Peter Ahlstrom

When I purchased this, I had two expectations: I would, it being the motivation to read this, enjoy Sanderson’s story most and that I probably wouldn’t enjoy or even finish the “writing” bits.

As it turns out, Mary Robinette Kowal’s story blew everyone else’s out of the water. While I enjoyed all four tales, “A Fire in the Heavens” absolutely enthralled me and will be a story I revisit. The entire book was well worth the cost for that story alone.

And the writing bits were fascinating! Hearing the feedback and drafts was interesting despite me having no desire to write whatsoever. I got invested enough to even find myself engaging in the discussion.… (meer)

Great book!

Each of the stories were interesting to read; especially going from generating story ideas, to first drafts, to polished finale. I loved seeing the work process, and just how much a story can change from the beginning of the process to the end.

My biggest complaint was the layout of the book; I understand the way they do it, but to me it would have made more sense to focus on each story. Do the story boarding first, then the draft, then the final part in that order for each story.

As for the stories themselves. I'd love to see all of them made into full length novels. Especially the one about Death.… (meer)

When I was teaching my science fiction creative writing class this fall, I found myself skimming the transcripts of the podcast Writing Excuses for writing exercises to do in class, or just insights. I still haven't really listened to the podcast, but I found it interesting enough to see if they'd done a textbook: rel="nofollow" target="_top">there's definitely a market for a good sf writing textbook as far as I can tell. They haven't exactly, but they have published this, and I was intrigued enough to pick up Shadows Beneath.

Shadows Beneath contains one short story apiece by each of the podcast's four co-hosts. In addition to all the stories, though, each is usually accompanied by:

• transcripts of brainstorming sessions (from Writing Excuses episodes)
• early drafts
• transcripts of critique group sessions (also from WX episodes)
• "Track Changes" versions between the first full draft and the final draft
• essays about the process of writing the stories

It's great stuff. It made me wish I had assigned this as a textbook, and if I ever get to teach the class again, I might just. The strength of the book is that it lets you see experienced writers get at some of the more ineffable parts of the writing process. How do you go from an idea to a story? How do you decide what's important in the revision process? It made me think we ought to have spent more time on brainstorming and revision in class.

It's also of benefit that these are just four very solid stories. Of Kowal, I expected that on the basis of other work I've read by her, but I'd never read anything by Brandon Sanderson or Dan Wells before, and the only thing by Howard Tayler I've ever read (Schlock Mercenary) is awful.

Kowal's "A Fire in the Heavens" is neat, but hard to discuss without spoiling what I think ought to remain unspoiled. But suffice it to say, it's a good example of a "first contact" story. The revision is really neat: there's a lot of small alterations that improve the story (things like having the main characters pick a port from a map, rather than just blunder into the closest one), but also a big chunk added into the middle of the story (that it's impossible to imagine not being there, but it worked pretty good without it).

Wells's "I.E.Demon" was my favorite, a fun story about a group of soldiers in Afghanistan who discover that their new I.E.D.-neutralizing device actually runs off demonology... when it malfunctions. Quick and breezy and delightful in the way it thinks through the implications of it all. The revisions are useful, too: there's an abandoned first draft that takes way too long to get to the point, demonstrating how important it is to get a short story to its crisis point quickly. (It also shows the importance of voice, going from third to first person.)

Tayler's "An Honest Death" was pretty good, though I found the ending a little rushed. A company making immortality drugs finds itself being shook down by Death! The story's told from the perspective of the CEO's security guy, as he tries to figure out if that's really what's going on. Like "I.E.Demon," it has strong use of voice and character; I believed in this guy. The concept is neat, even if it took me a couple reads to get the ending. Again, the revisions were instructive.

Sanderson's "Sixth of the Dusk" was my least favorite; I more admired it than enjoyed it, though that might have just been the headspace I was in. Reading the revisions substantially improved my opinion of it, however, as it was interesting to see how Sanderson made the piece much more thematically rich through revision with just a few alterations to most of the story-- and completely redid the ending to bring things full circle in a much more compelling way. The alien biology concepts were really cool.

Incidentally, I think you can classify all four stories here as science fiction, even if they seem fantasy-ish in some ways. There's no magic in "A Fire in the Heavens"; it just takes place on another world with different astronomical principles. "I.E.Demon" has a demon in it, yes, but beyond that it functions like one of those old sf "problem stories" proceeding from the premise that demons are real; a competent man has to be clever to get out of a dangerous situation. "An Honest Death"'s ending makes it clear that we're not looking at Death Death per se, but a more sfnal take on the idea. And thought "Sixth of the Dusk" apparently takes place in Sanderson's Cosmere fantasy universe, on its own, it seems to be science fiction: everything can be explained by weird alien biology and extraterrestrial technology.

And the title is aptly chosen. It's a phrase from Sanderson's story, but it applies fairly literally and also metaphorically to all four. There's literally dangerous things below the surface in the stories by Wells (the demon), Tayler (Death), and Sanderson (sea creatures), and all four stories are about something that was simple but turns out to be much more complicated.

But the title also describes the book's insight into the writing process: as per the cover, we normally just see the poised little boat on the surface, sailing perfectly, and miss the shadows beneath: the false starts, the bad ideas, the arguments, the self-doubt. I've published over 150,000 words of fiction, but I still felt like I learned something from reading this book about how writers write, and I suspect you will too.… (meer)