The 50:50 Movement

Pretty well everyone in the SFF community will be aware of this by now, but in case you missed it, here’s a quick run down:

There’s been a frankly disturbing lack of gender parity on panels at cons, awareness of which came to a head at this month’s SFX weekender, when out of a total of about 70 panel spots, only 15 were filled by women. Not that there were actually 15 women featured on the panels, as several occupied more than one panel chair. In fact, I think there were 9 women and more than 30 men. China Miéville stepped down from a panel that had no women in it at all.

On the back of this, Paul Cornell announced on his blog yesterday that if he showed up at a con and found himself on a panel with anything less than a 50:50 gender split, he would recuse himself, and try to find the most appropriately qualified woman in the room to replace him.

So there’s obviously a problem here. Paul, Lizzie Barrett and any number of other people have pointed out the obvious: there are more than enough smart, talented, knowledgeable women for panels at conventions to be gender balanced, so, until someone comes up with a very convincing reason otherwise, we can assume they should be.

If it were me (and it’s about to be, I’m scheduled on a couple of panels each at Eastercon and Alt Fiction). I’d take a slightly different approach. I, like Paul, intend to step back from any panels which I find aren’t 50:50 in terms of gender, but I’m going to ask about gender balance before the event.  The con organizers should be able to tell me who else is on the panel  and if need be, between us we can  approach a woman (and there are many, for almost any given topic I can yammer about) who’ll be as good or better than I will. As far as I can tell, this keeps the simplicity and gender balance achieved by Paul’s approach and helps put the best possible people behind the microphone,  while ducking the following problems: 

a) As Maureen Kincaid Speller pointed out on Twitter, the best qualified woman in the room might not want to be on the panel. Indeed she might, for any number of reasons have already refused the seat. She’ll be under pressure though, and probably embarrassed to say no on the spot (I would be) and that’ll just be awkward.

b) As China Miéville has said: even if the best qualified woman in the room does want to be on the panel, right off the bat she looks like an also ran, second choice, a sort of fastest runner up gifted her opportunity to speak by my extraordinary largess.  It doesn’t matter if the woman in question is the smartest, most erudite, biggest expert in the room.  She may well be.  It’s still going to look (and maybe feel) like I’m riding to her rescue on a stallion of my own enlightened manliness. Which, obviously, is not what we’re going for.

c) Changing the lineup mid-panel’s going to screw the panel up, and eat at least ten minutes of the hour’s running time with awkward ‘is there a woman in the house’ toing and froing. While we ought to be arguing over dialectical materialism, or Dr Who, or most likely dialectical materialism in Dr Who.

There are probably problems with the above approach too, if anyone wants to suggest a revision to it: comment. I’d be grateful.

Whatever solution we wind up with though, it looks like there’s a movement brewing over this, an honest to goodness, manifesto-toting grass-roots thing.  And I’m on board.

 

Awards: What Are They Good For?

 

This morning on Twitter, during a chat prompted by this Ursula Le Guin critique of awards, I said:

Tom Pollock

@tomhpollockTom Pollock
.@pornokitsch @ClarkeAward@thefingersofgod FWIW My view is that awards are useful as the start of a conversation, not the end of one.
Which I take to be true, as far as it goes, but I think it might be useful to unpack it a bit.
There are two related claims here, one which is fairly uncontroversial and one which might raise more eyebrows.
The first claim is just this: When you hand out a literary award that has sufficient cultural traction that anyone gives a crap, people will talk. Some people will agree with your choice of winner, many won’t, some may well call you a jackass but during the ensuing argument, most of them will give at least some reason why. This leads to discussion of the merits and qualities of books (or any other kind of art) which I take to be a good thing,  for at least 5 reasons:
1) It’s fun.
 2) It leads us to articulate the reasons we love a certain story, which can lead us to a better understanding of the things we value in stories in general.
3) In some circumstances it can lead to examination of the politics of a genre or literary establishment (as with the question of the number of women on the Clarke shortlist)
4) Through hearing other people advocate for books we haven’t read we can find new books to love.
5) It’s fun.
However, all of the above are merits of conversation about books. The value of the award is as a tinderbox to spark that conversation.  The question remains, are awards good at this? Or would we better off finding some other way to stimulate debate?
My intuition is that awards are very good at sparking debate
They are good at it, and this is the second, more controversial claim, because they are, fundamentally absurd.
Books aren’t compiled to any universal design aspiration, there aren’t any objective criteria to judge stories by (that’s why some awards, like the Kitschies, specify their own), and yet we persist in saying that The City and The City, say or Midnight’s Children, or heaven help us The Finkler Question is the best book of the year in this or that category.
These claims are so porous, arguable, and so valiantly hubristic, that readers up and down the land put aside their macaroni, WIP, husband, or whatever it was they happened to be doing and leap into the saddle of their social media accounts crying:
Finkler? Rubbish! What about… and by the way, not to harp on about this, why are all the shortlistees white 40 year old men from Hampstead (again)?” 
I’m not at all sure that Le Guin’s proposed cornucopia of more narrowly conceived awards would garner the same level of involvement from the community. You might as well say that dormice are the pinnacle of the animal kingdom as claim that so-and-so is the best book of all time, and yet that’s exactly what the beeb did with LOTR, and for about a month everyone had an opinion. The more ludicrously sweeping the claim made by an award, the more people it will sweep into the row about how and why it’s wrong. Which, as I’ve tried to show, is a good thing.
P.S. The infinitely witty and wonderful Adam Roberts has a post on awards that’s much more insightful than this one:

A quick and dirty defence of genre (with a small g)

Just a swift one, I promise.

I’ve watched and read a couple of interviews with people  recently decrying genre boundaries. ‘Why do we need to label things?’ they say, ‘Why must we mark things with the smoking brand of sci-fi, fantasy, litfic or crime? All it does is divide us and lead to squabbling, and I just want everyone to get along and CAN EVERYBODY PLEASE STOP YELLING!’

I understand this  point of view, I’m sympathetic, I really am. Sometimes I feel like the kid in the backseat of the car who’s parents are shouting, but I still think the idea of abolishing genre boundaries is tragically misguided.

People who hold this view tend to point to the huge numbers of books that don’t fit cleanly into a genre, or perhaps fall into several: Cloud Atlas, say, or IQ84 or Perdido St. Station. But so what? The fact that a heuristic doesn’t carve the world into precise segments doesn’t make it vacuous.

Genre labels, if nothing else, are a ranging shot, a beginning. A way to have a stab at describing a story in  world strapped for time. Even if that was all they were, then they’d be useful, but they also bring people together, they form communities and help people find friends (as anyone who went to the excellent Steampunk night at Blackwells on thursday will be able to attest). The correlary of this seems to be that those communities become atomized and then snipe at each other, but is this a neccessary product of the genre taxonomy? I don’t think so.

The problem isn’t the division, it’s the hierarchy. It’s the patently invalid inference that because say, litfic and SF are different, that one must therefore be better.

The problem, isn’t the division between ‘SF’ and ‘Fantasy’, or even ‘genre’ and ‘mainstream’ Those categories are fuzzy, cross-cutting and subjective, true but not nearly so much as ‘good’ and ‘bad’.

 

The robot-snoopy-magic dance of imminent World Domination T.M.

*Clears throat for big announcement*

*Ushers everyone in close*

*Yells at top of voice so everyone is a little bit deafened*

The Skyscraper Throne trilogy is being published in the U.S, by Flux!

 

I am, in case you cannot tell, rather excited. There was an auction, and a long wait, and it was all terribly dramatic, but I was utterly blown away by Flux’s enthusiasm, their vision and taste in YA books and how much Brian Farrey-Latz, my now American editor *got* what I was trying to do.

So, readers of America, I am here for all your London-based Urban Fantasy needs.

Life: An Exploded Monster, or, ‘What does a Nuclear Warhead have in Common with a Walking Tree?’

 

                       

 

I only read Mal Peet’s Life: An Exploded Diagram because Patrick Ness told me to, (me, and anyone else who was listening when he did his inheritance books on radio 4 extra). There’s a pleasing symmetry to the fact that, in my head at least, it’s the perfect companion to his own A Monster Calls.

Let me explain, because you probably wouldn’t get that impression from the dust jackets.

Peet’s Life is about… well, just that really. A synopsis of the plot would reveal that the book details a love affair between a working class boy and a wealthy girl in the shadow of the Cuban missile crisis, but a plot synopsis is about as much use for understanding this book as a car manual is for understanding a camel.

What Life really is, at least to me, is an attempt to answer the following question. What’s the point of people? And why should we care if they’re threatened with nuclear obliteration?

Structurally the book flits back and forth between the story of three generations of a Norfolk family, (culminating with Clem Ackroyd, one of our young lovers) and an hilarious, informative and at times down right terrifying account of the build-up to the US – Soviet confrontation over the Nuclear Missiles placed in Cuba by the USSR in October 1962. The passages dealing with the family Ackroyd and their community seem almost breathlessly distractable, constantly breaking off to describe the wedding of a grandmother or the building of a school. At first this makes the novel seem scatter shot, until you flick back to it’s title, and realise these details aren’t digressions, they are absolutely key to the book as a whole.

Death (so long as it happens to other people) gets abstract fast in Human minds. People are great at thinking about it without feeling it, its a survival skill, and that goes double for the threat of death on a large scale, triple if it occurred in the past, and you can square the lot if it went down a long way away. The Cuban missile crisis ticks every one of these boxes. It was distant: temporally, geographically and it was so mind-numbingly awesome in its potential to wreak Armageddon that its nigh on impossible for those of us who didn’t live through it to know what it was like. Peet’s made it his mission to make us feel it, to shudder at the thought of the lives it almost destroyed. And he does it by showing us the value of those lives in the only currency that really matters: in grandma’s weddings, in the crippling embarrassment of teenage erections, in memories, and in details.

Clem and Frankie’s love is the emotional sun of this solar system, the story that all the other stories revolve around. Peet shows us that love through the eyes of a teenager. He describes it in ways that mythologise it, that make it burn brightly against the backdrop of all those other mundane details, but its those details that make the mythology possible. You have to know Clem’s family, in order to know what it means for him to be willing to give it up to be with Frankie.

The message (although this book isn’t defined by its message), is pretty clear: The lives we value are the ones we know well enough, or can imagine well enough tell ourselves stories about. Peet helps us imagine more of the detail around the other lives in the world, and to remember and care that they’re still in danger from the 7,000 warheads still in existence.

If Life: An Exploded Diagram is a little love song to all the reasons we should cling on to people, then A Monster Calls is, at least in part, about learning to let them go.

Patrick Ness’s short, brutally poignant book, based on an idea and some notes by Siobhan Dowd, who died of cancer before she could write it, is structured around stories. Conor, who’s mother is dying of a degenerative illness, is visited in the night by a vast, tree-like monster who promises to tell him three stories, in exchange for which Conor must confess a single, shattering, truth. Each of the stories told by the monster begin like conventional fairy tales before diverging towards conclusions that have far more of the ragged ring of truth about them than the fairy tales would. Each of them resounds in the mind like a warning against the platitudes kids like Conor are told: ‘She’s a fighter, she’ll pull through.’,'If you only believe..’ and of course the deadly: ‘It’ll all be all right in the end’.

Because sometimes its not all right, and we have to remember that, because otherwise the fairy tales we tell ourselves grow too powerful, we believe them too deeply, and friction between them and reality threatens to tear us apart.

But A Monster Calls isn’t a bleak book. It’s not just about letting go, it’s about it being OK to let go. It’s about a teenage boy learning to forgive himself for being human.

Peet and Ness’s books are (for me at least) both about life and stories, they cover their themes from opposite perspectives, but they compliment rather than contradict each other. Life: An Exploded Diagram is about all the reasons we need to cling to life and stories. A Monster Calls is about all the reasons we need to let them go.

Fic: Blood In The Water

There’s blood in the water.

I didn’t notice it when I ran the tap, but as the froth settled, it appeared. A fine red skein, twisting like a capillary down the middle of the glass, staining the water’s clarity. Like always, a tightness grips my throat that I can’t quite swallow past. Mo sees my expression and snorts. He tells me I’ll get used to it, after all, pretty much everyone else has. He rubs the raw skin on his wrists, they still haven’t healed properly. He says he sometimes wonders if they ever will.

The blood started showing up in the town water supply about ten months ago. Nothing Scripture, no wine-dark floods or anything. Just a strand here and there, like a twist of DNA from some extinct creature, unearthed when we dug the town’s foundations. I raise the glass to my eye, and peer into it. One, single, strung-out drop, it would be easy to miss if it weren’t for the bitter taste of iron it leaves behind your teeth.

Like the rest of the town, the water treatment plant is only a couple of years old, but the engineers went over it inch by inch anyway, scouring the aluminium pipes for the source of the contamination. They didn’t find it, but the town Fathers couldn’t leave it there, the blood caused uproar. It was on the front page of the paper for three solid weeks. Inevitably, there was an expedition to the river’s source. I watched them go: a queue of fourteen jeeps twisting up the mountainside, dark as smoke against the snow.

Now, supposedly there were bandits in the mountains – stragglers left behind from the old tribe, with machine guns and nasty habits involving iron bed frames and car batteries – so the expedition went armed. Like a lot of the men, my Dad practised in the back yard before he left, sharpening up the old National Service training. He hissed in concentration as he squeezed off rounds from the old automatic. Chips of bark flew from the target painted on the tree. I felt a little surge of pride as I watched him, every shot hit dead centre. Dad had never got out of form. Mo watched him with me from the window. He snorted, kissed his teeth in disgust and shook his head. ‘Wood-carving with bullets’ he called it, ‘arts and crafts’, said it didn’t prove anything.  He said Dad had gone soft, and if he ran into any of the old tribe he was dead. That got under my skin like a hot needle and I snapped at Mo to get back down to the cellar before Dad came inside.

In the end though, it wasn’t no old tribe bandit did for the expedition. It was the cold. Temperatures crashed south of the red-line on the metre, fit to freeze the fuel in their tanks. Blizzards immersed them in blinding white. One of the jeeps skidded off the track and smashed through the ice into the river. I’m told it was so cold that the hearts of the men inside just stopped, their muscles locking with the shock of it. I look into the glass now, and imagine them looking back at me, panicking and drowning but oh so still, as though all the river water were still one thing, and the ice was a  broken window back onto their lives.

Mo stood with me at my bedroom window as the jeeps blundered back out of the snow. He counted to thirteen, then nodded once in satisfaction, turned and headed back down to the basement without a word still rubbing his wrists. And the blood kept twisting through the water, like the smallest, ugliest predator you ever saw.

I don’t know who had the idea to have the stuff tested, but whoever it was, we seized on it and sent vials of tap water away to a lab up state. Anticipation soured into restlessness, and as we waited for the results, our guesses spread like a cold on an air plane. Was it bear or pig blood? Or marmoset or wolf? Was it all a giant prank? We had a sweepstake on what the tests would find, with a rusted hulk of a second hand truck as a prize. I had a bit of my allowance still left for the betting, and I needed a car, so at breakfast I asked Dad what he thought. He peered at me over his whisky tumbler and didn’t smile. It was obvious, wasn’t it? He said.

The test results were inconclusive. It was human blood, that much they were sure of, and fresh-ish. But that’s all they could say. I know what Dad was thinking, but I have no idea if they can even test for the difference between Old Tribe blood and ours.

We couldn’t find the source of the contamination, and we couldn’t make it stop, so what was there left to do? Pack up the whole town? After all we did to claim it? Dad’s alone in still refusing to drink the water. He’s stuck to his whisky, there are bruise-coloured pools under his eyes and his sweat’s started to smell sour. Everyone else has gotten used to it. Turns out it doesn’t really do any harm, there are pinkish blotches appearing on the teeth and the whites of the eyes of a few unfortunate people, but they just smile with their mouths shut and we don’t look them in the eye and we all get by like that. Everyone’s gotten used to it, except me.

Every time I get a tainted glass, I manage maybe one swallow, and then I have to throw it out. The thought of drinking it makes me feel sick. My teeth ache constantly from all the lemonade I’m swigging instead. Mo rips the piss something chronic, calls me Soda Boy, like I’m some fizzy-drink’s sidekick. He says I need to grow a pair – hit the tap, or hit the bottle, like my Dad. He gets spiteful, so I get spiteful too. Do you know what Dad’ll do to you if I tell him about you? I’ll say to him, but he just smiles at me, slow and vicious. You think he doesn’t know? He’ll reply. Why do you think you’re the only two who won’t drink the water?

It’s a good question. They didn’t bring us kids to the town until the first houses were built, and that was months after the territory was cleared, but we know, everyone knows how fierce my Dad fought. The capital sent in a regiment of professionals to help with the fighting, but even they were impressed, said he fought like a soldier. I walked around school glowing when they told me that. Dad was making us a home, somewhere we belonged

He told me I had to understand what that meant, what it was worth.

So Dad led me down the basement steps, and flicked the switch. The harsh white tube lights spat and flickered on, and that was when I first saw Mo. I’d never met one of the Tribe before in the flesh. Blue nylon ropes stood out stark against the dried blood on his wrists, but he wasn’t struggling. His green uniform was ripped and filthy.  All I could make out of the serial number over his breast pocket was “#MO 279H”. He was just looking at me, looking at with eyes that seemed to stare all the way through me. Maybe to the mountains where he thought his parents had fled to. There was a click as Dad loaded the magazine into the pistol, the ceramic grip was very cold as he pressed it to my palm. He’s the last one, Dad said. He leaned forward and kissed my forehead. Whatever you decide to do I’ll understand. He smiled the kind of smile that won’t stay on your face properly, and then turned and jogged up the stairs.

I’ll understand. Those last two words twisted through me, polluting me. Staining the clarity of my thinking. Understand what? What did he want me to do? As the door closed, I looked at Mo. I remember thinking he looked very young to be in the army, to have that uniform. For a horrible moment, I wondered if Dad had made him wear it, to make him seem more grown up, like a real combatant. But the thought died quickly, because if there was one thing Dad knew, one thing he impressed on us, its that we’re all combatants. I hefted the gun. It was as cold as snow, and as heavy as an avalanche in my hand.

Now, I stare at the bloody water, my throat tight. My hand is sweating slightly against the glass, but it isn’t heavy, the way the pistol was. It gets easier. Mo’s behind me. He’s calling me a pussy, telling me to man up and drink it like everyone else does. Swallow it, he says. Maybe he’s right. After all, Dad and the others cleansed the territory. They made it clean and new so they’d have somewhere to raise their children and grandchildren. Somewhere they belonged and that belonged to them. To us. Mine will probably be the last generation that remembers what they paid for it. In a few decades, no one will know that the water here was ever any different. The blood twists through the water. The glass rattles against my teeth, but I steady it, and I drink.

Shavi – Showin’ it like it is: Thoughts Prompted by Zoo City.

So, I just finished Zoo City by Lauren Beukes.

It’s a riveting, hyperventilation-inducing mystery adventure, but more than that, it’s pure culture-shock.

Zoo City is an ice-bath immersion into two societies.  One is the fantasy alt-Johannesburg of Beukes’s imagination, whose crumbling Hillbrow ghetto is home to the animalled: people accompanied by familiars – symbols of, and companions through the guilt of their past crimes. The second society is modern South Africa itself, enmeshed in the violence, change and diversity that has shaped its namesake continent in the last two centuries.

At a talk she gave at the British Library today, I was struck by one thing Lauren said in particular. Fiction, she said, can give a face back to the faceless. At a time when so many of us have ‘issue’ fatigue, bombarded by 24-hour news that demands our sympathy for the suffering of millions, fiction can reconnect us with the individual. It brings our emotions back off the bench.

SF and Fantasy have a key role in this. They help leven the mix of the story, lighten the anger, pity or horror with wonder and excitment and so speed it’s passage into our hearts. The story makes the issue real to us precisely because it isn’t reducible to it, any more than the real world can be reduced down to the sum of its miseries, or the life and soul of anyone who has had to flee their home could be summed up purely by their refugee status.

The animalled aren’t just Lauren Beukes’s fantastical additions to South Africa, they’re  the reader’s guides through it. The voices of it in the text. They are there to show us life in South Africa’s largest city in a way we couldn’t see it in a news report.  The adventures we have in their company will keep the real Jo’burg burning longer and brighter in our imaginations than a mainstream novel ever could.

So that’s one way to  tackle an issue with SF, to take the situation of a refugee or a former child soldier, granite hard and honest and exactly as it is in real life and bind it up and shoot it through with fantastical wiring.

What’s another way?

SFF literature is the spawning ground of of secondary worlds. You can have a whole alternate universe to reframe the debate. When Mark Charan Newton shows us homophobia in Villjamur, he’s not just ‘gritting-up’ his setting, he’s ripping the prejudice free of its real world anchors, and showing it to us, stark and flimsy and unsupported, daring us to judge it for what it is.

But you can do more than reflect the world in your alternate universe, you can change it. Malinda Lo’s Ash  is a Lesbian retelling of Cinderella with nary a wisp of anti-gay prejudice in sight.

SFF excels, not just as mirror of the way our world is, but as a window onto the ways it could be.

What about you guys? What other stratagems do you see for engaging socio-political themes in SF? Do you think it’s effective, or do you feel that putting the idea in fiction blunts the edge?

 

 

 

Drumrolls, Drumrolls in the Deep

My debut novel, a YA Urban Fantasy, has been sold to the frankly legendary Jo Fletcher in her thrilling new genre imprint at Quercus:

Here’s Amy’s Publisher’s Marketplace blurb:

“Tom Pollock’s debut URCHIN, in which a teen girl graffiti artist teams up with the ragged son of a goddess to save the streets and monsters of London from a god of demolition, first in a trilogy, to Jo Fletcher at Jo Fletcher Books, in a good deal, in a three-book deal, for publication in summer 2012, by MBA Literary Agents on behalf of Amy Boggs at Donald Maass Literary Agency.
aboggs@maassagency.com”

Seriously, my agent’s summarizing skills are made of all kinds of *win*

Tons of love and gratitude to everyone who helped. X

Aliens and Resonance

There’s a theory a-brewin, that all stories get their power from existing on a spectrum between novelty and familiarity (with SF and Fantasy, ‘Alienation’ and ‘Resonance’ might be more apposite terms, but it comes down to the same thing).

LitFic for example sits  pretty hard up against the ‘familiarity’ end of the axis. Much of it tends to be judged on how accurately it portrays the intricacies of it’s character’s emotional lives as they plow through divorce, infidelity, balloon rides, bereavement, a wine holiday in Bordeaux… whatever. (I know, my prejudices are showing.)

The great high-weirdists, Lovecraft being the prime example, get their juice far more from the alienation end of the spectrum – using bizarre vocabulary and metaphors to asymptotically approach things which are supposed to be literally beyond human ken.

Obviously, while stories may have their biases towards one end of the spectrum, they will inevitably need to recruit tools from the other end in order to have their impact. A metaphor (a tentacle for example) needs to be familiar in order to communicate the unfamiliar. While the stories that hold a mirror up to nature at least try to show nature from an angle you haven’t seen, otherwise what’s the point?

One might be tempted to conclude that speculative fiction always and everywhere is a more alienating form than litfic (it’s the genre with aliens in, after all), but I’d disagree.  If Urban Fantasy trades on anything it’s resonance. Think of Neil Gaiman’s American Gods. Would that novel work at all, if it wasn’t for the echoes of Norse and West African myths bouncing around our skulls?

For me, this is my absolute favourite kind of fiction. I like to be alienated, but I prefer to be surprised. And its very difficult to be surprised by something really alien, because one has no expectations of it.

What about you guys? Which end of the axis do you find most compelling? The baroquely bizzare, or the twistedly familiar?

 

 

The Twist in the Tale…

Warning: SPOILERS for ‘Dr Who: A Good Man Goes to War’

Everyone loves a twisty tale, right? Everyone loves to have their expectations of a story go up in flames, incinerated  by a brighter, shinier, more profound realization. It’s one of the greatest pleasures to be found in fiction.

Others have, and will continue, to deconstruct the plot mechanics of the Dr Who Mid-series Finale ‘A Good Man Goes to War’. Including the various twists and reversals that have become a Dr Who staple in the Moffatt era.

One of those twists, I thought was particularly well executed – The Doctor and Rory and all of their friends infiltrate and take over an asteroid base to recover Amy and her baby, only to discover that the baby is another Flesh clone.

It has everything you’d want from a twist: it’s simple, elegant, well timed and relies only on story elements we’re already familiar with. Great twist. No really. Great.

My question is simple: why didn’t I care more?

I think the reason is that stated above. Moffatt includes so many twists that it’s hard to be surprised at the surprises. It’s not that I guessed it beforehand, far from it.  But deep down I had an inkling that something was coming, after all, this is the Steven Moffatt Dr Who we’re talking about! I’ve kind of built up a tolerance to his twists. As with Alias I can’t go back to the time I naively trusted it.

This idea fits with the trend that the stories famous for having great twists (The Sixth Sense, Fight Club, The Usual Supects etc.) all seem to have one thing in common, they each only really have one. They set off the dynamite and really blow your expectations out from under you, and they do it before you realise you can’t trust them.

 

 

 

 

 

 

 

What do you guys think? Do you like your dramas to be a rollercoaster ride of confounded expectation? Or do you like them to save it all for one really big shock?