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Sunday, July 25, 2010

Babel Fish vs Brain Power

I have a mind like a dump. I can say that because it is my mind. One never knows what is buried in there and that might be turned up by an intergalactic bulldozer! Anyway, one of the authors participating in celebration of diversity in SFR currently going on at The Galaxy Express mentioned The Hitchhiker's Guide to the Galaxy.
Jul 24, 2010 ... Science fiction for me was the dark dystopian future of 1984 stretching to the absurdity of HITCHHIKERS GUIDE TO THE GALAXY. ...
www.thegalaxyexpress.net/
Google Alert.... credit Kim Knox http://www.thegalaxyexpress.net/2010/07/parallel-universe-one-thing-stays-same.html .

Following this diversity series has stimulated me to think about some of the less diverse aspects of SFR: how writers cope with communication between species and races. It seems to me, it's either some version of the babel fish (usually an implanted chip rather than a parasite) or it's brain power and hard work in the language lab (or hypnopedia in the only one of my books where I give a nod to the problem).

Is there anything else? Could there be? Possibly "Texting" gives us a clue. From time to time, I think about all the troubles we have with our computers and the internet (worms, Trojans, viruses, hackers, malware) and apply it to what might happen to people with a robotic "babel fish" implanted in their heads.

With that in mind, I allowed a "villain" (more of an opportunistic mischief maker who happened to be a world leader) to mess with undiplomatic holographic messages in Knight's Fork.

However, before posting what would have been a very short post on that point, I thought that I ought to check that the "babel fish!" reference that popped up in my mind was accurate and properly attributed. One does try to be responsible.

Imagine my delight when my "Babel Fish" research led to this! (Below. From Wikipedia. Apparently, free to share.) I love lists for worldbuilding.  Credits and attribution at the bottom of the post.

This is a list of races, fauna, and flora (as well as creatures without category) featured in various incarnations of The Hitchhiker's Guide to the Galaxy.

Races

Aldebarans

The popular anti-teleport song claims that "Aldebaran's great, OK", but the Aldebarans are better known for their liqueurs (sold at Miliways), and fine wines (as Trillian prepared for Zaphod after deactivating all the Heart of Gold kitchen synthomatics).

Altairians

Advanced species known for their love of the movie Fight Club and their intense hatred of rabbits. It will take less than thirty of their dollars a day for hitchhikers to see the universe; so long as said hitchhikers avoid buying fruit drinks at Ursa Minor Beta nightclubs, which cost sixty Altairian dollars.

Amoeboid Zingatularians

The Amoeboid Zingatularians appear as a stellar replacement in the long-running comedic play No Sex Please, We're British at the end of fit the third of the radio series.

Bartledanians

Inhabitants of the planet Bartledan. The people of Bartledan are similar to humans, but do not breathe. Due to their view on the Universe - that the Universe is what the Universe is, take it or leave it - they have no desires, dreams or hopes, to the point that the protagonist of a Bartledanian novel abruptly dies of thirst in the penultimate chapter of the book due to a briefly-mentioned plumbing problem earlier on. Bartledanian literature is renowned, and its books are notable for being exactly one hundred thousand words long. Netball is a popular sport among the people of Bartledan despite the fact that no one cares about winning.

Belcerebons

The Belcerebons of Kakrafoon Kappa had an unhappy time. Once a serene and quiet civilization, a Galactic Tribunal sentenced them to telepathy because the rest of the galaxy found peaceful contemplation contemptuous. Ford Prefect compared them to Humans because the only way Belcerebons could stop transmitting their every thought was to mask their brain activity (or its readability) by talking endlessly about utter trivia. The other approach to dampening telepathic communication was to host concerts of the plutonium rock band Disaster Area. Thankfully, during the concert, an improbability field flipped over the Rudlit Desert, transforming it into a paradise, and cured the Belcerebons of telepathy. A Disaster Area spokesman said that this was "a good gig".

Betelgeusians

A race similar to humans in many ways.

Blagulon Kappans

Blagulon Kappans are methane-breathing life forms from Blagulon Kappa, which only appear in the books as the sophisticated police that attack Zaphod Beeblebrox. They die because Marvin the Paranoid Android causes their ship to commit suicide by sharing his overly pessimistic view of the Universe with it. This in turn renders their space suits, which are remote controlled by the ship, unusable. This proves fatal because they cannot breathe in the thin oxygen atmosphere of Magrathea. However, in the TV series the police are simply humanoids and able to breathe the air.

Dentrassis

Dentrassis are the best cooks and the best drink mixers in the universe. The Vogons can now afford them by being professionally bad tempered. Described by the character Ford Prefect as "The best cooks and the best drinks mixers, and they don't give a wet slap about anything else." In most versions of the story, they help galactic hitchhikers board Vogon Constructor Ships "partly because they like the company, but mostly because it annoys the Vogons."
The Dentrassi were also a demo coding group for the Atari ST home computer.

Dolphins

Dolphins are the second most intelligent creatures on Earth, just above humans. They tried in vain to warn humans of the impending destruction of the planet. However, their behavior was misinterpreted as playful attempts to whistle for fish and jump through hoops. Their story is told in the novel So Long, and Thanks for All the Fish.

Flaybooz

Flaybooz are small, gerbil-like creatures. Though flaybooz have no ears, they are extremely sensitive to vibration and can actually explode in extreme circumstances. Thor, the Asgardian and sometime rock god, held the record for spontaneous flaybooz detonation when he debuted his new tune “You Wanna Get Hammered?” from a chariot in orbit around Squornshellous Delta. The record had previously been held by intergalactic rock stars Disaster Area, who dropped a speaker bomb into a volcano crater where the flaybooz were enjoying a static electricity festival.
Contrary to an almost universal norm, it is the male flaybooz who nurtures the young. A full-grown flaybooz can fit up to fifty young in his pouch, but generally there is only room for a couple, as males like to carry around a small tool kit in case of emergencies, maybe a few beers, and a copy of Furballs Quarterly. From the novel And Another Thing....

G'Gugvuntts and Vl'hurgs

Two species which existed in the distant past, a very great distance from the Milky Way galaxy. The G'Gugvuntt were enemies of the Vl'hurgs, and these strange and warlike beings are on the brink of an interstellar war, because of an insult uttered by the G'Gunvuntt leader to the mother of the Vl'hurg leader. They were meeting for the last time, and a dreadful silence filled the air as the Vl'hurg leader was challenging the G'Gunvuntt leader to retract the insult. At the precise moment, the phrase "I seem to be having tremendous difficulty with my lifestyle" (muttered by Arthur Dent to himself, which for some strange reason was carried by a freak wormhole in space back in time to the farthest regions of the universe where the G'Gunvuntts and the Vl'hurgs lived) filled the air, which in the Vl'hurg tongue was the most dreadful insult imaginable. It left them no choice but to declare war on the G'Gunvuntts, which went on for a few thousand years and decimated their entire galaxy.
After millennia of battle the surviving G'Gugvuntt and Vl'hurg realised what had actually happened, and joined forces to attack the Milky Way in retaliation. They crossed vast reaches of space in a journey lasting thousands of years before reaching their target where they attacked the first planet they encountered, Earth. Due to a terrible miscalculation of scale the entire battle fleet was swallowed by a small dog. The Hitchhiker's Guide to the Galaxy states that this sort of thing happens all the time.
In the film, the phrase is stated as: "I wouldn't want to go anywhere without my wonderful towel." In the computer game The Hitchhiker's Guide to the Galaxy, any remark that the text parser does not understand has a chance of triggering a story arc involving the player's poorly chosen words travelling to the negotiation table and becoming the aforementioned insult.

Golgafrinchans

The Golgafrinchans are a race from the planet Golgafrincham that appears in fit the sixth of the radio series, episode 6 of the TV series and the novel The Restaurant at the End of the Universe. In their ancient history, they tricked the most useless third (the middlemen) of their population to get on a spaceship and leave the planet, by spreading rumours of the horrific fates their planet was doomed to soon undergo, such as being eaten by a mutant star goat, or collapsing into the sun. The plan was to get them to crash on a "harmless" planet, thus losing any capacity for space travel; they would then be out of everyone's hair.
Soon after they managed to get rid of these people - including all the telephone sanitizers - the entire remaining population was wiped out by a plague contracted from a dirty telephone.
The survivors who left on the spaceship eventually did crash onto Earth, as planned. They managed to possibly wipe out the primitive, but wise, population of original inhabitants, thus corrupting Deep Thought's 10-million-year plan to discover the Ultimate Question to the Answer to Life, the Universe, and Everything. They are presumed to be the ancestors of modern humans.
Ancient Golgafrinchan culture included a sect known as 'the great circling poets of Arium', who would abuse travellers, circle them and throw rocks at them. Afterwards, they would recite an epic poem which usually involved the rescue of a beautiful monster from a ravening Princess by five sage Princes on four horses.
See also: Listings for specific Golgafrinchan characters

Grebulons

The Grebulons are a race that appears in the novel Mostly Harmless. They are observing the Earth, but do not know why.
During the centuries-long spaceflight the Grebulons were all in suspended animation with their memories saved to the ship's computer (which was struck by an asteroid influenced by Guide Mark II). With the loss of the backup, after the robots carrying it also fell out of the hole made by the asteroid, the Grebulons awoke with no idea where they were going or who they were. What little instructions they could extract from the wrecked computer told them to "land" somewhere and "monitor" something, so they landed on Rupert and monitored the televisionEarth. transmissions from
Trillian later reveals that the Grebulons are a missing reconnaissance fleet from the war that she was meant to cover (which never happened because the Grebulons never arrived with their respective army).

Haggunenons

The Haggunenons of Vicissitus Three were encountered in the fit the sixth of the radio series when Ford and Zaphod attempted to steal an Admiral's flagship from the Restaurant at the End of the Universe. According to the Guide, the Haggunenons "have the most impatient chromosomes in the Galaxy. Whereas most species are content to evolve slowly and carefully over thousands of generations, discarding a prehensile toe here, [...] hazarding another nostril there, the Haggunenons would have done for Charles Darwin what a squadron of Arcturan Stunt Apples would have done for Sir Isaac Newton. Their genetic structure is based on the quadruple sterated octohelix...." Their tendency to evolve almost instantaneously has the downside of discarding one deficiency for another. For example, when they reach for sugar for their coffee, they may evolve "into something with much longer arms, but which is probably perfectly incapable of drinking the coffee." They resent stable species, and wage war on them in their horribly beweaponed chameleoid black battle cruisers.
The Haggunenon Admiral turned out to have been sleeping on his flagship in the form of a chair while Ford, Arthur, Zaphod, Trillian and Marvin returned it to its proper time and place at the vanguard of an invasion fleet. It then evolved into a copy of the Ravenous Bugblatter Beast of Traal, from which Ford and Arthur were able to escape, but which ate Marvin, Trillian and Zaphod. Those three later made their escape when the admiral evolved into an escape capsule.
This monster also appears in the "Dungeons and Dragons Epic Level Handbook" as the Hagunemnon. Like their Hitch-hiker's counterparts, they too are unstable shapeshifters with a deep loathing for non-shapeshifting lifeforms.
See also: Haggunenon Underfleet Commander

Hingefreel

A race with only a very small mention, at the start of Chapter 1 of the novel Mostly Harmless. Hailing from Arkintoofle Minor, they built spaceships powered by bad news, which is the only thing that travels faster than light. Their ships were very fast, but didn't work particularly well, and were extremely unwelcome wherever they arrived.

Hooloovoo

A Hooloovoo is a hyperintelligent shade of the colour blue.
Little is known of them, except that one participated in the construction of the starship Heart of Gold. At the launching ceremony one was temporarily refracted into a free-standing prism. This is probably analogous to the ceremonial multicoloured lab coats worn by the rest of the team.

Hrarf-Hrarf

Hrarf-Hrarf are a race of beings whose lifespans flow backwards in linear time. Their lives begin at death, and end "in a really quite extraordinarily pleasant birth." They are also described as the "only race known actually to enjoy hangovers, because they know it guarantees that a tremendously good evening will ensue."
The race is mentioned only in the radio series The Secondary Phase, written specially for that series by Douglas Adams in the mid-1990s.

Humans

Humans are bipedal creatures from Earth, and the third most intelligent species on that planet. (Surpassed only by mice and dolphins.) Originally thought to have evolved from proto-apes, humans may in fact be descendants of Golgafrinchan telephone sanitizers, account executives, and marketing analysts who were tricked out of leaving their home planet to arrive on the planet ca. two million BC. These Golgafrinchans apparently displaced the indigenous cavemen as the organic components in the computer designed by Deep Thought.
Interestingly, although the term "humanoid" is applied to many races throughout the galaxy, "humanity" refers specifically to the qualities of humans.

Jatravartids

Jatravartids are small blue creatures of the planet Viltvodle VI with more than fifty arms each. They are therefore unique in being the only race in history to have invented aerosol deodorantwheel. before the
Many races believe that the Universe was created by some sort of god or in the Big Bang. The Jatravartid people, however, believe that the Universe was sneezed out of the nose of a being called the Great Green Arkleseizure. They live in perpetual fear of the time they call "The Coming of the Great White Handkerchief". The theory of the Great Green Arkleseizure is not widely accepted outside Viltvodle VI.
(A similar concept was used in the short story "God's Nose" by Damon Knight.)
For the 2005 movie The Hitchhiker's Guide to the Galaxy, Douglas Adams created a new character called Humma Kavula, a missionary whose apparent mission is to spread the religion of the Jatravartids. The Jatravartids are only seen on screen during two brief (and poorly lit) shots, though their discarded aerosol cans are found all over their planet's surface. "Caveman"-style illustrations of the Jatravartids feature in one episode of the Hitchhiker's GuideTV series.

Krikkiters

This race of quiet, polite, charming and rather whimsical humanoids caused the most devastating war in the history of the Galaxy (with over two "grillion" casualties). Their homeworld, Krikkit, is surrounded by a black cloud, so they had no knowledge of the universe outside their world. When a spaceship crashed on the surface of Krikkit, the inhabitants quickly stripped it of its secrets and used them to create their own "flimsy piece of near-junk" craft, Krikkit One. Upon reaching the outer edge of the dust cloud and seeing the galaxy for the first time, the people of Krikkit marvelled at its beauty before casually deciding to destroy it, famously remarking "It'll have to go." The Earth game of cricket is a racial memory of the events of the Krikkit Wars. The story of these events is told in the novel Life, the Universe and Everything.

Lamuellans

Lamuellans are a humanoid race from the planet Lamuella. It is on this planet that a passenger starship crashes, and Arthur Dent is the only survivor. There he becomes the planet's Sandwich Maker. The Lamuellans are led, more or less, by Old Thrashbarg, the tribe's priest to Almighty Bob. Other residents of the village include Kirp, a fisher, Grarp the Baker, Strinder the Tool Maker, and Drimple the Sandwich Maker's apprentice. The planet is also home to Perfectly Normal Beasts and Pikka Birds. The complete story is found in the novel Mostly Harmless.

Magratheans

They are sentient beings that live on planet Magrathea. In the past during the time of the Galactic Empire, they created and sold planets to rich customers. They are very mysterious and seem to show up whenever something important happens, which is seen the most in the third book:Life, the Universe, and Everything. In the first book The Hitchhiker's Guide to the Galaxy it is revealed that they have been asleep waiting for the galaxies' economy to improve, but were awakened prematurely to rebuild the Earth after its destruction by Vogons. They are the race who built the Earth, at the request of the Mice. However, in the film, the Mice and the Magratheans are the same species.

Mice

Mice are the physical protrusions into our dimension of a race of hyperintelligent pan-dimensional beings who commissioned construction of the Earth to find the Question to the Ultimate Answer of Life, the Universe, and Everything. As such, they are the most intelligent life form on that planet.
In their home dimension, a popular sport is Brockian Ultra-Cricket, a horribly violent game which involves hitting people for no readily apparent reason and then running away, before apologising from some distance - often through a megaphone. However, it is completely unrelated except in name to the earth sport of cricket.

Oglaroonians

Natives to the small forest world of Oglaroon, Oglaroonians have taken what is a fairly universal trait among sentient species (to cope with the sheer infinite vastness of the universe by simply ignoring it) to its ultimate extreme. Despite the entire planet being habitable, Oglaroonians have managed to confine their global population to one small nut tree, in which they compose poetry, create art, and somehow fight wars. The consensus among those in power that any trees one might observe from the outer branches are merely hallucinations brought on by eating too many oglanuts, and anyone who thinks differently is hurled out of the tree, presumably to his death.

Poghrils

An exceptionally pessimistic race from the star system of Pansel. Due to the Heart of Gold's Infinite Improbability Drive causing a wave of improbability when passing through the system, two-hundred and thirty-nine thousand lightly fried eggs landed on the surface of their home planet, unfortunately too late to save the vast majority, who had already succumbed to famine, though one did manage to survive for two further weeks, before dying of cholesterol poisoning.

Shaltanacs

The Shaltanacs are a race from the planet Broop Kidron Thirteen, who had their own version of the Earth phrase, "The other man's grass is always greener." Although, given their planet's horticultural peculiarities, theirs was, "The other Shaltanac's joopleberry shrub is always a more mauve-y shade of pinky russet," and so, the expression fell into disuse, and the Shaltanacs found they had little choice but to become exceptionally happy and content with their lot, which surprised everyone else in the galaxy, who had not realised that the best way not to be unhappy is not to have a word for it.

Silastic Armourfiends of Striterax

The Silastic Armourfiends were an insanely aggressive race who lived on the planet Striterax approximately twenty billion years ago "when the universe was young". They were extremely keen on fighting – one of the best ways to deal with a Silastic Armourfiend was to lock him in a room by himself, since he would beat himself up sooner or later. They wrecked the surface of their planet in constant wars, and the whole population lived within bunkers deep below the surface.
In an attempt to deal with the problems their violent nature created, the Silastic Armourfiends passed a law that anybody who had to carry a weapon as part of their normal work (including policemen, security guards and primary school teachers) must spend a minimum of 45 minutes each day punching a sack of potatoes. It was hoped that this would allow them to work off their surplus aggression. This plan worked only until someone had the idea to simply shoot the potatoes, and the Silastic Armourfiends were excited about their "first war for weeks."
During one of their more unpleasant wars, the Silastic Armourfiends asked the great computer Hactar to design the ultimate weapon for them. The computer complied, creating a hand-held bomb which would connect the core of every major sun via hyperspace, destroying the entire universe. The Silastic Armorfiends attempted to use the bomb to blow up a munitions dump, but fortunately Hactar had built a dud weapon since it could not conceive of any occasion when the use of the real thing would be justified. The Silastic Armourfiends disagreed, and pulverised Hactar.
Eventually, after smashing the hell out of the Strenuous Garfighters of Stug and the Strangulous Stilletans of Jajazikstack, the Silastic Armourfiends found an entirely new way of blowing themselves up, which was of great relief to the Garfighters, the Stilletans, and the potatoes.
"The best way to pick a fight with a Silastic Armorfiend was just to be born. They didn't like it, they got resentful"

Strangulous Stilettans of Jajazikstak

An enemy of the Silastic Armourfiends of Striterax.

Strenuous Garfighters of Stug

An enemy of the Silastic Armourfiends of Striterax.

Vogons

Fauna

Algolian Suntiger

The tooth of an Algolian Suntiger is part of the mix for a Pan Galactic Gargle Blaster. It "spreads the fires of the Algolian suns deep into the heart of the drink."

Ameglian Major Cows

See Dish of the Day (cow).

Arcturian Megadonkey

An animal featured in the proverb "to talk all four legs off an Arcturian Megadonkey", and also served grated at a dinner on the planet Magrathea.

Arcturian Megagnat

A creature from Kakrafoon. It is mentioned during a description of the many uses of towels whereby you can "huddle beneath it for protection against the Arcturian Megagnats under the stars of Kakrafoon."

Babel fish

The Babel fish is small, yellow, leech-like, and is a universal translator which simultaneously translates from one spoken language to another. It takes the brainwaves of the other body and what they are thinking then transmits the thoughts to the speech centers of the hosts brain, the speech heard by the ear decodes the brainwave matrix. When inserted into the ear, its nutrition processes convert sound waves into brain waves, neatly crossing the language divide between any species you should happen to meet whilst traveling in space.
Meanwhile, the poor Babel fish, by effectively removing all barriers to communication between different races and cultures, has caused more and bloodier wars than anything else in the history of creation.[1] Arthur Dent, a surviving Earthling, commented only 'Eurgh!' when first inserting the fish into his ear canal. It did, however, enable him to understand Vogon Poetry - not necessarily a good thing.
The book points out that the Babel fish could not possibly have developed naturally, and therefore proves the existence of God as its creator. However, certain people say this proves the nonexistence of god as proof denies faith, and without faith, god is nothing. "'my, that was easy', says man, and goes on to prove that black is white, and gets killed on the next zebra crossing.

Boghog

The Boghog is the only native animal of planet NowWhat, "all other having long ago died of despair".
Boghogs are tiny, vicious creatures with unaccountably thin and leaky skins. Boghog meat is almost completely inedible and is the primary source of food for the settlers on NowWhat.
The language of the boghogs consists of biting each other very hard on the thigh and thus was never learned by anybody else.

Damogran Frond Crested Eagle

A Damogran Frond Crested Eagle inhabites Damogran, a desert planet where Zaphod Beeblebrox steals the Heart of Gold. A Damogran Frond Crested Eagle incorporated the first two pages of Zaphod Beeblebrox's speech into its nest, which it built out of paper mâché, and "was virtually impossible for a newly hatched baby eagle to break out of." Since apparently the Eagle had, for some reason, heard of survival of the species and become opposed to it.

Equinusian packbeast

At the beginning of the radio series The Quandary Phase, the voice of The Book describes any attempts to appeal to the better nature of the Vogons as "flogging a dead Equinusian packbeast." Director Dirk Maggs answered that this expression can be read as either referring to a horse (Latin name Equus caballus), or a separate horse-like alien species, or both.

Fuolornis Fire Dragon

A majestic creature that, despite having "breath like a rocket booster and teeth like a park fence" was revered in the land of Brequinda for the mystifyingly sexy way in which it flew about the fragrant night skies, along with their tendency to bite anybody who didn't revere them. So sexy were the dragons that they would induce mass exodus to private quarters when crossing the full moon. Although generally peaceful, they nonetheless managed to bite and burn other people quite a bit; behaviour which led eventually to their extinction and use in making hamburgers. The most current edition of the Guide has yet to mention this crucial fact, much to the disappointment of hitchhikers. Also according to the Guide, most of Brequinda now seems to contain restaurants selling the dragon meat burgers, possibly indicating that some find the meat tasty. Dragons are shown as part of the defense system of the godly planet of Asgard in the novel And Another Thing... by Eoin Colfer, but it is never said whether or not these are the same or different dragons.

Greater Drubbered Wintwock

According to the novel Mostly Harmless, these are no longer found on the planet Stegbartle Major in the Constellation Fraz.

Mattress

Mattresses are friendly, dim-witted, docile creatures capable of speech. They are all called Zem and live in the swamps of Squornshellous Zeta. Many of them are slaughtered, dried out, and shipped around the Galaxy to be slept on by grateful customers, though they do not appear to mind this. Many of the movements they make, such as gupping and willomying, are so unique that etymologists have driven themselves half-insane tracking down new words for them.

Perfectly Normal Beast

The Perfectly Normal Beasts are a species that migrate across the Anhondo Plain on Lamuella twice a year (one direction in the spring then back again in the autumn). The migration takes about 8 to 9 days during which time they form a solid mass. They appear from thin air at one end of the plain then disappear again at the other. They are called Perfectly Normal Beasts because naming them normalizes the event of their migration and keeps people from worrying about its cause. It is likely that the Domain of the King was built to take advantage of this odd, mile-wide gap in the bi-yearly migration, situated as it is on a rather nice stretch of land that would otherwise be badly trampled every now and then (or, the space-time warp was specifically manipulated by the Domain's original builder as a matter of convenience).
The local Lamuellans capture the beasts and kill them for their meat. The method uses similar techniques to a matador but also requires use of the Pikka Birds to get their attention. The best of the meat is eaten straight away while the rest is salted and stored for consumption until the next migration. It was consumed on its own until the arrival of the Sandwich Maker and is now always placed between two slices of bread.

Pikka Bird

The Pikka Birds are birds native to Lamuella. They are known for being surprised by ordinary everyday objects and events such as the sun rising but completely ignoring unusual events such as spaceships landing. They are accustomed to staring blankly at a few anonymous atoms in the middle of the air. They are also used to attract Perfectly Normal Beasts. According to Arthur Dent's description of them in the radio series The Quintessential Phase and the novel Mostly Harmless, their eggs make rather a good omelette. On his first encounter with a Pikka Bird, Ford Prefect is disturbed by its physical similarity to the bird-shape taken by the sentient Guide Mark II.
(Pica pica is the Latin name for the magpie).

Ravenous Bugblatter Beast of Traal

The Ravenous Bugblatter Beast of Traal is a creature that hails from the planet of Traal, and will eat anything. The beasts are impossible to kill. To deal with a beast, one should wrap a towel around one's own head. This creature is so mind-bogglingly stupid that it assumes that if someone cannot see it, then it cannot see the person. Despite this, the Guide did state, erroneously, that "ravenous Bugblatter beasts often make a very good meal for (rather than of) visiting tourists" in its article on the planet Traal. This led to deaths of those who took it literally. The guide's editors avoided lawsuit by summoning a poet to testify under oath that beauty was truth, truth beauty, and therefore prove that their claim, the nicer one, must be true. This led to life itself being held in contempt of court for being neither beautiful nor true, and subsequently being removed from all those present at the trial.
In the computer game The Hitchhiker's Guide to the Galaxy, the Bugblatter Beast asks its victims their names before killing them, and carves the names on a memorial outside its cave. The game also describes the Beast as having Lasero-Zap eyes, Swivel-Shear Teeth, and several dozen tungsten carbide Vast Pain claws forged in the sun furnaces of Zangrijad, all implying that it is a cyborg.
According to the radio scripts, the Beast's eyes can turn red, green, then a sort of mauvy pink.
In the 2005 movie The Hitchhiker's Guide to the Galaxy, the Guide has an entry on what to do if you face certain, unavoidable death at the claws of a Bugblatter Beast: the same method for "What to do if you find yourself trapped beneath a large boulder with no means of escape" from fit the eighth of the radio series. The entry is this: "Consider how lucky you are that life has been good to you so far. Alternatively, if life hasn't been good to you so far, which given your current circumstances seems more likely, consider how lucky you are that it won't be troubling you much longer."
In the movie, the Vogons apparently have a Bugblatter Beast trapped inside a metal box, about the size of a shipping container. The Beast is never seen (apart from a large green eye), but the box is continually shaking back and forth. The Vogons use it to execute people who are convicted of crimes such as kidnapping the President, and as such Tricia McMillan was nearly fed to it.

Scintillating Jeweled Scuttling Crabs

Scintillating Jeweled Scuttling Crabs live on the planet Vogsphere, the Vogons' homeworld. Vogons eat the crabs, "smashing their shells open with iron mallets." They cook the crabmeat with the native trees. Although the Vogons migrated to the Megabrantis Cluster, the political hub of the Galaxy, every year the Vogons import twenty-seven thousand scintillating jeweled scuttling crabs from Vogsphere and "while away a drunken night smashing them to bits with iron mallets."

Vegan Rhino

Little is known about Vegan Rhinos. They are mentioned once in The Hitchhiker's guide to the Galaxy when, while having dinner on Magrathea, Zaphod asks Arthur to "try some Vegan Rhino's cutlet. It's delicious if you happen to like that sort of thing"

Vogon Slapsticks

Vogon Slapsticks are odd creatures from the 2005 movie The Hitchhiker's Guide to the Galaxy. They originated, most likely, on the planet Vogsphere. In shape they look like rust-brown poles stuck into the ground with a rectangle on top, sometimes having a hand print inside it. Ford Prefect pulled one out of the ground, causing it to squeal in a high pitched frequency. It escaped Ford's towel and then slithered into the ground. They smack anyone who thinks or has an idea, then disappear back into the ground. Their name originates from slapstick comedy, which involves exaggerated physical violence.

Flora

Fallian albino marsh worm

The Fallian albino marsh worm spends its life absorbing hallucinogenic gas from the marshes of Fallia. After it dies, it turns into a stiff-ish, cigarette-like object. Hitchhikers call these joysticks.
  • One puff and you feel blissfully happy. Love everybody, forgive your enemies, all that stuff.
  • Two puffs make you curious about just about everything, including the horrible death that is probably coming your way for you to have lit this baby in the first place. This is going to be great, you tell yourself. I am about to experience an energy shift to a new plane of existence. What will it be like? Will I make new friends? Do they have beer?
  • After the third puff, your brain explodes and you feel a little peckish. From the novel And Another Thing...

Fluff

While not, strictly speaking, flora by itself, four bits of fluff collected in the computer game The Hitchhiker's Guide to the Galaxy can be made to grow into a fruit-bearing tree. The fruit gives its eater a glimpse of future foresight (necessary for winning said game).

Joopleberry Shrub

A mauvey pink russet plant from planet Broop Kidron Thirteen. It is the basis for the no longer used Shaltanac phrase, "the other Shaltanac's joopleberry shrub is always a more mauvey shade of pinky russet."

Ratchet Screwdriver Fruit

A bizarre crop with an unusual life-cycle. Once picked, the fruit must be kept in a dark, dusty drawer for several years, after which time the outer skin crumbles to dust leaving an unidentifiable metal object with screw-holes and various ridges and flanges. This object will inevitably get thrown away when discovered. There is general uncertainty as to the benefits of this behaviour to the ratchet screwdriver species as a whole.

 

Legal Stuff (also copied from Wikipedia)

Re-use of text:
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The text found above was copied from
http://en.wikipedia.org/wiki/Babel_fish_%28leech-like%29#Babel_fish

The list is a guide to The Hitchiker's Guide To the Galaxy by Douglas Adams
http://en.wikipedia.org/wiki/The_Hitchhiker%27s_Guide_to_the_Galaxy_%28film%29

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NOTES

In my various adventures with ebook pirates, I've discovered that some pirates --who make declarations designed to bamboozle EBay staffers-- are under the impression that popular novels are available free, for all, under GNU licensing.

http://www.gnu.org/copyleft/fdl.html

Only the author of a work ought to be able to "copyleft" (the opposite of copyright) her work, so if you see someone claiming that they have the right to "resell" a colleagues' work under a GNU license, you ought to report the instance.

Trivial Self-Amusement

Did the Staples (TM) saying "That Was Easy" come from The Hitchhiker's Guide to the Galaxy ?
'my, that was easy', says man, and goes on to prove that black is white, and gets killed on the next zebra crossing.

There's a rule of thumb that I was told (repeatedly) when I started entering RWA chapter contests and that is "no more than 6 adverbs per page". It might have been 6 adverbs/adjectives.

The adverbs and adjectives absolutely make this list. Are there any that you'd edit out?

Tuesday, April 27, 2010

7 Pursuits To Teach Yourself Writing Part II

This is Part II, continued from Tuesday April 20.

3) What Is Your Favorite Story

Of all the stories you have floating around inside you, which one(s) are your real favorites?

Which universe have you created that you really live in, while just visiting our shared reality occasionally?

Which character pops up leading your stories most often?

Oh, yes, you have dozens, right?

Probably not. Probably, if you are like most writers, for long stretches of your life you will actually write only one story, about one character, with one problem.

Those Literary Criticism writers I discussed above actually do produce some useful information as they compare works from a given writer over a lifetime.

One thing that turns up among many prolific writers is very similar to what movie critics find about Lead Actors -- there is a single character or "type" and a single story-theme that the writer or actor does with exceptional audience "reach" (breadth of appeal).

And as I have said that I learned from my first writing teacher, Alma Hill, Writing Is A Performing Art.

Writing and Acting are really the same profession.

The skills of one apply to the other.

Very likely, your favorite story will be the story you can craft with the broadest possible "reach."

In Hollywood marketing, "reach" is the measure of how many different demographics will pay to see a work. Does it appeal to 15 year old boys AND 30 year old women, AND 25 year old men and women, and Parents taking their kids, AND 20 year olds taking a date? Can you get them all into the theater? Then you have "reach."

Or you might be in a "niche" market, and not have a very broad reach but really, really REALLY hit that single demographic, 15 year old boys who will drag their date into the theater whether she likes it or not.

And woe betide her if she says she doesn't.

If you read enough biographies, you'll find a lot of very popular writers have been shocked and surprised by the explosion in popularity of a particular thing they've written. Some can duplicate that success, and some can't. I think mostly those who can't are those who have written something very well indeed, but it isn't a favorite inner story of their own.

Why are we talking about this? Because one pursuit you can't stray from is the pursuit of the right mentor for you at this particular time in your development.

That mentor will be someone who is currently selling your favorite character in your favorite story.

If you pursued the study of archetypes, you will be able to see why you resonate to that author's work. Your story, inside of you, is somehow also the same as this author's. But the similarity will be on the highest abstract level, and the differences will mask that similarity in every way possible.

It's the differences that you have to sell. That's your stock in trade.

But what makes your stuff sell is the "vehicle" - the archetype behind it all.

Well mastered craftsmanship lets you showcase the differences and hide the similarities. And that's what gives you penetrating power into an existing market.

If you can't find books on writing by a writer whose work tells you that you belong in his orchestra, in his classroom, among his peers, playing his song, then you must learn by studying how and why you respond to his stories.

A "pantser" learns best by studying what others have externalized. A plotter learns best by studying what's inside themselves. I do both.


4) What Is Your Natural Trope?

One of the pursuits of a writer who wants to reach a broad and deep market, to extract money out of her audience, is the formal education in "literature."

Since the printing press is much older than the moving-picture, there's a lot more written about story-craft in reference to text-based stories than about films.

A film, though, is a story. It's a story in pictures. It's images and iconography, and in many ways far more powerful than the written word. But in other ways, pictures are less powerful than the written word.

But if you have studied the Shamanistic story telling, the Bardic tale, the living oral traditions that led to the Ancient Greek theater, to Rome, to Shakespeare, etc., you surely have noted that the genres created in each medium bear a haunting similarity to each other.

The Adventure, The War Story, The Costume Drama, The Coming Of Age Tale, The Hero's Journey.

Each prototype is adaptable to each medium we've invented so far.

Now, it seems 3-D is the next big thing, but it's so expensive that only the simplest, most visual stories (AVATAR) can be distributed in that medium.

So for the next few decades, I would suggest new writers perfect ways of crating their stories to blend both text and images. In time, distribution costs may come down to where a select few "classics" written for future media will reach future generations.

So, search the inventory of stories floating around in your mind, then learn the popular tropes, the genres, the rule-bound formulaic stories, and study how old genres evolve into new genres.

Consider the "Dime Novel Western," Hard Boiled Detective novel, the Bodice Ripper, the Gothic Romance, the Kickass Heroine SF-Romance, the time-travel Romance, the adventure, the soap opera, the sourcerer's apprentice and all the ever morphing forms.

Then contrast-compare those extant forms with the classic, eternal "storytelling" tropes.

Learn the forms that make classics, then search through the stories inside you and find out what you have in those forms.

Now, it may happen that almost all the stories inside you are of one or another classic form. That could make life easy because you already have inventory to sell. Or it could make life hard because you don't know which one to work up into selling form or where to market it.

But more likely, you will find your own stories are the same as the extant forms you imbibe a lot of. Your favorite entertainment shapes your inner dialogue, but you also gravitate to the extant form that most resonates with your own personal story.

I've discussed how and why this matching happens in several posts on Astrology Just For Writers, with a list of links to them here:

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

And in a discussion of Blake Snyder's SAVE THE CAT! series on screenwriting, is a discussion of what you can achieve with the knowledge of how your internal stories match (or don't) with the tropes that are most popular now, and classically.

http://aliendjinnromances.blogspot.com/2010/04/pausing-for-you-to-catch-up-with-me.html

If it happens that your internal stories just don't match any of the commercial genres, then you have at least three possibilities.

a) You can found a genre with a blockbuster they'll name the genre after.

b) You can whittle, craft, rearrange, develope, unfold, and morph your internal dialogue to match one of the currently extant genres.

c) You can develope a whole new internal dialogue.

Or you can do all of the above. None of this is a betrayal of your personal artistic nature or the gift you bring to the world. It's just mastering a craft, no more complex than learning to talk at age 2.

Storycraft is a language you can acquire as a native speaker -- without knowing grammar, spelling or punctuation. Or it's a language you can learn as an adult, a second language meticulously learned through grammar, vocabulary drill,and ennuciation.

If you speak story as a native, you become a pantser whose stories sell because your internal stories are already in the language everyone else speaks.

If you learn it as an adult, you become a plotter who tells only part of their internal story - the part that can be translated.

So when you've sifted the seething mass of stories inside you down to a set of those that match the external market.

So discovering your natural trope is the 4th pursuit in teaching yourself to write. If your natural trope isn't popular right now, that's a problem to solve by taking up the 5th pursuit, the study of your natural audience.

5) Who Is In Your Natural Audience?

You might think of this pursuit as "Where did everybody go?"

Or perhaps, when everyone is stampeding in the opposite direction from where you're going, you might ask, "What do they know that I don't know?"

As I noted above, actors and writers are really doing the same thing, and so spend a lot of time people watching, especially stampeding herds of people (i.e. trends in reading tastes).

Studying your audience, finding out what amuses them, what they laugh at, what they think about, what they worry about, is very likely the biggest life-long pursuit of a writer.

The commercial fiction writing craft is all about audience "reach" -- how broad an audience can you entertain? How little do they have to have in common with one another to enjoy your product?

But you don't have to be a commercial fiction writer to slice out a demographic of your own and entertain them fully and deeply.

Today, you have self-publishing options, and ebook publishers who are developing famous imprints in very narrow niche audiences.

Today you have many more choices for what to do with your internal story dialogue than ever before.

Find your natural audience, then ask yourself if you want to do what it takes to reach beyond that natural audience.

Very often, that might mean reducing the emotional impact on your natural audience in order to stir and fascinate a broader audience.

Once you've made that decision, you can choose a medium of delivery.

Today, there is a thriving independent film market beginning to develop niche audiences.

In any delivery medium, though, reaching your audience is all about cost, investment, up-front expense.

Part of your expenses as a writer include your education (not tax deductible yet), and the time spent on your day-job.

Who you want to write for, and what mechanism you want to use to reach that audience will shape and empower the fiction you produce.

For example, there was a time you couldn't write a sex scene in a YA novel. That world has changed. But the rules for YA sex and general audience sex scenes, and "Adult" sex scenes are still different.

So you will find yourself re-evaluating what audience you want to write for, and what medium to write in, for each individual work you tackle. Thus studying your natural audience, and audiences around the fringes of your natural audience will become a lifelong pursuit, not a single career decision graven in stone.

When you write a story, you are just like the oldest of old time storytellers. You are standing up before an audience, and what you say, how you say it, when you pause, and when you shout, all depends on how well you know the people behind the faces looking up at you from across the campfire.

Writers are just like actors, singers or dancers. It's the same craft performed in different media.

Writing is a performing art. To master it, you must perform.

And that doesn't mean just write a 1,000 words a day.

The story is not told until someone hears it.

The story is not written until someone reads it.

How well you can get your story to "go over" with your natural audience depends on practice - incessant practice.

But how well you can reach beyond your natural audience also depends on practice. A lot of that practice is practice at getting rejection slips and figuring out what to do about any comments on them.

Learning to reach beyond your natural audience, to reach enough people to justify book publication expenses, to justify a stage production or film production, takes persistent practice.

The more expensive the medium of production, the farther beyond your natural audience you must "reach." And so the more practice it takes.

Finding your natural audience is the first step in a long, involved pursuit. Once you identify your natural audience, you must figure out what they have in common with other audience-fragments you might reach with only tiny adjustments in your internal story's tropes.

And you have to do this over and over again for each story you want to tell. So again and again, it becomes a lifelong pursuit in teaching yourself to write.

However, just as telling your story can't happen until there is someone to tell it TO -- likewise, teaching yourself can't be done in total isolation.

6) Who Is Your Natural Mentor?

When you have done all you can do by yourself, when you have produced several works you have polished until you can't see a difference between your work and the other similar works in your genre, then you need a mentor.

Again, a mentor is not a teacher. A mentor is more like a drill instructor, a martial arts sensei, or a dance teacher or orchestra leader.

Before a mentor can help you at all, you must have the basics down pat, but not to the point where you believe you know it all, or where you've practiced your errors to be habits you can't change.

A mentor does something. You copy it. The mentor tells you what you did wrong, kicks your feet into allignment for the posture, drills you in the forms, tells you your note is flat, sets the tempo. You do it again and again and again until you conform your output to standard.

Who will you accept that kind of discipline from? How do you find that person? How will that person recognize you?

In teaching yourself to write, you will adopt many lifelong pursuits. Searching for your mentor -- and your next mentor and the next -- becomes a lifelong pursuit.

A mentor can't teach you. You can use a mentor to teach yourself, but only if you have defined what you must master and what you're willing to suffer through to master it.

The other 5 pursuits listed here help you define what you must master.

Only you can set limits on what you will suffer to achieve mastery.

Generally speaking, searching for a mentor will most likely not prove successful.

Mentors find you.

A potential mentor is someone who has just recently mastered what you now need to master.

People who are ready and willing to "pay it forward" - to pass on what they have internalized to a non-verbal understanding, will not generally go around looking for someone to mentor.

But they will be working in the field, demonstrating their mastery, cutting a swath through all the competition.

In the course of that, they may stumble upon your output, and recognize that the one thing it lacks is this newly mastered technique.

And they will offer a clue, a comment, a crumb, to help you recognize what's missing.

If you respond by accepting that casual input and putting it to use, incorporating it easily and quickly, and producing something ELSE to show them (not saying, "I made these changes. Is it right now?" but creating something new that does demonstrate an attempt at the technique) -- then perhaps you will capture this mentor's attention.

Once captured, you may not be able to shake that attention off so be careful who you respond to.

The flip side of the coin is that once you accept input from a mentor, you then must "pay it forward." You can't fail to offer that crumb to someone else who is lacking it.

Accepting a mentor doesn't cost money. It's much more expensive than that.

"By your students you'll be taught."

When you offer to mentor someone, you have to be vulnerable to what comes back at you because of it.

From that experience, though, will come your next great work.

Ultimately, that's where all our ideas come from -- other people.

Today, you can accept mentoring after a fashion via printed or ebooks on the craft.

But as with living, hands-on mentors, no one single source will inculcate everything you must master.

As I mentioned above, there are hundreds, maybe thousands, of books on screenwriting and on novel writing.

They all pretty much say the same thing, over and over, in different ways, just as living mentors impart their craft in different ways.

Which book is good for you will depend on who you are and where you are in the learning curve at the moment you pick it up.

You can read the same advice 6 times and think you have it -- then read a 7th book and WHAM finally get it.

It all boils down to little sayings all professional writers know -- such as "show don't tell" "conflict, resolution" "characters must arc" -- but exactly how you personally implement these sigils of the craft depends on who you are.

If you go to
http://www.triggerstreet.com/

Sign up, and then look for JLichtenberg, you will find about 19 in depth analyses that I have done of screenplays others have written (some of the screenplays are still available there for free reading - some subsequently rewritten).

Quickly look through the screenplays and what I singled out as the main problem, and you will find that the same thing happens with screenplays as with novels -- over and over, the real and only problem with beginning writers (and seasoned pros, too) is CONFLICT.

Identifying, developing, and resolving a single main conflict, a thread that runs right through the work as the backbone of the work, is the one thing necessary to sell a work, and the last thing writers master.

Really. All these books on writing try to convey ways, means and methods of getting your mind to grapple with a conflict in such a way that a reader/viewer can grasp that conflict and experience its resolution as the personal payoff to sitting through the storytelling.

Every trope and genre has a specific conflict, and a pattern of events that leads to a resolution of that conflict.

All our lives have a main conflict (the story of your life) -- read my posts on Astrology and Tarot for more specifics.

We resonate to fiction that discusses our main life conflict "off the nose" - subconsciously, or by distancing the issue.

It's CONFLICT that connects your internal stories to your audience's internal stories.

Showing rather than telling CONFLICT is the main technique all books on writing try to mentor new writers into realizing in their drama.

Here are some books that do a fine job of it - books recommended by Rowena Cherry. In my opinion, you would do just fine picking a book off the library shelves or out of the discard bin at a used book store.

7)Books others use or recommend.

Three suggestions from Rowena Cherry - the writer who started this co-blog:
-------
Laughing at myself. Some would say that I did not do a very good job of teaching myself to write... so my list might not be a good recommendation.
Ronald B Tobias's "20 Master Plots" is always close at hand when I draft a new book, but I tend to take two of his master plots at a time, and mix them, one for the hero, the other for the heroine.

"I rely heavily on "The Joy Of Writing Sex" by Elizabeth Benedict (I think), because I don't naturally enjoy writing about sex."

"Al Zuckerman's "Writing The Blockbuster Novel" has some excellent recommendations of blockbusters to read (Thorn birds, The Godfather, Gone With The Wind..." However, I have yet to write a blockbuster, so either the advice left too much to extrapolation, or I am a lousy student.

Probably the latter!"

"Orson Scott Card's "Characterization" book is excellent, but if you read "How To Write Science Fiction and Fantasy" you find the same great advice, pretty much."
--------

I would agree with all three of those.

Pray hard, close your eyes, pick a book, start reading in the middle of the book. You'll find the mentoring advice you need to get started on this pursuit.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Tuesday, October 06, 2009

Stephanie Meyer - Books->Film

--------------
BUT FIRST -- a public service announcement --

"Bloggers — particularly "mommy bloggers" — must now disclose freebies or money they receive to review products or risk an $11,000 fine per post, the Federal Trade Commission announced today. It's the first attempt to regulate what's known as "blogger payola.""

This ruling takes effect December 1, 2009.

That's from
http://baradell.com/ftc-issues-rules-to-end-blogger-payola

As a reviewer, I often talk here or reference books which have been sent to me by publishers (or authors) to review in my review column which is posted at
http://www.simegen.com/reviews/rereadablebooks/

And even if it was a free copy, I'll warn you off of a product that does not meet my standards or point out the flaw which might not matter to you. With a little practice, you'll know my standards and how they compare to yours.

I know I won't remember to put this disclaimer on every post, or to cite the source of every book (very often I don't know who sent me a given novel if I've lost the Press Release, which happens a lot)

Some of these books I discuss are freebies; some are not. And who can remember if some 30 year old title I discuss was sent to me free? Even before I was a reviewer, I was a SFWA member and as such got a lot of books free.

This ruling is impossible to comply with because the data is not available.

However, in this particular post -- I actually BOUGHT a copy of TWILIGHT at a Westercon from BOOK UNIVERSE which is a store operating out of Oregon. I don't yet have copies of the sequels or of THE HOST.

aliendjinnromances.blogspot.com is not my personal blog so I can't put a disclaimer in the header saying SOME books discussed here may have been promotional copies.

The article also says:
"While the FTC will obviously have a hard time enforcing these regulations, there can be no doubt that marketers regularly approach independent bloggers (and especially mommy bloggers) with freebies. When bloggers accept these exchanges, they may not always disclose them in the posts that result. So, while bloggers who are involved in these schemes often tend to say that they would have reviewed the product anyway or that their reviews are often critical, there can be little doubt that payments and freebies influence these stories."


Well, folks, nobody has ever approached me with any freebies because of this blog or any other that I write on. I get books via SFWA, The Monthly Aspectarian, Amazon Vine, and personal requests when I hear of them, and I even buy some. DVD's and other such items likewise. And if you read my review column, you'll see I ONLY review books worth reading (5 star level). Lots of what I get does not get reviewed.
--------END PUBLIC SERVICE ANNOUNCEMENT------------------

I've just finished reading TWILIGHT by Stephanie Meyer, a trade paperback edition from Megas Tingley Books, an imprint of Little Brown.

On the front it says it will soon be a major motion picture. I've had this book for probably half a year high on my to-read stack, and only now gotten to it. I haven't seen the film yet, but I will.

From several sources, notably
http://www.dreadcentral.com/news/33694/stephenie-meyers-the-host-heading-big-screen ( @dreadcentral on twitter)

I saw the following
----------
Twilight series author Stephenie Meyer is about to see another one of her projects up on the big screen, and luckily for us, this one's geared toward adults. Rights to Meyer's The Host have been acquired by producers Nick Wechsler and Steve and Paula Mae Schwartz (who also teamed up for John Hillcoat's adaptation of The Road).
----------

I haven't read The Host (yet). *sigh*

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

you can easily see that I do read a lot of (freebie) books and review only SOME of those. Still, there's more really good stuff out there than I can read.

I've always been a reader, even before I decided to go for publication. So I've acquired a view of the cross-section of the fields I've been discussing under "genres" -- see last week's post.
http://aliendjinnromances.blogspot.com/2009/09/genre-root-of-all-evil.html

That may not be a full and clear cross-section, but it's the view I'm working with.

Your view may differ and that doesn't matter because the point of these posts is to demonstrate the workings inside of a writer's mind, how it works, what you do with what you observe. An artform.

Art can't be "taught" but it can be "caught," which is the basis of the apprentice system of teaching.

The point of these posts is not to argue the veracity of the data used to derive conclusions, but rather to grasp the method by which conclusions are derived from data. First you practice with my data. Then you go find some data of your own and use the same method -- the result will be Art, very distinctively different from anything I could (or would) do, but still with the stamp of commercial potential clearly visible.

With that in mind, and Marion Zimmer Bradley's oft quoted admonition "The book the writer writes is not the book the reader reads" let's take a good look at TWILIGHT and the phenomenon of popularity in general (which is the ultimate point here -- how do you make Alien Romance more popular?)

And now I see what Stephanie Meyers did with Twilight (yes, I plan to read the sequels), how she did it, and what people love about it as well as what people have been complaining about.

As I've mentioned before "spoilers" can't spoil a really good book, and nothing I've read about TWILIGHT before I actually read the novel has made a dent in my own enjoyment of the story.

The story is great, but more on that later.

First let me point out there are many technical glitches that should have been fixed in the editorial process.

One glitch that really grated on my nerves was the portrayal of a non-cell-phone; dial-up internet culture, and then 3/4 of the way through the book, a character casually pulls out a cell phone, upon which nobody remarks, and from then on cell phones are everywhere. That's a continuity glitch.

Editorial could easily have fixed it by involving the Sheriff/father in demonstrations around a new cell tower being built nearby. Only out-of-towners would have active cell phones that would suddenly come online the moment they juice up the tower. Only out-of-towners would complain of the lack of cell service. The addition wouldn't have added any words that couldn't be trimmed from excess verbiage elsewhere.

I can't imagine how that slipped through editorial. But I'm used to reading fanzines and book manuscripts and "ARCs" (Advance Reading Copies) so errors like that don't really spoil the enjoyment of the story.

TWILIGHT grabbed me from the first page. I opened it because it's a Vampire story, but I stayed with it because of the locale.

Years ago, I considered moving to Port Arthur, close to the main setting for this story.

I ended up living in Phoenix, where the author lives, and part of the story is set. So I know both settings, and that may color my responses. The coincidence may not be random.

Now, if you've been studying the "expository lump" as discussed in Sexy Information Feed and the posts linked in it
http://aliendjinnromances.blogspot.com/2008/09/sexy-information-feed.html

And this one on Michelle West's THE HIDDEN CITY.

http://aliendjinnromances.blogspot.com/2008/09/for-my-review-column-httpwww.html

you will understand this statement about Stephanie Meyer's (first novel!) Twilight.

She has committed (and sold to grand effect) a massively unskilled novel, and the truth is that is a very VERY common thing to have happen.

Future posts on astrology just for writers will show you how that happens and help you see when it will be most likely to happen to you. (No, Astrology can't predict "the" future, but it can show you open doors. You and only you shape the way you use those open doors. And yes, I see Divine Will as a component of how things turn out.)

So reading TWILIGHT is very like reading a really delicious fanzine more than it is like reading a tour de force like HIDDEN CITY by Michelle West which will curl the toes of any expert in writing craft and tickle most readers too.

The massive skill deficit behind TWILIGHT is one we have discussed in detail on this blog -- the expository lump and scene structure.

http://aliendjinnromances.blogspot.com/2009/07/6-tricks-of-scene-structure-part-2.html (and it's prequel post linked inside this one)

There is no mastery in Meyer's skill at hiding the lump which is almost the entire middle third or even half of TWILIGHT (I really do LIKE or maybe LOVE TWILIGHT for reasons I'll get to -- I love fanzine writing and I love the "Mary Sue" of which TWILIGHT is a fair example.)

BTW: the title TWILIGHT isn't right for this story. Post your suggestions for a title if you've read this novel or even just seen the film.

I don't know if anyone taught Stephanie Meyer "show don't tell" skills to avoid the expository lump in the sequels, or if all the praise made the editors protect her from learning these skills (I've seen that kind of pressure ruin new writers, and I've seen writers bear up under it and improve in skills despite roaring sales (Katherine Kurtz being an example.)

The expository lump is a tell instead of a show, and the most common cause of lumps is lack of CONFLICT. Without conflict there really is no neat way to SHOW anything. With CONFLICT, "showing" is easy.

Showing is illustrating by actions; or in the parlance of film, staying off the nose. The writer can't illustrate something that doesn't exist. CONFLICT brings things into existence.

In the case of TWILIGHT, the expository lump is disguised as dailogue mostly between just two people, the Vampire Edward and the human Bella.

The ostensible point of all this dialogue (not up to Buffy standards) is "getting to know you." The dialogue consists of asking questions about character, backstory, and worldbuilding facts. Without the appropriate conflicts, there really is no other way to convey this information but "on the nose" dialogue.

When you as a writer find yourself stuck in a dialogue trap, you know you have a missing conflict, and possibly a missing character.

So to get this complex and fascinating "world" across, the plot stops dead in its tracks while two people dance around each other and probe each other but without being at loggerheads, or cross-purposes, or in opposing camps, or misunderstandings, or secrets (think DARK BLUE) or anything that would illustrate a conflict.

But that stopped-plot problem is easily fixable on second draft if you know what caused it.

What really irritates people, even those readers who can't put their finger on it, is that the plot stops dead to progress the Relationship, which contains NO CONFLICT EITHER INTERNAL OR EXTERNAL, and therefore does not progress.

The relationship starts out perfect, without conflict and only a little strangeness which is easily accepted by both. From perfect, there's nowhere to go, so no plot and no plot progress.

During the dialogue scenes, the relationship progress becomes the plot, but there is no conflict to drive that plot, so it just sits there not even qualifying as a sub-plot.

This could have been cured easily by the editor who bought it sending it back with a rewrite note saying "put the werewolves and the killer vampires inside the school with Bella and Edward in Chapter One, and rework it so the threats escalate."

As it is written, both human and Vampire look at each other, storm and fume a bit at the awful problem of being attracted to a soul mate, and then gracefully and without event, they both accept the fact that they're soul-mates and proceed to ask each other questions about the nature of vampirism and relations between vampire and human, their respective childhoods, etc. The question of whether a Vampire even has a soul never comes up.

Both plot and subplot are at a standstill during this. Not even the third plot-line of Bella's mother following a second husband around a baseball circuit in the Southwest interferes with "getting to know you" conversations. Another set of (possibly werewolf) characters circle the edges and provide a hint of foreshadowing, but they don't matter to the "getting to know you" or to the ultimate threat (killer Vampires) that finally causes some action (meaningless and easily resolved action).

The werewolf premise sticks out like a sore thumb, a "plant" for future books. The plot-action here is created by some other vampires who JUST HAPPEN BY at an awkward moment. This violates a cardinal rule of story-telling which, if violated disqualifies the piece as a "novel."

That rule is simple. Accidents can trigger a plot - right before or just at, or just after the beginning, opening, chapter one, or preface. Accidents can CAUSE plot-problem but only if placed at the beginning of the story. Accident can be the "catalyst" beat of a script.

The theme then becomes something having to do with accidents -- karma, well deserved poetic justice, or an illumination of character that explains why someone deserves the adventure or come-uppance, or how things you don't deserve happen to you anyway.

But the cardinal rule is that ACCIDENT can not resolve a plot conflict. There are other forms of narrative that are popular, and don't even have a plot so don't need conflict, but we don't study them here.

Romance needs conflict. Conflict is sexy.

Well, since TWILIGHT has no conflict, there's nothing to resolve so maybe I shouldn't complain about the lack of plotting.

However, the un-caused, un-summoned, expected only by precognition arrival of killer-vampires is an ACCIDENT, so it's in the wrong place in the narrative. It should be in Chapter One.

The arrival of stranger vampires who just wander into town triggers the run-for-your-life sequence that ends in (off-shot, off-stage) violence, but it's violence without conflict.

That structure is the reason for the expository lump.

The only reason to insert the random band of vampires at that late point, after the "getting to know you" sequence, is to attempt a "show don't tell" that it's dangerous to "get involved in the affairs of wizards" and that this little girl Mary Sue character is tough enough to handle that danger (she thinks).

The flaws in TWILIGHT are legion. I won't enumerate because the point of this discussion is not how bad this novel is, but HOW GOOD IT IS, and why and how it has achieved such fame and glory.

I don't know the real story of how Twilight got to be such a best seller, nor how it got to become a film. But through my unique cross-section of the field of SF/F/Romance I see a clue.

The fact that Twilight has been financially successful in the woeful shape that the narrative work is in (it's as if it got published in 2nd draft when it needed to be 5th) tells me something that you possibly are not interested in.

So if you are not interested in the magickal view of the universe, seeing "reality" through the lens of Tarot and Astrology blended seamlessly with Science and even History, stop reading this post here. The rest of this is really, really boring.


*****

Now, all the rest of you try to grab this idea and hold it while you read on.

I personally am delighted and tickled that Stephanie Meyer and both her novels are so successful and can become films. This may be the break we've been waiting for.

These events, which appear on the surface to be Stephanie Meyer's personal triumphs, just as Harry Potter appears to be J. K. Rowling's personal and individual triumph, are in fact much, much larger than these individuals, and possibly not triumphs at all (I've discussed Pluto transits a bit, but there's more to learn -- Pluto transits don't deliver triumph but rather melodrama).

Gene Roddenberry's success with Star Trek went far beyond his personal life.

He's still being written ABOUT, and I've commented on this recent post which I found through a mention on Twitter

http://scifiwire.com/2009/10/michael-cassutt.php

Michael Cassutt has written about how many other people contributed to the phenomenal success of Star Trek (the success we're looking to repeat for Alien Romance) and mentioned Theodore Sturgeon and Amok Time which I've been talking about in this context on other posts on this blog.

Meyer's, Rowling's and Buffy's creator Joss Whedon's successes can be viewed as due to the confluence of what you might call magical forces.

(BTW Rowling and Joss Whedon are examples of success attained AFTER acquiring skill with conflict generating plot which progresses by show-don't-tell not expository lumps, and resolves at a precisely structured ending).

In the magical view of the universe, everything (people, places, things, artifacts) are all connected by unseen threads of energy, resonances. The Universe and all of us are of one piece. I've explained this in my Tarot posts here on this blog.

Rowling's work paved the way for the Twilight teen novel success.

See:
http://latimesblogs.latimes.com/herocomplex/2009/09/hogwarts-bush-witchcraft-harry-potter.html

Which says:
--------------
"Harry Potter" books have sold more than 400 million copies and been translated into 67 languages -- not to mention the history-making film adaptations, which collectively have gone north of $5.3 billion in worldwide box office."
--------------

We all, as writers, aim for such towering achievement, and pursue that with dogged determination and soaring aspiration.

Our society and civilization are structured around some deeply hidden philosphical ideas (the kind of philosophy that rules your personal life even though you don't know you have a philosophy nevermind this one).

We are embedded in and awash with this philosophy. Like air we don't even know it's there. Or like a fish that doesn't know water is there. It's an unconscious cultural assumption. Transmitted to young children in school, it becomes an incontrovertible fact like gravity.

It is a Hellenistic philosophy, a view of the universe within which the entire "scientific revolution" was incubated.

For more on the residue of Hellenistic philosophy at the root of our culture, the root upon which the scientific view of the universe is grafted see my non-fiction book on the Tarot: Never Cross A Palm With silver.

(The publication of my 5 books on the Tarot is delayed waiting for ARTWORK to show-don't-tell the principles).

The following assumes you've read Never Cross A Palm With Silver (see Amazon, that first volume was published on paper), or that you didn't have to read it because you already understand the history of Philosophy. If you can dissect our world into a conflict between Hellenistic Philosophy and Biblical Philosophy (Kabbalah), then the rest of this discussion will make perfect sense.

We sometimes believe, because we are embedded in a Hellenistic world, that success such as Meyer has achieved is something you do on purpose, and somehow she has just had a little LUCK that we haven't had, due to no particular trait of her own that we don't share. Not only that, but she's not as good a writer as some of those reading this blog who haven't published for money yet.

That assumption can trigger jealousy -- "Why should she have all the luck?" "It's just not FAIR!" -- and jealousy (coveting your neighbor's goods) runs counter to one of the 10 Commandments of the Bible.

The magical view of the universe provides some good reasons for that prohibition on coveting as well as the means to avoid coveting (which the Hellenistic view does not provide because in the Hellenistic view, coveting is the essence of human nature.)

Consider when an "advertising campaign" succeeds, how the success is attributed to WHAT the advertising agency did, or how much they spent.

That's like the Hellenistic/Scientific view where the results of what you do depends entirely on what you do and never on who you ARE.

Advertising execs keep trying to do the same thing that someone else did and expecting similar success. That would work in the Hellenistic view of the universe, but not in the magical view.

Have you any idea how much money was spent advertising Space 1999 specifically to Star Trek fans after Star Trek was canceled? Space 1999 was sold as having an inevitable appeal to Star Trek fans.

Do you realize how much of that money was totally wasted because Star Trek fans just turned up their noses at the shoddy product that bore no recognizable resemblance to Star Trek?

The producers of Space 1999 thought they were doing the same thing Gene Roddenberry did, and that therefore it would succeed.

How much money was spent promoting Chicago for the Olympics only to lose to Rio?

Now I can't recall a recent Presidential campaign that spent less money than the opponent and still ended with the impecunious candidate winning. The most money almost always wins political campaigns.

But in political campaigns in the USA, most of the money spent comes from the very people who will vote & from corporations whose advertising responses have taught them public taste. So the amount of money collected for a political campaign is proportionate to the size of the support base for the candidate (sort of).

Sales campaigns don't work like that. All the ad bucks spent on a promotion come from the purveyer not the customer.

Can you imagine paying money to a Fund to pay for ads for Pepsi at the Olympics?

There's a different dynamic at work when you have a product to sell and need to advertise it.

See my post on Marketing here
http://aliendjinnromances.blogspot.com/2009/09/marketing-via-social-networking.html

And notice this post from an Agent on writers' personalities and "networking"
http://cba-ramblings.blogspot.com/2009/10/dedicated-to-lone-ranger.html

When the product you are selling is entertainment, it gets very complicated because what entertains you is influenced by those invisible "connections" that bind us and our material universe into one. I hope to trace some of them for you in a future post here, another part to Astrology Just For Writers.

http://aliendjinnromances.blogspot.com/2008/12/astrology-just-for-writers-part-5-high.html

For now, remember my discussion of the Suit of Pentacles in the Tarot and the nature of a "Pentacle" and what it really symbolizes.

http://aliendjinnromances.blogspot.com/2007/10/ace-of-pentacles-setting-up.html

10 Pentacles can be taken to symbolize the epitome of success in the material world (a type of HEA), and many people would think that Meyer or Rowling have materialized that symbolism. Nothing can destroy the success they've achieved.

Life is never that simple because of all those connections that make us one with the Universe.

Did Meyer's success come only from her own efforts?

Entirely and only from her own efforts, and the efforts of those around her, people she knows, who helped her materialize these novels? (see the Gene Roddenberry post linked above).

Or do we need to examine a much broader cross section of reality to understand what is happening in this world and why, and therefore perhaps understand where it's all going and what it means?

Let's look at a cross section from a different angle and see what turns up.

The first novel in my key universe, Sime~Gen, "went viral" via the Star Trek fan network connected through my Kraith fanzine universe and my professional non-fiction book STAR TREK LIVES!

http://www.simegen.com/fandom/startrek/ for Kraith for free reading.

Sime~Gen spawned about 6 different fanzine publications started by fans and contributed to by fans, discussing aspects of the Sime~Gen universe.

Most of the Sime~Gen fanzine material is posted online and one of the 'zines, Companion In Zeor, is still publishing online. A totally separate "shared universe" co-operative fiction Sime~Gen story is being created by a number of fan writers and posted online.

The master index page is
http://www.simegen.com/sgfandom/

The Rimon's Library section contains most of the fiction and you'll find a separate link to the Co-operative fiction at the bottom of the master index page.

The second Sime~Gen novel, Unto Zeor, Forever, won the Galaxy Award.

For the timeline, see my biography page
http://www.simegen.com/bios/jlbio.html

During and after writing/publishing Unto Zeor, Forever, I brought Jean Lorrah onboard to write the professional novel FIRST CHANNEL in the Sime~Gen Universe. The whole concept of FIRST CHANNEL was entirely Jean's idea.

That was a major first - female-female SF collaboration. Jean had already written some really splendid fan stories which are posted on /sgfandom/ in Rimon's Library.

I don't recall exactly when, but during those initial years a manila envelope appeared in my mailbox with a return address of "Andrea Alton."

As most of you know, Marion Zimmer Bradley had become my writing mentor and really helped sell House of Zeor and Unto Zeor, Forever. She actually wrote one of the paragraphs which survived to the final draft of Unto and taught me how to "sharpen" a sentence by writing my sentence for me. (then I went back and used that technique throughout the novel)

One of the families in Bradley's Darkover series is named Alton (common enough name, but it had never turned up in my mailbox before).

I was active in Darkover fandom, and fans have a habit of taking names from the fiction they be-fan. Bradley had grown up in fandom. So had I.

I looked at the envelope, saw the name, thought it had to do with the fan organizational work I was doing for Darkover fandom (I ran "Keeper's Tower" the group that kept track of official fan groups; I was Fan Guest of Honor at the first Darkover Grand Council Meeting; I grew up on the planet Darkover and eventually sold Marion a Darkover story for an anthology).

With my mind on the Darkover fan activity and the growing Kraith fandom (55 creative artists worked on Kraith at one time or another, and the print run would sell out 1,000 copies within weeks of publication), plus the budding Sime~Gen fandom, I just stared and stared at that name, ALTON on that envelope and mentally screamed FAN HOAX.

Someone was playing a joke on me. For sure.

So I opened the envelope prepared to be the butt of a fannish joke (not the first time).

It was a Sime~Gen fan story titled Belling The Cat by "Andrea Alton."

A rewritten and lengthened version is currently posted here:
http://www.simegen.com/sgfandom/rimonslibrary/cz/cz12/bellcat.html

Here's the editor's notes:
Editorial Note: The following story was originally submitted to A COMPANION IN ZEOR in 1981. After Jacqueline read it, her opinion was that it was a good basis for a professional novel. It was further developed into "ICY NAGER" which at one point had been submitted to Doubleday for publication. Because of that decision, A COMPANION IN ZEOR never printed this piece. What you are reading is the original first draft of "ICY NAGER" which has been available both as a print fanzine and on our Websites. Karen MacLeod

The first draft of the story that landed in my mailbox was PERFECTLY executed, with a firm artistic hand, with a disciplined and full-voiced stylistic cadence, with a deep full throated thematic chord and perfectly reticulated structure. It was better written than anything I could have aspired to write at that time (maybe since, too).

I loved it.

But I loved it because it was MY story.

The quality of the writing freaked me out.

It was a story I had had in my mind for well over 10 years and never told anyone about, that I could remember.

I had dreamed of being able to write and sell that story one day, if the other novels succeeded well enough. But Alton's story didn't have the Action/Adventure genre signature in the foreground as would be required to sell it commercially. It was pure Intimate Adventure.

Alton's story was more like a very well written TWILIGHT.

Alien Romance readers would love it, but there were no Alien Romance readers then, and no real "Vampire As Good Guy" novels either.

My ambition to sell Andrea Alton's Sime~Gen story was realistic since House of Zeor had been mentioned for the Hugo, and Kraith brought me in as a runner-up for the fan Fan Hugo even though the Fan Hugo was never ever awarded for fan fiction and there was a huge anti-Star Trek movement in SF fandom.

I sat there and read the original Belling The Cat story over and over, parsing every sentence, looking for a clue about who was playing a trick on me.

I tried to think who, of all the people I knew which was thousands, who could possibly have heard me mention this story idea, this plot. (every word exactly MINE) I couldn't think of anyone who might have heard me mention it who also had the skill to write like this.

Except Marion Zimmer Bradley.

Apropos of this, many years later when I was a Guest at a Star Trek convention in Great Gorge New Jersey, I met Theodore Sturgeon and told him about how I knew every scene and every plot move and Vulcan detail established in his script Amok Time (but I knew the broadcast version, not the version he wrote) before it was broadcast just from the footnote in David Gerrold's Ballantine paperback THE MAKING OF STAR TREK which noted that in the upcoming Star Trek season, Spock would go home driven by the Vulcan mating drive and the story was written by Theodore Sturgeon. That's all it took, and I KNEW.

Here's my post on Ted Sturgeon.
http://aliendjinnromances.blogspot.com/2009/08/theodore-sturgeon-ask-next-question.html

At the time that Andrea Alton's Belling The Cat arrived in my mailbox, I had already had the experience of KNOWING Ted Sturgeon's plot and mating drive details before seeing the episode. But I had not had the experience of telling him about it.

So I knew that I was capable of grabbing a story off the astral plane that someone was working on or planning to write. I knew what it felt like to access such an unwritten work.

This knowledge undermined my ability to simply attribute Belling The Cat to Marion Zimmer Bradley and call her up and accuse her of hoaxing me and sharing a good laugh.

The postmark on the envelope was not where Marion lived at the time, but she could have pulled off a re-mailing.

Belling The Cat had Marion's strength, but not her "style" -- it had my premise and idea, but not my style or skill level.

There was no clue of a cover letter, no note saying this was a submission to this or that S~G 'zine to indicate the author knew of Sime~Gen fandom, no real title or header on the manuscript. It was just what someone would do to play a joke on me.

In this period, I was "editing" (teaching to write) a bunch of fan writers for Kraith and also for Sime~Gen since we'd begun publishing fiction in the S~G fanzines. I knew a lot of people who would have a blast getting my goat.

And I had to answer that author.

So I wrote a very tentative, very cautious letter (yes, snailmail) kind of hinting that I'd like to know the history of this story and pen name.

Andrea Alton wrote back and said that's her real name and that she wanted to submit the story for 'zine publication.

I don't recall right now if she was a Darkover fan at that time, but she became one. She wanted to submit the story for the fanzines but was very afraid it wasn't good (!!!!) enough.

You see, it was just an idea she suddenly had, and sat down and dashed off as a story, WHOOSH like taking dictation. It was the first fiction she'd ever written.

It took quite a while to convince me of that, but it was really true. Eventually I met her. A real person, and NICE too.

Years later, she wrote and sold a truly fabulous, utterly original, completely perfectly crafted SF novel titled DEMON OF UNDOING.
http://www.sfreviews.net/demonundo.html

The company she sold it to (the high prestige, nothing-but-perfectly-crafted novels packager BAEN) published it in 1988 and immediately offered her a contract for a second book. She turned down the contract. She never sold anything else that I know of.

Eventually Demon of Undoing was one of the earliest e-books, posted online for download. That e-publisher is gone now, and I've lost touch with Andrea, though people write to me looking for her.

I was able to believe BELLING THE CAT was her first attempt at fiction and that she had never heard of my intent to write that story (which I now won't ever write because it's been written) because I knew I had KNOWN what Amok Time would be without seeing it.

Only personal experience can convince you of something this impossible.

Well, impossible in the Hellenistic view of the Universe; not in the Biblical view of the universe.

Andrea Algon wrote more Sime~Gen, and you can find all her Sime~Gen posted online in Rimon's Library.

Eventually, we were close to a chance to sell Sime~Gen novels by authors other than Jean and me. The fan novels we had published were professional quality work. They were fan novels only because they lacked backgrounding (what's a Sime; What's a Gen; What's a Channel; What's a Donor; What's the Tecton; Where did it all come from and why?) But they were all prime examples of Intimate Adventure in styles different from mine.

Andrea was one of the writers we tapped, and she turned the hero of BELLING THE CAT (nicknamed Icy Nager) into the hero of a novel titled ICY NAGER (which we couldn't sell; it's posted online too). And that novel has a fair adventure genre signature.

Now why am I telling you about Andrea Alton and Belling the Cat?

Because this is just one of many, many examples of this phenomenon.

This phenomenon (one person writing another person's mentally sketched (or obsessively dreamed) story and selling it) happens so often that Hollywood (which gets more submissions than Manhattan publishers + e-publishers combined) has a phalanx of lawyers who return submitted manuscripts "unopened" with stern notes of legal warnings.

Any writer who originates something thinks it's original because they haven't seen it anywhere else. And yes, it may never have been made visible anywhere -- but it might have been made visible (Pentacles again) somewhere the writer has never had access to.

One originator may think the other originator "stole" something, plagiarized.

Fans have accused Star Trek of "stealing" their fanzine ideas. I know that many in the Star Trek offices had read at least some Kraith. Fans see a lot of Kraith elements turning up in the films -- elements that were heretical when I first wrote them, long before anyone but Gene Roddenberry dreamed of films. I did things such as destroying the Enterprise NCC-1701, or giving Spock a sibling, or placing Spock's family high in Vulcan society.

But any good writer looking at Classic Trek would have done the same, no stealing involved.

The assumption that what you dream inside your own mind is original and belongs only to you is rooted in the Hellenistic view of the universe, the scientific view.

In the magical view of the universe, though, not only is it possible for other creators to envision or create what you have dreamed privately, it's a necessary condition for the complete description of a magical universe.

Thus, if you've internalized a magical view of the universe, you can't ever feel the urge to "covet" another's work, success, or possessions.

Look again at all the Greek Myths and you see the gods constantly attacking each other from jealousy, covetousness, or just to steal to demonstrate power. Coveting is deeply embedded in the Hellenistic philosophy, so deeply that you can't even find it stated, because it's assumed to be an element of human nature that is a reflection of the gods, immortal and unchanging.

Covetousness of one neighbor's position in life is not possible if you hold the Biblical view.

It's not "forbidden" - it's just not possible.

In my way of looking at it, that Commandment forbids the Hellenistic (or Babylonian, Ancient Egyptian etc etc) view of the universe. Why is that philosophy forbidden? Because it's not true and it doesn't work.

This overlapping creation phenomenon is only one small example of how the real world really works. We are all connected, of one piece, even in our dreams -- or perhaps especially in our dreams.

But of course, there are dozens of other explanations that don't require a Biblical philosophy; as I said above use your own data to derive your own conclusions.

The point here is the derivation methodology.

Take an explanation and interpret a fact. Take a fact and find an explanation. MAKE THEM MATCH to make your worldbuilding resonate with verisimilitude.

OK, look back on what you know of the history of technological innovation. Edison wasn't the first to make a lightbulb, and Bell wasn't the first to create a "telephone." Many patents are held by the second, or tenth, person to invent something, just as with TWILIGHT.


''''''''''

IDEAS (Wands) are "up there" somewhere, and they penetrate this plane of existence following whatever channel of least resistence they find. YOU may be standing under one of those penetration points at any time in your life. (To understand that, wrap your mind around what I've said about Tarot and Astrology - they are not two different subjects.)

Just because you "have" the idea does not necessarily mean you can manifest it (as I had been not-writing Belling The Cat).

The individual who can manifest it will have a certain kind of Natal Chart and be under certain types of transits, and have a soul that's due for whatever lesson that they would learn by manifesting that idea.

That may or may not be you, and there's nothing personal in that.

Yes, everything in art, love, and religion is personal! But that's another subject -- one centered on characterization.

IDEAS that are manifested often go nowhere commercially, as far as the world knows.

A book may "bomb" and sell only a few thousand copies (or a few hundred e-book copies). A movie may not make it past the Festivals. An invention may be a dodo before it's manufactured.

But every once in a while, the right person in the right place at the right time of their life, at the right time of the evolution of The World and maybe Humanity, will ALSO receive an IDEA just at that moment, and of their own Free Will they may choose to act on it.

BANG!!!!!

It "goes viral" because a lot of humans are harboring that idea, can "almost hear" that idea rattling around "up there" above their minds where we are all connected, all of one piece.

The public may recognize the thing as their own dream even if they've never remembered dreaming that dream.

That's what happened with TWILIGHT.

It happened with Sime~Gen too, but on a much smaller scale.

Those who have read TWILIGHT can see the hint of a similarity with Sime~Gen. If not, consider that Sime~Gen has been billed as "Vampire In Muddy Boots."

Stephanie Meyer has achieved with TWILIGHT (and sequels) what I set out to achieve with Sime~Gen (best seller to film), and she's used the same dramatic material that I was using.

For similar dialogue expository lump to TWILIGHT see the early draft of UNTO ZEOR, FOREVER posted online at
http://www.simegen.com/sgfandom/rimonslibrary/surgeon/SURGEON1.html

The published version of UNTO that won the award is 5th draft.

The spookiness continues for me with the news that Stephanie Meyer's THE HOST has been optioned for film (from option to theaters is a long complex journey).

The 2008 HC/pb release of THE HOST by Stephanie Meyer.

It's unusual for an author to be allowed to use the same byline for an adult novel as for a teen novel.

THE HOST has the following premise according to Publisher's Weekly:

---------------
In this tantalizing SF thriller, planet-hopping parasites are inserting their silvery centipede selves into human brains, curing cancer, eliminating war and turning Earth into paradise. But some people want Earth back,

-----------

I have no way of proving the following because it's all in my mind.

Way before I started writing Sime~Gen, I developed several SF universes, all more complex and richly backgrounded than Sime~Gen.

Then I chose which one to launch my career with and discarded the others. In order to write HOUSE OF ZEOR, I had to pare the Sime~Gen background as I knew it way, WAY down to the barest hint.

One of the rejected worlds was a complex world I call the Diasite universe.

I found all the pages (hand-scribbled) ever written about the Diasites while thinking about TWILIGHT and THE HOST.

To my utter shock, none of the premise is on those pages. They're chapter-structured PLOT outlines, remarkably well done considering I didn't know then what I know now about plot outlining.

But I remember the premise, crystal clear, and recently have been noodling around with the idea of casting the Diasites into a feature film format. I keep stubbing my mental toe on the knowledge that "the world" would not accept this -- it's just too SF, even though Hal Clement did something similar in NEEDLE.

Then (just a few days ago) I discovered (via Twitter) that Meyer's THE HOST has been optioned, so I went to look up what it is about. I haven't read THE HOST, and have read only the barest sketch of the premise.

It's the Diasite universe, simplified.

And according to Publisher's Weekly on Amazon, Meyer has learned conflict and how it generates show not tell and avoids expository lumps (but who knows? I haven't read the novel yet.)

Meyer could be more successful than Jacqueline Suzanne.

If you're curious, here's part of the Diasite concept.

The Galactic civilization gives up its barricading of Earth because of an interstellar war and Earth has to become prepared to defend itself, galaxy-class weapons and all.

The prerequisite for membership in the Galactic union (whatever it may be called, you couldn't pronounce it), is that the world that wants to join must accept a colony of Diasites onto their world.

Here's the SF hitch that is more "revolting" than tentacles and that would prevent this premise from become big box office.

The Diasites are energy beings -- pure soul. (think Arisians; Hal Clement's aliens were evolved viruses)

The Diasite home planet was destroyed several revolutions of the galaxy ago.

On their home planet Diasites evolved bonded to physical beings, "hosts."

After nearly going extinct when their planet was destroyed (war with the same encroaching enemy that's "now" reappeared), the Diasites developed the ability to use any Intelligent species as Hosts.

The Diasites are very VERY peaceable beings who don't covet. (no exceptions; and yes that viciates the premise)

So the Diasites have basically created this vast galaxy spanning civilization using their species need for hosts and a trait they can give in return for bodies. They are parasites that have made themselves into symbionts.

Diasites contribute communication.

There is no scientific means of communicating across galactic distances.

But the Diasites are (this was invented before Star Trek) like cells in one brain, and they can all communicate "telepathically" with each other. Distance doesn't make a difference because Diasites don't exist in the space-time continuum, but "above" it where there is no such thing as distance. Hence they communicate instantaneously across galactic distances.

But they can't survive without HOSTS.

So it's a trade.

The member planets of the galactic union "pay" for galactic communications and trade etc. by HOSTING a colony of Diasites large enough to handle all the galactic communications for the planet. You have to HOST to join the union.

So one day (shades of THE DAY THE EARTH STOOD STILL) out of a clear blue sky, a "mothership" of Diasites appears over the U.N. Building.
And the appeal is presented to Earth -- host a colony of diasites and become well enough armed to fight off the menace coming, or don't and succumb (roll the film of conquered planets).

"Oh, sure. No problem. We'll take some of your Diasites. What do we do?"

Well, all you have to do is find (several hundred) volunteer women who will become pregnant with a Diasite, give birth in the usual way, and raise the (utterly indistinguishable from human) child to be an upstanding citizen of Earth.

That's all.

Shades of several horror genre SF stories -- but the SF premise here is that IT IS NOT HORROR. (it's like the Vampire-As-Good-Guy; it's a twist on horror, a reversal).

And yes, this bears a resemblance to "V" but was created long before that TV series.

So the first novel is about the arrival on Earth with ultimatum, the various lies and half-truths about Diasite non-physiology and lifecycle, the terrible angst of finding enough volunteers, the factioning of Earth for and against the Diasites (let's get conquered; we can make peace with those guys, but not rapists), the birth of the children, and their coming of age (entering High School).

(wrinkle - the Diasites procreating into human form never touch the women).

The second novel is from the POV of a young Diasite in High School at puberty.

The entire first generation colony of Diasites matures at about the same time because their mothers were impregnated at the exact same moment.

The Diasites send another Mother Ship to take the first human Diasites into their first reproductive cycle. (oy, the politics)

And of course, right in the middle of all this, the ENEMY arrives at Earth.

Remember, at the time I created the Diasites, and at the time I discarded them in favor of the Simes, it was basically illegal to have sex figure in an SF novel unless your name was Philip Jose Farmer. Today's SF Romance would be considered porn. (plain brown wrapper, under the counter, no book keeping, go to jail for selling it, porn)

Each Diasite novel is in a different genre, -- that's what I've done with Sime~Gen, too. The point I'm trying to make is that SF is not a genre at all, because you can write every genre in it, including Romance. Well, especially Romance.

The third Diasite novel would be the galactic war (think my Daniel R. Kerns novels, Hero and Border Dispute.)

The fourth would involve Earth's Diasites reaching out to free a conquered world and bring that world into the galactic union. (Humans are much better at freeing and bringing-in than most of the rest of the galactics at least in our spiral arm.)

Along the way you'd learn what Diasites really are (human Diasites aren't given to know this until several generations into the colony, but being human they don't want to wait to be told). You'd learn what the existence of Diasites means about the structure of the universe.

Mostly you'd learn about the human Soul and what happens when a Diasite body is conceived by a human mother without a "father."

The Diasite universe is all about religion and sex, forbidden topics in SF of that time.

None of what I've written here is in the "outlines" I found in my files.

I think Stephanie Meyer has probably already written this universe and sold it to Hollywood as THE HOST and anything I might do with the Diasites would be seen as imitating her.

Know what? I hope THE HOST really is Diasites simplified. Look at all that work I don't have to do and the world gets the benefit anyway!

REMEMBER THIS:
Even things you write that don't ever get read by anyone else, even things you think or feel that you never let anyone else see, affect the whole universe and perhaps beyond. Somewhere up there we are all connected. What one of us does in solitude enables another to do in public and neither could do anything at all without the other whether they know it or not.

Jacqueline Lichtenberg
http://twitter.com/jlichtenberg