The most ridiculous health care system I've seen in my reading of alien romances and futuristic romances is to put an injured or sick person into a smart box for a short time.
Like magic, they recover completely with no explanation. All the hero has to do is carry the heroine to the nearest box. Or vice versa!
Superheroes and new agers require crystals. What else have you seen in speculative fiction?
Could an MRI or the combination of radioactivity with a psychically attractive meditation object really stimulate the body to regenerate itself?
Or will doctors and nurses always be with us? And if they are, will they dress differently... because those white coats or scrubs that are worn all day long might be the modern equivalent of the unwashed hands that went from dissecting cadavers in the morgue to the childbed in the maternity ward.
It would be nice if Go To Meeting Dot Com technology could be adapted for sick patient consultations, wouldn't it?
Go-To-Doc dot com.
We could sit at our computers with the camera on, and the doctor would be at his computer. We could show him our tongues, throats, nostrils, spots and rashes, hemorroids (I never could spell that!), or anything else that bothered us.
I dare say it wouldn't be too hard to have a DIY stethoscope, ECG, and blood tester. Also a DIY urinalysis, and occult blood test. Pharmacies could sell kits.
My vision is that this would be like Triage. If the patient wasn't satisfied, or if the doctor was suspicious of his or her own diagnosis, a referral could be made. In many cases, we go to a walk in clinic, the doctor pays close attention, prescribes an antibiotic or an over-the-counter remedy, admonishes us to rest and drink lots of non-alcoholic liquids, and tells us to come back in ten days if the condition does not improve.
There's already Ask-A-Nurse by telephone and probably in chat forums. Why not have Doctor-Zoom (with apologies to Legal Zoom) ?
It seems to me that medicine is Socialized on the USS Enterprise, on Babylon 5, and on Rebel alliance starships. Did Luke have to pay for his bionic hand? Would Mr. Spock be required to pay privately if he elected to have a medically irrational ear job?
Being sick is bad enough, without it being financially ruinous. On the other hand, perhaps we don't all have the right to be as beautiful and sexy as modern medicine could make us... at least, not at taxpayers' cost.
What would happen to society in the future if the person who communicated a disease was financially responsible for the treatment of those he or she infected? Unworkable? Unenforcible?
Look at H1N1. Some cities closed the schools.
It's a fact of life. Some parents will send their children to school when they know that child has a fever and is infectious... even with H1N1. There is no economic disincentive to endangering the community, but there is a financial incentive. If the child is kept at home, the parent cannot go to work and may lose wages.
Some people have a cock-eyed view of social responsibility. We had a school camp. One parent allegedly (so others said) left the bedside of a husband who had a 104 degree fever and alleged swineflu to come to camp and take her turn serving food at the snack table.
If the health care system is in financial trouble, will the elders of the future seek to encourage and even reward "self-quarantine"? Or, in the future, would the spread of a deadly disease be seen by government as a cost-effective way to eradicate the most expensive and non-productive members of society?
(Playing Devils Advocate, here. That is not what I endorse.)
My Fictional Future Health Care Plan
1. Private Pay. Walk-In clinics. Doctor-Zoom.com
If anyone wants to see a doctor in the walk-in system for cuts, scrapes, colds, flu, bronchitis, drug testing, rashes, broken toes/fingers, flu shots, prescription refills, (the sort of things that the uninsured take to the Emergency Room, and everyone else "walks in" and claims on their insurance, which cannot possibly be efficient in terms of paperwork time in relation to face-time with the doctor)
Flat rate of $10 for up to 10 minutes face-to-face online, or $30 in a facility.
(Or whatever AMA deems reasonable... Perhaps tax CREDITS could be an answer to the discrepancy in what people can afford to pay, and what is fair compensation for long, expensive training.)
Cash payment before being seen (on the spot or online).
Medical PayPal model?
Sign medical waiver, so there is no insurance/malpractice issue.
No insurance forms to be filled out, or claims to file. No exceptions. Just like walk in flu shots.
This will save doctors a lot of paperwork.
This will put the onus on patients to turn up at the clinics or online with all their own records and a list of their symptoms.
2.
Health Care Spending Account. PayPal for Medical costs.
Everyone (even children) may set up a tax-free, personal, individual Health Care Spending account, on the same principal as a college account. Possibly, the state could match savings for the lowest income individuals. The dollars would "roll over" and never be lost (unless spent.)
Employers could "buy out" existing health care, by transferring cash into their employees' Health Care Spending Accounts.
This would be a private pay system. Those who keep themselves in good health would not be subsidizing those who have unhealthy lifestyles.
3.
Private Insurance. (Like the British BUPA)
Individuals could opt to buy private, annual, term insurance for operations and other expensive procedures, also for elective and cosmetic procedures. This would be for patients who did not wish to wait for hip replacements, and other elective procedures, or who wished to have annual physicals at "resort" hospitals such as the Mayo Clinic instead of in their local physicans' offices with "participating providers".
It could work like car insurance, with cash back for people who do not make claims, and reduced premiums for those with clean health records. Premiums (at the Health Care Account owner's sole discretion) could be paid out of the Health Care Savings Account.
4.
State System.
Everyone is covered for everything requiring a referral from the $30 walk-in or $10 online clinic and upwards. Everyone waits their turn. No penis or breast enlargement (or reversal of medically successful cosmetic surgery) etc.
Only prescriptions that are necessary for pain, life preservation, treatment of infections, functioning of tests, etc would be provided. (No self-esteem drugs, no birth control, no viagra, no fertility drugs.)
Catastrophic care would be covered.
What's on your future wish list?
Rowena Cherry
Sunday, June 21, 2009
The future of books
My opinion is that bookstores will become more of a cross between an internet cafe and a library. If patrons could do all their browsing on free computers, books would not have to be displayed attractively, and books could be stored much more efficiently.
The idea of allowing any single-product merchant access to everything on my personal computer is ludicrous.
http://www.opendemocracy.net/article/email/book-futures#comment-508303
Happy Fathers' Day
The idea of allowing any single-product merchant access to everything on my personal computer is ludicrous.
http://www.opendemocracy.net/article/email/book-futures#comment-508303
Happy Fathers' Day
Saturday, June 20, 2009
When a story doesn't work, part five
For the past few weeks I've posted the synopsis and first three chapters of my post apocotlypic romance that I shopped around to some different houses the end of 2008. One editor called it a MadMax/Matrix mix. I liked that reference. Still no one bit. No one even came close. They just could not identify with the characters.
So what was I to do? I had a concept that I thought was a good one. The greatest power is the mind. My overall story arc was pretty much typical. Guy meets girl, guy falls for girl, bad guy wants girl, bad guy takes girl, guy rescues girl and they live happily ever after. My world, as I envisioned it was complex and would need at least three books to tell, maybe four. Most important, I had two characters and names that I loved. Dax and Merritt.
I think one thing that went against me was the time of year. I sent out a dark, desperate and depressing world at Christmas time. That really should not influence it but deep down I think it did. Christmas is a happy time as it should be. But mostly I think the market was to blame. sci/fi romance is a very narrow niche and its hard to take a risk on something that does not have the potential for making a lot of $$$.
Publishers had taken a hit along with everyone else in 2008. A major book distributor went under. Returns were up, book stores were not buying as many titles as before but buying more of sure things. It was a hard time to sell period.
I took a long hard look at the market. I needed to come up with something new and fresh. Something that did not have vampires since I feel the fur and fangs market is way over done. I also felt as if urban fantasy might be overdone as well. Something well written in a new market sells, it becomes popular and suddenly every publisher in the world wants the same thing. They buy it up in hopes that they can cash in on the sudden craze and the reader gets tired of it. I am a firm believer that the reader wants a well written book in any genre instead of mediocre books in their favorite genre.
So thinking, new and different. Something that I could do well. Something in my writers wheelhouse. Somthing with strong characters, and great world buildling. I'm known for writing historicals and scifi. What blends those two genre's together?
Steampunk.
It wasn't as if I had a lightbulb moment. I'd read a few articles, thought about it, watched some movies with some elements of it, then a friend called me up and said. "I think you should try writing Steampunk. Its' perfect for you."
But I still had this proposal with elements that I liked and characters that I adored. Could I turn it into a steampunk story?
Here's the synopsis. You tell me.
Prism by Cindy Holby
A Steampunk Romance
Cindy Holby, award-winning author of historical and scifi romance, blends both genres together with Prism, a steampunk romance featuring a cowboy, a psychic heroine and a diabolical plot to take over the world using imaginative technology in Victorian England. What’s a proper British lady to do when a mad scientist is after her brain and an American cowboy is after her heart?
London, England 1887
David Alexander Conrad, AKA Dax, is a cowboy. But he's not just any ordinary cowboy—he's one of the famed performers with the Buffalo Bill Wild West Show who, in the summer of 1887, travels to England in order to give those stuffy Victorians a jolt of good old American showmanship. He is a renowned sharp shooter and trick rider with skills honed when he worked as a scout for the US Cavalry in the American Southwest during the Apache Wars with Geronimo. At twenty-seven, he’s the youngest star of the show and something of a celebrity in a London unaccustomed to his type. It is while Dax is on the party circuit that he meets a woman unlike any he has ever known.
Merritt Elizabeth Chadwyke is the daughter of Member of Parliament, Lord Pemberton She lives in a society bubble because she is subject to spells and needs the constant monitoring of a nurse. During her “spells” Merritt has been known to make outlandish comments about things of which she should have no knowledge. There is also evidence that during these spells, objects appear to move on their own. Merritt’s parents are very protective of her since they have already lost a son to a tragic accident. What her parents do not know is that at ten years of age, Merritt had a vision of her brother’s death but was afraid to say anything because of her parents reactions to her visions. She did try to warn her brother, who was fourteen when he died, but he ignored her. He realized he should have paid attention to her and said so as he died in his father’s arms. At their wits’ end over her strange illness, her parents send her to the Paranormal Research Institute run by Baron Edmond Von Swaim, who has become a society darling himself by using his powers of hypnotism to charm the upper crust. As Von Swaim performs test upon test on Merritt, he comes to the conclusion that she is something so unique and rare, he wasn't even certain it existed. Merritt is a Prism. And more importantly, she is exactly what he needs to complete his plot to overthrow the British Monarchy and take what he feels is his claim to the throne.
Von Swaim does everything to encourage Merritt’s family to turn her over to his care to cure her “spells.” His research into the study of the human mind has led him to believe that it is the greatest power upon earth. Through the use of his brilliant inventions and the enhancement of crystal prisms he plans to harness Merritt’s mind. Merritt, true to the nature of her spells, has a bad feeling about Von Swaim and refuses to go with him, despite her parents’ belief that it is the perfect solution to her strange illness. It is also during this time that Dax and Merritt have met each other and find that they are unable to stop thinking about each other. He finds it’s a bit more difficult to track a young woman through Victorian London than it is to fight Indians in the American west. Still he manages to find her, at parties, at the park, even in an exclusive tea shop. The feelings they share grow stronger with each passing moment and they go to great lengths to spend time together when they realize there is something special between them. As they pursue their romance Dax finds Merritt’s strange sense of things more of a gift than an illness and Merritt knows that Dax truly loves her for who she is, not what society or her parents expect her to be.
Frustrated with the constraints her family and society have put upon her, and unable to escape from Von Swaim’s constant presence, Merritt sneaks out to see a final performance of the Wild West show. Dax is happy to see her in the crowd and pulls her out to do some trick shooting. Meanwhile, Von Swaim, who has had Merritt watched ever since he’s treated her, is told of her escape from her home. Von Swaim sees this as the perfect opportunity to take her and sends his men, who wear armor and carry weapons that shoot lasers and electrical currents after her. Dax and Merritt manage to escape and spend a romantic night together in hiding. The following morning Von Swaim’s army finds their hiding place and chase Dax and Merritt through the streets of London. Dax is well armed but his trick shooting has no effect upon the special armor Von Swaim’s soldiers wear. Dax and Merritt are finally captured when Von Swaim uses a zeppelin to run them down in Hyde Park. He takes both of them prisoner, Merritt to be his weapon, and Dax, who is wounded in the leg to be brain washed and become a soldier in his army. They are taken by zeppelin to Von Swaim’s hidden castle in the Swiss Alps.
Dax finds there is no torture or brainwashing powerful enough to erase Merritt and his feelings for her from his memory. He manages to befriend a doctor in Von Swaim’s employ who has repaired Dax’s wound using Von Swaim’s invention of brass fittings and joints. After some time in which his injury heals and with the doctor’s help Dax manages to escape, only to find himself alone in a country where he knows no one and does not speak the language. To makes matters worse, Merritt is now under Von Swaim’s control and he has taken her to away for “treatment” with her parents’ permission. Fortunately for Dax, the Wild West Show is now touring Europe and he is able to find his friends who welcome him back with open arms. Dax is desperate to find Merritt but has no idea where to look.
Merritt, who is under Von Swaim’s control, cannot forget Dax either. Even though her memories of him are supposedly erased by Von Swaim’s hypnotism, her Prism abilities guide her back to Dax at one of the performances of the Wild West Show. Dax knows that he may never have this chance with Merritt again. With the help of his friends from the Wild West Show he is ready to use Von Swaim’s weapons against him. Dax and Von Swaim enter into a battle for her mind, but Von Swaim does not realize that Dax is also fighting for Merritt’s heart and soul. Dax will stop at nothing to free her from Von Swaim so that Merritt may make her own choices for her own life. Dax can only hope that once he frees her from Von Swaim that Merritt will choose him because he loves her just the way she is. Neither technology nor mind control, no matter how powerful, are any match for the strength of their love.
So what was I to do? I had a concept that I thought was a good one. The greatest power is the mind. My overall story arc was pretty much typical. Guy meets girl, guy falls for girl, bad guy wants girl, bad guy takes girl, guy rescues girl and they live happily ever after. My world, as I envisioned it was complex and would need at least three books to tell, maybe four. Most important, I had two characters and names that I loved. Dax and Merritt.
I think one thing that went against me was the time of year. I sent out a dark, desperate and depressing world at Christmas time. That really should not influence it but deep down I think it did. Christmas is a happy time as it should be. But mostly I think the market was to blame. sci/fi romance is a very narrow niche and its hard to take a risk on something that does not have the potential for making a lot of $$$.
Publishers had taken a hit along with everyone else in 2008. A major book distributor went under. Returns were up, book stores were not buying as many titles as before but buying more of sure things. It was a hard time to sell period.
I took a long hard look at the market. I needed to come up with something new and fresh. Something that did not have vampires since I feel the fur and fangs market is way over done. I also felt as if urban fantasy might be overdone as well. Something well written in a new market sells, it becomes popular and suddenly every publisher in the world wants the same thing. They buy it up in hopes that they can cash in on the sudden craze and the reader gets tired of it. I am a firm believer that the reader wants a well written book in any genre instead of mediocre books in their favorite genre.
So thinking, new and different. Something that I could do well. Something in my writers wheelhouse. Somthing with strong characters, and great world buildling. I'm known for writing historicals and scifi. What blends those two genre's together?
Steampunk.
It wasn't as if I had a lightbulb moment. I'd read a few articles, thought about it, watched some movies with some elements of it, then a friend called me up and said. "I think you should try writing Steampunk. Its' perfect for you."
But I still had this proposal with elements that I liked and characters that I adored. Could I turn it into a steampunk story?
Here's the synopsis. You tell me.
Prism by Cindy Holby
A Steampunk Romance
Cindy Holby, award-winning author of historical and scifi romance, blends both genres together with Prism, a steampunk romance featuring a cowboy, a psychic heroine and a diabolical plot to take over the world using imaginative technology in Victorian England. What’s a proper British lady to do when a mad scientist is after her brain and an American cowboy is after her heart?
London, England 1887
David Alexander Conrad, AKA Dax, is a cowboy. But he's not just any ordinary cowboy—he's one of the famed performers with the Buffalo Bill Wild West Show who, in the summer of 1887, travels to England in order to give those stuffy Victorians a jolt of good old American showmanship. He is a renowned sharp shooter and trick rider with skills honed when he worked as a scout for the US Cavalry in the American Southwest during the Apache Wars with Geronimo. At twenty-seven, he’s the youngest star of the show and something of a celebrity in a London unaccustomed to his type. It is while Dax is on the party circuit that he meets a woman unlike any he has ever known.
Merritt Elizabeth Chadwyke is the daughter of Member of Parliament, Lord Pemberton She lives in a society bubble because she is subject to spells and needs the constant monitoring of a nurse. During her “spells” Merritt has been known to make outlandish comments about things of which she should have no knowledge. There is also evidence that during these spells, objects appear to move on their own. Merritt’s parents are very protective of her since they have already lost a son to a tragic accident. What her parents do not know is that at ten years of age, Merritt had a vision of her brother’s death but was afraid to say anything because of her parents reactions to her visions. She did try to warn her brother, who was fourteen when he died, but he ignored her. He realized he should have paid attention to her and said so as he died in his father’s arms. At their wits’ end over her strange illness, her parents send her to the Paranormal Research Institute run by Baron Edmond Von Swaim, who has become a society darling himself by using his powers of hypnotism to charm the upper crust. As Von Swaim performs test upon test on Merritt, he comes to the conclusion that she is something so unique and rare, he wasn't even certain it existed. Merritt is a Prism. And more importantly, she is exactly what he needs to complete his plot to overthrow the British Monarchy and take what he feels is his claim to the throne.
Von Swaim does everything to encourage Merritt’s family to turn her over to his care to cure her “spells.” His research into the study of the human mind has led him to believe that it is the greatest power upon earth. Through the use of his brilliant inventions and the enhancement of crystal prisms he plans to harness Merritt’s mind. Merritt, true to the nature of her spells, has a bad feeling about Von Swaim and refuses to go with him, despite her parents’ belief that it is the perfect solution to her strange illness. It is also during this time that Dax and Merritt have met each other and find that they are unable to stop thinking about each other. He finds it’s a bit more difficult to track a young woman through Victorian London than it is to fight Indians in the American west. Still he manages to find her, at parties, at the park, even in an exclusive tea shop. The feelings they share grow stronger with each passing moment and they go to great lengths to spend time together when they realize there is something special between them. As they pursue their romance Dax finds Merritt’s strange sense of things more of a gift than an illness and Merritt knows that Dax truly loves her for who she is, not what society or her parents expect her to be.
Frustrated with the constraints her family and society have put upon her, and unable to escape from Von Swaim’s constant presence, Merritt sneaks out to see a final performance of the Wild West show. Dax is happy to see her in the crowd and pulls her out to do some trick shooting. Meanwhile, Von Swaim, who has had Merritt watched ever since he’s treated her, is told of her escape from her home. Von Swaim sees this as the perfect opportunity to take her and sends his men, who wear armor and carry weapons that shoot lasers and electrical currents after her. Dax and Merritt manage to escape and spend a romantic night together in hiding. The following morning Von Swaim’s army finds their hiding place and chase Dax and Merritt through the streets of London. Dax is well armed but his trick shooting has no effect upon the special armor Von Swaim’s soldiers wear. Dax and Merritt are finally captured when Von Swaim uses a zeppelin to run them down in Hyde Park. He takes both of them prisoner, Merritt to be his weapon, and Dax, who is wounded in the leg to be brain washed and become a soldier in his army. They are taken by zeppelin to Von Swaim’s hidden castle in the Swiss Alps.
Dax finds there is no torture or brainwashing powerful enough to erase Merritt and his feelings for her from his memory. He manages to befriend a doctor in Von Swaim’s employ who has repaired Dax’s wound using Von Swaim’s invention of brass fittings and joints. After some time in which his injury heals and with the doctor’s help Dax manages to escape, only to find himself alone in a country where he knows no one and does not speak the language. To makes matters worse, Merritt is now under Von Swaim’s control and he has taken her to away for “treatment” with her parents’ permission. Fortunately for Dax, the Wild West Show is now touring Europe and he is able to find his friends who welcome him back with open arms. Dax is desperate to find Merritt but has no idea where to look.
Merritt, who is under Von Swaim’s control, cannot forget Dax either. Even though her memories of him are supposedly erased by Von Swaim’s hypnotism, her Prism abilities guide her back to Dax at one of the performances of the Wild West Show. Dax knows that he may never have this chance with Merritt again. With the help of his friends from the Wild West Show he is ready to use Von Swaim’s weapons against him. Dax and Von Swaim enter into a battle for her mind, but Von Swaim does not realize that Dax is also fighting for Merritt’s heart and soul. Dax will stop at nothing to free her from Von Swaim so that Merritt may make her own choices for her own life. Dax can only hope that once he frees her from Von Swaim that Merritt will choose him because he loves her just the way she is. Neither technology nor mind control, no matter how powerful, are any match for the strength of their love.
Thursday, June 18, 2009
More on Animal Intelligence
An article titled “Native Intelligence,” in a special Winter 2009 issue of DISCOVER magazine about the brain, showcases the smartest animals in all the major groups (mammals, birds, insects, etc.). One general principle mentioned is, "Group living promotes a quick mind," because social interaction with other members of one's species requires flexibility and responsiveness. Being a social species isn't an absolute requirement, of course; some solitary animals are also conspicuous for their intelligence. Dolphins, border collies, pigs, and chimpanzees won't surprise anybody. Crows, among birds, are well known for their cleverness. I've also seen parrots celebrated for their smartness, although not in this article; apparently they can actually learn context-appropriate application of words rather than just "parroting." Horses, though? It turns out they're smarter than their reputation suggests. They can "be trained to pick the bigger or smaller of two objects," and wild mustangs can remember the location of water and food sources in their desert environment. Maybe Jonathan Swift's civilized horses in GULLIVER'S TRAVELS aren't so far-fetched—or the centaur-like aliens in one of John Varley's novels.
Bees? The article cites their "sophisticated spatial memory" and dance communication as signs of intelligence. I was thinking more of the "hive mind" concept, with an anthill or beehive analogous to a brain and the individual insects filling the role of neurons. A sinister hive mind takes possession of Tiffany, the young witch in Terry Pratchett's HAT FULL OF SKY, and manages to exchange thoughts with her in a rudimentary way. An extraterrestrial hive mind would be fascinating to deal with, as far as communication is concerned, but SO alien it might be difficult to integrate into a romance plot. If you fell in love with a "cell" in a group mind, wouldn't the entire hive share your intimate experiences?
The cleaner wrasse, a fish that nibbles parasites off larger fish, has enough brain to be sneaky about eating small chunks of a host's body and yet not bite the wrong fish, one that might eat him. Lobsters are "master navigators." My favorite aquatic smart creature from this article, however, is the octopus. Octopuses learn from experience and have been observed apparently playing with objects, a sign of intelligence; only intelligent animals continue to play into adulthood. Because they can manipulate things with their tentacles, super-octopuses on an alien planet could develop some sort of material technology, making them the kind of ET we could comprehend and maybe communicate with.
The last example in the article doesn't even have a brain—the amoeba. In foraging for food, it follows a zigzag pattern displaying "search optimization." This example brings up the question of how far the definition of intelligence should be stretched. The first page defines it as "the capacity to learn from one's surroundings and use reason to apply that knowledge toward a goal." Okay, just about any animal, including the amoeba and the lowly paramecium, can learn from its surroundings in the sense of modifying its behavior accordingly. But in what sense can a creature without a brain be said to "use reason"? Which relates to the SF problem of whether we could recognize an alien as intelligent if it had a type of intelligence extremely different from ours. Or suppose we met a being whose difference of scale went in the opposite direction from the bee's or amoeba's—a creature the size of a planet or star. Maybe its thoughts would move with such ponderous deliberation that it would have trouble recognizing US as intelligent.
P. S.: What kinds of topics would you be interested in seeing us blog about? I think this has been asked before, but more input is always welcome.
Margaret L. Carter
Carter's Crypt: http://www.margaretlcarter.com
Bees? The article cites their "sophisticated spatial memory" and dance communication as signs of intelligence. I was thinking more of the "hive mind" concept, with an anthill or beehive analogous to a brain and the individual insects filling the role of neurons. A sinister hive mind takes possession of Tiffany, the young witch in Terry Pratchett's HAT FULL OF SKY, and manages to exchange thoughts with her in a rudimentary way. An extraterrestrial hive mind would be fascinating to deal with, as far as communication is concerned, but SO alien it might be difficult to integrate into a romance plot. If you fell in love with a "cell" in a group mind, wouldn't the entire hive share your intimate experiences?
The cleaner wrasse, a fish that nibbles parasites off larger fish, has enough brain to be sneaky about eating small chunks of a host's body and yet not bite the wrong fish, one that might eat him. Lobsters are "master navigators." My favorite aquatic smart creature from this article, however, is the octopus. Octopuses learn from experience and have been observed apparently playing with objects, a sign of intelligence; only intelligent animals continue to play into adulthood. Because they can manipulate things with their tentacles, super-octopuses on an alien planet could develop some sort of material technology, making them the kind of ET we could comprehend and maybe communicate with.
The last example in the article doesn't even have a brain—the amoeba. In foraging for food, it follows a zigzag pattern displaying "search optimization." This example brings up the question of how far the definition of intelligence should be stretched. The first page defines it as "the capacity to learn from one's surroundings and use reason to apply that knowledge toward a goal." Okay, just about any animal, including the amoeba and the lowly paramecium, can learn from its surroundings in the sense of modifying its behavior accordingly. But in what sense can a creature without a brain be said to "use reason"? Which relates to the SF problem of whether we could recognize an alien as intelligent if it had a type of intelligence extremely different from ours. Or suppose we met a being whose difference of scale went in the opposite direction from the bee's or amoeba's—a creature the size of a planet or star. Maybe its thoughts would move with such ponderous deliberation that it would have trouble recognizing US as intelligent.
P. S.: What kinds of topics would you be interested in seeing us blog about? I think this has been asked before, but more input is always welcome.
Margaret L. Carter
Carter's Crypt: http://www.margaretlcarter.com
Tuesday, June 16, 2009
Writer's Eye Finds Symmetry
We had an interesting discussion on Spoilers recently in which I held that any story worth reading or viewing couldn't be "spoiled" by knowing the ending, or any particular scene, plot development or bit of dialogue.
In other words, I held that there is no such thing as a "spoiler."
http://aliendjinnromances.blogspot.com/2008/03/prologues-and-spoilers.html
If knowing what happens "spoils" it for you, then it wasn't well written enough to be worth your time and money anyway.
But in fact, there is such a thing as a spoiler!!!
What "spoils" fiction for readers and viewers is not knowing what happens, but knowing the trick behind the fictional facade.
The trick that's jerking your emotions around, that takes an event or line of dialogue and carries it straight through your conscious defenses into your subconscious and hits your deepest, most buried buttons, works just as well whether you've heard the plot in advance or not.
But once you know the trick being used against you, you don't react to it any more.
As stage magicians loathe letting anyone know their "secrets" (even other magicians), so also writers (who are prestidigitators of the emotions) should guard their proprietary secrets. Some writers go so far as to not-teach new writers because newbies are 'the competition.'
There is a process which trainee writers undergo as they pass from audience to stage-magician that is extremely wrenching. As you learn the secrets that writers have been using to jerk your emotions around, to make you laugh or cry over a scene, to deliver a GASP!, or a whoop of triumph, you find that your favorite fiction is "spoiled" -- you just don't enjoy it anymore, the way you used to as a mere reader.
You've found the keywords that trigger your emotional responses, even when used 200 pages before the impact hits you. You've found how you fall for the hero's kryptonite weakness, or root for heroes who have no such weakness. You've read a lot of these articles on how to write, and you've attended panels at conventions where writers reveal their secrets. Perhaps you've even done some writing yourself, and realize that these stories that always seemed so real, so important, so filled with higher truth, spiritual insights, or personal affirmation of your view of the world -- all this stuff you always adored suddenly seems as flimsy and false as the Western town main street consisting of plywood fronts for stores with catwalks on the back for cameras.
And it's all bland and pointless, except there's money to be made writing! So you set out to write, and that just makes the apathy for reading or viewing any fiction worse.
This state of apathy for fiction can persist for years once fiction has been "spoiled" for you by glimpsing behind the scenes. Or it might persist only for a few months, depending on how fast the stage of mastering the craft lasts. And the length of that interval depends on how hard you work at mastering the tricks yourself, and how much of yourself you put into it, and on how good you are at learning abstract things then applying them in the practical world.
Some people actually reach a version of this stage of apathy just while watching television, never thinking to become writers. They grasp the underlying formula for a TV series, find it predictable, and then find it boring because it's predictable.
Some will then segue into an "I can write better than that!" attitude and proceed to do so (with varied results), but still not find their enjoyment of commercial fiction returning.
So let's talk a little about how writing students bootstrap themselves up to the level of professional writers, and begin enjoying fiction for totally different reasons than they had ever been able to imagine before. This sheds light on why the same novel rarely wins both the Hugo (voted by fans) and the Nebula (voted only by professional writers.)
What does the writer's eye see that the reader's eye misses?
What do writers see in each others' work to send them into paroxysms of joy, of admiration, or even (*gasp*) into becoming a FAN of another writer's work?
It's all in the writer's TRAINED EYE. The writer's inner eye "sees" patterns that escape the casual reader. Having attempted to capture such a pattern and display it in a fictional universe, a world they have built themselves, the writer is aware of how difficult it is to put such an abstract vision into a piece of fiction and have the fiction still work as a story comprehensible to other people.
Only the writer who has studied the craft, then attempted (and perhaps even sold) stories has full appreciation of what an achievement capturing a real-world pattern in a bit of fiction can be.
If the pattern is put into the foreground of the fiction, the fiction fails to reach the reader/viewer's subconscious. If it's in the background or too buried in symbology or assumptions, the fiction doesn't communicate the pattern to a commercial size audience. If it's too hidden in the THEME, the fiction fails. Too blatant or too hidden -- either one is easy to write. But getting the pattern to be visible, clear and well stated, but still open to personal interpretation, and thus able to engage the audience's subconscious, now that's hard.
A writer can have a blazing epiphany, become filled to the brim with the urgency of showing the world an important bit of wisdom, and write their heart into a story -- only to have it sneered at or rejected.
After such a failure, a writer is set up to break through the apathy barrier, to become a FAN of other writers, to appreciate writing as craft and art welded into a thing of beauty.
What does a writer learn in that moment of breaking through the apathy barrier? What breaks that barrier and restores enjoyment to fiction? Finding a pattern you recognize properly used in a bit of fiction, understanding the craft elements that construct and convey the pattern, and knowing "This is what I was trying to do!" Recognizing another writer's success at something difficult restores a writer's zest for reading/viewing other writer's fiction.
All that is very abstract. Here's a concrete example.
Let's take the film MR. AND MRS. SMITH, the 2005 movie version where a husband and wife are in marriage counselling, and discover that each one has been keeping a secret from the other.
They are both assassins working for secret agencies. And they've been assigned to kill each other, and in fact the situation which pits them against each other was rigged by their superiors simply because they were living together. (um, yeah, it's a romance, and has all the elements of an alien romance, since each is "the unknown" to the other)
http://www.imdb.com/title/tt0356910/
I've seen this film several times, and once again just recently.
But this last time was the ONLY time I saw what it was that speaks to me in this film.
Previously, it had been years since I'd written a screenplay. Recently I've done three (none yet to my own satisfaction!). Now I'm seeing movies differently, and really enjoying things I did not enjoy before. Apparently I stopped writing screenplays before I broke this barrier.
So in Mr. & Mrs. Smith, I found the PATTERN that (when I couldn't see it) was jerking me around. Now it is very likely you saw this pattern the first time you saw the movie, and you won't understand why I didn't see it.
And I like this movie even better now that I've seen clearly what was only hazy before.
I hope you've re-read my post
http://aliendjinnromances.blogspot.com/2008/03/prologues-and-spoilers.html
because in that post I did mention that if you have a prologue, you also need an epilogue. That's a technique of structure often called "bookends." Mr. & Mrs. Smith has "bookends" in the structure, and I never missed that point.
The film starts with the husband and wife sitting in office visitor chairs before a desk you don't see. It's a marriage counselling session. They haven't had sex in a while (with each other, that is) and can't agree on how long that's been, nor on how long it's been since they met. We see how they met, pretending to be a couple even though they didn't know each other, evading a police search for an assassin who was an American traveling alone. Total strangers, they provided cover for each other.
We see each of them in their ordinary workday persona, in wild "James Bond" action, battling, killing, almost being killed, arriving home in very "James Bond" unruffled fashion, being the perfect suburban couple. They argue or go stone-silent over trivial household matters. Clearly something abnormal there.
Then they're pitted against each other (we don't know why at first) and each wrestles with whether to kill the other (almost does it), and finally they begin actually TALKING about the issues between them ("What did you think the first time you saw me?" asking frank and embarrassing questions and answering honestly.) As they clear the air, they decide they won't kill each other, and they team up as allies against the conspiracy of their superiors to make them kill each other because they're living together (and therefore the "other" is a spy.)
The battle scenes get wilder and wilder until they shoot up a store, blow things up, (even their own house gets turned into a pile of kindling) then there's a stunt-doubled car chase to make Indiana Jones pale.
And after one wild-WILD action fight sequence, they blow off the rest of their aggressions in sex, wild passionate sex like they haven't had in years.
They settle the problem with their superiors, and they're back at the marriage counsellor. Mr. Smith prompts the marriage counsellor to ask the sex question again. They admit they redecorated the house (one of the issues they were spatting over was the color of the curtains).
Of course, the way I've outlined the story here, the pattern is obvious because I see it now.
The VIOLENT ACTS we see as they do their day-job, the violence in joining in combat at a job (that was a setup) where one tries to steal the "package" from the other, all the way through forming an alliance and shooting up and destroying a SUBURBAN HOUSEWARES STORE (with all kinds of nasty hunting weapons) (and they turn out to be wearing kevlar vests! I tell you the SYMBOLISM is perfect for penetrating subconsciouses), even the explosion that destroys their house -- all that violence and destruction is the SHOW DON'T TELL illustration, an exact replica or reflection, of the usual ho-hum marital-spat screaming fights most couples have. When a marriage is in real trouble, those spats become symbolic of the real problems in exactly the way the violence and truth-in-marriage issues do in this film.
The violence in this film acts as a SYMBOL for the marital issues that are screamed over and around but never actually stated in ordinary marriages (such as viewers of the movie might be living through). As the violence escalates, their COMMUNICATION over the real issues escalates (as rarely happens in real life -- I said this is a romance.)
The marriage counsel session dialogue is easily recognizable as marital issues. Just read some self-help books and you can't miss it. Textbook stuff. The marriage counsellor doesn't know they're both assassins by trade. Would that trade make a difference?
The VIOLENCE appears to be just rollicking good fun needed to sell a movie. Neither is rattled by explosions, wounds, etc. The violence isn't about the violence. It's about conversation, about communicating.
This is a film in which VIOLENCE is CONVERSATION. DESTRUCTION is SEXUALITY.
The film doesn't go into great detail about the sex scenes, but the violence is detailed move for move and prolonged for fun, right down to gradually stripping off clothing as it gets ruined by the violence.
We've all discussed the psychological equivalence of sex and violence.
From the writer's point of view, the trick is to define a HIGH CONCEPT, and write that story, delivering on the fun in the concept.
The CONCEPT that husband and wife are (secretly from each other) professional assassins casts the marital "battle of the sexes" into HIGH CONCEPT, and provides the "violence" that producers require to pull in audiences.
But the violence in Mr. And Mrs. Smith (2005 version) is not gratuitous. It's not there to draw audiences. It's not there to display the grandiose physiques of the stars or the director's genius. It's there to FULFILL A PATTERN, to reticulate a pattern, and to discuss the nature of marriage.
Whee! This writer SQUEALS FOR JOY at seeing every bit of this script so clearly etched that every line traces right back to where the concept came from.
Now seeing into the wheels-and-gears behind the illusion does not spoil it for me. It is in fact the reason I imbibe fiction in all media. I take vast joy in well oiled wheels-and-gears.
Seeing into the mechanism is one part of the exercise of creating such a mechanism of your own. Seeing this particular mechanism fitting a typical alien-romance plot into commercial box office parameters makes me ever more hopeful that we can indeed create that blockbuster, runs-for-twenty-years PNR TV series.
Does anybody reading this remember TOPPER? It's not even currently available on DVD, and what's available used is only "highlights" -- it's time to rethink all this PNR stuff.
AMAZON SAYS: "A madcap comedy escapade, The Adventures of Topper is a collection of the funniest episodes from the ""Topper"" television series. The show, based on a novel by Thorne Smith and the book's subsequent spin-off motion pictures, features genteel banker Cosmo Topper who moves into a new house that comes complete with ghosts and all!"
Remember "The Ghost And Mrs. Muir" ???
Each of those two "Concepts" spoke to a particular generation in terms of what was bugging that generation most. Mr. & Mrs. Smith speaks to the issue of truth in marriage. Note how on SMALLVILLE, and even in BUFFY, the truth issue is make-or-break in the Relationships. (Clue: truth in marriage wasn't always iconic in USA society, [rememer I LOVE LUCY?] nor in Victorian or Renaissance English Romances. It's really a very new yardstick for measuring relationships.)
Book, film, TV Show -- there's a link, a trail to follow that connects these forms of entertainment with each other and with the social matrix they address. And today we have to add web-originals, and other graphic novel, TV, and other new distribution channels.
Now think CONCEPT and think SYMMETRY as only the writer's eye can see it.
Think about Mr. And Mrs. Smith and how the violence level of the script mirrored the exact textbook progress of a marriage encounter-group session. See the pattern whole and completely reticulated, in the subconscious and in the conscious. The pattern is not in the foreground, not in the background and not even in the THEME. It's in the ties between the violence and the psychology that exist ONLY IN THE VIEWER'S MIND, and never on screen.
Don't just admire the modern Mr. And Mrs. Smith -- follow the pattern lines back to the originating concept, reverse engineer the script, deconstruct that concept into its components, and delve into how that concept was created.
It's not just a flash of inspiration that creates concepts. It's long, hard days of perspiration -- sometimes watching or reading things you wouldn't ordinarily want to. When that flash of inspiration occurs, it's your subconscious reporting on its month's work.
Writers do most all their work while sleeping, but the IRS doesn't let you deduct the bedroom of your house. Talk about unfair tax practices.
So replicate what they did to create and recognize the High Concept, "A married couple where each is secretly an assassin."
You can't use their concept, but you can use their method of finding that concept.
What other conflicts besides the "battle of the sexes in marriage" do you know of that go on in millions of people's lives every day? That's the question to answer in order to get the effect Hollywood wants: THE SAME.
What kind of well known, familiar conflict is so pervasive people don't even notice it's there, nor consider it worth commenting on? And what are the best self-help books that address subsets of that vast conflict area?
Nail that SAME part, then search for the BUT DIFFERENT part of the formula.
With Mr. and Mrs. Smith, the "different" part is that they're BOTH professional assassins.
Then the grind-the-crank part of the plot leads directly to "assigned to kill each other" - you just have to figure out a reason. The elegant solution is "because they're living together which means each is a spy assigned to waggle our secrets out of our hired assassin."
The twist with Mr. and Mrs. Smith is that the box-office requirement of VIOLENCE is supplied by their day jobs, not by the domestic dispute over keeping secrets.
I'd bet all of you already know all this.
So what are you thinking. Two alien from outer space spies meet on Earth and marry to maintain their cover? But they've each been sent here to search for the other and a) kill him, or b) protect Earth from his faction Out There?
Here are some widespread "conflicts" to explore other than Battle of the Sexes:
1) People Vs. Medical System
2) People Vs. Insidious Advertising Practices (think 0% nothing down mortgages)
3) People Vs. The Boss From Hell
4) People Vs. College grading system
5) People Vs. Traffic congestion
6) People Vs. Post Office Screw Ups
7) Tech Support Slave Vs. Enraged Customers
8) Mom Vs. School System over allowing Bullying
What other pervasive, everybody knows what it is about, conflicts can you think of?
Jacqueline Lichtenberg
http://www.simegen.com/jl/
http://twitter.com/JLichtenberg
In other words, I held that there is no such thing as a "spoiler."
http://aliendjinnromances.blogspot.com/2008/03/prologues-and-spoilers.html
If knowing what happens "spoils" it for you, then it wasn't well written enough to be worth your time and money anyway.
But in fact, there is such a thing as a spoiler!!!
What "spoils" fiction for readers and viewers is not knowing what happens, but knowing the trick behind the fictional facade.
The trick that's jerking your emotions around, that takes an event or line of dialogue and carries it straight through your conscious defenses into your subconscious and hits your deepest, most buried buttons, works just as well whether you've heard the plot in advance or not.
But once you know the trick being used against you, you don't react to it any more.
As stage magicians loathe letting anyone know their "secrets" (even other magicians), so also writers (who are prestidigitators of the emotions) should guard their proprietary secrets. Some writers go so far as to not-teach new writers because newbies are 'the competition.'
There is a process which trainee writers undergo as they pass from audience to stage-magician that is extremely wrenching. As you learn the secrets that writers have been using to jerk your emotions around, to make you laugh or cry over a scene, to deliver a GASP!, or a whoop of triumph, you find that your favorite fiction is "spoiled" -- you just don't enjoy it anymore, the way you used to as a mere reader.
You've found the keywords that trigger your emotional responses, even when used 200 pages before the impact hits you. You've found how you fall for the hero's kryptonite weakness, or root for heroes who have no such weakness. You've read a lot of these articles on how to write, and you've attended panels at conventions where writers reveal their secrets. Perhaps you've even done some writing yourself, and realize that these stories that always seemed so real, so important, so filled with higher truth, spiritual insights, or personal affirmation of your view of the world -- all this stuff you always adored suddenly seems as flimsy and false as the Western town main street consisting of plywood fronts for stores with catwalks on the back for cameras.
And it's all bland and pointless, except there's money to be made writing! So you set out to write, and that just makes the apathy for reading or viewing any fiction worse.
This state of apathy for fiction can persist for years once fiction has been "spoiled" for you by glimpsing behind the scenes. Or it might persist only for a few months, depending on how fast the stage of mastering the craft lasts. And the length of that interval depends on how hard you work at mastering the tricks yourself, and how much of yourself you put into it, and on how good you are at learning abstract things then applying them in the practical world.
Some people actually reach a version of this stage of apathy just while watching television, never thinking to become writers. They grasp the underlying formula for a TV series, find it predictable, and then find it boring because it's predictable.
Some will then segue into an "I can write better than that!" attitude and proceed to do so (with varied results), but still not find their enjoyment of commercial fiction returning.
So let's talk a little about how writing students bootstrap themselves up to the level of professional writers, and begin enjoying fiction for totally different reasons than they had ever been able to imagine before. This sheds light on why the same novel rarely wins both the Hugo (voted by fans) and the Nebula (voted only by professional writers.)
What does the writer's eye see that the reader's eye misses?
What do writers see in each others' work to send them into paroxysms of joy, of admiration, or even (*gasp*) into becoming a FAN of another writer's work?
It's all in the writer's TRAINED EYE. The writer's inner eye "sees" patterns that escape the casual reader. Having attempted to capture such a pattern and display it in a fictional universe, a world they have built themselves, the writer is aware of how difficult it is to put such an abstract vision into a piece of fiction and have the fiction still work as a story comprehensible to other people.
Only the writer who has studied the craft, then attempted (and perhaps even sold) stories has full appreciation of what an achievement capturing a real-world pattern in a bit of fiction can be.
If the pattern is put into the foreground of the fiction, the fiction fails to reach the reader/viewer's subconscious. If it's in the background or too buried in symbology or assumptions, the fiction doesn't communicate the pattern to a commercial size audience. If it's too hidden in the THEME, the fiction fails. Too blatant or too hidden -- either one is easy to write. But getting the pattern to be visible, clear and well stated, but still open to personal interpretation, and thus able to engage the audience's subconscious, now that's hard.
A writer can have a blazing epiphany, become filled to the brim with the urgency of showing the world an important bit of wisdom, and write their heart into a story -- only to have it sneered at or rejected.
After such a failure, a writer is set up to break through the apathy barrier, to become a FAN of other writers, to appreciate writing as craft and art welded into a thing of beauty.
What does a writer learn in that moment of breaking through the apathy barrier? What breaks that barrier and restores enjoyment to fiction? Finding a pattern you recognize properly used in a bit of fiction, understanding the craft elements that construct and convey the pattern, and knowing "This is what I was trying to do!" Recognizing another writer's success at something difficult restores a writer's zest for reading/viewing other writer's fiction.
All that is very abstract. Here's a concrete example.
Let's take the film MR. AND MRS. SMITH, the 2005 movie version where a husband and wife are in marriage counselling, and discover that each one has been keeping a secret from the other.
They are both assassins working for secret agencies. And they've been assigned to kill each other, and in fact the situation which pits them against each other was rigged by their superiors simply because they were living together. (um, yeah, it's a romance, and has all the elements of an alien romance, since each is "the unknown" to the other)
http://www.imdb.com/title/tt0356910/
I've seen this film several times, and once again just recently.
But this last time was the ONLY time I saw what it was that speaks to me in this film.
Previously, it had been years since I'd written a screenplay. Recently I've done three (none yet to my own satisfaction!). Now I'm seeing movies differently, and really enjoying things I did not enjoy before. Apparently I stopped writing screenplays before I broke this barrier.
So in Mr. & Mrs. Smith, I found the PATTERN that (when I couldn't see it) was jerking me around. Now it is very likely you saw this pattern the first time you saw the movie, and you won't understand why I didn't see it.
And I like this movie even better now that I've seen clearly what was only hazy before.
I hope you've re-read my post
http://aliendjinnromances.blogspot.com/2008/03/prologues-and-spoilers.html
because in that post I did mention that if you have a prologue, you also need an epilogue. That's a technique of structure often called "bookends." Mr. & Mrs. Smith has "bookends" in the structure, and I never missed that point.
The film starts with the husband and wife sitting in office visitor chairs before a desk you don't see. It's a marriage counselling session. They haven't had sex in a while (with each other, that is) and can't agree on how long that's been, nor on how long it's been since they met. We see how they met, pretending to be a couple even though they didn't know each other, evading a police search for an assassin who was an American traveling alone. Total strangers, they provided cover for each other.
We see each of them in their ordinary workday persona, in wild "James Bond" action, battling, killing, almost being killed, arriving home in very "James Bond" unruffled fashion, being the perfect suburban couple. They argue or go stone-silent over trivial household matters. Clearly something abnormal there.
Then they're pitted against each other (we don't know why at first) and each wrestles with whether to kill the other (almost does it), and finally they begin actually TALKING about the issues between them ("What did you think the first time you saw me?" asking frank and embarrassing questions and answering honestly.) As they clear the air, they decide they won't kill each other, and they team up as allies against the conspiracy of their superiors to make them kill each other because they're living together (and therefore the "other" is a spy.)
The battle scenes get wilder and wilder until they shoot up a store, blow things up, (even their own house gets turned into a pile of kindling) then there's a stunt-doubled car chase to make Indiana Jones pale.
And after one wild-WILD action fight sequence, they blow off the rest of their aggressions in sex, wild passionate sex like they haven't had in years.
They settle the problem with their superiors, and they're back at the marriage counsellor. Mr. Smith prompts the marriage counsellor to ask the sex question again. They admit they redecorated the house (one of the issues they were spatting over was the color of the curtains).
Of course, the way I've outlined the story here, the pattern is obvious because I see it now.
The VIOLENT ACTS we see as they do their day-job, the violence in joining in combat at a job (that was a setup) where one tries to steal the "package" from the other, all the way through forming an alliance and shooting up and destroying a SUBURBAN HOUSEWARES STORE (with all kinds of nasty hunting weapons) (and they turn out to be wearing kevlar vests! I tell you the SYMBOLISM is perfect for penetrating subconsciouses), even the explosion that destroys their house -- all that violence and destruction is the SHOW DON'T TELL illustration, an exact replica or reflection, of the usual ho-hum marital-spat screaming fights most couples have. When a marriage is in real trouble, those spats become symbolic of the real problems in exactly the way the violence and truth-in-marriage issues do in this film.
The violence in this film acts as a SYMBOL for the marital issues that are screamed over and around but never actually stated in ordinary marriages (such as viewers of the movie might be living through). As the violence escalates, their COMMUNICATION over the real issues escalates (as rarely happens in real life -- I said this is a romance.)
The marriage counsel session dialogue is easily recognizable as marital issues. Just read some self-help books and you can't miss it. Textbook stuff. The marriage counsellor doesn't know they're both assassins by trade. Would that trade make a difference?
The VIOLENCE appears to be just rollicking good fun needed to sell a movie. Neither is rattled by explosions, wounds, etc. The violence isn't about the violence. It's about conversation, about communicating.
This is a film in which VIOLENCE is CONVERSATION. DESTRUCTION is SEXUALITY.
The film doesn't go into great detail about the sex scenes, but the violence is detailed move for move and prolonged for fun, right down to gradually stripping off clothing as it gets ruined by the violence.
We've all discussed the psychological equivalence of sex and violence.
From the writer's point of view, the trick is to define a HIGH CONCEPT, and write that story, delivering on the fun in the concept.
The CONCEPT that husband and wife are (secretly from each other) professional assassins casts the marital "battle of the sexes" into HIGH CONCEPT, and provides the "violence" that producers require to pull in audiences.
But the violence in Mr. And Mrs. Smith (2005 version) is not gratuitous. It's not there to draw audiences. It's not there to display the grandiose physiques of the stars or the director's genius. It's there to FULFILL A PATTERN, to reticulate a pattern, and to discuss the nature of marriage.
Whee! This writer SQUEALS FOR JOY at seeing every bit of this script so clearly etched that every line traces right back to where the concept came from.
Now seeing into the wheels-and-gears behind the illusion does not spoil it for me. It is in fact the reason I imbibe fiction in all media. I take vast joy in well oiled wheels-and-gears.
Seeing into the mechanism is one part of the exercise of creating such a mechanism of your own. Seeing this particular mechanism fitting a typical alien-romance plot into commercial box office parameters makes me ever more hopeful that we can indeed create that blockbuster, runs-for-twenty-years PNR TV series.
Does anybody reading this remember TOPPER? It's not even currently available on DVD, and what's available used is only "highlights" -- it's time to rethink all this PNR stuff.
AMAZON SAYS: "A madcap comedy escapade, The Adventures of Topper is a collection of the funniest episodes from the ""Topper"" television series. The show, based on a novel by Thorne Smith and the book's subsequent spin-off motion pictures, features genteel banker Cosmo Topper who moves into a new house that comes complete with ghosts and all!"
Remember "The Ghost And Mrs. Muir" ???
Each of those two "Concepts" spoke to a particular generation in terms of what was bugging that generation most. Mr. & Mrs. Smith speaks to the issue of truth in marriage. Note how on SMALLVILLE, and even in BUFFY, the truth issue is make-or-break in the Relationships. (Clue: truth in marriage wasn't always iconic in USA society, [rememer I LOVE LUCY?] nor in Victorian or Renaissance English Romances. It's really a very new yardstick for measuring relationships.)
Book, film, TV Show -- there's a link, a trail to follow that connects these forms of entertainment with each other and with the social matrix they address. And today we have to add web-originals, and other graphic novel, TV, and other new distribution channels.
Now think CONCEPT and think SYMMETRY as only the writer's eye can see it.
Think about Mr. And Mrs. Smith and how the violence level of the script mirrored the exact textbook progress of a marriage encounter-group session. See the pattern whole and completely reticulated, in the subconscious and in the conscious. The pattern is not in the foreground, not in the background and not even in the THEME. It's in the ties between the violence and the psychology that exist ONLY IN THE VIEWER'S MIND, and never on screen.
Don't just admire the modern Mr. And Mrs. Smith -- follow the pattern lines back to the originating concept, reverse engineer the script, deconstruct that concept into its components, and delve into how that concept was created.
It's not just a flash of inspiration that creates concepts. It's long, hard days of perspiration -- sometimes watching or reading things you wouldn't ordinarily want to. When that flash of inspiration occurs, it's your subconscious reporting on its month's work.
Writers do most all their work while sleeping, but the IRS doesn't let you deduct the bedroom of your house. Talk about unfair tax practices.
So replicate what they did to create and recognize the High Concept, "A married couple where each is secretly an assassin."
You can't use their concept, but you can use their method of finding that concept.
What other conflicts besides the "battle of the sexes in marriage" do you know of that go on in millions of people's lives every day? That's the question to answer in order to get the effect Hollywood wants: THE SAME.
What kind of well known, familiar conflict is so pervasive people don't even notice it's there, nor consider it worth commenting on? And what are the best self-help books that address subsets of that vast conflict area?
Nail that SAME part, then search for the BUT DIFFERENT part of the formula.
With Mr. and Mrs. Smith, the "different" part is that they're BOTH professional assassins.
Then the grind-the-crank part of the plot leads directly to "assigned to kill each other" - you just have to figure out a reason. The elegant solution is "because they're living together which means each is a spy assigned to waggle our secrets out of our hired assassin."
The twist with Mr. and Mrs. Smith is that the box-office requirement of VIOLENCE is supplied by their day jobs, not by the domestic dispute over keeping secrets.
I'd bet all of you already know all this.
So what are you thinking. Two alien from outer space spies meet on Earth and marry to maintain their cover? But they've each been sent here to search for the other and a) kill him, or b) protect Earth from his faction Out There?
Here are some widespread "conflicts" to explore other than Battle of the Sexes:
1) People Vs. Medical System
2) People Vs. Insidious Advertising Practices (think 0% nothing down mortgages)
3) People Vs. The Boss From Hell
4) People Vs. College grading system
5) People Vs. Traffic congestion
6) People Vs. Post Office Screw Ups
7) Tech Support Slave Vs. Enraged Customers
8) Mom Vs. School System over allowing Bullying
What other pervasive, everybody knows what it is about, conflicts can you think of?
Jacqueline Lichtenberg
http://www.simegen.com/jl/
http://twitter.com/JLichtenberg
Sunday, June 14, 2009
Eyes On The Future
Car Designers start with a respect for the past when they envisage the future. That is one reason why the G.M. Heritage Center is important.
If you know where you (or a brand) came from, and you can plot the evolution to the way things look today, you have a much better chance of projecting how things will look in the future.
Today --my today-- was taken up with preparing for, and then interviewing a man I have the honor of calling a friend: Dr Philip Hessburg, head of the Detroit Institute of Opthalmology
http://lsc.audioacrobat.com/download/bb99178b-f535-adcd-c798-346851331b0d.mp3
When you write science fiction, you try to imagine what our world will be like in the future. Reading Scientific American, and Discovery Magazine helps. So does listening to the great and visionary minds of our time, such as those of Dr Larry Burns of General Motors, and Dr Philip Hessburg of the Detroit Institute of Opthalmology.
If you know where you (or a brand) came from, and you can plot the evolution to the way things look today, you have a much better chance of projecting how things will look in the future.
Today --my today-- was taken up with preparing for, and then interviewing a man I have the honor of calling a friend: Dr Philip Hessburg, head of the Detroit Institute of Opthalmology
http://lsc.audioacrobat.com/download/bb99178b-f535-adcd-c798-346851331b0d.mp3
When you write science fiction, you try to imagine what our world will be like in the future. Reading Scientific American, and Discovery Magazine helps. So does listening to the great and visionary minds of our time, such as those of Dr Larry Burns of General Motors, and Dr Philip Hessburg of the Detroit Institute of Opthalmology.
Saturday, June 13, 2009
Part Four. When a story doesn't work
This is where I ran into problems. Swaim wants to use Merritt as a weapon. So he's hooking her up to computers and keeping her in a dream state where she believes that he's her father. It makes it easier for him to control her and use her. Kind of useless place for a heroine. My intention was to replay Dax and Merritt's love story using her subconscious. Even though she's doped up and believes she's Swaim's daughter, subconciously she'll be remembering her life with Dax. So I would tell their story as Merritt remembered it. Meanwhile, Dax is also hooked into the super computer and somehow his subconscious connects with Merritt's, he realizes what's going on, he breaks free then goes back to free her. It turns out that I've over used that tool recently. Seperate H/H and have hero rescue heroine. So yes, it is hard to connect with a heroine who is doped and unconscious. I have to agree there. But they didn't see Merritt the way I did. Which was also my fault. I didn't write enough of the book. Its hard to do a indepth proposal when you've got a dead line looming.
Chapter Three
The Dome
There had to be something beyond the shadows. Or maybe it was just her vision that was blurry. There was always the possibility that she was dreaming. Could that be it? Merritt walked through the room with her fingers trailing over the clean lines of the plain but functional furniture. Everything was done in shades of gray, from the plush carpet that cushioned her feet to the heavy gray drapes that covered the walls. Were there windows behind the drapes? For some reason she could not recall the view. Everything around her was familiar, yet everything she saw was strange.
“There you are my dear,” a man’s voice said.
Merritt turned. A man stood before her. He was tall and slim with blond hair that held a touch of silver at the temples. His eyes shaded more towards gray than blue, but it could easily be that the room they were in made them look that way. He wore a perfectly tailored suit that was on the edge of a new trend in fashion, yet would not be considered ostentatious by his peers. How was it that knew that, or even cared?
“Father?” she asked. The word came unbidden to her lips and for some strange reason she was not sure if it was appropriate.
“Who else would it be?” He came to her and took her upper arms into his hands. He kissed her forehead. “Silly girl,” he said.
She scrunched her forehead up as he kissed it. As if she could ward off the touch of his lips. His eyes bore into her and she turned away from his intense scrutiny.
“Merritt,” he said his voice heavy with concern. “Are you all right?”
A pain shot through her temples and she pressed her hands against them.
“It hurts,” she cried out.
<>
“What’s wrong?” Swain asked.
“She’s fighting it,” Foster replied. “Her mind is sensing the reality shift. Her consciousness senses the dream so she’s trying to wake herself up.” Foster turned from his perusal of the monitor and added. “I told you she was strong. One of the strongest I’ve ever seen.”
Swain let his head drop back against the cushion. He reclined in an ergonomic chair while Foster worked the code for Merritt’s program. His Simkey pulsed while it accepted the code and aligned the program with the matching Simkey that glowed from the admanium port Foster had inserted in Merritt’s temple.
Strong and mine…
She really was quite lovely with her silvery blonde hair and clear blue eyes which were closed. It was a shame really that he could not look at them. They reminded him of the wildflowers that grew outside the dome. They were the dominant feature of her heart shaped face and quite an exquisite color of blue with black flecks around the edge of the irises. It was as if he possessed a valuable piece of art that he had to keep behind lock and key. He well remembered the sparks in those eyes as she attacked him in the real. It would be nice to see the life in them again. That, however, would not be conducive to achieving his goal.
She wore a silver rehab suit that stretched from her toes up to her neck. It would aid in the prevention of sores on her body from being in the same position for so long. It would also stimulate her muscles and enhance her circulation as she stayed suspended in the simlife. It clung to her like a second skin and showed the healthy vitality of her body which would soon fade away with enforced inactivity. Various tubes and wires were attached each one there to serve a purpose in keeping her alive for as long as he needed her.
To Swain, she looked like a princess from one of the ancient fairy tales as she lay reclined in a chair similar to his. Her brow seemed troubled and was drawn sternly down, marring the porcelain like complexion of her skin.
“Sleeping Beauty,” he said as he recalled the ancient fairytale she brought to mind.
“Sir?” Foster inquired.
“I noticed that you cut her hair.” No need to let Foster know where his musings led him. The man was bright enough as it was. Bright enough that he bore watching.
“Yes sir,” Foster did not turn away from his keypad.
No excuse or reason was given. When she arrived her hair hung to her waist. Now it was cropped close to her head and the ends of it curled up around her face.
Why did he care?
“It would have been a nuisance to care for,” Foster added after a moment.
Swain had to agree. Still it was a shame.
“I sold it,” Foster said as he swiveled his chair around to face him. “To the sonaspa.”
Swain resisted the urge to roll his eyes in disgust. The pursuit of eternal youth in their society was not unlike a cult. Someone would pay dearly for those hair enhancements. He wondered if he would recognize the color if he came across it in his social circle.
“I assume you deposited the credits in my account,” Swain said.
“Yes,” Foster said. “We can try again whenever you are ready. I added a head injury to her history which will help explain her confusion and I also gave her a pet for distraction.”
“A pet?”
“A fluffy white kitten,” Foster said with a smile that seemed insincere at best. “A gift from her father.”
Swain nodded his approval as he settled back into his chair and closed his eyes.
<>
“Have I told you how relieved I am?” He said.
Merritt touched her temple once again. “About what?”
“About your recovery of course.” The look he gave her was full of concern. “The Doctor said your periods of memory loss would eventually fade.”
She pushed her fingers against her temple as if there was a switch there that needed to be on. If only she could remember…anything…There was nothing that was familiar. The walls seemed distant yet suffocating. She wanted to see the sky and feel the breeze on her face.
“I was hurt?” she asked. That would explain much. It would explain everything. She looked at her father hopefully. Why couldn’t she remember him?
“Yes,” he said calmly. Patiently. As if she was a small child. “You fell. You hurt your head. You have only recently come home from the Medcen.”
“Is that why it hurts?” she asked as she rubbed her right hand over her forehead. She scrunched up her eyes and then opened them in hopes that things would appear clearer to her. Her left hand caught her attention and she looked at it, spreading the fingers wide as she turned it over to examine it.
“I lost it,” she said. “I lost my ring. Did I leave it at the Medcen?”
“What ring?” he asked.
Merritt held her hand out. “My ring.” She twisted the fingers of her right hand around the base of the ring finger on her left hand.
“What did it look like?”
She continued to rub her finger as she tried to remember. She could see it in her mind. Silver and gold twisted together in a never ending circle. She recalled the weight of it. How it slid down the length of her finger and settled at the base as if it were a part of her flesh. She could almost feel a hand close over hers as if holding it in place. A strong hand with blunt fingers that were heavily calloused at the tips. To whom did it belong? “It was silver…and gold…It was both?” she said in hope that he would offer her some confirmation.
“I’m sure it will turn up,” he said a trifle bit too indulgently. How could something that felt so real and now so lost be a figment of her imagination?
It was apparent that her father thought she was imaging it. She turned away. She could not stand to see the indulgence in his pale eyes. Her eyes darted back and forth looking for the way out. She felt claustrophobic, as if the walls were closing in around her. The only door was behind him. Even with her back turned she knew she would not make it past him.
As if he knew what she was thinking he came up behind her and placed his hands firmly on her shoulders. Perhaps he meant to offer comfort. Instead she felt as if he’d captured her and there was no escape.
If he was her father then why couldn’t she remember his name?
“I have a gift for you,” he said. “Something to help you with your recovery. The doctor’s said if you didn’t try to remember so much then it would be easier.”
“They did?” She had a vague recollection of some sort of medical procedure. Of bright lights over head, the sterile smell of recycled air and strange faces hovering over her. She also felt a strange sense of loss, as if with the accident and what followed she lost a part of herself.
It was all so strange yet she could not say what was different. Only that it was.
The man who was her father walked to the plush gray sofa that curved around two sides of the room. He returned with a white box tied with a bright pink bow. It was strange that she had not noticed it earlier when she first walked into the room. Certainly the brightness of the bow would have stood out against all the misty gray that surrounded her.
“Open it,” he said encouragingly as he held it out to her. She had no choice but to take it. She pulled on the ribbon and it fell away as if it were nothing. She opened the box and a black kitten with deep blue eyes poked its head up and stared at her inquisitively.
“Oh,” Merritt exclaimed. She scooped the kitten out and dropped the box to the floor. “He’s adorable.”
Her father seemed confused. He chucked a finger under the kitten’s chin and it turned its head into her neck as if trying to escape from his attention. “You shall have to give it a name,” he said.
Merritt held the kitten up before her face and looked into its deep blue eyes. They were such a strange color for a cat, but somewhere she had heard that kittens were born with blue eyes and then they turned green or gold. Perhaps his just hadn’t changed yet. He let out a tiny meow as she looked at him and she smiled in delight as she clutched him back to her breast.
“I shall name him Dax,” she said.
“Dax?” Her fathered seemed to disapprove. “Isn’t that a strange name for a cat? Where ever did you come up with that name?”
Merritt turned halfway away from him. She felt as if the kitten was in jeopardy. “I don’t know where it came from,” she said as she rubbed the silky fur. “I just know that I like it and it seems to fit him.”
“Are you even sure that it is a him?” he asked.
Merritt held up the kitten once more and looked beneath its tiny round belly. It was hard to say one way or another at this young age but for some reason, she just knew it was a he. “I’m sure,” she said.
“I’m glad you are pleased,” her father said. “Now come, the Doctor’s said you must rest.” He took her arm and guided her to a door. “Go in and lie down. Snuggle up with your kitty,” he added as he opened the door.
Merritt looked around the space, hoping for something that was familiar, but all she saw was the same misty grayness around the walls and a gray cover upon the bed that was the only piece of furniture in the room. She heard the door close firmly behind her and knew without checking that it was locked. It didn’t matter one way or the other however as she found herself suddenly very tired. Her eyes closed the moment she lay down on the bed but before she drifted off to sleep her finger tips grazed the base of her ring finger.
H
er last thought as the darkness overcame her was of her ring. She must find it.
<>
“I thought you told me the kitten was white,” Swain exclaimed as he disconnected his Simkey and slid it into the pocket inside of his coat. He positioned his chair for easy rising and stalked to where Merritt lay in her dream like state. Her hands were clutched together with the fingers of her right hand holding onto the base of her left ring finger and her forehead was drawn down as if she were heavily troubled.
“I programmed it white,” Foster said. “What did you see?”
“A black cat with blue eyes,” Swain said. “She named it Dax.”
“Dax?” Foster asked.
“The man with her,” Swain exclaimed. “His name was Dax. At least that’s what she was screaming if I remember correctly.”
Foster raised his eyebrows. “How interesting,” he said. “Her subconscious is compensating for the absence of familiarity. It also appears that it is rewriting the program to adapt to her longings.”
“Fix it,” Swain said in disgust. “I need her to be fully operational as soon as possible.”
“I’ll get right on it,” Foster said. But instead of turning back to his desk, he studied Merritt intently. “Perhaps we should give her a mother,” he mused aloud.
“No,” Swain said. “The simpler the program, the better it will run. She has to trust me. Only me,” he added as he turned to go. He had a council meeting to attend. “Have it working by the time I return,” he snapped as he left.
He walked through his luxurious apartment that covered the entire top floor of one of the most prominent buildings inside the dome. Above him was a rooftop garden full of plants that at one time grew in the Caribbean islands which were now rumored to be nothing more than desolate peaks. No one knew for certain. No one who ventured out to travel what remained of the world ever returned.
The best part about his garden was that he could stand upon a chair and touch the skin that sheltered them from the outside. It felt fragile, as if it could be sliced with a knife, yet it withstood pounding rain and hail and the freezing rains that pelted it in the winter. When he was younger and full of idealism he imagined he was touching the sky. Now he knew better.
Swain entered the lift that only stopped on his floor and the main floor many stories below. It was open on three sides and from it he could survey the city. He saw the many storied buildings, the green areas, the elevated trains that encircled the dome and the moving sidewalks that created a spider web effect from the center of the city to the edge. Everywhere he looked he saw the vid screens. The screens that gave their society all their information, from the latest news to the latest in the celebrity gossip. Screens that were present on every corner, in every office, in every apartment, in every classroom.
Screens that controlled the populace with suggestions made by the Paranormal Research Instruments of Sublimal Messaging called Prisms by those on the council. There were nearly one hundred of them, all kept in simsleep, all heavily guarded and behind locked doors on a floor of the government building. Each Prism was connected to the main frame and each was given instructions which they, in turn, passed on to the populace. Buy this, eat here, avoid this, all suggested to keep the peace within.
Swain allowed himself the luxury of a smile as he quickly descended to the streets below. Now he had his own Prism. One who was programmed to do his bidding and spread his will.
Soon everything he beheld before him would be his.
“All mine,” he said with a smile.
Chapter Three
The Dome
There had to be something beyond the shadows. Or maybe it was just her vision that was blurry. There was always the possibility that she was dreaming. Could that be it? Merritt walked through the room with her fingers trailing over the clean lines of the plain but functional furniture. Everything was done in shades of gray, from the plush carpet that cushioned her feet to the heavy gray drapes that covered the walls. Were there windows behind the drapes? For some reason she could not recall the view. Everything around her was familiar, yet everything she saw was strange.
“There you are my dear,” a man’s voice said.
Merritt turned. A man stood before her. He was tall and slim with blond hair that held a touch of silver at the temples. His eyes shaded more towards gray than blue, but it could easily be that the room they were in made them look that way. He wore a perfectly tailored suit that was on the edge of a new trend in fashion, yet would not be considered ostentatious by his peers. How was it that knew that, or even cared?
“Father?” she asked. The word came unbidden to her lips and for some strange reason she was not sure if it was appropriate.
“Who else would it be?” He came to her and took her upper arms into his hands. He kissed her forehead. “Silly girl,” he said.
She scrunched her forehead up as he kissed it. As if she could ward off the touch of his lips. His eyes bore into her and she turned away from his intense scrutiny.
“Merritt,” he said his voice heavy with concern. “Are you all right?”
A pain shot through her temples and she pressed her hands against them.
“It hurts,” she cried out.
<>
“What’s wrong?” Swain asked.
“She’s fighting it,” Foster replied. “Her mind is sensing the reality shift. Her consciousness senses the dream so she’s trying to wake herself up.” Foster turned from his perusal of the monitor and added. “I told you she was strong. One of the strongest I’ve ever seen.”
Swain let his head drop back against the cushion. He reclined in an ergonomic chair while Foster worked the code for Merritt’s program. His Simkey pulsed while it accepted the code and aligned the program with the matching Simkey that glowed from the admanium port Foster had inserted in Merritt’s temple.
Strong and mine…
She really was quite lovely with her silvery blonde hair and clear blue eyes which were closed. It was a shame really that he could not look at them. They reminded him of the wildflowers that grew outside the dome. They were the dominant feature of her heart shaped face and quite an exquisite color of blue with black flecks around the edge of the irises. It was as if he possessed a valuable piece of art that he had to keep behind lock and key. He well remembered the sparks in those eyes as she attacked him in the real. It would be nice to see the life in them again. That, however, would not be conducive to achieving his goal.
She wore a silver rehab suit that stretched from her toes up to her neck. It would aid in the prevention of sores on her body from being in the same position for so long. It would also stimulate her muscles and enhance her circulation as she stayed suspended in the simlife. It clung to her like a second skin and showed the healthy vitality of her body which would soon fade away with enforced inactivity. Various tubes and wires were attached each one there to serve a purpose in keeping her alive for as long as he needed her.
To Swain, she looked like a princess from one of the ancient fairy tales as she lay reclined in a chair similar to his. Her brow seemed troubled and was drawn sternly down, marring the porcelain like complexion of her skin.
“Sleeping Beauty,” he said as he recalled the ancient fairytale she brought to mind.
“Sir?” Foster inquired.
“I noticed that you cut her hair.” No need to let Foster know where his musings led him. The man was bright enough as it was. Bright enough that he bore watching.
“Yes sir,” Foster did not turn away from his keypad.
No excuse or reason was given. When she arrived her hair hung to her waist. Now it was cropped close to her head and the ends of it curled up around her face.
Why did he care?
“It would have been a nuisance to care for,” Foster added after a moment.
Swain had to agree. Still it was a shame.
“I sold it,” Foster said as he swiveled his chair around to face him. “To the sonaspa.”
Swain resisted the urge to roll his eyes in disgust. The pursuit of eternal youth in their society was not unlike a cult. Someone would pay dearly for those hair enhancements. He wondered if he would recognize the color if he came across it in his social circle.
“I assume you deposited the credits in my account,” Swain said.
“Yes,” Foster said. “We can try again whenever you are ready. I added a head injury to her history which will help explain her confusion and I also gave her a pet for distraction.”
“A pet?”
“A fluffy white kitten,” Foster said with a smile that seemed insincere at best. “A gift from her father.”
Swain nodded his approval as he settled back into his chair and closed his eyes.
<>
“Have I told you how relieved I am?” He said.
Merritt touched her temple once again. “About what?”
“About your recovery of course.” The look he gave her was full of concern. “The Doctor said your periods of memory loss would eventually fade.”
She pushed her fingers against her temple as if there was a switch there that needed to be on. If only she could remember…anything…There was nothing that was familiar. The walls seemed distant yet suffocating. She wanted to see the sky and feel the breeze on her face.
“I was hurt?” she asked. That would explain much. It would explain everything. She looked at her father hopefully. Why couldn’t she remember him?
“Yes,” he said calmly. Patiently. As if she was a small child. “You fell. You hurt your head. You have only recently come home from the Medcen.”
“Is that why it hurts?” she asked as she rubbed her right hand over her forehead. She scrunched up her eyes and then opened them in hopes that things would appear clearer to her. Her left hand caught her attention and she looked at it, spreading the fingers wide as she turned it over to examine it.
“I lost it,” she said. “I lost my ring. Did I leave it at the Medcen?”
“What ring?” he asked.
Merritt held her hand out. “My ring.” She twisted the fingers of her right hand around the base of the ring finger on her left hand.
“What did it look like?”
She continued to rub her finger as she tried to remember. She could see it in her mind. Silver and gold twisted together in a never ending circle. She recalled the weight of it. How it slid down the length of her finger and settled at the base as if it were a part of her flesh. She could almost feel a hand close over hers as if holding it in place. A strong hand with blunt fingers that were heavily calloused at the tips. To whom did it belong? “It was silver…and gold…It was both?” she said in hope that he would offer her some confirmation.
“I’m sure it will turn up,” he said a trifle bit too indulgently. How could something that felt so real and now so lost be a figment of her imagination?
It was apparent that her father thought she was imaging it. She turned away. She could not stand to see the indulgence in his pale eyes. Her eyes darted back and forth looking for the way out. She felt claustrophobic, as if the walls were closing in around her. The only door was behind him. Even with her back turned she knew she would not make it past him.
As if he knew what she was thinking he came up behind her and placed his hands firmly on her shoulders. Perhaps he meant to offer comfort. Instead she felt as if he’d captured her and there was no escape.
If he was her father then why couldn’t she remember his name?
“I have a gift for you,” he said. “Something to help you with your recovery. The doctor’s said if you didn’t try to remember so much then it would be easier.”
“They did?” She had a vague recollection of some sort of medical procedure. Of bright lights over head, the sterile smell of recycled air and strange faces hovering over her. She also felt a strange sense of loss, as if with the accident and what followed she lost a part of herself.
It was all so strange yet she could not say what was different. Only that it was.
The man who was her father walked to the plush gray sofa that curved around two sides of the room. He returned with a white box tied with a bright pink bow. It was strange that she had not noticed it earlier when she first walked into the room. Certainly the brightness of the bow would have stood out against all the misty gray that surrounded her.
“Open it,” he said encouragingly as he held it out to her. She had no choice but to take it. She pulled on the ribbon and it fell away as if it were nothing. She opened the box and a black kitten with deep blue eyes poked its head up and stared at her inquisitively.
“Oh,” Merritt exclaimed. She scooped the kitten out and dropped the box to the floor. “He’s adorable.”
Her father seemed confused. He chucked a finger under the kitten’s chin and it turned its head into her neck as if trying to escape from his attention. “You shall have to give it a name,” he said.
Merritt held the kitten up before her face and looked into its deep blue eyes. They were such a strange color for a cat, but somewhere she had heard that kittens were born with blue eyes and then they turned green or gold. Perhaps his just hadn’t changed yet. He let out a tiny meow as she looked at him and she smiled in delight as she clutched him back to her breast.
“I shall name him Dax,” she said.
“Dax?” Her fathered seemed to disapprove. “Isn’t that a strange name for a cat? Where ever did you come up with that name?”
Merritt turned halfway away from him. She felt as if the kitten was in jeopardy. “I don’t know where it came from,” she said as she rubbed the silky fur. “I just know that I like it and it seems to fit him.”
“Are you even sure that it is a him?” he asked.
Merritt held up the kitten once more and looked beneath its tiny round belly. It was hard to say one way or another at this young age but for some reason, she just knew it was a he. “I’m sure,” she said.
“I’m glad you are pleased,” her father said. “Now come, the Doctor’s said you must rest.” He took her arm and guided her to a door. “Go in and lie down. Snuggle up with your kitty,” he added as he opened the door.
Merritt looked around the space, hoping for something that was familiar, but all she saw was the same misty grayness around the walls and a gray cover upon the bed that was the only piece of furniture in the room. She heard the door close firmly behind her and knew without checking that it was locked. It didn’t matter one way or the other however as she found herself suddenly very tired. Her eyes closed the moment she lay down on the bed but before she drifted off to sleep her finger tips grazed the base of her ring finger.
H
er last thought as the darkness overcame her was of her ring. She must find it.
<>
“I thought you told me the kitten was white,” Swain exclaimed as he disconnected his Simkey and slid it into the pocket inside of his coat. He positioned his chair for easy rising and stalked to where Merritt lay in her dream like state. Her hands were clutched together with the fingers of her right hand holding onto the base of her left ring finger and her forehead was drawn down as if she were heavily troubled.
“I programmed it white,” Foster said. “What did you see?”
“A black cat with blue eyes,” Swain said. “She named it Dax.”
“Dax?” Foster asked.
“The man with her,” Swain exclaimed. “His name was Dax. At least that’s what she was screaming if I remember correctly.”
Foster raised his eyebrows. “How interesting,” he said. “Her subconscious is compensating for the absence of familiarity. It also appears that it is rewriting the program to adapt to her longings.”
“Fix it,” Swain said in disgust. “I need her to be fully operational as soon as possible.”
“I’ll get right on it,” Foster said. But instead of turning back to his desk, he studied Merritt intently. “Perhaps we should give her a mother,” he mused aloud.
“No,” Swain said. “The simpler the program, the better it will run. She has to trust me. Only me,” he added as he turned to go. He had a council meeting to attend. “Have it working by the time I return,” he snapped as he left.
He walked through his luxurious apartment that covered the entire top floor of one of the most prominent buildings inside the dome. Above him was a rooftop garden full of plants that at one time grew in the Caribbean islands which were now rumored to be nothing more than desolate peaks. No one knew for certain. No one who ventured out to travel what remained of the world ever returned.
The best part about his garden was that he could stand upon a chair and touch the skin that sheltered them from the outside. It felt fragile, as if it could be sliced with a knife, yet it withstood pounding rain and hail and the freezing rains that pelted it in the winter. When he was younger and full of idealism he imagined he was touching the sky. Now he knew better.
Swain entered the lift that only stopped on his floor and the main floor many stories below. It was open on three sides and from it he could survey the city. He saw the many storied buildings, the green areas, the elevated trains that encircled the dome and the moving sidewalks that created a spider web effect from the center of the city to the edge. Everywhere he looked he saw the vid screens. The screens that gave their society all their information, from the latest news to the latest in the celebrity gossip. Screens that were present on every corner, in every office, in every apartment, in every classroom.
Screens that controlled the populace with suggestions made by the Paranormal Research Instruments of Sublimal Messaging called Prisms by those on the council. There were nearly one hundred of them, all kept in simsleep, all heavily guarded and behind locked doors on a floor of the government building. Each Prism was connected to the main frame and each was given instructions which they, in turn, passed on to the populace. Buy this, eat here, avoid this, all suggested to keep the peace within.
Swain allowed himself the luxury of a smile as he quickly descended to the streets below. Now he had his own Prism. One who was programmed to do his bidding and spread his will.
Soon everything he beheld before him would be his.
“All mine,” he said with a smile.
Friday, June 12, 2009
Guest Blogger Rachel Caine
Rachel Caine ( http://www.rachelcaine.com ) is a New York Times bestselling author of action/adventure fantasy with a good dose of Relationship, Love and Romance in the plot. She joins us this week responding to questions asked by Jacqueline Lichtenberg and Rowena Cherry on the occasion of the publication of the 6th novel in her Morganville Vampires series, Carpe Corpus.
We told Rachel the following:
The aliendjinnromances.blogspot.com blog is by a group of PNR and SFR writers who often talk to the "audience" as we would if we were on a panel at a convention, bouncing a topic around and around from our various viewpoints. It's not a blog about promoting our books, but about nurturing new writers who want to enter the field, and giving our general readers a glimpse of everything that goes on behind the scenes. Thus, from time to time, we post excerpts, chapters, out-takes, and character analyses of current novels, but mostly we talk about the past, present and future of the entire field, including TV and film.
So please answer these questions (or make up questions of your own) as if you were sitting on a stage with all of us around you talking to an audience that came to find out all about what we write and why we write it. Feel free to skip any of these questions, or amalgamate them into a little essay of your own. Readers of this blog love Vampires, Werewolves, Star Trek, and Buffy all equally.
Then we asked these 10 questions. Here are Rachel's responses. I think you're going to want to check out her novels, so I've added some links to Amazon where you can read what other fans have said about her books.
ROWENA: 1. Which was the first Vampire story that you remember seeing or reading? Why do you think it made a powerful impression on you?
I believe it was probably Dracula, which I might have stumbled on in the Bookmobile (I lived far out in the country, and the only reliable access I had to books for my early teen years was the mobile library, which was very limited). I was intrigued, but not overwhelmed. The second book, which probably made a HUGE impression on me, was an illicit copy of of Stephen King's 'SALEMS LOT, which was a pretty shocking take on vampires at the age of ... 13? I believe? But I *loved* it. Then I began to look for vampire books, and my first encounter with a vampire who wasn't a terrifying monster was Chelsea Quinn Yarbro's wonderful St. Germain books. (I am also extremely flattered to be interviewed by you, because I eagerly followed your Sime/Gen books, Jacqueline! Hello! /Fangirl.)
ROWENA: 2. When you are writing a Vampire hero or heroine, what are the top five points you consider vital to characterization.
I'll give it a try! 1) Mystery. Especially in a vampire, I like to have some bit of mystery about their background, their true motivations. 2) Motivation (speaking of). I like to know, very clearly, what it is the vampire really wants -- whether it's redemption, dinner, romance, or just to get through the next day/night. All greatly affect how the character will respond to situations. 3) Friends/allies/enemies. I need to know how my vampire fits in with the other characters ... who he's crossed before, who he secretly loves or loathes, etc. 4) Redeeming qualities. These are, for me, quite important in a vampire character. You're working, after all, with the initial premise that this is a creature who survives on the blood of others, so what about him or her is admirable? How does the reader connect with/root for the vampire? There has to be some common ground. 5) Reliable mythology. Whether it's unique to your own universe or drawn directly from the folklore, it should be consistent or your vampire won't be believable.
Whew. That was harder than I thought!
ROWENA: 3. What is the Vampire lifestyle?
In Morganville, it's complicated. There are social levels, certainly -- the elites, who pretty much control the town and live in luxury (think Mafia dons). The working-class vampires, who are more like Mafia soldiers. And then there are outcasts and rebels, even among the vampires, who may or may not play by the rules, but probably are just as unhappy with the status quo as the various human factions in town.
Added to that, there's the undeniable fact that Morganville itself is a closed society ... the vampires may run the town like the Mafia, collecting blood and services from the human residents, but it's also a kind of protective enclave. An animal preserve, for a dying race. To me, that's what makes my vampires interesting; they're dangerous and unpredictable, but they're also the last of their kind.
ROWENA: 4. What are the rules for your Vampire world-building, and how did you formulate them?
I decided I wouldn't do this project unless I could make it interesting for myself, and different from the type of vampire stories that were already making new headway with teen readers, so I focused on the town itself -- how it worked, who ran it, and how it affected my human inhabitants (including poor Claire, who gets dropped into it). I needed to understand the fundamental secrets of the town before I could decide how it was constructed. It seemed logical to me to find Morganville in a bit of a decline -- fewer and fewer people living there, buildings decaying, unrest among the vampires. I believe I really did, in a literal sense, build the town from the ground up, because some of what happens in the books happens underground, where some of the true secret lay.
ROWENA: 5. What advice would you give to a writer who has not yet completed her first draft of the vampire story in her head?
There's no substitute for sitting down and writing. You can write in your head forever, but it's putting pen to paper, or fingers to keyboard, that creates something real. But there's also a learning curve in this, as in anything that's really worth doing ... you're going to find yourself struggling sometimes to get your ideas on the page, or to make them different, or better. Keep going. It's a process, and if we're very lucky, the process never stops.
JACQUELINE: 6. What do you think your readers are looking for in a relationship between a paranormal such as a Vampire and an ordinary human?
My situation is a little bit unique, because although I do have vampires and humans interacting constantly, the only real vampire/human romantic relationship I have is between Eve and Michael, who became a vampire quite recently. I know that, based on the conversations and feedback from my readers, they really want Eve and Michael to work out ... and that's going to be interesting to me, because Michael's just really starting to discover who he is, and what it is he can do. So I think there's going to be a lot of bumps for that relationship along the way.
In terms of ordinary friendships, I think my readers are enjoying the growing ties between Claire and her somewhat-crazy vampire mentor Myrnin; she's becoming a bit of a caretaker for him, and he's in turn teaching her a lot about Morganville and the unique brand of science he's developed to run it.
JACQUELINE: 7. How do your novels manage to provide the Happily Ever After endings that both Romance and Action readers crave? (we have discussed the Happily Ever After requirement at length on this blog).
I think that as long as the main core relationship of the book -- Claire and Shane -- stays strong and deepens, readers will support all the other twists and turns. And I am determined to have happy endings for all of the Glass House residents, which helps. (Can't guarantee anything beyond that, though ...)
JACQUELINE: 8. How much real romance do you put into your novels? Or do you ever put just a love story into the plot? Or is the relationship always a sub-plot to the action?
I'd have to say that I categorize my stories as action/adventure first, romance second, so it's very much a sub-plot. BUT ... it's also central to why Claire is in Morganville, and why the readers care what happens, so it's extremely important as well. In my Weather Warden novels,
I believe the romantic relationship between Joanne and David is actually the "A" plot, and everything else comes second, no matter how world-destroying. In Morganville, I think it's slightly more of an even balance.
(Carpe Corpus is Rachel's 6th book in the Morganville series)
JACQUELINE: 9. How would you characterize your novels -- are they dark like the TV show SUPERNATURAL? Or mixed like FOREVER KNIGHT or BUFFY? Is there any message of optimism for humankind in your work?
I would say mixed, more like BUFFY than FK (although I love all of those, and SUPERNATURAL too). Dark things definitely happen, but one of the keys to my enjoyment of writing the books is how resilient the characters are, and how funny they can be, even in the darkest of times. (Huge Geek TV fan, here. HUGE. I own one of those "Joss Whedon is my master now" T-shirts.)
JACQUELINE: 10. Give new writers a tip on how to follow in your footsteps.
First of all, don't follow my footsteps, they lead down all kinds of blind alleys, into swamps, sand traps, snake pits ... I've made just about every mistake that can be made. And I'm a bit glad, actually. I've really enjoyed my career, even in the worst times ... but then again, I never quit my day job (for long, anyway). I'd say this: practice, practice, practice. Learn patience and humility, and learn the BUSINESS, which is a strange and wonderful thing.
Many writers think their job ends with turning in a manuscript; I believe that there's a lot before, during, and after that we really should be involved in, including marketing. Learn a variety of skills -- I trained in graphic design, video editing, and public relations, which is all extremely helpful in promotion work for the books.
But most of all: write what you love, not what others tell you is hot. Sooner or later, if you're doing your best work, you will catch a wave. How well you ride it is always the question, but be ready for the opportunity when it comes. Be professional -- treat people well, and respect what they do at every level.
And pay it forward. Mentor others when you can. I was the incredibly lucky recipient of mentoring from a huge variety of great authors, including P.N. Elrod, Patricia Anthony, Nina Romberg/Jane Archer, Joe Lansdale, and so many others. Some of them just offered me handy advice at a time when I needed it. Some shared agents. Some critiqued my work. Some introduced me to editors who later bought my work. There are many, many ways that you can help people, and the simplest thing can sometimes be the most helpful.
Thank you so much for letting me participate today! I truly appreciate it, and once again: I AM A HUGE FANGIRL, LADIES.
Thank you
Rachel Caine
http://www.rachelcaine.com
We told Rachel the following:
The aliendjinnromances.blogspot.com blog is by a group of PNR and SFR writers who often talk to the "audience" as we would if we were on a panel at a convention, bouncing a topic around and around from our various viewpoints. It's not a blog about promoting our books, but about nurturing new writers who want to enter the field, and giving our general readers a glimpse of everything that goes on behind the scenes. Thus, from time to time, we post excerpts, chapters, out-takes, and character analyses of current novels, but mostly we talk about the past, present and future of the entire field, including TV and film.
So please answer these questions (or make up questions of your own) as if you were sitting on a stage with all of us around you talking to an audience that came to find out all about what we write and why we write it. Feel free to skip any of these questions, or amalgamate them into a little essay of your own. Readers of this blog love Vampires, Werewolves, Star Trek, and Buffy all equally.
Then we asked these 10 questions. Here are Rachel's responses. I think you're going to want to check out her novels, so I've added some links to Amazon where you can read what other fans have said about her books.
ROWENA: 1. Which was the first Vampire story that you remember seeing or reading? Why do you think it made a powerful impression on you?
I believe it was probably Dracula, which I might have stumbled on in the Bookmobile (I lived far out in the country, and the only reliable access I had to books for my early teen years was the mobile library, which was very limited). I was intrigued, but not overwhelmed. The second book, which probably made a HUGE impression on me, was an illicit copy of of Stephen King's 'SALEMS LOT, which was a pretty shocking take on vampires at the age of ... 13? I believe? But I *loved* it. Then I began to look for vampire books, and my first encounter with a vampire who wasn't a terrifying monster was Chelsea Quinn Yarbro's wonderful St. Germain books. (I am also extremely flattered to be interviewed by you, because I eagerly followed your Sime/Gen books, Jacqueline! Hello! /Fangirl.)
ROWENA: 2. When you are writing a Vampire hero or heroine, what are the top five points you consider vital to characterization.
I'll give it a try! 1) Mystery. Especially in a vampire, I like to have some bit of mystery about their background, their true motivations. 2) Motivation (speaking of). I like to know, very clearly, what it is the vampire really wants -- whether it's redemption, dinner, romance, or just to get through the next day/night. All greatly affect how the character will respond to situations. 3) Friends/allies/enemies. I need to know how my vampire fits in with the other characters ... who he's crossed before, who he secretly loves or loathes, etc. 4) Redeeming qualities. These are, for me, quite important in a vampire character. You're working, after all, with the initial premise that this is a creature who survives on the blood of others, so what about him or her is admirable? How does the reader connect with/root for the vampire? There has to be some common ground. 5) Reliable mythology. Whether it's unique to your own universe or drawn directly from the folklore, it should be consistent or your vampire won't be believable.
Whew. That was harder than I thought!
ROWENA: 3. What is the Vampire lifestyle?
In Morganville, it's complicated. There are social levels, certainly -- the elites, who pretty much control the town and live in luxury (think Mafia dons). The working-class vampires, who are more like Mafia soldiers. And then there are outcasts and rebels, even among the vampires, who may or may not play by the rules, but probably are just as unhappy with the status quo as the various human factions in town.
Added to that, there's the undeniable fact that Morganville itself is a closed society ... the vampires may run the town like the Mafia, collecting blood and services from the human residents, but it's also a kind of protective enclave. An animal preserve, for a dying race. To me, that's what makes my vampires interesting; they're dangerous and unpredictable, but they're also the last of their kind.
ROWENA: 4. What are the rules for your Vampire world-building, and how did you formulate them?
I decided I wouldn't do this project unless I could make it interesting for myself, and different from the type of vampire stories that were already making new headway with teen readers, so I focused on the town itself -- how it worked, who ran it, and how it affected my human inhabitants (including poor Claire, who gets dropped into it). I needed to understand the fundamental secrets of the town before I could decide how it was constructed. It seemed logical to me to find Morganville in a bit of a decline -- fewer and fewer people living there, buildings decaying, unrest among the vampires. I believe I really did, in a literal sense, build the town from the ground up, because some of what happens in the books happens underground, where some of the true secret lay.
ROWENA: 5. What advice would you give to a writer who has not yet completed her first draft of the vampire story in her head?
There's no substitute for sitting down and writing. You can write in your head forever, but it's putting pen to paper, or fingers to keyboard, that creates something real. But there's also a learning curve in this, as in anything that's really worth doing ... you're going to find yourself struggling sometimes to get your ideas on the page, or to make them different, or better. Keep going. It's a process, and if we're very lucky, the process never stops.
JACQUELINE: 6. What do you think your readers are looking for in a relationship between a paranormal such as a Vampire and an ordinary human?
My situation is a little bit unique, because although I do have vampires and humans interacting constantly, the only real vampire/human romantic relationship I have is between Eve and Michael, who became a vampire quite recently. I know that, based on the conversations and feedback from my readers, they really want Eve and Michael to work out ... and that's going to be interesting to me, because Michael's just really starting to discover who he is, and what it is he can do. So I think there's going to be a lot of bumps for that relationship along the way.
In terms of ordinary friendships, I think my readers are enjoying the growing ties between Claire and her somewhat-crazy vampire mentor Myrnin; she's becoming a bit of a caretaker for him, and he's in turn teaching her a lot about Morganville and the unique brand of science he's developed to run it.
JACQUELINE: 7. How do your novels manage to provide the Happily Ever After endings that both Romance and Action readers crave? (we have discussed the Happily Ever After requirement at length on this blog).
I think that as long as the main core relationship of the book -- Claire and Shane -- stays strong and deepens, readers will support all the other twists and turns. And I am determined to have happy endings for all of the Glass House residents, which helps. (Can't guarantee anything beyond that, though ...)
JACQUELINE: 8. How much real romance do you put into your novels? Or do you ever put just a love story into the plot? Or is the relationship always a sub-plot to the action?
I'd have to say that I categorize my stories as action/adventure first, romance second, so it's very much a sub-plot. BUT ... it's also central to why Claire is in Morganville, and why the readers care what happens, so it's extremely important as well. In my Weather Warden novels,
I believe the romantic relationship between Joanne and David is actually the "A" plot, and everything else comes second, no matter how world-destroying. In Morganville, I think it's slightly more of an even balance.
(Carpe Corpus is Rachel's 6th book in the Morganville series)
JACQUELINE: 9. How would you characterize your novels -- are they dark like the TV show SUPERNATURAL? Or mixed like FOREVER KNIGHT or BUFFY? Is there any message of optimism for humankind in your work?
I would say mixed, more like BUFFY than FK (although I love all of those, and SUPERNATURAL too). Dark things definitely happen, but one of the keys to my enjoyment of writing the books is how resilient the characters are, and how funny they can be, even in the darkest of times. (Huge Geek TV fan, here. HUGE. I own one of those "Joss Whedon is my master now" T-shirts.)
JACQUELINE: 10. Give new writers a tip on how to follow in your footsteps.
First of all, don't follow my footsteps, they lead down all kinds of blind alleys, into swamps, sand traps, snake pits ... I've made just about every mistake that can be made. And I'm a bit glad, actually. I've really enjoyed my career, even in the worst times ... but then again, I never quit my day job (for long, anyway). I'd say this: practice, practice, practice. Learn patience and humility, and learn the BUSINESS, which is a strange and wonderful thing.
Many writers think their job ends with turning in a manuscript; I believe that there's a lot before, during, and after that we really should be involved in, including marketing. Learn a variety of skills -- I trained in graphic design, video editing, and public relations, which is all extremely helpful in promotion work for the books.
But most of all: write what you love, not what others tell you is hot. Sooner or later, if you're doing your best work, you will catch a wave. How well you ride it is always the question, but be ready for the opportunity when it comes. Be professional -- treat people well, and respect what they do at every level.
And pay it forward. Mentor others when you can. I was the incredibly lucky recipient of mentoring from a huge variety of great authors, including P.N. Elrod, Patricia Anthony, Nina Romberg/Jane Archer, Joe Lansdale, and so many others. Some of them just offered me handy advice at a time when I needed it. Some shared agents. Some critiqued my work. Some introduced me to editors who later bought my work. There are many, many ways that you can help people, and the simplest thing can sometimes be the most helpful.
Thank you so much for letting me participate today! I truly appreciate it, and once again: I AM A HUGE FANGIRL, LADIES.
Thank you
Rachel Caine
http://www.rachelcaine.com
Thursday, June 11, 2009
Brains and Beauty
Has anybody here heard the country song "Carlene" by Phil Vassar? If not, click on the link and peruse the lyrics. Wouldn't you think by now the weary stereotype of smart girls being plain and dull would have faded away? The song's narrator was the quarterback, therefore one of the popular kids, although not much of a student in high school (another stereotype, the dumb jock, but that point isn't mentioned after the first line). He remembers Carlene, the valedictorian, only as "little miss four-point-oh" and the "whiz kid in horned rim glasses." He doesn't recognize her at first sight, as a gorgeous redhead in a sports car, until she takes the initiative to speak to him. Now, I'm not saying there's anything wrong with her using her intelligence and money to get herself a makeover into society's image of beauty. What exasperates me is that the narrator says she "surpassed everybody's expectations" because she's now a model on the cover of VOGUE. In other words, they expected her to excel academically (which she did, by earning a Ph.D.), so that's no big deal. Her great success consists of capitalizing on her physical appeal. Carlene the valedictorian isn't vindicated but simply replaced by Carlene the supermodel. The former quarterback, by the way, has succeeded by means of talent rather than physical attributes; he’s a singer on “country radio.”
When I tried to explain to my husband why this song bothers me, he didn't get it. He pointed out, quite rightly, that if her Ph.D. were in English lit and she had a career in teaching rather than modeling, she'd be driving a VW bug instead of a blue sports car. But couldn't she have a degree in a more lucrative field? Why couldn't the former quarterback be impressed that she's used her doctorate (for example) to become the multimillionaire CEO of a cutting-edge research and development company?
I don't have a personal axe to grind here. In addition to being "miss four-point-oh" in high school, although I was socially awkward, I was also pretty, and I had sufficient dates even though I wasn't part of the inner ring of popularity. (I didn't know I was pretty, of course; at five feet four and 113 pounds, thanks to the distorted body image taught to girls by American culture, I thought I was fat. But that's a whole nother topic.) Nevertheless, this song's wholesale endorsement of the cliche infuriates me.
I have a fantasy of an alien culture in which all young women from puberty until their wedding day wear the burqa, not as an instrument of oppression but as a feminist statement. Young men, unable to see any part of a girl's body except eyes and glimpses of hands (sure, those parts can be artificially adorned, but the scope for variation is much narrower than with face, hair, and figure), would have to pick their mates on the basis of such factors as intelligence, conversational wit, practical skills, and compassion. Etiquette would allow married women and unmarried mature ones—past the age of thirty, perhaps—to be free of the cover-up garments as a symbol of their freedom from having to worry about their appearance overshadowing their character (presumably because they'll be dealing with mature men, who should have developed better sense by then). Yep, fantasy.
Margaret L. Carter
Carter's Crypt
When I tried to explain to my husband why this song bothers me, he didn't get it. He pointed out, quite rightly, that if her Ph.D. were in English lit and she had a career in teaching rather than modeling, she'd be driving a VW bug instead of a blue sports car. But couldn't she have a degree in a more lucrative field? Why couldn't the former quarterback be impressed that she's used her doctorate (for example) to become the multimillionaire CEO of a cutting-edge research and development company?
I don't have a personal axe to grind here. In addition to being "miss four-point-oh" in high school, although I was socially awkward, I was also pretty, and I had sufficient dates even though I wasn't part of the inner ring of popularity. (I didn't know I was pretty, of course; at five feet four and 113 pounds, thanks to the distorted body image taught to girls by American culture, I thought I was fat. But that's a whole nother topic.) Nevertheless, this song's wholesale endorsement of the cliche infuriates me.
I have a fantasy of an alien culture in which all young women from puberty until their wedding day wear the burqa, not as an instrument of oppression but as a feminist statement. Young men, unable to see any part of a girl's body except eyes and glimpses of hands (sure, those parts can be artificially adorned, but the scope for variation is much narrower than with face, hair, and figure), would have to pick their mates on the basis of such factors as intelligence, conversational wit, practical skills, and compassion. Etiquette would allow married women and unmarried mature ones—past the age of thirty, perhaps—to be free of the cover-up garments as a symbol of their freedom from having to worry about their appearance overshadowing their character (presumably because they'll be dealing with mature men, who should have developed better sense by then). Yep, fantasy.
Margaret L. Carter
Carter's Crypt
Tuesday, June 09, 2009
Bits and Pieces of Catchup
I think one of my greatest ambitions is to write SHORT blog posts.
Didn't make it today. I did try. Really, I did!
I'm way behind on getting packed for Westercon which will be held in Tempe, AZ, right up the road from me over the July 4th weekend. I've just filled out the speaker questionnaire but don't have my schedule yet. Anyone reading this blog who's planning on Westercon? I didn't see any Alien Romance panels, but signed up for everything that might lead into such a discussion. Come help me open (warp?) some minds.
http://www.westercon.org/
I hope you have had time to read my previous post and all the stuff linked to it. Could take you a week to wade through all that.
http://aliendjinnromances.blogspot.com/2009/06/crumbling-business-model-of-writers.html
Waiting for everyone to catch up, here's some bits and pieces of followup on other open topics woven into a writing challenge.
I know there's a novelization of the Trek movie, and I haven't read it yet. (yet being the operative word -- I sooo want the DVD and book; I'll pass on the action figures.)
There's a wild and thriving ongoing set of posts on twitter about people seeing the new ST movie 4 and 5 times and more. Some posts saying "what's so great about ST?" and others in goshwow shock. Other long time fans of Trek are still seeing it FOR THE FIRST TIME.
Twitter is carrying some criticism of the actors, some snearing at the entire concept.
I saw one review that really lowered my opinion of both the reviewer and the publication, calling the ST movie melodramatic.
It isn't.
But I can see how someone assigned to review a movie set in a universe they think of as kiddie stuff or teen-action-stuff (SF has borne that perjorative all along) would find this script "melodramatic." That's a point of view that always happens when someone is not engaged in the fictional universe. If you're wholly engaged, the emotional tension does not seem overblown or out of proportion to the issue. But that works only if you really understand the issue.
If everyone is running for the exit in screaming panic, and you're just standing there, you should ask yourself, "What do they know that I don't know?"
Reviewers who slap the label "melodramatic" on a piece of fiction generally haven't asked themselves that question about the audience that does not see the story as melodramatic. In fact, the rest of the audience may be seeing the story as understated while "sophisticated" reviewers trash it as melodramatic. This is in general, not just about this particular Star Trek movie.
It's not the writer's fault usually. "Melodrama" is not a property of the text or script. It exists only in the reader/viewer's mind. (You won't likely find anyone else who holds such an opinion).
There is one flaw a writer might introduce that could give some viewers the impression of melodrama, and that's failing to display in show-don't-tell the character motivations, sensitivities, hot-button issues, loyalties, friendships, and relationships, all clearly derived from the theme.
The JJ Abram's Star Trek movie is written to give you as much of these character and situation traits as possible in the time alotted (and fit in all the commercially requisite action). Anyone have an opinion on what the envelope theme of this film is? Perhaps it's "The Challenges Temper The Character Strengths?" I.e. what character strengths are there already get made stronger by challenges.
When a reviewer sees a movie as "melodramatic" it may not be the reviewer's fault for being unobservant, disinterested, or prejudiced. It might be the "fault" of the review publication for assigning the wrong person to do the review. If someone has a strong emotional reaction to a piece of fiction, a reaction which embarrasses them deep inside, they might slap a distancing label on the fiction -- as if the fiction is at fault for their own refusal to confront their own emotions. You can't tell if that's the case just be reading a review of a film you have seen.
Or the negative reaction might possibly be the fault of the professional reviewer for choosing to review a product because it's popular so that the review will get read rather than reviewing something else that's less popular.
When I read that accusation of "melodrama" against Star Trek (in the context of "it's not a good enough movie for this much hype and people who are enchanted with it have something wrong with them") it brought up questions about how people interact with fiction, fictional universes, and with their own expectations and anticipations.
There's a lot of hype for the Trek movie, and as usual fans are divided into various camps regarding how well or poorly this or that favorite aspect was handled. In general, and overall, there's a consensus of approval and wait-and-see from the old fans, and some astonished interest from new or younger people. To them, it's just a good action movie without a lot of subtext. To veteran fans, it's ALL subtext.
So public discussion makes non-fans (or even non-viewers of Star Trek) curious, and they go see the movie, and express their reactions in public (on twitter maybe).
That's how you sell a lot of movie tickets, you see. Word of mouth (or tweets) motivates people better than any amount of paid commercial time on TV.
All these thoughts are related to some very abstract thinking I've been doing lately, about how fiction strikes a person at different stages of maturity. (I've been reading a number of children's books for my review column.)
And there are subjects flickering in the back of my mind about how the USA used to have so much of a common language and experience, and how that's all been destroyed.
The base cohesiveness of our society has been shattered. That lack of imagery and trivia in common is taking a huge toll, and most people don't realize why these horrific things are happening. New stuff will arise to take its place, because humans need stuff in common with each other, but meanwhile we've got a generation without a cultural connection to anyone other than those with interests in common. The wireless web is changing THAT, too, but it hasn't taken hold yet.
Not everyone paid attention to the Presidential Election! Those that did formed cliques, as usual in politics. But we can't even say "everyone" heard Obama's speeches other than snippets on news shows. You can read his words on the web, but it's not the same as watching his delivery.
Recently, I met someone who had worshipful, shining, beatific eyes every time she mentioned (often) how much she TRUSTS Obama to do the "right thing." She was absolutely pro-Israel, and seemed totally unaware of Hillary Clinton's declaration that none of the USA's verbal agreements with Israel will be kept, period.
I was thinking, as I watched her speaking to other pro-Israel and not-so-pro-Israel people, that if I put her conversation into a story as dialogue, the editor would X it all out because it's implausible the way she ignored everything everyone else said and insisted on how much she TRUSTS Obama, and that trust solves all problems. (talk about melodrama -- her conversation dripped melodrama -- I could hardly believe I was watching a real person not a character).
Other people listened to her politely, but didn't CHALLENGE her thinking (remember the idea the Star Trek movie is about character tempered by challenge). People just expressed their own opinions, without pointing out the fallacies in hers -- they could see she would explode emotionally if challenged, and that would be disruptive to the group. So she left without having her certainties questioned, as one would expect in DIALOGUE. Her "story" and "plot" did not progress because of this group conversation.
Which of course leads into a point I've made on this blog before, that:
A) DIALOGUE is not CONVERSATION.
B) CHARACTERS are not PEOPLE
Somone who prefers to read non-fiction, but has to watch the Star Trek movie ( because maybe their wife dragged them?) might take the film's dialogue as "melodramatic" because it tries, in a very short time, to lay out for you a set of comprehensible motives.
Also consider this is a feature film. The series was designed to be an ensemble show, and each of the characters got a 50 minute (back when there were fewer commercial minutes per hour - maybe 49 minutes) show in which to be introduced. But JJ Abrams was starting from scratch to introduce these (NEW) characters to a new audience, all in one movie.
The script actually does that introduction fairly well within the time alotted. The characters of course come off shallow if all you know is what you see in this new movie, shallow and perhaps overly impressed with themselves.
One of the requirements for good feature film script writing is that there is ONE star character, and maybe a co-star, and all the rest are SUPPORTING characters. Kirk is of course nominally assigned the "starring role" -- but the truth from the POV of many viewers is that Spock is the star. (yep, I'm one of those). Because this show was (will be again?) a TV show (already another movie is in the works), the ENSEMBLE CAST requires fudging the "star-co-star-supporting" paradigm.
If, in your mind, you're superimposing these characters on the old TV characters, you see disparities and are so busy thinking what the old characters would do that you don't totally engage in and thus BELIEVE the current characters.
The result is that you see melodrama instead of drama because you think the characters are OVER reacting.
Well, is this woman who "trusts" Obama "overreacting?" She doesn't think so, and most of you don't either. She thinks she has good reason to trust him, but can't say what those reasons are. She's just bewildered that anyone might squint sideways at Obama and wonder if WYSIWYG.
It all has to do with how we "judge" people and how we "judge" characters -- how we evaluate the values of another person.
And that brings us to the question of whether politicians (and say, actors?) whose "images" have been professionally built by spin-doctors are "characters" or "people."
And what has this all to do with creating that blockbuster TV show with Alien Romance that will change the world?
That woman was in love with Obama, even though she'd never met him. She couldn't separate the image from the man - the character from the person (as often happens with fans of a TV character who can't separate the actor from the character.)
The adoration I saw in her eyes was soooo totally "romance" -- it was Neptune at it's best, worshipful adoration. I'd seen fans of Kirk, Spock, McCoy, Chekov, Uhura, and Scotty with that same beatific expression when discussing the lives of the characters as if they were the lives of the actors, or vice-versa.
I saw in her eyes the experience of JOY in being UNDERSTOOD and being SAFE AT LAST. (I'm not kidding; I saw that, but it may not actually have been there. I am always researching this Alien Romance problem even when wandering around the social fabric of my mundane existence!)
She was not an SF fan. She was ever so mundane. She was an older woman, well and securely married. Her husband was there and totally agreed with her assessment of Obama and apparently had no inkling that there could be a jealousy issue going on there.
Here was a woman so infatuated with a public image that is a "character" more than a "person" that she totally believes she's assessed him correctly.
That's what falling in love does. It cuts the critical faculties out of the circuit and allows you to believe the image you are projecting onto someone is the actual, real person and not a reflection of your own aspirations.
And that's exactly the state of mind you must have in order to "fall in love with" a real Alien From Outer Space.
Here's the thing about Neptune, though. What you see in another person through Neptune's veil is sometimes more TRUE than what you see through your critical faculties.
Sometimes, your critical faculties have been honed by training in very logical, practical ways. And because of that, sometimes your critical faculties will reject information that is actually pertinent simply because the information seems implausible.
That's how a professional reviewer could conclude that the JJ Abram's ST movie is "melodramatic." A reviewer often is trained as a critic (they aren't supposed to be the same function), and an art critic has to view art through his/her critical faculties.
But art, by its very nature, speaks to the subconscious, subverting all critical analysis. Even the art of the spin-doctor creating a politician's image for the media speaks to the subconscious. Spin-doctors work with the fabric of symbolism to get you to believe what they tell you in ways that mere words could never achieve.
The subconscious does not view the world through the conscious mind's critical faculties.
When the subconscious becomes convinced, it over-rules the conscious mind and asserts its opinion as the TRUTH. And subconscious can't be swayed by facts.
So, if we're going to create a TV show, an Alien Romance, that will argue our case the way Star Trek argues the case for SF, we have to include one character like the woman I met with the starry-eyes for Obama. This character has to speak for the human capacity to see past the obvious surface and into the true heart -- as McCoy does in Star Trek, and as this woman believes she has with Obama (which she may have; we'll see).
------and one more bit-------or maybe a piece?------
I've been talking a lot about social networking, the cure for the shattering of our culture as mentioned above.
Found this link on twitter
http://social-media-optimization.com/2009/02/top-twenty-five-social-networking-sites-feb-2009/
and on that page it says:
Interesting information from Compete.com that shows Facebook surging past MySpace in Monthly Unique Visitors and that Twitter has moved from #22 to #3 in the rankings of the top 25 social networking sites by monthly visits.
-------------
And another link on that social-media-optimization page is to an article on the "graying of facebook"
-----------------
http://social-media-optimization.com/2009/02/the-graying-of-facebook/
WHICH STARTS:
Last week I was at a meeting at Facebook and as Facebook was talking about their demographics, one of the statistics that struck me was facebook’s demographics is starting to mirror those of the U.S. of A.
-----------------
Nevermind reading these whole articles (hey, I'm not the only long-winded person on the web!), just those two facts juxtaposed with the snatches on ST from Twitter and various reviews is telling us so much about where to find a lever long enough and where to stand to move the world toward respecting Alien Romance.
Here's another bit of the puzzle.
http://www.thegalaxyexpress.net/2009/06/8-ways-science-fiction-romance-could.html
quotes my blog entry at
http://aliendjinnromances.blogspot.com/2009/05/marketing-fiction-in-changing-world.html
and reasons to the conclusion:
---------- THEGALAXYEXPRESS.NET ---------------
These days, authors aren’t just writers—they’re entrepreneurs.
----------END THEGALAXYEXPRESS.NET ----------
And that is what Jean Lorrah and I have been discussing with an ever increasing intensity.
Jean Lorrah is researching (she's a professor, you know? Research is her bag.) how to employ the techniques used by web based entrepreneurs to the needs of writers. Basically, it's not really a compatible set of techniques. A writer can't just take what these (big buck$ maker$) do and use it to sell books. Readers would run away in droves. But, as you can learn a lot by watching Mission: Impossible or McGiver or Burn Notice or Royal Pains, you can stoke your creative fires by subscribing to free things around the web.
Jean has found a Free Offer from one of the best teachers in the web-entrepreneur business which will open June 15, 2009 and run for a very short while.
See? That's one of their techniques -- short, quick opportunities that ignite your greed to get something others can't get! But to put our culture back together, everyone has to be able to get some specific thing that that everyone else has. We need things in common, not divisiveness.
Here's a link where you will be able to get the free offer (as of June 15th which is next Monday and I don't know how long it'll run). Jean says this is a good place to learn web marketing from Jim Daniels, who has been doing and teaching since 1996.
http://fc403pw6f3th2ke9upz2l1cngo.hop.clickbank.net/
Now to the writing lesson.
If you want to write a BURN NOTICE type TV program to pitch to TV producers, but using (say) a web entrepreneur ( tall, blond, built, and HOT!) as the male lead, and perhaps the actress who stars in (and probably writes and produces and creates the music for) his YouTube videos, getting this free subscription would be a good start in scoping out the character of these people and finding some of the web-entrepreneur tricks that are like the spy-tricks used on BURN NOTICE.
The web entrepreneur tricks can be used as plot devices as High School Chemistry often served McGiver (and now Royal Pains).
Remember how I discussed the use of SETTING in telling a story when a Producer, J. Neil Schulman, mentioned how a Psychic Cruise could be the setting for a Monk or Murder She Wrote episode?
http://aliendjinnromances.blogspot.com/2009/05/medium-is-message_19.html
Here's a chance to do an exercise like that "USA Characters Welcome" pitch.
"Wagon Train To The Stars" became Star Trek because Wagon Train was the most popular, longest running, iconic TV show at the time (maybe other than Gunsmoke, but Gunsmoke took place mostly in one town).
What is the most popular TV show today? Or web-show? What is iconic in the USA? What is topping the ratings? What is the longest running or has the widest demographic? How do you pitch an Alien Romance to the general audience? What do kids and parents watch together?
Iconic Current Show into A New Setting.
We have to transpose that woman I met into the setting we need, and build a springboard into a CHEAP TO MAKE TV series. (Star Trek was cheap for its day, considering the state-of-the-art FX; and it looks it!)
A Web Entrepreneur's life would be a great SETTING, (mostly shot on a standing set of an office with lots of electronics; plus some location shots of hotel ballrooms for speeches; stock shots of airports; standing set hotel rooms -- pretty cheap) and I'm sure a worshipful woman would "fall for" his spin-doctored character in each episode, pissing off his Soul Mate.
Are there any Web Entrepreneur TV series yet? Have I come up with something new here? THE APPRENTICE MEETS MY FAVORITE MARTIAN?
Now consider what an Alien stranded on Earth would do for a living? In BURN NOTICE, we have a guy with no visible means of support using his spy skills to help people and make a few bucks in fees. Why wouldn't an ALIEN gravitate to electronic salesmanship to make a living?
Yes, of course there would be obstacles -- which points to conflict.
Today's audiences are filled with people who have been ousted from salaried jobs and are applying their talents to becoming "consultants" or self-employed entrepreneurs.
Tell me the story as an Alien Romance. I do hope you've read Linnea Sinclair's DOWNHOME ZOMBIE BLUES!!!
Jacqueline Lichtenberg
http://www.simegen.com/jl/
Didn't make it today. I did try. Really, I did!
I'm way behind on getting packed for Westercon which will be held in Tempe, AZ, right up the road from me over the July 4th weekend. I've just filled out the speaker questionnaire but don't have my schedule yet. Anyone reading this blog who's planning on Westercon? I didn't see any Alien Romance panels, but signed up for everything that might lead into such a discussion. Come help me open (warp?) some minds.
http://www.westercon.org/
I hope you have had time to read my previous post and all the stuff linked to it. Could take you a week to wade through all that.
http://aliendjinnromances.blogspot.com/2009/06/crumbling-business-model-of-writers.html
Waiting for everyone to catch up, here's some bits and pieces of followup on other open topics woven into a writing challenge.
I know there's a novelization of the Trek movie, and I haven't read it yet. (yet being the operative word -- I sooo want the DVD and book; I'll pass on the action figures.)
There's a wild and thriving ongoing set of posts on twitter about people seeing the new ST movie 4 and 5 times and more. Some posts saying "what's so great about ST?" and others in goshwow shock. Other long time fans of Trek are still seeing it FOR THE FIRST TIME.
Twitter is carrying some criticism of the actors, some snearing at the entire concept.
I saw one review that really lowered my opinion of both the reviewer and the publication, calling the ST movie melodramatic.
It isn't.
But I can see how someone assigned to review a movie set in a universe they think of as kiddie stuff or teen-action-stuff (SF has borne that perjorative all along) would find this script "melodramatic." That's a point of view that always happens when someone is not engaged in the fictional universe. If you're wholly engaged, the emotional tension does not seem overblown or out of proportion to the issue. But that works only if you really understand the issue.
If everyone is running for the exit in screaming panic, and you're just standing there, you should ask yourself, "What do they know that I don't know?"
Reviewers who slap the label "melodramatic" on a piece of fiction generally haven't asked themselves that question about the audience that does not see the story as melodramatic. In fact, the rest of the audience may be seeing the story as understated while "sophisticated" reviewers trash it as melodramatic. This is in general, not just about this particular Star Trek movie.
It's not the writer's fault usually. "Melodrama" is not a property of the text or script. It exists only in the reader/viewer's mind. (You won't likely find anyone else who holds such an opinion).
There is one flaw a writer might introduce that could give some viewers the impression of melodrama, and that's failing to display in show-don't-tell the character motivations, sensitivities, hot-button issues, loyalties, friendships, and relationships, all clearly derived from the theme.
The JJ Abram's Star Trek movie is written to give you as much of these character and situation traits as possible in the time alotted (and fit in all the commercially requisite action). Anyone have an opinion on what the envelope theme of this film is? Perhaps it's "The Challenges Temper The Character Strengths?" I.e. what character strengths are there already get made stronger by challenges.
When a reviewer sees a movie as "melodramatic" it may not be the reviewer's fault for being unobservant, disinterested, or prejudiced. It might be the "fault" of the review publication for assigning the wrong person to do the review. If someone has a strong emotional reaction to a piece of fiction, a reaction which embarrasses them deep inside, they might slap a distancing label on the fiction -- as if the fiction is at fault for their own refusal to confront their own emotions. You can't tell if that's the case just be reading a review of a film you have seen.
Or the negative reaction might possibly be the fault of the professional reviewer for choosing to review a product because it's popular so that the review will get read rather than reviewing something else that's less popular.
When I read that accusation of "melodrama" against Star Trek (in the context of "it's not a good enough movie for this much hype and people who are enchanted with it have something wrong with them") it brought up questions about how people interact with fiction, fictional universes, and with their own expectations and anticipations.
There's a lot of hype for the Trek movie, and as usual fans are divided into various camps regarding how well or poorly this or that favorite aspect was handled. In general, and overall, there's a consensus of approval and wait-and-see from the old fans, and some astonished interest from new or younger people. To them, it's just a good action movie without a lot of subtext. To veteran fans, it's ALL subtext.
So public discussion makes non-fans (or even non-viewers of Star Trek) curious, and they go see the movie, and express their reactions in public (on twitter maybe).
That's how you sell a lot of movie tickets, you see. Word of mouth (or tweets) motivates people better than any amount of paid commercial time on TV.
All these thoughts are related to some very abstract thinking I've been doing lately, about how fiction strikes a person at different stages of maturity. (I've been reading a number of children's books for my review column.)
And there are subjects flickering in the back of my mind about how the USA used to have so much of a common language and experience, and how that's all been destroyed.
The base cohesiveness of our society has been shattered. That lack of imagery and trivia in common is taking a huge toll, and most people don't realize why these horrific things are happening. New stuff will arise to take its place, because humans need stuff in common with each other, but meanwhile we've got a generation without a cultural connection to anyone other than those with interests in common. The wireless web is changing THAT, too, but it hasn't taken hold yet.
Not everyone paid attention to the Presidential Election! Those that did formed cliques, as usual in politics. But we can't even say "everyone" heard Obama's speeches other than snippets on news shows. You can read his words on the web, but it's not the same as watching his delivery.
Recently, I met someone who had worshipful, shining, beatific eyes every time she mentioned (often) how much she TRUSTS Obama to do the "right thing." She was absolutely pro-Israel, and seemed totally unaware of Hillary Clinton's declaration that none of the USA's verbal agreements with Israel will be kept, period.
I was thinking, as I watched her speaking to other pro-Israel and not-so-pro-Israel people, that if I put her conversation into a story as dialogue, the editor would X it all out because it's implausible the way she ignored everything everyone else said and insisted on how much she TRUSTS Obama, and that trust solves all problems. (talk about melodrama -- her conversation dripped melodrama -- I could hardly believe I was watching a real person not a character).
Other people listened to her politely, but didn't CHALLENGE her thinking (remember the idea the Star Trek movie is about character tempered by challenge). People just expressed their own opinions, without pointing out the fallacies in hers -- they could see she would explode emotionally if challenged, and that would be disruptive to the group. So she left without having her certainties questioned, as one would expect in DIALOGUE. Her "story" and "plot" did not progress because of this group conversation.
Which of course leads into a point I've made on this blog before, that:
A) DIALOGUE is not CONVERSATION.
B) CHARACTERS are not PEOPLE
Somone who prefers to read non-fiction, but has to watch the Star Trek movie ( because maybe their wife dragged them?) might take the film's dialogue as "melodramatic" because it tries, in a very short time, to lay out for you a set of comprehensible motives.
Also consider this is a feature film. The series was designed to be an ensemble show, and each of the characters got a 50 minute (back when there were fewer commercial minutes per hour - maybe 49 minutes) show in which to be introduced. But JJ Abrams was starting from scratch to introduce these (NEW) characters to a new audience, all in one movie.
The script actually does that introduction fairly well within the time alotted. The characters of course come off shallow if all you know is what you see in this new movie, shallow and perhaps overly impressed with themselves.
One of the requirements for good feature film script writing is that there is ONE star character, and maybe a co-star, and all the rest are SUPPORTING characters. Kirk is of course nominally assigned the "starring role" -- but the truth from the POV of many viewers is that Spock is the star. (yep, I'm one of those). Because this show was (will be again?) a TV show (already another movie is in the works), the ENSEMBLE CAST requires fudging the "star-co-star-supporting" paradigm.
If, in your mind, you're superimposing these characters on the old TV characters, you see disparities and are so busy thinking what the old characters would do that you don't totally engage in and thus BELIEVE the current characters.
The result is that you see melodrama instead of drama because you think the characters are OVER reacting.
Well, is this woman who "trusts" Obama "overreacting?" She doesn't think so, and most of you don't either. She thinks she has good reason to trust him, but can't say what those reasons are. She's just bewildered that anyone might squint sideways at Obama and wonder if WYSIWYG.
It all has to do with how we "judge" people and how we "judge" characters -- how we evaluate the values of another person.
And that brings us to the question of whether politicians (and say, actors?) whose "images" have been professionally built by spin-doctors are "characters" or "people."
And what has this all to do with creating that blockbuster TV show with Alien Romance that will change the world?
That woman was in love with Obama, even though she'd never met him. She couldn't separate the image from the man - the character from the person (as often happens with fans of a TV character who can't separate the actor from the character.)
The adoration I saw in her eyes was soooo totally "romance" -- it was Neptune at it's best, worshipful adoration. I'd seen fans of Kirk, Spock, McCoy, Chekov, Uhura, and Scotty with that same beatific expression when discussing the lives of the characters as if they were the lives of the actors, or vice-versa.
I saw in her eyes the experience of JOY in being UNDERSTOOD and being SAFE AT LAST. (I'm not kidding; I saw that, but it may not actually have been there. I am always researching this Alien Romance problem even when wandering around the social fabric of my mundane existence!)
She was not an SF fan. She was ever so mundane. She was an older woman, well and securely married. Her husband was there and totally agreed with her assessment of Obama and apparently had no inkling that there could be a jealousy issue going on there.
Here was a woman so infatuated with a public image that is a "character" more than a "person" that she totally believes she's assessed him correctly.
That's what falling in love does. It cuts the critical faculties out of the circuit and allows you to believe the image you are projecting onto someone is the actual, real person and not a reflection of your own aspirations.
And that's exactly the state of mind you must have in order to "fall in love with" a real Alien From Outer Space.
Here's the thing about Neptune, though. What you see in another person through Neptune's veil is sometimes more TRUE than what you see through your critical faculties.
Sometimes, your critical faculties have been honed by training in very logical, practical ways. And because of that, sometimes your critical faculties will reject information that is actually pertinent simply because the information seems implausible.
That's how a professional reviewer could conclude that the JJ Abram's ST movie is "melodramatic." A reviewer often is trained as a critic (they aren't supposed to be the same function), and an art critic has to view art through his/her critical faculties.
But art, by its very nature, speaks to the subconscious, subverting all critical analysis. Even the art of the spin-doctor creating a politician's image for the media speaks to the subconscious. Spin-doctors work with the fabric of symbolism to get you to believe what they tell you in ways that mere words could never achieve.
The subconscious does not view the world through the conscious mind's critical faculties.
When the subconscious becomes convinced, it over-rules the conscious mind and asserts its opinion as the TRUTH. And subconscious can't be swayed by facts.
So, if we're going to create a TV show, an Alien Romance, that will argue our case the way Star Trek argues the case for SF, we have to include one character like the woman I met with the starry-eyes for Obama. This character has to speak for the human capacity to see past the obvious surface and into the true heart -- as McCoy does in Star Trek, and as this woman believes she has with Obama (which she may have; we'll see).
------and one more bit-------or maybe a piece?------
I've been talking a lot about social networking, the cure for the shattering of our culture as mentioned above.
Found this link on twitter
http://social-media-optimization.com/2009/02/top-twenty-five-social-networking-sites-feb-2009/
and on that page it says:
Interesting information from Compete.com that shows Facebook surging past MySpace in Monthly Unique Visitors and that Twitter has moved from #22 to #3 in the rankings of the top 25 social networking sites by monthly visits.
-------------
And another link on that social-media-optimization page is to an article on the "graying of facebook"
-----------------
http://social-media-optimization.com/2009/02/the-graying-of-facebook/
WHICH STARTS:
Last week I was at a meeting at Facebook and as Facebook was talking about their demographics, one of the statistics that struck me was facebook’s demographics is starting to mirror those of the U.S. of A.
-----------------
Nevermind reading these whole articles (hey, I'm not the only long-winded person on the web!), just those two facts juxtaposed with the snatches on ST from Twitter and various reviews is telling us so much about where to find a lever long enough and where to stand to move the world toward respecting Alien Romance.
Here's another bit of the puzzle.
http://www.thegalaxyexpress.net/2009/06/8-ways-science-fiction-romance-could.html
quotes my blog entry at
http://aliendjinnromances.blogspot.com/2009/05/marketing-fiction-in-changing-world.html
and reasons to the conclusion:
---------- THEGALAXYEXPRESS.NET ---------------
These days, authors aren’t just writers—they’re entrepreneurs.
----------END THEGALAXYEXPRESS.NET ----------
And that is what Jean Lorrah and I have been discussing with an ever increasing intensity.
Jean Lorrah is researching (she's a professor, you know? Research is her bag.) how to employ the techniques used by web based entrepreneurs to the needs of writers. Basically, it's not really a compatible set of techniques. A writer can't just take what these (big buck$ maker$) do and use it to sell books. Readers would run away in droves. But, as you can learn a lot by watching Mission: Impossible or McGiver or Burn Notice or Royal Pains, you can stoke your creative fires by subscribing to free things around the web.
Jean has found a Free Offer from one of the best teachers in the web-entrepreneur business which will open June 15, 2009 and run for a very short while.
See? That's one of their techniques -- short, quick opportunities that ignite your greed to get something others can't get! But to put our culture back together, everyone has to be able to get some specific thing that that everyone else has. We need things in common, not divisiveness.
Here's a link where you will be able to get the free offer (as of June 15th which is next Monday and I don't know how long it'll run). Jean says this is a good place to learn web marketing from Jim Daniels, who has been doing and teaching since 1996.
http://fc403pw6f3th2ke9upz2l1cngo.hop.clickbank.net/
Now to the writing lesson.
If you want to write a BURN NOTICE type TV program to pitch to TV producers, but using (say) a web entrepreneur ( tall, blond, built, and HOT!) as the male lead, and perhaps the actress who stars in (and probably writes and produces and creates the music for) his YouTube videos, getting this free subscription would be a good start in scoping out the character of these people and finding some of the web-entrepreneur tricks that are like the spy-tricks used on BURN NOTICE.
The web entrepreneur tricks can be used as plot devices as High School Chemistry often served McGiver (and now Royal Pains).
Remember how I discussed the use of SETTING in telling a story when a Producer, J. Neil Schulman, mentioned how a Psychic Cruise could be the setting for a Monk or Murder She Wrote episode?
http://aliendjinnromances.blogspot.com/2009/05/medium-is-message_19.html
Here's a chance to do an exercise like that "USA Characters Welcome" pitch.
"Wagon Train To The Stars" became Star Trek because Wagon Train was the most popular, longest running, iconic TV show at the time (maybe other than Gunsmoke, but Gunsmoke took place mostly in one town).
What is the most popular TV show today? Or web-show? What is iconic in the USA? What is topping the ratings? What is the longest running or has the widest demographic? How do you pitch an Alien Romance to the general audience? What do kids and parents watch together?
Iconic Current Show into A New Setting.
We have to transpose that woman I met into the setting we need, and build a springboard into a CHEAP TO MAKE TV series. (Star Trek was cheap for its day, considering the state-of-the-art FX; and it looks it!)
A Web Entrepreneur's life would be a great SETTING, (mostly shot on a standing set of an office with lots of electronics; plus some location shots of hotel ballrooms for speeches; stock shots of airports; standing set hotel rooms -- pretty cheap) and I'm sure a worshipful woman would "fall for" his spin-doctored character in each episode, pissing off his Soul Mate.
Are there any Web Entrepreneur TV series yet? Have I come up with something new here? THE APPRENTICE MEETS MY FAVORITE MARTIAN?
Now consider what an Alien stranded on Earth would do for a living? In BURN NOTICE, we have a guy with no visible means of support using his spy skills to help people and make a few bucks in fees. Why wouldn't an ALIEN gravitate to electronic salesmanship to make a living?
Yes, of course there would be obstacles -- which points to conflict.
Today's audiences are filled with people who have been ousted from salaried jobs and are applying their talents to becoming "consultants" or self-employed entrepreneurs.
Tell me the story as an Alien Romance. I do hope you've read Linnea Sinclair's DOWNHOME ZOMBIE BLUES!!!
Jacqueline Lichtenberg
http://www.simegen.com/jl/
Monday, June 08, 2009
Mirror, Mirror
(this blog was originally a column in FUTURES magazine, @ 1999. FYI)
If a tree falls in the great forest, and no one’s there, does it make a sound? If a writer creates a character, and it’s drawn solely from his or her own mind, isn’t the character really the writer? If the basic task of literature is to explore the human heart and mind, whose heart and mind are we really exploring?
I don't know what the answer is to the first ‘if’ posited. But the second and third ‘ifs’ are things that have wandered around in my brain from time to time. You see, as an investigator, I spend a lot of my working moments wondering about people. Why do they do the things they do? What motivates them? What makes them follow their dreams or succumb to their fears?
It’s almost a requisite in investigative work to have the ability to get inside your subject’s head. Think his thoughts, walk in his shoes. I know of no other way to approach a locate on missing person than to understand what forced him to run in the first place.
When I read fiction -- or try to write fiction -- I see the same processes at work. A big part of characterization is making sure the character acts, well, in character. A bizarre action must be proceeded by a sufficiently bizarre catalyst in the plot.
But this bizarre action (or not so bizarre action) really isn’t the character’s. It’s the writer’s. It’s yours. And mine.
Everything you read, and everything you write, is a very personal internal journey. It’s an exposition of exposing deep desires and fears. It’s preferences, opinions, possibilities. It’s total vulnerability, couched in fiction, offered for entertainment.
Sue Grafton recently stated in an interview that her well-known character, Kinsey Milhone, is her younger (and thinner) other-self. And more than one mystery novelist has posed on the back cover with the ubiquitous fedora skewed over one eye. I’ll willingly admit, as science fiction romance is my genre and poison of choice, that one of my most treasured possessions is a video tape of me in full Star Fleet captain’s uniform on the bridge of the Enterprise. No, I wasn’t an extra on the set of the shows or the movies. Universal Studios in Orlando, for a fee, offers theme park patrons a chance to ‘star’ in their own five minute “Star Trek” scene. For me, a personal Nirvana.
I think our desire to find these personal nirvanas blossoms most frequently in the arts: literature, music, visual arts. The instrument, the book cover, the ornate frame provides us just enough distance to be able to comfortably bare our souls. It permits us to be able to fall back on the excuse of, “I was only pretending”. It’s just a poem. A story. A painting.
The human heart and mind, the “human condition”, to me, is not that personal. The human condition is an aggregate. A pollster’s result. The view from afar.
When I as an investigator work a missing person case, or a deep background, the far view does me very little good. We are not motivated by our similarities but by our eccentricities. Our secret desire to be a starship captain, an invincible heroine, an ageless wonder with thinner thighs. A tried and true saying in investigative work is that there are only two elements to any crime: motive and opportunity.
Notice that motive comes first.
And motives are very, very personal.
Cases are solved not through generalities but through attention to specifics.
And literature, in my humble opinion, pool side here at the Center for the Slightly Skewed, is compelling not for its broad strokes but for its fine lines and shadings. Its infinite and sharp definition of detail. It’s a one on one, hand in hand, personal encounter. Just you and me in the midst of the great forest, sitting on that tree that fell when no one was around to hear it.
Baring our unique and very individual souls.
~Linnea
Linnea Sinclair
// Interstellar Adventure Infused with Romance//
Available Now from Bantam: Hope's Folly
http://www.linneasinclair.com/
If a tree falls in the great forest, and no one’s there, does it make a sound? If a writer creates a character, and it’s drawn solely from his or her own mind, isn’t the character really the writer? If the basic task of literature is to explore the human heart and mind, whose heart and mind are we really exploring?
I don't know what the answer is to the first ‘if’ posited. But the second and third ‘ifs’ are things that have wandered around in my brain from time to time. You see, as an investigator, I spend a lot of my working moments wondering about people. Why do they do the things they do? What motivates them? What makes them follow their dreams or succumb to their fears?
It’s almost a requisite in investigative work to have the ability to get inside your subject’s head. Think his thoughts, walk in his shoes. I know of no other way to approach a locate on missing person than to understand what forced him to run in the first place.
When I read fiction -- or try to write fiction -- I see the same processes at work. A big part of characterization is making sure the character acts, well, in character. A bizarre action must be proceeded by a sufficiently bizarre catalyst in the plot.
But this bizarre action (or not so bizarre action) really isn’t the character’s. It’s the writer’s. It’s yours. And mine.
Everything you read, and everything you write, is a very personal internal journey. It’s an exposition of exposing deep desires and fears. It’s preferences, opinions, possibilities. It’s total vulnerability, couched in fiction, offered for entertainment.
Sue Grafton recently stated in an interview that her well-known character, Kinsey Milhone, is her younger (and thinner) other-self. And more than one mystery novelist has posed on the back cover with the ubiquitous fedora skewed over one eye. I’ll willingly admit, as science fiction romance is my genre and poison of choice, that one of my most treasured possessions is a video tape of me in full Star Fleet captain’s uniform on the bridge of the Enterprise. No, I wasn’t an extra on the set of the shows or the movies. Universal Studios in Orlando, for a fee, offers theme park patrons a chance to ‘star’ in their own five minute “Star Trek” scene. For me, a personal Nirvana.
I think our desire to find these personal nirvanas blossoms most frequently in the arts: literature, music, visual arts. The instrument, the book cover, the ornate frame provides us just enough distance to be able to comfortably bare our souls. It permits us to be able to fall back on the excuse of, “I was only pretending”. It’s just a poem. A story. A painting.
The human heart and mind, the “human condition”, to me, is not that personal. The human condition is an aggregate. A pollster’s result. The view from afar.
When I as an investigator work a missing person case, or a deep background, the far view does me very little good. We are not motivated by our similarities but by our eccentricities. Our secret desire to be a starship captain, an invincible heroine, an ageless wonder with thinner thighs. A tried and true saying in investigative work is that there are only two elements to any crime: motive and opportunity.
Notice that motive comes first.
And motives are very, very personal.
Cases are solved not through generalities but through attention to specifics.
And literature, in my humble opinion, pool side here at the Center for the Slightly Skewed, is compelling not for its broad strokes but for its fine lines and shadings. Its infinite and sharp definition of detail. It’s a one on one, hand in hand, personal encounter. Just you and me in the midst of the great forest, sitting on that tree that fell when no one was around to hear it.
Baring our unique and very individual souls.
~Linnea
Linnea Sinclair
// Interstellar Adventure Infused with Romance//
Available Now from Bantam: Hope's Folly
http://www.linneasinclair.com/
Sunday, June 07, 2009
The Hyper-tasking gene
While recording my "Space Pirates" internet radio show last Tuesday (which will go out over the air live this coming Tuesday June 9th, and which can also be heard free in the archives of http://internetvoicesradio.com David Lee Summers mentioned his "hyper-tasking" gene.
I thought it was a pretty cool idea.
David Lee Summers suggests that some humans may have such a gene which would enable them to perform at comparable levels with aliens, even if they lacked the life experience and training of the aliens.
On Saturday, I happened to be watching the interviews with the racing drivers who did best in qualifying for the Grand Prix today. They all had eyes like Target logos, with dark circles round the outer rim of the iris.
I'm using that as a marker....
I thought it was a pretty cool idea.
David Lee Summers suggests that some humans may have such a gene which would enable them to perform at comparable levels with aliens, even if they lacked the life experience and training of the aliens.
On Saturday, I happened to be watching the interviews with the racing drivers who did best in qualifying for the Grand Prix today. They all had eyes like Target logos, with dark circles round the outer rim of the iris.
I'm using that as a marker....
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