighting it could have led down some interesting narrative paths, and showing the Jedi as less than noble or even callous at times would have made them more multi-dimensional as well.
This is why I think writers and authors need to be allowed and not afraid to make the hard choice, the one that takes them into unsafe territory. If we don't allow ourselves to do that, if we play it safe in our stories then we miss the opportunity to tell those really great tales that will be remembered, that will have an impact.
Don't be afraid of the hard choice.
(And yes, I writing this to remind myself as much as to tell others to do it.)
Saturday, September 8, 2012
Wait, Only Three Years? Really?
It's hard to believe it has only been three years since I started this blog and since I started writing actively. It feels like a lot more time has passed, but that might be because I feel like I've grown so much as a writer these last three years.
Who would have thought that in three years my writing would have improved to the point that while I'm still getting rejections I'm getting less form ones and more encouraging ones. A recent submission went through multiple readings by the editors before being rejected, which is amazing. No, really it is, because it means I'm wrote something an editor had to really consider before rejecting. That means I was close to getting something published.
If that wasn't enough though, the same story marks another high point for me. After the first draft I could see it wasn't working and instead of needing someone else to tell me what was wrong I was able to work it out and rewrite and produce a much stronger version of the same story. The fact that I could tell the story was lacking and fix it on my own indicates a leap forward in my critical faculties, something a good author needs in order to avoid going down many fruitless paths. In the end I was able to tell more story with less words.
Aside from my short story work I've also written at least one trunk novel. What's a trunk novel you ask? That's a piece of work that gets stuff in a trunk never to see the light of day. It was a learning and growth experience, but in the end the book doesn't work and I don't see any hope of salvaging it any time soon. But it did prove something to me. I can write longer stories, which is something I did need to learn.
Also, writing a book has lead me to writing another. Currently I'm over 92,000 words into writing an epic fantasy with monks, martial arts, and mongols. I'm loving it. This is a fun book to write. My original plan was to have a working draft in time for World's Fantasy in November, but it doesn't look like that's going to happen as I'm not even two thirds done even with the huge wordcount I mentioned above.
So what are my plans for my fourth year of writing? Finish my current project and then write another book I have planned and ideas generated for, the first in what could be a series. In fact, since I've kind of committed to NaNoWriMo this year, with the prompting of a couple author friends on Twitter, I may in fact pause my current project and use NaNo to get a decent chunk of my other novel started. My thinking is, by the time November rolls around I may not have 50,000 words left on my current novel, and there's a short story I want to write for an anthology that the due date is currently up in the air so I may work on that for a bit instead of the novel before NaNo starts.
So all in all, things on the writing front have been very, very busy. Aside from that I've attended cons, made new friends, been a panelist, and generally been an all around smartass when I can.
I can't wait to see what happens in year four.
Who would have thought that in three years my writing would have improved to the point that while I'm still getting rejections I'm getting less form ones and more encouraging ones. A recent submission went through multiple readings by the editors before being rejected, which is amazing. No, really it is, because it means I'm wrote something an editor had to really consider before rejecting. That means I was close to getting something published.
If that wasn't enough though, the same story marks another high point for me. After the first draft I could see it wasn't working and instead of needing someone else to tell me what was wrong I was able to work it out and rewrite and produce a much stronger version of the same story. The fact that I could tell the story was lacking and fix it on my own indicates a leap forward in my critical faculties, something a good author needs in order to avoid going down many fruitless paths. In the end I was able to tell more story with less words.
Aside from my short story work I've also written at least one trunk novel. What's a trunk novel you ask? That's a piece of work that gets stuff in a trunk never to see the light of day. It was a learning and growth experience, but in the end the book doesn't work and I don't see any hope of salvaging it any time soon. But it did prove something to me. I can write longer stories, which is something I did need to learn.
Also, writing a book has lead me to writing another. Currently I'm over 92,000 words into writing an epic fantasy with monks, martial arts, and mongols. I'm loving it. This is a fun book to write. My original plan was to have a working draft in time for World's Fantasy in November, but it doesn't look like that's going to happen as I'm not even two thirds done even with the huge wordcount I mentioned above.
So what are my plans for my fourth year of writing? Finish my current project and then write another book I have planned and ideas generated for, the first in what could be a series. In fact, since I've kind of committed to NaNoWriMo this year, with the prompting of a couple author friends on Twitter, I may in fact pause my current project and use NaNo to get a decent chunk of my other novel started. My thinking is, by the time November rolls around I may not have 50,000 words left on my current novel, and there's a short story I want to write for an anthology that the due date is currently up in the air so I may work on that for a bit instead of the novel before NaNo starts.
So all in all, things on the writing front have been very, very busy. Aside from that I've attended cons, made new friends, been a panelist, and generally been an all around smartass when I can.
I can't wait to see what happens in year four.
Thursday, August 16, 2012
The Dork Review: Dick Richards: Private Eye
The title of Dick Richards: Private Eye has an almost Inception-like quality to it. It's a story about a man named Dick whose last name could be shortened to Dick who is also a private dick, and no, I don't mean he's genitalia for private use; he's a detective. It also has a very trippy feeling, much like Inception.
It's funny I keep comparing this book to a movie but it seems to fit for some reason.
Not just any kind of a detective though. Dick is involved in some heavy magical shenanigans, and so deeply involved he has no idea how in over his head he is. He's tasked to solve a case involving unknown magical weapons, and as with any good crime drama there's baddies galore, and the occasional babe, for him to contend with.
I liked this book. It's a good first effort from Mister Chris Wong Sick Hong. (And no, I am not making up the authors name nor making fun of it - that's actually the gentleman's name). By a good first effort I mean that while this book isn't perfect, it makes up for it's flaws by being entertaining. First, let's look at the good.
Dick Richards: Private Eye does a good job of balancing various contradictory elements. It's a fantasy/noir-detective/science-fiction novel, with liberal takings from all three genres. Done wrong this could have really, really backfired, but in this novel it mostly works out. At first these elements would seem jarring put together, but Mr. Hong does a decent job of weaving them together.
It helps that Dick Richards is an interesting character with the tortured appeal present in a lot of noir-fiction, without feeling like a pastiche or rip-off of existing characters. I should point out though that my familiarity with noir-detective stories is rather slim so I may have missed a few subtle winks or flat out thefts from existing works.
Where the book falls down is keeping some of it's elements straight. At times if seems as if everybody knows about magic and dwarves and elves and such while at other times it seems there's a giant masquerade hiding these things from the world. It's never made clear, and frustratingly so. Also, another genre is thrown into the mix closer to the end that I'm not sure quite works.
At times the book feels like it's an everything-and-the-kitchen-sink kind of work but without the humor one would expect. This isn't a funny book but it isn't a serious one either.
I think, in the end, that Dick Richards: Private Eye is going to be an acquired taste for some people and will have a sharp divide between those who like and those who don't. If you like crazy genre-mashing works then you'll like it. If you don't want science-fiction in your fantasy or vice-versa, well then you probably hate chocolate and peanut butter together so there's no hope for you and this book isn't the one for you. (Just kidding by the way - who doesn't like chocolate and peanut butter together?)
One final note though, I do love the cover art for the book and so want the hat they have Dick wearing.
As always, the book is available on Amazon or you could check with your local retailer to see if they can order it for you.
It's funny I keep comparing this book to a movie but it seems to fit for some reason.
Not just any kind of a detective though. Dick is involved in some heavy magical shenanigans, and so deeply involved he has no idea how in over his head he is. He's tasked to solve a case involving unknown magical weapons, and as with any good crime drama there's baddies galore, and the occasional babe, for him to contend with.
I liked this book. It's a good first effort from Mister Chris Wong Sick Hong. (And no, I am not making up the authors name nor making fun of it - that's actually the gentleman's name). By a good first effort I mean that while this book isn't perfect, it makes up for it's flaws by being entertaining. First, let's look at the good.
Dick Richards: Private Eye does a good job of balancing various contradictory elements. It's a fantasy/noir-detective/science-fiction novel, with liberal takings from all three genres. Done wrong this could have really, really backfired, but in this novel it mostly works out. At first these elements would seem jarring put together, but Mr. Hong does a decent job of weaving them together.
It helps that Dick Richards is an interesting character with the tortured appeal present in a lot of noir-fiction, without feeling like a pastiche or rip-off of existing characters. I should point out though that my familiarity with noir-detective stories is rather slim so I may have missed a few subtle winks or flat out thefts from existing works.
Where the book falls down is keeping some of it's elements straight. At times if seems as if everybody knows about magic and dwarves and elves and such while at other times it seems there's a giant masquerade hiding these things from the world. It's never made clear, and frustratingly so. Also, another genre is thrown into the mix closer to the end that I'm not sure quite works.
At times the book feels like it's an everything-and-the-kitchen-sink kind of work but without the humor one would expect. This isn't a funny book but it isn't a serious one either.
I think, in the end, that Dick Richards: Private Eye is going to be an acquired taste for some people and will have a sharp divide between those who like and those who don't. If you like crazy genre-mashing works then you'll like it. If you don't want science-fiction in your fantasy or vice-versa, well then you probably hate chocolate and peanut butter together so there's no hope for you and this book isn't the one for you. (Just kidding by the way - who doesn't like chocolate and peanut butter together?)
One final note though, I do love the cover art for the book and so want the hat they have Dick wearing.
As always, the book is available on Amazon or you could check with your local retailer to see if they can order it for you.
Monday, August 13, 2012
The Terribleness That Is The John Carter Novel Adaptation
Normally I'd do this up as a Dork Review piece, but really, while I want to talk about the novel adaptation of the movie John Carter I really don't want to give it the dignity of a formal review. Think of this as more of a compare and contrast between the movie, the adaptation, and the original novel it's based on, A Princess Of Mars.
Now, in case you're coming in late, I actually enjoyed John Carter, the movie. (Go here for my review of it). Was the movie high art? Hell no, but it was a fun romp and didn't deserve the savaging at the critics' hands it received. So when I was out browsing my local bookstore and saw a copy of the novel adaptation combined with the original Edgar Rice Burroughs novel, well, let's just say it was an easy decision to make.
Novel adaptations of movies can sometimes be fun. I remember enjoying the adaptation of Spaceballs when I was a kid, and the novel for The Phantom Menace, at least what I read of it while bored the one day, wasn't half bad and filled in some holes from the movie. The John Carter one however...
It's not just a bad adaptation, it's bad writing all around. It breaks from one of the basic concepts of writing, which is "show, don't tell". Okay, yes, there are times where it's more efficient or convenient to tell rather than write, I get that, but not all the time. The novel adaptation only works if you've seen the movie and doesn't offer anything extra. It should be a product to entice people to consume other products, not a dry retelling of an existing story.
I think the John Carter adaptation suffers because it's trying to ape Edgar Rice Burroughs' style, which worked a century ago but doesn't today. Now, the original book, A Princess Of Mars, is bad, don't get me wrong, but it's bad in the way I expect. It fits the time and place it was written. The female characters are passive and paper thin, the dialogue is atrocious, and the white man from Earth teaches everyone how to live. It's like an old Conan story; you know it's going to be bad but that's half of the reason you enjoy it.
The modern novel doesn't have this excuse, and the movie was rather balanced in how it portrayed characters. John Carter in the movie didn't teach the green Martians the value of friendship, he just found friends and allies amongst them.
So is there a point in all of this ranting? Well, yes. My point is directed at the people involved in producing this book, the author (which I will not name out of respect and the hope that this project was rushed and not his or her best work), the publisher, and ultimately the Disney Corporation who's ultimately responsible for the entire thing. Do better. You made a decent, fun movie. Try and produce ancillary material that at least matches that.
Now, in case you're coming in late, I actually enjoyed John Carter, the movie. (Go here for my review of it). Was the movie high art? Hell no, but it was a fun romp and didn't deserve the savaging at the critics' hands it received. So when I was out browsing my local bookstore and saw a copy of the novel adaptation combined with the original Edgar Rice Burroughs novel, well, let's just say it was an easy decision to make.
Novel adaptations of movies can sometimes be fun. I remember enjoying the adaptation of Spaceballs when I was a kid, and the novel for The Phantom Menace, at least what I read of it while bored the one day, wasn't half bad and filled in some holes from the movie. The John Carter one however...
It's not just a bad adaptation, it's bad writing all around. It breaks from one of the basic concepts of writing, which is "show, don't tell". Okay, yes, there are times where it's more efficient or convenient to tell rather than write, I get that, but not all the time. The novel adaptation only works if you've seen the movie and doesn't offer anything extra. It should be a product to entice people to consume other products, not a dry retelling of an existing story.
I think the John Carter adaptation suffers because it's trying to ape Edgar Rice Burroughs' style, which worked a century ago but doesn't today. Now, the original book, A Princess Of Mars, is bad, don't get me wrong, but it's bad in the way I expect. It fits the time and place it was written. The female characters are passive and paper thin, the dialogue is atrocious, and the white man from Earth teaches everyone how to live. It's like an old Conan story; you know it's going to be bad but that's half of the reason you enjoy it.
The modern novel doesn't have this excuse, and the movie was rather balanced in how it portrayed characters. John Carter in the movie didn't teach the green Martians the value of friendship, he just found friends and allies amongst them.
So is there a point in all of this ranting? Well, yes. My point is directed at the people involved in producing this book, the author (which I will not name out of respect and the hope that this project was rushed and not his or her best work), the publisher, and ultimately the Disney Corporation who's ultimately responsible for the entire thing. Do better. You made a decent, fun movie. Try and produce ancillary material that at least matches that.
Wednesday, August 8, 2012
The Dork Review: When The Villain Comes Home
“Heroes can save the world. But villains can change it, Rachel.”
The above quote is from J.M. Frey's story Maddening Science from the short-story anthology When The Villain Comes Home, and I think it captures the book in a nutshell. This is a collection of stories about people who are the other side of coin, the opposite of those we saw in When The Hero Comes Home. But are they?
To paraphrase another section of Villain, heroes are born of event while villains are born of intent. Any one of the protagonists in this collection could have been a hero, and some of them border on what we would consider as an anti-hero.
It's rare to find an anthology that doesn't have one or two clunker stories in it, stories that you read and go either "meh" or "huh". Like its predecessor, Villain doesn't have a single clunker amongst the bunch. I really enjoyed this collection, and I want to take a moment to highlight some of the stories that elevated this from good to wow!
Let's start with J.M. Frey's story since I've already quoted it. J.M.'s writing has this ability to be funny, sexy, geeky, and heart-wrenching all at the same time. After reading Maddening Science I can only hope my fiction can someday aspire to be half as good. I'm laying the praise on a bit thick but with good reason. The story is just that good.
Next let's talk about a story produced by one of my favorite people, Marie Bilodeau. (Seriously, she's a sweet-heart - if you ever get a chance to see her at one of her story-telling gigs or at a convention then go.) Her story, Happily Ever After, is another gem. It has Marie's classic story-telling voice running throughout it and at the same time I can see the evolution in her from from The Legend of Gluck (her story in When The Hero Comes Home) and her earlier novels. Happily Ever After feels more refined without losing any of the passion or movement of everything else Marie has produced.
Hmmm.... which one to highlight next. Oh, I know! How about Cycle of Revenge by Erik Buchanan? It's an interesting tale about a warlord who travels... oh, wait, can't reveal that as it would spoil things. Let's just say it plays around with some classic fantasy/sci-fi tropes quite well and shows what happens when we obsess about getting revenge on those who've wronged us.
I can't forget to mention Manmade by Leah Petersen. First because it's one of those stories where you can guess where it's gonna go and have a good idea how it's going to end after about half-way through but still enjoy entirely. It's also a story very much about being who you are and how trying to, ahem, compensate for what others perceive as a failing can backfire and then ultimately lead to accepting the truth about oneself. And finally because Leah scares me a bit. I mean, come on; she can knit with her hands and read a book with her feet at the same time. The woman is like a fur-less, skinny version of Beast from X-Men. Who knows what mutant powers she's hiding from us?
The truth is I could say something good about every story in this book, which is rare as most anthologies end up sneaking in a dud or two. As it stands, I recommend you check out When The Villain Comes Home, and indeed anytime Gabrielle Harbowy and Ed Greenwood get together to edit an anthology you should give picking it up serious consideration.
Here's the Amazon link, but I do recommend hitting your local bookstore to see if they can get it in for you.
The above quote is from J.M. Frey's story Maddening Science from the short-story anthology When The Villain Comes Home, and I think it captures the book in a nutshell. This is a collection of stories about people who are the other side of coin, the opposite of those we saw in When The Hero Comes Home. But are they?
To paraphrase another section of Villain, heroes are born of event while villains are born of intent. Any one of the protagonists in this collection could have been a hero, and some of them border on what we would consider as an anti-hero.
It's rare to find an anthology that doesn't have one or two clunker stories in it, stories that you read and go either "meh" or "huh". Like its predecessor, Villain doesn't have a single clunker amongst the bunch. I really enjoyed this collection, and I want to take a moment to highlight some of the stories that elevated this from good to wow!
Let's start with J.M. Frey's story since I've already quoted it. J.M.'s writing has this ability to be funny, sexy, geeky, and heart-wrenching all at the same time. After reading Maddening Science I can only hope my fiction can someday aspire to be half as good. I'm laying the praise on a bit thick but with good reason. The story is just that good.
Next let's talk about a story produced by one of my favorite people, Marie Bilodeau. (Seriously, she's a sweet-heart - if you ever get a chance to see her at one of her story-telling gigs or at a convention then go.) Her story, Happily Ever After, is another gem. It has Marie's classic story-telling voice running throughout it and at the same time I can see the evolution in her from from The Legend of Gluck (her story in When The Hero Comes Home) and her earlier novels. Happily Ever After feels more refined without losing any of the passion or movement of everything else Marie has produced.
Hmmm.... which one to highlight next. Oh, I know! How about Cycle of Revenge by Erik Buchanan? It's an interesting tale about a warlord who travels... oh, wait, can't reveal that as it would spoil things. Let's just say it plays around with some classic fantasy/sci-fi tropes quite well and shows what happens when we obsess about getting revenge on those who've wronged us.
I can't forget to mention Manmade by Leah Petersen. First because it's one of those stories where you can guess where it's gonna go and have a good idea how it's going to end after about half-way through but still enjoy entirely. It's also a story very much about being who you are and how trying to, ahem, compensate for what others perceive as a failing can backfire and then ultimately lead to accepting the truth about oneself. And finally because Leah scares me a bit. I mean, come on; she can knit with her hands and read a book with her feet at the same time. The woman is like a fur-less, skinny version of Beast from X-Men. Who knows what mutant powers she's hiding from us?
The truth is I could say something good about every story in this book, which is rare as most anthologies end up sneaking in a dud or two. As it stands, I recommend you check out When The Villain Comes Home, and indeed anytime Gabrielle Harbowy and Ed Greenwood get together to edit an anthology you should give picking it up serious consideration.
Here's the Amazon link, but I do recommend hitting your local bookstore to see if they can get it in for you.
Guest Post Mania Continues
I have another guest post up at Page of Reviews, this one on The Big Bang Theory and misogyny. You can check it out here.
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