Rachel

Story-Specific Setting

Here’s a post from Writer Unboxed: Beyond Description: Story-Relevant Aspects of Setting

When we think of setting, the first thing that comes to mind is likely to be a panoramic view of a place—a village, forest, castle, planet. When people ask me about my WIP, I tell them that it’s “set” in Iceland, among the glaciers and thermal lagoons. Right away, they have a vision, a way to locate the characters and picture what will happen …

A setting like Iceland can situate a story in a time or culture or geography, evoke limitations and possibilities, create a mood. Yet setting can do so much more than that! 

Frankly, I think this part about situating the story, evoking possibilities, and creating a mood is important enough. I’m wondering what more the author of this post, Barbara Linn Probst, expects from the setting. Perhaps she is defining setting very broadly, to include theme, as was done by this post at Jane Friedman’s blog recently. Or maybe Probst has something else in mind. Let’s see …

When we shrink the scale from landscape to detail and focus on bits of setting—small sensory data—we can discover a whole range of story-relevant and story-enhancing ways that setting can be used.

Oh, that’s interesting. So pulling back from “Iceland” to look at details and sensory impressions. That’s fine. That is indeed all part of the setting. Ah, but now Probst goes on to explain that the specific details the protagonist notice are important, not for what they tell you about the setting, but for what they tell you about the protagonist. That’s exactly right, and I’m liking this post more and more. Many examples pulled from real books, not necessarily the author’s own book.

Also this:

Two different characters will perceive and respond to the same surroundings in different ways. Their differing responses can be a vivid, economical way to illustrate something important about how each character sees the world, setting the reader up for what will follow and making the ensuing struggle, alliance, or betrayal more potent and believable.

Yes, yes! This post is definitely worth reading, examples and all. I keep wanting to excerpt more of it. It’s a long post, which means it can handle the topic at reasonable depth. Click through and read the whole thing.

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Turning the Page

You probably remember the recent post at Writer Unboxed that offered a look at the first page of Stephen King’s newest book and asked whether you’d turn the page. Here’s my blog post that directed you there. I was surprised and impressed that several of you guessed that was Stephen King, by the way. Even knowing that’s him, I can’t really see it. I mean, if I squint and think “COULD this be Stephen King?” I can sort of see it. But I could easily be persuaded it was someone else. This is true even though I’ve read a lot of his books, though mostly not the newer ones. The last one of his I read was Duma Key, a book which annoyed the heck out of me because of the unbelievably manipulative way King killed that woman at the end of the novel. Both the obvious manipulation of the reader and the unbelievability of the scenario involving her death bothered me a lot and that’s when I quit reading his books. Looks like he’s published 16 more novels since. Wow. He sure is fast.

But that’s not the point of this post.

The point is, the person who wrote that post, Ray Rhamey, does frequent posts like that at his own website, where he posts a first page and then explains whether or not he’d turn the page and why, and polls people on whether they would.

So, I mean, what could I do? The idea of sending Ray the first page of Tuyo and betting that I could make him turn the page was just irresistible. So I did. I did say I was a pro, though not at Stephen King’s level of pro-ness, in case he wanted only first pages by unpublished authors. But it turns out he’s fine with a turn-the-page challenge from a pro. So here’s his post about Tuyo’s first page.

Right away I felt I was in the hands of a pro. Strong voice, good writing. If you look at the checklist, you’ll see much of it reflected in this brief page. Setting the scene: check. Something has gone wrong for the character: check. Peril with high stakes: check. Something is happening: check.

The only desire we see is for him not to freeze . . . but to live has to be an underlying desire. Here, action is his inaction, his will to wait for death rather than flee. As for story questions, the narrative offers more than one. For me, plenty of reasons to read on.

A recommendation for you. I did read on . . . and on . . . and on. This is the first in a series, three novels so far. They were, for me, compelling. I hardly put them down for a week.

So that’s certainly satisfying!

Also, these first page examples and the polls are just interesting. There’s a lot of them here at this site, if you’re also interested in effective novel openings.

Oh, also, I notice there’s a new such post at Writer Unboxed this morning. Here’s the first paragraph of the page provided:

This novel was number one on the New York Times hardcover fiction bestseller list for September 19, 2021. How strong is the opening page—would it, all on its own, hook an agent if it was submitted by an unpublished writer?

Blood-sodden, the girl staggers into the black. Her clothes are disheveled, hanging off her young body, revealing expanses of pale flesh. Shoe lost, foot bleeding. She is in agony, but the pain has become inconsequential, eclipsed by other sufferings.

Aaagh! No!

Actually, for me, this paragraph is a bit of a turn-off because the girl’s not in good shape. But also, I do think it’s a weak paragraph. I’m bored by the advice to show, not tell, but the last sentence above is a weak example of telling. Also, as Elaine T commented here not that long ago, opening with “the man” or “the girl” is annoying to many readers. That includes me.

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It had a blue cover

Here’s a post by Steven Popkes at Book View Cafe: Consideration of Works Past: Star Bridge

The first paragraph caught my eye:

I’ve been looking for this novel for a bit now. Of course, it would have been helpful to know the title or authors. I had vague recollections of the plot and characters: ancient Chinese man, extraterrestrial parrot, faster than light tube system. For some reason, this wasn’t sufficient. I kept getting hits on India’s Classical Logic System, core standard testing, and early flying machines. All of which were cool but not relevant.

Wow. Ancient Chinese man, extraterrestrial parrot, faster than light tube system. Those are not elements that can often have occurred together. You’d really think those particular elements would narrow down the search REALLY fast. Also, not ringing a bell. This is certainly something I’ve never read.

Popkes found it eventually: Star BridgeJack Williamson and James E. Gunn, 1955.

Have any of you read this? I don’t know that it sounds like my cup of tea, but it IS interesting to pick up a title that old and take a look at it. The rest of the linked post includes a detailed review of Star Bridge.

Star Bridge is one of those books that seems to have unexpected influence on the people that read it. Both Samuel R. Delany and Edward Bryant said this was the book that introduced them to SF. It is not a great book. Essentially, it follows a formula of one man against a tyranny, overcoming all obstacles to put the world on the path to freedom. We’ve seen this trope from The Moon is a Harsh Mistress to Demolition Man to Firefly.

Well, there’s certainly nothing wrong with that basic plot.

Along the way, Horne meets Wu, a near immortal Chinese man, whose constant companion is an extraterrestrial shapeshifter that preferentially takes the form of a bedraggled parrot, Lil. Lil’s favorite food is diamonds.

I’m laughing here.

Oh, look at this:

Horne is captured and sent to Vantee Prison, a supposedly inescapable facility….

A prison escape! One of my favorite tropes I’ve never used. This book is starting to look like one I might enjoy.

However, this post is a lot more than a plot summary of Star Bridge. Popkes is very much setting this novel into the context of the era. If, after reading this post, you find you’d like to try the actual novel, Star Bridge is here on Amazon, available in ebook form. I’m going to try a sample. Older SF sometimes fails for me on stylistic grounds, never mind on the grounds of changing sensibilities, but even so, quite a few things about this one sound good.

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How many POV Characters Is Too Many?

From Janet Reid’s blog, this question:

My wife and I have been discussing if there can be too many POVs in a novel.  I’ve read a lot of opinions on the subject online, but I haven’t seen any steadfast rules, which makes me happy. 

I myself tend to write in a larger number of POVs than what makes some people comfortable.  The novel I’m currently working on has ten, but I haven’t received any negative feedback from my beta readers.  

To be clear, when I say ten POVs, that doesn’t mean each of the ten get their own chapters.  I will just show different POVs within section breaks.

 Is there a consensus on how many POVs are too many from agents and editors?

I’m going to guess NO on the consensus, because I expect opinions are all over the place in general, plus even the most diehard “ONE IS ENOUGH” reader probably makes exceptions for novels that they especially like.

But let’s see. Here’s Janet’s response:

Well, there isn’t a consensus on the number of points of view you can have. There is a consensus that all the characters need to be distinct, and the reader has to be able to follow the narrative.

 Ten points of view would give me great pause. Multiple points of view in a chapter would give me agita.

Yep, that seems fair. However, Janet also says:

If you are using third person (he/she/they) that’s third person omniscient….It’s a whole lot easier to do write third person omniscient with multiple characters, than multiple points of view.

I skidded to a halt. I don’t think that’s the case at all! No way! There’s a big difference (HUGE) between a limited third person and an omniscient third person! (!!!).

I was all set to actually post a comment, but I don’t have to, because Janet corrects herself in the comments, acknowledging that close third is (basically, okay, I know not exactly) just like first, but with different pronouns.

Whew.

In that case I can go back to the original question: how many POVs is too many?

Now, I personally found it much easier to write a novel with multiple POV protagonists for a long time. Let me see. City, Islands, HoS, all three Griffin Mage novels, Black Dog — they all have at least two main points of view, plus mostly they have secondary POV characters on top of the main couple. Winter too. And the Death’s Lady trilogy, except that one is unusual in that Jenna doesn’t take the POV until halfway through.

Anyway, as far as I can tell, I didn’t become able to write a whole novel with just one POV protagonist until I’d written a lot that had more.

Why?

Well, of course I don’t know exactly. The single most obvious practical advantage is that, when you’ve only got one POV protagonist, the reader can’t ever see anything that the protagonist doesn’t see. This is frequently awkward. The author then creates magic mirrors or whatever, which of course can work, but it’s still awkward.

I expect the tendency to write a novel with multiple protagonists isn’t just practical, though. For a long time, I felt like it was just the natural way to write a book. I think when I started writing a new novel, when I got mildly stuck, I’d switch to a new protagonist. I think that used to help get me unstuck. (You may notice that I sound like I’m not sure. Well, I’m not. I think that might have been a contributing factor, but so much of writing happens underneath the level of conscious planning, at least for me.)

The published works with just one POV protagonist are White Road and Mist, both of which I wrote later. And Tuyo, more or less. I mean, yes, Tuyo, definitely. it’s just that Aras is such an important secondary protagonist even though he never takes the point of view. But fine, he never does. He never will (I’m almost one hundred percent sure), which I do think will cause some practical problems in Tasmakat, which I will then have to solve somehow. I’ll figure it out when I get there.

Anyway, as a writer, obviously I can go either way. I have an SF novel mostly finished, if I can just get back to it, that has a single POV protagonist. I have a fantasy novel barely started that has … at the moment … three POV protagonists.

As a reader, I can also go both ways with no problem. This is true for both first- and third-person narratives. I don’t mind switching POV in a first-person novel, as long as — Janet is right — as long as the voices are distinctive so I don’t have to keep checking to see whose POV I’m in.

HOWEVER. There are limits.

As a reader, if a novel switches from one POV to another too often or too fast, preventing me from sinking into the story, that will probably cause me to DNF the novel. For me, twenty or thirty pages is about right before the POV switches. More is fine. Fewer is iffy. A lot fewer is very iffy.

Also, if a novel has ten POV characters and I only care about one or two, that will cause me to start skimming and then (probably) DNF the novel. It doesn’t really matter how exciting the events may be. It doesn’t matter how well-written the novel may be. I really need to like at least most of the characters, most of the time.

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Weird Writer Questions

Fun post by Elaine Viets at Kill Zone Blog: Questions of Life and Death.

Can a body fit in your car trunk?

I sprung this question on a sweet, silver-haired couple who owned a Lincoln Town Car, the same car as Margery Flax in my Dead-End Job mysteries. They were in a shopping center parking lot when I asked that question. Maybe I have an honest face. Or, since they were Florida residents, they were used to crazies. For whatever reason, they obligingly opened their trunk. Yep, the Town Car trunk was definitely big enough for a body. Two, if the bodies were small.

This is not just writers. I was shopping with a friend once, just keeping her company, and she asked the salesperson, for no reason at all, just because she’s that kind of person, “Hey, could a body fit in this chest freezer?”

I don’t recall whether the salesperson said yes or no or politely pretended not to hear the question. I do remember lifting the lid of the freezer and deciding you could definitely put at least one body in it.

My favorite question at the linked post regards how long it takes to defrost a frozen body, which is nicely relevant to the above question about the freezer. I do wonder whether all pathologists get questions like this, or just the one in Elaine Viets’ town.

Most of the time, I expect Google and Google Maps can answer writer questions adequately. I remember researching how to hotwire a car — that’s another one Viets mentions:

A friendly mechanic spent an hour giving me lessons until I could describe the process. Don’t worry. Your vehicles are safe – nothing sparked no matter how many times I tried.

I didn’t get that far myself. I read about the process and decided it was too complicated by a mile and just left the key in the ignition instead. That provided a much smoother car theft.

This wasn’t a question, but it might have been — the time I was trying to figure out if you can make an (ordinary, normal, empty) car explode by shooting it (with an ordinary handgun). The answer is basically no, or as close to no as matters, so (as you may recall) I didn’t have Miguel shoot a car to get an explosion; I had him make explosives out of ordinary household materials instead. I don’t know that this would work, but I bet fewer readers know either, whereas a LOT of people know all about shooting cars and making them explode. When I commented about this on Facebook, they all explained how to make it work. (Pack the car with explosives, basically. Or use a much bigger gun.)

This sort of thing comes up here and there, including Quora — could XXX work? Would it be possible to YYY?

The basic answer, if you’re writing fiction: If almost no one knows it can’t work, then your job is to make it sound reasonably plausible when you put the incident in your novel. There are quite a few topics — guns, swords, horses — where mistakes will be noticed by a lot of readers. But there are many, many more topics where, if you make something sound plausible, nearly all your readers will accept it.

My favorite — don’t have a link, sorry — was when someone on Quora asked whether it would be okay to coat an entire space station in cobalt dust, which ought to happen because Reasons. I answered that it would certainly be fine with me. As a reader, I would enjoy a sparkling blue space station, and I wouldn’t be able to tell whether the dashed-off explanation made sense or not.

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Serialized fiction

I saw this first on The Passive Voice blog, but here is an article that caught my eye: Can Salman Rushdie and Substack Revive Serialized Fiction?

Salman Rushdie, the Booker Prize–winning novelist, insists that he is not, like so many media members before him, going to Substack—at least not full-time. He won’t be publishing his next book on the newsletter platform. Instead, he’s taken an advance from the company to fool around with “whatever comes into” his head. This will apparently include a serialized novella. “I think that new technology always makes possible new art forms, and I think literature has not found its new form in this digital age,” Rushdie told The Guardian. “Whatever the new thing is that’s going to arise out of this new world, I don’t think we’ve seen it yet.”

This is all well and good, but here’s the paragraph I specifically noticed:

The second error that these media futurists made was overestimating how vulnerable the book was to digital technology. Many people, when they listen to music, like to jump around between artists: The iPod allowed them to do so seamlessly. Movies are consumed in one two-hour period, and most people don’t know what they want to watch before they sit down on the couch, a problem solved by Netflix. But most people read one book at a time—no one was lugging an entire library to the beach. A Kindle can store thousands of books, but who cares? Having an ocean of literature at your fingertips is neat, but it doesn’t change the time-tested user experience of reading in a dramatic way.

Bolding is mine. This is where I said, Wait, wait! I (usually) read one novel at a time, but that doesn’t mean I wouldn’t lug an entire library to the beach! I absolutely would! That’s the entire reason I got a Kindle in the first place: so I could take a library with me on vacation!

More than that, I disagree with the author of the linked post that the Kindle re-creates the feel of an actual book. It does not. It’s a lot easier to read an ebook because

  1. I can blow the print up and don’t need glasses;
  2. I can read in the dark;
  3. I can hold the Kindle or phone in one hand without hurting my thumb;
  4. I can hold the book and turn pages with one hand, either hand, while holding three Flexi-leads in the other hand;
  5. I can prop the Kindle or phone on the windowsill and read while washing dishes.

ANY of those benefits would make the ebook reading experience both different and better than reading a physical book. Also, ebooks don’t collect dust. (Don’t ask how long it’s been since I dusted.) (I don’t want to think about it.)

Physical books are still vastly superior for

  1. Cookbooks, or anything with images.
  2. Graphic novels, for example. I read one graphic novel on my phone. That was quite an interesting experience, but nothing I’d do again.
  3. Anything with a glossary or index or footnotes that you want to consult frequently.
  4. Any book you want to flip back and forth within while reading.

In addition to all that, I have to say, I’m surprised anyone can write a column about serializing novels as a new thing and not mention Kindle Vella. Even though I’m not interested in that format personally, I know it’s there.

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Does Kindle Unlimited cannibalize book sales?

Here’s a thread that pops up when you google “does KU cannibalize book sales?”

The conclusion:


Tracy-663094KU borrows do not cannibalize sales on Amazon. KU subscribers are a different audience than Amazon buyers. A KU subscriber probably won’t even see your book if it’s not in KU (since they’ll filter their searches) and even if they did find it, why would they buy it if there are (literally) 1.2 million other books they can read for free.In fact KU borrows help sales in Amazon. This I can personally attest to, because I pulled half my catalog out of KU and sales on Amazon crashed. Since KU borrows count towards a books ranking, books that are not in KU will not be as visible, won’t be bought, will drop in rank, etc.

This is a nice thought.

Here’s another thread that pops up for the same search.

The conclusion:

I don’t for one second think that all my borrows would be sales even though I know that borrows cannibalize sales.

After nearly two years of looking at sales and KENP pages read, here’s what I think:

YES. KU borrows absolutely, no question about it, cannibalize sales. At least for me.

I know this for sure because I brought out Pure Magic in May 2015 (If you read that sentence and suddenly blinked and thought about how fast the years pass, me too.) But I didn’t put it in KU until March 2018. I can click on “lifetime” and look at sales and KENP reads on the same page and wow. I mean, wow. Sales plummet the moment the title is in KU. Same with Shadow Twin.

Also, the only titles that have never been in KU are Door into Light and The Sphere of the Winds and both of those, particularly the latter, show relatively strong direct sales compared to any Black Dog book. That’s not direct evidence that KU eats direct sales, but it’s suggestive and I personally don’t doubt that this is an important phenomenon.

It’s harder to figure out what that means to income generated by these titles. KDP tells me that Shadow Twin is 668 normalized pages. That means that I earn close to $3 when someone reads the whole thing in KU, which is slightly less than I would earn if they bought the book (at the normal price of $4.99). But obviously if more people read the book in KU than would ordinarily buy the book, the royalties generated could be more, and probably that is happening. Or maybe not! It’s hard to tell!

Regardless, other things are also going on. As you all know — I don’t think anyone could have missed it — the moment I released Tuyo, in May 2020, I started trying much, much harder to make self-publishing into a worthwhile thing. While self-publishing is not yet where I want it to be, it’s certainly far more worthwhile than it used to be, no question about that. Starting in June 2020, the increase in sales (to a limited extent) and KU reads (to a massive extent) is blindingly obvious if I look at “lifetime” and “all titles.” I now routinely get roughly the same number of pages read per day that I used to get per month.

What’s interesting to me is that whenever I run any kind of sale, direct sales respond relatively weakly, but KU pages read responds more strongly, with a lag of course, but considerably more strongly than direct sales and for much longer. Of course one reason for this is that people read the first book in a series, or at least start it, and they think it’s pretty good and go on to get other books in the series. That’s got to be important.

Did it help to drop the prices of almost every book in the series and then run a series promo via Freebooksy? Yes, it did. This promo caused a lot more direct sales than any other series promotion I’ve ever run (still a smallish number, but a big difference). I definitely plan to drop prices for the whole series in the future when I run a series promotion. That will make more difference if I’ve got more books per series; eg, for Black Dog and (relatively soon) for Tuyo, but I think it will make a different for any series.

A probable second reason for the KU bounce is that setting a book to free and promoting it via Freebooksy causes enough downloads to move a title to #1 in a lot of categories and therefore Amazon puts that title in front of a lot of readers. I can’t think of a way to tell what effect that specifically has, but it surely can’t hurt. Black Dog has been #1 in Werewolves and Shifters, Fantasy Adventure Fiction, Paranormal and Urban Fantasy, Contemporary Fantasy Fiction, and Occult Horror for the past three days. This is true even though downloads have fallen off sharply. By the end of today, I bet it will have fallen out of the top spot for most or all categories, though I bet it will still be in the top ten for today and who knows, maybe tomorrow.

I will add, though, that the BEST way to increase both sales and KU read remains: Bring out a new book. That makes a much bigger and more permanent difference than running a promotion. I really hope and expect to bring out a minimum of three titles next year — maybe four. We’ll see!

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Sale Today

Just so you all know, the entire Black Dog series is on sale today and for the next several days.

I would usually run a sale at Halloween, but as I mentioned recently, I don’t think I’ll have the next collection ready for release by then, so there’s no reason to wait.

I’m promoting via the Freebooksy series promotion. I wasn’t impressed with that promotion previously, but I’m trying something new this time — dropping the prices of every book in the series, mostly by quite a bit, with both Black Dog and the first collection free. So we’ll see how it goes!

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Light water

Here’s a fun post at Astral Codex Ten. The post also has a great name: The Unbearable Semiheaviness Of Being

I’m going to excerpt just enough to show why, aside from the wonderful title, I enjoyed this post:

If heavy water makes you feel worse and eventually kills you, naturally light water should make you feel better and eventually make you immortal. That’s how logic works, right?

Maybe! This is actually a real alternative medicine thing. You can buy light water for about $20/liter….

I love this theory. It’s so much better than homeopathy. If you tell the homeopaths that their products are just ordinary water, they’ll get pissy. If you tell these people, they’ll admit right away that it’s even more water than regular water is, the only water which you can be really confident is perfectly normal H2O. I love this theory so much. …

This probably doesn’t have enough medical benefits to have been worth my time to research or yours to read. I still find it fascinating. I keep being amazed at how many dimensions things can vary along. You think you know what kind of things medicine has to investigate – how different chemicals interact, the effects of food and smoking and sleep and so on – and unless some weird Hungarians remind you, you would never in a million years remember that there are multiple different isotopes of water and this seems to have some effect on living cells. You would never think to check whether attempts to mine the Martian icecaps for drinkable water will result in dangerous water that could sicken the unfortunate astronauts who drink it (answer: it might! Martian water has five times more deuterium than Earthly water and seems to kill shrimp). You would never think that you could buy something called “deuterium depleted water” on Amazon, or that it would be completely safe to drink. But here we are!

I’m so glad someone finally pointed me to Astral Codex Ten. I really missed Scott Alexander’s posts when he was temporarily missing from the internet! By all means click through if you want to read a lot more about heavy and light water.

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Paleoartists

I hadn’t been aware that there are wildlife artists who specialize in depicting extinct fauna. Here’s a Quora answer that was eye-opening: Who is the greatest artist depicting extinct animals?

First, Mauricio Antón. He lives in Spain, and has the distinction of knowing more about sabertooth cats than perhaps anyone else in human history – I have several of his books on this topic alone.

The painting of the herd of Baluchitheriums is my favorite of the ones shown in this answer. You should click over to the answer and take a look.

Here’s Mauricio Antón’s website. The link goes to one of his galleries, but if you have a minute, poke around on the site. I notice on his publications page that I have one of the books he illustrated: Dogs, their Fossil Relatives and Evolutionary History. Xiaoming Wang, Richard Tedford and Mauricio Antón. Columbia University Press, 2008. The illustrations are indeed very good, from the skeletons on up to the animals set into their ecosystems. The cover of the book shows my least favorite image from the whole book. Here is an illustration I like a lot better:

These were not canids, but the image shows the type of illustration in this book. There are lots of side-by-side comparisons of different species.

Here’s Antón’s paleoart Twitter account, if you’re on Twitter and want to follow him.

The second artist covered in the Quora answer:

Secondly, Mark Witton. He’s one of the most well-known modern paleontologists, being especially famous for his research on pterosaurs. He also published The Paleoartist’s Handbook in 2018, which might well be the most comprehensive book on accurately reconstructing prehistoric life.All his paintings have an unmistakable atmosphere – gritty, but somehow surreal. You’d know they were his from a mile away, with that unique art style. His more speculative depictions are really interesting, too.

A lot of these images are filled with life and motion. He’s got a Twitter account too, here. He also has a blog, here. A recent entry: Dinosaur fossils and Chinese dragons: ancient association or modern wishful thinking?

Isn’t that a great, intriguing title for a post? Don’t you want to click through and read that?

Geomythology is a discipline that most of us are familiar with even if we’ve not heard of this term: the study of possible associations between real geological phenomena and myths and legends. The idea that certain fossils were somehow involved in the creation or development of mythical creatures is a subject we’ve discussed several times at this blog, including the purported fossil associations of griffinscyclopes, giants and unicorns. Although proverbial kernels of truth underlie some of these proposals, many examples – including famous claims about Protoceratops and griffins, and elephant skulls and cyclopes, are actually nowhere near as well-supported as their popularity implies. A lot of geomythological hypotheses persist primarily because of uncritical retellings and a lack of skeptical examination.

Neat stuff.

Okay, the last artist from the Quora answer:

Last but not least, Peter Schouten. 

I became familiar with his work after buying a book on the end-Pleistocene extinction, which he illustrated. He is Australian, and in addition to painting a lot of living wildlife, he has a lot of artwork depicting the fauna of the Pleistocene epoch.

His website is here. I love the megafauna page.

Lots of wonderful artwork at this answer and the many linked sites. I hope you have a few minutes to enjoy all this.

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