Author Archives: ogresan

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About ogresan

Richard Parks' stories have have appeared in Asimov's SF, Realms of Fantasy, Fantasy Magazine, Weird Tales, and numerous anthologies, including several Year's Bests. His first story collection, THE OGRE'S WIFE, was a finalist for the World Fantasy Award. He is the author of the Yamada Monogatari series from Prime Books.

In Which I Refuse to Share

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 Some time ago it was announced that Eoin Colfer was going to continue the Douglas Adams’ Hitchhikers Guide to the Galaxy series. I had an immediate, gut-level reaction that made me pause. I realized that it was the same reaction I have any time that I hear that another writer is going to continue a now-deceased or otherwise incapacitated writer’s series, or set a book in the same universe with the same characters that made the original writer famous, well-loved, or extremely profitable to his or her publisher. It doesn’t even have to be a series I know and love, like HHGTTG. Even if I’ve never read that writer before,  my reaction is always the same: 

“No, s/he isn’t.” Continue reading →

So Where DO You Get Your story Ideas? – Part 2

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Back in So Where DO You Get Your Story Ideas? I was making the point that “ideas” as such really weren’t the issue most of the time. The trick was to recognize a story when you saw one. I don’t take back any of that, but it occurred to me that it wouldn’t hurt to clarify a bit. Some people, especially in the beginning of their development, tend to confuse “story idea” with the story itself, as in, boom, you get the idea, and the story immediately springs to mind, fully grown, like Athena sprouting from the brow of Zeus, and that’s not happening, therefore you’re just not getting story ideas, and What’s Wrong With Me!!?? If you find yourself in that particular panicky death spiral, take a breath, relax, and try to understand that, odds are, there’s nothing at all wrong with you. What you lack isn’t brains, or imagination, but experience. Brains and imagination, so far as I know, you either have or you don’t. Experience is something you have to earn.

Just to be clear, I’m not saying that stories don’t sometimes appear fully grown and ready to be written down. It does happen, and it’s a grade A rush. But it’s not a story idea, it’s the story. Not the same thing at all. If it was, then recognizing a story idea would never be a problem. In truth, you’d have to be pretty dense, tired, or distracted to miss one. Usually, they’re a bit more subtle. I tend to think of story ideas like a light switch in a dark room. You fumble around a bit, find the switch and recognize it for what it is, flip it on and bang! Illumination. Now you can see what you need to see to do what you have to do. If what you’ve found really is a story idea, then that flash of illumination will always follow. That’s how you know you were right, but the initial recognition is the crucial step, and we’re back to that. How do you recognize a story? I said some things last time that I think were true enough, but when you boil them all down to essence, there’s only one way to learn how to recognize a story.

Continue reading →

Signing at the Quisenberry Library

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My Stuff

Saturday,  February 4th, a gang of local and near-local authors held a signing in the new Quisenberry Library in Clinton, Mississippi. I wish I’d been able to get some exterior shots of the building itself, because it’s rather attractive as buildings go, set in a wooded area with a nature/walking trail on the grounds. The problem was that the cold front that should have been here weeks ago finally arrived and dumped buckets of water everywhere and it was pouring rain for most of the afternoon. Not the best of conditions when you want people out and about and coming to such local events, but it wasn’t a bad afternoon despite that.

Glen and Melanie Being Casual

J. Mulvihill Setting Up

As one would expect from a general signing, there was quite a range of subject matter on display, from cookbooks to thrillers to the science fiction and fantasy end of the spectrum. Authors in attendance other than me were Cynthia Leavelle, Melanie Atkins, Glen Stripling, Luther Knight, J. Moffett Walker, and Jennifer Mulvihill. Jennifer was the organizer, coordinating with Karen Sims, the President of the Clinton Friends of the Library. Aside from the authors, there was the Editor/Publisher of a new magazine, Real Girl Magazine, aimed at Teen Girls. I confess when I learned the editor’s name was Elizabeth Bennett my first reaction was “Seriously?” Yes, syrsly. It’s her married name

Elizabeth Bennett

and yes, she takes some ribbing for it. You can check it out at Real Girl Magazine.

As part of the event, an all-volunteer musical group, The Clintones, put on a set of jazz and bluesy numbers and I have to say they were pretty good, and any glitches in the set order or occasional mic problems were met with patience and good humor.

All right, that’s for that. So how did it all go? About as well as could be expected. The ad that was supposed to run in the local paper before the event, didn’t, so hardly anyone knew about it. That and the weather kept a lot of library patrons away. Even so, I’d do it again. I sold a fair number of books, including all the extra copies I had of THE HEAVENLY FOX, I met the President of the Friends of the Library and may be doing a presentation to the group at some point down the road. I also slipped away from the signing to visit the library book sale which happened to be going on at the same time and scored a copy of WAY STATION by Clifford Simak, which has been on my to-read list for a while. I sold more books than I brought home new ones, so I consider that a win.

Black Kath’s Daughter – Corporeal Edition

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Canemill Publishing Edition

I was a little hesitant to take this step, but as has recently been emphasized to me, not everyone has joined the ebook revolution. Odd that an old print snob like me had to be reminded of this, yet there it is. So. Today I’m announcing that, yes, there will be a trade paper print edition of Black Kath’s Daughter. In fact, it’s already orderable through CreateSpace. The Amazon page should show up in a few days. If you’re one of those people who think Amazon is the root of all evil, you can also order it through your local indie bookstore or even a B&N. It’s a real book. It has ISBNs and everything:

ISBN: 0615594778

EAN13: 978-0615594774

Putting this edition together has been an experience. I mean, I’m glad I did it, I learned a lot, and I won’t swear that I won’t do it again (in truth, I’m pretty sure I will), but it did remind me of just how much I don’t want to be a publisher. Getting a book into print is a lot of work, but that’s the least of it. The big drag is time. I only have so much, and when I’m editing, formatting, designing a cover, and proofing, I’m not writing. If I’m not writing, then what’s the point of all that other stuff?

Anyway, book is published, and I’m writing a new story. The fabric of reality is still holding up. For now. And if there is anything else of mine that now only exists in phosphors that you would like to see get a print edition, let me know. I may not write to the market but I do take requests.

Zen and the Art of Beating Your Head Against a Wall

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Subtitle: What Do You Think You’re Doing?

On another forum not too long ago, a well-known editor was expressing puzzlement. There was a very fine writer whose work he’d been promoting for years, buying their stories, featuring them prominently, doing all that was reasonable to do in an attempt to get readers to understand that this writer is worth paying attention to. And it wasn’t a complete bust by any means–the writer has done well by most standards: prolific, won several awards, publishes all over the place. Yet despite it all, they have no “career” to speak of. Sure, nearly every writer in the short-story field knows their work and most have high respect for it; if you follow the sf/f field at all in short stories, you’d recognize the name. But they have never developed the readership or name-recognition that the editor thought they deserved, and why is that?

Later in the thread the editor, in my opinion, answered his own question–it’s because the writer’s stories are too different. Not too different from what’s being published in the field; so far as I can see the sf/f field has a huge tolerance for the different, especially at short story level. Rather, the problem is that the writer’s stories are too different from each other.  Tone, theme, subject matter, you name it. Any reader could read three or four of the writer’s stories, all excellent, and never once realize that they were all written by the same person. Continue reading →