What does a vampire have in common with Spock

Margaret L Carter is out of town, and I was looking through my saved Blogspot email folder to check on something and I discovered to my horror that last August I'd offered to add some links and labels to her blog, and I'd forgotten!

So, I thought the least I could do was re-publish her post and insert the labels and links.

------

What does a vampire have in common with Spock on STAR TREK? No, I'm not suggesting that the average vampire has a hyper-rational mind, pointed ears, or green blood. For me, however, the appeal of these two figures is similar. Both epitomize the allure of the Other in a form I find particularly attractive. When I first read DRACULA at the age of twelve, I was fascinated by the vampire because of the sensuality of blood-drinking. The scene in which the Count forces Mina to drink his blood was my favorite from the beginning. Many years later, I figured out that I responded this way because sharing blood represents the ultimate intimacy, and I still find such scenes deeply stirring. But I'm also drawn to vampires because of the same reason I love Spock. In each case, the character occupies the liminal position of "almost human but not quite," a person who looks a lot like us, yet with enough physical differences to appear exotically attractive, and thinks something like us but differently enough to embody a skewed perspective on the human condition.

Another appeal of both Mr. Spock and the typical vampire of fiction springs from his special relationship with the heroine. A Vulcan rigidly controls his emotions, never expressing them in the presence of others except during Pon Farr. The average vampire regards himself, with considerable justification, as superior to "mortals" (a term I don't find quite satisfactory, since vampires CAN be killed, but oh well) and views most of us as prey or, at best, pets. The heroine, whether a fan author's Mary Sue alter ego or a vampire novel's unusually strong woman, becomes, through her unique qualities, the Vulcan's or vampire's exception to the way he treats most of us mere mortals. In Suzy McKee Charnas' incomparable THE VAMPIRE TAPESTRY, psychologist Floria Landauer is the ancient vampire Weyland's "exception," just as, to cite an extreme example, Clarice Starling is Dr. Lecter's "exception." Depending on the behavior and attitudes to which our heroine becomes the exception, this situation may open a deeply troubling can of ethical worms, but that topic holds material for another entire essay. That's my main problem with the misnamed film BRAM STOKER'S DRACULA. Unlike many fans, I find Vlad unattractive (well, aside from his physical appearance, which strikes me as silly, not sexy) because his “love” for Mina constitutes making her an exception to the cruel way he behaves toward most other people, including Lucy, a pattern of evil and cruelty the film apparently expects us not to notice.

For a fascinating treatment of the reasons why the Beauty and the Beast motif appeals so strongly to many women, why we love monsters and feel regretful when the Beast turns into a handsome prince, go to Suzy McKee Charnas' website (www.suzymckeecharnas.com) under the “Byways” category and read her enthralling essay “The Beast's Embrace.” You can find these principles explored fictionally in her VAMPIRE TAPESTRY and her unforgettable Phantom of the Opera novella, narrated by Christine telling the TRUE story, “Beauty and the Opera, or the Phantom Beast” (reprinted in Charnas' collection STAGESTRUCK VAMPIRES AND OTHER PHANTASMS).

Another provocative examination of the allure of the alien monster, the Other, is presented in James Tiptree Jr.'s short story “And I Awoke and Found Me Here on the Cold Hill's Side.” A character in this tale, cautioning the narrator against falling prey to the fascination of meeting his “first real aliens,” theorizes that human beings throughout our existence as a species have been erotically attracted to “the stranger” because exogamous mating “kept the genes circulating.” With aliens from other planets, although mating may sometimes occur, interbreeding can't (unlike in the STAR TREK universe). But many people find aliens irresistibly attractive because of the “supernormal stimulus” effect. If we innately desire the Other, we desire aliens most of all because they're EXTREMELY Other. Tiptree's story presents this compulsion as completely negative. The human species is having its soul bled away by this fruitless yearning for aliens.

Needless to say, I don't find the situation quite so hopeless. Friendship or love between human and nonhuman is the central theme of many of my favorite stories. One reason I was a devoted fan of the TV series BEAUTY AND THE BEAST was that there was absolutely no chance of Vincent's ever becoming “normal” in appearance. Vampires appeal to me on the same level. Therefore, I'm always a bit disappointed when a paranormal romance ends with the “cure” of the vampire, which, to me, negates the very aspect of the character that attracted me. Hence, unlike many vampire fans, I don't respond strongly to the resonance of the “repentant bad boy” theme, in which curing or at least reforming the “evil” or “cursed” undead monster plays an integral part. Having the human partner become a vampire doesn't please me much more, in most cases. (There are exceptions, of course. A talented writer can make either of these scenarios satisfying to me for the duration of a novel.) The ongoing challenge of two unlike characters embracing across the distance between them is what I enjoy reading and writing about. My own vampires are members of a different species who appear human and live secretly among us. Like human beings, they have the capacity for ethical choice and can be either good or evil. I've written an entire book of literary criticism about this kind of vampire fiction, DIFFERENT BLOOD: THE VAMPIRE AS ALIEN, published by Amber Quill (www.amberquill.com). The bibliography contains many titles that would interest fans of alien romance. For my own series, all the stories and novels are listed in internal chronological order at the “Vanishing Breed Vampire Universe” link on my website (www.margaretlcarter.com).

Another series that fascinates me because of its “alien vampire” dimension as well as the search for understanding between people who differ from yet depend upon each other is the Sime~Gen series by Jacqueline Lichtenberg and Jean Lorrah. It takes place in a distant future when humanity has mutated into two halves (“larities”). Gens look like us but produce the essence of life-energy, selyn. Simes, who look like us except for tentacles on their forearms, need selyn to live but don't produce a measurable amount themselves. They have to draw this substance monthly from Gens or die in agony. You can learn about this universe in depth at www.simegen.com. When the first book, HOUSE OF ZEOR, was newly published, I saw Jacqueline on a TV interview in which she said the novel would appeal to fans of vampires and STAR TREK. It sounded like my kind of book, so I read it, and she was right. In fact, on the Sime~Gen website you can also read about how the “Star Trek effect” shaped the writing of HOUSE OF ZEOR. Which brings us back to vampires and Mr. Spock!

Opinions Wanted--book trailers

I used to think that the formula to becoming a successful published author meant:
1) I had to write well.
2) I had to write what other people wanted to read.
3) I had to keep enough product on the shelves so readers wouldn't forget me.

And all that is still true, but there is so much more. I attend conferences and give speeches. i do television and Internet interviews. I keep up a web site. I arrange marketing and promotion and print ads. There's a lot to the business side of writing. And one of the things I do to try and gain interest in my books are trailers. in the beginning, I hired a company to do them for me. They made great trailers but it got rather expensive. So i did one myself. And now I'm looking at doing another one.

And it's not easy. I have to write a script, scout locations, find talent--that's the actors--pick out costumes, hair and makeup. Then after it's all shot, the real work begins. Editing, text, sound, music. It's a lot of work. Then when it's done I have to upload it all over the Internet. Obviously I don't do all this myself, but even coordinating the work is work. :)

So here's my question. How many of you like watching book videos? How many of you have actually bought a book after you've seen one? Is all the effort and expense worth it? If you read this blog, please just give a short response. help us authors out and let us know if we're wasting our advertising dollars and our time.

And if you want to see the trailer for Kiss me Deadly my June release, it's at www.susankearney.com

Best,

Susan Kearney

Aliens Who Give Rise to Vampire Legends

Folks:

Cindy Holby wrote Friday June 15th:
--------------
So after I had a morning meltdown we put our heads together. And what did we come up with?
Aliens. Aliens who are the reason there is a vampire legend. Actually it was pretty cool to come up with a new concept on an old tale. Plus we made up lots of slang and my heroine only lost a few of her really snarky lines.
------
And in the comments Linnea wrote:
Jacqueline Lichtenberg beat you to that, darling. Read her THOSE OF MY BLOOD if you want to learn about aliens and vampires and why they're on this planet. ;-) Then read her DREAM SPY which is awesome. ~Linnea
----------------

Whee! Thank you Linnea and thank you Margaret for mentioning THOSE OF MY BLOOD and DREAMSPY and noting all the decades of history behind the "vampires are aliens from outer space" tradition.

I first got the idea from, Black Destroyer the short story -- A. E. Van Vogt? I remember the story, but I have also heard it described by many people when doing panels and none of them read the story I read! They think it's horror, and I think it's Intimate Adventure.

I do however believe that Black Destroyer was the originator of this vast and fascinating SF/Fantasy cross-genre concept. That story is one of the (many) reasons I became an SF writer.

I'm sure that Cindy originated the idea, too. Just because it's been practically done to death (ahem) doesn't mean that someone can't create it originally.

It is a logical extension of both the vampire myths and SF lore.

Think about Stargate (the movie, and then the series) and Stargate: Atlantis. Stargate (the movie) just extended this 1940's traditional SF approach from some select myths to ALL the gods in Earth's mythologies, and tied them all together in a Ragnarok of the Stars.

So I wanted to point out to those reading my comments on screenwriting something that many beginning writers don't understand.

In Hollywood, this happens all the time -- that an established, working screenwriter faced with a deadline and a monkey wrench such as Cindy describes for us would reach out for a logical extension of a concept and latch onto something a new writer has CREATED ORIGINALLY out of their own imagination.

Perhaps that author has written and even submitted the script -- or just shopped the idea around, possibly on an internet site.

A few years later a TV episode or theatrical release appears based on this new writer's original concept and the writer is absolutely convinced the established pro stole the idea.

But the pro did not steal the idea any more than Cindy and her editor stole MY idea.

(OK not quite the same. Mine has been published and re-published and widely reviewed and discussed -- and I know I was writing in an established sub-genre with its own rules.)

So back to my hypothetical story of the new screenwriter: The pro re-originated the idea. He didn't have to steal it. He just had to be well read enough and artist enough to synthesize the ingredients.

This is why you can't copyright an idea.

But here's where the new writer who thinks his idea is original can get in trouble. And it's where Cindy could get in trouble if she's unfamiliar with this huge and seething sub-genre (one of the first cross-genre genres).

When I wrote THOSE OF MY BLOOD and DREAMSPY, I already knew this SF/Fantasy/Horror hybrid genre like the back of my hand. All of its bits and pieces are part of my Sime~Gen universe premise on the thematic level (in fact Black Destroyer is one of the foundation bits of Sime~Gen).

Before writing THOSE OF MY BLOOD. I also updated my state-of-the-art research into the hybrid genre (cross-genre didn't exist at that time, and it was impossible to sell cross-genre books. THOSE OF MY BLOOD got 22 rejections and finally was published as SF because there was no SF-Romance category at that time, though a few vampire-romances had begun to appear. Rewrites had to tone down the romance and bring the SF to the fore.)

I did the worldbuilding behind THOSE OF MY BLOOD and DREAMSPY to carefully enumerate, point by point, all the thematic statements and details used by other novels (see Margaret Carter's various publications on the Vampire genre -- she's SUCH a scholar!).

I was careful not to copy or infringe or take as my own anything that had been used before. Most writers don't do that. It's too much trouble, too time consuming. And trust me, it is NOT done in Hollywood. They don't care.

They don't care because they aren't legally bound to avoid using ideas others have pioneered.
And there's a very good reason that you can't copyright AN IDEA (vampire legends originate with aliens from outer-space is an IDEA; all the little gods people have worshipped through the ages were just Go'auld mining Earth for hosts is an IDEA (and not an original one).)

The most incredibly commercial ideas in Hollywood are commercial because they aren't original -- even if the scriptwriter originates the idea without direct exposure to the literature where it's been pioneered.

What makes a concept commercial in Hollywood is that the audience is already familiar with it.
After nearly thirty years of developing the "vampires can be accounted for as visiting aliens" concept, it became a Hollywood original in Stargate where "all gods were just aliens".

(note how Stargate stays away from Christian, Moslem and Jewish beliefs -- haven't done Buddha or any LIVING religion but just pick on "old superstitions.")

(also note Stargate is being cancelled, but Atlantis will continue a while.)

So if you set out to write a script that will make you a Name in Hollywood, and you come up with something truly original that's never been done before, or a twist such as the Vampire-Alien combo, don't think that you can copyright that idea. You can't even Register it with the Guild's script-registration service. They only take completed screenplays.

An IDEA somehow exists "out there" external to our minds, and when the time is right, that IDEA inserts itself into dozens and dozens of minds (maybe millions) at about the same time. It isn't a race between you and all other originators, either.

Remember Thomas Edison wasn't the first to invent the lightbulb. But he got the historical credit because he had the commercialization machinery behind him.

After an idea has come out a few times, and failed -- THEN the big commercial success happens. So let others go ahead of you -- but to maintain your artistic integrity, if you get a chance to write the book out of the screenplay, be sure to note their names in your acknowledgements and that you walk in their footsteps.

If you think someone has stolen YOUR idea -- just remember that you stole it from the same place they got it from.

It's not the idea that becomes successful -- it's the commercial machinery behind the idea that makes the idea successful.

So it's entirely possible that because of THOSE OF MY BLOOD and DREAMSPY winnowing the ground first, Cindy's book may become the hottest commercial success of this very old idea and she may get the credit for originating it just as Thomas Edison got credit for the lightbulb.


Jacqueline Lichtenberg
http://www.simegen.com/jl/

I'm a meez-ing

[warning: rampant silliness]

I was all set to do something writerly and genre-ly about aliens and legends and our books and how our characters and ourselves perceive it all (and how run-on sentences suck...). Then I went to author Tori 'Sofie Metropolis' Carrington's site (because the writing team of Lori and Tony were of great help in teaching me, or rather Theo Petrakos, to swear in Greek in THE DOWN HOME ZOMBIE BLUES) and there was a Meez on their site.

I was hooked. Okay, I've been on Neopets for several years. I've seen Zwinkys but they didn't grab me. Meez grabbed me. I'm a meez now.

Yep, that me as a Meez and Daq-cat. On a starship bridge. What could be better? You can also find me in the Bar on my site: http://www.linneasinclair.com/bar.htm

If this amuses you, here's the official spiel and link:

You can make your own at Meez.com
When you sign up, enter my username: linnea1015 as the referral (yeah, we get some kind of points for doing so).

Yes, silliness. But it does somewhat relate our desire to escape who we are, and explore "other" (and we've had some great blogs here on "other-ness"). Books were for the longest while, the epitome of "escape" and "explore other." Then came radio (The Shadow Knows!) and television (Star Trek).

Now we can actually BE an other. There I am, with my beloved cat. On the bridge of my starship.

Is that too cool, or what? (And yes, I do own and am at this moment wearing lime green Crocs, just like my Meez.)

If you become a-meez-ed, post and let me know. Maybe I'll start a link to all my a-Meez-ing friends and readers on my site.

Off to Ohio early Wednesday morning, so if you live in Buckeye-ville, come see me at:

June 22nd-- WALDENBOOKS Tuttle Crossing Mall, Columbus OHBook signing 1130am – 1pm

June 23rd--ELYRIA, OH, PUBLIC LIBRARY, West River Branch, 1194 West River Road NorthMeet and Greet with the Teen Advisory BoardPublic Workshop & Public Book signing hosted by Waldenbooks/Borders Express12:30 pm until 4:30 pm

June 24th-- WALDENBOOKS The Mall at Fairfield Commons, Beavercreek OHBook signing and Meet and Greet with the Romance Readers Group2pm – 4:30pm+

~Linnea

Battling Backyard Aliens

You think I don't have any?
I do!

I've been battling some of them for four years at great personal cost! Not in terms of my own limbs... have you guessed where I'm going with this? Poison and fertiliser and strategically applied water are my weapons of choice against the alien invader.

My alien invader is green, with very large, dark almond shaped eyes, and a sinister mien. His brow ridge make him appear to frown menacingly at me. His body is long, and green. He has a body-armored thorax, an well defined abodomen (not a six-pack, though). He has wings. His glistening "body" --you know some mealy-mouthed editors favor calling a certain masculine body part "his body", right? I don't-- is an unimpressive inch or two.

Of course, an anticlimax follows.

My garden of delights has been penetrated by...
The Emerald Ash Borer

Moreover, the lake at the bottom of my garden (I own 80 feet of frontage, and I pay the same as a neighbor with 500 feet) has also been colonized by aliens, brought in on the feet and in the poop of giant Canada geese.

We wallet-warriors have had to call in the Government, local government, to help us fight alien vegetable matter. There is no other way to compel everyone to pay their "fair share" in the fight against this sprawling, weedy alien who will kill our lake if we don't fight with every weapon at our disposal, including waterborne weed-whackers that look like gamblers' riverboats.

Yes, I know aliens. I could write horror stories, if I were to exaggerate. Imagine if the Emerald Ash Borer didn't want to put his reproductive tackle inside my tree, and implant his offspring there, to eat me from the inside out. (How Alien!)

Imagine if the Thing in my lake had tentacles. (How LOTR!) Or a that it could walk. The Ents weren't the only ones. Did you read Day of the Triffids at school?

But I write alien romances... I don't "do" alien horror.

What's in your back yard?

Best wishes,
Rowena
(From whom not even a credit card commercial is safe from spoofing)

Monkey Wrenches and stuff like that

My current wip is an unban fantasy called Twist that I'm writing for Dorchester's new Shomi line. The covers are really cool, Manga style and its our hope that we'll pick up a bunch of new readers with the concept.

So yes there were guidelines for this line. And apparentlly when I pitched it to the aquiring editor he got so excited about my concept that he forgot one part of the guidelines.

No vampires.

So I'm halfway through the book which is due Sept one and scheduled to be released Feb 08 and I get a really sweet and apologetic email from my editor.

"uh, Colby, I forgot...we're not using vampires or werewolves in this line."

"uh, (insert editors name here). Did you forget that the vampires are my badguys?"

"Nope. But still, we got to do something. Make them nonvampire vampires or something like that." (thats a generalization of what he said.)

So after I had a morning meltdown we put our heads together. And what did we come up with?

Aliens. Aliens who are the reason there is a vampire legend. Actually it was pretty cool to come up with a new concept on an old tale. Plus we made up lots of slang and my heroine only lost a few of her really snarky lines.

So I lost the past two weeks to rewriting my nonvampires into existence. And I"m pretty excited about Twist. In spite of the monkey wrench.

Population Imbalances

It's well known that China's "one child" policy has led to a shortage of girls, leaving many young men unable to find wives. This week, though, I read in the paper that male birth rates are falling in some first-world countries, possibly because of environmental pollution, among other causes. All along, despite the higher number of boys conceived, fewer boys than girls have been born because prenatal loss of male babies tends to be higher. After birth, boys continue to succumb to death at higher rates than girls; males truly are the "weaker sex." Now, however, it seems that fewer boys are being conceived. So we could end up with a shortage of men in the developed world. Another demographic imbalance revolves around age. As an unintended consequence of population control, highly technological societies are ending up with "too many" older people in proportion to the young people needed to keep the economy functioning, especially in Japan and parts of Europe.

It's obvious that a society with too few women is in deep trouble, reproductively speaking. What are the likely sociological effects upon the status of women? Would they become highly valued and respected? Or would they be "valued" only in the sense of property to hoard and fight over? In the chilling theocratic society of Margaret Atwood's HANDMAID'S TALE, fertile women have become so scarce that they're forced to serve as breeding vessels (Handmaids) for a few wealthy, infertile couples. Another side effect of an excess of males, of course, is usually an increase in violent crime and other reckless behavior. A shortage of males, on the other hand, needn't pose a problem from a reproductive perspective. Given the necessary adjustment in sexual and/or parenting customs, one man can supply enough sperm to fertilized many women. From the perspective of women who want to marry and establish families, however, it's naturally a big problem. An extreme imbalance could lead to SF scenarios of men being held as pets or property by women rich and powerful enough to afford them. Or might the culture move in a retro direction and end up with a few powerful men possessing harems?

Too many old people? Might we (because I'm rapidly moving into that demographic) rule the world or at any rate the economy of developed nations, as we boomers supposedly do in the U.S. already? Or could the situation become so desperate that people past a certain advanced age—as in a little-read section of Swift's GULLIVER'S TRAVELS—would be effectively declared dead and stripped of their property rights to make room for the rising generations?

Optimistic SF writers such as Heinlein have often proposed fictional scenarios in which population pressures on Earth are relieved by extraterrestrial colonization. Would space travel ever become easy and cheap enough to remove any significant number of "excess" people from this planet? Historically, did the New World actually relieve population pressures in Europe? Or did the mere existence of an alternative for some people provide a symbolic "safety valve" that changed the balance in the Old World? I don't know enough history to have a legitimate opinion on that question, except that I know Ireland was severely depopulated by emigration in the wake of the potato famine in the 1840s.

Title Help--calling all would be title experts

Hi All,
I could really use some title help. My next books is a romantic suspense and is not tied to my June 26th release, Kiss Me Deadly. The book is a stand alone. It's about a secret formula my heroine inherits--along with her father's business partner--the hero. And someone is after the formula. My heroine is a classical dance teacher with a yen for tribal belly dance. The hero is a businessman. The book is set in Florida outside of Tampa.

All suggestions welcome.

Thanks,
Susan Kearney

"Mr. Ed" and Writing the Great American Novel

Please see my long comment on Linnea's post that went up yesterday. She's right, it takes longer to write shorter.

Well now! Isn't The Great American Novel what we all feel we're doing when we write?
Of course, we know it isn't so. Problems of genre-prejudice aside, you don't write "the great American novel" on purpose. Perhaps someone else on this co-blog will examine the concept "great" and the concept "American" in depth, and "novel" is a whole subject on its own, but today I wanted to examine what makes an Icon of a culture.

What is the function of an Icon and why do cultures elevate some trivial bit to become an icon to future generations?

Where do Icons come from?

I saw a segment on the PBS News Hour last week that's been bugging me with this question, and in truth it has a lot to do with Alien Romance and Intimate Adventure and Genre-Prejudice and Iconography.

"Mr. Ed" the 1960's TV show was billed and named in the News Hour segment several times as An American Icon. I think the publicist for the book written by the star of the show whom they were interviewing must have coined the phrase and succeeded in convincing the reporter to use it.

"Mr. Ed" preceded Star Trek and was an SF-ish parody crossed with kiddy-fare and came out immensely popular with adults because it was interlaced with complex relationships (like I Love Lucy and The Lucy Show).

http://www.tv.com/mister-ed/show/769/summary.html for more information (episode guides are there if anyone posted them -- tv.com is only as good as the contributors).

Mr. Ed was followed by "My Favorite Martian" -- and later by Star Trek which turned everything topsy turvey.

You see, Star Trek was actual adult drama -- not even really SF's traditional "Action/Adventure For Teen Boys" though it had that element prominent on the surface. ST posed serious questions about morality, ethics, world politics and religion.

SF on TV was revolutionized by Star Trek -- but the thin edge of the wedge, the ground-breaker, the true entry point into the general consciousness for science fiction (and adult stories about non-human intelligence) was via COMEDY.

And so Mr. Ed (about a deep buddy-friendship between an ordinary man and a talking horse who wanted to keep his verbal skills secret) became an American Icon (nearly 50 years later, when the star of the show writes a book about it!).

So maybe "an icon" is the tip of the root of change -- the point where a seed breaks open and starts to grow, but isn't quite recognizable yet.

Yes, I noted Rowena's post about Ginger Root and its shape. You see the impression humor makes.

So an Icon may be the first not-quite-recognizable appearance of a thing, or the next growth stage where it becomes recognizable (Spock has been named "an Icon") -- or some further inflection point in a growth curve.

Why do we appoint some things as "icons" and other things not? Well, that's another discussion having to do with popularity, publicity, journalistic choices, feedback between audience and profit-driven journalism, and group mind building.

But before we discuss any of that, and get bogged down in the related topic of "what is Art, really?" I think here on Alien Romance, we should study the 1960's a little deeper and learn.

Try this link:
http://www.tv.com/comedy/genre/4/topshows.html?g=4&era=1960&l=A&pop=&tag=gen_subtabs;era;4

Romance has been as derided as Science Fiction.
Science Fiction has begun to lose that stigma (still has a way to go, but frankly SF fandom WON the battle).

Romance is still considered "girly" fare, kid-lit, or the opiate of the useless drudge of the household.

But The Romance Genre really is an in-depth, far ranging and far reaching, highly philosophical, blatantly critical study of a single astrological phenomenon long known as The Neptune Transit -- which is famous for its spiritual effects.

The Alien Romance exposes that buried philosophical depth to the eye of the un-educated and perhaps innocent reader just as Star Trek exposed the philosophical importance of Science Fiction buried inside Mr. Ed, My Favorite Martian, Bewitched, and The Adams Family. (I'm not even mentioning Superman and other "kiddie" items, just general comedy.)

As Alien Romance adds an adult dimension to Romance, so Comedy added an adult dimension to SF.

Our next step must be a TV SHOW -- maybe made from a feature film -- which will become an American Icon like Mr. Ed -- a lighthearted romantic comedy with an alien point of view.

Now, maybe that's already happened and we're too close to it to see. I could nominate Buffy The Vampire Slayer and Angel as the Alien Romance Icon, maybe Lois and Clark -- maybe Forever Knight? Today we have Tanya Huff's Blood Files on TV along with a chance for The Dresden Files to make it on the Sci Fi channel. Maybe we're already there?

Anyone else have a nomination for the 2000's decade American Icon that will change viewing habits and make Alien Romance highly respectable general audience fare recognized on its artistic and philosophical merits?

What exactly is an icon and how do you recognize it before the media names it so?
Or maybe more to the point, how do you get to be "the media" that gets to choose what to select as "an Icon?"

Note this media piece on the last episode of The Sopranos:

--------------Were 'Sopranos' fans whacked or blessed? By JOCELYN NOVECK, AP National Writer
NEW YORK - And so on the first day of Year One A.T. — After Tony, that is — the "Sopranos"-viewing world was split in two camps.
One was muttering bitterly into its morning coffee at the open-ended conclusion of the epic series, a banal family moment over onion rings that would have delighted existentialist Jean-Paul Sartre, author of "Being and Nothingness."
The other was lavishly praising the iconic HBO drama for capturing life's essential ambiguity and disorderliness.
See the full article:http://news.yahoo.com/s/ap/20070611/ap_en_tv/tv_sopranos_ending;_ylt=AnWtrKSlaxXnNWYMMX9RZueuGL8C
---------------------

Is "iconic" a buzzword being cheapened by overuse? Or does this really point the way forward into the general consciousness?

Jacqueline Lichtenberg
http://www.simegen.com/jl/

Authors and Writers and Readers, Oh My!

I'm too slammed with work--writing CHASIDAH'S CHOICE and deep in the final, final copy edits on THE DOWN HOME ZOMBIE BLUES--to be particularly witty today. So I'm going to ramble...

I spent this weekend north of Tampa, FL, giving two workshops at the New Port Richey library for the Florida Writers Association. I had a terrific time and my thanks go to Dahris Clair and the FWA, as well as the lovely people at the library who kindly made extra copies of my handouts. FWA is a multi-genre writers' organization so it appeared to me that you don't get the kind of genre-bonding that you do when you're part of a solo-genre group, like MWA (Mystery Writers of America), RWA (Romance) or SFWA (Science Fiction). Hence, there were a fair amount of authors-to-be in the audience who were attacking the goal of being published via the more difficult path: alone.

I mentioned at in my opening--and it's something I've commented on before--that I have the greatest respect for writers who became authors in the pre-Internet days. Before information was literally dripping off the walls. Before professional advice was a mere mouse-click away. Jacqueline Lichtenberg's writerly advice on her Sime~Gen site saved my pre-published patootie more than once years ago. Her advice still keeps my published patootie in line.

So it surprises me when I speak before a fiction writing group and they not only don't know the difference between external and internal conflict, but they have no idea where to find a sample of a query letter. (And I'm not stating everyone in my workshop fell into that category, but there were more who did than I'd expected.)

The truth is not only out there, folks, but so are the answers. In addition to Jacqueline's WorldCrafters Guild, there are sites like my agent's blog, PubRants, where she fully and often humorously demystifies the process of getting an agent. And Miss Snark ::genuflects:: may have recently retired, but her blog archives--and spot-0n advice--is still there.

Authors like Holly Lisle and Orson Scott Card have long maintained wonderful "How To Write Your Novel" pages on their sites. And when you're burned out from crafting your words, go hang out with RITA-award winning author, Robin D. Owens, and revive your muse.

And that's only the tip of the iceberg. I'm sure many of you have your favorite Writing Help/How To site. Share, okay? And when I get time [Linnea falls off her chair, laughing], I'll do up a page on my site, listing them all.

So the plain fact is, educating yourself on the craft of writing AND (and this is a big, whopping, important AND) the business of being a published author is not an impossible task. It's out there, kidlings. Click, scroll, learn.

Which brings me to the other half of this blog: readers.

I was absolutely blessed (and surprised) to have GAMES OF COMMAND make All About Romance's "Desert Isle Keeper" list recently. The DIK designation means this is a book the reviewer would want with him/her on a desert island. It's a honor. I'm truly honored. Because writing a book that makes people happy is a lot of hard, hard, hard (did I say it was hard?) work.

I'm not sure readers realize that. Sometimes I think readers pictures authors as lounging on the chaise, dictacting their next novel whilst being hand-fed chocolate-covered blueberries. Or some such thing. Every word we dictate is then accepted without question by the editors and copy-editors who adore us, and we go on to our next novel, and our next bowl of chocolate-covered blueberries.

Trust me, it's not remotely anything like that. Writing a novel is slightly less painful then going through back-to-back root canal operations. Don't get me wrong. I love writing. I'm addicted to writing. But what I write, what I present to my editor and what comes out as the final book is a long, often frustrating, always crazy process. So in case any readers were wondering:

1. Yes, I have to write to a specific word count. I cannot just ramble on like I am here. Yes, there is some leeway in the word count but when my editor says CUT I have to CUT. That may mean a fairly important scene never makes it into the final book because there are more important scenes than that one. It's like packing for a week's vacation. You have a suitcase of a certain size. You have airline weight limits for that suitcase. You have fifteen outfits you want to bring along but only room for eight. What goes? What stays behind? That's what writing and EDITING a book is like.

2. I have to balance both the speculative fiction aspect (science fiction/fantasy) and the romance aspect. And often, some mystery or political intrigue that has to be cleared up by book's end. I have to keep both my science fiction readers and my romance readers happy. That means, yes, it's a balancing act and no one, ever, is going to be one-hundred per cent happy. Not even me. That's why I have to groan when I read a blogger's or reviewer's comment that a) Linnea Sinclair had too much romance in [fill in novel title] for me and, from another blogger or reviewer about the identical book b) Linnea Sinclair had too much science fiction in [fill in novel title] for me.

Please see item #1 above. I have a finite amount of space in which to produce a novel. I do absolutely the best I can at the time to keep everyone happy but (see item #1 above) I also have to listen to my editor and copy-editor. Things get cut, and understand I may not always agree with the things I'm told to cut. But I cut. That's my job, as much as writing the book is.

Writing cross-genre fiction is--again--like packing a suitcase for a week's vacation where the climate will vary greatly: a snowy ski resort at the top of the mountain and a balmy beach below. Bikini. Down-filled parka. Flip-flops. Ski boots. What goes, what stays behind?

3. I write to deadline. That means I not only have to make all these decisions and changes and adjustments to the novel, I have to do it before X date. While at the same time--and this may shock you--trying to spend some small amount of time with my husband. And remembering to clean the kitty-litter pans. And feed the duck. And yes, travel up-state to teach two workshops. In between that, I have to update my website. Design and print my bookmarks. Answer fan mail (love doing that!). Fold laundry. Life eats away at writing time. Unfair but factual.

And this isn't just me, kidlings. Every published author faces these kinds of problems. Did you all notice the first sentence of this blog? I'm WRITING one book while stil EDITING another.

Which brings me back to writers' organizations, like RWA, SFWA and the Florida group (FWA) that I visited this weekend. Get used to hobnobbing with your fellow and sister writers and authors now--even before you're published. Because once you get published, life quickly morphs from crazy to insanely outta control. You're going to need your author buddies, not just for critique reads or cover quotes or characterization questions, but just as someone to laugh with. Someone who has a shoulder to cry on. Someone who can help you celebrate when your book is designated a 'Desert Isle Keeper.' And someone who can help you pound your head on your monitor in frustration when one reviewer notes that the romance in GAMES OF COMMAND between Sass and Branden was a waste of time, and another blogger pens that the romance in GAMES OF COMMAND between Sass and Branden was the only thing worth reading.

Authors and writers and readers, oh my! ~Linnea
www.linneasinclair.com

Worldbuilding in the grocery aisles

Hybrids aren't just cars that run on more than one fuel source.

There are hybrid animals, and hybrid plants which occur either naturally or with the assistance of mankind, also hybrids in Greek and Roman mythology. Some hybrids are sterile, and some are not. Some hybrids are called after a combination of the father's name and the mother's (father's name first). The mythological creatures do not appear to follow this convention... and in fact, now I understand the convention, my mind boggles over the Manticore (man-lion-scorpion).

wikipedia.org/wiki/Hybrid


The etymology is delightful. According to wikipedia, hybrid comes from the ancient Greek for "son of outrageous conduct."

I could have called my Tigron world's black sabre-toothed tigers ... pangers, or tigthers, but I think that would have complicated matters.

This week, I'm more interested in plant hybrids. For world-building in a hurry --not that I recommend taking a short cut, but sometimes one has to-- a few hours in the grocery aisles can be quite inspiring.

There are some astonishing hybrids available, as well as exotic fruits and vegetables that might or might not have been hybridized. I look at the Ugly Fruit, and I wonder whether it evolved to be visually appealing to anything (assuming that its fruit is "designed" to be dispersed with the assistance of creatures that eat the fleshy parts and eject the pits).

There's something spiny and orange that looks like a cross between a sea urchin and a sea slug, and I'm fascinated by those waxy green globes that come inside a pale green papery looking flower. If you were to change their colors, rename them, and describe them carefully as if you'd never seen them before, you'd hardly need to dream up your own fruits and vegetables for your alien romance's world. And, then there are the roots. You have to be careful what you do with your root vegetables, in my opinion.

How did we ever start to eat root veg? Did we observe a primate and copy them? Did our earliest ancestors' curious gaze fall upon something intriguingly orange, or pleasantly white, pushing up through loose soil? I suppose we do have an instinct (as children) to pull things out of the ground and bite them as an experiment. I'm told that I ate a worm once when I was a toddler! Would your aliens have similar instincts?

Your human heroine has to eat in outer space, so not all her food can be unrecognizable (or she'd have to have major allergy testing) or her gut would not be adapted to handle it. We're accustomed to stories about our domestic pets eating human delicacies which are not natural for them... which their guts are not adapted to handle. I've been thinking about what natural carnivores can and cannot eat, because I want my tigers to play a larger role in my next story.

In fact, having spent several hours reading the ingredients on dry pet food for research purposes, I do have to wonder under what circumstances a dog in the wild would eat corn on the cob. Or rice!

There are some schools of alternative healing thought that claim some of our painful ailments (such as arthritis) are a consequence of us eating fruits or vegetables that we are not adapted for, or to which some of us are allergic. My mother cured very painful arthritic swelling in her hands by giving up all produce in the tomato families. Other people have a problem with potatoes. (Some have a problem but don't know it.)

In Insufficient Mating Material, the hero and heroine are marooned on an island on an alien world, and they have to test food and deal with the possibility that the heroine might not have a tolerance for some of the fruits and vegetables growing there.

Why do I think roots are a problem? Carrots are easy, and you can eat them raw if you want to. Parsnips look like big carrots only white... but you really do have to cook them. Watch out for onions and shallots, because they look like tulip bulbs. There are different roots that look alike. Take ginger root and Jerusalem artichoke. They are both about the shape and size of a small, pudgy hand, with gnarly, stub-tipped fingers, root filaments like fleshy hairs, and are beige-gray.

On our world, some plants do not want to be eaten, especially by the roots (!) so they evolve to be poisonous. What happens in your alien world?

For those interested in research, or obsessed with plausible alien anatomy --and possibly inspired by the fact that a carrot fresh from the ground does not necessarily look "carrot shaped"-- M.I.T. (an eminently respectable place of scholarship) sells --or used to sell-- a to-scale, and anatomically correct poster called "Penises of the Animal Kingdom".

I thought the plural was Penes, but I suppose a few people wouldn't get the point.

And having Googled that, because none of the three of my dictionaries within easy reach gives any guidance on what a proper person should call multiple schlongs, I'm off to pursue other lines of romantic alien research.

Best wishes,

Rowena Cherry
Insufficient Mating Material
"racy, wildly entertaining futuristic romance" ~Writers Write

Explaining Aliens: SEALED IN BLOOD Excerpt

When reading SF and fantasy, I often find that the passages of exposition or extended dialogue explaining the biology and culture of the aliens are my favorite parts. As a writer, though, I know editors and readers want exposition interwoven through the story in subtle and intriguing ways. One method of getting around the problem is to include an essay in an appendix, laying out all the details not covered in the narrative itself. I always enjoy reading and rereading the appendices in S. M. Stirling's alternate histories, for instance. A way of incorporating this level of detail within the narrative is to have a character openly lecturing. In Suzy McKee Charnas' THE VAMPIRE TAPESTRY, Dr. Weyland, the vampire, delivers an ostensibly speculative lecture on "how nature would design a vampire." The female viewpoint character's suspicion of Weyland's vampirism and the professor's give-and-take with the audience keep the scene lively.

How do we integrate information feed directly into dialogue without having characters tell each other things they already know (the infamous "as you know, Bob" technique)? Often we can provide a character who serves as the reader's stand-in by being ignorant of the facts and having a plausible need to learn them. For example, Hugh, the protagonist of Jacqueline's HOUSE OF ZEOR, being new to Sime Territory, fills this role. That's the technique I most often use in my "vampire as alien" fiction. An ordinary mortal who has just learned that vampires (or werewolves, demons, etc.) really exist naturally wants to learn as much as possible about them (if she doesn't instantly run away in panic, but then she wouldn't be a suitable paranormal romance heroine, would she?).

As an example, this is part of the scene from my novel SEALED IN BLOOD in which the heroine first discovers that the hero is a vampire.

Excerpt from SEALED IN BLOOD (Amber Quill Press, www.amberquill.com):

The mugger let out a gurgle and released her. Sherri whirled around to see him stumble backward.

Impossible--how could he share her delusion?

The monster was flying straight at her. She threw herself sideways, landing on the leaf-strewn ground with a bruising thump to one hip. Instead of fleeing, the mugger brandished his knife underhand and rushed the winged creature. Maybe this thug had also decided the apparition didn't exist.

His defiant karate yell died in his throat when taloned hands grabbed his shoulders. He slashed the thing's chest. Its grip slackened. The man squirmed free and dashed into the woods.

With a loud moan, the creature sank to all fours. Sherri sat on the ground paralyzed, her head spinning, while she watched the wings shrivel up and disappear, the ebony fur melt away, the catlike ears shrink. The man levered himself into a crouch and stared back at her. His eyes gleamed crimson in the twilight.

"Nigel?" The ground lurched under her. Earthquake? *No, just my world-view turning upside down. No problem, folks.* He held out a hand. A chill swept over her. In the next instant it metamorphosed to a hot flush, as she realized his posture wasn't attack, but supplication. *Idiot, he probably saved your life! And you thought you were so open-minded!*

She scrambled to her feet and scurried over to Nigel. Squatting beside him, she took in the ripped shirt and the red patch spreading on it. "You're wounded."

"Excellent powers of observation." His voice slurred a bit, spoiling the sarcasm. When Sherri glanced nervously over her shoulder, he said, "Don't worry, he's long gone. Damn--didn't mean to scare him away. Wanted to question him. Clumsy."

"We'd better get you inside." When he grasped her outstretched hand, his weight almost overbalanced her. They both managed to stagger to their feet, though, and they trudged up to the house with his arm draped around her shoulders.

As they climbed the deck stairs, the cat hissed, then darted away to leap over the side. "Funny, Quark isn't usually shy of people," Sherri said.

"I make animals nervous," said Nigel as she opened the door. "Don't you lock it?"

"Just to go jogging? Don't be silly." She attempted a brisk tone to counteract her delayed reaction. Now that the crisis had passed, she felt the thudding of her heart and the cramps in her bowels.

"How do you trusting types survive?" He lowered himself onto the couch she steered him to. "Your cat's name is Quark?"

"Because he has strangeness and charm."

"Logical," he said. He closed his eyes.

"We have to get you cleaned up. Stay right there."

"I assure you, I'm not going anyplace."

Stumbling into the kitchen, Sherri realized her hands were shaking. She clutched the edge of the counter until they steadied. She drank a glass of ice water from the refrigerator dispenser, then refilled it for Nigel. After soaking a couple of washcloths in warm water, she carried them, with paper towels and the full glass, into the living room.

She glanced around at the newspapers on the floor and the galley proofs strewn on her desk. "I apologize for the mess."

Nigel opened his eyes and said with a sardonic quirk of his lips, "As well you should. Disgraceful--never saw such chaos. Don't know if I can bring myself to collapse in here."

"All right, it was a stupid remark," she snapped.

He leaned forward with a groan, resting his head on one hand. "Teach me to make inane jokes within minutes of getting knifed."

She perched on the arm of the couch. "Sit back and hold still." She unbuttoned his ripped shirt. "I'm afraid this is ruined." With his cooperation she drew it off. He winced at her touch and averted his eyes when she switched on the end table lamp. "Sorry, I have to see what I'm doing." He gulped down the glass of water as she swabbed sticky blood from his chest. After the second washcloth was stained red, she got a good look at the knife slash. The incision, closed to a thin red line, appeared hours old.

Mechanically patting his cold, white skin dry with paper towels, she said, "I do not see this."

"Sure you do," said Nigel, "just as you saw what happened outside. Don't lie to yourself; you're no good at it."

"Then those pictures of your sister weren't a special effect at all."

"No."

She withdrew her hand from his chest.

Something like sadness flickered in his eyes. "Relax, I won't bite. Not unless severely provoked."

Ashamed of fearing him, even for a second, after he'd rescued her, she finished cleaning the wound. "Doesn't even look like it needs a bandage. Nigel, how did you do that?"

"The change? A psychic skill we learn in adolescence. It's a purely superficial shifting of molecules, with more than a trace of illusion--how we look depends a lot on what the observer expects to see. That's why those last snapshots were foggy. The underlying body structures remain the same."

"Why did you do it?" she said. "The risk of being seen--"

"Error in judgment," Nigel sighed. "It seemed a good way to make sure he couldn't describe or identify me later. Besides, confound it, changing feels good." He touched the cut over his ribs. "I paid for it."

Reminded of how bad he must feel, Sherri jumped up with a guilty start. "What can I get for you? A drink?"

"Milk," he said. "Laced with the highest proof alcohol you have."

Since she seldom drank anything stronger than blush wine, she had to mull over her supplies for a minute. "Maybe Amaretto?"

Nigel grimaced.

"Oh, I just remembered the bottle of brandy I got for a present last Christmas--hardly been touched. Is that okay?" He nodded. Hurrying to the kitchen to pour the drink, she recalled first aid cautions against administering alcohol to an injured person. Nigel, however, ought to know better than she what his own metabolism could handle.

When she gave him the glass, he downed half of it without pausing for breath. "At least I should have taken off the blasted shirt first," he said. "Including clothes in the change takes a lot more concentration. It wasn't quite dark enough, either. I feel...drained. We're hypersensitive enough as it is when our molecules are in flux that way. That's why being stabbed hurt so much. In normal shape I'd have been able to suppress most of the pain."

"What else can you turn into?" she said. "Wolf, giant rat, glowing mist?" She sat beside him, forgetting all nervousness in her fascination.

He emitted a weak laugh. "Sorry, that's it. Aren't you satisfied with a six-foot bat-winged panther? And a singularly useless skill it is, most of the time."

"How can you be sure nobody saw you on the way here?"

He laughed harder, ending on a groan. "My dear girl, did you think I flew up from Berkeley? I am not Superman. My car's parked at the bottom of your lane."

"Oh," she said sheepishly. For a moment she silently watched him sip his drink. The superhero reference reminded her of other aliens in films and TV shows, and the planets they hailed from. She decided she had to ask. "Nigel, where are you from?"

"Nevada."

"What?"

"That 'alien' label was Brewster's guess," Nigel said, "and he was wrong. We're not interstellar invaders; we've shared your world for millennia. I'd be glad to give you the complete lecture and answer all your questions--later. We have more immediate problems. I've discovered a few things about Brewster. Pooling what little knowledge we have might enable us to end this harassment you're suffering."

"Have you considered giving my anonymous caller what he wants and washing our hands of it?" Sherri said.

"No longer an option," said Nigel. "I don't have the photos either. I turned them over to a friend in L.A., who will certainly destroy them. He's probably done so already."

An almost forgotten detail from the snapshots floated to the surface of Sherri's mind. "If your sister's shape-changing wasn't a special effect, then neither was anything else, was it? Including the blood-drinking."

Nigel turned his head to meet her eyes. "If you're suggesting that milk punch wouldn't be my first choice, you are right."

Her gasp held more delight than fear. How other fans would envy her if they knew what she'd stumbled into--not that she could tell anyone. "You're a vampire!"

"Close enough," he said. "We use the term for ourselves, though it's misleading in some ways. As you must have figured out, we aren't corpses animated by the Devil. We're a long-lived species with a few peculiar habits."

How long-lived? she wondered. "How old are you?"

"No more than I claim--forty-two, still in my first youth. And Laura's even younger. Good grief, can you imagine someone with centuries of experience getting into the trouble she's in?"

"So you're convinced she isn't in the coven voluntarily?"

"She was at first," he said. "I have a feeling things have gotten out of control."

"I suppose you're planning to play detective and rescue her?"

"What else?" He shifted position and winced again. "As soon as I've had a few hours to recover."

"You can stay here tonight, of course. You don't look in any shape to drive. You're still hurting, aren't you?" He averted his eyes from hers. Drawing a deep breath, she laid her head on the back of the couch, exposing the smooth arch of her neck. "Well, go ahead, I guess I owe you."

"No, you don't; I got you into this in the first place. My dear, you look like a martyr presenting herself for the headsman's ax!"

She raised her head and glanced at him out of the corner of her eye. His head was bowed, one hand shading his own eyes. "Sherri, I can't afford to turn down your offer. But it doesn't have to be like that."

"Why won't you look at me?"

"Because I don't want to be tempted to use hypnotic coercion on you." He clasped her left hand and raised it to his lips. Again she noticed their feverish heat, in contrast to the overall coolness of his flesh. Still holding her hand, he put his free arm around her shoulders. To her surprise, she felt him trembling. "Relax for me, Sherri. I won't force you to; I want you alert."

"I want to stay alert, too. I don't want to miss a single detail."

He responded with a shaky chuckle and began licking the inside of her wrist. A shiver coursed up her arm. "What's that for?"

Giving her palm a light kiss, he paused to answer, "Our secretions contain a mild anesthetic, to which we ourselves are immune, of course. The last thing I want is to cause you pain." His tongue resumed its tantalizing strokes. The delicate skin of her wrist tingled with a warmth that slowly seeped up her arm and settled between her breasts. She noticed the nip of his teeth only as a painless prickling like a mild electric shock. He didn't suck the wound like a film vampire, but continued to lick. In the midst of the lassitude creeping over her, she managed to remember her scientific curiosity about the process and fixed her gaze on the cuckoo clock on the opposite wall. No more than three minutes passed before Nigel released her and sat back, closing his eyes with a long sigh.

She sat frozen, gaping at the minute, painless incision from which blood still trickled. After a moment he opened his eyes and said, "Are you sure you want to bleed all over the couch?" Digging a handkerchief out of his side pocket, he pressed it to the wound.

"Thanks." She closed the fingers of her right hand around the makeshift dressing. "I didn't see any fangs."

"What do you think I am, a rattlesnake? An object needn't be pointed to be sharp. Like a razor cut, that will be scarcely visible by tomorrow."

"Convenient. No punctures to hide." She studied his face. Still pale--naturally pale, no doubt, but the blue tinge had faded from his lips. "You do feel better, don't you?"

"Oh, yes. God, yes." He squeezed her hand. "It's just that I'm worn out. All this--the change, the instant healing--is a hell of an energy drain."

-end of excerpt-

Kiss Me Deadly trailer

To advertise my latest book, I decided to make my own video trailer. You can watch it at www.susankearney.com. It turned out to be a family affair. My daughter Tara acted in part of it. She's the girl thrown against the wall. My son played the villain and my husband drove the truck. My daughter did the text and a friend shot the actors. I wrote the script and helped edit. For about 40 seconds of film, it took two months of work. Not a solid two months--I was writing a book at the time, too. Anyway, this book, Kiss Me Deadly is a romantic suspense. I have found that going back and forth between genres, romantic suspense and my futuristic romances helps keep the writing fresh and the mind sharp.

But to answer the questions I'm asked most often:
1) Will I write more futuristics? Yes. In fact, Solar Heat is already finished and will be out next February. My daughter shot the cover photograph.
2) Will my books return to space? Yes.
3) Will I be writing more Rystani warriors? I hope so. The plan is to connect the Rystani series with the Heat series in a few more books.

For those of you who love paranormal, you've probably noticed that more of them are in stores than ever before. And this is due to readers buying these books and recommending them to their friends. Please keep up the good work. Your support means our publishers will keep buying these stories. So please, please keep recommending them to your friends. And if you like romantic suspense as well, please give Kiss me Deadly a try. It will be out in stores June 26 , 2007

Susan Kearney

Granddaughters And World Building

Folks:

I agree with Linnea about Magic Lost, Trouble Found -- it's a page-turner with everything and the kitchen sink tossed into the worldbuilding mix.

I got my computer fan replaced and I'm back in the saddle again! (remember Roy Rogers?)
I've been talking about worldbuilding -- the writer's tool for creating an alternate reality background for the story to unfold in front of, for some time now.

Many writers just hurry through that part of preparing to write, because it's tedious, often irrelevant, and will never collect them any money or glory.

But the truth is -- world building is the writer's tool for drawing a reader into a story, especially a romance, and doubly-especially a romance that involves star-crossed lovers or the divinely inspired love that can reach across a cultural gulf, or in our case a species gulf.

The Alien Romance genre actually goes farther to define LOVE in an operational way that readers can use in their mundane lives than any other genre I know of. Love isn't "human" -- love transcends humanity.

That lays a big responsiblity on the romance writer who's just trying to make a living.
Think! As you craft this story, think about the young women and men who will read this story, who will feel these emotions with the characters, who will remember those characters' names their whole lives long as "symbols" of the philosophies they stand for.

Think about the lessons they will derive from walking a mile in this character's moccasins.
Yes, the background world building carries the thematic message of the story more strongly than the characters themselves. It's not BECOMING the character that impresses a story on the readers' dreams -- it's that mile they have to walk in the character's moccasins, feeling every stone through the thin soles.

What draws a reader deep, DEEP, into a story is the philosophical match between the character, his/her internal conflict, clearly reflected in his/her external conflict, crystal and pristinely reflected in the world surrounding the character.

The way all these levels of the artistic creation match, go-together to bespeak a certain view of Life The Universe And Everything -- matters of ultimate concern -- (astrologically 12 House matters) -- that makes that world real to the reader.

For an artist to pull that trick off, the artist must be aiming his/her creation at a very specifically defined audience, readership, market. Just as in conversation, you must take into account what the other person is thinking, feeling (mood), wanting, needing, believing, before you phrase your utterance.

Ask the boss for a raise when you've just spilled hot coffee in her lap and see what happens next! Take her clothes to the cleaners and have them back spotless in an hour and you won't have to ask.

Do the same when you create a story -- take into account who you're talking to and what else they have distracting them and craft your story accordingly.

Most romance readers are either young and dreaming of creating their own family -- or currently raising kids and dreaming of ways to make it easier.

When you craft a story and build the world to house that story, you are talking to that audience, just as you talk to your boss (and make no mistake, the reader is your boss, the reader signs your paycheck.)

So you want to start with a statement or image that makes sense to the reader before you dive off the deep end into aliens and falling in love across vast gulfs.

That one thing that almost all Alien Romance readers have in common -- almost all readers, actually, -- is FAMILY.

Now, here's an aspect of worldbuilding we haven't discussed at much length. FAMILY.
Note that Star Wars is a multi-generation family drama not unlike Dallas, the TV show was.
A popular Romance sub-genre was the Gothic -- where some young woman down on her luck inherits a haunted house with a tall dark stranger next door.

INHERITS being the operative word -- grandparents, aunts, uncles, cousins, etc. Where there's a past, there's a future. Romance is really all about potential family.

So I have a real-life story to tell you to make my point here about how to make any alien environment you build accessible (understandable on an emotional level) to your readers.
Read this story with an awareness of WHAT you already know that you use to interpret and visualize what this story means. And simultaneously consider WHAT to invent for your alien world to fill the niches of these things you already know about our reality.

What you choose to put in those niches will delineate the philosophical statement which is the theme of your work.

Remember, your readers will use what THEY already know to interpret what you write, to interpolate facts between your words as you do when reading this story. Leave the gaps they need, but also fill ones that tickle the mind with a new way of looking at the world.

This morning, my daughter called while driving her daughter (4 3/4 yrs old) to an appointment.
My daughter said right off that she had just heard The William Tell Overture on her car radio and she instantly thought of me and how it was past time she should call me.

Why did she think of me? Because I'm a Lone Ranger Fan of the first water, and she grew up well aware of that (as well as Star Trek -- her first word after Orange Juice was Captain Kirk).
So we talked, and she told me several too-too precious stories about my granddaughter who had been nagging her to talk to grandma and grandpa. I won't lay them on you.

Then she told me that at a garage sale a couple weeks ago she picked up for $5 a video camera you can hook to the TV set and see yourself. Immediately, MY GRANDDAUGHTER (here is absolute proof of the relationship!) seized on the camera, set up a vanity table chair as a stage and pretty backdrop, put her Barbie Dolls on it and proceeded to move them around watching on the TV and telling Princess stories.

At her age, I wrote words on paper (even if nobody but me could read the squiggles I thought were writing), my granddaughter tells stories in video! But stories are stories -- I've spawned a PRODUCER!!! Maybe she'll produce one of my unsold scripts she finds when cleaning out my house after my funeral. (Now there's a Gothic tale untold!)

Then we discussed what to get this kid for her birthday. One of my presents to her is this blog which occurred to me when I spoke to her on the phone. Maybe she'll stumble over it when she's a teen surfing the web for romance novels.

Jacqueline Lichtenberghttp://www.simegen.com/jl/

Raine-ing Praises (on Magic Lost, Trouble Found)

I try to compete with Rowena Cherry's unparalled abilities for puns and turns of phrase and always feel I fall short (could be the differences in our heights as well...).

Be that as it may, Raine-ing Praises today is all about Raine Benares. She is a fictional character in Lisa Shearin's MAGIC LOST, TROUBLE FOUND, a rip-roaring good fantasy novel that's also Shearin's debut book:

My name is Raine Benares. I'm a seeker. The people who hire me are usually happy when I find things. But some things are better left unfound...

The book has elves, it has goblins, it has sorcerers and sorceresses (sorceri?). It has smugglers and thieves and magic spells. It even has a strong romantic subplot--yay!

Not only is the book a terrific fun read, but Shearin's query letter to literary agent Kristin Nelson has obtained almost cult-status, as it's been quoted as one of the best queries around:

http://pubrants.blogspot.com/2006/08/queriesan-inside-scoop-lisa-shearins.html

What if you suddenly have a largely unknown, potentially unlimited power? What if that power just might eat your soul for breakfast, lunch and dinner? What if every magical mobster and sicko sorcerer in town wants that power? And what if you can't get rid of it?

I had the pleasure of reading MAGIC LOST in ARC (Advanced Review Copy) form months back. I've been anxiously awaiting its release ever since so I could tell you all about it. Go buy this book. It's fun, fast-paced, kick-ass, snarky, beautifully written and exciting. And there's a sequel.

What this has to do with alien romances and what this has to do with exploring my recent theme of love across (or did I say beyond?) boundaries, is that MAGIC LOST is populated by every non-human paranormal being you could think of. How they relate-or don't--what their issues are, what their prejudices are, and what their loves, fears and failing are become underlying themes in this book.

Now, of course, you can read it just for fun. I highly recommend reading just for fun because it's not one of those angst-y, esoteric doom-and-gloom speculative fiction tomes that preach and lecture and make you feel miserable at book's end. It's a freakin' fun book. But the characters and their relationships form a huge part of the book's engine. If you want to see Intimate Adventure at work, you'll see it here. I hope you'll enjoy it as much as I have.


~Linnea


PS - FYI, I've reworked my website and added some new things to the Intergalactic Bar & Grille-including a chance to win free t-shirts! Check out my revamped website: www.linneasinclair.com

Naked and Armored

"Naked and Armored" isn't intended as a cheap shot... but my title reflects my love of the oxymoron, the "grabber" that turned a social moment into a minor quest, and my delight in discovering The Society for Creative Anachronism, Inc.

http:www.sca.org

Yesterday, I took my child to a birthday party, and stayed. (I always stay, because she is multi-allergic and I can't expect a party-giver to wield an Epipen). I'd planned to spend two hours in a shady corner of their garden researching plot elements for my next alien romance, but a Michigan thunderstorm drove me inside with other temporarily superfluous parents.

Absorbed as I was with trying to decide whether the Tarot card that best fits my next hero's character and fortune should be Judgement, Temperance, or Knight Of Swords, I commented on a known hobby of one of the fathers.

I thought that he dressed up like d'Artagnan or Richard the Lionheart (or Robin Hood) and reenacted famous Medieval European battles on American soil. It turns out that his society improvises battles. Some of them wear full armor, and some don't.

I was astonished to learn that costumed battles take place in August, and asked how on earth they coped with the heat. Apparently some warriors rely on the ubiquitous water bearers and on creative choices of what to wear --or what not to wear-- under the armor.

Contrary to what I expected (although my metal-clad experience is limited to sitting in a silver-painted car in a parking lot) it never occurred to me that the modern fencers would suffer more that the knights in armor because of the way epéeists and sabreurs have to dress to do battle.

Apart from issues of heat and nudity, I was interested in the conventions of killing each other --a tap on the shoulder from behind-- the detail that the "dead" take a time out to avoid being trodden on by those who are still fighting, the fact that battles are worth points towards winning the season-long war, so killing the King (although fun, and something everyone wants to do) does not mean that the dead King's men stop fighting and run away in leaderless confusion.

Isn't the human element fun?

At RT, I was on several panels where authors revealed what inspires and informs them. A recurrent tip was the value of talking to strangers. As Cathy Clamp said, (and JA Konrath made the same point) someone you meet will possess exactly the insight you are looking for (even if at the time you don't know what it is).

A few posts ago, Jacqueline recommended that you start with your world's Sun when you begin to build a world. (Great and cool advice!). For a great short cut to building a society --if for some reason you don't have time for complete evolution-- a few hours on the Society for Creative Anachronism website might be time well spent.

Their articles on picking a SCA name are fascinating. Names have to have a logic, a consistency, and a purpose. Titles, too. A Welsh King might be a Teyrn. Doesn't that sound like "Tyrant"? A Welsh Lord might be an Arglewydd. (I love that!)

In my own reading, I'm impressed by the power and romance of really cool, and "thus"-sounding names for characters in SF and Fantasy. In LOTR, Aragorn was known by different names... that he had an Elf name, an alias while he was a Ranger, and the heraldic "Aragorn son of Arathorn son of..."

I liked that his lineage was recited as if it were a list of titles of nobility, didn't you? As for Star Wars, I enjoyed the cultural differences in names.

Jabba The Hutt sounds Welsh!
Queen Amidalah was also Padme
Darth was like a title, except that Darth Vader was also addressed as Lord Vader.

I could go on, but I won't. I've got a deadline looming!


Best wishes,

Rowena Cherry

Star Wars

Happy Birthday Star Wars. It's hard to believe that it has been thirty years since you hit the screen.

I will never forget my first viewing. The sheer magnitude of the Emperial Cruiser as we got the underneath shot. Absolutely blew me away. And the concept of A long time ago in a Galaxy far far away....mind boggling.

Star Wars blazed so many trails. The sassy heroine. The ne'er do well hero. The conflict between father and son. The special effects. The sheer scope of everything. It pretty much changed the movie world as we know it and opened up tons and tons of possiblities.

There's nothing like the first three (or the last three for you purists) The first three chapters just didn't compare because it was more about the speical effects than the story. But Han, Luke and Leia will live forever.

Now if someone would just get this walking carpet out of my way. I'm going to have a StarWArs dvdathon....

"Tentacles of Love"

Yesterday Ellora's Cave (www.ellorascave.com) released my humorous erotic Lovecraftian romance "Tentacles of Love" in their "Naughty Nuptials" Quickie series. This story was inspired by H. P. Lovecraft's classic tale "The Dunwich Horror." Since the premise of the June "Naughty Nuptials" promotional series is weddings, I played with the concept of how an ordinary woman would react to discovering she's about to marry into a family that has interbred with the "gods" of Lovecraft's Cthulhu Mythos. Suppose Wilbur Whateley and his huge, invisible, monstrous brother in "The Dunwich Horror" were actually nice guys looking for love? Distinguished SF author and editor Marion Zimmer Bradley expressed her dislike for Lovecraft's story, outraged that a "poor deformed boy" would be treated as an object of loathing and horror. After all, don't a person's inner qualities matter more than a few tentacles? Coincidentally, a few days ago I read a "Dunwich Horror" sequel by Stanley C. Sargent, "Black Brat of Dunwich," wherein Wilbur Whateley's former tutor reveals that Wilbur, despite his grotesque appearance, wasn't evil, just a lonely misfit. He wanted a copy of the NECRONOMICON to control his monstrous twin, not unleash him on the world. This story appears in Sargent's collection THE TAINT OF LOVECRAFT and has also been anthologized. It's much darker than my novelette, which (I hope) comes across as funny and sexy. Here's an excerpt from the heroine's first meeting with her fiance's twin. Those who've read Lovecraft's story will recognize the allusion in the line, "he looks more like our father than I do."

Excerpt from "Tentacles of Love," copyright 2007 by Margaret L. Carter:

“What? Who? Since when?” Hitching up the straps of her sundress, Lauren glared at Blake. “All this time, you somehow forgot to mention you had a brother?”

He flinched at her accusing tone. “We’re twins but he looks more like our father than I do.” He hardly ever talked about his parents. His mom, who’d died before Lauren had met him, had been a single mother. Other than mentioning that the pregnancy had resulted from a brief fling, he’d said nothing about his father. “Wilbur lives here. He never goes out.”

“Wilbur?” She couldn’t help associating the name with a pig in a children’s book.

“Named after one of my mom’s relatives a couple of generations back.” He stepped behind her to zip up the dress.

She dug a comb out of her purse and hastily whipped her hair into shape. “You’re saying he’s in the house now? Good grief, why did you let me scream?”

“Don’t worry, the walls are thick.”

“Why doesn’t he go out?”

“He’s—not like other people,” Blake said with a nervous clearing of his throat. “One thing I love about you is how open-minded and compassionate you are. Nothing seems to faze you.”

“Such as the fact that your family’s a little strange? No biggie. My aunt collects velvet Elvis paintings. I’ve had plenty of practice in open-mindedness.”

“Seriously, you rescued me from terminal geekhood. Miskatonic University alumni aren’t noted for our social graces.”

“Hey, before you, I’d never met a guy who could quote Plato in the original Greek and Olaus Wormius in medieval Latin. Major turn-on.” Although she still didn’t know Olaus Wormius’ claim to fame, the quotations had sounded impressively ominous.

“See, you have a talent for taking weirdness in stride. That’s why I thought you might be able to accept us. Even Wilbur. But I was still scared enough to put off introducing you.”

She folded her arms. “So this is the big secret you’ve been hiding? You thought I might break our engagement because you have a brother who’s a little different? God, do you really think I’m that shallow?”

“No way!” He strode over to her and clasped her shoulders. “It’s not that simple. You’ll see. But I have faith in you.”

Retreating from him, she said, “Okay, let’s get this over with.” She still simmered with indignation that he had hidden such vital information.

“Guess I can’t blame you for getting angry. Just bear with me ‘til you know all the facts, okay?”

She responded with a grudging nod.

“We have to go upstairs.” He led her to a door where the hall dead-ended and opened it to show a narrow flight of steps. He flipped on a light switch.

“Your family makes him live in the attic?”

“He likes it up there. It’s arranged to suit his special needs.”

Still barefoot, she followed Blake to the top of the stairs, where a bare bulb on the ceiling showed a long, well-swept room lined with stacks of boxes, miscellaneous furniture and the gable windows she’d noticed from outside. At the far end a wall with a closed door blocked off part of the space. “Hold on, does that lead to the window that’s boarded up?”

“Yeah.”

“So you don’t keep a wife locked in the attic, just a brother?”

“Before you go all ballistic about how we’re mistreating him, wait until you’ve seen the whole picture. His room is customized for him and part of that involves covering the window.” Knocking on the door, he said, “Wilbur? I’ve brought Lauren to meet you, the way I promised.”

A whistling noise, like wind howling through a cavern, emanated from the other side. “Well, here goes.” He clasped her hand and opened the door.

Splinters of rainbow light, like the inside of a kaleidoscope, struck her eyes. After blinking a couple of times, she realized she was seeing the colors through a shimmering curtain of mist. Blake stepped across the threshold, pulling her with him. A chill shuddered through her at the moment she entered the room. The floor tilted, then straightened. She clutched Blake’s arm and waited for the vertigo to fade.

Why did the room seem to stretch twenty feet or more ahead of them? “There can’t be this much space up here. Is it some kind of optical illusion?”

“This room isn’t exactly all here. All in this world, I mean. That’s one reason we covered the window. People got too curious about the weird lights.”

She stared at the—object or creature?—that occupied the other end of the chamber. A floor-to-ceiling translucent mound of rainbow-colored bubbles filled the space, emitting blue and violet sparks whenever its surface rippled. A pseudopod oozed outward for a second, then withdrew into the mass, leaving a glittery trail on the floorboards.

“What is that? Is it alive?” The thing struck her as beautiful in an alien, mind-wrenching way. Maybe the family secret was that the mysterious Wilbur performed mad-scientist illicit DNA experiments.

Blake put his arm around her waist. “That’s my brother.”

“What?” she yelped. “Where?”

The mammoth rainbow-bubble cluster extended six tentacles like the tendrils of a jellyfish, and four eye-stalks popped up at random spots on its surface. “Welcome, Lauren.” The voice vibrated through the floor and resonated in the pit of her stomach like organ music. “I’m so happy to meet my new sister.”

Gray spots clumped in front of her eyes. Her head reeled, her knees wobbled and the floor lurched up to meet her.

When her vision cleared, she found herself leaning on Blake with only his snug embrace holding her upright. The conglomeration of bubbles and tentacles hadn’t disappeared.

She screamed and hid her face on Blake’s chest.

He patted her on the back. “Calm down, love. He’d never hurt you. You see why I tried to prepare you for a little shock?”

“Shock?” she shrieked. “Little? You’ve just told me your brother is a giant, glowing blob.”

-end of excerpt-

Writers And Backup

Yep, here we go again with the one thing writers never do and always must do.

My computer fan burned out and I have another fan on order (a feat
that took 2 whole work days from writing -- because of course the fan
went on Memorial Day weekend).

My computer is a Dell Precision 350 -- only 4 years old but you can
only get refurbished parts for it from Dell -- it's off warranty and
barely supported at Dell -- but not supported at all at normal stores
like Best Buy and Frys Electronics.

It took two geek friends two days to get me this far -- really, in a
normal world I could just buy a fan, stick it in, and the computer
would work again. Dells aren't designed for that -- or maybe they are
now but weren't 4 years ago.

At any rate my "whole life" is backed up on an external harddrive that
is unplugged most of the time.

It is unlikely that any of the data on my computer's internal hard
drives (2 huge ones) is affected in any way because the software
caught the problem and refused to boot the machine normally. I don't
have an overheat or catastrophic thermal event (i.e. dead CPU to deal
with) -- I hope. If I'm wrong, then I've lost a couple months worth
of data since my last massive incremental backup.

I SHOULD have done the all-night job of another backup to the external
hard drive when I first heard the fan making an odd noise. I didn't
because I was working hard on a story (which is backed up on an
external floppy disk -- but in software that my husband's machine
doesn't have). I worked too late to have the time to start the backup
running then check all night to see if it crashed.

Meanwhile, though I'm using my husband's much smaller machine that
can't run all the software I normally use in my daily grind.

So although at this moment I don't think I have a data disaster on my
hands, I am crippled for lack of that hefty machine I work on.

But this lesson is worth learning and re-learning and somehow creative
people just have to be force-trained into the backup habit perhaps by
the age of 6 or the habit just won't "take."

Really, backup runs counter to everything in an artist's personality
-- you don't make COPIES, you make unique ORIGINAL stuff, one of a
kind. It gets "copied" only when you've finally got it right.

Well, this world is different. There are whole businesses (several of
them in my phone book) that advertise "data recovery" for just exactly
this reason!

The computer world isn't yet configured for human habitation.

JL


-- Jacqueline Lichtenberg
jl@simegen.com
http://www.simegen.com/jl/