As you may also know, The Heir of Night (The Wall of Night series, Book One) is being published in Germany this year by Blanvalet, as Die Erbin Der Nacht.  So I can’t help feeling part of the Aoteraoa–Germany Affair—and as there is a passage in The Heir Of Night: Die Erbin Der Nacht that very much deals with “Crossings” it feels right to be posting something for the inaugural blog carnival.

The relevant section of the book comes in Part 3, Jaransor when the central characters, Malian and Kalan, are making both a physical and emotional “crossing”—from their old lives on the Wall of Night, to the unknown lands of their world of Haarth, which includes a physical crossing of the transitional Gray Lands and also the river Telimbras, marking the border into the interdicted realm of Jaransor.

So here, in the spirit of “Crossings” and Die Erbin Der Nacht, are the extracts:

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from Chapter 25, River of No Return

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“It was the fourth day since they had fled the Keep of Winds, travelling through the narrow ways of the Wall while the storm raged above them.  It had taken two full days to blow itself out, just as Haimyr had predicted, and they had reached the western rim of the Wall by the end of the second day.  The evening light had been in their faces when Kyr pointed beyond the rock-strewn foothills to the vast, flat emptiness that was the Gray Lands.  “That is the way we must go,” he’d said.  “We shall travel by night to avoid prying eyes, although it will make our progress slower.”

They had kept to this plan, making their way down through the foothills and only setting out across the Gray Lands once it was full night.  The rocky plain was full of sudden dips and dry streambeds that kept their pace slow, but at first Malian had enjoyed the journey, the smooth stride of the horse and the breeze at her back that raised small dust devils across the plain.  After hour on hour of silent riding, however, only stopping for short rests and to snatch a hurried mouthful of food, the ride became a matter of simple endurance.  Only the paling of the eastern sky had finally signaled a halt, and their hiding place that first day out had been little more than a scrape in the surface of the plain.  Even the horses had lain down to rest, while Kyr and Lira had stretched a tarpaulin, as gray and dreary as the land itself, from one side of the hollow to the other.  They had all huddled beneath it, first to eat the dried rations from their saddlebags and then to take turns sleeping.  “For only a fool,” Kyr had said, “would fail to set a watch in these lands.”

…

They rode out as soon as darkness fell and turned their horses west, toward Jaransor.  Kyr pushed them hard, setting a faster pace and allowing fewer stops.  He rode slightly ahead of their small company, while Lira was rearguard and frequently dropped behind, checking their back trail.  Malian and Kalan rode close together, sometimes knee and knee, sometimes one horse behind the other, but they did not speak.  An air of palpable tension hung over them all, but although Malian listened for the sounds of pursuit, all she heard was the wind and the steady thud of the horses’ hooves on earth and stone.  The night stretched out, cold and black and seemingly endless, while she rose and fell in the saddle, fell and rose until it was all she could do to remain upright.

This time they did not stop with the dawn but pushed on toward the range of hills that rose up before them, rough and wild in the gray light.  The ridges were far lower than the Wall of Night, but still very rugged, with stony outcrops along their tops.  “We’ll have more shelter once we’re in amongst the hills,” Kyr said.  “We can stop then and find a safe place to rest.”  So they pressed on again and eventually came to a wide river that comprised several braided channels flowing between shingle banks.  The water was a pale blue-green in color and looked cold.

“The river Telimbras,” said Kyr. “It marks the boundary between the Gray Lands and Jaransor.  In Westwind Hold,” he added, his expression impassive, “we call it the River of No Return.”

Malian glanced quickly at Nhairin and saw that the steward’s face was set, although she made no reply to Kyr’s remark.  Kalan grinned.  “Well,” he said cheerfully, “this is the river for us, then, since going back is not an option.”

That surprised a laugh out of Lira, and a reluctant grin from Kyr.  Even Nhairin’s countenance eased a little.  They clattered and splashed their way across the riverbed, throwing up clouds of glittering spray as they rode through the deeper channels, and then climbed steadily, following narrow trails up rocky ridges and across steep slopes.  The focus of Malian’s world closed in again: to the black neck of her horse, to staying in the saddle, and to gritting her teeth and keeping going.

Despite her weariness, she began to notice small details about the landscape around her. The herb thyme grew wild and its scent rose, heady and aromatic, whenever the horses’ hooves crushed it.  Small yellow flowers danced among the rocks and the higher slopes were covered in a mix of scrambling green—sweetbriar, said Kyr, when she roused herself to ask—and dark, twisting thorn scrub.  Eventually, Malian began to see the green shimmer of trees growing along small precipitous creeks, and they stopped at last in a narrow ravine where the trees formed a green roof and a stream ran clear over brown pebbles.  “A short rest only,” Kyr warned. “Just to eat.  We need to get further into the hills and keep pushing south.”

Well, I’m stoked anyway!  And you can check out the evidence, here.

The post, if you haven’t checked it out already, is “Making Epic Fantasy New—Do We Need To?” and it’s right here.

Speaking of posts, you’ll have noticed that I haven’t done any ‘big’ posts in the last wee while—fear not, the well is not dry, but I’ve just been a little busy juggling writing the new book, with doing the final proof round for The Gathering of the Lost, and also taking up the creative writing residency. All good stuff, but there are only so many hours in a day (cliche alert—but like most cliches they get to be that way for a reason!), and ‘after hours Helen’ has been a tad over-committed too. But I’ve been jotting down ideas as I go along—because there’s never any shortage of ideas —so like Arnie, I shall “be back.”

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OK, pop culture references in this post:

“doin’ alright” — the way they actually sing it in the refrain from “Doing All Right” by Queen (one of my favourites from—can I say, just about forever!)

“the far side of the world” from the book of the same name by Patrick O’Brian (& one of the Aubrey/Maturin series, of which may I say: awesome!) as well as the Peter Weir film ‘Master and Commander: the Far Side of the World’ (which is two books in one movie title, but never mind—it was based far more on The Far Side of the World.)

“I’ll be back” — first and most famously used by Arnold Schwarzenegger in the first The Terminator movie in 1984

(You can let me know if you think I’ve missed anything on the pop kultcha front! )

But here’s the door (with apologies for crookedness!)—& although I haven’t got  a name plate yet, just the generic writer-in-residence address, there’s that cover flat of The Heir of Night to personalise things a bit, even though it’s very early days.

And here’s a ‘wide’ shot of the office, with various desks, the very nice couch donated by my immediate predecessor, the very talented Eleanor Catton, and—as mentioned yesterday—the Thornspell cover banner on the wall. I think that adds a nice touch!

Most importantly though, there’s the laptop on which Daughter of Blood, The Wall of Night Book Three is even now being written. And yesterday I felt the first benefit of the  ‘dedicated writing environment’ that is such an important part of the residency for me: having the dedicated space and time hours to really sit down and concentrate in on the book. This involved unravelling a new sequence that wasn’t working particularly well, which ended with me deleting 1200 words—always a gulp—but then writing 2300 “on track” words new. All that took me 6 hours and at the end of that I was “had it” (how does Brandon Sanderson do his 10 hours a day?)—I knew where the story had to go, but there were no more words in me to go there at that time. Always the very best place to stop for the day!

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Guest Spots:

I have my usual ‘US-first-of-the month’ post up on the Supernatural Underground today, featuring the UK cover and the Catherine Asaro quote for The Gathering of the Lost—as well as the backcover blurb for the UK edition, which hasn’t been public before, so check out the Supernatural Underground, here, if you want to have a read.

And yesterday Nicole Murphy published her Writing Process interview with me, here. This follows on from the Writing Habits interview on Monday, here.

And of course, given the ongoing threat of earthquakes, having something that lightweight to hang on the wall is just plain good sense. I “may” take in my original artwork for the Wall of Night world map, as well—the artist, Peter Fitzpatrick, has very kindly gifted it to me and of course it is amazing, but I do really like its current locale in my home office as well …

Anyway, with luck may even have some photos for you tomorrow. (And if not tomorrow—soon!)

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Speaking of Thornspell, one thing I’d like to draw to your attention is “The Great NZ Book Race”, here.

“Are New Zealanders really only separated by 2 degrees?

Students from Katikati College (Bay of Plenty)  and Papanui College (Christchurch) will be supporting their local writers by reading, reviewing, and then passing on books , from person to person, until they reach the other school by the end of Term Three (see BOOKS ON THE RUN for complete list.) Their aim is to get their book read and reviewed by the most New Zealanders.“

Find out more by clicking the above link—but Thornspell is one of the books featured and you can see its feature page here. This is a really great NZ Book Month project and one I am honored to have been invited to join and am proud to support.

I will bring you more updates as we get closer to March, when the race begins.

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Another thing I’ve dived into ‘full on’ for the new year has been guest blog posts, with Making Epic Fantasy New for SF Signal, The Evolution of Character and Myth, Legend and History, both for Orbit,  adding my wee mite on Mary Victoria’s excellent “Place as Person” series, here—and most recently contributing to Nicole Murphy’s interview series  on writers’ “Habits and Processes.” The inside gen on my (nefarious!) habits was here on Monday and the “Processes” follow here some time today.

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Oh yeah, I’ve been trying to fit in some writing too, somewhere amongst all that lot …

My favourite post I’ve read this month (and I’ve read a few!) was handsdown Gillian Polack’s “Place as Person” guest post, here.

Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of tired, outstripped Five-Nines that dropped behind.
Gas! Gas! Quick, boys! – An ecstasy of fumbling,
Fitting the clumsy helmets just in time;
But someone still was yelling out and stumbling,
And flound’ring like a man in fire or lime . . .
Dim, through the misty panes and thick green light,
As under a green sea, I saw him drowning.
In all my dreams, before my helpless sight,
He plunges at me, guttering, choking, drowning.
If in some smothering dreams you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil’s sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie; Dulce et Decorum est
Pro patria mori.

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by Wilfred Owen

1893 – 1918

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Last week I featured AB Negative (The Surgeon’s Poem) by US poet Brian Turner—and quoted Wilfred Owen in my commentary: “My subject is War, and the pity of War. The Poetry is in the pity.”

So this week it seemed appropriate to feature a poem by Wilfred Owen, in this case one of the more well known, Dulce Et Decorum Est.

Wilfred Owen is also one of the most well known of the World War 1 poets writing in English, and his poetry is characterized by the juxtaposition of compassion with grim realism.

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To read the featured poem on the Tuesday Poem Hub and other great poems from fellow Tuesday poets around the world, click here or on the Quill icon in the sidebar.

Today Nicole is asking me questions about my writing habits, here.

Tomorrow we’ll be talking about how I actually ‘do’ the writing itself—so don’t forget to check back in again here.

To check out the introduction to the series and also links to the interviews with other authors, click here.

On Thursday, I featured a little about the awards and “how to nominate” here on the blog, including providing links to lists of eligible works in several of the categories, here, and here. And I encouraged all of you to nominate.

But there are people out there, particularly  in the SFFANZ community, who do not need any encouragement—they are committed to reading eligible works and nominating those they enjoy, or believe exemplify the genre, in order to ensure a high standard of entrants every year.

Two of those dedicated readers are Simon Litten and June Young, and today I have invited them to guest post here on their personal approach to reading and nominating for the Sir Julius Vogel Awards. In particular, Simon and June have focused their comments around what, in their view as longtime readers and nominaters, makes for good science fiction and fantasy genre, i.e. what they are looking for if they are going to nominate a work.

So without further ado, please welcome Simon and June.

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What Makes For Good Science Fiction and Fantasy Genre?

We are readers of the science fiction and fantasy genre, which is our main choice of literary style. We don’t write fiction and have no desire to do so. We also watch it. Therefore we are end-consumers of the product and consider ourselves fans. As fans we look out for certain things about the genre – what, in our opinions, are the positives that we like in a book? For the purposes of this post, we will restrict our introspection to literary science fiction and fantasy.

One of us is an avid short story reader (anything under novel length) and the other seldom reads short fiction – but we both have similar criteria. For an author new to us that we wish to consider we will attempt to seek out a stand-alone novel, and preferably one that is under 400 pages long, as this should be a good sampler of her or his writing. Neither of us skim read. We both remember what we have read, can process the information content in the writing and relate it to other information in the story. Neither of us has the inclination to reread a book: time is a significant factor, reading something new is much more fun.

We expect to be entertained when reading. A book that has good solid entertainment value can be excused a few faults up to a point. In a novel we want a well imagined world with characters we can empathise if not identify with. We would have said something about “in situations that don’t strain the imagination” and suddenly remembered that as this is science fiction and fantasy that is under discussion!  We do expect the story to ring true. The story does not need to be factual, this is after all [science] fiction, but it does need to be internally consistent. If we wanted factual, we’d be reading textbooks.

We will consider trilogies after having tried a single novel, but they had better not be fat books. Most fat books from our reading experience have some sort of short-coming associated with them, whether it is general padding, too much description, too complex a plot, too many characters or too much detail about something – making them boring, meandering stories badly in need of an edit for being oversize.

For short fiction the bar is a lot lower as the world-building, character development and plotting requirements are so much less. For science fiction and fantasy the story just has to be big enough to satisfactorily explore the idea.

We expect the book to be worth the time and money spent. Time (or waste of) is the more important factor as we value our reading time, which is done in our spare time. In New Zealand, a mass market paperback usually costs between NZ$20 to $30. That translates as four to six regular sized lattés or another book.

Even science fiction and fantasy need a basic sort of reality. People and animals need to sleep, eat and take a break. If there is an injury, we would expect it to be mentioned again. If the injury was important enough to make it into the story in the first place then it needs to continue as a bit player for the affected character or exit gracefully. Now we don’t expect full medical details, but we would expect at the minimum some complaints of minor pain or inconvenience. If there is sex, then mention of birth control or potential consequences is not an unreasonable expectation. Characters need to act within the reality of that character or situation. Writing something because it suits the plot but is out of character or does not make sense in the context of the story signals poor imagination or an over-done plot. For both of us the adage “less is more” is almost a truism. We don’t need every scene painted to the last detail, or told how the maguffin works: we have active imaginations to fill in those bits. We believe shorter books do indicate confidence of style and storytelling ability.

An upbeat story helps, though downbeat can have its place. One character should have a chance of making it, even if there are fatalities along the way. People borne into a world gone to pot regard their lives as normal and usually take enjoyment from those lives. For them the world isn’t bleak, it’s as it always is. “Bleak” does not necessarily equal “serious quality literature”.  A reader should want to read a book. We feel bleak stories may not have that appeal, especially for teenagers.

Continuity is important. It’s not just characters, it can be animals or objects they are carrying, or not carrying. Where did that “oh-so-convenient something” come from? People do get lucky, but it should not be over-used. We sometimes wonder if some writers forget they have created a society that doesn’t have modern facilities.

There is no need to be really clever. The standard fantasy quest is still a good story if it is well-executed. There is no need to over-dramatise an incident. It may read well at the time, but it can make the follow on scenes later on in the book very hard work in regards credibility, plausibility or believability.

While writing what one knows in science fiction and fantasy can be a tad difficult – who among us has piloted a faster than light craft or can control the weather? – as readers we can spot when an author has no experience with what he or she is writing about: for example, action scenes written by couch potatoes.

Correct spelling and grammar are important. The reading of a story should flow smoothly and not be interrupted by the reader having to decode typographical errors present in the text. Similarly, grammatical errors or ambiguity in a sentence forces a reader to stop, re-read and think about what the author really means. All these are distracting to the delivery of the story.

For us it is the degree and relative impact of these factors that means a book can range from being merely diverting, to worthy of a nomination for an award and maybe sufficiently entertaining to getting the winning vote on the day.

By: June Young and Simon Litten.

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Although as a writer of more Ruben-esque style fiction and a lover of complex plots I am of course quailing before June and Simon’s exacting critique— —I think it is clear that they take both the genre and the nominaton process very seriously and as such, like those involved with administration of the Sir Julius Vogel Awards, do both the award and New Zealand created SFF considerable service. I would like to thank both June and Simon very much for sharing their reading preferences and their process here today.

I also included quotes centred the region of the Haarth world known as Jaransor, as well as an excerpt that touched on the Wall of Night itself, the Border Mark and the Gate of Dreams—so today I thought perhaps we’d look at excerpts around some of those other places mentioned, like:

The Old Keep

“The wind blew out of the northwest in dry, fierce gusts, sweeping across the face of the Gray Lands.  It clawed at the close-hauled shutters and billowed every tapestry and hanging banner in the keep.  Loose tiles rattled and slid, bouncing off tall towers into the black depths below, and the wind whistled through the Old Keep, finding every crack and chink in its shutters and blowing the dust of years along the floors.  It whispered in the tattered hangings that had once graced the High Hall, back in those far-off days when the hall had blazed with light and laughter, gleaming with jewel and sword.  Now the cool, dry fingers of wind teased their frayed edges and banged a whole succession of doors that long neglect had loosened on their hinges.  Stone and mortar were still strong, even here, and the shutters held against the elements, but everything else was given over to the slow corrosion of time.

~ from Chapter 1, The Keep of Winds

and:

“The stairs wound tightly down and the blackness was intense.  The silence, too, felt tangible, pressing in on Kalan as though the Old Keep itself were aware of him.  The muted echo of his sandals on stone sounded frighteningly loud, and Kalan tried to step and breathe more quietly.  As he descended, the darkness grew thicker, even to his cat-like vision; he listened intently to compensate, his neck and shoulders tense with strain. But there was no sign of any other route leading upward again, let alone back into the New Keep. Eventually, Kalan stopped.”

~ from Chapter 3, Whispers in the Dark

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And then there’s:

The Winter Country

“It had been one of those bright-as-diamond days between blizzards, with the sky pale blue crystal and the snow stretching away forever, white and gleaming.  She had been out hunting and come upon him some distance from the camp, a solitary figure in the circling world of white and blue, staring at something far up in the sky.  Rowan had stopped, following his gaze, and seen the hovering speck that was a snow falcon, riding the currents of the air.  

The Earl had watched it for a long time and when at last he turned his head he had looked straight into her eyes and smiled, an expression as rare as winter sunshine in the grimness of his face.  “It is Winter itself that hawk,” he had said, “the brightness and the wildness and the freedom of it.  I could watch it forever.”

~ from Chapter 16, Woman of Winter

“When asked, I always describe The Heir of Night as “classic epic fantasy.” In part this is because it is a hero tale with the fate of the world, and perhaps even of all worlds, at stake. It’s a tale of adventure and magic and battles, of friendship and betrayal and love, of both individuals and a whole people under pressure: all the stuff in which the mythologies and legends that underpin our western culture—the Greek, the Norse and the Celtic, with a fair dash of side influence from the Egyptian and Babylonian—are steeped.

…”

To find out more and where the history comes in, click here.

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But Wait, There’s More—the Role of Place In Shaping The Heir of Night

In terms of the shaping of a story and a world though, there are always more than one or two elements that come into play. I’ve talked a fair bit about characters lately: here when the guest post on “The Evolution of Character” aired two weeks ago, but also here, at the time of the UK mass market release last week (yup, it’s now free and in the wild! ), and again here only this Monday when I was talking about classic epic fantasy being based on tropes not cliches—and the importance of character in achieving that difference.

But the whole “character” discussion took a slightly different turn when I posted as part of Mary Victoria’s current “Place as Person” guest author series. (A wonderful series, by the way, and well worth checking out—the introductory post is here and you just click forward from there.)

Jaransor; art by Peter Fitzpatrick

In my post I discussed what it means for a “place” to become a “person.” You can read the full piece here, but one of the places I dicussed was Jaransor, which may be “… not just a chaotic force, but a personality, albeit a fractured one, that has consciously entered into the conflict being played out.”

Just for fun, here’s a small Jaransor excerpt:

“The quiet lengthened, and Malian felt her mind turn to the murmur of the night breeze and the slow movement of the stars.  She could follow the breeze, she realized, her fingers clasped around the armring, just as she had followed the vision of the hawk, earlier in the day.  She flowed with it across the hillside, letting the little wind show her the fallen stones beneath the grass and the scurrying path of some small night creature.  Malian could hear Lira’s footsteps, almost lighter than the breeze, as the guard made her careful way back to them.  She could sweep high, too, far above the hills, and make out the whole length of Jaransor stretched out below her, just as the hawk must have seen it, spread beneath its wings.  

There was power in the land.  Malian could see it flowing like a river—but deep, far down in the earth.  The hidden river only bubbled up at intervals along the crest of the hills, in a series of evenly spaced springs. The springs, she realized, matched the ruins of the watchtowers that had once stretched the length of Jaransor. Kyr was right, the ruins were centers of power still.”

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I believe place is one of the most significant shapers of both The Heir of Night and the soon to be released The Gathering of the Lost. Although Heir is ostensibly set between three major physical “places”—the Wall of Night, the intervening Gray Lands, and Jaransor—there are in fact a number of other significant places within each of these settings, each with its own distinct ambience. Here’s what’s on my list—but if you’ve already read the book please feel free to put forward any other place you think I ‘ve left out:

• First off, I have to say that I believe there is another place/space that stands on equal footing with the three mentioned above, and that is the Gate of Dreams–the alternate realm that lies “between worlds” and out of space and time. It’s definitely a  very powerful player in the story and a big contributor to that “strange magic” Robin Hobb mentions in her author quote for the book.

• The fourth physical place that gets a mention, both as part of the realtime action of the book and in backstory, is the Winter Country.

• 

  The Keep of Winds, from "The Heir of Night" -- art by PJ Fitzpatrick

  Within the larger place that is the Wall of Night we also have:

• the Keep of Winds;
• the Old Keep; and
• the heart of the (Old) Keep may also be a distinctive “place” in its own right

• And within the Gray Lands there is the Border Mark

• While Jaransor includes a tower that isn’t there …

So there you have it, upwards of 10 distinct places that shape the story that is The Heir of Night—and with allusion to others: the River and its cities, and all those realms that lie between Ij and Ishnapur in the far south, on the border of the great deserts: off the map, in fact … But you will get to visit some of them in The Gathering of the Lost.

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To end with though, here’s an extract from The Heir of Night that touches on a few of those “places” mentioned above: the Wall of Night, the Border Mark, and the Gate of Dreams—as well as introducing Kalan and the Huntmaster, characters who haven’t had much mention in the recent discussions, although Kalan, together with Malian of Night, is one of the series two central protagonists.

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~ from Chapter 19, The Huntmaster

The storm assaulted the Keep of Winds with renewed fury, battering the watchtowers and shrieking along the ramparts of spear-deep stone.  Even in the inner fastness of the temple quarter its voice formed an uneasy backdrop to the tumbled darkness of Kalan’s dreams.  He had dreamed every night since returning to the New Keep, a jumble of faces and voices and scenes that were as random and disconnected as the debris caught in the storm’s vortex.

On the first night back, Kalan had seen his father’s face, cold and closed, just as it had been on the day he disowned Kalan and threw him out.  His words were not the formal rite of renunciation and expulsion, but sharp, nonetheless, and cold as stone.  “What are you, boy?  Who?  You must be a changeling, an incubus, for none of our family ever had such powers!”  In the dream Kalan had stretched out his hands, trying to protest, but his father had turned coldly away.  Only his voice came floating back: “Nay, do not cry out to me for I invoked the rite long ago.  You are no more son of mine!”

You are no more son of mine.  Kalan had woken in a panic to the pressing darkness of his sleeping cell.  The storm had still been building then, but he had felt its power closing in on him like the walls of the narrow chamber.

The dreams, like the storm, had grown in strength as the days passed and although none were as clear as that of Kalan’s father, they were all shot through with a sense of threat, snatches of conversation and the keep seen from odd angles.  Other images intruded as well: Malian pacing in a red and white room, a glimpse of the heralds standing by a great pillar of stone, the wind whipping their hair beneath a sullen sky—and a great war spear with a blade like black flame and a collar of feathers, darkly iridescent as a crow’s wing.  It sang to him, a low, fierce song of danger that reverberated in the core of his being.

“But you are lost,” Kalan said, coming on it unexpectedly through a wreathing of mist. “You pierced the Raptor of Darkness and fell with it, into the void.”

…

He was standing on a path surrounded by banks of fog that stretched between the stark trunks and branching black of a great forest.  The Gate of Dreams, Kalan thought—except that this forest seemed vaster, wilder and infinitely older than the wood that surrounded Yorindesarinen’s fire.  He shivered, for the space between the trees was dense with impenetrable undergrowth and the voice of the storm had gone, replaced by the creak and rustle of branches rubbing together.  It sounded, he thought uneasily, like some dark, secret, and not altogether friendly conversation.

The fog in front of him lifted slowly and drifted apart, revealing the tall figure of a man.  His back was turned to Kalan and a long black cloak fell almost to his booted heels; his right hand grasped a tall, hooded spear and a crow perched on his left shoulder.  The bird’s head turned, snaring Kalan’s gaze with one bright gleaming eye, then it lifted its wings and cawed, the harsh cry echoing through trees and mist.  The man looked around and Kalan gasped, for the stranger’s face was concealed beneath a mask of black leather and his left hand had been severed at the wrist.

Kalan forced himself to speak boldly.  “Who are you?” he asked.  The mask’s blank eyeholes were fixed on him but the man did not speak, just stood there, leaning on the hooded spear.  “What is your name?” Kalan said, trying again.

The crow cawed a warning; the masked man’s voice, in the quiet of the wood, was harsh as the bird’s.  “Welcome, Token Bearer,” he said.  “It has been a long time since the Huntmaster was summoned to the Hunt.”

The Awards are made annually by the Science Fiction & Fantasy Association of New Zealand (SFFANZ) and recognize achievement in Science Fiction, Fantasy and Horror by New Zealanders that have been published or released in the previous calendar year.  Initial nominations are  open to everyone but the final vote for shortlisted works is restricted to members of SFFANZ and those attending the National Science Fiction-Fantasy Convention, UnConventional, which is to be this year over Queen’s Birthday weekend, 1-4 June.

And because anyone can nominate, I would like to encourage YOU (yes, you!) to nominate.

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Here’s How To Nominate:

1. Go to the Sir Julius Vogel Awards webpage and check out the rules, here.
2. Secondly, “Best Novel”, both “Adult” and YA”, are only two categories in the Awards line up, but SFFANZ does maintain a list of eligible works here—so check it out, too. SpecFicNZ may also be going to post a list of eligible works by its members, which could include short stories and novellas as well as novels, so it’s probably worth keeping an eye on their site as well, here.
3. But basically, if you like a work of SFF fiction or an SFF TV series or film (that has been created by a NZ-er and released in 2011) then make a nomination—it costs you nothing and helps support and recognise SFF in this country;
4. You can nominate as many works as you like but only once in each category—in other words, you can nominate all the NZ-created works that you loved this year; no need to pick and choose at this stage!
5. Remember to include your name and contact details when you make a nomination;
6. Also include the contact details for the creator of the nominated work, where you know them, as the nomination must be accepted by them;
7. Email your nominations to: sjv_awards@sffanz.sf.org.nz
8. I understand that a separate email for each nominated work—with a copy to the creator of the work—is very much appreciated but not absolutely required.
9. And again, do nominate—as the works that make the final ballot are based entirely on the number of nominations received, so if you loved a work this year and want to see it recognised, then your nomination counts!

And here are the award categories:

• Best Novel: A Novel is any single work of SF/F/H over 40,000 words in length.
  
• Best Novella or Novelette: A Novella or Novelette is any single work of SF/F/H between 7,500 and 40,000 words (incl.) in length.
• Best Short Story: A Short Story is any single work of SF/F/H under 7,500 words in length.
• Best Collected Work: A collected work is a SF/F/H collection or anthology, magazine or journal, e-zine or webzine which must pay contributors in other than contributor copies and incidentals, or is sponsored by an institution other than a fan club, or whose editors declare themselves to be professional. At least one edition of a collected work must have been issued in the eligible calendar year. To be eligible, the work must contain not less than two genre-related contributions. An omnibus is eligible where 50 percent or more of the works it contains have not previously been on the ballot.
• Best Artwork: An artwork is a single work or series of related works of art in any medium other than text. Text may be included, but should not be the primary medium.
• Dramatic Presentation: A dramatic presentation in a visual and/or audio form.

- Long Form: The Long Form is a presentation that is 30 minutes or longer. This would typically be a film or an episode of a TV series.
- Short Form: The Short Form is a presentation that is shorter than 30 minutes. This would typically be a short film.

• Best Production/Publication: Professional production/publication is for work in any medium other than those eligible for other categories. The work must be first released or made available for public viewing in the eligible calendar year. The producer of the work must have received payment or have intended to have received payment for the work produced. Eligible works include but are not limited to: comic strips, advertising copy (moving or still), art, video, film, periodical, theatrical, journal, e-zine, webzine, computer application, or website.

• Best New Talent: recognises excellence in new talent in any professional field within science fiction, fantasy, or horror; the nomination is for the nominee’s total body of professional work to the end of the eligible year. [Note: further criteria apply so please check official site.]

Fan Categories: [See detailed criteria here]

• Best Fan Writing
• Best Fan Artwork
• Best Fan Editing
• Best Fan Publication
• Best Fan Production

Special Awards:

• Services to Fandom
• Services to Science Fiction, Fantasy or Horror

So what are you waiting for? Get going & get nominating!