Joanna Russ on Feminism and SF

I've been rereading TO WRITE LIKE A WOMAN: ESSAYS IN FEMINISM AND SCIENCE FICTION, by Joanna Russ. Although released in 1995, it contains many essays published earlier, as far back as the 1970s. It's still available new on Amazon, and you can view the table of contents with the "Look Inside" feature:

To Write Like a Woman

Of particular interest in reading these older works is noting how the image of women in popular fiction has changed since the 70s—as well as recognizing some problems that linger on to the present day. We can hope we've moved beyond the status quo described in "What Can a Heroine Do? or Why Women Can't Write" (1972), in which Russ argues that most of the plot and character archetypes familiar in novels written by and for men don't apply to female characters. An outcome defined as success for a man constitutes failure for a woman. A fictional woman (like career women in real life, at least at the time the essay was written) is apt to find herself stuck in a classic double bind; if she strives to fulfill her ambitions and actually succeeds, she's condemned as "unfeminine," but if she behaves the way a woman is traditionally expected to, she's viewed as weak. Consider how the history of "Alexandra the Great" would read. A female character in male-oriented fiction tends to fall into stereotypical categories such as the Bitch Goddess and the Maiden Victim. She can act as a protagonist in only one kind of story, a love story. Three principal genres are exceptions, according to Russ, giving characters true agency regardless of gender—mystery, horror, and especially science fiction.

Other essays of special interest are two pieces about all-women or women-dominated societies. "Amor Vincit Foeminam: The Battle of the Sexes in Science Fiction" (1980) surveys a batch of stories about such societies, written by men. It's amazing how silly most of them sound. Typically, the basic self-contradiction in those dystopias, which embody masculine fears about being dominated by females (in these tales, giving women equality always leads to feminine tyranny), is that women are portrayed as so powerful they can crush men completely (aside from the hero, of course), yet so weak they can be subdued and enlightened by "real" sex or even a passionate kiss. Numerous counter-examples appear in "Recent Feminist Utopias," which analyzes a selection of more nuanced, humane female-dominated societies, all but one written by women. Russ includes Marion Zimmer Bradley's THE SHATTERED CHAIN, presenting the Free Amazon subculture as one such society, even though it's embedded in the patriarchal culture of Darkover as a whole. I would have liked to see a discussion of Bradley's true feminist utopian novel, THE RUINS OF ISIS, but perhaps it hadn't been published at the time of this article.

The first three essays in the book examine science fiction as a genre and try to construct a working definition of its "aesthetic." "Someone's Trying to Kill Me, and I Think It's My Husband" provocatively analyzes the paperback Gothics so popular in the 1960s and 70s. The other pieces range over a variety of topics, including a merciless dissection of the film version of Harlan Ellison's "A Boy and His Dog." Despite the age of the material in this collection, it remains fascinating, thought-provoking, and relevant to the current status of the field. Also recommended: Russ's incisive work HOW TO SUPPRESS WOMEN'S WRITING. ("She didn't write it"; "She wrote it, but she had help"; "She wrote it, but look WHAT she wrote"; etc.)

Margaret L. Carter

Carter's Crypt

The Vampire as Alien

I'm thrilled that my nonfiction book DIFFERENT BLOOD: THE VAMPIRE AS ALIEN is back on the market at last. It's been re-released by a new publisher with some updating and a fantastic new cover:

Different Blood

This is a work of critical analysis that surveys the widely varied forms of the "vampire as alien" trope in fiction from the second half of the nineteenth century to the early twenty-first. By "alien," I mean a naturally evolved creature (regardless of whether earthly or extraterrestrial) rather than a supernatural undead entity. So DIFFERENT BLOOD examines one subset of the science-fiction vampire. Readers may be surprised to discover how many amazing stories and novels fall into that category.

In the Amazon "Look Inside" feature, you can read the introduction and part of Chapter One to get a sense of the flavor of the text. I've drawn upon Jacqueline Lichtenberg's essays such as "Vampire with Muddy Boots" and her article on Intimate Adventure to set the stage for my treatment of the topic. You'll find references to those essays in the introduction. To borrow Jacqueline's terms, I'm fascinated by the way most "vampire as alien" fiction deals with nonhuman characters in an SF framework instead of portraying them as "the Unknown that is a menace because it's a menace."

Naturally, Jacqueline's THOSE OF MY BLOOD is one of the books discussed, as well as HOUSE OF ZEOR and the philosophy underlying the Sime-Gen series. One delightful aspect of writing DIFFERENT BLOOD was having a chance to highlight lots of my favorite novels and stories that develop the figure of the vampire in original, provocative ways. I've always admired the way the vampire, as the most versatile of all the traditional monsters, can be used to explore gender, race, ecological responsibility, predator-prey dynamics, symbiosis, and many other themes; the concept of "alienness" is ideally suited for this exploration. I hope DIFFERENT BLOOD introduces readers to numerous works of exciting, innovative fiction they haven't encountered before.

Margaret L. Carter

Carter's Crypt

Marketing Fiction In A Changing World Part 19 - Guest Post By a Non-Fiction Writer

Marketing Fiction In A Changing World
Part 19
Guest Post By a Non-Fiction Writer 

The previous parts of this series on Marketing Fiction in a Changing World are indexed here:
http://aliendjinnromances.blogspot.com/2014/05/index-to-marketing-fiction-in-changing.html

Here is an account of the experiences of a very creative person who found that fiction just was not the right venue of expression for her.

When she redirected her creativity to non-fiction, she had a different experience.

---------------

Writing in My Own Voice

by

Deborah Wunder 

I fell into writing for a living.

I was in a chat room, and a "Famous Writer" dared me to submit a story to an anthology he was editing. I did so, and the story made the cut.

So did the next four stories I submitted to various anthologies. I know it is not the norm to have four sales before your first rejection, but there it was. I had the sales.

Having the sales meant I was a baby pro writer. I was working in a field that is open to fans becoming pros - often with the mentorship of pros who had once been fans.

I next worked on expanding one of the short stories into a novel. That didn't work, even with the wonderful mentorship of Ms. Lichtenberg. The failure was mine. I wrote myself into a corner that I still - 20 years later - have not been able to resolve.

The thing is, I never felt comfortable writing in the sf/fantasy field. I did not have a lot of spontaneous ideas to write about. Inspiration did not come in a flash. I was not given to the "What if...?" that seemed to spark for many of my colleagues.

If an editor gave me an assignment, I could run with it, but left to my own devices, ideas were few and far between.

I did not stop writing, though. I went through copywriting for various websites, and I started my first blog. That blog was about financial basics and recovering from personal debt.

Over the course of that blog on personal finance, I found that my meter was blogging; I was an essayist by natural talent.

Here is an example of a blog reprinted to LinkedIn.

 https://www.linkedin.com/pulse/20140907055903-27359729-if-i-ran-the-zoo-just-how-important-are-proper-spelling-and-grammar-anyway

If I Ran the Zoo…(Just how important are proper spelling and grammar, anyway?)

This is a repost of a blog entry I wrote on 21 Aug 2008 in my very first blog, "The Dangling Conversation."

I continued to blog until about two years ago, when health issues interrupted my life. At the time I had to stop, I had four separate blogs, each of which was gaining in subscribers and views.

And here is one from my blog titled, "Not Just Another Grouchy Grammarian"

https://grouchygrammarian.wordpress.com/2014/09/06/writing-for-the-web/

I have not forgotten the satisfaction I got from writing essays. I am still working at regaining my health, but I find that the urge to blog again is rising.  Writing in your own voice is one of the most satisfying things you can do. It may or may not bring financial rewards. It will definitely bring authenticity to your work.

Writing in your own voice is taking responsibility for what you put into the world. It is one of the most powerful things that you can do as a writer.

For me, it is the only way I can go forward.

Deb Wunder
http://otherdeb.net
----------------

Think about Deb Wunder's experience as you decide what is the best vehicle for what you have to say. It might not be fiction.

That is the flip side of the commentary I developed in Part 17 of this series on Marketing Fiction in a Changing World

http://aliendjinnromances.blogspot.com/2016/01/marketing-fiction-in-changing-world.html

Non-fiction is a much more lucrative field than fiction in any variety (except perhaps TV or film), and the work in non-fiction is apt to be much more steady.

Journalism is still a growing, thriving field, even though news printed and distributed on paper is a dying industry.  Even with blogging and online newspapers, someone has to go out there and get the story, and bring the facts to the public.  Someone has to think about the maze of conflicting information and suggest ways to group information so readers can craft a personal opinion. Someone has to know that not everything posted to the internet is actually true.

Even today, the best fiction is ripped from the news headlines -- not always the news of today, but news.

"News" is pretty much defined as facts that require changing your opinion.

In Romance novels, the fact that comes to light requiring a change of opinion is the possibility of a serious Relationship.

"I'll never marry!" changes to "Well, but maybe I have to re-think that."

Meeting someone, discovering the fact of their existence, an impossible-to-imagine person who is real and standing right in front of you -- that is NEWS.  It changes everything, perhaps even your own identity.

So, while creativity might be a prime element in a person's character, he or she might not be a fiction writer.  Creativity is necessary for ascertaining facts - as one must first imagine what questions to ask, where to look for missing facts.  Creativity is necessary for compiling facts into a narrative that makes sense of the world. And after the sense of that narrative is established, creativity is necessary for formulating usable opinions.

At heart, a fiction writer is not all that different from a non-fiction writer.  They are not incompatible fields. But each writer will find one, or the other, or some combination is the best vehicle to showcase their creativity.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Marketing Fiction In A Changing World - Part 17 - Make Your Living At Non-Fiction

Marketing Fiction In A Changing World
Part 17
Make Your Living At Non-Fiction To Support Fiction Writing
by
 Jacqueline Lichtenberg

Last week we heard from a Guest who works as a High School teacher, clueing teens in on the secrets of analyzing novels for the moving parts we talk about on this blog.

http://aliendjinnromances.blogspot.com/2015/12/guest-post-star-trek-fan-fiction-writer.html

The previous parts of this series on Marketing Fiction in a Changing World are indexed here:
http://aliendjinnromances.blogspot.com/2014/05/index-to-marketing-fiction-in-changing.html

Today let's look at how fiction writers actually make a living.

In "reality" the life of a writer is not like in the movies.  There is no background music except the din of the telephone as collection agencies swarm.

A living wage is something far different from the national minimum wage.  As a writer of original material, not a work-for-hire, you are not working for wages.  You are a business owner working for yourself, as a self-employed executive.  You make a contract with the publisher, licensing your product, not "selling" it.  But very often, the owner makes less than the employee whose wages he/she is paying, just as publishers make more than the writers.

As you noted, Leslye Lilker is the originator of the enchanting, famous, and utterly riveting character of Sahaj, Spock's son in an alternate universe Star Trek.  That's fan fiction, but it is professional quality writing.

Most of us who write fiction, fan fiction, or any form of genre fiction including science fiction novels, Romance stories within science fiction, or actual blended Science Fiction Romance, Paranormal Romance, or any variation, find the author's portion of the cover price just way too little to live on.

Unless you sell over 150,000 copies of every title your publisher issues, you just can't make ends meet.  Writing pays less (way less) than minimum wage if you just write stories of novels.

That is why authors are re-issuing their own books as self-published after they retrieve the rights from the original Mass Market publisher.  We all need suplemental income.

Intermittent, full-time-temporary employment is often the answer to this problem.

Here is an example of where writers get that kind of work.

NPR put this estimate up in the middle of August 2015.  Check out the amount of money being spent, and understand commercials are like little movies -- they need WRITERS.

http://www.npr.org/sections/itsallpolitics/2015/08/19/432759311/2016-campaign-tv-ad-spending

--------------QUOTE-----------
The 2016 election is already providing a lot of eye-popping statistics about the ballooning spending candidates will do in the 2016 election. Among them:

Former Florida Gov. Jeb Bush's superPAC has already raised more — in the first half of a non-election year — than Obama's main superPAC did in all of the 2012 cycle.
The latest big TV ad buy in the 2016 presidential election — on Ohio Gov. John Kasich's behalf, totaling $375,000 — is worth more than seven times the annual median U.S. household income.

There have already been seven times more political ads in the 2016 election than at this point in the 2012 election, according to Elizabeth Wilner, senior vice president at Kantar's Campaign Media and Analysis Group.
Or just try to digest the aggregate numbers. For instance, political TV ad spending will top $4.4 billion for federal races this year, up from $3.8 billion in 2012, Wilner estimated.

Yet TV ads seem to have only small effects on how Americans vote. So why do campaigns spend such huge chunks of their budgets on television spots? It's the need for name recognition, at first. Later on, fear, habit and the hunger for the small sliver of votes at play also drive the huge spending.
-----------END QUOTE------------

Writing for a political campaign is intermittent full time work using and honing skills similar to fiction writing.  Moreover, moving around inside a political campaign will fill you up with story ideas -- with material that directly connects to your intended audience.

Politicians need to reach an "everybody" audience, so your personal fiction audience will be represented among those who work for candidates and those who listen to the messages.

These numbers are about the National Presidential Campaign.

You don't land one of those jobs the first time you venture into non-fiction writing, copywriting, advertising copy writing.

In fact, there are courses in advertising writing, and there's a long apprenticeship.

So consider volunteering with a local political campaign, write local driveway-throw-away newspaper articles about a candidate, get a toe in the door by writing "letter to the editor" or op-ed, write on blogs for the candidate.

Start small, local, and working for people you know personally.  If you can work up the ranks of unpaid volunteers, and become a paid writer -- next election cycle you might land an actual worthwhile job, a paying job, for a State office candidate.

Paper newspapers are dying, as we've noted in this series of posts.  But local advertisement papers still exist -- they don't pay much, but they are a resume item credential.  Learn to handle social media and keep up on all the changes -- remember to tell your political advocacy story in pictures.  Those folks on YouTube who advocate for candidates freelance are using professional video production tools and talents.  But you can start a channel and put up your own advocacy, displaying your writing skills.

More and more money is going into politics -- that won't last because Congress is going to re-do the laws (again) to get around the Supreme Court, but while the money allowed into politics is unlimited -- grab your piece of the action.

Become a VOICE -- but be sure to use a different byline than you do for novel writing.

Here's a discussion of when to use a pen-name:

http://aliendjinnromances.blogspot.com/2015/06/reviews-15-by-jacqueline-lichtenberg.html

The most successful, best-selling writers I know of began their writing careers in journalism.  It is still the training ground.  If you didn't major in journalism in college, you can attain the skills and reputation by volunteer writing.

Remember, every word you see or hear about candidates was WRITTEN.  And some of those writers got paid a lot more than you'll make on a Science Fiction Romance title.


Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Is Your Romance Novel Really A TV Mini Series?

What is a TV Mini Series? 

How is a TV Mini Series different from a novel?  (or is it?) 

At the end of July, I did a post here on the lack of variety and reruns of TV Series.

http://aliendjinnromances.blogspot.com/2012/07/targeting-readership-part-5-where-is.html 

My cry was "Where Is Everybody?"  -- meaning that the coordinated shutdown of TV series (new and used) meant simply that the cable delivery system is in failure-mode, that audiences have packed up and moved away.

Of course, by September we had new shows gallore vieing for eyeballs, and there is more than I can watch in my sparse and shrinking TV hours.  But the point is still valid.  Those hiatus weeks never were that barren when there were only 3 channels that broadcast only 5-11 PM. 

And of course I know where everybody went.  Besides "gaming" -- people are leaving CABLE TV in droves.

What little TV Fiction time anyone has left these days is easily filled by "streaming" services like Netflix, Hulu, Roku, Amazon Instant Video.  Both movies and TV Mini Series are available very quickly on streaming services.  Those who watch story-format trends indicate that the TV Series episodic format with story-arc is still growing in popularity as people wait for an entire season of shows to go up on Netflix or Amazon or DVD and then watch them all at once. 

And now Amazon is making movies, and I know of at least one other Web TV Streaming company planning to leap into the movie business. 

One kind of property that lends itself remarkably well to to the TV Mini Series format  -- or any video streaming delivery of series like pod casts - is Romance.  Romance stories have both built-in suspense lines (will she/ won't she?) and broad relevance to the lives of anyone, any where and any time. 

So what is the structure of the TV Mini Series that makes it so suitable to the novel type story? 

Have you ever read a novel that is divided into Part I, Part II, Part III ?  Or perhaps Book 1, Book 2, Book 3? 

Why is that single volume divided instead of being published as three separate items to hold, a trilogy? 

The reasons are various, of course, but here is what to watch for as you analyze your favorites:

A) The Parts or Books are so deeply connected you can't read them as stand-alone or separate parts.
B) The Parts or Books are too short for modern distribution to handle commercially as separate units.
C) The Parts or Books are set in different places, about different people, or in separate times. 

Then there is the non-fiction TV Mini Series structure.  These are usually documentaries, often with some kind of agenda, sometimes political.  They try to summarize the history of events, or present new evidence.

Think of the J.F. Kennedy assassination documentaries, or the wonderful compendium of episodes covering World War II which was, as a TV Mini Series titled "Victory At Sea." 



There are several DVD parts on Amazon, and it's all available streaming.

There are 16 parts to this one, but Parts 1 to 4 run collectively 1 hour and 47 minutes.  These were originally broadcast on TV after being collected from Theater "short subjects" as half hour episodes -- half hour broken by commercials.

The collection tells the story of World War II in the PACIFIC THEATER, not Europe.  It's only half the story! 

Now think of all the really great biographies you've read.  Usually a Biography or Autobiography will cover the entire lifetime of a long-lived person.  But somehow the scattered events are collected in threads that display the cause-effect-connection (what I've termed the Because Line in novel structure in previous posts) among events separated by decades. 

When you can see the overview of an entire lifetime, all arranged to display the connections, somehow "life" begins to make sense. 



In actuality, a life such as Theodore Bikel's is a TV Miniseries more than it is a novel -- there's growing up, there's the war itself, there's being a refugee, there's pursuing an education in Theater in England, there's a Movie and TV Career, there's today which is totally amazing.  But taken as a whole, it's not a novel but a T.V. Mini Series. 

http://bikel.com

You can see that periodic yet flowing structure in his autobiography, THEO.

Is a biography or autobiography fiction or non-fiction? 

My answer to that is "hybrid" -- to be riveting and revealing, a biography has to have been constructed with the techniques of the fiction writer that I've been harping on in these blog posts.  You need to see the entire LIFE as A STORY -- but you also must compose that story out of the selected facts.  A biography or autobiography is not a transcription of every word a person said, everything they did from details of getting dressed in the morning to what they ate at every single meal. 

No, the story of a life is a STORY that happens to be factual.  And as I see it, it can't be a story without ROMANCE. 

What does that tell you about fiction?  About novels?  About romance novels in particular? 

We created the novel form from the basic "story" told around campfires -- which were pretty much morality tales and history re-packaged so children would remember it and tell their children.  Why do we remember history?  Because those who don't are doomed to repeat it.

So a TV Mini Series is a "series" first just as any piece of fiction is a "story" structured just exactly like real life.

We've spent some time this year studying our "real" world -- from politics to religion, and how to mix them - as a means of building fictional worlds that readers can immerse themselves in, feeling as if they are in a real world. 

So now we have the hang of building a fictional environment out of the components of reality shared with our readers.

Building a world is a huge task, which is why so many writers get lazy and just use reality.  Another popular form now is "Urban Fantasy" -- and again, the writer doesn't have to create anything except the elements that differ from the reader's everyday reality.  That also makes it easier for the reader to enter that world -- and it makes it easier to focus the story on the characters and their quirks.

But if you build an entire "world" for a piece of fiction, the only way to make it economical is to recycle it - to use that same set of rules and inventions in other stories.

When you change the STORY but keep the WORLD the same -- you have a series. 

Sometimes, as in a biography, the character is the same person at different stages of life, with accumulating experience redirecting decisions and life-policies.  An example could be the before and after of a drug addict.  Or you might consider the before and after of a single character who has lost an enormous amount of weight (say 150 lbs).

The TV Mini Series structure would then start with the character as a child, perhaps chubby but normally so, do a second episode about the Teen who is in angst and misery gaining weight, a third episode in college with all the rejection and things the overweight person couldn't do leading maybe to an eating disorder, ultra emaciation, then ballooning weight gain.  Then an episode about the therapy undergone to address this horrendous problem. 

Then ending with an episode about the person attaining a normal weight.  And a final episode proving the normal weight was maintained, and summing up what went wrong that caused this weight syndrom, and how fixing what went wrong actually caused other things in that life to go "wrong."  All of the "right" and "wrong" of weight issues are value judgements which make dynamite material (I mean explosive!) for fiction because they are so real in life. 

Such a TV Mini Series could be focused on ROMANCE -- the deep, committed and fulfilling romantic relationships of an extremely overweight person might be a healthy romantic relationship which would simply not survive the weight-loss efforts because it would be inappropriate to the thinner individual, who might then be miserable with loneliness until some other true-mate came along. 

How weight affects the establishment and maintaining of a healthy relationship could be a dynamite theme for a story, but you couldn't cover the nuances in a 90 minute feature film.

A "life" like that has so many phases, each with a theme, each theme related to previous life-themes and generating successive life themes -- and that is the essence of the structure of a TV Mini Series. 

Of course today, when you think TV Mini Series, you should think in terms of video delivery, of YouTube video trailers, and Kickstarter funding.

I recently got into a discussion of music in general which triggered a memory of this long-ago TV Series which wasn't a "TV Mini Series" but had a very long run.  It was informative, tackled the hottest topics of the day, illuminated issues, and educated viewers.  This was so long ago that TV viewers were expected to have an attention span much longer than those who've grown up on Sasame Street. 

I remember many of these shows vividly, but not all of them. Mostly I remember the feeling of anticipation, the reveling in the sheer joy of discovery, and most of all the introductory music and image collage.

Remembering the music, I rummaged in my mind for the title of "that old TV Series" -- and after a few days what surfaced was the word OMNIBUS.

But I couldn't remember the moderator, though I do remember how incredibly impressive he was.

So I googled Omnibus TV Series and came to the wikipedia page

http://en.wikipedia.org/wiki/Omnibus_(U.S._TV_series)

that said Alistair Cooke. It's a very short entry but reminded me why the series was so impressive. It won a lot of really hard-to-win awards.




If you are looking for a TV Series on DVD to share with your kids over dinner on Sunday night, try this series.

If you want to study exactly how to put together a non-fiction TV Series that will be remembered for decades, get this DVD.

Now don't forget this is very primitive video because they didn't have much back then, and it's amazing it still exists. It's the material and presentation -- the title, the music, the manner of the moderator, but most of all the "make-the-most-of-limited-means" production.

The production values may look laughable now, but look at how this was funded by grant money -- it was an exceptionally low budget creation that relied wholly on content and elegance of technical execution.

If you are aiming to produce something for YouTube or to write a low-budget movie script, this TV Series is where to start studying how it's done. Penetrating and Memorable.

Here's from the Amazon page.  This is not the whole series of shows -- but a Mini Series excerpted. 

-----------QUOTE-------------
The People That Fascinated Us
The Places That Defined America

The Golden Age of Television's most distinguished production, Omnibus brought sophistication, refinement and sparkling intelligence to a national audience. Featuring such luminaries as Alistair Cook, Don Hewitt and Richard Leacock, this historic 2-disc collection features fourteen segments (broadcast between the years 1952 to 1960) that examine the iconic people and places that shaped American pop culture and society.

Includes
DISC 1 - PEOPLE
1. Philippe Halsman
2. William Faulkner
3. Frank Lloyd Wright
4. Pearl Buck - "My Several Worlds"
5. E.B. White - "A Maine Lobsterman"
6. Sugar Ray Robinson visits Stillman's Gym
7. James Thurber - Man and Boy
8. How the F-100 Got Its Tail
9. Leonard Bernstein's Musical Travelogue

DISC 2 - PLACES
1. The New York Times
2. Toby and the Tall Corn
3. Grand Central: Portrait of a Railroad Terminal
4. Dr. Seuss Explores the Museum that Ought to Be
5. New York's Night People

Also includes 20 page booklet with written contributions by Richard Leacock, Rosemary Thurber, Edgar S. Walsh and the Archive of American Television
-----------END QUOTE------------

I suspect this bottomless well of HISTORY is one big place "everybody went" -- that giant swaths of what used to be "the TV Audience" is now the "Streaming Audience" and people are exploring the wonder of old movies, the wealth of new releases rushed to DVD and streaming, and elegant old TV shows resurrected from the vaults. 

If you want to write a TV Mini Series, do something that will be remembered like Omnibus, or Victory At Sea, and encapsulate a slice of the reality of the 2012 world, the 20-teens as it were.  What you do may not be valued until decades from now, but when it is, then that will be where "everybody went."

Take for example the TV Mini Series I outlined on the issue of weight.  Make the story about Romance in today's world for the overweight woman -- and twenty years from now when a stem-cell genetic fix is available and nobody is overweight any more, your story will be a classic avidly watched on whatever replaces streaming video.  What a strange, bizarre, even cruel world we live in today.  DOCUMENT IT IN FICTION. 

Or maybe a lot sooner than 20 years!

http://www.nytimes.com/2010/02/14/magazine/14Biology-t.html  a news story about do-it-yourself at-home genetic engineering. 

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com