Fiction Feature Friday: Series Fiction

Welcome to the Fiction Reboot’s Friday Fiction Feature!

This week is Fiction series Friday! (And we’ll even pretend it was on purpose). As always, a big thank you to Tabatha, my long-suffering research assistant, for compiling these–and for mining the reading habits of her student peers!

____________________

The Golden Compass remains a favorite by those who claim to have outgrown it despite rushing to see the recent movie starring James Bond, erm, I mean Daniel Craig as Lord Asriel in the alternate universe of soul-pets. Here lives an orphaned ward named Lyra Belacqua, whose carefree life among the scholars at Oxford’s Jordan College is shattered by the arrival of two powerful visitors. First, her fearsome uncle, Lord Asriel, appears with evidence of mystery and danger in the far North, including photographs of a mysterious celestial phenomenon called Dust and the dim outline of a city suspended in the Aurora Borealis that he suspects is part of an alternate universe. He leaves Lyra in the care of Mrs. Coulter, an enigmatic scholar and explorer who offers to give Lyra the attention her uncle has long refused her. In this multilayered narrative, however, nothing is as it seems. Lyra sets out for the top of the world in search of her kidnapped playmate, Roger, bearing a rare truth-telling instrument, the compass of the title. All around her children are disappearing—victims of so-called “Gobblers”—and being used as subjects in terrible experiments that separate humans from their daemons, creatures that reflect each person’s inner being. And somehow, both Lord Asriel and Mrs. Coulter are involved.

For the horror fans, another popular series, The Gunslinger, the first in the Dark Tower series by Stephen King. Beginning with a short story appearing in The Magazine of Fantasy and Science Fiction in 1978, the publication of Stephen King’s epic work of fantasy — what he considers to be a single long novel and his magnum opus — has spanned a quarter of a century.

Set in a world of extraordinary circumstances, filled with stunning visual imagery and unforgettable characters, The Dark Tower series is King’s most visionary feat of storytelling, a magical mix of science fiction, fantasy, and horror that may well be his crowning achievement.

Book I
In The Gunslinger (originally published in 1982), King introduces his most enigmatic hero, Roland Deschain of Gilead, the Last Gunslinger. He is a haunting, solitary figure at first, on a mysterious quest through a desolate world that eerily mirrors our own. Pursuing the man in black, an evil being who can bring the dead back to life, Roland is a good man who seems to leave nothing but death in his wake.

One of the most read books by non-English Majors, the Hitchhikers Guide to the Galaxy. Seconds before the Earth is demolished to make way for a galactic freeway, Arthur Dent is plucked off the planet by his friend Ford Prefect, a researcher for the revised edition of The Hitchhiker’s Guide to the Galaxy who, for the last fifteen years, has been posing as an out-of-work actor.

Together this dynamic pair begin a journey through space aided by quotes from The Hitchhiker’s Guide (“A towel is about the most massively useful thing an interstellar hitchhiker can have”) and a galaxy-full of fellow travelers: Zaphod Beeblebrox–the two-headed, three-armed ex-hippie and totally out-to-lunch president of the galaxy; Trillian, Zaphod’s girlfriend (formally Tricia McMillan), whom Arthur tried to pick up at a cocktail party once upon a time zone; Marvin, a paranoid, brilliant, and chronically depressed robot; Veet Voojagig, a former graduate student who is obsessed with the disappearance of all the ballpoint pens he bought over the years.

(Be honest, who hasn’t wondered about the pen thing?)

When young Eragon finds a polished blue stone in the forest, he thinks it is the lucky discovery of a poor farm boy; perhaps it will buy his adopted family meat for the winter. But when the stone brings a dragon hatchling, Eragon realizes he has stumbled upon a legacy nearly as old as the Empire itself. Overnight his simple life is shattered, and he is thrust into a perilous new world of inescapable destiny, magical forces, and powerful people. With only an ancient sword and the instruction of an old,mysterious, hermit storyteller for guidance, Eragon and the fledgling dragon must navigate the dangerous terrain and dark enemies of an Empire ruled by a Emperor whose evil and power knows no bounds. Can Eragon take up the mantle of the legendary Dragon Riders? The fate of the Empire may rest in his hands….

One more recent movie, The City of Ember.

Citizens of Ember shall be assigned work at twelve years of age…Lina Mayfleey desperately wants to be a messenger. Instead, she draws the dreaded job of Pipeworks laborer, which means she’ll be working in damp tunnels deep underground. Doon Harrow draws messenger – and asks Lina to trade! Doon wants to be underground. That’s where the generator is, and Doon has ideas about how to fix it. For as long as anyone can remember, the great lights of Ember have kept the endless darkness at bay. But now the lights are beginning to flick…

Last but not least, a Minnesota author, known for his Prey series, John Stanford’s Virgil Flowers series (the newest book in the series Mad River in which Flowers goes after Bonne, Clyde and what’s-his-name the sidekick is set to release Oct. 2 2012- just in time to catch up on the first 5).

Virgil Flowers-tall, lean, late thirties, three times divorced, hair way too long for a cop’s-had kicked around for a while before joining the Minnesota Bureau of Criminal Apprehension. First, it was the army and the military police, then the police in St. Paul, and finally Lucas Davenport had brought him into the BCA, promising him, “We’ll only give you the hard stuff.”

He’d been doing the hard stuff for three years now-but never anything like this. In the small town of Bluestem, where everybody knows everybody, a house way up on a ridge explodes into flames, its owner, a man named Judd, trapped inside. There is a lot of reason to hate him, Flowers discovers. Years ago, Judd had perpetrated a scam that’d driven a lot of local farmers out of business, even to suicide. There are also rumors swirling around: of some very dicey activities with other men’s wives; of involvement with some nutcase religious guy; of an out-of-wedlock daughter. In fact, Flowers concludes, you’d probably have to dig around to find a person who didn’t despise him.

And that wasn’t even the reason Flowers had come to Bluestem. Three weeks before, there’d been another murder-two, in fact-a doctor and his wife, the doctor found propped up in his backyard, both eyes shot out. There hadn’t been a murder in Bluestem in years-and now, suddenly, three? Flowers knows two things: This wasn’t a coincidence, and this had to be personal.

But just how personal is something even he doesn’t realize, and may not find out until too late. Because the next victim . . .may be himself.

Fiction Reboot: Here Comes (more) Troubelle

Happy 4th! And welcome to Wednesday’s Fiction Reboot. Today we will be continuing the Troubelle series!

And don’t forget to tune in tomorrow for the interview with Alex Grecian!

Here Comes Troubelle, installment two

Chapter 2

Arthur Mayhew Finton—Art to his friends, and A. real M. F. to most everyone else. He had risen to greatness in the flush of the mid-eighties, when kitsch was king. A drop-out of the New York Film Academy, Art climbed the ranks through B-movies and (if rumor is to be believed) low-grade porn. Teen-angst films were the all the rage, and Art managed to do some work on Teen Wolf and Goonies (though no one was quite sure what). The past of a film-maker was only interesting if illegal, however, and everything in Hollywood was changeable anyway. By 1989, Arthur M. Finton was known primarily as the successful executive producer of the AMT network, overseeing both the broadcast news and AMT’s successful sit-com Out in the Wash.

“It was terrible,” Stanely explained. He was waiting for the break-room coffee pot to fill with two of ControlTECH’s three Alans. “Supposed to be a laundromat drama.”

“What kind of drama happens in a laundromat?”Asked Alan One.

Stanley pulled the pot and replaced it with his mug in a single quick motion.

“It doesn’t. About as interesting as watching your clothes on spin-cycle.” He topped off his mug from the pot in his hand, and then repeated the switch.

“That ruins the whole pot, you know,” said Alan Two. “And besides, your cup will be way too strong.”

“No such thing,” Stanley winked and emptied a crystalized coffee packet into the black swill: Officer Espresso, his father always called it.

“You’re esophagus is going to rot away.”

“And your stomach along with it.”

Stanley shrugged and wandered into the labyrinth of upholstered cubicles, careful to step over the snakes of extension cord running between them. ControlTech had three levels. The first, on the ground floor, was all open atriums and sunlight, huge presentation spaces and a number of labs—most of them empty unless customers were being shown around. By contrast, the third floor was a ghost-town of executive offices where the tumbleweeds of last-year’s expense reports blew about in a wind of teamwork slogans and pro-tech propaganda. (The actual executives spent their golden-parachuted careers traversing the globe and meeting with—well, no one really knew who.) The only working areas of the whole company were located on floor two, and Stanley’s department was wedged between tech support and the sales force.

Actually, Stanley himself was wedged between tech support and sales. Commercial engineer, they called it. Please-God-Somebody-Fix-This was more appropriate. Technical expertise and a weirdly encyclopedic knowledge of control systems made Stan essential; creative psychology in the face of angry customers made him indispensable. He joked that the only difference between his career and that of his brother Luke was that he didn’t carry a gun—and the customers didn’t end up in jail. Or not usually.

Of course, these qualities also meant Stan got the difficult cases: the customer with delusions of grandeur, the service engineer with half a brain… and the network producer with a loud mouth and twenty-seven bad ideas a minute. He was very sorry about Art Finton’s accidental death, of course. But he couldn’t pretend to be sorry about leaving the project behind. Custom control camera system to be installed in the police station of all places… Reality television could do much better. Stan had spent enough time at the station to know little of it was worth recording.

“Why Stan, darling!” bellowed Stanley’s supervisor as he turned the corner. Angela Denham had a voice like Coca-Cola’s secret syrup—Saccharin sweet but acidic enough to dissolve teeth.

“Morning, Angie,” Stan squeezed by on his way to the cubicle at the end of the row. Of course, she followed.

“I can’t think what you’ve been up to, Stanley,” Angela said, tapping the wall with enamel fingernails. “I hope you have something to show the producer this afternoon!”

Stan winced. Apparently no one had told her.

“Angie, Art was in an accident. I don’t think we’ll be seeing more of him.”

“Oh Stanley, really,” Angie shook her head despairingly. “He’s dead. Of course we won’t see more of him.”

“You know?”

“Obviously the network had to tell me,” she adjusted the glasses on her long nose. “But that doesn’t change facts for you—they still want specs, you know. Two o’clock sharp.”

“But—who?And what?”

“The new executive producer, who did you think? He’s the director, too. Randall Dixon.” Angie delivered this as though it was quite common knowledge. Then she patted the back of Stan’s head reassuringly. “Be a dear. I need you back by four to do the demo-room tour for the Chemicals chairmen. Chop, chop!”

            Producer number two. Stanley suppressed a sigh: this would probably not be an improvement. Stan could think of ten reasons why they shouldn’t bother with the project—from overwork to underfunding. But when Angie liked an idea, logic had nothing whatever to do with it. So, Stanley spent the morning hunting up specs on camera controls, and found himself once more at the police station, just after lunch.

“Stan! Hey—how’s the dog?” Porkchop asked, his wide rear-end parked on a paper-strewn desk.

“Fine. Where’s Luke?”

“They got a perp in the hole,” Porkchop said, grinning as though it were Christmas. The “hole” was technically the interrogation room. And it wasn’t a hole, though it could use a new coat of paint.

“Let him know I’m here, would you? I’m supposed to meet the chief and a new producer—”

“I know, man, Randall somebody. He’s already here. Been down in the stacks bugging the crap out of Howard.”

“What for?” Stan asked, unpacking his laptop. Howard was in charge of the paper-part of the filing system. It was commonly thought that police departments entered the technological age before Y2K. It was commonly wrong. Only about half the forms were computerized and all the old cases still had paper files.

“Who cares what for?” Porkchop asked. “They’re makin’ a movie about us!”
“No they aren’t,” argued the brisk baritone of a square-faced man of fifty. “They are making a nuisance of themselves.”

“Hello, Charley,” Stanley said, grinning at his uncle—who also happened to be the chief of police.

“Glad you’re here,” Charley sighed. “That man has been a flippin’ pain in the neck for hours.”

“Aw, he’s only been here fifteen minutes!”

“Shut up, Porkchop. Listen, Stan, we can’t have flaccid-faced, limp-wristed boobies wandering around the place—get him what he wants and get him out of here!”

“Aren’t you meeting with him too?”

“Are you mad? I’d have him out on his ear!” Charley ruffled himself up like an offended rooster. “I’d like to do that, anyhow.”

“Then why don’t you?” Stanley took the laptop out of hibernation and attached the portable control drive.“I figured you’d drop the project after the accident—Luke said—”

“Luke shouldn’t tell tales out of school,” Charley barked, but then he leaned in closer to Stan’s ear. “It’s the city council and mayor. They’ve been threatening budget cuts and this documentary thing is the first ray of hope in a bleak season.” He straightened up and pointed at the clunky cameras hanging over the door. “Besides, we need a new system in here, and the AMT network’s cutting a check.”

“So,” Stanley leaned on the desk. “You want to do the documentary but you don’t want to talk to him. How am I supposed to know what you want?”

“You don’t need to—that’s what Luke’s for, isn’t it?” He nodded as Luke re-entered. “He’ll be yer better half. By the way—tell Kate to bring dessert Wednesday.”

“What’s happening on Wednesday?”

“Dinner. Didn’t I say? Rosa’s confirmation.”

Stanley nodded. Rosa was the youngest in a long line of children—but of course, Charley’s eldest had children now, too. Stan and Kate were invited to every single baby-shower, baptism, and confirmation in the family in hopes that the urge to reproduce would rub off. So far, it hadn’t.

“What’s up, Luke? I thought we were done with all this?” Stan asked when Charley retired to the smoke-stained office.

“Well,” Luke shrugged. This was Luke’s typical answer when things hadn’t gone the way he planned.

“It can’t be that bad, I guess,” Stanley ventured. But of course it could. And of course, it was. Randall Dixon was not at all the way Charley had described him—flaccid faced and limp-wristed were well off the mark. He was instead pin-striped, fussy, florid and fast-talking. And completely and totally clueless about either the police force or the workings of technological equipment.

“Gentlemen!” he repeated again, waving his hands like a magician. “Imagine—a moving camera, zipping between rooms!”

To demonstrate, he did exactly that, hurrying into the hall and flicking his fingers at the wall as though calling the camera into being.

“Here—and through here—” he pushed past the beleaguered Howard, who was still trying to clean up the mess Randall had made earlier.

“Wait, wait!” Luke interrupted. “We can’t have cameras in there. And you can’t put them in the interrogation room!”

“Of course we can, you ridiculous man,” Randall snapped, resenting the interruption of his inspired tour. He turned his attention to Stanley. “Mr. Trouble—”

“Troubelle. True. Bell.”

“Yes, of course. We want a wire here—no, a rail. A train of camera work!”

Stan blinked. It was his systems-on indicator, a sign that he was scanning the mental catalog.

“Motorized linear rail,” he said quickly, but Luke elbowed him.

Don’t help,” he whispered.

It’s my job to help, Luke,” Stan whispered back, but it didn’t matter to Randall. He was already describing the zooming camera angle and boom, the new lighting, the robot arm—

“Robot arm? What for?” Luke interrupted again, putting his hands in his hair.

“How else will we control them?” the producer fussed.

“It’s wireless. That’s the point of a controller,” Stan corrected. Randall gave him a sobering look, and finished his grad tour with Machiavellian earnestness.

“Of course it is. I know that. And don’t think I won’t make sure we get everything we pay for!” he snapped his fingers. “I want rails with cameras—zoom—mics—lights—and I want them to turn on and off when I tell them to.”

“You mean when we tell them to,” Luke interrupted. “We can’t have everything live all the time, it’s a security risk!”

“Fine. Mr. Trouble, make it secure. Make it a strong box.”

“Make it idiot proof,” Luke muttered, looking at the director/producer’s red little face. He didn’t appreciate the jab.

“Just make it work,” he snapped back—though he pointed the venom at Stanley, who was by far the less imposing of the two brothers. “I want it by Wednesday.”

Stan almost dropped his power cable.

“What? We have to put holes in the walls, run new wiring, order equipment—we can’t do it that fast!” Stan protested. Randall, however, was undaunted.

“We’ve already got camera crews on the ground with the officers,” he huffed. “We need the supplemental feed from the station. This is a network production, you realize. A major network production. And we are paying you.”

“No you ain’t. The city pays us,” Luke grumbled.

“I was talking to your engineer,” Randall sniffed.

“Actually—” Stan protested, but it was too late. The producer had been morally offended by their lack of artistic vision. He marched toward the door, thumping his chest like an irritated monkey.

“This will be the greatest of all Art Finton’s productions—greater than any he produced while alive!”

And with that, he left the station and its unappreciative officers behind.

“Wow, he’s somthin’!” Porkchop said, slapping his knees.

“He’s somthin’ all right,” Luke sighed. “Little snot must have buckets to prove.”

“Did you meet the other guy?” Stan asked.

“Only after he was on the slab, why?”

“Well, imagine Randall. But more of it. I saw his presentation to Angie for this gig.”

Luke crossed thick arms.

“Guy like that probably had enemies, right?”

Stan was busy calculating how many miracles of programming it would take to install mobile rail cameras with auto-up-links to the control system and didn’t respond immediately.

“Sure.”

“Hmmm.”

Stan stopped re-packing his bag and gave Luke a hard look.

“Oh what? Now you’re telling me the car accident wasn’t an accident? Come on!”

“I didn’t say that,” Luke muttered, shooing Porkchop off his desk.

But he was thinking it.