Thursday, December 24, 2020

Xmas Musings

I've just read a recent book about Dorothy Sayers, SUBVERSIVE, by Crystal Downing. One theme to which the author frequently alludes is the concept of living by an exchange model, an expectation of behaving certain ways to get equivalent value in return. For instance, Downing emphasizes that Sayers cautioned against the mind-set that doing good deeds guarantees one will "go to Heaven" or even enjoy prosperity in life. At the current season, this idea reminded me of Christmas gifts, naturally. We often speak of "exchanging presents" or having a gift exchange at an office party. Ideally, we'd give presents that reflect our awareness of what the recipient really wants, without any consideration of what we might receive from that person. In practice, our gift-giving is often constrained not only by what we can afford but by the anticipated size and monetary value of the present we expect the recipient to give us. If we spend a lot more in giving than the other person spends on us, we might feel miffed at the discrepancy or embarrassed at having put the other person in an awkward spot. Conversely, not spending enough on a gift may distress us because we fear the recipient will think we're stingy, or we might even feel guilty about not giving what we "should."

This subject reminds me of two short essays C. S. Lewis wrote about Christmas as celebrated in Britain in his time. You can read them here:

What Christmas Means to Me

Xmas and Christmas

In "What Christmas Means to Me" (a sappy title I seriously doubt Lewis chose himself), he distinguishes three things called "Christmas": The first is the religious festival. The second, a secular holiday devoted to merrymaking, "has complex historical connections with the first" and, in mid-twentieth-century England as in our contemporary culture, is joyfully celebrated by millions of people who don't practice Christianity in any other way. The third phenomenon, which Lewis says "is unfortunately everyone's business," he calls "the commercial racket." Note that this article was first published in 1957! Here's where the topic of gift exchange comes in. He laments the modern pressure to give presents or at least send cards to everybody we know, a custom he maintains "has been forced upon us by the shopkeepers." Not only is this obligation exhausting and a hindrance to the "ordinary and necessary shopping" we still can't avoid, "Most of it is involuntary." While I think "most" is an exaggeration, Lewis amusingly summarizes the hapless shopper's plight thus: "The modern rule is that anyone can force you to give him a present by sending you a quite unprovoked present of his own."

"Xmas and Christmas," a witty piece of satire, bears the subtitle "A Lost Chapter from Herodotus." It purports to be the classical historian's report of strange winter customs in the fogbound island nation of Niatirb. The writer describes the sending of "Exmas-cards" bearing pictures that seem to have no discernible connection to the festival supposedly being celebrated, such as birds on prickly tree branches. There's a funny description of the citizens' reactions to receiving cards or gifts from anyone they haven't already gifted: "They beat their breasts and wail and utter curses against the sender; and, having sufficiently lamented their misfortune, they put on their boots again and go out into the fog and rain. . . ." Herodotus concludes that Exmas and "Crissmas" can't possibly be the same holiday, because surely millions of people wouldn't undergo those ordeals in honor of a God they don't believe in.

This essay's description of the illustrations on "Exmas-cards," including "men in such garments as the Niatirbians believe that their ancestors wore two hundred years ago riding in coaches such as their ancestors used, or houses with snow on their roofs," highlights the way our images of a "traditional Christmas" often owe more to art, literature, and the media than to firsthand experience. Those idyllic snow scenes, for instance, and the songs about sleigh rides. If anyone in the modern U.S. goes on a sleigh ride around the holidays, it's most likely a staged event, not a spontaneous family outing. As for songs such as "Winter Wonderland," "Let It Snow," and "White Christmas" (rescued from banality only by its seldom-sung prologue, which frames the singer as a Los Angeles resident nostalgic for the northeast winters of his childhood), a considerable percentage of the American population sees white Christmases only in the movies. In the popular imagination, though, December is supposed to conform to the standard described by TV Tropes in this entry:

Dreaming of a White Christmas

As the page explains, "Unless a work of fiction takes place in a tropical or arid setting, or in the Southern Hemisphere, it will always snow in winter. . . . The snow will be there to look 'pretty'. It does not melt or turn slushy, nor is it ever coated with dirt or litter. It is never accompanied by freezing winds or icy rains." While our family lived in San Diego at some points during my husband's Navy career, we could tell when it was winter (aside from chilly nights and increased rain) because the distant hills turned green rather than brown. Growing up in Norfolk, Virginia, I seldom experienced snow in December as a child. We got it mainly in January. My late stepmother, a native of the coastal region of North Carolina, loved snow and always hoped for a white Christmas. Considering her birthplace, I doubt she ever saw snow at Christmas during her entire early life. Yet the ideal derived from fiction, movies, and songs shaped her vision of how the winter holidays were "supposed" to look.

Merry Christmas, white or green, to all who celebrate it!

Margaret L. Carter

Carter's Crypt

Tuesday, December 22, 2020

Mysteries of Pacing Part 11- Pacing the Character Arc

Mysteries of Pacing
Part 11
Pacing the Character Arc


Previous entries in this series are indexed here:
https://aliendjinnromances.blogspot.com/2020/07/index-to-mysteries-of-pacing.html

Mysteries of Pacing Parts 9 and 10

9. Character Arc Pacing Using The Foible
https://aliendjinnromances.blogspot.com/2020/07/mysteries-of-pacing-part-9-character.html

10. Show Don't Tell Character Arc
https://aliendjinnromances.blogspot.com/2020/08/mysteries-of-pacing-part-10-show-dont.html

...discussed showing rather than telling the Character Arc.

So if you can't "tell" the Character Arc Story, but story is all about the intangible, psychological, spiritual, morphing of a Character, how do you convey the Arc, or the Change in how the Character evaluates a situation and how the Character decides to act, and what actions she chooses?

For example: How do you depict the shift in a Character from Republican to Democrat?  From Warrior to Lover? From Poet to President?  How and why do people CHANGE?

Or do they change?

What is the experience of your reader?

To convince a reader that the Character you have designed for them to identify with has changed, that change has to seem plausible to the reader.

This is the "hole" in the comic book, or graphic novel, approach. To stay away from the "slow" parts, to keep the pacing fast enough for young (teen, or younger, even twenty-somethings) you have to skip the important small steps that make it plausible this Character would do That Action.

Adults, especially over 30, know how stubborn older people can be, how "set in their ways."

You, the writer, must understand how the elders in your story got so set in their ways.  The backstory is so important, but you can't "tell" that story, or well ... back up and start the series of novels at the events that shaped those elder's beliefs?

If you show-don't-tell the shaping of a stubborn elder starting with early teens, or maybe 20 something, and progressing through another twenty years, you will have a 20 book series.

We've been looking at a few of those, most recently C. J. Cherryh's Foreigner novels.

https://aliendjinnromances.blogspot.com/2017/07/reviews-32-cj-cherryh-and-gini-koch-in.html

https://aliendjinnromances.blogspot.com/2020/12/reviews-58-divergence-by-c-j-cherryh.html

Other mentions of C. J. Cherryh are Indexed here:

How do you change his mind on issues he's sure he understands?

We've talked a lot about C. J. Cherryh.  Here is an index of some posts mentioning her work.

https://aliendjinnromances.blogspot.com/2020/12/index-to-posts-mentioning-c-j-cherryh.html

And we've discussed several series of novels running 20 books or more, a phenomenon you would not find in Romance Genre prior to the admixture of Vampire, Paranormal, or Science Fiction genre forms with Romance.

In an old fashioned Romance Genre novel, the couple meets, tries to cope with their attraction, overcomes obstacles to getting together, gets together (sometimes to the Wedding Day, often just to "Will You Marry Me?") and that's the end of the story.

We are to assume they live into an HEA lifetime.  And we go on to pick up another Romance novel that starts the same, and ends the same.

The addition of the near-immortal Vampire character, or the problems of relationships with Ghosts, or mythical creatures from another dimension, Aliens from Outer Space, made the "ever after" more interesting, attractive, and problematic.

Readers wanted more, writers gave more, and we have serious like Gini Koch's ALIEN series.

Falling in love is an adventure in self-discovery -- the amazement that another person could have THIS affect on how you think, what you value, what you're willing to give up to get a life together.

The Second Time Around Romance often captures much of that advanced story arc where both Characters have a complex, rich, backstory -- with pain, with lessons learned, with consequences accepted (children) and avoided.

Romance has come of age, no longer about teen crushes and infatuations, but about real relationships and how another person reshapes you.

But still, you are you.

No matter how "old" you might be, how "elder" in a family or community, you are still you.

The readers of Romance are old enough to understand that, having seen children grow up.

A parent learns the traits of their children from earliest years, what their talents are, the proclivities, and personalities.  There is a sense of each child responding differently to the same home environment.

The Romance reader's perception of the real people around her is that people grow up from childhood by growing into their Personality - not by changing it.

Old advice to youngsters just entering a new situation is, "Be yourself."

That's harder than it sounds. Thousands of experiences shape the contents of that innate framework of Personality, and along through the decades of life, mistakes are corrected, bits discarded, other bits smoothing over the cracks where a heart was broken, and what emerges is an Elder who is as solid as he will ever become.

Younger people who are still correcting their mistakes, trying to find their limits and define "self" see such mature people as stubborn, wrong, set in their ways. fossils no longer relevant to the changing world.

See? Writers know that Character is all in point of view.

The Villain is the Hero of his own Story.

So Character Arc is also in point of view more than in objective reality.

As you age, your point of view changes even though you are the same you.

So, if your Main Character is mature, that Character's "Arc" -- or change in response to the impact of Plot Events -- may be very small on an objective scale. December Romance.

But if your Main Character is a teen, the Character Arc may be gigantic.  Scared Straight.

The Character Arc of  a younger person can change the direction of their whole life, and move an entire civilization.

Think about Bill Gates leaving college to found Microsoft.

Now think about a man in his 70's deciding to run for President. How do you change his mind on issues he's sure he understands?

C. J. Cherryh's Foreigner novels trace an all-too-young and unsure of himself (but arrogant in his confidence in his linguistic skills) through the Character Arc (22 books and counting) of mastering the Art of Maturity.

Bren Cameron, by the novel DIVERGENCE,
https://aliendjinnromances.blogspot.com/2020/12/reviews-58-divergence-by-c-j-cherryh.html

...has learned how inaction can speak more loudly than action.  He has learned to choose when and how to act.  He shoots someone with a gun he's not supposed to have, and saves the day, unraveling a dark plot that could have damaged the economic footing of a civilization. His only other action in the entire book is to quietly write some notes to various dignitaries, and to go talk to people who distrust each other.  Mostly, he sits still and evaluates the various moving parts of the situation.

This makes for a novel replete with intricate exposition about the events of previous novels -- but all from Bren Cameron's now mature point of view.

The shift in how Bren interprets the events he lived through, and the things he finds out from others, shows without telling that this is the same Character from Book 1 (FOREIGNER), but now way out along a Character Arc we can now see without being told.

https://www.amazon.com/Foreigner-10th-Anniversary-Book-ebook/dp/B006JHXPDW/


So if you set out to show not tell a major change in a person's character, you will need more space than a few comic books offer.  A single novel won't do it, as each "novel" in a real person's life brings one unique point into view, resolves one issue.

To chronicle a real maturation, you need a long series of novels.

So study some of the long series we've discussed, and translate them into Romance.

Study the Netflix Original, Madame Secretary, which depicts a couple living the Happily Ever After portion of their lives, raising children, struggling to balance home, family, and work.

What lesson of Maturity makes your readers unbearably curious?

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Saturday, December 19, 2020

Ignorance Is Bliss

"Searching for yourself is a bad idea"... at least, it is if a search engine is involved.

If you find a bad review of yourself, your works, your services, look the other way. Remember those four monkeys that see no evil, speak no evil, hear no evil, and do no evil.
 
Not everyone knows about the crotch-shielding 4th monkey.

If you must employ someone to defend your reputation online, keep them on a very short leash, metaphorically speaking. Bad reviews can be hurtful, but it is best not to lash out even by proxy.

Karen Rubin, blogging for Thompson Hine LLP tells the edifying and amusing cautionary tale of a sensitive lawyer who --after his web consultant showed him a bad review-- doubled down and made matters much worse

 
Or here:
https://www.lexology.com/library/detail.aspx?g=0a593797-2811-42d0-a533-e169054eb62d

There's a sting in the tale. One cannot make it up!

For a wise and sober list of Dos and Don'ts when ones feelings are wounded by online opprobrium, follow the counsel of legal
blogger  Terri Seligman who writes for the Frankfurt Kurnit Klein and Selz PC advertising law blog.
 

Or here:
https://www.lexology.com/library/detail.aspx?g=84af220a-5619-4745-a1f1-2e8cf2146c92

Finally, and apropos of nothing to do with reviews, but richly illustrative of the imagined ignorance of correspondents asking the EEOC about whether or not their boss behavior is inappropriate, legal blogger Robin Shea spoofs some Q&A about sexual harassment, discrimination and more.

https://www.constangy.com/employment-labor-insider/eeoc-to-issue-opinion-letters

All the best,

Rowena Cherry 

 

Thursday, December 17, 2020

Good Guys and Bad Guys

Kameron Hurley's latest LOCUS essay discusses empathy versus selfishness and why being the "bad guy" is actually taking the easy way out:

It's Easy Being the Bad Guy

It's not uncommon to think villains are more fun to read and write, while heroes are boring. Hurley recalls her childhood reading diet of "feel-good fantasy novels," the kind of "noble tales" in which the good and people can be counted on to fulfill our expectations of their good or evil choices, and we know in advance "who would prevail and who would fail." In childhood, she "found this predictability boring and formulaic after the first three or four novels." Later she realized fiction of straightforward good and evil offers a welcome, valid respite from the "messy and complicated" real world where "good people coming out on top is far less common than we’d like." By adulthood, most of us have learned that's how the world works. It's understandable to want a fictional world that operates differently. In addition to fantasy, Hurley mentions detective stories, pervaded by the theme that truth will come to light and justice will prevail. As she puts it, "This is why we tell so many stories about the good folks winning, to balance out some of the everyday horror we encounter in a world that is fundamentally unfair."

In her early years, Hurley "believed goodness was the default state." Later in life, after decades lived according to an allegedly realistic philosophy of self-interest, she discovered that doing the right thing, rather than the easy "default" path, is a difficult choice that must be consciously taken. She notes that "we must actively choose goodness every day" and affirms, "Goodness. . . is not a state, but an act, one we must perform again and again." A provocative article well worth reading in its entirety.

In real-life terms, C. S. Lewis maintains that the notorious criminals, tyrants, and other villains of history have a monotonous sameness, while the saints are gloriously unique. Nevertheless, I feel there's some truth in the idea that it's often easier to write a convincing, interesting villain than a believable hero. Lewis himself creates interesting good characters, such as Lucy in the Narnia series and Dr. Ransom in the space trilogy (OUT OF THE SILENT PLANET, etc.). Madeleine L'Engle does an especially fine job with her engaging young heroes, e.g., Meg and her brother Charles Wallace in A WRINKLE AND TIME and its sequels. The dual protagonists of Diane Duane's Young Wizards series also rank high in that category. Two of my other favorite good characters are Dorothy Sayers's mystery-solving duo of Lord Peter Wimsey and Harriet Vane. Terry Pratchett also does this sort of thing brilliantly, as with formidable witch Granny Weatherwax and police chief Vimes.

The assumption that heroes can't interest audiences without fundamental flaws and deep-seated self-doubt has led to distortions such as the portrayal of Aragorn in the LORD OF THE RINGS movies and the jarringly out-of-character behavior of Peter in the large-screen adaptation of PRINCE CASPIAN. This assumption is a fairly modern development, though, not an eternal verity in the creation of mythic, legendary, and fictional good guys.

Margaret L. Carter

Carter's Crypt

Tuesday, December 15, 2020

Index to Posts Mentioning C. J. Cherryh

Index to Posts Mentioning C. J. Cherryh

I seem to talk about C. J. Cherryh frequently, and make references assuming the reader has followed what I've said about her work.

Although her work is not "Romance Genre" - it is Science Fiction about characters who respond to their Relationships with others, who work out what to do about problems, especially the mysteries of Alien behavior.

She has become the primary reference source for world building, plots, and non-human civilizations structured around complex "Situations."  Just like a very intimate Romance, C. J. Cherryh's novels pivot on multi-dimensional situations with many moving parts.

Here are some of the posts mentioning C. J. Cherryh's work.

https://aliendjinnromances.blogspot.com/2020/12/reviews-58-divergence-by-c-j-cherryh.html

https://aliendjinnromances.blogspot.com/2020/06/reviews-54-resurgence-by-c-j-cherryh.html

https://aliendjinnromances.blogspot.com/2019/05/theme-worldbuilding-integration-part-20.html

https://aliendjinnromances.blogspot.com/2018/07/reviews-36-by-jacqueline-lichtenberg.html

https://aliendjinnromances.blogspot.com/2017/07/reviews-32-cj-cherryh-and-gini-koch-in.html

https://aliendjinnromances.blogspot.com/2016/08/alien-sexuality-part-two-what-is-life.html

https://aliendjinnromances.blogspot.com/2016/07/reviews-27-foreigner-series-by-c-j.html

https://aliendjinnromances.blogspot.com/2014/08/reviews-9-sex-politics-and-heroism.html

https://aliendjinnromances.blogspot.com/2013/09/theme-dialogue-integration-part-2-whats.html

https://aliendjinnromances.blogspot.com/2012/01/research-plot-integration-in-historical.html

https://aliendjinnromances.blogspot.com/2009/06/crumbling-business-model-of-writers.html

https://aliendjinnromances.blogspot.com/2007/08/two-of-swords.html

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Saturday, December 12, 2020

About Face

On one authors discussion forum this week, there is talk of a so-called scam (which might or might not be a scam) in which authors are contacted by complainants who claim that the authors are exploiting images on their websites images of the complainant or that belong to the complainant without a license and without permission.

Is it possible that it is not a scam? Actually, it is possible.  It is possible that the author might be in the wrong, and could have legal exposure. 

Blogger Danielle Prager has published a highly accessible article with advice on where to find legal images, and a helpful explanation of what is fair use, and what is not.
Most people may assume that all Creative Commons works are "no rights reserved" and may be freely used and shared even on professional websites, book art, and blogs, but many Creative Commons licensed works do have some rights reserved, and most require that the beneficiary (user) of the work at the very minimum provides attribution.


For instance, if using Hubble telescope images of space, one is expected to display attribution, and sometimes to inform the Space Telescope Science Institute or STScI (using this form that pops up if one clicks the text link on  https://hubblesite.org/copyright).  The hubblesite copyright page also is explicit about use of photography:  "If a recognizable person appears in a photograph, use for commercial purposes may infringe a right of privacy or publicity, and permission should be obtained from the recognizable person."

As a general rule, before snagging the perfect image from anywhere on the internet, check out the footer to see if there is a copyright information page. It wouldn't hurt to read Terms of Use. Visitors are legally bound by the Terms and ignorance of what you chose not to read is no defence (or defense) in law.

Legal blogger Mark Weston writing expertly for Hill Dickinson explains that there is more to understanding and using "Creative Commons" images and works than is popularly imagined.
https://www.hilldickinson.com/insights/articles/getting-creative-common-touch
 

If an author trusts a webmistress (or webmaster) to decorate the website, it probably would be prudent for the author to ask to see proof that all necessary permissions have been obtained for all images, and also that if there was a time limit on the license, it is still in effect, and if there was a limit to the number of impressions covered by the license that that has not been exceeded.

Legal Bloggers Aarathi Amerjit and Samantha Lawrence for Gateway Law in the jurisdiction of Malaysia offer advice in .pdf form on scraping --or not scraping-- images from Pinterest, or uploading other people's images to that popular site.

http://www.gateway-law.com/newsletter/07122020.pdf

It's not just other people's faces that can get you in trouble, a recognizable outline or silhouette can trigger a lawsuit. For instance, what rocker wants to be associated with a hygiene product? Seriously, some might, but they would want to be properly compensated for the product endorsement, wouldn't they?

Legal blogger Jeffrey H. Brown for Michael Best and Friedrich LLP discusses an old spicy case.
https://insights.michaelbest.com/post/102gl10/legendary-mc5-guitarist-wayne-kramer-doesnt-like-the-smell-of-proctor-gambles

Lexology link (without a still of the rocker).
https://www.lexology.com/library/document.ashx?g=e8ca0329-3c4f-4dfe-8db6-c01361a2c2ef


And now for an important reminder. If a small business owner, such as an author, has paid more than $600 to any worker or contractor who is not an INC or any sum  at all to a lawyer, 1099s have to be sent out.  The rules have changed.  Now, we need to send out a 1099-NEC instead of using  line 7 of 1099-MISC.

Paper forms can be ordered online and free from the IRS. They normally take about 10 business days in the mail, but this is not a normal time of year.

All the best,
Rowena Cherry 

Thursday, December 10, 2020

Book-Love in a Time of Cholera

That's the title of Brian Attebery's introduction to the latest issue of the JOURNAL OF THE FANTASTIC IN THE ARTS. He discusses how a reader's experience of literature changes under the influence of real-life circumstances, offering a different angle on the topic of my previous post. Attebery remarks that reading in the shadow of COVID-19 feels "rather like getting messages from an alternate timeline in which people still. . . count on health, employment, and a predictable future." He reminds us that whenever we reread a text, in a sense we're reading a different book, because "works of literature are never merely or entirely themselves" but instead "products of an interaction between text and reader."

The pandemic has inevitably brought Stephen King's THE STAND to the forefront of many readers' minds. Someone on a list I subscribe to recently said of COVID-19, "This isn't Captain Trips." All SF and horror fans would instantly recognize that allusion. Even though King's novel is decades old, current events give it fresh resonance and meaning. Some readers may find a similar relevance in Connie Willis's DOOMSDAY BOOK, in which the heroine time-travels from mid-twenty-first century Oxford to the time of the Black Death in fourteenth-century England. Although she gets stranded in an alien era, surrounded by the ravages of the plague, she and the reader know the hope represented by the distant future from which she comes. Even the worst disasters don't last forever.

Paul Tremblay's SURVIVOR SONG, published in July of this year, seems eerily appropriate to the current crisis. Given the lead times in traditional publishing, however, it must have been written well before the pandemic became known. Here's the first paragraph of the novel's summary on Amazon:

"In a matter of weeks, Massachusetts has been overrun by an insidious rabies-like virus that is spread by saliva. But unlike rabies, the disease has a terrifyingly short incubation period of an hour or less. Those infected quickly lose their minds and are driven to bite and infect as many others as they can before they inevitably succumb. Hospitals are inundated with the sick and dying, and hysteria has taken hold. To try to limit its spread, the commonwealth is under quarantine and curfew. But society is breaking down and the government's emergency protocols are faltering."

The story maintains a tight focus on a small group of characters trying to get one of them, a pregnant woman in labor, to a hospital that has room for her to give birth. Along the way, we witness the near-total breakdown of social norms surrounding islands of refuge, such as hospitals and clinics, where people struggle frantically to provide aid in the midst of chaos. In an odd way, this story offers the comfort—like DOOMSDAY BOOK—that we aren't anywhere nearly so bad off as THAT. Also, the epilogue, set years later, portrays a society that has completely recovered. Tremblay's virus, unlike COVID-19, doesn't produce a "slow catastrophe." Because of the violent symptoms and short incubation time, its epidemic flares up and burns out quickly.

As Attebery's essay points out, events such as the present crisis may also evoke new meanings from fictional works that seem on the surface to have only a tangential resemblance to real-life circumstances (e.g., stories of isolation).

Margaret L. Carter

Carter's Crypt