Solar Heat Excerpt

Chapter One

Talk about unlucky missions. Everything that could go wrong had. One moment Azsla and her crew of four "fugitive" slaves had been on course for Zor, the next the starboard stabilizer had malfunctioned, damaging the hull. The spaceship had jolted, and engine failure had turned their systems inside out, and slammed her crew into unconsciousness. The cosmic whammy had dealt them one hell of a beating, and she thanked Holy Vigo for the lifelong supply of salt that had given her strength and enabled her to remain alert.

The ship was currently powerless and drifting toward the portal that was supposed to have transported them to Zor and freedom. The lights flickered. With a snap of a toggle, Azsla cut the blaring alarm. She didn't need a news flash to know that unless she altered her damaged ship's course, the forces sucking them into the black maw would squash them flatter than a neutron particle.

By now, the backup system should have come on line automatically. Azsla initiated emergency procedures and flipped open the auxiliary engine panel. Twisting the manual override, she thrust the handle to starboard. But the reboot mechanism was also on the fritz. When no lights or controls lit up, licks of alarm shot down Azsla's back. Mother of Salt--a double cosmic whammy.

Keep it together. She'd drilled for emergency situations. Only this was no drill. They were in trouble. Bad trouble. And fear ignited in the pit of her gut like a retro rocket on nitro.

She checked her watch, then estimated the triple threat of time, distance, and mass. At the inescapable result--certain death--her scalp broke into a sweat. As a First of Rama, Azsla had been entitled to a life of privilege and all the strength-building salt she could swallow. But what should have been a life of luxury on Rama had been destroyed by a slave rebellion that had led to hundreds of thousands of slaves escaping from Rama to Zor, a planet in another solar system. To prevent further uprisings and retaliation from the slaves, she'd agreed to go to Zor as a spy. She'd always known her mission would require sacrifice and she'd accepted the danger of pretending to be an underfirst, a lowly slave, in order to assess what kind of weapons Zor was developing against Rama. But to succeed, she had to get to Zor.


Right now, that didn't seem likely. Or even possible. She glanced around at her still unconscious crew. She'd always thought she'd understood the risk of covert operations. When her superiors had cooked up this mission, she'd volunteered. The decision hadn't been a hard one. Fifteen years ago when she'd been in her early teens, a slave uprising on Rama had killed her parents and ruined her home. Some 200,000 slaves had escaped her world and resettled on the planet Zor. Eventually the Firsts had regrouped and regained control, but life as Azsla had known it was over.

After losing everything, her existence had gone from street orphan to ward of the state. When the Corps offered to train her as a weapons specialist and promised her a shot at stopping any chance of another slave rebellion, they hadn't had to ask twice. As a First she'd understood, even as a teenager, that as long as Zor offered safe haven to slaves, all Ramans stood in peril, their way of life threatened.

However to become an effective spy, Azsla had been asked to accomplish what no other Raman had ever done, she'd undergone years of training to suppress her Quait, a First's ability to dominate. She'd accepted she might never succeed--but she had achieved the impossible. Sort of. As long as she kept her emotions in check, her Quait didn't take over and Azsla could prevent herself from overpowering the will of her crew and outing herself. Reining herself in tight, she could now pass as one of them.

If her crew sniffed out her real role, they'd sabotage the journey to Zor. Slaves might be weak, but they were fanatical. Dangerous. They placed little value on life, even their own. To find out what the Zorans were up to, Azsla had to be just as ruthless. Knowing any one of them would turn on a First to keep her away from Zor reminded her to keep up her guard. Always. While it had been surprisingly easy to leave behind her regimented existence where no one would miss her, she'd never considered that engine failure might kill her in this tin can before she'd even landed on Zor.

One by one, the systems went down. Getting to Zor, at this point, was secondary to staying alive. Artificial gravity failed. The air grew stale. It was freezing cold, as if the heat hadn't just turned off in the past few moments but hadn't been on since liftoff three days ago. Azsla gripped the command console to maintain her position at her station and ignored the white vapor puffing from her mouth, the prickly bumps rising over her flesh, her body-racking shivers. Her unconscious crewmen floated away from their stations as the ship lost gravity and she couldn't blow off a spark of sorrow over their plight. During the long months of training for this mission, she'd come to know her crew, and, to her surprise, respect them. Now, she couldn't remember when she'd stopped thinking of them as slaves and started thinking of them as people.

"Anyone awake?"

None of her crew answered, likely frozen, shocked, and possibly injured. Yet, they weren't dead. Rak, her second in command, drew in choked breaths. Kali, the copilot and chief engineer, flailed on the ceiling, seeking leverage to alter his altitude.

Knowing she had mere moments to divert the ship, Azsla stayed put. If she couldn't change their course, the wormhole would devour the ship, leaving nothing, not even scattered debris, to mark their passing.

"Report," she repeated, her voice lowering an octave as if ashes filled her mouth, her cold-numbed fingers flicking the damaged control toggles, frantic to restart the engines. Surely Jadlan or Micoo in the sleepers had been jarred awake? Or had they ditched protocol, abandoned their posts, and ejected in their escape pods? Azsla had no way of knowing, not with her instruments off line, but as always, she cut her crew some slack, all too aware that none of them had her superior intellect or physical strength. After all, they were slaves.

Taking stock, she assessed their predicament with as much presence of mind as she could summon. Instant depressurization had collapsed the aft stabilizer. Her damage-weakened ship now spiraled end over end--straight toward hull-crushing forces that would terminate her mission--unless she found some miraculous way to steer clear.

Azsla ripped open the panel's cover to examine the wiring. The reek of burning plastic singed her nostrils. Smoke filtered into the cabin and fear scratched along her skin like claws, ripping and shredding, threatening to tap out her last reserve of Quait control. Damn her crew. They should have responded by now.

Not that she was even close to normal. Her fingers trembled and she loathed her own weakness as much as that of the underfirsts who hadn't responded to her plea for information. With her gut doing a slow spin job, she battled fresh panic.

Easy. She was beginning to hate the empty brutality of space. Not that she was bitter. Sweet Vigo, people were supposed to live on planets where they didn't have to breathe recycled air, where every little mechanical failure wasn't life threatening, where a stray piece of dust didn't create lethal havoc with her ship's systems.

Trying to buy herself a little relief from pounding panic, Azsla attempted to dial down her emotion. She cornered it, squashed it. Beat it into submission. Pretend it's just another drill. After ten years of keeping her cool and suppressing her Quait, her spontaneous instinct to dominate should have been under control . . . yet, as the port fuel tank exploded, her natural inclinations to overpower kicked in. Hard. Every cell in her body ached to reach out and make the crew work as one. But if she reverted to instinct and used her Quait to save all their lives by forcing them to fix the ship, her crew would then learn that she wasn't one of them. If they didn't kill her, she would wind up returning home in defeat. Sure, mind scrubbers could erase her crew's memories, but the Corps didn't accept failure. Azsla would never get another shot at returning to Zor.

But the aching instinct to survive at any cost began to burn. Sizzle. Her blood boiled with the need to take charge . . . for the sake of self preservation.

She was about to lose it and take over the will of every underfirst on board. With no time to talk herself down slowly, she popped a tranq, swallowing the pill without water. Immediately, the fire eased. The seething boil cut to a manageable simmer. Of course, later, if she lived that long, she'd pay for relying on the tranq. If her superiors ever discovered she'd resorted to artificial tactics, it would put them off--enough to shut her down, boot her from the Corps. But with the metal hull groaning, official consequences were the least of her problems.

The portal was sucking them in. Thanks to the tranq, her Quait settled and the need to dominate abated. Finally, praying to save the ship from annihilation, she struggled to route the last remaining battery power into the bow thrusters.

Her fingers manually keyed in instructions, and she regained her normal tone of voice. "Kali. What's doing?"

Kali groaned, opened his eyes, shoved off the ceiling and buckled into the copilot's seat. He slapped his flickering monitor. "Navigation's a bust. Hyperdrive's non-operational. Engineering's off line. Life support's nonfunctional. Time to bail?"

Unless she could alter their direction, they'd have to abandon ship or be crushed four ways to summer solstice. However, the portal would draw in the sleeping pods, and, as long as the emergency batteries maintained the pods' shielding, they'd shoot straight through to Zor. Hopefully someone at the other end would pick up an automated distress signal--if not, they would drift in space, frozen. Forever. Not an appealing option, but neither was instant death.

Azsla jerked her thumb toward the safety pod. "Hit the air lock."

Although her crew often disappointed, not quite living up to her standards, they tried hard. And she wasn't cruel enough to dash their hopes and reveal they had little chance of survival, never mind escape. Of course, the Corps never intended for her crew to achieve the freedom they sought. On Zor, they'd be rounded up by other spies and sent back to Rama in chains as an example of what happened to slaves who attempted escape from the mother world.

Kali unsnapped his safety harness, snagged Rak off the ceiling, and swam toward the rear. "Captain, you coming?"

"Just messing with the bow thrusters." She didn't exactly lie. Although she had little hope of cranking out a course alteration with the bow thrusters, she used the excuse to stay at the helm to secretly shoot the logs and a report of the disaster back to Rama, a last-ditch effort to inform the Corps of their predicament. Notifying home was a calculated risk. Her crew believed they'd escaped Rama, when in actuality the government had allowed them to leave in order to insert Azsla into their midst. If any of them caught a whiff of what they'd consider betrayal, there was no telling if she could handle them after swallowing that tranq.

"Captain."

At Kali's sharp tone, Azsla stiffened. Had he seen her dispatch the log? Despite the tranq, she couldn't conceal the edge to her voice. "Yes?"

"Ship temperature's approaching freezing. The hull's breached. Shields are failing. We need to leave, now."

Relieved her cover remained intact, Azsla skimmed her hands over the keys, robbing the remaining power from every system except the pods. "I'm right behind you."

Kali soared through the control cabin into the ship's bowels. She heard him pop open the pods and the terrified voices of her crew. So the others had awakened. She shouldn't be thinking about them. Slaves were easily replaced. Weak. A waste of salt.

Yet . . . this crew had trained hard. Not as hard as she had. But then they didn't have her abilities. Still, they'd done what they could with what they had.

Finally, she shunted the last of the power into the boosters.

Done. She turned and shields began to go down. The injured hull squealed in agony, the tearing of metal a death knell. Diving for the escape pod, she overshot her mark. Kali snatched her by the ankle, saving her from a painful smack into the bulkhead.

"Thanks." She seized a handhold and righted herself. He'd already stuffed Jadlan, Micoo, and Rak into the pods and ejected them through the air lock.

"Ready to bounce?"

"Absolutely." Totally on board with the plan, she slapped the button to open her sleeper. Kali slid into the last remaining pod.

She tensed her muscles to do the same. Only her pod didn't open. "What the frip?" All hell was about to come down on the ship and she nailed the button mechanism again with her fist.

And got zip. Zero. Zilch. The canopy refused to budge. Her high-pitched gasp shamed her and she hoped Kali put it down to the cold that seemed to have frozen her bones.

This was insane. Surely every freaking system on the ship couldn't fail . . . unless someone had sabotaged the mission. But who? If the slaves had known about her subterfuge, they would have killed her, or died trying. Not even they would have vandalized the entire ship. And she had no other enemy. The Corps wanted her to succeed.

The delay didn't seem to faze Kali. Instead of ejecting, he moved smoothly, climbing from his pod. "Let me." Picking up a wrench, he slapped the release button.

"It's no good." She pointed to the hull that had caved, crushing her pod, the metal cross brace obstructing the release mechanism from firing properly.

The hull howled like a wild beast, the last of the shields failing. From the ship's bowels, the engines rumbled like a volcano about to erupt. Her ability to issue orders dulled by the tranq, she said nothing as Kali picked her up, slipped her into his pod, and closed the canopy with a click of finality. Hit the eject button.

Her last sight of him floored her. He seemed at peace. Eyes closed, his lips moved, and if she hadn't known better, he'd appeared to be praying. At peace with his death.

She shot into space, a rush of emotions flooding over her tranqed emotions. Relief. Hope. Astonishment.

Kali had given up his chance to live. For her.

She hadn't even used her Quait. She closed her fingers into fists. Kali had meant nothing to her. Slaves were easily replaceable. Unworthy. Yet, she'd spent enough time with her second in command to know Kali's life had meant everything to him. He'd planned to begin anew on Zor. Marry. Have children. His dreams would never have happened because of her mission . . . but Kali hadn't known that.

Turning, she watched the ship implode and vanish into the portal. Kali was dead, his body relegated to tactonic dust.

She shouldn't have cared. Cold from the sleep capsule spread over her skin like guilt. She told herself slaves died every day. So what?

But if Kali's selfless sacrifice didn't matter, then why was her vision blurred? Why were tears freezing on her cheeks?

A Little Something Came Up Part II

This continues my post of Tuesday, March 25th 2008.

So what is the "art" that Cindy (in her Saturday, March 23rd post) was talking about when she wrote: "Character is what rises to the top when put under extreme pressure."

What is that pressure -- where do you find it -- how do you apply it to a character you've created? How do you couch your message in the language of Art?

As in most artforms it isn't what is there in a story that carries the message -- but what is not there. The white space. The silences speak volumes.

What was Cindy Holby talking about? Where do you go to learn to create a character and imagine a kind of pressure that other people would recognize as plausible?

She's describing a PLUTO TRANSIT. Happening at the same time as a Saturn transit, a Pluto transit can precipitate the sort of "test to destruction" events -- often and usually coupled to a Saturn transit -- that make for great story.

Even readers who would not touch astrology, or couldn't understand it if they did, recognize the major life transits because they've seen it among people they know. That's why you can learn to do this by reading biographies.

As I said last Tuesday, you can learn just about as much from studying psychology, sociology, statistics, anthropology, archeology, history and pre-history as you can from Astrology.

If you leave out a grounding in Astrology, though, you might be tempted to put a 30 year old through the crisis only 60 year olds must face. That won't seem plausible, no matter how well you write it.

Art is the SELECTIVE depiction of "reality" (the "reality" the Seer in you sees) -- what you select and what you leave out forms a pattern which carries your thematic message, but that only works if the pattern is familiar to the readers.

But let's assume you've done all that learning and have a very well constructed idea of who your characters are and where their karmic weakness is -- and at what age in life they will confront the key developmental tensions of a specific Pluto and Saturn transit set.

You know what kind of events Pluto precipitates, and what typically happens at, say, a Saturn return transit.

You know where your character is strong - and where weak - and you know what the blow is that will roust him/her out of a safe, complacent life and into a harrowing circumstance where (as Cindy says) Character will rise.

As Cindy pointed out, the reader loves to believe that they, too, would be able to react "heroically" in a life or death situation.

Why do we like to believe that? Why do we doubt ourselves and seek vicarious validation of our own heroism through fiction?

The secret to the answer to those questions lies within the usual experiences of a Pluto transit.
Where Saturn throws shit at you, strips you of your dignity, friends, spouse, parents or relatives, and resources, or gives you enough rope to hang yourself by delivering fame and glory, Pluto hands you a shovel, an ally, a confidant (who may betray you later [the Royal Butler writes a book]), a stiff upper lip, or the ability to concentrate like never before or after that moment in your life.

Now this pattern materializes only where the aspects of Saturn and Pluto within the natal chart form certain patterns.

A badly placed natal Pluto, for example, produces the sort of life pattern one sees on Soap Operas -- what I call the "pillar to post" existence that's so exaggerated nobody really believes it. Melodrama. That's a badly placed Pluto.

A well placed Pluto on the other hand brings certain kinds of strength to the character. And when well placed at birth, it will come in behind every Saturn blow to deliver the means to deal with the bruises.

Of course, none of that is inevitable. It all depends on how the Soul living this Life manages and deploys the available resources to which chosen goals.

For example: When an otherwise undistinguished daughter is left to tend to a failing parent, from SOMEWHERE inside that daughter comes the incredible physical strength, the patience, the fortitude, and the obsessive attention to every financial detail of the Medicare billings -- the tenacity to fight for every benefit due. Friends and other family simply can't comprehend how this skinny willow branch of a daughter is doing all this. And in fact, many will believe that SHE isn't doing all this, and therefore that it's not being done at all.

For Example: You're diagnosed with Cancer or some other life-threatening disease. Read the astrolger Noel Tyl's books and you'll discover the connection between Pluto and life-threatening diseases. With a good Pluto natal position, the challenge of the disease will coincide with a hugely exaggerated ability to do research on it, to understand all the information on the web, to search and search and search "obsessively" until you find the right doctor, to force (Pluto is coercion) the insurance companies to allow the treatment you've chosen, to survive the side-effects, to obssess your way through rehab and emerge a new person.

For Example: Take the film, THE BOURNE IDENTITY. (see my post on Spoilers) I just saw a rerun of THE BOURNE IDENTITY so it's fresh in my mind. You don't know WHAT caused Bourne to lose his memory until the end, but when you find out what happened, you can see the Pluto transit influence throughout the film.

Bourne is a "secret" agent (Pluto is secrets, covert ops). He's an assassin. Pluto is violence. Pluto is explosive violence -- traumatic violence that comes out of "nowhere." Bourne is an assassin's assassin. Bourne is so good at it, he may as well be an Alien, so you can class this movie as Alien Romance and not miss a beat. (It's so much the exact same movie as STARMAN, which I adore.)

Bourne was sent to assassinate an international figure, and sets up the hit on a yacht. He's a 30 million dollar killing weapon. And apparently really good at it. Then he confronts a Saturn moment (Saturn is a separating force, a hard blow from concrete reality). He is standing there aiming his gun at a sleeping man whose child is lying on his belly. Bourne CAN'T (restraint is Saturn; conscience is Saturn) pull the trigger.

Setting Saturn against Pluto inside Bourne rends his MIND.

The betrayal of all he is becomes so traumatic he later can't remember that moment or even his identity. He turns and runs. He's shot in the back, falls overboard, and the film OPENS with him being fished out of the sea (Neptune, of course, dissolves and erases -- also Neptune is Idealism) one stormy night with bullets (bullets = Mars) in his back (backbone = Saturn). (the Swiss Bank Account number hidden in his Thigh=Jupiter=wealth-growth-inclusion-Law)
Neptune and Saturn rob him of his very Identity. Pluto gives it back.

Pluto is "obsession" -- the ability to concentrate -- the ability to focus on a huge job one piece at a time, and keep inching ahead a step at a time.

Filling out your parent's tax return, digging up all their legal papers, auditing every medical bill for errors, informing all their friends, and so on. It is a huge job and the only place for the strength to come from is obsession - Pluto. That's the deepest well of strength, in the world, in your Self. Pluto is pure POWER. Sometimes more of that Power explodes through your Natal Chart than you can handle, and the backlash spreads through all other aspects of your Self.

Focused, collimated, directed, Pluto's power can augment every grace and ability you have. It is your death - or your survival.

Most of us face this Pluto type challenge once in a lifetime. Some natal charts throw that challenge at the person again and again and AGAIN -- soap opera style melodrama.

But everyone recognizes these dramatic events as plausible. Drama is what story is all about. Anyone who wants to write a story needs to master the concepts that produce DRAMA. (Scorpio, Pluto - yes indeed - but also Leo and the Sun, the Will to Sovereignty).

So how did Bourne get his identity back? Obsession -- and he shared that obsession with a woman who stayed with him, got shot at, ran for her life, through Plutonian experience after experience (including Plutonian style sex).

He forced her to leave him -- turned and confronted those trying to kill him, and was reminded of that one key scene he had blocked from memory that told him who he is and why he didn't want to be himself -- refusing to murder a father holding a child.

Once he got his identity back, he didn't want it any more. He really didn't want it. He fled. And he went to find the woman who helped him. (hey, we all know there's a sequel -- and we can only hope our own lives have sequels.)

Cindy says that until we are actually put to the test, we don't know how we will react. That's not entirely true if you've made it through your 30th year, through your first Saturn return at 28-29 and survived the aftershocks.

Somewhere in that time, you will hit a period where terrible, awful, destructive and reconstructive things happen. And after you've coped with it all, you will look back and doubt your ability to do it again. You simply don't know how you did it. The answer is often a fortuitous Pluto aspect natally scheduled to couple with the Saturn transit. It's all in the timing of your moment of birth.

From Astrology, you can learn whether that ability to obsess on what must be obsessed on (instead of irrelevant trivia) will come again, coincidentally with the next set of major challenges.
Since we've seen this in ourselves and others around us in real life, we can believe it in fiction. We have seen people NOT rise to the occasion when something comes up to derail their lives. We have seen others perform miracles.

In our fiction we want to see a believable character -- one composed of a set of traits that go together into a recognizable pattern -- be challenged and not only rise to the occasion but come out of it transformed into a better person.

Coming out of it a better person is rare in real life. So we crave it in our fiction to grasp hold of the vision so that next time our own life is challenged we, too, can emerge transformed into someone we like better than our old self. And that, really, is what a "hero" is -- someone who saves others and is thereby saved. If you have the "saved others" without the "thereby saved" part, you have a martyr (also a good source of drama).

So, coming out of it a better person is what makes THE BOURNE IDENTITY a classic among classics. Bourne chooses a new self and reaches across an unfathomable abyss for love. (OK, it has a sequel - yeah - but that's because it's COMMERCIAL FICTION or maybe because Bourne has a difficult Pluto in his natal chart.)

Jacqueline Lichtenberg

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

A Little Something Came Up -- PART II

This continues my post of Tuesday, March 25th 2008.

So what is the "art" that Cindy (in her Saturday, March 23rd post) was talking about when she wrote: "Character is what rises to the top when put under extreme pressure."

What is that pressure -- where do you find it -- how do you apply it to a character you've created? How do you couch your message in the language of Art?

As in most artforms it isn't what is there in a story that carries the message -- but what is not there. The white space. The silences speak volumes.

What was Cindy Holby talking about? Where do you go to learn to create a character and imagine a kind of pressure that other people would recognize as plausible?

She's describing a PLUTO TRANSIT. Happening at the same time as a Saturn transit, a Pluto transit can precipitate the sort of "test to destruction" events -- often and usually coupled to a Saturn transit -- that make for great story.

Even readers who would not touch astrology, or couldn't understand it if they did, recognize the major life transits because they've seen it among people they know. That's why you can learn to do this by reading biographies.

As I said last Tuesday, you can learn just about as much from studying psychology, sociology, statistics, anthropology, archeology, history and pre-history as you can from Astrology.

If you leave out a grounding in Astrology, though, you might be tempted to put a 30 year old through the crisis only 60 year olds must face. That won't seem plausible, no matter how well you write it.

Art is the SELECTIVE depiction of "reality" (the "reality" the Seer in you sees) -- what you select and what you leave out forms a pattern which carries your thematic message, but that only works if the pattern is familiar to the readers.

But let's assume you've done all that learning and have a very well constructed idea of who your characters are and where their karmic weakness is -- and at what age in life they will confront the key developmental tensions of a specific Pluto and Saturn transit set.

You know what kind of events Pluto precipitates, and what typically happens at, say, a Saturn return transit.

You know where your character is strong - and where weak - and you know what the blow is that will roust him/her out of a safe, complacent life and into a harrowing circumstance where (as Cindy says) Character will rise.

As Cindy pointed out, the reader loves to believe that they, too, would be able to react "heroically" in a life or death situation.

Why do we like to believe that? Why do we doubt ourselves and seek vicarious validation of our own heroism through fiction?

The secret to the answer to those questions lies within the usual experiences of a Pluto transit.
Where Saturn throws shit at you, strips you of your dignity, friends, spouse, parents or relatives, and resources, or gives you enough rope to hang yourself by delivering fame and glory, Pluto hands you a shovel, an ally, a confidant (who may betray you later [the Royal Butler writes a book]), a stiff upper lip, or the ability to concentrate like never before or after that moment in your life.

Now this pattern materializes only where the aspects of Saturn and Pluto within the natal chart form certain patterns.

A badly placed natal Pluto, for example, produces the sort of life pattern one sees on Soap Operas -- what I call the "pillar to post" existence that's so exaggerated nobody really believes it. Melodrama. That's a badly placed Pluto.

A well placed Pluto on the other hand brings certain kinds of strength to the character. And when well placed at birth, it will come in behind every Saturn blow to deliver the means to deal with the bruises.

Of course, none of that is inevitable. It all depends on how the Soul living this Life manages and deploys the available resources to which chosen goals.

For example: When an otherwise undistinguished daughter is left to tend to a failing parent, from SOMEWHERE inside that daughter comes the incredible physical strength, the patience, the fortitude, and the obsessive attention to every financial detail of the Medicare billings -- the tenacity to fight for every benefit due. Friends and other family simply can't comprehend how this skinny willow branch of a daughter is doing all this. And in fact, many will believe that SHE isn't doing all this, and therefore that it's not being done at all.

For Example: You're diagnosed with Cancer or some other life-threatening disease. Read the astrolger Noel Tyl's books and you'll discover the connection between Pluto and life-threatening diseases. With a good Pluto natal position, the challenge of the disease will coincide with a hugely exaggerated ability to do research on it, to understand all the information on the web, to search and search and search "obsessively" until you find the right doctor, to force (Pluto is coercion) the insurance companies to allow the treatment you've chosen, to survive the side-effects, to obssess your way through rehab and emerge a new person.

For Example: Take the film, THE BOURNE IDENTITY. (see my post on Spoilers) I just saw a rerun of THE BOURNE IDENTITY so it's fresh in my mind. You don't know WHAT caused Bourne to lose his memory until the end, but when you find out what happened, you can see the Pluto transit influence throughout the film.

Bourne is a "secret" agent (Pluto is secrets, covert ops). He's an assassin. Pluto is violence. Pluto is explosive violence -- traumatic violence that comes out of "nowhere." Bourne is an assassin's assassin. Bourne is so good at it, he may as well be an Alien, so you can class this movie as Alien Romance and not miss a beat. (It's so much the exact same movie as STARMAN, which I adore.)

Bourne was sent to assassinate an international figure, and sets up the hit on a yacht. He's a 30 million dollar killing weapon. And apparently really good at it. Then he confronts a Saturn moment (Saturn is a separating force, a hard blow from concrete reality). He is standing there aiming his gun at a sleeping man whose child is lying on his belly. Bourne CAN'T (restraint is Saturn; conscience is Saturn) pull the trigger.

Setting Saturn against Pluto inside Bourne rends his MIND.

The betrayal of all he is becomes so traumatic he later can't remember that moment or even his identity. He turns and runs. He's shot in the back, falls overboard, and the film OPENS with him being fished out of the sea (Neptune, of course, dissolves and erases -- also Neptune is Idealism) one stormy night with bullets (bullets = Mars) in his back (backbone = Saturn). (the Swiss Bank Account number hidden in his Thigh=Jupiter=wealth-growth-inclusion-Law)
Neptune and Saturn rob him of his very Identity. Pluto gives it back.

Pluto is "obsession" -- the ability to concentrate -- the ability to focus on a huge job one piece at a time, and keep inching ahead a step at a time.

Filling out your parent's tax return, digging up all their legal papers, auditing every medical bill for errors, informing all their friends, and so on. It is a huge job and the only place for the strength to come from is obsession - Pluto. That's the deepest well of strength, in the world, in your Self. Pluto is pure POWER. Sometimes more of that Power explodes through your Natal Chart than you can handle, and the backlash spreads through all other aspects of your Self.

Focused, collimated, directed, Pluto's power can augment every grace and ability you have. It is your death - or your survival.

Most of us face this Pluto type challenge once in a lifetime. Some natal charts throw that challenge at the person again and again and AGAIN -- soap opera style melodrama.

But everyone recognizes these dramatic events as plausible. Drama is what story is all about. Anyone who wants to write a story needs to master the concepts that produce DRAMA. (Scorpio, Pluto - yes indeed - but also Leo and the Sun, the Will to Sovereignty).

So how did Bourne get his identity back? Obsession -- and he shared that obsession with a woman who stayed with him, got shot at, ran for her life, through Plutonian experience after experience (including Plutonian style sex).

He forced her to leave him -- turned and confronted those trying to kill him, and was reminded of that one key scene he had blocked from memory that told him who he is and why he didn't want to be himself -- refusing to murder a father holding a child.

Once he got his identity back, he didn't want it any more. He really didn't want it. He fled. And he went to find the woman who helped him. (hey, we all know there's a sequel -- and we can only hope our own lives have sequels.)

Cindy says that until we are actually put to the test, we don't know how we will react. That's not entirely true if you've made it through your 30th year, through your first Saturn return at 28-29 and survived the aftershocks.

Somewhere in that time, you will hit a period where terrible, awful, destructive and reconstructive things happen. And after you've coped with it all, you will look back and doubt your ability to do it again. You simply don't know how you did it. The answer is often a fortuitous Pluto aspect natally scheduled to couple with the Saturn transit. It's all in the timing of your moment of birth.

From Astrology, you can learn whether that ability to obsess on what must be obsessed on (instead of irrelevant trivia) will come again, coincidentally with the next set of major challenges.
Since we've seen this in ourselves and others around us in real life, we can believe it in fiction. We have seen people NOT rise to the occasion when something comes up to derail their lives. We have seen others perform miracles.

In our fiction we want to see a believable character -- one composed of a set of traits that go together into a recognizable pattern -- be challenged and not only rise to the occasion but come out of it transformed into a better person.

Coming out of it a better person is rare in real life. So we crave it in our fiction to grasp hold of the vision so that next time our own life is challenged we, too, can emerge transformed into someone we like better than our old self. And that, really, is what a "hero" is -- someone who saves others and is thereby saved. If you have the "saved others" without the "thereby saved" part, you have a martyr (also a good source of drama).

So, coming out of it a better person is what makes THE BOURNE IDENTITY a classic among classics. Bourne chooses a new self and reaches across an unfathomable abyss for love. (OK, it has a sequel - yeah - but that's because it's COMMERCIAL FICTION or maybe because Bourne has a difficult Pluto in his natal chart.)

Jacqueline Lichtenberg

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

Writing and Amazon and Survival on the Cyber-Shelves...

It's Monday after 6pm and I haven't blogged. No, didn't forget it was "my day." Actually thought of it while I was doing a half dozen other things that were pushed backed due to my being away for several days (out of town) at a book festival. (Thank you, Lake County Library for inviting me! It was great!)

I was going to talk about the craft of writing but I'm going to take a side road and talk about the business of writing.

I'm sure many of you are aware of a recent announcement by Amazon that will require or request small press houses selling through Amazon to utilize Amazon's in-house printer, Booksurge, or be shunted to a different selling system on the site. I will right up front admit I've made neither an intensive study of the issue nor read every posting on it. I've read snippets and opinions posted on my fan group and other writer/reader sites.

So keep that in mind as you read this blog. I have not read everything and I'm no legal analyst or expert. I'm an author with a valid business background. I'm also a former small press author now published through New York.

First, Amazon can do whatever Amazon wants. It's their site, their company. If they want to only catalog books with yellow covers, they can do so. If they only want to sell books with the word "Tuesday" in the title, they can do so.

Second, life is full of things legally right but morally wrong. I learned that early on as a private detective. It's a lesson that has stuck with me. It's a valuable one.

Third, as I've posted on my private fan group, I'm a huge proponent of small press. Hell, I was one and I'm not so far up that I've forgotten my beginnings. I made some fabulous friendships in the small press and acquired many of the fans that are yet with me today. I was also screwed over royally in the small press.

Given that, I can think of several logical valid reasons why Amazon would want to control the small press products it offers--"greed" (which seems to be the pat fallback) notwithstanding. Small presses can be underfunded. They can reneg on monies due and fail to perform on shipping requirements. It doesn't matter how good their printer is. If they don't pay their printing bills, books don't ship to Amazon's warehouse. But nine times out of ten, I'll bet you dollars to donuts it's Amazon's customer service that takes the hit. So Amazon's wanting more control over a very slippery section of their inventory isn't a ridiculous goal.

Now, I can see a number of small press people getting ready to tar and feather me. I'm not saying ALL small presses don't pay their bills. But I can state from personal experience there are those that did not and therefore books did not ship and therefore customers ranted at--and blamed--Amazon.

To me, it would make more sense to no longer do business with those houses that can't fulfill inventory requests. But Amazon is Amazon and they have a right to do things as they see fit.

Do I think it sucks that the legit small presses are being tarred and feathered with the same brush? Totally. Again, I'm not saying Amazon is right or morally right. I'm just saying I'm not surprised. Their move is neither unprecedented nor illogical given that there is a segment of small press publishers with unhealthy fly-by-night tendencies.

There is also a segment of small press publishers that gather the brightest and best of talents, giving voices to stories that--at the moment--NY has chosen to ignore. I will also say that, loudly. Some of the best reads on the planet do not come out of NY houses. For examples of extraordinary talent in the small press, go here and here and here. For starters. (There are dozens more. If you want to meet them, join my Yahoo Group where they post free samples of their books.)

But sadly, small press authors rarely background the small press publishers who offer them contracts. I know. Been there, done that, am a poster child wearing the freakin' T-shirt. So because of Amazon's impending decision, many brightest and best voices may not have an avenue for expression for a while.

For as long as it takes for the small presses to organize. To counter with a "better way." A brighter idea.

Amazon is not the only game in town. There are other venues for small press books. There are indy bookstores on line. Hell, there's eBay, the ubiquitous intergalactic garage sale.

A door never closes but for another to open.

I would imagine the other POD printers--like Lightning Source--are very aware of Amazon's "Booksurge" directive. I would imagine at this very moment the head brains at Lightning Source are looking for ways to counter that and not lose clients.

I would imagine other online bookstores, previously not as popular as Amazon, are now frothing to fill the gap.

There may be a hiatus. There may be a downtime. But if Amazon is foolish enough to let some of the best reads on the planet slip through their fingers and slide off their site's pages, then rest assured there are other entreprenurial, just-as-greedy-thank-gawd book site owners ready to jump in and fill the gap.

Greed can be a wonderful thing. Be very greedy, very hungry for good books. Support those sites that provide them with your pocketbook. But recogize that Amazon has a bottom line, like any corporation. It's that bottom line that funds the brightest and best thinking that even created the online bookstore venues in the first place.

For every thing there is a season.

And remember. When life hands you lemons, go find someone to whom life handed vodka.

Namaste, ~Linnea
www.linneasinclair.com

Authors' Sites of Excellence

I've always loved the positive attitude embodied in "I don't know, but I know where to find out..." Or even in Jim Cramer's "You've come to the right place!"

Jim Cramer talks about stock tips. We talk about alien romances, paranormal romances, intimate adventure, space opera, space action adventure, futuristics, science fiction romance... and a great deal more.

You've come to the right place if you want to know where some of the best and most informative websites in the science fiction romance genre can be found. Just look at the links in our sidebar!

We have links; links to links; links to blogs, and links to blog links. (We'd welcome more, by the way.)

Jacqueline Lichtenberg has an amazing chart on the intergalactic quality simegen site, which identifies authors and their genres and subgenres.

http://www.simegen.com/romance/authors/


Linnea Sinclair put the original chart together, and Linnea's site is well worth a visit for it's gobsmacking, out-of-this-world splendour, and all the really useful advice and insights it offers.

Angela Verdenius also has a chart of Paranormal/SFR authors. I believe Angela and Linnea independently came up with similar, useful ideas at the same time, which so often happens in our world.

Also, look out for
http://plotmonkeys.blogspot.com;
http://boxingtheoctopus.blogspot.com;

http://jakonrath.blogspot.com



Best wishes,
Rowena Cherry

How much?

I'm in Jacksonville FL at the Southern Lights conference this weekend. I don't have a craft post prepared but a question that arose last night in a discussion. How much romance do you want in your sci-fi? Or on the other hand, how much sci-fi do you want in your romance? Should the romance take center stage? Or the technical stuff? Or the story its self. Since this is a growing genre it would be great to know exactly what the reader is looking for and or expects.

Off to hear Suzanne Brockman speak

New novel: WINDWALKER'S MATE

This coming Tuesday, April 1, Amber Quill Press (www.amberquill.com) will release my Lovecraftian romance WINDWALKER’S MATE. This novel revisits one of my favorite themes, union between human and nonhuman beings, although in this case the union is more like rape. As a teenage runaway, Shannon took refuge in a small cult run by the father of Nathan, two years older than she. In a ritual to summon the Windwalker, the entity possessed Nathan, and Shannon became pregnant. Now Nathan’s father, almost five years later, tries to make contact with the little boy, whose existence Nathan has been unaware of. The time for the Windwalker’s child to open the Gate between worlds draws near. I had fun trying to imagine a four-year-old boy who bears the genes of a monster from another space-time continuum. Here’s an excerpt, in which Shannon has just heard thunder from a clear sky and her son Daniel chanting in an unknown language:

She dashed to the window and looked out. She saw no clouds except for a few stray puffs of white. At the same instant, she heard both televisions, in her bedroom and the living room, switch on. A few seconds later, the air conditioner cycled on.

A wind sprang up and lashed the trees. Shannon whirled around to find Daniel still chanting. “What are you singing? Stop it!”

He fell silent and stared at her as if shocked by the rebuke. The TVs and the air conditioner cut off. When she glanced out the window again, she noticed the traffic light in the next block had gone out, too. She heard the squeal of brakes as a car swerved on the way through the intersection.

“Daniel, turn the electricity back on.” The shrill pitch of her own voice reminded her to take a deep breath.

“I don’t know how.” He sounded close to tears.

Poor kid, he doesn’t know what he’s doing. If he’d done anything at all. Maybe she was losing her mind, to think her child had that kind of power.

“Do you know what did—” she started to ask. She stopped in shock when the sky turned neon purple.

She clenched her fingers on the window sill. The gale still howled around the house, but only there. Branches on trees over a block away didn’t move.

The sky cracked.

She stared in horror at the jagged line of eldritch light. “Make it stop,” she whispered. “Please make it stop.” If the crack widened and that gigantic eye beamed upon her again, she feared she would shatter into a million fragments and never become whole again.

“Mommy?” Daniel’s whimper tore her away from the window.

Falling to her knees, she wrapped him in her arms. “It’s all right.” She rocked him back and forth, praying the lie would become true.

Daniel babbled a string of unintelligible sounds. After a few seconds of silence, he spoke one word. The wind stopped. The sickly light vanished. With a glance over her shoulder, Shannon confirmed that the sky looked normal again. Except that for an instant she saw it as a painted stage backdrop, only a flimsy sheet of cardboard covering black depths of nothingness.

“Honey, can you tell me what just happened?”

“Daddy wanted me to open a door.” He rubbed his eyes and squirmed.

Suppressing a shudder, she relaxed her hold on him. “Don’t do it! It’s dangerous.”

“I can’t. It’s not time yet.”

-end of excerpt-

Solar Heat

The extremes that an author will go to just to sell a book . . .


Even as I wrote Solar Heat I was imagining how we would make the book video. Most authors do something to promote their books and since I like making the videos, I knew I wanted to do another one. But my last video, KISS ME DEADLY a romantic suspense set on Earth was way easier to figure out than a book that didn’t have one scene on planet Earth!



We needed sets, costumes, makeup and special effects—a tall order for someone who didn’t know anything about this technology three years ago. I decided to start by hiring a specialist to create the spaceship bridge. That had to be the central piece in the video. Next we had to create a giant green screen as a background so we could pop out the actors and replace the green background with otherworldly pictures and videos. To make the greenscreen, my husband painted a bunch of 4 foot by 8 foot pieces of Styrofoam and taped them together. We ended up with a stage about fifty feet long and thirty feet high. For the floor, we painted a huge piece of canvass green.

During this process I sat down and wrote a script. The hard part was trying to write a story that represented Solar Heat when I didn’t know what we could do technically. I hired a male and female actor to play the parts. Luckily these same models were also on the book cover (thank you Tara—my daughter the photographer) so we had continuity. For costumes, I found these wonderful shirts that looked like uniforms and I lucked out when the female model had a friend who designed clothing that looked futuristic.

We actually shot all the scenes in one day. My son and his friend filled in as the bridge crew. All the scenes were shot in front of the greenscreen, except the boardroom scene, the bar scene and the couch scene.



And then a very talented friend Mike, who has a camera shot the scenes. For the shower, my husband rigged a hose in front of the greenscreen and we dropped in the background later. The bridge scene where the ship is under attack was interesting. My son and the hero stood on a trailer. We put green canvas under their feet and behind them. Then my husband used a forklift to lift one end of the trailer and dropped it. Where the actors are catching their balance, they look real because we actually dropped them. Later Mike popped the actors out of the green background and put them on the bridge. And then with some technological wizardry, he shook the ship to match the actors’ motions.

And Mike did all the special effects and the sound. Some of the scenes that flash by in a second of viewing take weeks of work. And all this was done to grab readers’ attention so they will buy the book. I’ll bet you didn’t know it was so hard to sell a book!

All of my book videos are posted on my website. You can see them at www.susankearney.com




--
http://www.susankearney.com
-----

JULIE LETO

Julie Leto is doing some great giveaways at her blog,
http://www.plotmonkeys.com

starting today!

She's not only giving away a chapter a day of her upcoming paranormal
romance, PHANTOM PLEASURES, but she's also sweetening the pot by offering a
$20 Amazon/Borders gift card per day to one winner per day, chosen from the people who comment.


Rules...



1. One winner chosen from each day’s comments
2. Winner chosen by Julie Leto
3. Winner choice is final.
4. Winner must come back to Plotmonkeys on the subsequent day to see if they won...Julie will not contact the winner outside of the blog posting, except to make arrangements to send the prize.
5. No purchase necessary (though this goes without saying because they can’t buy anything on my blog!)

THANK YOU!!

Julie

Vampires are so five minutes ago...
PHANTOM PLEASURES, April 2008
From NY Times Bestseller Julie Leto
http://www.julieleto.com
http://www.plotmonkeys.com (blog)

A Little Something Came Up PART I

Linnea did a great job tackling this subject, but let me go back to Cindy's original post on torturing characters.

Cindy Holby wrote in her Saturday March 22nd Post on torturing characters:
-------------
Character is what rises to the top when put under extreme pressure. We all would like to think that we would react "heroically" when we are put into life or death situations. But until we actually experience it we do not know how we will act.
--------------

Cindy's right. Pressure builds when old, internal issues come boiling to the top as things go wrong on the way to an important karmic appointment.

But this is one of those eternal truths writers have to learn the hard way.

Yes, we know we love books that torment the most lovable hero. Yes, we swoop along on that terrible ride pretending we could do as well or better in real life, gasping at the twists and turns, and squirming in our seats.

But now we're facing that dreaded blank white computer window, determined to write one of "those" stories -- and we don't know what to put.

Who is this guy? Where did he come from? Why is he scared blue-lipped? What would it take to make him pee his pants? And how can we ever think of it?

You can't just pick a few traits arbitrarily and expect them to go together to create the image of a great guy in readers' minds.

Human beings (or believable aliens) are made up of traits that "go together" -- that form a pattern, that have something to do with each other, that are not arbitrary or random. That underlying template, archetype, pattern is what we mean when we say "character" and what Cindy meant when she said "character rises to the top".

What "rises" -- what becomes visible -- is the "right stuff" inside the character, the guts, and other body parts we use to represent strength, judgement, moral fiber, kindness, motivation, values.

The character is recognized by the reader/viewer as "real" because the traits revealed fit together to form a recognizable pattern. This can be a pattern we've seen inside ourselves and know that nobody else sees -- or it can be a pattern we've seen in others -- yearning for such a person to discern our own secret pattern.

How do you figure out what collection of traits would make your reader's eyeballs glue to your pages, yearning for your character to recognize their internal "right stuff?"

That question is not a "craft" question. It can't be answered by craft.

It is an "art" question -- and believe it or not, it does indeed have an answer that can be learned and applied by anyone who can write a literate English sentence.

The "art" of story is a huge, deep question that spreads far and wide into the realm of philosophy, spirituality, and even politics.

How do you "become" a writer? How do you get to where the writers you admire so much are? Where do you go to learn to write?

You can find most community colleges and even universities offering some courses in writing, (some in business writing or journalism which actually pays better or steadier). But many of those courses are titled "Creative Writing" -- which is not (trust me) what you really want if you aspire to become a commercial writer of fiction.

For each field or genre of writing, there is a system of thinking that generates the words. Fiction is no exception, at least not commercial fiction.

I've written extensively about the art behind the craft of writing in my review column.

http://www.simegen.com/reviews/rereadablebooks/

Many writers do their "art" subconsciously and speak at length about how they just feel their way into a story, maybe write bits and pieces out of sequence, -- or it all just appears in mind, a character demands to have his story told. But not everyone who has that experience turns out a piece of truly commercial fiction.

What's the difference between what wells up from your subconscious and what wells up from Cindy Holby's subconscious?

It's not just craft -- though without craft even the best stuff won't make it on the commercial market. Today's readers are spoiled by a consistent level of craftsmanship in published books.

One reason e-book sales haven't grown faster is that initially many e-books had that inspiration and art behind them, but lacked craft. Readers weren't satisfied.

That's changing and the competition is getting tougher.

So where can a writer go to learn what other writers are born knowing?

Philosophy. Religion. Anthropology. Even TV News.

Since I have a mathematical bent of mind, I found astrology to be the quickest path to making sense out of Internal and External conflict and how it generates plot -- in an artistic way. But I read a lot of psychology textbooks before I hit on astrology. You can learn all of Astrology by reading biographies, psychology, sociology, history and anthropology. Or you can take the shortcut and learn astrology which combines all of that with Art.

See noeltyl.com for lessons.

Now what is "art" - in general and in specific.
You might say Art is a language -- a language of the soul, perhaps. Art is a method of depicting something intangible and literally un-know-able -- i.e. something that can't be accessed via the cognitive faculty which produces "knowledge."

A Seer, a Prophet, a Wise Woman, (or a writer) apprehends a pattern that subsumes all reality, a prototype of reality -- the template upon which our lives are based, and struggles mightily to convey that Vision to people who have no Eye to see it with.

That "struggle" is not a conscious struggle. It comes from the same place inside us that the need to talk comes from -- as a baby learns to say words, an artist learns to "say" characters, form, motion, color, dimension, beauty and ugliness contrasted, balanced or over-balanced.

What that Seer produces in her struggle is what we call Art. It is a language in which we discuss emotion, feelings, aspirations, dreams, and hope.

Think shamanistic storytelling.

Think Bard.

Like any language, it has grammar and syntax, vocabulary where "words" are related to each other in a systematic way.

In the world of Art, baby-talk doesn't sell books.

Erudite and facile use of the language of art, use that profiles and displays the art form itself as an end in itself, does indeed sell books.

TO BE CONTINUED NEXT TUESDAY - if Rowena remembers to post Part II. I will be teaching at Ecumenicon Thursday March 27-30, back at my desk on April 2.
http://www.ecumenicon.org

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

Oh, The Pain...Characters and Conflict

I haven't skinned a character alive, as Cindy notes in her recent blog entry but as she also notes, it's not just the physical pain we authors put our characters through that creates workable story conflict. It's not the car going over the cliff, the "Die Hard" style big rig being chased by a jet fighter, the super heroine leaping tall buildings in a single bound. If that's all conflict was, then most novels would be comic books.

Conflict is both external and internal. And quite honestly, the internal is the more powerful. Because two people must care, think and feel this external conflict or it's useless: the character and the reader.

Let's take the example of the car going over a cliff. Your character, Mortimer, is in the car. But Mortimer is an immortal alien being incapable of dying. Mortimer knows this so he has no fear, no worries. Okay, he'll need to find a new car--and his insurance rates will likely go up--but he'll walk away unscathed.

If your reader knows Mortimer can't die, then s/he, too, walks away unscathed.

If your reader knows nothing about Mortimer--ie: you introduce this scene on page one--s/he doesn't care enough about the character to give a fig if Mort lives or dies.

See, there's no internal connection. If there's no internal connection, there's no internal conflict. External conflict--without a matching internal conflict--falls flat.

Cindy/Colby wrote: "Star Shadows is the story of Elle and Boone but it also introduces Zander who loses his memory in the first half of the book and then becomes an assasin. He has no recall of learned boundaries from his youth so therefore he does not know why or how he has become a killer. All he knows is kill or be killed. "

Ah, see? We're introduced to Zander as a character. Then he loses his memory. We have an experience of him, we get into his skin, we feel his loss, we feel his confusion. Now, put him in that vehicle hurtling over a cliff just as he's on his way to the clinic where his memory will be restored, and he'll be made whole--and we care. (And that's not what happens in Colby's book but I'm hijacking her character to make a point.)

Yes, it will hurt when he dies or is injured or in some way prevented from reaching his "goal" of memory restoration, but the physical pain is only powerful because of his internal pain of failure. Of loss. Of "I almost had it. I coulda been a contender. I shoulda had a V-8..."

Cindy asked about Branden Kel-Paten. For those of you who've been on sabbatical to the outer reaches of the Gensiira System and have no idea who he is, he's one of the male protagonists in Games of Command. He's also a biocybe: half human, half android. Not his choice, mind you, and we learn this and we learn about his fears and his feelings of inadequacy and his hatred of being a "freak" in the early chapters of the book. It's all internal conflict for Branden. Which was fun because physically he's incredibly powerful. He is half machine and as such, runs faster, jumps higher and does all that kind of top notch "Keds' sneakers" kind of stuff. He's one tough dude. He's also a total softie underneath.

Branden as a character is a poster boy for external/internal conflict. His outside is the invincible military officer. His inside is a mass of self-doubt and loathing because of what his outside is.

There's a universality in this and Cindy touches on that point as well in her blog. All of us differ in physical strength, depending on our height, age, weight, training, etc.. Rowena towers over me. Cindy and I are about the same height but she's much younger than I am. These are physical differences that make us unlike. But inside Rowena, Cindy and Linnea may well live very similar internal feelings. Self-doubt pretty much only comes in one size and flavor, and it doesn't really change with age or location. So while we as readers may not always understand what it's like to be in a car hurtling over a cliff, we all understand what it's like to feel ashamed.

There's a universality in internal conflict. It's a one size fits all set of feelings. It's a genderless, timeless, applicable-to-all-ethnicities experience.

That's why you can't have true workable conflict in a novel without it. ~Linnea

Where the UFOs are

I am thrilled to announce that Preditors and Editors has awarded my site the Author's Site Of Excellence Award.

Needless to say, I am thrilled, and would like to thank anyone who had anything to do with this great honor!


Now, for the UFOs....


It makes sense to me that different aliens would use different methods to land on Earth, which is why I love to watch The Discovery Channel and also The Science Channel.

In my next alien romance (KNIGHT'S FORK) I have an Imperial war-star, or rather, one or two of its foray shuttles; a Saurian craft; and a Volnoth "stargoer" ... all with pressing, secret business on our planet.

The Volnoth vessel uses electro-magnetic propulsion, and uses large, deep oceans as inconspicuous runways.


EXCERPT FROM KNIGHT'S FORK (approx Sept 2008)


North London
Hampstead High Street
Two weeks later


“Read all abaaaht it!” a boy of papers shouted by a strange, half-tented cart from which passers-by could exchange very small pieces of folded paper for very large, folded stacks of dirty paper, which they would then unfold, and look at.

Prince Thor-quentin was fascinated. He loitered to observe the folly of mankind. His attention was captivated by more efficiently folded papers. They were colored, and wrapped in a clear foil to stop them flipping in the London street wind. Many of these colored papers showed bare-chested males, proudly displaying their favorite exercise equipment, or modest females in heat, bending over conveniently placed vehicles.

The boy of papers varied his cries of what was interesting.

“Antipodean Alarm!” he wailed. “Australian Air Force Authorities allay anxiety over alleged alien…”

So many big A-words! Thor-quentin thought.

Then, he caught sight of the grainy, blurry, black-and-white photograph. The boy of papers might call the object diving into the sea a “twisted, distorted weather balloon”, but Prince Thor-quentin knew it for what it was. A Volnoth, water-capable shuttle.

He had practiced Djinncraft before on impressionable, sacrificial virgins. He’d never imagined that he’d use Djinncraft to obtain something as worthless as a pile of dirty papers.

Approaching the boy of papers at a suitable lull in the boy’s passing trade, Thor-quentin murmured, ‘I will take. You will not cry out.”

The boy of papers promptly turned aside, folded from the mid-section and vomited into the slightly lower level of the trafficway.

Slack damn! Less force is required in this lesser gravity, Thor-quentin noted. He helped himself to a selection of the folded stacks of papers, and passed a hand over the wad of small, purplish papers, as if he might be making a fair exchage like everyone else. In addition, since he could, he took one catalogue of the local females in heat.

Viz-Igerd had come after him. He needed a better place to hide.

***

’Rhett was returning on the Underground from St. Catherine’s House, where he’d been looking up the births of girl babies in Cambridge in 1962, whether born, admitted, abandoned, or given up for adoption.

The tomes had been huge, and the print had been large, but the keeping of the “Creed Registers” had only resumed in 1962, and it was hard to know whether or not the books were complete.

He knew that Freya had been admitted to Addenbrookes on Trumpington Street. He was not sure of the date, and since she had been presumed indigent and had no name when admitted –or when discharged-- it was hard to be sure.

Because the mother had no name, the baby, which was officially admitted upon birth, also had no name.

Hopeless!

A copy of The Sun newspaper lay abandoned on the seat beside him. He glanced at it. The headline, “Antipodean Alarm!” did not alarm him. The accompanying photograph did.

“Damnation!” he murmured, recognizing the aerodynamic, aggressive-squid contours of a Star-goer with electro-magnetic propulsion systems, capable of using oceans as an underwater runway to achieve supersonic speed and necessary velocity to escape the planet’s gravity when it left. “That looks Volnoth!”


Best wishes for a very happy Easter!
Rowena Cherry

Craft, Torturing your characters or developing inner conflcit

It has been pointed out to me in several recent talks I've given that I have built a reputaion for torturing my characters. When someone comments upon it I pause and think. "Well I did skin Zane alive in Whirlwind. And he deserved it too. He's been nothing but a trouble maker for six books." When writing that I had to think long and hard about acutally doing it. I knew it was graphic and would be a horrible experience for anyone to go through. Then I decided yep, just go for it. You can do it. He's your character. You can do what ever you want.

My editor said that I gave her nightmares while she was reading Rising Wind. There were some graphic examples of torture used by the Shawnee in the book taken straight from acutal accounts. My hero, Connor, in Rising Wind did not get tortured. I even had a chance to give him a lashing and I rescinded it. I figured Connor was torturing himself enough. Or I was torturing him.

The method of torture I used on Connor was self doubt. Through out the entire story his biggest fear was he would be captured and tortured. And when it happen he would show fear. I also set the story up so that in the prologue (see last weeks post) it showed Connor's father dying bravely at Culloden. In the first chapter he talks about his mother also dying bravely when hung by English soldiers for wearing the plaid. Thus I've set up Connor's internal conflict. His own form of self torture.

Star Shadows is the story of Elle and Boone but it also introduces Zander who loses his memory in the first half of the book and then becomes an assasin. He has no recall of learned boundaries from his youth so therefore he does not know why or how he has become a killer. All he knows is kill or be killed. He knows he hates what he is but it is also impossible for him to die. Plenty of self loathing and internal conflict going on in his mind. I also added a torture scene where he is tied down and raped by a woman that he later kills. Zander is set up to torture himself with all he has done when he finally regains his memory. I know this is why every one who has read Star Shadows is asking for Zander's book.

Its not about the torture. Its not about the internal conflict. Its about experiencing the journey as the characters examine themselves as they come up against their greatest fears and how they conquer those fears.

Character is what rises to the top when put under extreme pressure. We all would like to think that we would react "heroically" when we are put into life or death situations. But until we acutally experience it we do not know how we will act.

I guess you can say that is our own form of self toture. Our own self doubt.

Linnea? I loved to hear what you have to say about Kel-Patten and his interal conflict.

Form and Function

Reading COMMUNIPATH WORLDS, the omnibus edition of Suzette Haden Elgin's Coyote Jones novels, reminded me of how short mass market SF books used to be. Three full-length novels fit into one average-size paperback! Reflecting on the phenomenon of how the typical mass market novel has lengthened since the 1960s and early 70s led me to speculate about the influence of a book's format on its content. Think of the “triple-decker” novels of the nineteenth century, heavy on long descriptions and exposition. Nowadays, for instance, greater length allows for more complex plots and additional subplots. And might publishers' expectation of longer books in SF and fantasy lead or contribute to greater focus on character development? E-publishing accommodates books of widely varying lengths, from stand-alone short stories and novellas (thus offering markets for short works independent of traditional periodicals and anthologies) to novels of much higher word count than a paperbound book could economically comprise. How have these variations in length affected plot and characterization? Moreover, e-publishers from the beginning have embraced types of fiction major publishers eschewed as too unconventional, unclassifiable, or simply belonging to a currently "unpopular" genre. (Before paranormal romance soared in popularity, its fans knew they could find the desired books online. Recently, Regency romance fans are discovering the same source for their fiction fix.) Hence, e-pubs pioneered the cross-genre fiction trend that has triggered the explosion of new subgenres such as paranormal romance and urban fantasy.

What is Science Fiction - Really?

I just noticed we reached 500 posts on this blog. Wow.

From Star Trek V: The Final Frontier:
http://www.imdb.com/title/tt0098382/

Near the end, they've finally made their way to the origin of God and a very imposing entity demands their starship.

Kirk: Excuse me, I have a little question. What does God need a starship for?

I may not have the quote exactly right, but to me this question bores to the heart of the essence of Science Fiction.

Science is a method of organizing knowledge, and fiction is a method of hypothesizing, of imagining. They are both cognitive methodologies.

Theodore Sturgeon (the noted SF writer who contributed AMOK TIME to Star Trek: The Original Series) used the symbol of a capital Q with an arrow through it to encapsulate the entire SF reader's lifestyle -- "Ask The Next Question" is the meaning of the Q with the Arrow.

(more detail at: http://www.simegen.com/sgfandom/welcommittee/TedSturg.html )

Theodore Sturgeon wore a silver Q with an arrow through it around his neck for years.

In science and math, we learn that framing the question is actually the biggest part of the answer itself. Ask the question correctly, and you will penetrate to the heart of the matter.

In the study of science, we are drilled with this methodology of question formulation. It is the core of every science course all the way through college. The method of question formulation is the key to every mid-term and Final exam and ultimately Ph.D. thesis defense. The method becomes second nature.

In fact, I believe that it is not possible to LEARN this method. I have noticed that professors of different sciences and arts demonstrate markedly different question-formulation methodologies, and in college I learned to spot a person's major by their method of formulating questions (for example a Math Major and a Physics Major asking questions in a German course).

We are each born with a certain style of thinking. It is an innate trait of personality. It won't ever amount to anything without that honing and drilling and pounding practice given to majors in the subject -- but you won't complete the major unless you have the trait.

For that reason, I have found a number of novels (not all Romances, either) that SAY a character is a physicist -- but he thinks like an anthropologist, so I don't believe in the character. I have read award winning, best selling SF where we are told the lead character is an anthropologist -- but she thinks like a language major, so I don't believe it.

So in STAR TREK: THE FINAL FRONTIER, Kirk illustrates the Science Fiction thinking methodology (which as far as I know isn't taught in any university -- you either come with it, or you don't do well in that school). It is something like "thinking outside the box" -- but it is a lot more than that. The best place I've seen it described and demonstrated is in the winner of the first Hugo Award, THEY'D RATHER BE RIGHT.

That is what Kirk illustrates with this question formulated in the midst of action, threat, overwhelming personal experience.

The key to being able to perform at this level is the ability to keep one's critical thinking faculties engaged despite emotional tsunamis sweeping through the body. And for some people, the key to that is ASK THE NEXT QUESTION. Practice asking chains of questions the next time you hear Barak Obama speak - especially if you're in the audience. Any politician will do for practice, but he's the best I've heard in a long time at disengaging the audience's critical faculties.

Formulating those little questions while under fire should be the cardinal lesson we all take away from any film and apply to our daily lives: ASK THE NEXT QUESTION and please DON'T STOP THERE! Keep asking the next and the next question.

The nature of the universe is such that there is no end to the questions once you've picked up on a curiosity, an incongruity, a discrepancy between your own visualization of the macro-cosmic All and that of someone you are listening to. By asking those questions, you learn more about yourself and the universe than about the person you are listening to.

So using this definition, that SF is a style of meta-cognition blending science and imagination, we see that putting a simple love story in a space ship, or running us around from world to world "out there" instead of city to city on this planet does not make a story into SF.

To be SF at all, the story has to take us from here and now to there and then by a recognizable route (such as If Only ... What if... If this goes on ...) that starts and ends with one of those pesky little questions.

Note that Gene Roddenberry sold STAR TREK as "Wagon Train To The Stars" -- "Wagon Train" was a hugely successful, long-long running TV Series in the anthology format with an ensemble cast plus guest stars each week. At the time Roddenberry first marketed Star Trek to TV, the only shows networks would consider buying were Westerns.

Cable was not a going industry then, so it was only broadcast networks that needed to draw over 20 million HOUSEHOLDS to keep a show on the air. Today it's like I think 3 or 5 million households and the US population has more than tripled - I gave the statistics in a previous post here.

So Roddenberry sold Star Trek as a western in space -- which is exactly what most people thought SF was, just westerns in space (which was in fact sort of true because only westerns in space were bought by editors, unless they made a mistake.)

Then the network INSISTED on eliminating Spock -- the emotionally normal Vulcan-Human halfbreed -- because racial intermarriage was a forbidden topic on TV.

(Uhura kissing a white guy was avante guarde and dangerous enough to get the show cancelled -- but they boldly went ...)

Likewise the network INSISTED on eliminating Number One, the emotionless female First Officer because absolutely nobody would ever accept a woman giving orders to a man (mid-1960's remember? I'm not kidding. This is the way it was.) So Roddenberry made a second pilot in which Spock became the First Office who was emotionless and a half-breed, but they didn't mention that just yet.

Roddenberry had to fight tooth and nail to keep Spock, even then. They HATED the whole idea of Spock. But Roddenberry fought to keep Spock because that character, more than Number One, MADE the Western in Space into SF! Why? Because Spock was also the Science Officer, and non-human. That one character created a show which could not be described as A Western In Space -- the West had Indians and Indian scouts and half-breed Indians, and Oxford educated Indians (like Tonto), but the West had no Vulcans.

And it wasn't until GR asked Theodore Sturgeon to contribute a script that we got Pon Farr and a glimpse of the really alien environment that produced Spock. It took ASK THE NEXT QUESTION to come up with Pon Farr -- and you all know what the 'zines did with that idea.

When the Imagination challenges the generally accepted organization of knowledge, challenges the assumptions behind most people's reality, it produces fertile ground for new SF ideas.

It is the challenging of "the box" from the inside rather than "thinking outside the box" that is the hallmark of the best SF.

Note how THE MATRIX (the movie is a retread of a very old SF concept from pulp days, but I don't have the reference to hand) shows us breaking OUT of the box, as well as INTO it simultaneously. It's popular as SF not because it's new or original, but because it illustrates a metaphor for the cognitive methodology that is at the core of SF.

So, as I wrote above, complete definition of SF:
To be SF at all, the story has to take us from here and now to there and then by a recognizable route (such as If Only ... What if... If this goes on ...) that starts and ends with one of those pesky little questions.

Is that a complete enough definition upon which to create an SFRomance novel? Can anyone define the thinking style behind the Romance novel that has to be synthesized with this definition of SF to produce a precise and comprehensive definition of SFR?

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

Plots That Work

Again, riding on Cindy's coat tails here...

There is no one right way to plot a book. Like Cindy, I'm a pantser or rather, I was more of a pantser than I am now. I guess I've morphed, after several mutlibook contracts, into a plot-ser. Half plotter, half pantser. Deadlines can have that effect.

But not everyone starts out a pantser. Last summer, author Stacey "The Silver Spoon" Klemstein and I did a plotting workshop at Archon, the science fiction convention held annually just outside St. Louis. Entitled "Plots That Work" we approached the same subject from two different angles: hers and mine.

Here's the breakdown from Stacey's handout:

Stacey Sez…

*Stephen King says, “…my basic belief about the making of stories is that they pretty much make themselves. The job of the writer is to give them a place to grow (and to transcribe them, of course).”

*Start with a situation: create a truly difficult situation and watch your characters struggle to find a way out of it. Don’t help them and don’t manipulate the situation to get them out—just watch and write it all down. (I’m paraphrasing Stephen King here, again!) Use “what-if” to test your situation’s strength.

*“Through a mirror, darkly”—Sometimes I can’t see much beyond the initial situation. I know someone is on the run, for example, but I don’t know why. That’s where GMC (Goal, Motivation & Conflict) comes in for each of the main characters, including the antagonist. (I don’t use the word villain because every villain is the hero of his or her own story—at least, that’s the way it should be if you want your hero to have a worthy opponent.)

*Imagine your story on a continuum. Your character is a certain way and in a particular situation at the beginning. Events transpire to change both of those elements, resulting in a changed character and situation by the end.

*Christopher Vogler says there are common elements (events, if you prefer) in every hero’s journey. Changes in the hero’s external situation match up with the changes that are happening inside him or her.

Ordinary World
Call to Adventure
Refusal
Meeting w/Mentor
Limited awareness of a problem
Increased awareness
etc etc...
*
Recommended Reading:
The Writer’s Journey, Christopher Vogler
On Writing, Stephen King
Goal, Motivation & Conflict, Debra Dixon
Bird by Bird, Anne Lamott

Linnea Sez…

1 – What is a plot? A plot is a series of events—both internal and external—that comprises the character(s)’s journey through the story.

2 – Plot is the power source that makes the story happen. And conflict is the energy fueling that power source.

3 – James Scott Bell (Plot & Structure) sez Plot answers the questions:
· What’s this story about?
· Is anything happening?
· Why should I keep reading?
· Why should I care?

4 – Your plot is inextricably tied to your characterization. It doesn’t matter whether you’re a plot/problem-oriented writer (let’s write a story about an evil galactic empire challenged by a small band of freedom fighters called Jedi Knights) or a character-oriented writer (let’s write a story about a young orphaned man who wants to be a Jedi Knight and help wrestle his world away from the evil galactic empire). It is the main character(s) that the reader will consciously and subconsciously relate to and identify with. Your characters provide the answer to Why should I keep reading? And Why should I care?

5 – Who, What, When, Where, Why & How:
· Who are your characters?
· What is the inciting incident and/or external conflict that launches the story?
· When does the story take place?
· Where does it take place?
· Why does the external conflict threaten your main characters?
· How will your main characters resolved the conflict?

6 – Utilize the Concept of Rising Action. Make it worse, make it worse, make it worse. “How could things get worse? And when is the worst moment for them to get worse?” –Donald Maass, Writing the Breakout Novel

7 – “Follow no rule off a cliff.” –C.J. Cherryh

*Recommended Reading:

Plot & Structure, James Scott Bell
Techniques of the Selling Writer, Dwight V Swain
Writing the Breakout Novel, Donald Maass
Prescription for Plotting Popular Fiction, Carolyn Greene

Stacey's into Vogler. I follow Swain. That doesn't make Swain right and Vogler wrong. It means I follow the plotting method that sets me all a-flutter. That works for me. If it works for me, it'll work for my muse.

Follow your muse and the plotting method that sets you a-flutter. You'll be the stronger writer for it.

~Linnea
http://www.linneasinclair.com/

To kiss or not to kiss

The Inuit (I hope I've got the politically correct name) and small babies rub noses and seem very happy with that.

Nuzzling and the rubbing together of bodies works for animals.

Considerate boyfriends who have infectious upper-respiratory illnesses but still wish to have sex may refrain from kissing their partners... and misunderstandings may arise from that omission.

So, how important is a lip-lock? Do we need it, anyway, if we are writing a romance? Can one write a successful alien romance without a kiss?

Best,
Rowena Cherry

Craft The Process

I had the great pleasure this week of reading a synopsis for a sci-fi novel that really grabbed me. I won't mention the specifics of it since it is still in the formulative stage but I will say that the concept really impressed me. But I also had to laugh because the author said "I keep adding research." My response it you can add the details in later, just write the story. But thats not how it works for this writer.

There are plotters and there are pantsers. I happen to be a pantser. I have an idea for a story, I know who the characters are in my mind and I sit down and write. Sometimes I have a vague outline. And I mean vague. I think I wrote ten books before I ever wrote a synopsis. I see a few scenes in my mind and I build my story around them. Don't get me wrong, I have plenty of goal, motivation and conflict but its all in my head and I let the characters lead me. At times like these when life keeps throwing me curve balls I wish I was more organized in my writing. It would be great to have all my historical research completed before I begin writing. With the sci-fi I pretty much make it up as I go along, as long as it makes sense in my universe. Which is why my sci-fi romance is heavier on the characters than the technical. That stuff gives me a headache. I usually will just say place or thing in my manuscript and go back and add it in after I get through the story, or when I hit a mental block.

Then there are plotters. I know a writer that writes a thirty page outline. The writer who showed me his story was the same way. They are very organized and have each plot point labeled down to the exact page in the book. Plotters tend to be heavier on the plot that the character and usually go back and layer in character scenes, or what I call date scenes. These are scenes that develop the relationship between your two main characters.

As you can see from all the posts on craft we all have our different techniques. One is not better than the other (unless you are stuggling then you will bemoan the fact that you aren't the other way) Its just you know what works for you. There are all kinds of classes on plotting and development and how to write great characters. I know a writer who has to have a complete bulliten board done of her characters, down to what kind of ice cream they like and where they went on vacation when they were seven. It works for her. You have to find what works for you. That doesn't mean that you shouldn't try to improve it. I now at least try to have more of an outline going. And I get all caught up in following research trails and love to pick up history and picture books from the sale tables at B&N and Borders. But I also know I will always be a pantser. A what if type of writer.

The funny thing is that when a book is done well, you can't tell what technique the writer used. Because both work and work well.

Currently Reading

Sorry I didn't post yesterday. This is a heavy time of year at the day job. I've recently been reading the Coyote Jones novels by Suzette Haden Elgin, in an omnibus of all three books called COMMUNIPATH WORLDS. The first novel, THE COMMUNIPATHS, is available for free here (with a donation option):

http://www.jackiepowers.com/SuzetteHadenElgin/TheCommunipaths.html

Although most human beings in this distant future have at least a trace of "psibility" of some kind, the Communipaths are incredibly powerful telepaths who make interstellar society possible by sending messages instantaneously over vast distances. The iconoclastic Coyote Jones, a uniquely powerful projective telepath but with very little capacity to receive telepathy, carries out delicate missions for the galactic government. Each novel introduces us to the culture of a different planet. In the first book, for example, Coyote has the assignment of retrieving a rogue telepath whose transmissions are disrupting galactic communication. She turns out to be a baby under a year old living in a religious commune. When she is forcibly taken to be trained as a Communipath, her mother, who also has extremely strong psi powers, is determined to get her back. If you read the first novel online and enjoy it, you can find used copies of the trilogy for sale (it's out of print).

Prologues and Spoilers

I dropped a comment on Cindy's very provocative Saturday post (see below) on Prologues and Epilogues, and another on Linnea's post for Monday, preceding this post.

I didn't mention that if you use a "prologue" you really should also need (because of the story structure) an "epilogue".

As a reviewer, I generally see "Prologue" and flip back to look for an "Epilogue" before deciding whether to read the prologue, and if there's an epilogue I read it first, then flip to the prologue to see if it matches correctly. If there is no epilogue, I don't read the prologue. Or if the epilogue is not a natural follow on from the prologue, I don't read the prologue.

When I come to a point in the story that needs the information in the prologue, I might consult the prologue -- or I might just set the book aside unfinished if it's too flawed to review.

You see, what generally goes into a prologue (especially one required by an editor who doesn't know how to "fix" your manuscript in time for publication) is what is usually labeled a "spoiler."

"Spoiler" is a term that cropped up at the beginnings of the Internet when fans began discussing books, film and TV across time zones. It turned out that a number of people feel it "spoils" a story to know what is going to happen.

Classic literature that uses the prologue/epilogue structure telegraphs to the reader that this character will or won't survive, that the events of the story are actually caused by or interfered with from someone else in some other place or time, or that sets up the reader to understand the characters before the story begins instead of unfolding their quirks one at a time during a smooth flowing narrative.

The prologue/ epilogue structure was invented because most people's story-enjoyment is enriched and enhanced by knowing what is going to happen before they've read the story.

If knowing the key shocker or twist event of a story "spoils" the effect of the story, then why do audiences flock to performances of Shakespeare's plays? Why do congregations read the same portions of the Bible over and over in a yearly cycle? Why did Star Trek and Star Wars fans fill movie theaters again and again, chanting the words with the characters?

Why do people, battered and bruised from a week's work, curl up with an old movie they've seen a dozen times? Why do people buy DVDs of films they've seen in the theater? Why do people buy the book before going to see the film? Why do theaters fill for classical ballet performances? Why does TV rerun series episodes? And why do people re-read novels?

Such human behavior telegraphs that repetition enriches the experience, that knowing before hand what is going to happen doesn't spoil it but actually increases the impact and thus the enjoyment.

Well-designed prologue/epilogue bookends tell you whether the writer knows what they're doing with the specific story-form, and thus whether the story between them is worth your precious time to read.

They tell you what that story is about, and what the major change is going to be. But they don't tell you how it happens or what it feels like to undergo that change. A good prologue/ epilogue pair sets the reader up to thoroughly enjoy the story and come back to read it again and again.

Finding a writer who can handle the prologue/epilogue pairing is like finding a great restaurant. The steak was great - let's have the stew next time. You come back again and again to the source, read the book over and over, savour that prologue and epilogue in depth and yearn for sequels.

People disparage the Romance field, the SF and Fantasy fields, and inexplicably the SFR or Alien Romance field as fluff, escapist, no-account waste of time garbage.

But the truth is, enduring classics in these fields, and most especially in SFR and Alien Romance, are not only possible, but currently hitting the market. This cross-genre field is building up to become a source of important classics for future generations to study.

The hallmark of a classic is that it is re-readable and speaks to the essentials of human nature even across generations. That even when you know exactly what's going to happen, you still get "in the mood" to reread that book, and you savour it more each time.

Now you can argue that the reason for this re-read - rerun phenomenon is that people want to relive that moment when they first hit the shocker of a twist without warning. And thus warning someone before hand "spoils" that moment, vitiates the impact, and therefore they will never re-read the work.

But if that were true, why would schools teach ABOUT King Lear before taking the class to see the play? Or examine the plot of SWAN LAKE before taking the class to see the ballet?

The only instance I can think of where knowing the twist or who dies or what the shocker moment is SPOILS the enjoyment of the film or book is when the film or book consists of nothing but the twist, shocker, or surprise ending.

A mystery is not spoiled by knowing who the killer is (you're supposed to figure it out before the detective does) -- unless that's ALL the enjoyment the story can deliver.

A mystery is about the psychological duel between perpetrator and detective, and it is the duel, the search for clues, and the personality of the detective (and perp) that makes it interesting.

An "open form" mystery like COLOMBO has a "prologue" where the murder takes place, then Colombo comes and solves it, but we don't usually see the "epilogue" of the court sentencing. We're supposed to imagine the epilogue to make room for commercials.

PERRY MASON showed the murder, then the solving, then the court battle (usually, not always in that order) because Mason was a defense lawyer, not the detective per se. It is the HOW the wrong person was charged, and how that person was exonerated that is interesting.

If the "how" was not the interesting part, why would reprints of Sherlock Holmes still be available? Why would that antiquated Detective Series be made into a TV series with Jeremy Brett starring as Sherlock Holmes? Why would "Murder She Wrote" reruns be on almost as much as "I Love Lucy?"

Lucy is funny even when you already know what the gag line will be at the end. How can that be if it's been "spoiled" by the fact that you know what will happen in advance.

Knowing the answer, the twist, the shocker, does not spoil the mystery, comedy, or drama -- and it does not spoil any story -- unless the story is essentially worthless to begin with.

To expect that if you know a plot twist your enjoyment will be spoiled is to reveal that you prefer to indulge in worthless literature, just as our detractors accuse us of doing when reading SFR or AR -- or SF or Fantasy.

A classic is never damaged by foreknowledge among the readers/viewers. That's the very definition of "classic" -- and in this day and age, there's no reason to spend your time reading anything that isn't of the classic caliber. There are more classics out there than you can read in a lifetime.

Thus the title of my review column is ReReadable Books -- I review books that have that "classic" profile, and that thus can not be "spoiled" by revealing the shocker, the twist, the who dies and who survives, elements of the plot.

So you will find "spoilers" in my column. If that distresses you, you can find the list of books to be reviewed in future months on the column's website and read the books before reading the reviews. In fact, the column is designed for people to get the most out of it by pre-reading the books I "re" view.

In my column, I discuss the invisible links between and among books, TV shows, films, and even non-fiction. The individual works discussed are not nearly as important as the light that each sheds upon the other. I generally don't discuss books in depth in my column if they weren't "classic" material that can't be "spoiled" by knowing some of the content before hand.

I do discuss a few proto-classics, books that are leading an entire field or sub-genre toward producing those treasured and timeless classics. These books, while not classics themselves, are of interest to writers who want to contribute to the shaping of a new classic field. And they aren't easy to "spoil" either.

I generally single out bits of content that might tell the reader whether they want to read that book, or not. And usually there's enough lead time between when the list of books to be discussed is posted online and when the column itself goes up that you can find the books at the library rather than buying them.

For me, the real enjoyment of fiction comes from savouring compositions formed of groups and lists of works. That's because I see the universe as a single unit, an indivisible whole, and I love finding the underlying unifying characteristics of what appear to be disparate, individual things.

If you like that, come look over my column (it's free).

http://www.simegen.com/reviews/rereadablebooks/2008/

Join the List from that page to be informed when new to-review lists are posted.

Use the left hand nav-bar to look back at columns to 1993. Just because the books are "old" doesn't necessarily mean they're "spoiled."

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