Skip to content

Corey J. White Posts

Ditch Better Have My Diggers

There exists, for everyone, a sentence – a series of words – that has the power to destroy you. Another sentence exists, another series of words, that could heal you. If you’re lucky you will get the second, but you can be certain of getting the first.

Philip K. Dick – VALIS

[Full Disclosure: My first idea for a title of this post was “I got 99 Problems, but a Ditch Ain’t One (Because I’ve Already Been Digging It)”. I am a terrible human.]

It’s been a while since I posted any writing advice or resources, so let me rectify that now. Near the end of last year I got onto Mur Lafferty and Matt Wallace‘s podcast Ditch Diggers.  Now, whilst I’m sure there are a hundred podcasts out there related to writing, the thing I like about Ditch Diggers is the way they aproach writing as a job – a job that you should be paid for.

Amongst some writers and readers, there seems to be an expectation that you should only ever create something for the love of it. Now, I see where they’re coming from, because a mercenary approach to art is how we end up with awful film novelisations, tired tie-ins, lacklustre (or downright terrible) film remakes. But on the flip-side, one day I would like to write for a living – so, until we get Universal Basic Income, that means considering the financial aspect of writing – and also, if I create something that has value, why shouldn’t I expect to be paid?

Or, in other words, Fuck You, Pay Me.

I opened with that quote (or maybe paraphrase?) from VALIS to illustrate a point about the merit and beauty of art versus the reality of making a living. That is to say: of course I want to write stories and books that resonate with people, that contain a single line that could heal a person, but I’m not there yet, and I might never get there. But that doesn’t mean I shouldn’t write. That doesn’t mean I shouldn’t publish. And that doesn’t mean I shouldn’t get paid while I continue honing my skills in whatever form or genre I choose to write in.

Anyway, Ditch Diggers. Subscribe to it wherever you get your podcasts from, and if you go back through the archives, might I recommend:

  • Episode 36 with Cassandra Khaw
  • Episode 34 with Kameron Hurley
  • Episode 26, which is largely a discussion between Kameron and her agent – Hannah Bowman.
Leave a Comment

No Sleep ‘Til Beerlight

Steve Aylett

Have you read any of Steve Aylett’s books? Have you even heard of the man? Possibly not, so let me evangelise at you about Steve Aylett’s Beerlight books. Over at Tor.com, I give a run down of each of the Beerlight books, providing some choice quotes, and detailing some of the great science fiction ideas in the books.

Check it out.

Leave a Comment

New York Burning

Escape From New York

Over at Tor.com, they were kind enough to let me wite about five books featuring a collapsing New York City: Jack Womack’s Random Acts of Senseless Violence, Gary Shteyngart’s Super Sad True Love Story, Nnedi Okorafor’s The Book of Phoenix, the comic series DMZ, and Colson Whitehead’s Zone One.

Check it out here.

Leave a Comment

Civil Interview

This past week I was interviewed by Stefan over at Civilian Reader about Killing Gravity, my inspirations, and plenty more. Go check it out.

This was my first interview, and I’m keen to do more. I’m looking forward to being interviewed by someone who’s read Killing Gravity, and having a real conversation about it. But I guess that will probably have to wait until after its release.

Galleys arrive at the Tor.com offices.
Galleys arrive at the Tor.com offices.
Leave a Comment

Reading 2016

This year I set myself the goal of reading 52 books, where a ‘book’ is a novel, novella, story collection, or non-fiction book. Sadly, I have failed in my quest. Not by much, granted, but I doubt I’m going to finish 5 more books in the next 2 weeks.

I set a couple of rules this year, too. First was no re-reads, because I had so many books I wanted to read for the first time, and I knew re-reads would just slow me down. Second was an even split between books by men and books by women. Of course this second rule made me realise how white my reading was. And also, that binary split potentially allows plenty of non-binary authors to slip through the cracks. Which are two things that I’m going to address in my reading in 2017.

Below the jump, find the lists of all the books and comics I read. The stand-outs are marked in bold, and I’ve added some thoughts on some of them.

Continue reading Reading 2016

Leave a Comment

Preorder Killing Gravity

I mentioned this just briefly last time, but just in case you missed it: did you know you can preorder Killing Gravity? It’s only early in the book’s push – we’ve revealed the cover, but not an excerpt yet, and I haven’t had a chance to do any interviews (and perhaps I won’t – I’m still a nobody after all). But trust me when I tell you, it’s a good book. If you like the telekinetic carnage of Akira, or if you want a space opera that’s focussed on one small group of people and not a huge fight for galactic control, or if you just really like Tommy Arnold’s cover art, then you can preorder it now. You can find it online at Barnes & Noble, Wordery, Amazon, and the Book Depository.

And, OF COURSE, you’ll be able to ask for it at your local independent bookseller. Any bookstore with a decent range of science-fiction and fantasy will be able to source it, and in fact Powell’s already has it on their site for preorder (Powell’s is an amazing store. Bibliophiles simply must check it out if they find themselves in Portland). For my fellow Australians, any store that carries books from Tor.com’s range will be able to order it in for you – like Readings for instance – but depending on the databases a store uses, they might not be able to find it.

So there you go, my very first proper shill. I’m immensely proud of this book, and I hope it does well… if only so enough people hang around and read the sequel that I’ve been wrestling with these past few weeks.

Leave a Comment

Cover Reveal

When I woke up this morning my phone was blowing up with twitter notifications, because the Killing Gravity cover got officially revealed at Barnes & Noble’s SFF Blog.

Woah.

Click the link, go on, click it. You’ll see the awesome cover, with art by Tommy Arnold, and read a blurb that’s so good I want to read the book. You might also notice that Killing Gravity is due out on May 9th, 2017, and is available for pre-order, which is very cool and weird and another one of those things that makes me realise ‘oh shit, this is real, isn’t it?’.

Over at Tommy’s website he posted a version of the cover art sans title, cover quote and that jerk name, which looks a little something like this:

Killing Gravity Cover Art, by Tommy Arnold
Credit: Tommy Arnold (Click to Enlarge)

And Tommy was also kind enough to share some of his working sketches on twitter:

Killing Gravity Cover Sketches
Credit: Tommy Arnold (Click to Enlarge)

In A and C, you’ll see how Tommy was toying with getting Seven into the art too, which I love. Seven is Mars’ weird experimental cat thing, and a special part of the book for me. In some ways, Seven is the heart of the book – I mean, not really, but pet owners will know what I mean when they read it. She’s vicious and loving and lazy and crazy just like any good cat.

But I’ll talk more about that later.

Leave a Comment

Our Talons Can Crush Galaxies

Read this story by Bo Bolander, now. It’s a shiv of a story – short and sharp, ready to get stabbed in under your rib cage: Our Talons Can Crush Galaxies

So, no. You don’t get a description of how he surprised me, where he did it, who may have fucked him up when he was a boy to lead to such horrors (no–one), or the increasingly unhinged behavior the cops had previously filed away as the mostly harmless eccentricities of a nice young man from a good family. No fighting in the woods, no blood under the fingernails, no rivers or locked trunks or calling cards in the throat. It was dark and it was bad and I called for my sisters in a language dead when the lion–brides of Babylon still padded outside the city gates. There. That’s all you get, and that’s me being generous. You’re fuckin’ welcome.

Leave a Comment

Editorial

I swear I’m not actively trying to talk about my upcoming book with every post, but seeing as it is my first book, this whole experience is one of many firsts. So today I want to talk about editorial, and why it might be tough, but very, very necessary.

Like I said, this is my first book, so I’m going to assume (perhaps wrongly?) that my experience is more-or-less the norm, and tell you about how it has all been unfolding for me, so if/when you find yourself in the same position, you know what to expect.

Step 1: Editorial Letter

Now, I’m not sure why it’s called an ‘Editorial Letter’, or even if that’s an industry-wide term, but it is far less formal than it sounds. It’s basically just addresses issues in your manuscript in a  loose, big-picture kind of way. This is where your editor says “Your book is great, but this, this, and that don’t quite work as well as the rest.”

Chances are, the things that your editor points out are likely things that you weren’t 100% sure on yourself, but after beating your head against the keyboard on a number of rewrites, you simply couldn’t come up with a better way to to do it. But guess what? Now you have an editor on your side, and they’ve already agreed to publish your book, so if they want it to be the best book it can be when it comes to market, they HAVE TO HELP YOU FIX IT.

This editor is likely working with you because something in your manuscript spoke to them, because they love it, because they believe in it, or some combination of those things. They also have likely edited (or at least read in slush) any number of manuscripts, so you can trust that they’re going to have a fine eye for picking out issues in your manuscript. They may also be accomplished writers themselves. Either way, trust that they know what they’re talking about.

When it comes to fixes, they might have ideas that completely resonate, and which you can immediately see and grasp, and which set your mind spinning with all the ways you’re going to incorporate these changes, or they might have ideas that don’t sit quite right with you. But, hey, this is a dialogue, so if it’s the latter, talk about it. Try and figure out why they’ve made those suggestions so you can come up with your own solutions that answer the same questions.

(Or, in other words, don’t be stubborn, don’t be a dick [obviously], don’t try and argue with them when they want to kill your darlings [they need to die for a reason], and realise that just because they want to publish your manuscript it doesn’t mean that it’s perfect.)

Anyway, after you’ve fixed those bigger-picture issues and you’re both happy with the changes, it’s time to move on to…

Step 2: Line-Edits

For some reason, this step caused my anxiety to peak. Personally, feedback from friends is easy, no matter how thoroughly it tears my work apart, because I know them, I understand their tone and exactly where they’re coming from. When it comes to people I know less-well however – like an editor I’ve only met in person a couple of times, or absolute strangers on a critiquing website – the criticisms get right under my skin for some reason.

I realise this is just down to me and my mind-spiders, so perhaps none of this is relevant for you, Miss No-Mental-Illness-For-Me, but hey, I’m talking about my experience. It’s not that my (brilliant) editor (Carl Engle-Laird) was harsh or anything like that – again, this was totally about me, not the experience – but going through the line edits was almost paralysing. I’d be able to spend two (distracted, anxious) hours at it, and then need to stop. By day three I’d convinced myself that the manuscript was so shit the only reason they decided to publish it was because it was somehow the least shit out of the submissions they received and they’d taken pity on me. Needless to say, that was a dark day. Thankfully, by day five, nearing the end of the manuscript, I’d completely turned a corner on the line-edit process. I’d come out the other side and realised all the things that would have been obvious if it weren’t for the anxiety:

  • It’s a good manuscript.
  • It’s not shit.
  • The line-edits were to make it sing, not to tell me that I’m a bad writer and I should feel bad.
  • The process had made the manuscript that much better.

Seriously, I was so happy with the manuscript at the end of that first run-through that I was slightly embarrassed that an earlier draft had gone out to other authors in the hopes of getting blurbed. The word I’ve been using to describe the effect of the edits is ‘elevated’ – it pointed inconsistencies (or things that weren’t necessarily inconsistent, but which needed clarity), and completely elevated the prose of the book by pointing out over-used verb forms and sentence styles, repeated words and phrases, and probably other things I’m forgetting.

I realise that when it comes out, Killing Gravity is still not going to be everyone’s cup of tea, but I’m not satisfied that it is a damn fine cup all the same.

You’ll go back and forth a couple of times with the colours of Track Changes scarring your manuscript until you’re done. Up next is…

Step 3: Copy-Editing

Which is the step I’m waiting on now, so I can’t actually tell you much about it. Though I’m assuming it will be someone with extremely technical knowledge of the English language telling me all the things I did wrong and telling me that all my dumb, made-up sci-fi words are entirely too-dumb to see print. But hey, we’ll see, and if the process is interesting enough, maybe I’ll write about that too.

Leave a Comment

The Dream-Quest of Vellitt Boe

I recently read Kij Johnson’s The Dream-Quest of Vellitt Boe, and I cannot recommend it enough. It’s a response to a H.P. Lovecraft story, but it isn’t horror; instead it (I assume) takes some of the critters and locations of Lovecraft’s work and uses them to populate a beautifully written fantasy tale set in a world that feels familiar yet unique in the same way that Ursula Le Guin’s Earthsea series does.

I’ve never read anything of Lovecraft’s, and I don’t often read fantasy, but The Dream-Quest of Vellitt Boe is phenomenal. It’s a novella, so it’s an easy read, and you can pick the ebook up for a song.

And because I can, here’s an excerpt from one of Kij Johnson’s short stories, Ponies. It’s a twisted, dark horror tale, with a core of sad childhood truth.

The invitation card has a Western theme. Along its margins, cartoon girls in cowboy hats chase a herd of wild Ponies. The Ponies are no taller than the girls, bright as butterflies, fat, with short round-tipped unicorn horns and small fluffy wings. At the bottom of the card, newly caught Ponies mill about in a corral. The girls have lassoed a pink-and-white Pony. Its eyes and mouth are surprised round Os. There is an exclamation mark over its head.

The little girls are cutting off its horn with curved knives. Its wings are already removed, part of a pile beside the corral.

Read the full story at Tor.com.

Leave a Comment