Does Every Cloud Have A Silver Lining? (Copyright-Related)

In 2016, Google claimed to have removed 900 million allegedly copyright-infringing links according to an article on TorrentFreak.
https://torrentfreak.com/google-removed-over-900-million-pirate-links-in-2016-161230/

Apparently, the number removed represents approximately 89.9 percent of the over-a-billion take down requests made to Google by rights holders. Surely, there would be fewer requests if there was a way to ensure that a link cannot be re-upped once it is taken down?

The comments on the piece make depressing reading. Let's say that the followers of torrent freak are not copyright-protection enthusiasts.

I gained a new perspective on why so many folks in society have so little respect for copyrights and the right of musicians, authors, photographers, movie-making participants and others to be paid for their time, talents and effort from the free Hillsdale College lecture covering the difference between Originalists and Progressives when it comes to the rights of an individual.

According to Professor Ronald J. Pestritto, the Progressive ideology is heavily influenced by European--especially German-- thinking, and holds that the needs of the Community is always superior to the needs (and rights) of the individual, and far from certain rights such as the right to Life, to Liberty, and to the Pursuit of happiness being bestowed on mankind as a birthright by the Creator, all rights that an individual has are permitted by the government depending on convenience and expediency.  (And can be revoked.)

How expedient and convenient do you suppose it is to uphold individual copyrights?

Also, in a guest post on TheTrichordist, Marc Ribot presents a chilling analysis of why individual "content creators" (aka copyright owners) are so helpless against piracy.

https://thetrichordist.com/2017/01/02/ghostship-mourn-the-dead-fight-like-hell-for-the-living-guest-post-by-marc-ribot/

The "Ghostship" title refers to the dreadful warehouse fire, and the economic plight of working artists in San Franscisco as a result (Mr. Ribot suggests) of political, legal, and economic decisions, not least of which concerns copyright.

I'd like to end on a positive note. However, there are some revelations about Risk Factors (intellectual-property-right related, of course) that Facebook had to disclose in its 2015 annual report. According to the fascinating Chris Castle, Facebook is selling artists' names as advertising keywords, allegedly without permission.

Perhaps, given the lofty stock values of some tech companies, it might be a good time to look into shorting Big Tech? Does The Cloud have a silver lining? (snort!)

All the best,
Rowena Cherry

Changelings

I've just read THE HIDDEN PEOPLE, by Alison Littlewood, a richly textured and deeply disturbing novel about fairy changelings—maybe. We never quite find out for certain whether fairies exist, since the story is told in first person by a troubled, confused narrator. The protagonist, a young Victorian gentleman, travels to rural Yorkshire to investigate his cousin's murder by her husband on the grounds that she'd been stolen by the Hidden People and replaced by a duplicate. Although disdainful of the villagers' superstitious beliefs, the narrator gradually gets drawn in, until he begins to think his own wife might be inexplicably changing. This novel was inspired by the real-life case of Bridget Cleary, whose husband burned her to death as a suspected changeling in an Irish village in 1895. Angela Bourke's THE BURNING OF BRIDGET CLEARY tells the full story.

I've long been fascinated by the concept of changelings, probably because they embody one of my favorite themes, "fish out of water." Of course, we most often think of them as babies switched soon after birth, rather than adults. Folklore speculates that fairies take human infants because their own bloodlines have run thin so that they don't bear children very often or they give birth to sickly infants. A baby not yet christened faces particular danger and should be protected by charms and cold iron. If a child appears to have been replaced by a fairy doppelganger, a variety of "cures" can be used to force the "good folk" to take back the replacement and return the "real" child. If less drastic methods don't work, one last resort is to hold the changeling over the fire—the remedy inflicted on Bridget Cleary in real life and Lizzie in THE HIDDEN PEOPLE.

Some other recommended fiction on this topic: Maurice Sendak's haunting picture book OUTSIDE OVER THERE has the same plot premise as the movie LABYRINTH: A girl, impatient with taking care of her baby brother, wishes he would disappear. The fairies or goblins steal him, and she goes on a quest to save him. In Delia Sherman's YA novel CHANGELING (and sequels), the heroine, Neef, has grown up in "New York Between," a parallel version of the city inhabited by elves, mermaids, demons, and other mythological creatures. She knows she's a human changeling and is happy with her status—until she breaks fairy law and risks becoming a sacrifice to the Wild Hunt. Kaye, the protagonist of Holly Black's much darker TITHE (and sequels), is the opposite of Neef. Although Kaye has interacted with fairies all her life, she has no idea she's one herself, a changeling left in place of a human baby.

In pre-scientific eras, the changeling belief offered a potentially comforting explanation for babies who were born weak or deformed, looked healthy at birth but turned sickly soon afterward, refused to eat and failed to thrive, or suffered from then-unidentified conditions such as autism. If such a "changeling" reverted to "normal," the magical remedies must have worked. If the baby died, parents could cling to the belief that a changeling had died and their own child was living happily with the fairies. As for young women, who might be whisked away to the faerie realm to infuse fresh blood into the elven race, a wife who suddenly became "querulous," "unnatural," or "shrewish" could be accused of having been replaced by a changeling. An ingenious pretext for husbands intent on controlling their wives' speech and behavior!

Like witchcraft persecutions, changeling beliefs could have been used as a means of social control. Diana Gabaldon combines the two superstitions in OUTLANDER, when one of the charges in Claire's trial for witchcraft (resulting from a rival's scheme to get rid of her) accuses her of involvement in the death of an alleged changeling infant left out for the fairies to reclaim.

Margaret L. Carter

Carter's Crypt

Theme-Archetype Integration Part 2 - How To Tell Hero From Villain

Theme-Archetype Integration
Part 2
How To Tell Hero From Villain

by

Jacqueline Lichtenberg

Part 1 of Theme-Archetype Integration: The Nature of Art can be found here.
http://aliendjinnromances.blogspot.com/2016/12/theme-archetype-integration-part-1.html

There we discussed how human (and MAYBE non-human) psychological archetypes are a fixed attribute of the nature of reality, the pattern from which human personalities and life-courses are created.

The storyteller's "art" does not create archetypes (scholars discover them, as physicists discovered the Higgs Boson, rather than inventing it).

The storyteller's "art" is all about choosing what details go in which compartments of an Archetype to create a fictional "Character" that readers can understand and believe is real.

So, Literary scholars have identified the archetypes they call Hero (the Hero With a Thousand Faces is a worthwhile read).

https://www.amazon.com/Thousand-Faces-Collected-Joseph-Campbell/dp/1577315936/

And of course The Hero's Journey.

https://www.amazon.com/Heros-Journey-Joseph-Campbell-Collected/dp/1608681890/

These two non-fiction books detail old, tried-and-true, analyses of how humans, myth and fiction work.

But this blog is about writing Alien Romance, a blend of science fiction and romance genre that transcends both.

One of the keys to worldbuilding an environment to tell a science fiction tale is to question the very facts that everybody knows to be true.  The least questioned, hard facts of science, the proven beyond doubt facts, make the very best fodder for the science fiction novel's premise.

Science fiction has been described as the pursuit of one of the 3 following inquiries:

1. "What if ...?"

2. "If only ...."

3. "If this goes on...."

Any two combined raise the interest of the mature science fiction reader.

Use all 3 at once, and you get a novel that turns heads and gets talked about.

Note that all 3 apply just as well to a Romance plot.  Staring at a just met prospect, a lead Character might think, "What if he/she was interested in me?"  "If only I could attract his/her attention..."  or "If I agree to a second date, where will this lead?"

In science fiction, the subject is the tried-and-true Laws of Physics or Chemistry etc., and in Romance the subject is the Relationship with a particular person.

Science Fiction worldbuilding premises are about the structure of physical reality, and the Romance worldbuild premises are about the structure of human personality and what we refer to as "Character."  That's not the individual player in the story, but rather the elements that make up the Personality and Values inside such a player.

"Character" is remarkably hard to define.  I wrestled with it mightily when the term showed up on my elementary school report card.  I was well into my 40's before I began to get a grip on what attribute "Character" refers to.

It is a difficult, abstract and complex quality.  You can point to a cup of coffee and say, "That is a cup with coffee in it."  And you see it, and smell it, and you feel the heat, and you know what it is.

OK, so now go point to your own personal character.

Where is it in your body -- between your eyes, at your mouth or throat, at your heart, your gut?  Where do you carry your Character?

What does it mean to be a "Good judge of Character."  Could you write a story where the main character is a good judge of Character?  Could you detail what goes on inside the mind of someone who is accurately identifying a "strong character" or a "weak character?"

Do you think rereading Joseph Campbell's works would give you those lines of inner dialogue you could put in italics and attribute to your Hero?

How about a Villain who is a good judge of Character?

Is the ability to distinguish accurately what sort of person another person is a trait that only Villains have -- or only Heros?  Is it a common trait -- to be very accurate about summing up the driving force of another person just on first acquaintance.

Think about that in terms of Love At First Sight.

In order to have a Love At First Sight experience, to identify your destined mate and absolutely perfect other half at the blink of an eye, do you have to be a Good Judge Of Character in general?

The answer to those questions formulate the Theme of the novel you are worldbuilding.

The existence of the trait (in human and/or non-human nature) "Good Judge Of Character" is a bit of Worldbuilding pertaining to the structure of the Archetypes you are using in your worldbuilding.  Yes, you can "make up" fictional archetypes to create an alternate reality, but in that case you must reveal the distinguishing difference eventually, usually in plot events and conflict.

Without telling or even showing the reader in detail about the physics and biology of the world you are taking them into, you establish the fact among these people there exists a distinguishing trait that the reader might term Good Judge of Character.

Is this trait rare among these people?  Is it a trait that is admired or feared?  Is it the most common trait and thus of no value?  Creating Aliens who have an aristocracy that exhibits the trait Good Judge Of Character, or that have that trait as their most common trait, gives the writer a way to both draw the reader into the created world and to distinguish that world from all others.

The best example I know of using Judge of Character as a common trait distinguishing the Aliens is E. E. Smith's Lensman Series where the Arisians (non-material beings) judge human character and select certain people to be given a device called a Lens that bestows a range of psychic abilities on the human.  The judgement the aliens make is about whether absolute power will corrupt this human absolutely -- or not.  The humans with the ability to hand raw power without becoming corrupt are chosen as Lensmen (and yes, women).

Apparently there is no Kindle edition that isn't riddled with scanning errors or edited down to excerpts.  Here, from Wikipedia is a list of the original series:

Triplanetary (1948. Originally published in four parts, January–April 1934, in Amazing Stories)
First Lensman (1950, Fantasy Press)
Galactic Patrol (1950. Originally published in six parts, September 1937 – February 1938, in Astounding Stories)
Gray Lensman (1951. Originally published in four parts, October 1939 – January 1940, Astounding Stories)
Second Stage Lensmen (1953. Originally published in four parts, November 1941 – February 1942, Astounding Stories)
Children of the Lens (1954. Originally published in four parts, November 1947 – February 1948, Astounding Stories)

Many book editions also were published.  The plot outline (with spoilers) is on Wikipedia:

https://en.wikipedia.org/wiki/Lensman_series

But you don't get the impact of the Character Archetype via the summary.  My favorite of the novels is Gray Lensman, where that Character trait is starkly detailed.

There are many other ways to get the Lensman Series, so look around.

Everyone who has blogged about the Lensman Series has a different opinion about what it is about.  I could write a book about the worldbuilding behind this landmark work of science fiction romance (yes, Helen of Troy Move Over! should be the title.)  This is a Romance.  The Hero is monumentally crush-worthy.  And yes, it was the most scorned work of science fiction at the time of publication, as well as the one work most responsible for the advent of the Science Fiction Romance (yes, in 1941!!!).

As with Tolkien, the stories are suitable for young children but the vocabulary and syntax is adult level.  In fact, you might have to use the Kindle "look up" feature to identify the meaning of some of the words.

Being Space Opera, the Villains are likewise drawn in stark, high relief, with utterly villainous traits.  The villain is Boskone, the shadowy adversary of Arisia, two civilizations at war for millennia, using genetic manipulation of humans on Earth to war with each other.

The writer, Edward E. Smith, Ph.D., (a chemist by trade) leaves us no doubt which are the good guys and which are the bad guys.  But it is worth your while to study these novels with that question in mind.

Modern Space Opera (Star Trek and Star Wars in particular) presents a more adult, more equivocal portrait of the Good vs. Evil issue.  In Star Wars especially, we learn the inter-marriage issues between the monster Bad Guy and the rebellious young Good Guys.

We know what Theme is, where it resides in a novel, and how to integrate theme with Character and with Worldbuilding.  Here are the index posts listing those discussions:

http://aliendjinnromances.blogspot.com/2012/08/how-to-use-theme-in-writing-romance.html

http://aliendjinnromances.blogspot.com/2014/07/index-to-theme-character-integration.html

http://aliendjinnromances.blogspot.com/2014/04/index-to-theme-worldbuilding.html

http://aliendjinnromances.blogspot.com/2015/12/index-to-theme-plot-character.html

You might have a Theme that says, "There is no such thing as a Villain."  Or conversely, "There is no such thing as a Hero."

If your Theme is that there is no distinction between Hero and Villain, then your plot events must challenge that thesis -- you must create a society where the norm is a lack of distinction between Good and Evil, or Strong and Weak, or whatever traits you choose to distinguish Hero from Villain, and then create that One Oddball Misfit Character in that world who is a Hero (or Villain) and wrestle his/her internal conflict (I'm not like everyone else but I have to be), and his/her external conflict (Everybody hates me and I hate them), to a Climax (Escape From Planet Of The Apes.)

If, on the other hand, your Theme is that Heros/Villains Are Born Not Made, you might fabricate a World where how you are born does not matter -- or conversely how you are born might get you Legally Executed in your teens if you turn out "wrong."

Theme might be: It is Wrong To Make Yourself Conform -- or conversely Making Yourself Conform Is The Highest Virtue.

These themes easily integrate with the master conflict of Person vs. Society.

In our everyday world, we tend to label the people who want to tear down and destroy "society" as the Villains, the criminals.  The Hero, or good guys, are those who protect society from the savage destruction.

Do we have a label, a word, for those who Build a Society?  Are Builders hero or villain or something else?

Many great Romances have depicted the perfect match between a "nice" conforming girl and a "bad" or non-conformist boy.  Falling in love with a drug dealing Biker Dude seems very natural to some women readers, not implausible at all.  Bad Boys are attractive in a dangerous way.

The plot may go in the direction of the good girl reforming the bad boy.  Or the bad boy drawing the good girl into the fun of confronting danger.  Or the plot might explore how society's assessment of the bad boy as 'bad' (e.g. Villain) is incorrect, and he is really a Society Builder, a Great Reformer, labeled "bad" by the corrupt power structure he is intent on tearing down.

All of these Characters are shaped (and often labeled) by their environment, so Worldbuiilding is one of the most critical writing skills.

Theme is the connection between Worldbuilding and Characterization.  How the writer depicts the impact of the "world" (society, civilization, prevalent values, upbringing, social status of parents, etc) on the Individual Character reveals a core theme of the work.

That core theme might be, "Strong Characters Are Not Affected By Environment" or it might be "No Amount Of Strength of Character Can Withstand Environment" (or put another way the apple does not fall far from the tree).

As noted in Part 1 of this series, the writer's Art is in choosing what elements go with which other elements to flesh out an Archetype.

I used the example of buying a dress pattern (choosing an Archetype), selecting material, then going to the notions counter and choosing thread, buttons and other decorative bits to give the dress unique individuality and beauty.

So the thematic contribution to the distinction between Hero and Villain is the simple statement of whether, in your build World, there actually exists a Hero Archetype (Heroes are born not made) and a Villain Archetype (Villains are born not made) or if all humans (or all aliens) are simply victims of our environment -- or possibly some more complex mixture.

This is the old Nature vs. Nurture argument about human Character.

Theme makes a statement about that Nature vs. Nurture issue - yes, no, or maybe sometimes.

But worldbuilding requires the writer to determine how Character Archetypes work in the invented world.  The closer to observed reality the writer chooses to work, the easier it is for readers to immerse in the invented world and walk in the Character's moccasins.

So to tell the Hero from the Villain, first you decide if these are two different archetypes (and if so, what that difference is) -- or not.

In your World, is there such a thing as a Villain with a Strong Character?  Or a Hero with a Weak Character?  Is the distinguishing characteristic of Hero and Villain innate (archetype) or acquired (arbitrarily chosen by the writer).

How do you inform your reader which character is which?

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Resolutions And Revolutions

Happy New Year!

I hope that everyone (else) made good use of the extra "leap second" last night. You didn't? Apparently, there have been 27 "leap seconds" added to our time since 1972 in order to keep the atomic clock time consistent with "Earth time" because the Earth's revolutions are not perfectly identical.

Why don't they take care of "leap seconds" every fourth year during a "leap year"? Would that not be sufficiently accurate for the time lord (Peter Whibberly) of Britain's National Physical Laboratory's time and frequency group?

In a recent issue of DISCOVER magazine, which this author recommends from time to time, there was an archaeological article about unearthing Philistine burial sites. Not much is known about the Philistines, apart from unfavorable propaganda.

History is generally written by winners. What your History teacher teaches you in school or college may not be the whole story, or it may be colored by the bias of the academics writing the officially sanctioned textbooks.

Which brings me to Hillsdale College. This author is currently taking the free online course in CONSTITUTION 101. If one writes science fiction, one may need to create a world with rules, conflict, and a genius founding document or two.

http://info.hillsdale.edu/constitution_101_enroll?utm_source=prospecting&utm_medium=email&utm_content=AE_CC1116H&utm_campaign=con101

Listening to a forty-minute YouTube lecture once a week for ten weeks is a resolution that might not be as hard to keep as the traditional New Year's resolutions.

Happy New Year.

All the best,
Rowena Cherry

Happy New Year

2017 is almost upon us (while I've barely gotten used to writing 2016, a symptom of growing old, no doubt). Do you make New Year's resolutions? As I've probably mentioned before, I gave up that concept a long time ago. I think more in terms of goals, plans, and hopes. Some goals for 2017 include: finishing the paper I have to deliver at a conference in March (a task I can't avoid unless I want to show up at the session with a rough draft!); submitting stories to two annual anthologies in which I've occasionally been included in past years; and completing a short novel I started several months ago but haven't worked on lately because of holiday prep, proofreading a re-released novel, and typing up my usual annual vampire fiction bibliography update.

The current issue of RWR (the Romance Writers of America members' magazine) includes an article about planning. It highlights the virtues of paper planners and discusses some advantages of mapping out long-term and short-term plans on paper instead of just relying on an electronic schedule. Brain research has shown that writing by hand is uniquely helpful in making material "stick" in the mind. While I haven't tried a planner, I do like making tangible lists. The older I get, the more I need the confidence of having things written down in order to remember them.

Along with some good things—my husband and I celebrated our 50th anniversary in September, with all our children, grandchildren, and great-grandchildren present, along with some other relatives and friends—2016 also brought some negative events for me. My two principal publishers closed this year, leaving most of my works "orphaned." Another publisher is picking up the books from Amber Quill, but of course it will take a while before everything becomes available again. I'm still considering what to do with the books and stories from the other closing publisher, so another project will be self-publishing a few of those pieces. Recently we've had illness and other trouble in our extended family. In the public sphere, we've witnessed the loss of iconic figures such as Leonard Cohen, John Glenn, and Carrie Fisher. And then there's the American presidential election, a source of "comfort and joy" to almost 50 percent of our population, but a cause of disappointment and anxiety for me.

On Christmas Eve our priest preached on Hope—as distinct from optimism, a feeling of confidence (whether substantiated or not) that things are inevitably getting better. Looking around at the world, we see many factors to undermine optimism. As one of my favorite carols, "I Heard the Bells on Christmas Day," laments, "Hate is strong and mocks the song of peace on Earth, good will to men." All the more reason to practice the cardinal virtue of Hope.

Loosely quoting Colonel Potter from a New Year's episode of MASH, "Here's to the new year. May she be a durn sight better than the last one."

By the way, on the subject of the holiday season, which doesn't officially end until January 6 (Epiphany), I've just finished rereading Connie Willis's collection MIRACLE AND OTHER CHRISTMAS STORIES, as well as her two long stories not in that volume, "Just Like the Ones We Used to Know" (the cumulative effect of all those thousands of playings of "White Christmas" generates an unprecedented worldwide weather anomaly) and "All Seated on the Ground" (aliens land, and nobody can figure out what they want until they hear Christmas carols at a mall). Willis's keen wit infuses all the stories with her unique brand of humor-in-seriousness. Highly recommended!

Wishing happiness to all in 2017!

Margaret L. Carter

Carter's Crypt

Theme-Archetype Integration Part 1: The Nature of Art

Theme-Archetype Integration
Part 1
The Nature of Art
by
Jacqueline Lichtenberg

On Facebook Messenger, I was discussing how to create fiction that can sell to a commercial market and at the same time just write what you want to write, what you feel you need to say, what is deeply personal and matters to you -- what you personally want readers to feel in their guts, way below the verbal level.

That gut-response is what makes fictions memorable, and thus talked about and recommended. 

I get that response to many things I've written, particularly Sime~Gen.

https://www.amazon.com/Sime-Gen-13-Book-Series/dp/B016QAFPMK/

Sime~Gen #14 is in the works, with more planned.

Most recently, I was reminded on Facebook how moving my first non-fiction book, STAR TREK LIVES!, has been to people still connected to me via social networking. 

Robert Eggleton posted a picture of the cover of STAR TREK LIVES! and said nice things about it, whereupon a number of people chimed in with their memories.  I only noticed the post when Robert J. Sawyer "tagged" me on his comment, and I got drawn into a long discussion where I answered underneath people's comments.  If you know how Facebook "works" -- it spawns lots of conversations under a broad topic where lots of people exchange views.  Choose the right friends, and it can be very cordial.

On previous series of posts on this blog, I've explained the intricate relationship between STAR TREK LIVES! -- non-fiction about a TV Series -- and Sime~Gen a future-history of humanity set (so far) mostly on Earth of the far future.

The private discussion on Facebook Messenger with this other writer was within the context of the lasting impact my work has had, still echoing down the generations of writers and readers. 

I had pointed her to
http://aliendjinnromances.blogspot.com/2013/05/index-to-theme-plot-integration.html

and to
http://aliendjinnromances.blogspot.com/2013/11/index-post-to-art-and-craft-of-story.html

... which she had read through once, and came back to say she was left puzzled by my use of the term "archetypes" (she is a well educated professional writer, so it was my usage not her ignorance).

And it is true, I do use the word to refer to a bit of fiction-structure which is related to fiction the way math is related to theoretical physics. 

 That archetype structure behind the fictional worlds is what gives those fictional worlds their verisimilitude.

We've discussed verisimilitude in several posts.  Here are a few:

http://aliendjinnromances.blogspot.com/2016/10/alien-sexuality-part-3-corporate-greed_25.html

http://aliendjinnromances.blogspot.com/2016/06/depiction-part-14-depicting-cultural.html

http://aliendjinnromances.blogspot.com/2015/07/why-every-novel-needs-love-story-part-2.html

http://aliendjinnromances.blogspot.com/2015/07/why-every-novel-needs-love-story-part-1.html

Creating verisimilitude is a key writing craft skill -- craft not art.  Craft can be learned by anyone who can write a literate sentence.  Art may be born into you, or absorbed from those who raise you, or a combination, but you can't just "learn" it with the intellectual part of your mind.  And you can't learn Art with the part of your mind that can be trained in a Craft (such as driving a car can't be mastered by reading a book about it.)

I make vocabulary distinctions to refer to components of what it takes to launch into a commercial fiction writing career. 

Art is like Math.  In Math you "let X equal" -- or just arbitrarily assign meanings to blank variables.  That trick is the power behind applying a mathematical discovery to a real world problem, such as the Grand Adversary of all students, The Word Problem. 

A Math formula is the math equivalent of fiction's archetype. 

If you are accustomed to solving problems using carefully selected math formulae, then you know on a nonverbal level what an archetype is.

Yes, it is non-verbal.  The language handling section of your brain can not acquire or manipulate the underlying concept "archetype" with the kind of facility necessary to create the artistic dimension of fiction.

LOVE CONQUERS ALL leading to the HAPPILY EVER AFTER is the result of applying an archetype to a problem, of "letting X equal and Y equal" then applying rules to manipulate the equation until you get a solution.

The problem you are applying the archetype to is the problem of "What Is The Meaning Of Life?"  Or maybe, "What Is Life?"

Which archetype you select to apply to that WHAT IS LIFE? problem is dictated by the theme for your fictional story.  Or maybe the other way around on some occasions, the resulting THEME your novel explicates (after you cut, trim, rewrite, clarify) will have to be an exemplification of the archetype you accidentally applied.

When you are doing "Art" - those "accidents" are in fact your subconscious screaming at you, "SAY THIS!" 

We don't always know what we know until we tell ourselves. 

So how do we know what we know in order to say it in a novel?

We view the world and then we depict what we see.

Art is a selective depiction of Reality.

Art is not reality itself.  Art is a few bits and pieces of Reality, rearranged to say something that may be useful to those who hear it. 

Fiction is a conversation about Reality in the language of Art, between fiction writers with readers eavesdropping.  Art is a "language" just as mathematics is a language.  Physicists talk to each other in Math.  Fiction Writers talk to each other in Art.

Physicists talk about the structure of Reality, and Writers talk about the structure of Life.

Both professions are Artistic professions, creative professions, exploring "where no one has gone before." 

Good physicists ask good questions no physicist has asked before.  Good writers as questions no writer -- or in the case of science fiction romance, no living being -- has asked before.

Having asked a New Question, the artist then suggests an Answer.

Not THE Answer, mind you, but An Answer.  Another writer will try to disprove that Answer, postulating a different Answer, and the argument will take shape as readers try out every variation they can imagine.  News stories and academic studies will flow, "progress" will be made, and the conversational argument will continue.

That exploration of the non-existent, unreal world of imagination is endlessly fascinating because if a human can imagine it, some other human can make it real.

That is how Art fuels human progress, and why it is so important to "support The Arts" -- Art inspires.

Commercial Art may inspire but that is not its purpose.  Commercial Art exists to make a profit, and Commercial Artists do this work to make a living while dreaming of making a killing! 

Art is a necessary component of human life -- it existed as Cave Paintings and campfire stories long before people lived in permanent structures with sewers and chimneys.

Art has proven to be a necessary component of Civilization because it inspires creativity and convinces young people to dream and make it real.  Through Art we know we can succeed.

So, as I have discussed in many previous posts, the Artistic component of novel writing, as opposed to the Craft Mechanics component, comes from the writer's ability to look at the tangled mess of "white noise" that is the Reality we live in, and sort out a signal, see a pattern in the randomness of reality. 

That signal may actually be there -- or maybe not, maybe it is just the writer's imagination.  Psychological Studies have determined that humans will always see patterns where there actually are none -- such studies are cited as proof that God does not exist, but is just a figment of our imaginations.

We see patterns in the Stars and give constellations names.  Various cultures have seen different patterns and named them differently, attributing different powers to the same sky patterns.

There is something that we just know:  Reality consists of patterns.

We don't believe this.  We know it. 

Science, on the other hand, seems to have proven that we see patterns where there are none.  Most of reality is random.  Entropy (disorder) always increases.

Then there is the Observer Effect, in physics, where the act of observing changes the observed.  This happens because to observe, one must bounce something off the object being observed and detect it.  When the bounce-impact happens, the observed object thereupon changes, and the bounce-back particle does not carry all the information about what the object will become. 

In other words, as of the early 20th Century, theoretical physics (mostly just math at that time, but now being checked out by the Hadron Collider) postulated a connectivity among all physical objects.

Oddly, this notion mirrored the bedrock principles of the most Ancient mysticism we have record of -- ancient magical traditions, religions even more ancient, -- humanity has always "known" that somehow what we think and feel affects concrete reality. 

Physics is all about discovering the equations that describe how physical objects affect one another (gravity and so on).

Art is all about discovering the archetypes that describe how human lives affect one another (Romance and so on).

The psychological "archetypes" that Carl Jung made so famous
https://www.amazon.com/dp/B00GYGPZ22/
describe not only how individual humans function, but also how we are all "connected" through the collective subconscious. 

Structuring human psychology this way brings human psychology into the same kind of structure that physics was postulating (during those same decades of the early 20th century).  In short it is "wheels inside of wheels" -- symmetry. 

And if you study Kabbalah, you will find that the Tree of Life structure that delineates (with mathematical precision) the connection between human consciousness and the physical world around us also uses that "wheels inside of wheels" structure.

The 10 Sepheroth or areas of definition, each contain all the 10, each of which contains all the ten -- the infinite regression effect symbolized by the Quaker Oats box with the picture of the Quaker Oats guy holding a box of Quaker Oats with the Quaker Oats guy holding a box of ..... infinitely.

Note how the image here shows each of the Sepheroth as Trees in and of themselves.  Now visualize how each of the Sepheroth on each of the little Trees contains another Tree.  In Math, these are called Cross Terms. 


One excellent way to understand how this bit of physics (reflection, infinite iteration) applies to human emotion at the interface between the spiritual and the physical (Love vs Sex) is to study this book:

https://www.amazon.com/Spiritual-Guide-Counting-Omer-Forty-Nine/dp/B008NAF37Y/

This 49 day drill, done annually, educates and trains that non-verbal part of the mind that knows without believing.  (...knows such things as Love Conquers All -- a corollary of Joy Breaks All Barriers -- and other principles that are hugely unpopular these days.)

The human emotions are the lower 7 of the 10 Sephiroth, and each of the 7 manifest in human beings as combinations with each of the other 7X7=49. 

Each one of these focused exercises will yield at least one, of not dozens, of Romance Novel Plots, all with Beginning, Middle, End laid out clearly.

Underlying this particular book's explanation of this 7X7 structure of the human psyche is the pure Archetype that generates our human personality.  Once fully grasped, these principles will reveal why sayings such as, "There's no accounting for taste!" are not true. 

Archetypes belong to the realm of non-verbalizable knowledge.  It is not belief, but actual knowledge accessed by a different cognitive function that does not encode data in words or even in math.

An archetype is a pattern.  If you set out to make a new dress, you go to the notions store and select a pattern.  That pattern envelope contains several variations (long sleeve, short sleeve), and the one you select will give you a range of sizes. 

Behind all the variations and sizes is an "archetype" of "dress" -- ball gown, job interview dress, cocktail dress, etc.

Now you go select material and matching thread and buttons, zippers, sequins, whatever. Every possible combination will produce vastly different results.

But underlying all those different dresses is still The Archetype for that style dress that generated the folded tissue inside the envelope.

With writing a novel, you do the same thing.  You go to your store of Views of The Universe -- (life's a Ball, life's a party, life's a dinner date, life's all work, life's deep sea fishing expedition) -- and you pick out one of your Views.

Then you go to your notions counter and pick out details of how this Life you are going to depict is going.

Just as sewing that dress is an exercise in craft, so too is writing the novel depicting the meaning of life as experienced by this particular Character.

Your reader will recognize the verisimilitude of the life you are depicting because your reader, too, knows the archetype behind your original creation.

As Jung pointed out, we are all connected by something -- and he called that something the Collective Unconscious.  Maybe there is no such thing, but there is something we all have in common, we all recognize, no matter how hidden by details.

Art is in the selection of details juxtaposed to convey a theme - a message about the nature of life.

But the commercial novel writer does not get to invent new patterns, freehand.  If enough readers can recognize the underlying archetype, the pattern you selected, the novel will sell well.  If that pattern is not recognizable, the first people to buy it will not recommend it to others.

Scholarly, creative writers don't get to invent archetypes either -- but they may discover them.  Archetypes are as structurally fundamental to the structure of reality as are the laws of gravity.  We can't invent gravity - but our understanding of its relationship to space and time has changed markedly over the last few decades.

 Jean Lorrah, my sometime collaborator and a Professor of English, has noted that the novels we write belong to a hitherto unrecognized category, a particular Plot Archetype which I call Intimate Adventure (Action Adventure with the Action replaced by Intimacy which may or may not be sexual).

In real life, all the archetypes overlap and interact -- every human born on this planet has a unique composite of archetypes (Natal Chart) plus all the modifications (epigenetics) they gather through life.  It's a mish-mosh. 

In fiction, the Characters have 3 prominent traits, only one of which is dominant.  Characters are like musical chords, formulated just so. Not every chord goes with every other chord -- in a novel, the writer has to stick to the "Key" as the music writer has to stick to a Key.  The plot events of a novel are the "Time" or rhythm, -- is it a waltz or a fox trot or a tango? 

As I have explained in previous threads, Writing Is A Performing Art, a wisdom taught to me by Alma Hill.

Commercial Fiction Writers perform the story, just as a pianist might perform a Chopin piece for an audience.

No two performers do it the same way, and no two performances by a given pianist come out exactly the same.  A performance is a hand-made, one of a kind, artistic creation.

It is just like giving a speech someone else wrote, or making a dress from a pattern bought at a store.  Individual components are carefully chosen to go together into an artistic whole, with each component enhancing the meaning of all the others.  A huge set of individually mastered skills are brought together into a performance to present a tiny glimpse of infinite wisdom.

The choosing of components, the bringing of the components together to make the underlying Archetype visible, yet manifesting in a unique way, is the writer's Art.  The craft lies in the practice and mastery that makes the performance seamless, effortless, uplifting, memorable.

One sour note, one off-beat plot event, can reduce the sublime to the intolerable.

The Art is in the non-verbal message that is conveyed by the style, voice, and the beauty of the performance. 

Some commercial writers have to know what they're doing to do it well.  Some can't do it at all if they know what they're doing.  Others are hybrids of these extremes.

How you accomplish the performance is idiosyncratic.  What story you perform for which audience is idiosyncratic.  Writing teaches you as much about yourself as it does about the world and your audience.

The art lies in how you fit what you have to say within the recognizable archetype you share with your audience. 

Artists see something in the chaos of reality that the audience doesn't see, then use the tools of shared archetypes to reveal the purpose and meaning of life.

There is no art form that does this better than the Science Fiction Romance.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Inventing Traditions

I think I've previously mentioned one of my favorite seasonal books, THE BATTLE FOR CHRISTMAS, by Stephen Nissenbaum. The "Battle" refers to the replacement of the REAL "old-fashioned Christmas" by what we now think of as the "traditional" holiday, a process that occurred in the nineteenth century. Christmas in prior centuries would have looked to us like a blend of Halloween, Thanksgiving, Mardi Gras, and New Year's Eve. (Even in the mid-1800s, a major part of the Christmas celebration in the American South consisted of excessive drinking and making lots of noise, mainly by shooting off guns.) The transformation to the domestic holiday we cherish didn't come about through natural evolution but as a result of deliberate choices. The concept of St. Nicholas bearing gifts, although derived from one strand in Dutch culture, was not only popularized but effectively invented, as far as America was concerned, by the literary circle to which Clement Moore and Washington Irving belonged. The Christmas tree seems to have originally been, not a universal German custom, but the practice of one region in Bavaria. When it spread to England and North America, within one generation people were saying, "Of course we always have a Christmas tree," as if this "tradition" had existed from time immemorial.

The habit of giving gifts to children replaced the old practice of the upper classes bestowing bounty on their servants and poorer neighbors and giving treats to groups that performed wassail songs door to door. The "old-fashioned Christmas" of earlier eras was thus deliberately transformed into the domestic Christmas we're familiar with. Furthermore, worries about children becoming greedy for presents and anxiety over what to give to friends and relatives who already "had everything" sprang up almost immediately. Manufacturers and merchants were quick to produce and sell items designed especially as Christmas gifts. The family-centered celebration and the commercialized Christmas lamented by Charlie Brown grew up together. C. S. Lewis thought the "commercial racket" was a recent development in his own lifetime (as he discusses in the essay "What Christmas Means to Me" in GOD IN THE DOCK), but he was mistaken. As Nissenbaum's book points out, people in every generation have tended to conceive of the "real old-fashioned Christmas" as something that has just recently died out, in their parents' day or at most their grandparents'. In fact, the image of a pure, "authentic" holiday that existed in some past era is a myth.

So at Thanksgiving we sing "Over the River and Through the Woods," even though most of our grandmothers, like Charlie Brown's, live in condos rather than on farms. We sing, "I'm Dreaming of a White Christmas," even if we grew up in one of the many parts of the country where it seldom snows (if at all) until January. Families have their personal traditions, of course. Some don't set up the tree until Christmas Eve, a custom that baffles me, because they go to all that trouble and then have only a week or a little more to enjoy the result. Of COURSE you are supposed to set up the tree as soon as practicable after Thanksgiving, and you open presents on Christmas morning. NOT on Christmas Eve—what a scandalous breach of propriety. :) During our sons' childhoods, our tradition included watching Christmas specials on TV, something my parents couldn't have done as children. Earlier in the twentieth century, visiting the department store Santa Claus began to grow into a tradition for many people. At nearby Sandy Point State Park, there's an annual lavish display called "Lights on the Bay," and driving to view that is probably a traditional part of many families' holiday season.

Consider "classic" carols and seasonal songs. How long does a song have to remain popular to enter the category of "classics" or holiday standards? Some now beloved and well-established songs have become standards in my lifetime, notably "Do You Hear What I Hear?" and "Little Drummer Boy," which I don't remember hearing in childhood.

Some Jewish families, as a concession to the dominant culture, set up a "Hanukkah bush" in their houses during December, a custom that's local to North America and dates back at the earliest to the late 1800s. Does this count as a "tradition"?

How long does a custom have to exist before becoming legitimately "traditional"? Mother's Day became a national holiday in 1914, thanks to a campaign by one woman, Anna Jarvis. Kwanzaa was created in 1966 by an African American professor. The U.S. official Grandparents' Day has existed only since 1978 (and I'm not sure how much it has caught on other than with greeting card companies—I've never taken any notice of it, since I maintain that its purpose is already covered by Mother's Day and Father's Day).

Whether "invented" or not—and all celebratory practices were invented by somebody once upon a time—"traditions" are basically whatever people cherish as such.

Merry Christmas, happy Hanukkah, and festive Yuletide to all!

Margaret L. Carter

Carter's Crypt

Depiction Part 23 - Guest Post By Carol Buchanan

Depiction

Part 23

Guest Post By Carol Buchanan

Depicting Relationships

Here is the index post to previous entries in the Depiction series:
http://aliendjinnromances.blogspot.com/2015/04/index-to-depiction-series-by-jacqueline.html

Today, Carol Buchanan has provided a Guest Post on for my series on Depiction, she has titled Depicting Relationships. Here it is, below.

Last week I reviewed Carol Buchanan's 4th novel in her Vigilantes series,
http://aliendjinnromances.blogspot.com/2016/12/reviews-30-ghost-at-beaverhead-rock-by.html

Carol Buchanan has depicted the formation of the States of the United States out of raw land - a wilderness rich with gold and searing cold winters.  No setting is more appropriate for Romance, and Science Fiction (science of mining, politics of the science of mining, life in constant confrontation with "the unknown" and "unknowable" (thus the murder-mystery theme fits perfectly into the Romance of Science Fiction)).

I recommended that writers of Alien Romance study what Carol Buchanan has done in this tetralogy to reformulate stacks of original-source documentation into real-life-living-full-color story of human beings struggling with their personal issues and still creating a new order -- the United States, -- all these states distinctly different, under different laws (and good reasons why laws had to be different) yet united.

The Vigilante series depicts the period when paper money was first being promulgated and valuated, when gold dust and coin was "real money" that you dug out of the ground.

The series speaks to the issues we've explored in the series on Astrology Just For Writers and on Tarot Just For Writers -- the innate problem of the Individual vs The Group (1st House vs 7th House).

Index to 10 posts on Suit of Swords:
http://aliendjinnromances.blogspot.com/2010/03/pausing-for-you-to-catch-up-with-me.html

Index to 10 posts on Suit of Pentacles;
http://aliendjinnromances.blogspot.com/2010/03/pausing-for-you-to-catch-up-with-me_23.html

All 5 Kindle volumes on Tarot are collected here (free on Kindle Unlimited):
https://www.amazon.com/Not-So-Minor-Arcana-Books-ebook/dp/B010E4WAOU/

Index to posts on Astrology:
http://aliendjinnromances.blogspot.com/2010/03/pausing-for-you-to-catch-up-with-me_30.html

The essence of story is Conflict.  Depicting Conflict is so hard that much of what you read today substitutes fist-fights, space battles, explosions, and chase scenes for "conflict" because writers (and many readers) do not know what conflict actually is.

So our modern entertainment industry has gone for the Visual Depiction of conflict, using symbolism even the youngest children can understand. BOOM!!! BAM!!!

In Romance and Mysteries, we divide novels into sub-categories: Sweet, Steamy, Cozy, Dark, Hard Bitten (Sam Spade), Gritty, etc. In science fiction it is Nuts-n-Bolts vs Sociological and a large variety of other sub-genres.  What survives today is mostly the Space Battles variety of science fiction that makes the concept of Science Fiction Romance seem odd.

But nothing could be farther from the truth of the matter.  Romance, Mystery, Science Fiction, and Westerns -- all of them, even the ones with a Conflict of Man Vs. Nature, are about Relationships, and very little other than Relationships.

Yet, in publishing we do discuss "The" Relationship-driven Plot, as if it were distinct from everything else.  It is not. All fiction is about Relationship, and all conflicts somehow involve Relationships -- even when the Main Character is a prisoner in solitary confinement relating only to himself and his/her imagination.

How a human relates to him/herself deep in the unconscious mind configures how that individual will relate to other people.  We all play out what is inside us, creating the drama of our lives.

The story writer's job is to reveal that fact in a way the targeted readership can absorb and understand in a non-verbal way.

Carol Buchanan has hit on a way of understanding that intangible fact about what the Relationship driven Plot really is.

Her previous Guest Posts on this blog are:
http://aliendjinnromances.blogspot.com/2014/11/the-ghost-on-horseback-guest-post-by.html

http://aliendjinnromances.blogspot.com/2011/05/carol-buchanan-on-writing-tricks-and.html

So here is her new Guest Post, Depicting Relationships, that may be of great use to Romance writers, especially those writing Paranormal or Alien Romance novels.

-----------GUEST POST BY CAROL BUCHANAN-----------

The Space Between: 

Depicting Relationships The Ghost at Beaverhead Rock

 At the core of a relationship between you and your other(s) lies the unspoken – the thoughts, the wishes, the desires known perhaps only to you, that are quite aside from overt speech or action. 

Likewise for the other.

In the space between you and the other person is the core of your relationship, the subliminal meeting neither of you may understand in the moment, no matter how long you know each other. Each of you conveys some of your inner life to others without being conscious of it.

In this space neither speaks, but only acts. The rhythm of breathing changes. One of you raises a wineglass, arches an eyebrow. A different tone colors a word.

Body language. There are whole books about that form of silent communication, but if I succeed in saying what I mean in this article, that’s not exactly what I’m talking about, although body language is a part of it.

The core of a relationship lies in the space between you and one or more others. The raised eyebrow may communicate an attitude or a feeling, but something happens between you and the other that is not brought to the surface. Neither of you speaks of it, but somehow you know there’s a difference on the other side of that space.

That’s where the relationship happens: In the spaces. In the nebulous area that holds the pauses in what is said, as a sudden silence falls on a party.

The partners in the relationship blink and ask themselves what happened.

The core of a relationship is subliminal.

The Subliminal Core of Relationships in The Vigilante Quartet

In the series I’ve titled The Vigilante Quartet, I make use of the subliminal core when Dan Stark, the hero of all four historical Western novels, encounters not only danger and violence but the direct opposite, love.

The first book of the series, GOD’S THUNDERBOLT: THEVIGILANTES OF MONTANA, 

takes place in what is now southwest Montana. Historically, in 1863, it was a region where ruffians ruled and murder was tolerated. When a group of men form the Vigilance Committee (as they did in the history), Dan Stark becomes its prosecutor.

I brought the McDowell family into the novel as a foil for the violence around them – the gunfights, the vandalism, the terrorizing of decent people.

Martha McDowell’s determination to give her children a better life counters her husband’s aggression. Everything she does, from secretly learning to read against his wishes, to holding onto her faith in God, opposes his violence. She takes in two boarders. Dan Stark and Deputy Sheriff Jack Gallagher, a friend of her husband’s. Dan suspects Gallagher is secretly one of outlaws.

At supper one evening, McDowell and Gallagher challenge Dan, who they think threatens their rule by intimidation. (They’re right.)

At the same time, Dan and Martha recognize their feeling for each other. For their own safety, they must not let the other two suspect what happens between them. Their mutual knowledge comes by way of a change in how they see each other.

It occurs amidst covert threats against Dan from McDowell and Gallagher. With McDowell’s wife and children present, they can’t threaten Dan openly. The reader understands the threat because of three elements:

§  Gallagher and Dan have had increasingly hostile encounters earlier in the book.

§  Dan senses the threat as a snake’s rattling.

§  He is afraid for Martha and her young daughter sitting in a dark place beyond the candlelight.

Danger surrounds him, and he is afraid, but in the midst of this dark fear he catches Martha looking at him in a way he thinks of a “luminous.”

A light shines in the darkness.

In the space between them.

THE GHOST AT BEAVERHEAD ROCK  

In my latest and final book of The Vigilante Quartet, a new relationship of a different order comes into the story of Daniel Stark’s evolution as a Vigilante.

The ghost of a hanged man haunts him.

Dan has married Martha following his return from New York City to pay his father’s debts. He is a prominent Vigilante, who has put the noose around the neck of more than one man. He first notices the ghost when it boards the stagecoach he is on at Beaverhead Rock (a landmark mentioned in the journals of Lewis and Clark.)

The ghost carries with it the stench of death, and takes the shape of a hanged man who carries a revolver in its hand.

The specter appears sometimes as a thickening of a shadow, a shimmering, a shudder where there can be no movement because shadows do not more on their own. It has no substance and makes no sound.

Dan thinks to himself, I do not believe in ghosts. But as a rational man, a lawyer, he cannot deny the evidence of his senses of sight and smell. If it doesn’t exist, how does he see it? Smell it?

That’s my challenge to readers. Is it a symbol of Dan’s sense of guilt? Is it one of the hanged men come back to accuse him of murder? Does it even exist?

Ghost and man never overcome the space between them..

How I Learned about the Space Between

Dan and the Ghost are in a relationship between human and nonhuman. Their entire relationship lies in the space between them.

I learned about the space between from an odd instructor named Gus.

Gus was a horse. My horse for a decade, until he colicked and I had to have him put down to end his suffering. 

One cold grey October day I went into the pasture at the equine sanctuary where I volunteered. I thought Gus had something that appealed to me, but I’d only known him for a couple of weeks. If he didn’t acknowledge me, I thought, I would concentrate on another horse. Sure enough, he stood grazing apart, a few yards away from the other horses that gathered around me for treats.

He raised his head, looked at me, and planted a tentative hoof in my direction, as though was uncertain what coming closer might bring him.

I thought, You’re my horse.

With him, I didn’t have the modes of communication I was accustomed to. A horse’s face are hide over bone, so they don’t have the facial mobility we humans read in each other.

Communications methods we learn from pets are useless with them. They don’t wag their tails as dogs do, for example. They don’t hiss, meow, or yowl as cats do.

But dogs and cats – and humans – are predators. Predators have monocular vision, with both eyes in the front of their faces, which gives depth perception and helps to judge striking distance. Perhaps predators have an innate sense of each other.

The horse is prey. And he knows it. He has binocular vision, with his eyes on opposite sides of his head. This gives him a nearly 360 field of vision, very good for spotting predators. He cannot see directly in front close up, nor directly behind.

It makes him very acute in sensing predatory intentions, in reading people. He “gets the vibes,” as they said in the Sixties.

From Gus I learned to listen for the vibes.

Sure, there were plenty of overt signals I learned. His vocal range would have done an opera singer proud, from soft rumbles in his throat to earsplitting bugles. I paid attention to the warning in a lifted hind hoof, and to the positions of his ears.

As time went on, we communicated almost by telepathy. I say “almost” because I’m hedging my bets. On our last trail ride before he got sick, I felt he was not happy, that the enclosing forest made him nervous. I thought, He won’t put up with this till the end.

Did I signal him somehow when I thought that? Did I mirror his nervousness back to him? Maybe. Probably. Horses are telepathic.

At any rate, awhile later, he turned back the way we had come. He was going home. I lost the discussion, but when he wanted to run home, I held him to a walk all the way back.

In the Space Between

Writers and writing books talk a lot about dialogue in terms of words spoken, gestures made. But I think there’s room for us to explore what is not said, what is not done in relationships.

To consider the space between.

To “Be still and know that I am God.” Yes, that relationship, too.

Carol Buchanan

http://carol-buchanan.com

http://facebook.com/carolbuchananauthor

http://twitter.com/CarolBuchananMT
--------END GUEST POST BY CAROL BUCHANAN-----------

Learning how we "relate" to the animals of Earth might be a big help in First Contact with non-humans from elsewhere.

We now know that monkeys, dolphins and whales speak to each other.  We humans have a lot to learn about Relationships.

Jacqueline Lichtenberg

Recommended Reading For Copyright Enthusiasts

Of interest to copyright enthusiasts this week:

Authors Guild files a friend-of-the-court brief in the long-running and very important lawsuit concerning universities creating their own unlicensed digital course "packets" comprised of excerpts --sometimes consisting of entire chapters-- from copyrighted works.

https://www.authorsguild.org/industry-advocacy/college-e-readings-must-paid-guild-argues-brief/

Authors Guild supports the publishers' and authors' claim that it is not "fair use" to cherry pick, publish and distribute the most useful portions of authors' works when the authors are not paid at all and this use removes the incentive for students to rent or purchase the works or a licensed (and paid) package.

On Friday, the Librarian of Congress published an online poll for the public, asking for popular opinion about the priorities and qualifications that the replacement Register of Copyrights ought to possess.

If you would like to make polite and constructive suggestions (you cannot do so anonymously), please follow this link. https://www.research.net/r/RegisterOfCopyrights

No doubt, anonymous and pseudonymous trolls (who do not like the idea that authors, musicians, photographers and other creators should be paid fairly for their work) will encourage the appointment of someone with strong sympathies for EFF and tech giant "permissionless innovators" and "disruptors".

https://thetrichordist.com/2016/12/16/as-we-predicted-outlaw-librarian-of-congress-violates-obama-administration-own-rules-on-online-polls-for-policymaking/

The Trichordist comments scathingly.

Both Authors Guild and TheTrichordist recommend an op ed from the New York Times written by Jonathan Taplin, author of "Move Fast and Break Things: How Google, Facebook and Amazon Cornered Culture and Undermined Democracy."

http://www.nytimes.com/2016/12/13/opinion/forget-att-the-real-monopolies-are-google-and-facebook.html?smprod=nytcore-ipad&smid=nytcore-ipad-share&_r=0

One of the most striking points made in the article is that Facebook makes a great deal of money by hosting copyright infringing content. Perhaps things will get better for the content creators in 2017.

All the best,

Rowena Cherry

Writing in Dark Times

Kameron Hurley's essay in the current LOCUS is the most overtly political piece I've ever read in that magazine:

There Have Always Been Times Like These

Hurley writes in apocalyptic terms, as if we're now living in Mordor. In her view, "We are going to lose much in 2017," because "a darker power was elected into office in the United States by a slim minority." She laments, "I see that hopeful ray of light we have all been shining out into the world smothered once again in darkness during this latest backlash." She frames the recent election as one phase in the "long war between the light and the dark, between our better selves and our darker natures."

Even though ours isn't a political blog, I suppose there's no harm in mentioning that I also voted against Hurley's "darker power." I'm optimistic enough, though, to hope that the immediate future won't be quite so bad as she forecasts.

The central message of her essay, however, isn't to curse the darkness or declare that we're all doomed. Rather, she celebrates, as quoted above, the "hopeful ray of light" writers "have been shining out into the world." Speculative fiction has value because of "our hopeful stories, our ability to tell dif­ferent futures." Science fiction and fantasy offer both cautionary tales (warning us against paths to potential dystopias) and images of better worlds we may transform into reality. Storytellers "create the narratives that help us all make sense of the world."

I would add a third valid function of speculative fiction, a temporary escape from the anxieties of mundane life into another world. Entertainment for its own sake, as a distraction that sends us back to "normal life" refreshed, is not to be scorned. Of course, using fantasy in this way might incur the charge of "escapism" in a negative sense. Indeed, we've all run into critics who dismiss ANY form of counter-factual fiction as "escapism." J. R. R. Tolkien answers this charge in "On Fairy Stories." Who's most likely to be obsessed with preventing escape? Jailers! As Tolkien says:

"Why should a man be scorned if, finding himself in prison, he tries to get out and go home? Or if, when he cannot do so, he thinks and talks about other topics than jailers and prison-walls? The world outside has not become less real because the prisoner cannot see it. In using escape in this way the critics have chosen the wrong word, and, what is more, they are confusing, not always by sincere error, the Escape of the Prisoner with the Flight of the Deserter. Just so a Party-spokesman might have labelled departure from the misery of the Führer's or any other Reich and even criticism of it as treachery."

To those who dismiss fantasy as "unrealistic" and therefore a waste of an adult's time, Tolkien provides this rebuttal (although he isn't addressing precisely that point):

"Fantasy is a natural human activity. It certainly does not destroy or even insult Reason; and it does not either blunt the appetite for, nor obscure the perception of, scientific verity. On the contrary. The keener and the clearer is the reason, the better fantasy will it make."

Or, as Puddleglum the Marshwiggle, imprisoned in the green witch's underground lair in C. S. Lewis's THE SILVER CHAIR, retorts to the witch's claim that her world is the only world that exists, "I'm going to live as much like a Narnian as I can even if there's no Narnia."

Margaret L. Carter

Carter's Crypt

Reviews 30 The Ghost At Beaverhead Rock by Carol Buchanan

Reviews 30

The Ghost At Beaverhead Rock

by

Carol Buchanan 

Reviewed By Jacqueline Lichtenberg

The Ghost At Beaverhead Rock is a 522 page Historical Romance, but not at all typical of the Romance Genre. In fact, it is not so typical of the Historical genre either.

This novel is about what makes a man into a husband and what kind of man can not be transformed like that.

It is about the very serious stuff you find in Historicals as well as about the things you hardly ever find in Romance.  And it is about what traits portend that a man will become a good father.  All of this abstract (face it: boring) stuff is just background for the torrent of forces configuring the Territories into what will be the United States of today: what is an Economy?; what is Law?; what is Authority?

All of this is blended with a strong author's hand into a smooth reading, fast paced read you will work fast every day to get back to reading in the evening.  Writers should analyze this book for scene and chapter structure, for pacing (rate of change of situation), for how Characterization is depicted using actions not description.

The Ghost is 4th in a series that has garnered some awards attention and deserves more. Lots more.

The previous novels are God's Thunderbolt, The Vigilantes of Montana, and Gold Under Ice.

Here are the Amazon links:

Book 1 - God's Thunderbolt
https://www.amazon.com/Gods-Thunderbolt-Vigilantes-Montana-Vigilante-ebook/dp/B0028AD8UE/

Book 2 - The Devil In The Bottle
https://www.amazon.com/Devil-Bottle-Vigilante-Quartet-Book-ebook/dp/B006H7I4AI/









Book 3 - Gold Under Ice
https://www.amazon.com/Gold-Under-Vigilante-Quartet-Book-ebook/dp/B003XVZAAS/

Book 4 - The Ghost At Beaverhead Rock
https://www.amazon.com/Ghost-Beaverhead-Rock-Vigilante-Quartet/dp/0986420301/

Or you can find them at the author's website

http://carol-buchanan.com

Here are some posts I've done here previously about this series:

http://aliendjinnromances.blogspot.com/2011/05/social-networking-is-learning-tool.html

http://aliendjinnromances.blogspot.com/2011/04/worldbuilding-building-fictional-but.html

And a Guest Post by Carol Buchanan:
http://aliendjinnromances.blogspot.com/2014/11/the-ghost-on-horseback-guest-post-by.html

So you see I've been following this series as it has developed, and it is literally a "can't put it down" read if you are interested in Science Fiction Romance.

Remember, Star Trek was sold as "Wagon Train To The Stars" -- a western set in space.

Science Fiction and Westerns or Historicals are kindred genres because they are about facing "The Unknown" and figuring out how to live and thrive in an alien environment.

In fact, come right down to it, marriage is itself a matter of pioneering an alien environment, a partnership between two strangers who think they know each other.

Pioneering is about moving into strange, mostly empty territory and figuring out how to create a government and an economy.  Marriage often enters the empty territory of a two-person home which, little by little, adds children -- and every year of their lives is new territory.

So this Vigilantes series starts with a heart-felt Romance, wistful, ernest, and full of promise and insurmountable obstacles.  And then the series challenges that marriage and re-creates it on new terms.

This story of a marriage is thematically parallel to the "marriage" of the new Western States into the Union, which at that time was being challenged by The Civil War which shattered families, brother against brother.

The series is set (mostly) in the West where gold was discovered, and depicts the way fighting over claims pitted men (and women) against each other.

It seems to me this is the story of a woman who "mines" a man's heart for the gold hidden in his depths, the incorruptible noble metal, soft and malleable hidden within brittle quartz.

This series is a solid example of how to apply the skills we have discussed in the series on Depiction and the series on Symbolism.

http://aliendjinnromances.blogspot.com/2015/04/index-to-depiction-series-by-jacqueline.html

http://aliendjinnromances.blogspot.com/2016/01/theme-symbolism-integration-part-4-how.html

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Fake News? Fake History! (About Copyright)

My copyright enthusiasm has led me to take a free online course: Constitution 101 offered by Hillsdale College.
https://online.hillsdale.edu/course/con101/part02/lecture

Copyright is mentioned in the Constitution (Article 1, Section 8, Clause 8)  but in my opinion, copyright is also an Intellectual Property right, and the constitution upholds the right to own property. 

Certain opponents of copyright are alleged to have written such statements as: "We Jeffersonians know better. Copyright is not a natural right, entitled to protection at the expense of the public good."
Source:
https://thetrichordist.com/2016/12/08/academic-copyleftists-unintentionally-bolster-constructive-termination-charge-in-firing-of-register-of-copyrights/

The above link is exceptionally interesting. It is about how some academics who are hostile to the rights of musicians and songwriters especially (but, weakening of copyright for one group of creators opens the door to weaking copyright for all creators) rationalize the allegedly so-called retaliatory constructive termination of the recent Register of Copyrights, Maria Pallante.

"The public good" seems to be the excessive profitability of billion-dollar tech giants that stream or otherwise distribute music and other entertainment, and the "right" of members of the public to enjoy creative works as a perquisite that follows the subscription to- or purchase of certain apps or hardware or software.

Concerns have been expressed about the Library of Congress.
https://thetrichordist.com/2016/12/11/dr-haydens-library-of-congress-is-already-helping-big-tech-rip-off-creators-part-1-the-mass-noi-scam/

I would describe the Notice of Intent (NOI) Loophole as a variation on "orphan works". Remember the Hathi Trust project? The trick is that a big tech company that wishes to exploit ebooks or music without paying the author or songwriter simply "pretends" that they cannot locate the copyright owner or author. Therefore, under the "permissionless innovation" theory, they exploit the work and pay no one unless or until the copyright owner finds out about it on their own.

This is not the only problem.  Allegedly, "...some in the anti-copyright crowd...are promoting the Library's recent deal with the Berkman Center's Digital Public Library of America to turn a digitized Library of Congress into a kind of feeder to Kickass Torrents with sovereign immunity..."

Given digitization, and the fact that it is mandatory for every copyright owner to donate 2 copies of the best of the best of their works, to the Library of Congress, that quote about feeding torrents is not so implausible. The Library of Congress appears keen to monetize and distribute what's in their collection, if one can extrapolate from what Maria Pallante was ordered to do.
https://thetrichordist.com/2016/10/25/arrogant-new-librarian-of-congress-told-register-of-copyrights-pallante-go-sell-t-shirts/

I appear to be the only skeptic about the USPTO push to discuss the Digital Marketplace. For those who wish to view videos of the entire day of events at the USPTO conference on on Friday, Dec 9th, 2016, follow this link:
https://livestream.com/uspto/DigitalMarketplace16?origin=digest&mixpanel_id=13d46f86c4b46-0398ebf1b7d5ac8-3d246e3a-1d4c00-13d46f86c4c1de&acc_id=8385860&medium=email

For those who merely want a book-related summary, there were relatively few mentions of books or ebooks during the day. Encouragingly, the focus seemed to be a genuine and positive concern for a system to ensure that "the internet" should know who owns rights to any type of intellectual property.

Speaker Trent McConaghy (of Blockchain) testified that he would like a Kayak-like (travel industry analogy, not watercraft) system presumably for finding the type of digital intellectual property that one desires at the best price.

Speaker Bill Rosenblatt (I think it was he who made this remark) bemoaned the fact that a Federal Judge (Denny Chin, as I recall) threw out the Google Book Settlement that would have established a Book Rights Registry. That Book Rights Registry would have been very helpful to authors and those who wished to exploit authors' books.

What worries me is, who would pay for any eventual registry? We know that it has been alleged that creative-works exploiters like Pandora and Spotify want music creators (songwriters and performers) to pay for their own music registry so the music services don't have to go to the trouble of locating rights owners in order to pay them. Would authors, musicians, photographers, models, etc have to subscribe in order to be in a registry?

And then, once one is in the registry (at least one could be found and paid), would authors be treated like The Turtles? Just as music that was written and originally performed before 1972 has been treated as if it was out of copyright, and is now being awarded lesser royalties than music written and performed since 1972, could something similar happen to book authors?

Here's how royalties could get reduced without copyright owners getting a voice.
https://thetrichordist.com/2016/12/02/good-news-sirius-xm-settles-pre-1972-with-turtles-bad-news-settlement-slashes-sound-recording-royalty-50/

But... the good news is, we can have a voice.  Check out who is on the House Subcommittee on Intellectual Property, and drop them a line. Maybe an anticipatory thank-you note for looking out for authors. :-)

All the best,

Rowena Cherry