The Wild Blog in the West

I feel as though I've been living in a cave.  Sarah Waters has been publishing neo-Victorian and early/mid 20th century novels since 1998, yet I learned about her only a year ago.  More is the pity, because her writing style is so compulsively readable, at least going by her third novel,  Fingersmith  (2002). As with Crimson Petal and the White  and The Seance , I read with one eye toward seeing (1) what aspects of the Victorian Era were incorporated, (2) what "modern" elements were added, (3) what worked and did not work, (4) how well Fingersmith  conformed to expectations of "what would sell," and (5) whether it was a good story. Starting with No. 2, one common aspect of Sarah Waters's novels is that their protagonists are lesbians.  Not all, but at least the first three, including  Fingersmith .  Waters was working toward a PhD at Queen Mary, University of London, with a thesis focused on "lesbian and gay historical fictions, 1870 to the presen

After cutting and refining my novel, I finally decided I was ready for the next step: attend the San Francisco Writers Conference, where real-live agenty people would congregate... along with the rest of us. I won't provide a ton of detail, except to say that the price is probably a bargain if you attend all four days.  I came for only two.  Still, I managed to get what I came for.   On Saturday, my first full day, I showed up at the Mark Hopkins Hotel to do what is called "speed networking," where you meet with an agent for three minutes and pitch your novel.  At 8 am, riding a caffeinated high, I flocked into a large room where agents sat and lined up with the ones on my list.  I had just an hour to appeal to as many agents as possible, and regrettably, I was not as efficient with my time as I could have been. One big-time agent shot me down, stating my idea wasn't high concept.  It was painful, but then again, she was right.  It was a valuable lesso

Last time, I focused on the ways in which The Legend of Korra was intertwined with its predecessor, The Last Airbender , to the point where it's almost useless to compare them (though many will try).  This time, I want to focus on what made Korra such a great, and at times frustrating, show.  In many respects, it's more difficult than I thought because since the final Korrasami moment, news outlets have tripped over themselves (many of which had previously shown no interest) to glorify every aspect of the series.  Coming up with something unique and non cliched is rather difficult.  Maybe it would be easier if I began with the less impressive aspects of the series... The Less Good Some Choppy, Underdeveloped Plot Points.   I am mainly referring to the Season Two arc, but the same is true of the other seasons to an extent.  Season Two suffered from Nickelodeon's sudden reward of three additional Korra  seasons, forcing the Korra creators to scramble for a new story li