Book Review: Rick Riordan, Jim Butcher, Lisa Shearin

Last week was spring break, and while I didn't get much of a break, I did get a lot of reading done. So we'll have a book review post that's a bit overdue.

The Sea of Monsters

Book 2 in the Percy Jackson series. We find out more about a prophecy, and get a run in with some famous greek monsters. The plot in this one was a little weaker, I think, than the first, but it did some good set-up for the third and fourth books. Percy gets a little more disobedient, closer to how he was in the movie. As with the first, and most YA I find, it's a quick, engaging read. 

Titan's Curse

In Book 3 of the Percy Jackson series, we find more players in the prophecy. 2 new characters set the stage for the next book as well. Plot-wise, there's some fallout of the events in the previous book, but they're tied into a new quest and a new conflict. There's some believability issues near the end, but the book is an enjoyable read.

Battle of the Labyrinth
The penultimate book of the Percy Jackson series. The titular labyrinth is the very same of Theseus and the Minataur. We finally see the conclusion of one of the side-arcs that one of the characters was going through, which is a bit of a relief, and there's plenty of twists to keep one guessing.

Armed & Magical

The 2nd book in the Raine Benares series, this picks up pretty much exactly where the previous book left off. All in all, I find myself sucked into the world. I would consider this strong worldbuilding. Character's are pretty engaging, even with the MCs possible lack of limits. We see a bit more of the dark side of things here, and a few more players on the global stage. All in all, an enjoyable read, even if it did take me 3 weeks to read it.

Grave Peril

Ahh, Back to Jim Butcher, and the Dresden Files. When I was listening to the forward, Butcher claims that this book is what fans usually consider the start of the series. The first 2 books are more stand alone. I think this is partially true, though elements do carry over, we're starting to see more global plot structure in this book. The fall out of the events effect the next book (see next bullet) much mroe than the previous book effected this one. Dresden's world is also providing some great inspriation for the Mage: The Awakening games I've been throwing around. Things dont' transfer 1-1, but it's really easy to get some of the same imeagry and themes going, if you want to. My only downside to these books is that Harry is always so beat up. I know characters are supposed to fail at times, but he's always on his last limb, making the stories pretty gritty from that perspective.

Summer Knight

The 4th book in the Dresden Files, we see the fallout of Harry's decisions in the previous book. This book also shows us the world of Harry's Fae, and the war between the courts that's seen in every fae story. Historically I've always been more of a witches and wizards fan, but lately branching into the fae has given me some interesting ideas to explore. 

Conclusions

I have to say, these book reivews get harder with each book. I think it's because I'm trying to avoid major spoilers, but at the same time I'm always giving something away.

Book Review: Percy Jackson

So I'll admit that today's entry is a bit of a cheat. I had a better entry plan, but with the recruiting weekend not much has been done.

So I've been putting off finishing my current read for some time, and I can't quite figure out why. In another fit of reading last weekend, I finished Percy Jackson and the Lightning Thief. The book was recently turned into a movie, and I had seen the movie before reading the book.

The book was entertaining, the story was a little more detached than the movie (some scenes were just happening, as opposed to having tight ties to the plot), but I felt the causality in the book was more complete. I got a better picture of the characters, and the wacky pseudo-romance was less of a point of confusion. It felt so awkward in the movie, but the book was well placed I thought. 

I enjoyed the book, and it's a nice quick read. I'll try for another entry soon.

Bonus Post: Magic

So I've been contemplating this blog post for a long time. Truth be told, the idea is a few years in the making. But let's see if I can't make some progress on it. This blog post will be quite incomplete, but hopefully it'll give you, faithful readers, and me a sense on what's out there.

Magic is a tricky thing. It's a staple of most fantasy, and yet every author puts their own spin on it. This makes it tricky to write, since there's so much possibility. The purpose of this entry is to try and break it down into categories, with examples, and maybe some commentary.  So let's get started.

Magical Effects
The focus of this entry is on active magic, but I would be remiss if I didn't discuss, at least at some level, side-line magical effects. This is probably some of the most common magic out there, because it requires the least amount of though on developing a coherent system with it's own rules and drawback.

In this sort of magic, the effects are usually environmental, rather than intentional. Wayside school has a missing 13th floor, and nobody gives it a second thought. The Indian in the Cupboard is another example, where all of the magic is contained in the little cupboard. For the ease of discussion, I'll lump many werewolf and shifter mythologies in here as well, since often times the main drawback is lack of control. In scope, the magic is often either very limited, or very broadly applied. In both cases, it offers little flexibility.

In writing these, the effects are only as important as the conflict it draws for your characters. If bringing pumpkins to life makes your characters life harder, and if it fits the theme and mood of your story? Then consider adding it, because everyone loves talking pumpkins.

Focusing Will:  Word
So now onto our exploration of more active magics. In most cases, magic is an exercise in will. The system, be it incantations, runes, whatever, simply serves to focus the will. In some cases, the Dresden Files being the most recent example that's crossed my bookshelves, you can do magic without the words, but it's usually harder and always more dangerous.

One of the most common ways of focusing magic is through incantations. In most cases, the language used to focus the will is important. It can be an old language (Eragon is one example, though it also uses aspects presented later. Another is Name of the Wind, and a third is Earthsea, and who can forget Harry Potter). Many times, an ancient language appropriate to the setting is used, though it does occasionally happen that a language specific to magic is created. Another possibility is that it can be any language except your native one.  I know I've seen this last one in a few cases (Dresden touches on it), but I can't think of a clear example. In most cases where this last one is used, the explanation is that your native language is too closely colored by your own interpretations to correctly formulate spells. A third important category is where your native language is used. The main example of this I have at the moment is The Belgariad.

Blood
Another common motif is the importance of blood. In some cases (The Hollows books), it's enzymes in the blood that kindles magic. In others (one of the systems in the Dragon Nimbus Histories), spilling blood strengthens a spell, offers more power. Sometimes (Meredtih Gentry books), the blood is simply the target of the magic itself.

The thing with blood, is that it holds life. In any magical undertaking, its a powerful symbol. I don't think I've seen a single one where blood was present and unimportant.

True Names
True names are another big power. Giving someone your true name gives them power over you. In some cases, this is why practitioners take crazy monikers. In some cases (The Hollows, Dresden Files), true names are only a problem for sentient beings. In some cases, this is restricted to humans, in others it can include supernatural creatures as well. In other cases (Eragon, Name of the Wind, Earthsea), everything has a true name, and it is by speaking that name that you gain power over it. In still other cases, magic is worked by changing the true name (Earthsea has some examples of this).

Sympathy
Another interesting method is using Sympathy. Name of hte Wind is the one that comes to mind that uses this to the greatest effect,  but it's present in the Dresden files, and any other piece that uses the vodoun/voodoo tradition. The idea is that magic is transferred through similarity. Pieces (hair, skin, blood, nails for people or animals, a branch for a tree, etc.) are the best similarity for a whole, but sometimes other things can be used. The more similar the items, the less effort it takes to create an effect.

Math
Sometimes, magic is ordered by the structure of math. I'll also toss programming languages into this category, because what's important is that it's structured. In this case, magic is really a exercise in adding order to the chaos of reality. Some examples of this include the Mathemagics, Wizardry Compiled, and the WebMage novels.

Runes
The last method of focusing will I'll talk about is Runes. These are shapes, often very specific ones, which are used to focus energies into magic. Name of the Wind has some sigildry in it,
School for Adventurers and the Mortal Instruments also use runes to great effect. Many modern occult practices also set great store in symbols and runes, rooted in the ancient nordic and celtic traditions. It's also worth noting that a special case symbol, the circle, is often used as a barrier for protection.

Sources of Magic: Internal
The next topic on the agenda is where does hte magic come from. Probably the most limiting, and yet still very common, methods is to have Magic be internal. It is usually a finite quantity inside the willworker. When the magic is consumed, the mage usually is weak, almost on the brink of death. She has spent all her will, all her life in trying to achieve her aim.

Elemental
Another common source is the elements. Usually, its the standard 4: Earth, Fire, Wind and Water. occaionsally another one will pop up (Heart, Void, Spirit). Sometimes it can be even more specific, including most anything that can occur (Stone, Plants, etc.). The last one bleeds into the next category. Some examples of Elemental-based magic are Warrior and Witch, the Darksword books, and Weather Warden.

Environmental
Sometimes the magic can be drawn from anywhere in the environment, or from specific things. Some of the Magic the Gathering books involve pulling energy from the land. This was also present in Dragon Ball Z a few times. Some cases are more limiting, such as the Circle of Magic books. In those cases, specific objects, ideas, or events can grant magical power, but if you're locked out of those, then you can be in big trouble. The Dragon Nimbus books are another extreme example of this, where the magic can be drawn from dragons.

Ley Lines
Sometimes the magic comes from very specific areas of the earth. While there's no common explanation for these veins of power, the fact that they exist is a common trend, even in modern mysticism traditions. they are usually invisible, though those with the sense can detect them. In some cases, the lines can be colored by the emotions of humanity, in other cases they're pure. In either case, being trapped without a line near by is recipe for disaster.

Drawbacks
The third part of any magical system, and the part that I'm having the hardest time working on. It is, however, probably the most important. When you introduce magic into the world, there's always a price. Some of the most interesting ones I've come across recently are: Sanity (Magic or Madness), casting magic eats away at your mind, causing you to slowly lose it and Memories (Magic in the Blood), every time you cast you loose a memory. Common ones include energy, and control. I think I've read one where lifespan was the cost to pay as well. Control is an interesting case, because it relies on external (or sometimes internal) policing. The line between white and black magic is thin, and all to easy to cross. Crossing it means that your own kind will hunt you down (Rouge Mage, The Hollows). Either that or you give yourself up to a non-practitioner (Rouge Mage, if memory serves. Also some aspects of Bitter Night are similar). If you see references to Mana, then that's a toll of energy, of life force, which is usually fairly hard to come by.

Conclusions
So I didn't get as much commentary in there as I wanted, but it still got the point across. If you're looking for small magical effects, then keep it only to the level that it services the plot. More active magic needs three basic components for an interesting story: a method of control, a source, and a drawback. The drawback is what provides the drama, and to an extent the realism. The source is usually simply thematic, but sometimes there can be mroe to it. And the method of control helps you define a progression (learning spells, learning words, etc.), to allow your characters to grow.

Books mentioned
Wayside School - Lewis Sachar
Indian in the Cupboard - Lynne Reid
Dresden Files - Jim Butcher
Harry Potter - J. K. Rowling
Name of the Wind - Patrick Rothfuss
Eragon - Christopher Paolini
Earthsea - Ursula K. LeGuin
The Belgariad - David Eddings
Dragon Nimbus - Irene Radford
The Hollows - Kim Harrison
Meredith Gentry - Laurell K. Hamilton
School for Adventurers
Mortal Instruments - Cassandra Claire
Mathemagics - Margaret Ball and Larry Elmore
Wizardry Compiled - Rick Cook
WebMage - Kelley McCullough
Weather Warden - Rachel Caine
Warrior and Witch - Marie Brennen
Darksword - Margaret Weis and Tracy Hickman
Magic the Gathering: Whispering Woods - Clayton Emery
Dragon Ball Z
Circle of Magic - Tamora Pierce
Magic or Madness - Justine  Larbalestier
Magic in the Blood - Devon Monk
Rouge Mage - Faith Hunter
Bitter Night - Diana Pharaoh Francis

Writing Experiment: Scenes and Sequels, part 2

In which I actually start replotting. So let's do this thing. First step, let's take each element of the outline, and contemplate how much it's needed, and whether it's better portrayed as a scene or sequel.

Original Plot

1. Learning to cast magic  - So this scene is important in that it sets the stage for the magic being used in the story. Now the magic here is slightly different than in the novels, in that it's more limited. There's only the elements, and not the other aspects (forthcoming in another post). Drama-wise, this scene was low. It only seeks to frame the magic, and introduce some of the characters. Probably worth finding a higher-stakes method of showing this.
2. Sam and Cat, disagreement in the Alley - This scene was serving to introduce some tension between Cat and Sam, and frame the underlying hatred of the war. The two scenes can probably be combined, amping up the tension a little
3. Mundane minister poison's Cat's mom - Taking the mom out of the picture is what starts the tension between Michael and Cat, and what is going on with the war. This scene needs to happen.
4. Funeral, Cat follows Sam to a Sim parlor - This is more sequel-y than scene. Low tension, and is supposed to act as more of an emotional reaction to teh death. Sam might be removed here, but it was seeding his treachery for later. 
5. Michael and Cat fight over whether or not to go to war - Michael wants to go to war, he's upset over Cat's mom's death. Cat is still looking for another way, but she's no idea what it is. This is definitely a scene, and ends with her being banished.
6. Cat fights with Finn on the streets - The purpose here was to seed the argument between them, because this leads to Finn selling her out to the mundanes. It also served to introduce the streets, and show how she's been living. Most of the info can be given in more of a sequel, opening into a scene involving Finn.
7. Cat is attacked, sold out by Finn. Michael rescues her - The original plan for this scene was for it to be a big tipping point. She gets sucked into the war, whether she wants to or not. She had given up her crown, abandoned her home, and yet the war still came to her. A climax of sorts. The current iteration doesn't come across as good, it's very low on tension. Combining it with the fight with Finn might help. 
8. Michael convinces Cat to lead an attack - Again, this was a very weak scene. There's very little tension, and a confusing change of location. This might be better served as a Sequel to the previous scene.
9. Adrielle visits, offers living metal - This is a turning point in the story, even though it's not the climax. Up to this point, we had been following hte normal course of the war, and though it's not clear, the mundanes are winning. Cat's efforts to stay out of the war is compounding problems, and the war might have ended soon, had it run it's course. Adrielle shows up, straight from the events of the 2nd novel, and starts mucking about. She gives Cat the living metal, effectively turning the tide of the war. 
10. Attack - The scene is confusing, so ti was kinda hard to follow who was killing whom. Cat is trying out the living metal, because Adrielle demands a high price.
11. Cat visits Adrielle, makes the deal - Probably the last sequel  / scene. Cat agrees to take the living metal, despite the high price: Burning down the city she grew up in. 
12. Cat burns down the city - In the original story, this was the opening scene, and the rest of the story was supposed to be structured as a flashback. Nobody got it. Everyone said that it was a different person in teh beginning than the rest of the story. That being said, I love the imagery here, and the scene itself is structured fairly.

Reworking the Scenes

 Alright, so I fail at killing my darlings. I didn't want to get rid of any of them. So let's see what we can come up with for scenes.

1. Scene - Let's rework the learning magic, and try and introduce Sam
1. Goal - Cast a spell, pretty simple goal
2. Conflict - Can't seem to get in the right frame of mind. Fire takes passion, anger, fear. Sam tries to distract her, smack talking the mundane peoples. It set's her off.
3. Setback - Manages to cast, but burns down the table. 
2. Sequel - Walking through the city. Still want to show the city operating.
1. Emotional Reaction - Angry at Sam for pissing her off
2. Logic - Something in the anger allowed her to cast.
3. Anticipation - Needs to learn to control the magic, owise bad stuff will happen
4. Choice - Goes to meet Michael
3.  Scene - Argument between Minister and Cat's mom
1. Goal - Talk to mom about magic
2. Conflict - Mom's in an argument w/ the minister
3. Setback - Guy storms out, mom collapses
4. Sequel - Funeral
1. Emotional Reaction - Sad / Angry, maybe 5 stages of loss?
2. Logic - War causes death, there must be a better way
3. Anticipation - Death is needless, going to war wont help anything
4. Choice - Confront the council, tell them war is bunk
5. Scene - Michael and Cat fight about the war (w/ Council there)
1. Goal - Talk the council into not going to war
2. Conflict - Michael is opposing her, pushing for the war
3. Setback - Council decides to go to war, and decides Cat is unfit ; She's banished
6. Sequel - Cat is dropped off on another planet, learns to fend for herself: Montage!
1. Emotional Reaction - Disappointed...and a little Angry. She's angry a lot...hmm
2. Logic - On the streets, needs to figure out how to survive
3. Anticipation - Getting hungry, surrounded by destruction
4. Choice - Needs to make friends on the street
7. Scene - Fight with Finn, attacked by Platoon
1. Goal - Food, territory, etc.
2. Conflict - Finn wants teh food too, convinces Soldiers to attack
3. Setback - Food gets blown up, has to abandon her stash
8. Sequel - Fallout of the fight
1. Emotional Reaction - Scared, cold, alone
2. Logic - War has nothing on this
3. Anticipation - Things were better at home, and all the anger has helped her gain control of her magics
4. Choice - Needs a way back in the fold
9. Scene - Adrielle visits
1. Goal - Looking for a way to get back to the council
2. Conflict - Adrielle tries to talk her into taking hte knife instead
3. Setback  - Can't get back to the council, but has the knife
10. Scene - Attacked by Sam
1. Goal - Survive attack
2. Conflict - Sam has tracked her down, attacks her
3. Setback - Kills Sam, Michael saves her from the rest
11. Sequel - Agrees to help Adrielle
1. Emotional Reaction - Relieved, 
2. Logic - Discusses witht he council, can turn the war in their favor
3. Anticipation - Presents the weapon
4. Choice - Agrees to the terms, Burns down the city

Conclusions

I trimmed it down a bit, and restructured. Moving the rescue till after the encounter with Adrielle changes that balance of power a little, but makes the plot flow better. It removes some of the most confusing scenes: The confrontation on teh ship where Michael convinces Cat to come back, and the attack on the generator where she confronts Sam. It'll also let me stretch out her time on the streets, which was the feedback I got from the instructor of the fiction-writing course.

Book Reviews

I've read 3 books since my last book review post. Most of them were finished this past weekend, so I'm not *that* far behind.

Fool Moon
First one is Fool Moon by Jim Butcher. It had been a while since I had read the first book in this series, Storm Front. While some aspects of the plot stuck in my head, very few of them were very important. The truth is, I liked Fool Moon much better than I remember liking Storm Front.

There were a few hints dropped that sucked me more into the world, and a few hints about the characters past that had my head spinning. It reminds me, in some ways, of Kim Harrison (see next review), but all the things I like best about it. Magic seemed a little more grounded and explored in this book as well, giving me some fuel (and interest) for another blog post.

It's worth noting that I listened to this on an audio book. It was read by James Marsters, which was a hoot to listen to. He used his "Spike" voice for Bob, which made me laugh. If you're an urban fantasy fan, I recommend the series. He takes a lot of hits, and for those of you who enjoy watching the hero get beat to a pulp before he manages to push back the darkness, give it an especially careful spin.

Black Magic Sanction
Wow, 8 books already. I started the series 4 years ago, on the suggestion of Lumie. She always gives me a good book to read. Anyway, the latest installment takes place more or less where the last one left off. There's been a lot of back-and-forth in the character, over the course of hte first 7 novels. One of my friend Rachel's major complaint about book 7 was that the character ended in more or less teh same place as the first one, but for different reasons. I think she's just frosted that two of the characters didn't get together.

The plot investigates some new aspects of the world, that hadn't really come into play before. The cool antagonist-y guy came back, and it was good to see him again. I feel like he didn't have as big a part in the previous book, but I could be misremembering. Either way, this book did seem to fit into the overal arc better than the previous, and it was a fun, quick, read.

Strange Angels
The last book I'll talk about today is Strange Angels by Lili St. Crow (AKA Lilith Saintcrow). This is a YA novel, but was very interesting. The premise is this girl and her father hunt things that go bump in the night: vampires, werewolves, daemons, everything. And then her father doesn't come back, and she's trying to survive. She finds out plenty of interesting secrets about herself, makes a couple of friends, and meets a couple enemies. All in all, decent story. Aspects of it are remnant of Cassandra Claire's Mortal Instruments, thought without the cool runic magic.