Adam-Troy Castro

Writer of Science Fiction, Fantasy, Horror, and Stories About Yams.

 

The Bard’s Fail

Posted on March 27th, 2017 by Adam-Troy Castro

Once upon a time, there was a bard.

He lived in a time when bards were a little out of style as a form of entertainment, as there were others more popular that got more attention, but there were still plenty of bards around, singing their songs for spare coins.

Still, this bard thought he needed a little something to make him stand out from the pack,.

His songs were middling, his voice okay, his lute playing competent, he was pretty good really, but he still wanted to be the most famous of all the bards.

It burned in his breast, that other bards were getting attention that should have been his.

So one day, sitting on a chamber pot, he grew sufficiently annoyed at some rodent scurrying around the corners of the room to grab up a nice fistful of his own poo and throw it at the beast. This was a rather stupid thing to do as it didn’t get rid of the rodent and didn’t make his own circumstances any better and in fact got his hand dirty and made him look like an idiot, but as it happens this act was witnessed and it attracted the attention of some of the fouler residents of the castle, who started talking among themselves and cheering the bard who throws poo.

Delighted, our bard said to himself, “That’s the way to build a following!”, and for a time started throwing poo on a daily basis, each time to the cheers of that percentage of the plebeian public who thought this was great. He even formed an alliance with other bards who flung poo, and between them they harassed all the bards who didn’t throw poo, even getting some of them to throw poo back.

For a time, the musical culture in the kingdom was an exercise in poo being volleyed back and forth.

But as it happened, this craze died down after a while. There was poo all over the castle walls and the bards who flung poo didn’t emerge as much more popular than they would have been if they’d never flung poo, with the added impediment that there was no longer any chance of them getting any of the listeners who thought throwing poo was a terrible way to behave. They found themselves known not for making music, not for helping the hours pass, not for brightening the kingdom’s days with song, but for the throwing of poo, and nothing else.

And the bard we speak of, the one who helped originate it all, found himself in a hell of his own making: the only way he could keep the audience he had built was to regularly throw some poo.

This, it turns out, is the real risk for bards of building a reputation on throwing poo. From now on, every time you take out your lute, your audience is really just waiting for the poo. You are not only expected to throw poo. You are required to throw poo.

And soon, your music is just a footnote from you throwing poo.

This, my friends, is about a specific person.

The Shootist Leaves His Revolver In Its Holster

Posted on March 24th, 2017 by Adam-Troy Castro

When I make comments like the following, I generally try to be vague, because I don’t like shitting on my fellow writers.

I have recently received a career-retrospective collection of short stories from an award-winning writer previously unknown to me.

Last night I did a hop around the collection.

More than just “not my cup of tea.”

Absolutely awful, on a line-by-line basis. The descriptions overwhelm the actions, the characterizations are schematic, and the stories are exercises in fantastic stuff happening without that fantastic stuff illuminating anything about our world or about our species (in even the way that a throwaway potboiler should).

The award-winning story is particularly terrible. It is an exercise in a character wandering into a fantastic event, experiencing it, and after some struggles wandering out, via a process best described as authorial fiat (“I reached the minimum wordcount! Yay!”), with — this is crucial — after that, no particular trauma or epiphanies or growth. I can’t actually tell you what’s terrible about the apocalyptic things that happen in the interim, not without specifying and going on to clarify how they fail to reach the impact of the events in the stories that are superficially like it — and that will tell you who this guy is — but suffice it to say that when the masters do stories like this, it matters more; it feels more real; it leaves more of a lingering aftertaste.

As a reader, I am angry about having my time wasted, and not at all interested in moving on to more of this individual’s work.

As a reviewer, as someone who shares his opinions with you fine folks for free, I really want to go story by story through this collection of work by this guy who really has received significant acclaim, and chop it to pieces. The urge to name him, now, is powerful.

You know what?

I also cannot stomach being the guy who would do that.

This is not vague-booking. You are not supposed to guess. This is the experience being written about, not the author. The author simply sinks beneath my radar. He has a following and he is welcome to it. It just won’t include me, unless — as might happen — I encounter a story of his in some anthology, read it without paying attention to the byline, and am completely blown away.

Instead, I’ll just move on to other investigations.

One More Thing Not To Say To Writers

Posted on March 23rd, 2017 by Adam-Troy Castro

Originally published on Facebook 23 March 2016.

Because people don’t quite get this: if you liked my book and want to tell me so, fine. If you got it from the library, fine. If you borrowed a copy from a friend, fine. A used bookshop, fine.

However, it is not necessary to tell me, at length, how you obtained your copy if the upshot is that you didn’t buy it in a way that supports my efforts.

It is especially not necessary to explain, as so many of you have, that your entire local circle of friends have formed a cheapskate syndicate and all chipped in to buy one copy and that you passed it amongst yourselves, while asking me in the next sentence why the publisher didn’t spring for a third book in the trilogy.

I will take your compliments. Or your questions. Fine. Or even your criticisms. Fine. Your anecdotes about how something I wrote pulled you from the abyss…yes.

But don’t try to entertain me at a convention, as so many of you have, with stories of how the twelve of you got together before my novel came out and made plans to circumvent giving me any more than one sale.

I’ve heard that ten or twenty times. From grinning faces waiting for approval.

Don’t say this to me with a big grin on your face and expect me to compliment you on your inventiveness. Why do you think this will make any struggling author happy?

And by the way, this is not me telling you that I hate you for doing it. I’m a book reviewer. I know all about shnorring free copies.

Nor do you need to fill the comments thread with sad replies explaining why you live in sad poverty-afflicted circumstances going back to childhood and have a therapy pigeon and can’t afford books, blah blah blah. Usually including lots of tales of your Dickensian mistreatment…”so I didn’t want to pay for your book.” You don’t need to summarize that I’m an awful person for not understanding your special problems, before circling around to the same question: why did your publishing house drop the series? I want more!

I am just saying. If you’re going to talk to writers, it is perfectly reasonable to expect you to learn how to be a gushing fan without providing those writers with unwanted additional information that slaps them in their faces.

 
 
 

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