Hello, Virtually Readers! Your, that is, my, favourite discussion feature is back again. Setting in Stone is a series where I explore many assumptions inherent in settings in books, spurred by enthusiasm for this post. You can read all the Setting in Stone posts by clicking the ‘setting in stone’ tag at the bottom of this one. Today, I’m discussing how setting is researched. This information is derived from reading/listening to various authors talking about their research process plus common sense. I’m going to outline the different ways to research setting, and their advantages and disadvantages as I see it. Continue reading “Setting in Stone 3: Research Methods”
Hi Virtually Readers! Shar and I recently read I Believe in a Thing Called Love, a contemporary YA book about a girl who tries to get the guy of her dreams by following steps gleaned from K-drama. Neither of us watch K-Drama, but that’s not an obstacle to enjoyment of the book—everything is pretty well explained, and it’s entertaining even if you don’t know the tropes. We thought we’d review it together because co-reviews are fun. Shanti is normal type, Shar is italics. Continue reading “I Believe in a Thing Called Love co-review”
Hiiiii Virtually Readers! It’s Shanti, here to tell you how to get books. I know that this is quite random, but a bookworm’s common lament is how expensive books are, even though we do love to buy them. However, buying isn’t the only option. So this brief (ish) post is going to list a few ideas about locating books without having to resort to the dodgy, illegal Russian website. (Seriously. Don’t do that. Piracy is not cool.) Continue reading “How to get books!”
I have gone surfing like…once? But One Would Think The Deep has lots of surfing and I didn’t mind at all. I struggled to read this book, and I think it’s because Claire Zorn’s strength let her down. She is excellent, even superb, at conveying the elements of real life. This gives her narratives a visceral quality. But here, she failed to collect them into a coherent story. This is also #LoveOzYA, it’s set in Australia in the late 90’s which was cool and means that all the characters are now like middle aged.
When you think of worldbuilding, you think of sci-fi, fantasy, and dystopia; what are known as ‘genre’ books. (though that definition is less useful in YA). Historical fiction also requires worldbuilding, but it’s usually reconstructed worldbuilding, compiled through research rather than invention (though there is some invention, obviously, and alternate history is another game altogether). But contemporary books also need worldbuilding. This is a very useful post by Jenn Marie Thorne, one of my FAVOURITE contemporary authors about how she does worldbuilding in contemporary books; and today’s Setting in Stone topic is my own take on that.
Setting in Stone is a Virtually Read original series where we (okay, mostly Shanti) talks about setting.
Good day, Virtually Readers! Today, I’m going to take you through how I use goodreads shelves. It’s a totally random post, but people were interested. Thank you for being interested, everyone! I do so like goodreads, though, especially when you can see how your reading tastes have changed. I have a very haphazard shelving process because I’ve developed it over the years, so this is basically like revealing the inner workings of my brain. Feel free to friend me on goodreads, by the way-my profile is set to private automatically, but say you came from the blog and I’ll accept your request.
Hey Virtually Readers! You may not remember, but way back in June I published a excellent popular post about setting and how non Western European or North American settings are discriminated against. You guys were really into the post—yay!—which got me thinking more about setting, and so I have decided to commence a new discussion series called Setting in Stone. Shar thinks the name is stupid, but I’m ignoring her. I’m very good at that. I don’t know how long this series is going to go on for—I have about 10 posts planned, and will write as the inspiration strikes, but this first one is going to be about how setting informs story.
Setting is a vital part of the story. It sets limitations for the characters and plot, informs mood and atmosphere, and usually shapes the climax.
How is setting a limit, and why is that a good thing? If a book is set in a small town, it means that the characters are focused on how to get out or how to stay. If a story is set in a city, then the isolation and opportunity will again pull characters in two directions. To some extent, yes, this is a trope, but that’s how settings limit character mindsets.
By the Chekov’s gun principle, a setting also limits plot. If a certain shop is mentioned, it must become significant in some way. If a lake is part of the setting, then something has to happen at the lake. Obviously, an author can make her setting fit her story—in fact, she should make the setting fit the story—but geographical limitations also apply. There can’t be a lake in the middle of a story set in the desert. There can’t be a tornado in a story set in a rainforest. These rules of geography have to dictate how the story unfolds within a setting. In magical realism, perhaps, all bets are off; but still this is a general rule.
Why are so many cute, summery books set in beachside towns during the summer? Because sunshine and beaches makes the reader think of cute fluffy things. Similarly, creepy books are often set in forests or winter time, like Megan Miranda’s Vengeance. These Broken Stars, a space opera with a romance and a mystery, is on a lush but empty planet, conveying an atmosphere of beauty and eeriness, while the harsher, more brutal Illuminae consists of the barren metal walls of spaceships. The connotations of various settings are quickly formed, and, along with writing style and content, contribute to the ‘mood’ of a novel. A forest can mean magic or horror. A cozy college dorm is more like a place for falling in love with someone you didn’t expect.
Finally, setting aids the story by informing character choices towards the climax. For example, in Rebel of the Sands, the climax involves a character raiding a train and discovering a (non-metaphorical) power. If the book had had the same Western vibe but been set in, say, a mountainous region, the climax would have been different, both in details (e.g. sand is everywhere, trains wouldn’t have existed) and in broad terms (how the characters escaped and how they felt).
The effect the setting has on the narrative is impossible to quantify and certainly variable between books. Swallows and Amazons, a classic children’s book set in the Lake District of England, revolves around the lake. The story would be utterly different if set in Iowa. However, while stories set in generic small towns or big cities do depend on their settings, it may not make much difference whether the setting is Portland or London, Derbyshire or Queensland.
It’s safe to say that setting is pretty important, even if it’s not immediately obvious how. Over the next few weeks I’m going to try to show different aspects of the interaction between setting and story, and it’s going to be awesome.
What’s one story where you feel like the setting had a big influence? Are you excited for this series? tell me your thoughts in the comments!
Hi Virtually Readers! It’s time for another Bookish Planet, your guide to literary locales. Today, inspired by my love of Into the Woods (seriously, Into the Woods is ridiculously good and you should watch/listen to it if you at all get the chance), I’m giving a brief introduction to an excellent setting for books, the Magical Forest. The Magical Forest is known for having trees and magic. Basically it’s like its name. All sorts of dodgy and wonderful stuff can happen inside.
Description: You’ll know you’re in a magical forest when there are trees and there is magic. It’s not too hard to work out. You may also find magical beings, like fairies or witches; plot creators, like trolls or evil queens; magic sources; magic portals; swords; unsolved mysteries; fairy tales; and, most dangerous of all, potions. You may be in the Magical Forest because you’re participating in a plot, or else perhaps an innocent bystander who thought it would be a nice place for a holiday. Either way, you’ll probably end up in a story. The forest is, in a word, atmospheric; there are shafts of light filtering through ancient trees, thick undergrowth, old paths, beautiful maidens and so on. Within your literary explorations, you’re probably more likely to find a Magical Forest in European based fantasy books, but it can be part of other traditions too. The best things about Magical Forests is that they can be anywhere where there are both trees and magic, an easy criteria to fill in fantasy stories. There are always new places to explore; you can never fully know the Magical Forest, and that is one of the most enchanting reasons to visit. Continue reading “The Bookish Planet: Magical Forests”
Hi Virtually Readers! It’s a Tuesday on a Shanti week which means it’s time for a review. How exciting! Sadly the review is not for a book I enjoyed. A few weeks ago, I read The Sandcastle Empire by Kayla Olson, and I must admit that I was decieved by the title. I thought it was fantasy, because if I see the word ’empire’ I automatically assume it’s fantasy. However, this book, with a cover as green as Divergent serum, is decidedly dystopian. Anyway, fascinating insights into my mind aside, this novel was so surface level, and that was it’s main problem. It begins as an escape narrative, becomes a mystery, then is an action-thriller until the end. There is a lot of interesting things going on, but Olson, unfortunately, didn’t really explore them, so while the reading experience was fairly enjoyable, I totally failed to care.
Before the war, Eden’s life was easy—air conditioning, ice cream, long days at the beach. Then the revolution happened, and everything changed.
Now a powerful group called the Wolfpack controls the earth and its resources. Eden has lost everything to them. They killed her family and her friends, destroyed her home, and imprisoned her. But Eden refuses to die by their hands. She knows the coordinates to the only neutral ground left in the world, a place called Sanctuary Island, and she is desperate to escape to its shores.
Eden finally reaches the island and meets others resistant to the Wolves—but the solace is short-lived when one of Eden’s new friends goes missing. Braving the jungle in search of their lost ally, they quickly discover Sanctuary is filled with lethal traps and an enemy they never expected.
This island might be deadlier than the world Eden left behind, but surviving it is the only thing that stands between her and freedom.
The presence of class as compulsion for rebellion is an interesting idea, as was allusion to climate change and Kiribati as beginning the apocalypse that fueled said (evilish) rebellion, and new technology
albeit ridden with NO SCIENTIFIC EVIDENCE but whatevs. Olson fails utterly to explore these ideas, really letting herself down. Her protagonist, Eden doesn’t engage with these issues or contemplate her relative privilege in the least. She has no awareness that her lifestyle led to a planet where Kiribatians died in swarms and Wolves took over. I wished that the climate change and class aspects had been explored more.
The narrative of learning to trust again was also intriguing, and utterly ignored and rushed. Hope has been consistently betrayed by those close to her, so no wonder she has trust issues. The romance is not-quite instalove, but ridiculous. Deaths and violence are barely questioned. Olson could have turned this into part of the story, in her own style it would read something like Chapter 79. Once I was a girl who would have been shocked by the blood on her hands but now I am something else isn’t it sad. She may even have written something like that, but it was so forgettable that it’s fallen out of my memory. The choppy ‘deep thoughts’ chapters irked me completely. And though most of the characters were teenagers, adults still had the power (and Lowan’s resistance position made ZERO SENSE), which seems like Olson wasn’t able to fully commit to her ‘teenagers saving the world narrative’. This resulted in a ‘worst of both worlds (adults with power, teens with unrealistic influence) scenario which made little to no sense. The rapid shift in the characters goals was disorienting, and I never got a feel for anyone other than Alexa (and her redemption arc could have been way better. Another disappointment). The fast ending, which the protagonist barely played a role in, didn’t work for me at all.
In the world of the Wolf Pack, a sandcastle empire, there were so many opportunities to explore power and privilege and evil and Olson more or less missed them all (even though the social forces are so relevant to today). The story is superficially enjoyable, but by divorcing the musings to random choppy chapters, the story collapses and crumbles like sand into the sea.
Have you read this book? Are you able to enjoy stories which don’t talk about the issues they allude to? What’s your favourite book which features climate change? tell me in the comments!
Hello Virtually Readers! So in the last few weeks I’ve read several sets of companion novels. The first was the Six Impossiverse series by Fiona Wood, three contemporary stories featuring Australians. The second was Dramatically Ever After, the sequel to Bookishly Ever After, which I liked even more than the first book. I’m also partway through What I Thought Was True, a companion novel to My Life Next Door and the Boy Most Likely To. These are all companion novels, so I thought I’d talk a little more about what companion novels are and are not today. Yay!
So what is a companion novel? Without any research, I can tell you that it’s a book that’s in the same universe as other books by the same author, but usually featuring different characters and different themes. Some series do have changing protagonists, so what makes companion series different from normal series is that a companion novel does not continue the overarching plot of the main series.
The Six Impossiverse and the Ever After books are two examples of how companion series can work. The Six Impossiverse has three books, so far. The first one focuses on themes of family and friendship, the second on ideas of identity and loss, the third on identity, but in a much more specific way, poverty, and belief. Each book has a similar format, though, focusing on one or two characters struggles over about a term in the Australian school system, leading up to some ‘big event’ or ‘realisation’ at the end (which is pretty typical for stories anyway). There is one character who appears in all three books, and quite a few who appear in the second and third book (by publication order). Basically, the themes and characters are different, but the format and content are the same.
In the Ever After books, only two of which are out so far, the themes of identity, new relationships, and confidence in yourself remain between the two books. They have a similar ‘feel’ of coziness and fun, but the characters are different. In Bookishly Ever After, the story is set partially during the term and then during a summer camp, with excerpts from various (fake) YA novels. Dramatically Ever After is set a few months later, focusing on Phoebe’s best friend, and set (mostly) over the course of a week at a conference which Em is attending, with excerpts from emails and social media chats.
These are two ways to write companion novels, and both make quite a lot of sense. One is to keep the themes the same but vary the characters, content, and format. The other is to have similar formats but to make the style and themes quite different. There are probably other ways to do it—for example with companion series like Cassandra Clare or Tamora Pierce’s books, the idea of becoming yourself and conquering a war or evil remains, but in totally different ways.
I like reading companion novels for a lot of reason. For one, it’s really nice to get ‘updates’ on where your characters are. With contemporary novels, authors often feel compelled to create ‘drama’ in sequels, break up friendships and couples for the sake of plot, and that’s kind of irritating if you ask me. So I like the this way, that doesn’t have to happen. In fantasy books, or even contemporary, it’s interesting to see a different perspective on the same events, or a different part or time of the world. Contemporary novels make all the other books in the series richer. But because there are often big shifts in characters, content matter, or themes, and each novel can stand by itself, I don’t feel like I have to read the whole series to know how the story goes.
The lines can get a bit blurred—for example, Morgan Matson’s books contain cameos from her other series but I’m not sure if that is enough to count as companion novels, because those easter eggs don’t necessarily make a story richer. In the same way, with My Life Next Door and The Boy Most Likely To, the two books have basically the same set of characters and are set very closely in time and place, but with different key characters and themes—TBMLT is ultimately a lot grittier. And so far, What I Thought Was True seems to be almost totally separate. Gemina and Illuminae are companions in the sense that the main characters change, but the overarching plot of evil BeiTech remains. So the line can blur quite easily. Companion novels are interesting for this reason, and as such, and integral part of the discussion about series and why they’re good and why they’re irritating (the story just goes on!)
What do you think of companion novels? What are some of your favourite ones? Tell me in the comments.