Women and Children as Aliens

In an earlier post I mentioned the Kuttner-Moore story on which THE LAST MIMZY was based. The original story rested on the theory that children have mental processes fundamentally alien to those of adults. The new film THE MARTIAN CHILD speculates in a similar vein. Based on a book by David Gerrold, a thinly fictionalized account of his own adoption of a difficult little boy, the movie features a widowed writer who becomes the guardian of Dennis, abandoned as an infant. Insisting he comes from Mars, Dennis fears the sun's UV rays (when David first meets him, he spends all his outdoor time inside a large box) and has other peculiar habits, such as taking innumerable Polaroid photos and hoarding common household objects for his "mission." The plot follows this eccentric but highly intelligent kid's experiences in learning to be human. From what I remember of the short story from which the book developed, that version maintained some ambiguity about whether Dennis was really a Martian. The movie's climax, when Dennis proclaims that his mission is finished and runs away to await his rendezvous with the Martian ship, makes it clear that he's a troubled human child who finally becomes able to trust David's love. The closing lines of the script state that all children are aliens, with whom we must learn to communicate. Every one of us must, in a sense, "learn to be human." It's a very moving story; I recommend it. I've requested the book from the public library.

Many decades ago, Dorothy Sayers delivered a lecture titled (ironically, of course) "Are Women Human?" Men, she said, often think and talk about women as if we're some exotic kind of creature. Freud famously asked, "What do women want?"—as Sayers puts it, as if we were potted plants with a simple answer to that question, e.g. "They need lots of phosphates." Nowadays, we've been told men are from Mars and women are from Venus. Linguists still disagree on whether distinct "masculine" and "feminine" styles of speaking exist in American English. I've read somewhere that few women would recognize themselves in the Madonnas and Liliths who inhabit much literature written by men. Although, to be fair, we probably won't find many real-life incarnations of Heathcliff, Mr. Rochester, and Rhett Butler, either. And, come to think of it, why does the dominant critical consensus regard most such books by men as "classics" while relegating those written by women (with notable exceptions such as JANE EYRE and WUTHERING HEIGHTS, which aren't generally considered part of the topmost tier of Victorian literature; they're more like second-level classics) to the category of "popular fiction" or even "trash," even though masculine literature idealizing or demonizing women can't claim any greater degree of "realism" than feminine literature doing similar things with male characters?

If we tend to view the opposite sex or members of younger generations as "aliens," we often find ourselves thinking that way even more so about people from different cultures. The very phrase "illegal alien" emphasizes that natural human tendency to feel suspicious of the Other or, at least, have trouble understanding the Other. Maybe dealing with the Other in our own society—or our own household—if handled wisely, will be good practice for meeting other intelligent species.

4 Pentacles - The Almighty Cliche

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Prepending a note about Linnea's post of Monday November 5th, 2007:

Let's consider HOW to achieve the effect Linnea is urging new writers to strive for. There is a mechanism for it and another motivation to master that mechanism besides winning contests.

Linnea pointed out something I've noticed in every workshop I've taught that was open to beginners.

The use of language.

Believe me, she's not shilling for this column!

I really had no idea she'd post that right before I posted this 4 of Pentacles (written 2 weeks ago, and she didn't see it!) and focused this essay around the Cliche, and an in-depth discussion of the way a living language is wildly abused by spin-doctors (labeling progressive behavior as conservative; creating odious associations with words that actually are uplifting in their original meaning, i.e. jerking you around.)

Since the universe was Created with words, as noted in the series on the Suit of Swords, we must guard our usage of words carefully. Even words spoken without forethought have an effect on the universe as a whole, no matter how insignificant you may think you are.

Words written and read by others have a magnified effect. Our usage of language is one of our tools for soul growth. Abuse can lead to disaster because words are power. Remember this when reading my post later on the 6 of Pentacles.

Spin doctors re-label and twist the meanings of words using SEMANTIC LOADING. By changing the semantic loading, they can change your behavior. So can any fiction writer.

All new writers should google up "semantic loading." And read up on "General Semantics" -- it is an objective method of studying (an entire science) how words create emotional effects.

It is the science behind advertising -- and political campaign "talking points." How you say a thing determines how most (not you and me, because we're writers, but MOST) people will react emotionally to words and thus subsequently behave.

Yes, it's the science of how to jerk people around.

It's also the science behind storytelling in all forms, acting -- everything. It's how to cast an illusion.

There's another study which can replace a lot of the adjectives and adverbs that spoil a narrative -- BODY LANGUAGE. Learn that science.

In acting, that's called "business" -- such as when a scriptwriter specifies that the actor should twitch her nose in order to activate a magic spell. Or the "tell" as gamblers call it -- when a character is lying, he pulls his earlobe every time.

OK, those examples are way too broad. You have to be original and subtle when using these techniques -- semantic loading and business. There are many more techniques that can be learned handily by studying some basic screenwriting books.

Characters, like people, have unconscious habits that bespeak their emotional pitch. Use those habitual actions to SHOW the reader what the character feels (that the character may not even be aware of) without TELLING the reader with florid adjectives and overused unusual verbs.

To implement these techniques in your writing, you must ask yourself what you really meant by using a particular word, then try replacing that word in various ways. Eventually, the choice of word becomes second nature -- habitual (Suit of Swords), but to start out, there's a tried and true way to teach yourself to do this.

There are perhaps 10 or more language-control techniques (some involving sentence syntax) that a writer can use to paint an emotional picture behind the characters, so dialogue can carry the impact without explanations of what each person is thinking (creating the "heads" problem Linnea mentioned.)

Exactly how do you create a manuscript using these word-control techniques after you've gone and looked them up on the web?

You leverage the fact that you're using a computer not pen and ink. You don't have to make it read well in first draft, condemning yourself to months of copy-typing the manuscript every time you edit.

You can lay down each layer of the story, going over the text again and again, adding more and more color each time - deleting bits, tightening, wordsmithing, and actually spend less time producing final copy than ever was possible in prior generations.

So, FIRST you write the story in very plain English, no decoration, no sensory context, no depth of emotion. Plot-plot-plot.

Once it's laid out and you can see how long it has to be, you spot the points where your (ahem) climaxes must be placed. Then you go over the whole manuscript working the emotional tension up to those climax points subtly using those techniques -- and then use word-management techniques, syntax and vocabulary to REDUCE the tension dramatically at the climax points.

You add and trim back wordage so each emotional beat falls on the correct printed page.

Your finished product should have a succession of emotional peaks on precise pages (depending on your market), but in every case the peaks should march in a straight line UP to the final climax at the end when you pull out all the language stops and reach for the sky.

Stagecraft principle is "Less is more."

This diagram of marching climaxes managed by changing language-techniques holds across all genres, even Literature and especially Best Sellers, and in screenwriting. If you can discover the exact pacing of climax points most admired by your particular market, you will be a best seller within that market.

This part of the writing craft really is objective, cut and dried, pure science, and anyone who can craft an English sentence can learn to do this.

What can't be taught is the art of what story to tell in order to say what important thing about Life, The Universe, and Everything.

OK, now to today's work - the 4 of Pentacles and the use of language.

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As noted previously, this is a chapter in a book about the Tarot aimed at Intermediate students of Tarot, not beginners or advanced students. It is particularly aimed at writers looking to learn World Building and Alien Character building.

It should eventually be titled: The Biblical Tarot: The Not So Minor Arcana by Jacqueline Lichtenberg, but who knows? It has no publisher yet.
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And Remember: The meaning of a Tarot Minor Arcana resides in the placement on the Tree of Life (i.e. the number on the card) integrated with the "World" or Suit of the card.

For the Tree of Life and the Jacob's Ladder diagrams see:

http://web.onetel.net.uk/~maggyw/treeladder.html

I don't really go with the way this page explains the Tree, but it is worth thinking about. There are many other ways. For now, ponder the diagrams on this page or Google up some others.

I have been posting here since August 14th, every Tuesday, the 10 minor Arcana of the suit of Swords. The Ace of Pentacles was posted Oct 23, 2007. By accident, the 3 of Pentacles was posted on MONDAY NOV 5, 2007. Look for posts in this series on Tuesdays.

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ASIDE: Rowena posted on Sunday Nov 4th about "Uncivilized Behavior" -- well, here in 4 Pentacles we'll think a bit about what civilization is and what it requires of us. We aren't collaborating on these posts -- truly we're not.
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4 Pentacles

We're now discussing the second circle up from the bottom of the right hand column of Jacob's Ladder. It does not overlay a Swords card.

Words get redefined continuously -- that's the nature of a "living" language, and it's a good thing. But it sometimes makes it hard to communicate across generations.

The slippery word to grapple with under 4 Pentacles is probably "conservative."

Politics and religion have ladled layers of non-meaning on top of the core concept there. It may take some thinking to strip away the negative semantic loading (the emotional content of the word) and begin thinking within the 4 Pentacles domain of definition.

Remember the 4's are all associated with the astrological meaning of the planet Jupiter which rules Sagittarius (ever so much about truth and honesty, painful blurt-it-out honesty).

Jupiter is about growth, expansion, reaching out to include (Saturn being about exclusion), and thus the Law (or legal courts system) and social order and organization.

Jupiter is about how things go your way when you "go with the flow" -- and thus about "luck," which is the result of being in the right place at the right time.

So what's Luck to do with "conservative?"

Ah, well it's hard to grow if everything you add gets thrown away before you add the next thing.

"Conservative" means to conserve, preserve, or keep. It doesn't mean to not-change. It means to BUILD, GROW, systematically improve toward a goal.

Even the dictionary says "conservative" means opposed to change -- but it doesn't. It can't.

You can't preserve something if you try to freeze it in place and refuse change.

Change is life -- life is change! Growth is an essential life process.

"Conservative" doesn't mean death -- it means systematic, targeted, purposive, true-to-the-origin growth.

But, as you know that's not what the modern English language uses it for.

Consider that you can't progress without conserving.

If you have a savings account and put money in to increase your savings -- what happens if you take out as much as you put in? Or more? You have to keep what you've got in order to grow your savings.

Pentacles are about material reality, the concrete level of existence.

4's are about the long, quiet, growth period between commitment and challenge. (see 4 Swords).

The 4 of Pentacles is about the long, quiet accumulation of material resources.

Saving for the vacation of a lifetime is 4 Pentacles. Taking the vacation might be 6 Pentacles.

5 Pentacles would be the part of the saving process where you make excuses to take out of your savings account for other things, or it might be where other people tell you what a miser you are and you believe they are justified in vilifying and rejecting you.

But having a savings goal isn't being a miser.

4 Pentacles is about building infrastructure. 4 Pentacles is investment of capital in growth.

What is capital?

Capital is not money, but it is perfectly represented by Pentacles.

Capital is accumulated (conserved) profit from prior operations.

It doesn't have to be material profit.

For example, your time (time is a Pentacles manifestation) can be capital.

You rush through your work day, gobble dinner, sit down at the computer and invest your saved capital of time by installing and configuring a new program. Your joy knows no bounds. You're now out of time, and have to go to bed to get up and save more time tomorrow, but for the moment you have invested your capital in future joy with this new program you haven't used yet.

Your computer should conserve that install-configure nicely until you get back to enjoy it.

What if it doesn't? What if someone just erases the program leaving your operating system messed up and crashing?

What if that person erased your time investment because they wanted to upgrade your operating system for you and they're mad at you for being so conservative you bull-headedly resist change?

When the expensive, irreplaceable accumulated infrastructure of your life is attacked, you will resist "change" too won't you?

The applicable cliche is, "Don't throw the baby out with the bathwater." Don't discard a huge investment in order to get rid of the dross.

Now take another scenario. Suppose you installed the program, configured it, and then got to use it until it was obsolete (all too soon these days) and now you want to do things that this old program can't do?

Now you will uninstall it, and install and configure the upgrade. Maybe even upgrade your operating system, or even get a new computer.

You made an investment of capital (time) in your program, reaped more from it than you invested by using the program until it became obsolete, and now you are ready to invest more capital.

Conserving isn't anti-change. It is the fastest and most powerful change there is.

Take a longer, more impersonal perspective.

Knowledge (not ideas which is Wands, or feelings which is Cups, or actions which is Swords) knowledge is a manifestation of Pentacles. Knowledge is a concrete thing created from ideas, dedication, and actions.

Knowledge can be accumulated, and in fact it is said we stand on the shoulders of giants.

Civilization isn't just the business of living together in cities rather than following herds as nomadic hunter-gatherers. Civilization is vertically integrated through time.

Civilization means conserving all the knowledge so hard-won in the past by our ancestors, adding to that database, always investing and investing more and more of our intellectual capital for future generations. And so we grow.

High School students often feel that being dragged through old experiments that prove that something is true -- but today we know it's not true -- is a futile waste of time. But it's not. By walking through, hands-on, the experiments that led to new knowledge, subsequently proved false, we come to understand that today's truth is tomorrow's falsehood. What we have is theory which can be overturned at any time by new facts. And we learn how to explore the world to add to human knowledge.

Some people call the defenders of an overturned theory "conservative" -- but they're not "conservative" if the old theory really has been overturned.

The true conservative will grab for the new theory with both hands because it represents growth, just as the satisfied computer user above would gladly install the upgrade to his wonderful program once he's garnered his profit.

So we pass down our accumulated knowledge (our intellectual capital) from generation to generation, and that is the hallmark of civilization and the essence of 4 Pentacles.

We also pass down accumulated wisdom, techniques for managing human emotion, methods of living productive lives, procedures for developing sound relationships.

As science is still a work-in-progress, so is our wisdom. In fact, science used to be "Natural Philosophy" and Jupiter is Philosophy (ruler of the natural 9th House). All 4 of the 4's are represented by Jupiter.

As in both science and wisdom, what we have accumulated should not be discarded when something new is added, or you will have only the new tidbit and have to start the infrastructure build over from scratch, perpetually reinventing the wheel.

The body of wisdom can be enlarged (Jupiter - 4) to include the new, even when the new contradicts the old. We hold those two contradictory truths until a new one comes along to resolve them. If we forget the old untruth, then someone will ask if it's actually true and repeat the entire experimental research procedure, wasting capital that could be invested in progress.

So how do we pass down wisdom?

For the last thirty years or more, book editors and Hollywood film makers have forbidden the "cliche" from stories of all kinds.

As a result, few young people have even heard some of them.

Why are they cliches? Because they got repeated until people couldn't stand the sound of them any more. (me, too)

Why did they get repeated so often?

Because they are hard won, expensive lessons encapsulated for easy transmission. Learning the cliches is as unpleasant as learning the original lesson someone suffered through because they will be recited at you every time you make that old mistake. Repetition is the only way humans learn this kind of thing. So cliches are a treasure trove we have discarded.

That inventory of cliches is Wisdom Capital deleted from our astral plane hard drive.

Repeated cliches feel just as futile as the High School science lesson about a lab experiment that proves something is true -- when we know it's false.

In fact, cliches do sound false to those who have not learned the lesson by living through it.

A stitch in time saves nine.

But we don't mend things anymore. We throw them away and get new.

Think again. That cliche isn't about sewing or mending. It's about doing what you don't want to do NOW before your neglect causes you to have to do even more of what you don't want to do later.

That is, it's about procrastination -- which unfortunately will never be vanquished from human nature.

Featured on recent commercials: The nail that sticks up gets hammered down. (Be the hammer!)

That's not about nails or hammers. It's about the wisdom of conformity -- or seeming to conform -- or imposing conformity upon reluctant others. It's about individuality, the foundation of the philosophy of the U. S. A. pioneers. Note this one surfaces as a commercial when China is rising to ascendancy.

There are thousands of these wisdoms that have been banned from our media, with a few daring exceptions, and some uses in comedy.

Is it any wonder that younger people don't have the mastery of these techniques of life at the same age that their grandparents mastered them?

The capital of thousands of years of experience has been discarded, leaving only the one new thing in hand, and abandoning all these young people to reinventing the wheel instead of adding to human accomplishments.

4 Pentacles also describes the situation where you are building a business relationship.

Building relationships is badly disrupted today as people change jobs fast. Today's postman is gone next week. The clerk at the hardware store is gone. The hairdresser you like is gone.

Your doctor is gone. Your dentist is gone. Your editor or her assistant is gone. Your agent is gone. You spend thousands of hours developing relationships with them so they understand who you are and what you need so that when an emergency strikes, you get efficient responses without friction.

All that time-capital is wasted when the person moves on to another job or location. Or when you move. Capital is destroyed and you must start again from scratch.

Small wonder people today are not enthusiastic about building long-term relationships. But of course it's irrational to resist change. Change is good -- the ultimate good, progress! Right?

So 4 Pentacles is about the long, quiet accumulation of knowledge, wisdom, money, relationships, time -- the accumulation of capital which you will (in the future) profit from investing.

To accumulate, you must hold on to what you have while you get more. The cardinal rule of Wall Street is "don't lose money," more than it is "always make money."

The Waite Rider deck depicts 4 Pentacles as a figure with two coins under his feet, one in hand, and one over his head. Old, well built, solid capital under his feet, plans for new innovations over head, and a project in progress in his hands.

We know, from the second oldest profession (cliche!), accounting, that your liabilities (debts) are part of what you have. So 4 Pentacles is also about debt. Just as in business, in the rest of your life, you must borrow in order to grow, and then pay back.

Growth and real change is a long, systematic process. Once begun it can't be changed until completion. You must use the borrowed capital to make a profit, then return the capital paying off your debt. Then you can move on to the next process. Not before then.

In writing a novel, you have to finish it and polish it before you take it to your critique group (5 Swords).

Cliche: Don't change horses in mid-stream.

It's not about horseback riding or the nature of rivers. It's about commitment (the 3's).

Commitment is about the situation your project is in after the 3's processes have been passed through. It's about how change costs capital and sometimes isn't worth it, even if you made a wrong choice in 3 Pentacles.

Karmicly, you took this lifetime to be you for a while, wearing this personality, working through these life-events in this order. You can't become someone else or change your life into someone else's. You want to, though, because you almost remember being so many other people.

If you blow away this life, all the work of those prior lives is destroyed and has to be done over from scratch. You can't make progress going round and round, doing things over.

So Conservatives are about progress and progressives are about destruction to the extent they throw the baby out with the bathwater. To make progress you must build on what has been accumulated. (The 5's & 6's are about judging when you should clear everything away and start over.)

4 of Pentacles is about the accumulation of capital and debt, but remember Pentacles is the end-result, the materialization, of all the ideas, emotions, and actions that have gone before. Without what went before, (WRITERS: "backstory" goes here) there would be no value in these Pentacles.

And 'before' is not just this one lifetime -- but all prior lifetimes.

So 4 Pentacles includes your karmic credit and your karmic debt. 4 Pentacles is what you have been building at the soul level for lifetimes.

Thus when you find yourself in a position where what you are doing is costing more than it seems to be worth, it's possible you are in a 4 Pentacles Reversed situation of paying off a karmic debt.

4 Pentacles Reversed can be about procrastination (that's how you get karmic debts, you know, by not paying them off in the lifetime where you accrue them), or it can be about a failure to conserve, a failure to build on what has gone before. You may be discarding the wisdom contained in cliches just because it annoys you.

Psychologically, the 4 Pentacles Reversed can be the subconscious defending against a minor pain by using a major crippling tactic, keeping you trapped doing the same thing over and over.

In Astrology, Jupiter represents a happy, expansive, lucky, magnanimous and generous force for growth. Jupiter is all about accepting and including, and growing thereby.

Jupiter builds civilization both by enlarging it in the current day, and integrating vertically through time, binding past to future through the present. (Jupiter rules the natural 9th House which includes "higher education.")

Jupiter can expend wantonly, but Jupiter is never a miser. So though the Waite Rider deck's picture makes some sense, the typical interpretation clashes with the ingredients in the meaning, 4's and End-Result Pentacles.

Take our writer who started selling her work in the Suit of Swords. Now she's FOUNDED A CAREER (despite the lousy packaging of her first novel) with her second work started in Ace of Pentacles, worked down through 2 and 3 of Pentacles and now in 4 Pentacles she has contracts for two years of work ahead, -- because (note that because) she is building on the success of her first book which was built on years of struggle to master the craft.

Here in 4 Pentacles, she will be writing sequels, and thus capitalizing on her prior work. She will be incorporating the hard-won lessons learned in 8 Swords and 9 Swords, and she will be avoiding mistakes that cost grief before.

She will be investing in a professional relationship with an editor and publishing company. She will take pride in delivering product on time and in good condition. (Yeah, she has to upgrade her word processor, *sigh*).

She will be conserving her prior work, translating it to the new word processor, building on it, expanding on it, capitalizing on it. Even unpublishable things she wrote that are penny-dreadful (cliche!) can be mined for kernels of wisdom.

If someone came along and told her to change her byline and abandon all her prior work because change is progress, she'd probably punch his lights out.

And then she'd stand accused of being against change. But she's not. She's changing as fast as she can write, faster maybe than the world can keep up with her.

How many characters have we written who defend civilization against the forces of destruction?

How many times a year do our characters save the world, the universe, humankind, alienkind, etc.?

The motive of those characters is the 4 of Pentacles -- what has been invested can not be retrieved until the profit has materialized.

Perhaps a better image for the 4 of Pentacles would be the hen sitting on a nest of four eggs.

The hen's not against change, is she?

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

More Is Not Better: Judging 3 Contests in November

(This blog also appeared on The HEA Cafe)

While the title of this blog may appear to reflect my sentiments at having three writing contests to judge in one month, it is (deliberately) misleading, with a tad of double-duty. Okay, three contests while in a howling deadline is tough. But that's not the more I want to talk about.

I want to talk about word choice and word use, because in judging three writing contests back to back, I saw a lot of the same problems, over and over. So if you're yet-to-be-published and using contests as a means to get feedback and a possible entry to an editor (a method I heartily endorse!), this is a blog you might want to take note of.

You can read my first blog on those issues on this Alien Romances Blog here. It's called "On a Score of 1 to 10", referencing the score sheets that accompany each entry. I wish I could give every writer a perfect ten. I wish I could have all their entries sent to the final judges, the editors and agents. I wish I could jumpstart all those careers. I can't. Three of those reasons: Flying Body Parts, Head-hopping and Dialogue Tag Usage, are detailed in that blog. You might want to start there, then come back here.

Ready? Okay. More is not better. More words, more description, more adjectives do not a better story make. Good writing is all about choosing the word that most succinctly and memorably imparts that image or sensation. It's not about dumping words on a page like a bucket of confetti.

I read far too many first-three-chapter entries in a variety of romance novel categories that suffered from this problem. At first I thought it might be because my poison of choice is science fiction and fantasy, and I'd lost my ear for contemporary or chick-lit. Not so, I realized, when I ran into a few entries—one was a lovely historical romance, another a contemporary with a distinct Texas-twang—that just flowed. They were tight, imagery was on-point, pacing was perfect. And they were in genres I normally wouldn't chose for myself. So if I can be beguiled by what I don't like, imagine how much easier it would be for me to be seduced by my preferred genres? And yes, I did judge a paranormal that erupted with so many adjectives I felt as if I needed to hose myself off afterward.

So it wasn't genre. It was word choice and word usage.

Noted science fiction author C.J. Cherryh calls the problem "Florid Verbs" and "Scaffolding and Spaghetti." The woman's books have won Hugos and Nebulas and she's been on bestseller lists for decades. When she gives writing advice in her Writerisms and Other Sins, I listen:

FLORID VERBS:
'The car grumbled its way to the curb' is on the verge of being so colorful it's distracting. {Florid fr. Lat. floreo, to flower.}

If a manuscript looks as if it's sprouted leaves and branches, if every verb is 'unusual', if the vocabulary is more interesting than the story...fix it by going to more ordinary verbs. There are vocabulary-addicts who will praise your prose for this but not many who can simultaneously admire your verbs as verbs and follow your story, especially if it has content. The car is not a main actor and not one you necessarily need to make into a character. If its action should be more ordinary and transparent, don't use an odd expression. This is prose.

This statement also goes for unusual descriptions and odd
adjectives, nouns, and adverbs.

I'd highlight the "odd adjectives, nouns and adverbs" here. And not just odd, but simply overdone. You can tell me (though I'd prefer you show me) that the hero has muscles. But the third time in two pages that I read something about his "hard, sculpted, sinewy, muscular" chest or forearms, I'm ready to scream, "I get it, already!" The heroine runs her fingers down his sculpted, muscular chest then over his sculpted, sinewy arms—which are rock-hard, by the way—and then notices as he puts the coffee pot on the shelf how his hard, sculpted, muscular, sinewy muscles ripple.
The heroine also has time to notice—in detail—her own appearance and attire, flipping her soft, silvery-blonde, lustrous and wavy hair off her slender, cashmere-clad shoulders with her slender, delicate, French-manicured fingers while her perfect alabaster complexion glows in the candlelight. Yes, all in one sentence like that. Not only do I hate her as a character, I'm in imagery overload.

Which brings me to another suggestion from Cherryh:

SCAFFOLDING AND SPAGHETTI:
Words the sole function of which is to hold up other words. For application only if you are floundering in too many 'which' clauses. Do not carry this or any other advice to extremes.

'What it was upon close examination was a mass the center of which was suffused with a glow which appeared rubescent to the observers who were amazed and confounded by this untoward manifestation.' Flowery and overstructured. 'What they found was a mass, the center of which glowed faintly red. They'd never seen anything like it.' The second isn't great lit, but it gets the job done: the first drowns in 'which' and 'who' clauses.

In other words—be suspicious any time you have to support one needed word (rubescent) with a creaking framework of 'which' and 'what' and 'who'. Dump the 'which-what-who' and take the single descriptive word. Plant it as an adjective in the main sentence.

Flowery and overstructured. More is simply not better. Plus it lends itself to inaccuracies.

As a writer, your job is to be a wordsmith. Okay, I call myself a wordslut but it's essentially the same thing. You have to love words but you also have to know how to use them. You have to know what their use is, what their flavors and nuances are. Pretty does not have the same meaning and mind-image as gorgeous. Plump isn't the same as obese. Red, crimson, burgundy and rose are not the same shade. House, cottage, mansion and chateau all create distinctly different images.

Descriptives in your prose—be they adverbs, adjectives or phrases—are like spices. Too much and the dish is overwhelming and unpalatable. Not enough and it's bland. Spend more time finding the right adjective to attach to your character, rather than burying him or her in an avalanche of description that becomes, essentially, meaningless. Or worse, comical and cliched.

Better yet, show me your characters are beautiful and strong but putting them in action. Telling me your character is gorgeous is your opinion. How do I know your definition of gorgeous segues with mine? But if you have your gal walk down the street and every man she passes stops and stares, jaws-dropping...I experience her beauty through them. You don't have to tell me. You've shown me.

So go over those first three chapters you're working on for that contest with rake in hand. Scrape out the detritus, the word-weeds, the literary-litter. Then send it in. And I'll give you a perfect ten.

~Linnea
http://www.linneasinclair.com/
RITA-Award Winning Science Fiction Romance
The Down Home Zombie Blues, coming Nov. 27th from Bantam Books

4-1/2 Stars—Top Pick! From Romantic Times BOOKreviews: “Quirky, offbeat and packed with gritty action, this blistering novel explodes out of the gate and never looks back. Counting on Sinclair to provide top-notch science fiction elaborately spiced with romance and adventure is a given, but she really aces this one! A must-read, by an author who never disappoints.”— Jill M. Smith

“[Sinclair’s] exceptional attention to detail…and quirky slant on the genre highlights her solid world building and allows even passing fans of science fiction to enjoy the ride.” — Nina C. Davis for Booklist

Never enough time

I hate deadlines. Just the thought of a deadline makes me shut down in total rebellion. This must be done by this date or else! I've yet to see what the or else is and luckily when I haven't met my deadlines my publisher has been very understanding but still, I just hate them.

I think I understand the reason why now. When turning in my last book, Twist, which will be out in February, I ran up against the brick wall of deadlines. The book was coming along great and would have been done early when my editor threw a kink in the works and said take out all Vampire references. Two hundred pages into the manuscipt and I had to re-evaluate the story and get creative in a hurry. My editor was great and we worked it out and then my dad was diagnosed with cancer. I lost two months, responding to his emergencies, trying to write in hospital rooms, and all the time lost in traveling to and from his home. Plus mentally it was impossible to write. Miracuously, I was only two weeks late on my deadline, but we were already cutting it close and then the book is up against the wall as far as how quickly things have to be done in order for it to be on the shelves come February.

I got my edits from my editor and was allowed two weeks to do them. Once again, I lost a week with my dad but got them in on time. And this past week I just did the page proofs and realized there was so much more to this world to be explored, if only I'd had the time to pursue it. I feel like the story is incomplete, in my mind. There's so much more I want to develop, so much more to explore, so much history to write. If only there was time.

But now I have another deadline. It's March 1 and I've only got three pages written so far. I know come the first of the year I'm going to be in trouble because I can't concentrate now.

I hate deadlines.

A Novel About Aliens in Disguise Among Us

Last week I read Nina Kiriki Hoffman's 2006 novel SPIRITS THAT WALK IN SHADOW, featuring members of the magical family introduced in THE THREAD THAT BINDS THE BONES. Although human, they have powers they have to keep secret, which make them in a sense alien to the ordinary majority of humankind. They remind me of Zenna Henderson's People, although less benign. In Kiriki's novel, told in alternating first-person chapters by the two protagonists, Jaimie has undertaken the radical step of enrolling in college. Since her branch of the family is rather isolationist, she knows little about the outside world. Such mundane phenomena as money are mysterious to her. Having an outsider for a roommate is a challenge. Jaimie has to remember what topics she's forbidden to talk about, and she has to conceal her powers, such as her Sign Air ability to shape tangible objects out of the surrounding atmosphere. Her roommate, Kim, is initially suspicious of Jaimie's strange ways, including the pagan rites with which she and her father consecrate the room.

Jaimie discovers that Kim's deep depression is not natural. Kim is the prey of a viri, a truly alien species living in disguise among humanity. Viri can take any form but usually choose the human shape for ease of interaction with potential prey. They have no gender of their own, reproducing by fission when they've fed enough to build up excess mass. They feed on emotion. Kim's viri has been stimulating her bouts of despair. Many viri, however, don't harm their prey, feeding moderately and preferring positive over negative emotions. Even Kim's viri turns out to be not so much evil as trapped by her (or his, as the creature finally becomes a half-grown boy) addiction to the irresistible taste of Kim's energy. The resolution at the end takes a non-violent form that I found very satisfying. I always enjoy tales of other species trying to fit into human society, so I recommend this book.

3 Pentacles -- Doctorate

As noted previously, this is a chapter in a book about the Tarot aimed at Intermediate students of Tarot, not beginners or advanced students. It is particularly aimed at writers looking to learn World Building and Alien Character building.

Updated and expanded compilation of all these Tarot Just For Writers entries is now available on Kindle:

The Wands and Cups Volumes and  the Swords and Pentacles Volumes, are now all available separately on Kindle.  The 5 Volumes combined are also available on Kindle as one book, cheaper than buying them individually.

The Not So Minor Arcana: Never Cross A Palm With Silver Aug 30, 2015 99 cents
http://www.amazon.com/gp/product/B0108MC26O

The Not So Minor Arcana: Wands Sept. 1, 2015  99 cents
http://www.amazon.com/gp/product/B0106RVPKU

The Not So Minor Arcana: Cups Sept. 11, 2015 99 cents
http://www.amazon.com/gp/product/B0106SATX8

The Not So Minor Arcana: Swords  Sept. 17, 2015 99 cents
http://www.amazon.com/gp/product/B0100RSPM2

The Not So Minor Arcana: Pentacles  Sept. 21, 2015 99 cents
http://www.amazon.com/gp/product/B0106RVKF0

The Not So Minor Arcana: Books 1-5 combined Sept. 24, 2015 $3.25
http://www.amazon.com/gp/product/B010E4WAOU

This series is designed not for the beginner or the advanced student, but for the intermediate student and specifically for writers doing worldbuilding..

---------------
And Remember: The meaning of a Tarot Minor Arcana resides in the placement on the Tree of Life (i.e. the number on the card) integrated with the "World" or Suit of the card.

For the Tree of Life and the Jacob's Ladder diagrams see:

http://web.onetel.net.uk/~maggyw/treeladder.html

I don't really go with the way this page explains the Tree, but it is worth thinking about. There are many other ways. For now, ponder the diagrams on this page or Google up some others.

I have been posting here since August 14th, every Tuesday, the 10 minor Arcana of the suit of Swords. The Ace of Pentacles was posted Oct 23, 2007.
-----------------

3 Pentacles

Look back over the Ace and Two of Pentacles and note how we are juggling more and more variables to arrive at a meaning for a particular Card.

Check out the Jacob's Ladder diagram again and note where the Pentacles begin to dangle down below the Swords repetition of the Tree, so for those Pentacles there is no underlying or overlapping Sepherah to resonate with.

When there is an overlap, both the overlapping Cards take their meaning from 4 variables -- the Suit and Number of the underlying Sepherah and the Suit and Number of the overlying one.

The 4 variables combine to manifest two separate but related processes or life experiences.

Mastering this kind of synthesis will help a lot in learning to figure out the meanings of the Major Arcana.
The thesis of this series on the Tarot is that "Minor" and "Major" are not appropriate tags for these segments of the Tarot deck.

That's why it's titled The Not-So Minor Arcana. The numbered cards are the fundamental source of the meanings. The "Major Arcana" are not-so Major because their meanings are derived from the two Minors they link.

There is only one set of Majors, not 4 different ones, so each one manifests as 4 different things as processes move down the Ladder.

Not only that, but as you've noted, at certain points where Sepheroth overlie each other, a single Major joins 4 Sepheroth each of which is composed of 2 variables -- so to figure the Major out you have to juggle 8 of these abstract variables at once. And then you've only figured out one of the 4 possible manifestations of the Major.

To grasp the essence of the Major, you must find how all 4 manifestations of that Major are the same -- even though they are demonstrably different.

If that sounds like screenwriting or even novel writing's primary demand "just like something famous but totally original" you got it!

I'm describing a mental exercise in abstract thinking worthy of a college degree.
That's why I think of the 3 of Pentacles as a Doctorate.

A doctorate is specialization. Short of being Spock of Vulcan or the Renaissance Woman, to be a Doctor of Medicine is to not-be a Doctor of Mathematics. All the 3's are about commitment, choices, crossing a threshold leading beyond the point of no return. The decision made at 3 is irrevocable.

So what does it mean to be a Doctor?

You get a Ph.D. for making an original contribution to the sum total of human knowledge. Once you've taken the lid off Pandora's box and let loose something new - you can't undo.

Pentacles is "Reality" or the realization of something, the materialization.

3 is specialization, the moment of birth leaving behind so much of the immortal soul in order to manifest as this particular person living this particular life.

3 is about a point of no return -- a commitment.

Recall from the 3 of Swords how 3 is a process of commitment, a "de"cision. You can get anything in life, provided you're willing to give up everything else. Your identity is defined (at the moment of birth represented by 3) not by what you are -- but more by what you are not.

To be anything, you must not-be everything else.

In other words, specialization.

So 3 Pentacles is an achievement "they" can't take away from you. An accolade. Education.

Skills and abilities. Once trained and educated, you are irrevocably changed and so is your environment.

But most of all the 3 Pentacles is a spiritual elevation, a hard-won maturity, such as results from the trials and tribulations we writers put our favorite characters through. It is the degree in the school of hard knocks.

Since we've been tracing the writer's experience producing a novel, we can think of the 3 of Pentacles as the dividing line between professional and amateur. That may take more than one sale. You have to prove it's not a fluke, that you can meet deadlines rather than just write when inspired, and that you can take editorial direction.

The "would-be" is dropped from your title of writer when you finally get that first sale, or second or third, whatever it takes to qualify for membership in a professional writer's group.

Underlying the 3 Pentacles is the 8 Swords, the trial by fear, confusion, and knowing or not-knowing too much about risks. 8 Swords is "thinking too much" before acting. (8 is thinking, or Mercury, and Swords is action, also Mercury). And remember, 8 Swords is the process of editorial direction -- a maturing lesson.

What do you get when you combine the 3 Pentacles and the 8 Swords? How about Over-specialization? Or, "I'm sorry, but you're over-qualified for this job."

The 3 Pentacles is a degree, or accolade (writing contest won?) which distinguishes you, which bespeaks your professionalism and character to the world -- it tells the world what you have done and therefore what you can do -- but it also tells the world more loudly what you therefore can NOT do.

The very same achievement which is an accolade can be a stigma in another context.

If you submit your new novel to a contest which is known for giving awards to low-quality work, work so shoddy it shouldn't be published in that draft, and you win with a well-structured, clean manuscript -- you have made a 3 of Pentacles moment, but it's an accolade that is a stigma.

And it's a point of no return. You've made your bed, now you must lie in it. (if you haven't figured it out yet, I LOVE cliche's!)

Remember the 3 of Swords and the discussion of 3 as the Gates of Life and Death.

3 is about "who" you are, defined by who you are-not. It is the moment at which you are specified.

Pentacles are about manifest reality.

3 Pentacles then is about your purpose in taking this incarnation, your personal reason for existing as the individual you are.

Very often a writer's whole purpose for living is to produce a certain novel -- which takes a lot of practice producing novels before that one important one can be even conceived, never mind actually written.

Some people, when they finally achieve that life's goal, find they no longer have any reason to live, and they don't survive very long. Or they subconsciously recreate the struggle because they can't stop struggling.

3 Pentacles can represent that well-known situation where someone has been wronged (a lover murdered before the wedding, an inheritance pre-empted, being left for dead by a trusted partner) -- and they then dedicate their existence to revenge.

Revenge achieved is a 3 of Pentacles moment -- a moment which forever defines the individual.
It is a threshold to the 4 of Pentacles leading onwards through life, but often is a trap.
Think of the actress showered with Oscars for her beauty, grown old and trying to make a "come back."

Often the obsessive (think Pluto in the natal chart), focused energies necessary to achieve revenge or a comeback leave the person unable to let go of that focus. Such a person will then set up their lives so they are constantly recreating and reliving that revenge, over and over and over again. An embittered, narrow life of misery results.

That's great fodder for novels, but no way to live.

Megalomania can be a twisted sort of 3 of Pentacles process -- the obsession with one's own status, dominance, and imaginary (remember 8 Swords, imagination usually focused on fears, but it can be anything) anointed royalty.

The 3 of Wands has more to do with the mind while the 3 of Pentacles has to do with the manifestation of the mind, the brain.

The 3 Pentacles Reversed can represent an imbalance -- see 2 Pentacles -- where something is lacking. That lack might be the amount of effort, the discipline to acquire the prerequisites, the determination to read and follow all the directions submitting to the contest, neglecting to check the building code when renovating and flipping the house bought as a project, or spending too much time partying during your senior year and ruining your grade point average.

That pull-back, an inner psychological leash on your output effort, can be psychologically the result of the underlying 8 Swords process of facing fears, developing the ability to accept damage as part of the process of achieving goals, the ability to discipline the imagination, and apply the mind.

The solution to 8 Swords reversed is 3 Pentacles -- making your achievement public, putting your money where your mouth is, taking a stand on the issues.

The solution to 3 Pentacles Reversed is often going straight through the 8 Swords process.

For example, if you have written a great novel -- you must somehow find the courage to stop imagining (8 Swords) and just submit (point of no return, 3 Pentacles) the thing to an agent or editor!

And remember, 8 Swords is the "yes-but" process of responding to editorial direction. "Yes-but" loops are often hit when friends give advice. When you get caught in a "yes-but" loop, you can't get to 3 Pentacles directly.

The 3 Pentacles Reversed is the condition of being stuck, striving for a goal and failing, then repeating the same striving without re-evaluating, without the thinking process of 8 Swords.
Think of 3 Pentacles in terms of the SF-Romance plot.

The female Hero stands on the stage getting a Medal for bravery pinned on her uniform and a promotion in rank. She's got it made. She's got something they can't take away, an achievement.

Our male Hero stands in the audience and salutes her.

The Commander announces the male Hero is now under her command and their mission is to go where no one has gone before -- the Outer Ring beyond Antares, to make First Contact with some aliens.

At the halfway point in this adventure, she discovers the male Hero (by now they've really got the hots for each other) actually has not only the medal she just won but several she hasn't, and the only reason she is in command is that he got busted for insubordination. Twice.

Now the aliens turn out to be a monstrous threat instead of the pussycats they first seemed, and the fate of the whole human species depends on her ability to get him to follow her orders.

These are two people who have their Identity tied up with their accolades or kudus won as status symbols in a situation where status decides all matters (the military command structure).

Both of them have, as their purpose in life, the confrontation with these aliens.

It isn't what the ARE that makes the story -- but rather it is what they are-not that fires the possibilities.

So, they arrive home with the first Ambassador of the aliens to Earth and more accolades shower upon them. Once they have, as a team, become the Kirk/Spock of Space, fulfilling the impossible missions, they will get more such assignments. There is no going back from success, so ponder the results well before you even start.

Next we have to discuss the 4 of Pentacles, so you might want to review the 4 of Swords first.

Also note that with the 4 of Pentacles, we enter new territory -- there is no Swords Card underlying it.

Jacqueline Lichtenberg

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

On a score of 1 to 10…

I recently had the pleasure—and I do mean that, sincerely—of judging several writing contests, both novel and short stories. Why, you may wonder, if I'm so on deadline and slammed against the wall with writing obligations would I take the time to judge a contest. Easy. Someone judged me, years ago. Someone still judges me, as I enter my published books in contests. Judging is all volunteer. Most published authors who judge contests do it for the same reason I do: someone helped us back when.

For many writers, contests are the only way they have to get professional feedback. Your cousin, your neighbor, the guy in the cubicle across the aisle from you at work may say they love your short story, the first three chapters of your novel. Chances are, your cousin and your co-worker are probably afraid to tell you it's not as thrilling as you think it is, or else, even if they do tell you, they can't tell you why it works or doesn't. And why a bit of prose works or falls flat is hugely important to a writer wanting to become a better writer. So often the best chance a writer has of finding out why something does or doesn't work is via contests judged by industry professionals: published authors, editors and agents.

So the fall season seems to be contest time. Sitting here with three Priority Mail packets of entries ready to ship back to the contest coordinators, I can see certain common problems, even though all these contests were unrelated. So for those of you contest-prone, here's a brief primer on what not to do, next time:

FLYING BODY PARTS: I don't know if author Sheila Viehl (aka SL Viehl aka Lynn Viehl and more) coined the term or she borrowed it from somewhere. But she was the first person I heard using it: FBP. Sheila and I were at one time members of the same local RWA chapter and it was either in a workshop of hers or an article she wrote for the newsletter that I learned about Flying Body Parts. I always knew they existed. They never sat quite right with me, as a reader or writer. But I didn't know why. Sheila taught me why. I'm telling you.

His eyes slid down her cleavage.

God, I hope not. That would be sticky and icky and overall gross. What the writer actually is telling us here is that a character's eyeballs left his head and plopped onto another character's chest. Ew. Ick. Substitute "eyeballs" for eyes and you'll see what I mean. It's clichéd writing, it's overdone. It's inaccurate. It's a Flying Body Part. Same goes for "His eyes raked her face" and "She tossed her head." Now, if you're Stephen King and the eyes and head are severed parts, cool. That's fine. But if there's no blood accompanying the raking and tossing, you're into FBP territory. FBP also includes eyes that roll. Eyes don't roll or rake or slide. Gazes can slide. But eyes are stuck in the head. A minor point: you can see someone's eyeballs rolling in their sockets. So depending on usage, "He rolled his eyes to the left" could be correct. But "She rolled her eyes at him" borders on FBP territory and even when not, is a cliché. Learn to write fresh(er) sentences and analogies.

Note: Tami Cowden disagrees with me. She feels flying body parts are fine and states since several bestselling authors do it, we all can do it. Great. However, if your manuscript gets rejected based on clichéd writing and FBP errors, yelling "But Nora Roberts did it on page [x]!" will not get you published. The plain fact is, beginning writers must be better than current published authors. At least, that's what my agent and editor tell me. You have far less room for error in your first manuscript than in your tenth. Fair? No. Fact? Yes.

HEAD HOPPING: Head hopping is the use of two or more points of view (whose thoughts are we hearing?) in one scene. ONE scene. There's nothing wrong with having two or more points of view in one chapter. There's huge problems with using two or more points of view in one scene or, Heaven forefend, one paragraph. The reason the problem is huge is because a short story, novella or novel (and we're talking commercial genre fiction here, okay?) is an emotional journey for the reader. A vicarious journey. The reader becomes the main character. The reader establishes a vested interest in what happens to the character. This keeps the reader turning pages.

In order for the reader to establish identification with the character, the reader must spend a goodly portion of reading time in that character's head, hearing her thoughts, feeling her feelings, sensing her sensations. This cannot be done in one sentence. It can't be done in one paragraph, usually. So if every paragraph you are jerking the reader out of Character A's head and plopping her into Character B's head, then next paragraph jerking her out of B's and into C's, or perhaps back to A's…you're not giving the reader sufficient time to establish identification with anyone character. You're not giving the reader sufficient time to care, or, as one editor calls it, you're not addressing the "why should I give a shit?" factor.

Imagine yourself in a room with several people standing at different positions. You walk up to Person A who starts to tell you about how she lost her purse and the three hundred dollars inside…but before she can get really into the story, you're yanked across the room to Person B, whose dog just died. You don't even know what kind of dog, or how Person B felt about the dog when you're pushed over to Person C. She was fired from her job yesterday and… here's Person A again, back with the missing money. And so on. Which person do you care about? Which one do you want to spend more time with? Whose story do you want to listen to? You don't know. You haven't spent enough time with any of them to truly give a shit.

That's the problem with head hopping. It fractures reading identification and compassion. That's why, even though several bestselling authors do it, you shouldn't.

As a corollary, I'd like to add something I learned from Jacqueline Lichtenberg: "Never switch point of view in order to convey information that you can't figure out any other way to TELL THE READER. That will cause you to divert attention from the 'ball' and will only frustrate the reader, not inform him. If there really is no other way for the reader to learn something—then they shouldn't know it. That's a very hard lesson—the reader doesn't get to know everything the writer knows."

DIALOGUE TAGS: Honest, there is really nothing wrong with the word "said." He said or She said is just fine for a dialogue tag. In fact, it's preferable to a litany of He groaned, She whispered, He yelled, She bellowed, He barked out, She cried out, He exclaimed, She questioned, He asked and She screamed.

I think the reason beginning writers fall into the yelled/bellowed/whispered/screamed problem is the don't know how to use action tags in dialogue and feel said to be too plain. Frankly, if it's got quotes around it, it's dialogue and if it's dialogue, it's being said. So why do we need to be told again it's being said? Why not use that blank space after the dialogue to show (because writing is about showing not telling) more about the character, the setting, the conflict, the action?

So if you have:

"Don't touch me!" she shouted.

It's better as:

"Don't touch me!" She lashed out at him with her purse.

In fact, if you have "Don't touch me!" she shouted as she lashed out at him with her purse… drop the "she shouted". We know already know she's shouting by the use of the exclamation point.

So: "What do you want from me?" she asked, rising from the chair… becomes "What do you want from me?" She rose unsteadily from the chair, her fingers gripping the wooden arms until her knuckles whitened.

And ONE FINAL RULE: Follow no rule off a cliff. That priceless piece of advice is from author C.J. Cherryh and I agree wholeheartedly. Writing is a creative process. Sometimes things work in a piece for no discernible reason. They just do. Don't get so caught up in rules that your creativity suffers. But do know the rules before you attempt to break them.

And keep writing, keep entering contests, keep working with your feedback.

Happy NaNoWriMo to all, ~Linnea

www.linneasinclair.com

Uncivilized behavior

I'm messing with a Hamlet-Meets-Perseus (in outer space, with happy sex) story. I have to "mess" with it, because it is a Romance, and therefore must end happily.

Although I have the perfect Fortinbras in Tarrant-Arragon, who could march in on the carnage and set all to rights, a Deus Ex Machina is one of the no-no's I do try to avoid.

Shakespearean and Greek heroes don't always act acceptably, do they?
Can futuristic heroes act unacceptably? Some very generous friends have told me, No, they cannot.

Or, do you, gentle Reader, want to debate that?
What is unacceptable in paranormal literature, these days?

Given that I want to follow a classical formula, with a happy twist to the ending, I'm wondering about dreams as a plot device in an alien romance. Hamlet had a lot of dreams, and they worried him so much that he decided not to commit suicide out of fear that the afterworld might be one of continual bad dreams.

I don't mean like "Pam's dream" where the reader goes along with an appallingly violent, but compelling story, only to find out that it all never happened, and is righteously outraged at being tricked.

Suppose Hamlet knew that he was dreaming, but dreamt about killing Polonius, Laertes, Claudius... and indirectly, his mother and Ophelia? Suppose a lot of Hamlet's other nasty dreams came true during the course of the play. What would his dreams do to the dramatic tension of the final fight, which cannot --for all sorts of Romantic reasons-- end with everyone dead?

(Unless of course, the ghostly father is the real hero, and it is a ghost romance.... and did you know that ghost hunter Jeff Dwyer told my internet radio audience that ghosts have been known to grope innocent women with their cold hands?)

We don't talk about our uncivilized dreams, probably for good reason. People might not like us, if they knew what "What-ifs" we worked through in our sleep, especially after eating cheese as a late night snack. Last night, I dreamed that I was responsible for breaking three ivory ornaments in the private apartment of an acquaintance's home. The adjectives make a difference, I think!

Another night, I dreamed that I called "The Man" to come and use a vaccuum cleaner on my deck, and he agreed to come at 7.30 am. The dream was so vivid that I was quite nervous the next morning, in case "The Man With The Vaccuum" turned up.
I do have a deck --quite a large one-- so he could have vaccuumed it, and with a bit of luck, the worst thing he would have sucked up from among the autumn leaves might be a bloody-beaked dead bird, or a stiff little alien.

Yeah, I'm chickening out of revealing the revealing dreams where I fight the boogy man.

I wonder what would happen if space-farers had vivid dreams in Hypersleep!

Rowena Cherry

alien romance

Civilized Behavior

The December issue of ASIMOV'S contains a Christmas story about alien ambassadors by Connie Willis, "All Seated on the Ground." The aliens land but show no sign of wanting to communicate. They don't respond to any of the overtures made by the committee of experts assigned to interact with them. Instead, they simply glare disapprovingly (or so it appears) at everything and everybody. The first breakthrough occurs on a field trip to a mall, where they hear recorded Christmas carols. At the words "all seated on the ground," they sit in unison. The narrator and her new friend, a choir director, experiment with dozens of songs to find out which ones affect the aliens' behavior. It turns out that the extraterrestrial visitors are responding to choral songs (not solos) with content that refers to signing together. They have been waiting for evidence that the people of Earth have the capacity to cooperate in harmony. Only when they find this evidence in our holiday music do they acknowledge us as capable of "civilized" behavior and deign to speak to us. In essence, communicating with the aliens depends on proper etiquette.

This story ties in with a discussion recently conducted on linguist and SF writer Suzette Haden Elgin's blog. The topic is the etiquette of asking and granting favors. Here's the link:

http://ozarque.livejournal.com/

I urge you to read through the past week's posts and as many of the comments as you can. They bring up some fascinating ramifications. Is it polite to ask for a favor outright? If the “askee” has to refuse, should a reason be given? Is it rude to say “no” without a reason, or will offering an explanation be misheard as an invitation to negotiate? How do the etiquette rules of asking and granting favors depend on the degree of the relationship? A consensus emerged that in this area of human interaction, people tend to belong to either an “Ask” culture or a “Hint” culture (originally labeled “Guess”). “Hint” people perceive outright asking for some thing or action that might be inconvenient or difficult for the other person as rude. It's more polite, in their view, to frame the request for help indirectly, so that the other person won't be put in a position to have to say “no.” They would also find a blunt refusal rude. “Ask” people, on the other hand, often perceive “Hint” culture customs as confusing, time-wasting, and even manipulative. In Japan, I've read, it's rude to tell someone “no” outright. When Americans don't recognize a polite circumlocution (e.g., “that would be very difficult”) as a refusal but mistake it for an opening to negotiate, the potential exists for much misunderstanding and inadvertent giving of offense. I've also heard of societies in which you mustn't admire any of your host's possessions, because the host is then obligated as a matter of good manners to give you the object.

If such pitfalls exist in social interaction between members of the same human species, imagine what misunderstandings might lurk in wait for first-contact teams trying to establish friendly relations with aliens. As Miss Manners often points out, many etiquette customs are arbitrary. Simply showing consideration and “making other people comfortable” isn't an adequate principle to ensure that our manners will satisfy the local mores. We can't always know in advance what makes other people comfortable. Some cultures regard burping at the table as a compliment to the meal; we teach our children that it's crude. We might meet extraterrestrials even less forgiving than the stern etiquette sticklers in Connie Willis's story. For example, among the Venusians in Robert Heinlein's SPACE CADET, eating in public or talking bluntly about eating (except when a dire situation requires confronting the topic) is considered obscene. Imagine what the Venusians would think of the almost universal Earth custom of offering food and drink as an essential component of hospitality.

Maybe our first-contact teams should include not only linguists and xenobiologists, but cross-cultural etiquette experts.

2 Pentacles - Affairs of Wizards

As noted previously, this is a chapter in a book about the Tarot aimed at Intermediate students of Tarot, not beginners or advanced students. It is particularly aimed at writers looking to learn World Building and Alien Character building.

Updated and expanded compilation of all these Tarot Just For Writers entries is now available on Kindle:

The Wands and Cups Volumes and  the Swords and Pentacles Volumes, are now all available separately on Kindle.  The 5 Volumes combined are also available on Kindle as one book, cheaper than buying them individually.

The Not So Minor Arcana: Never Cross A Palm With Silver Aug 30, 2015 99 cents
http://www.amazon.com/gp/product/B0108MC26O

The Not So Minor Arcana: Wands Sept. 1, 2015  99 cents
http://www.amazon.com/gp/product/B0106RVPKU

The Not So Minor Arcana: Cups Sept. 11, 2015 99 cents
http://www.amazon.com/gp/product/B0106SATX8

The Not So Minor Arcana: Swords  Sept. 17, 2015 99 cents
http://www.amazon.com/gp/product/B0100RSPM2

The Not So Minor Arcana: Pentacles  Sept. 21, 2015 99 cents
http://www.amazon.com/gp/product/B0106RVKF0

The Not So Minor Arcana: Books 1-5 combined Sept. 24, 2015 $3.25
http://www.amazon.com/gp/product/B010E4WAOU

This series is designed not for the beginner or the advanced student, but for the intermediate student and specifically for writers doing worldbuilding..

Linnea Sinclair in her October 29, 2007 post, noted how the appeal of Alien Romance lies in the Romance itself when the female lead does not share our cultural expectations of gender roles.

The study of Tarot via the Jacob's Ladder model should give writers a leg up on this difficult task as it delineates the raw experiences of life that would be common among all creatures in all galaxies -- the shared background upon which Romance can be built.

For an example, see my duology, Molt Brother and City of a Million Legends, available on Amazon.com. The alien culture is built on the Tree of Life "Lower Face."

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And Remember: The meaning of a Tarot Minor Arcana resides in the placement on the Tree of Life (i.e. the number on the card) integrated with the "World" or Suit of the card.

For the Tree of Life and the Jacob's Ladder diagrams see:
http://web.onetel.net.uk/~maggyw/treeladder.html

I don't really go with the way this page explains the Tree, but it is worth thinking about. There are many other ways. For now, ponder the diagrams on this page or Google up some others.

I have been posting here since August 14th, every Tuesday, the 10 minor Arcana of the suit of Swords. The Ace of Pentacles was posted Oct 23, 2007.

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2 Pentacles

If the Aces are origins, the condition before anything happens, the point where the entirety of the elemental substance exists as a point, the 2's are the very next moment when differentiation begins to appear.

The 2 of Swords was the moment when the writer who had decided in the Ace of Swords to write a story first sees her words before her eyes. She has externalized something that had formerly been formless and internal.

The 2 of Pentacles is the moment when the writer first feels the impact of the materialization of that idea. (Wands are Ideas.)

Think about what happens when you've sold your first story or novel. Or what happens when someone reads and likes your story.

Think about how that is a moment when your story has become "real" to you on a level you never knew existed before.

This is a moment when what you have created splashes back and changes you. The 6 of Swords which underlies the 2 of Pentacles is the action of striving for change on a soul level.

The change that is striven for was instigated by criticism in 5 Swords and sought in 6 Swords as a new start impelled by Love. In 7 Swords the perception of the values of others, the beauty other people see, impacts and motivates actions anywhere from stealing what others have to copycatting their actions. (think HS girls adopting the dominant girl's dress and accent to don her popularity) And in 8 Swords the results scare you stiff.

Pentacles are Reality, the substance from which all our world is molded and crystallized.

2 is a moment of perception of a division, a dichotomy. The single thing that was so complex you couldn't explain it is now two things.

Yes, that's what happens when you get positive feedback, validation, from another person about something which previously only existed inside your mind. You see your creation through the eyes of another person and it's not the same! (try the feeling when a fan writes a story in a universe you created! Eeerie!)

That vision through the eyes of another sparks your creativity, and suddenly, you get another idea, desire to present that idea, swift decision to do it, and presto you are now juggling two projects.

The Waite Rider deck nailed this one too. It uses a figure juggling two pentacles in an infinity sign. The two projects are related, bound together, but require extreme discipline to balance them against each other.

This is the point in the process where things get really complicated because as you do things that materialize, those things change you -- and you hardly know "who" you are anymore on the ladder of success. It's easy to lose discipline then.

Projects beget projects, complications mount, you get involved in other people's affairs, office politics, messy divorces and even messier marriages, and you find yourself dancing as if in a fairy circle (where they make you dance to death).

This is the quintessence of Multi-Tasking where you may try to be all things to all people and (2 Pentacles Reversed) lose yourself.

The novel plot structure based on this is used in The Dresden Files novels (and TV Series) and is most clearly exemplified in the TV series BURN NOTICE. You also may have seen a more tame version in the TV series THE WALTONS.

Two or more plots going on simultaneously, side by side, each a plot by itself but each also a complication to the other plot. Each simultaneous plot is a sub-plot of the other plot.

Think of the story where a guy has dates with two different girls at the same time on the same night. That's a Two Pentacles moment where the tinge of duplicity from 7 Swords shows through into the materialization (actually getting the dates) of the desire for popularity.

That's what the 2 of Pentacles is about -- complications vying with each other to become main plots. You have a tiger by the tail and there's nothing to do but swarm aboard and ride it.

Thus I call 2 Pentacles getting caught up in the Affairs of Wizards.

And there is an element of magic behind it, an esoteric connection among the plots. That connection is the Theme of the novel or story.

The "theme" of a piece of fiction is what the story is about, what the story says about "life, the universe, and everything." About matters of ultimate concern (i.e. death, immortality, the meaning of life.)

Why do stories have themes?

Ever thought about that? Why do we want to read stories that say something, especially if we might not always agree with what the story says?

Isn't action enough? Isn't character and relationship enough? Why does a story have to say something?

Well. The only reason I can think of is that life itself "says" something, so a story wouldn't seem realistic if it didn't "say" something too.

Each of us lives our life to a purpose, whether we know it or not (as discussed in Wands and Cups). We sometimes look at the lives of others (read biographies of famous people or just talk to people sitting on the benches in the park) and feel they have a purpose and a shape to their lives but "I don't."

Well, from the inside, it's very hard sometimes to see one's own life as purposeful.

I've known writers who struggled to write biographies and were astonished to learn that in order to sell a biography, you not only had to have a famous subject to write about, but you had to have a theme you had found in their lives.

That's right -- biographies get written about people whose lives actually do (or can be made to seem to) exemplify some theme.

That's why you usually see biographies about older people - those who have lived long enough that you can see a pattern in their lives that repeats or moves to a goal. You need a long sample to see the poetry, a whole stanza to hear the music.

But we write novels about young people, and we spend most of our lives as young people! Really! Old age doesn't set in until you stop learning and that's usually only a few years before you leave this world.

So we learn the patterns that life tends to follow from talking to other people, from watching TV and movies, reading books, but usually it isn't obvious what those life patterns are, how they change through life, and what they mean.

Tarot and Astrology chart and follow the change and meaning of life patterns. That's why it seems they can tell you "the future" -- but they can't, not really. They can only tell you the average person's experience with the issues you are dealing with because both techniques are based on empirical research summarized over thousands of case files.

Are YOU an average person? If you're reading this, you probably aren't.

In 2 Pentacles, we first come to grips with a change in our life-pattern that has happened because of the project started in Ace of Wands and brought all the way down.

Remember, in 5 of Swords we confronted criticism, internalized it and either fled or embraced it in 6 Swords, then came to 7 Swords and entered the process of real change.

As noted above 7 Swords underlies the 2 of Pentacles. Check the Jacob's Ladder diagram.

2 Pentacles is the way out of the difficulties of 7 Swords.

2 Pentacles can be thought of as Responsibility, personal responsibility for the concrete results of your own actions and decisions.

Thus 2 Pentacles is the function of taking charge of a matter, issue, affair, deal, project. Or all of the above. That's why it's a juggle.

Why are the 2 Pentacles bound by an infinity symbol though? I'm sure you'll read many explanations, but try this idea out and see if it takes you anywhere.

If the Pentacle is the symbol for crystallized Godshine energy, crystallized Divine Will, and 2 is the awareness of the factoring of a single thing into two things, then perhaps the infinity sign binds the 2 things so we will remember that they are of the infinite and not actually separate from it.

The Universe was Created in balance and always defaults to the balanced condition - "good" balances "evil." The 2 Pentacles is the effort to mix and match our affairs to balance them against each other (playing both ends against the middle; one woman dating two men on the same night when one of the men she's dating is dating two women on the same night) in such a way that we can travel our own path.

That underlying 7 of Swords holds the clue. Venus, the planet of Relationships, of Love, is associated with the 7's. The lesson of the 7 of Swords is all about what is mine and what is yours, about what I may or may not copy or take from you, what you teach me, what I learn, and how it changes me. It's about Relationships and Values. And so is 2 Pentacles.

Which brings us back to the Character Arc -- how characters are changed by the events in their story.

In story as in real life, it's not just people doing things. It's the effect the things people do have on themselves and others. Every thought, word or deed etches its permanent effect on all reality. You are changed by your choices, just as your choices change your world.

That Character Arc of change bespeaks the Theme most closely, most artistically. A novel will stand or fall on whether the Characters change in believable ways.

And so does your life.

However, we learn from watching others live that there are very real limitations on who can change into what, how fast. Thus novels fail if the characters change too fast.

We learn from Astrology that people can become a better (or worse) version of themselves, but they will always be the same Self.

As we age, we don't become different -- we become more-so.

If this is true of humans, I'm betting its true of any aliens we might meet, too.

So in 7 Swords we begin to act on what we learned of love in 5 and 6 of Swords. We let change ripen within us, we try to re-model ourselves after the habits and values of others. We steal, or copycat, actions of others.

Those efforts in 7 Swords can produce a proliferation of affairs, a multiplying of concrete effects in 2 Pentacles.

For example, you set out to write a book on deadline, renovate a house and flip it, or finish a degree in college to get a raise -- you take on a project appropriate to the New You that will improve you and your life.

And as a result you meet someone who needs help moving because he can't afford to hire Two Guys And A Truck, so you help. That strains your back, so you can't work on your project.

So the person you helped brings you groceries and stays to help on your project. "You dictate; I'll type it for you."

Leaving, your new friend can't get his car started. Helping him, you accidentally set his car on fire. You tell him you'll pay for the uninsured part of the damage if he'll help you get your book to the publisher on time, or fix the house to sell it, or finish your degree work so you can get the raise.

That's a 2-Pentacles situation where you get deeper and deeper into juggling the affairs of others as you take personal responsibility for the changes in the world wrought by the New You.

Because of the change inside you, you attract people who take responsibility for the changes they make in your life.

That reciprocity is represented by the 2-Pentacles bound by infinity. Reciprocity balances the world's affairs.

2 Pentacles Reversed will be very familiar to most who have been members of organizations -- a garden club, a dance troop, a choir, a critique group.

There is always the newcomer who arrives and volunteers for everything, works up a furious storm producing wonders for the organization, then poops out, drops out, disappears leaving responsibilities unfulfilled in an organization that is now larger than the available workforce can handle.

That over-loaded volunteer suffered a 2 Pentacles Reversed when things happened in life that should have been budgeted for in time and energy, but weren't. Very often, in a 2 Pentacles Reversed moment, all responsibilities get dropped instead of just the excess ones.

2 Pentacles Reversed happens because of too many irons in the fire, an unrealistic (Pentacles is reality) assessment of the extent of resources to cover obligations. A lack of BALANCE between commitments and resources.

If the person hasn't internalized the changes from 6 of Swords, and hits 7 Swords with the same habits in place, a side-step into 2 Pentacles will result in this sort of disaster.

The remedy is in the 8 of Swords -- facing fears, assessing hazards realistically, learning to take damage to achieve an objective, working the equation of ambition vs. ability so it balances and can stabilize you through the 9 of Swords.

Sometimes that damage you have to take is simply saying "no" when someone asks you to volunteer for one more thing than you can handle. The damage is to your self-image.

The test of 2-Pentacles is of your ability to assess the changes wrought via 6 of Swords (which is also the Ace of Pentacles - a new start) -- and realistically measure your ability to take on responsibilities in the material world.

If you fail the test (we all have; don't be embarrassed), take your project back to the 7 Swords process and move it through 8 Swords and on into 9.

Of course, at 8 Swords you have the option of skipping over to 3 Pentacles, if you're brave enough, strong enough, committed enough.

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

She’s Got Clout and Class..and knows how to Kiss

One of the things drawing readers to science fiction romance is the heroine with clout. The strong female protagonist who kicks butt, takes charge and still makes love with a palpable passion. Now some of you—how bright you are this morning!—are saying that's nothing new. Books by such authors as Suzanne Brockmann, Lindsay McKenna and others have long featured military heroines who face danger with equal aplomb to their male counterparts. Then, of course, there's long been traditional (ie: non-romance) SF from the greats like Catherine Asaro, Elizabeth Moon, Anne McCaffrey and CJ Cherryh that feature strong women in up-front roles.

What's different with SFR?

::Linnea points to the blog title:: The romance element.

Granted, that element is there is Brockmann's works (and other military action/adventure romances). But the heroines' backstories are based in our definition of and experience with women in our militaries. In our culture, women in combat are still not the norm.

With SF and SFR, your norm is what you care to make it.

Cherryh's CHANUR series posited some terrific female—if felinoid—heroines, starting with Pyanfar Chanur. A matriarchal culture. Females long in command of starships and starfaring. But this is pure SF with any romance element deep in the background. Same is true of Moon's, Asaro's and more. Wonderful, terrific, inspiring reads.

Not enough kissing for me.

That's why I designed Commander Jorie Mikkalah the way I did. Jorie, as most of you know, (unless you're been hiding under a rock for the past six months) is the female lead in my release next month, THE DOWN HOME ZOMBIE BLUES. In her late thirties, Jorie's a war veteran, was a prisoner of war, and now commands her own tracker team assigned to the zombie hunting ship, Sakanah. She's one of many females in various positions of command on the ship. It's her norm. She's been trained in the same manner as any other gender or species her people have encountered. She's quite adept at kicking intergalactic butt.

She also falls head over heels for a Florida cop. As does he, not surprisingly, for her.

Digressing for a moment (this will make sense, stay with me), when researching and writing homicide detective Theo Petrakos, I spent a lot of time talking to and emailing with several (patient, kindly) guys in various law enforcement positions. I wanted to know not only how a male cop acts in certain situations, but how he'd deal with 1) being kidnapped by extraterrestrials and 2) falling in love, against his better judgment.

Cops are different people. Actually, they're much like outer space aliens in many ways. They've been trained—ingrained—to deal with situations most of us (God willing) will never have to experience. They have a tight, tough brotherhood (or sisterhood). There's a strong, silent code of conduct, code of honor. They truly have their own little universe, right here.

Theo was far more like Jorie than he realized.

So his issues with falling in love were pretty much hers, as well. The military environment that shaped her and her thinking was very much like his. Her desire to protect and serve was very much like his. Had Theo been a Mercedes-Benz salesman that parallel wouldn't have existed.

What I did with Jorie was to create a women with what we here would term a male mindset (she wouldn't, however). But she was also completely feminine. I based her a lot on the law enforcement mindset because I personally don't know what it would be like to be raised without culturally-imposed expectations based on gender, as she was. I'm not even sure I portrayed that one hundred per cent correctly because it's still me, writing the character. But when I wore Jorie's skin I had to divorce myself from all the "you can't do that because you're a girl" or "girls don't do that" thinking I'd heard since I was a wee kidling.

And I still had to make her want to kiss Theo. A lot. As she finds out when she comes upon him sleeping in the recliner in his living room:

Petrakos shifted in his sleep, his hands fisting, the blanket sliding off his legs to the floor.

Jorie picked it up and studied him for a moment. His short hair was still damp. He was probably chilled, with no shirt on. She could see the slight redness on his shoulder from the implant. And the hard curve of muscles on his arms and chest, both sprinkled with dark curling hair.

But it was his face that drew her gaze again. She couldn't say exactly why she found it pleasing. Other than it was an intelligent face, a hardworking face—a face that had laughed and a face that had wept.

The man and the female on the vid resumed arguing, but she ignored them and leaned over Petrakos, fluffing the soft blanket over his chest.

Strong hands slammed against her shoulders. Jorie flew backward, landing on her rump with a yelp of surprise. Her elbows hit the floor, pain shooting into her arms as she went flat on her back, one large hand on her throat. Hard thighs locked her legs to the floor.

Then dangerously narrowed dark eyes widened and Theo Petrakos gave his head a small shake."Ah, Christos. Jorie." He removed his hand carefully from her throat and sat back on his haunches. "I'm—regrets. You okay?"

She unfolded her fingers from around the G-1 on her utility belt with no memory of how her fingers had gotten there. But then, from the look on Petrakos's face, his reaction was the same. He hadn't intended to hurt her.

She could have killed him.

She relaxed her body. "Optimal," she said. "But better if I'm not on the floor." She levered up as he grabbed her arm, pulling her toward him. Her face ended up brushing against his neck. He smelled warm and male and slightly soapy. More than slightly blissful.

And it was insane, crazy for her to even think this way. She scooted back and was pushing herself to her feet when he cupped her elbows, drawing her up against his so warm, so very bare chest.

She knew if she found her face in his neck again, she would be sorely tempted to take a taste of him. So she looked up instead and found in his dark gaze an unexpected confusion. Did he know she had this overwhelming, frightening desire to nibble her way down his half-naked body?

"Theo," she said, wanting it to sound like a reprimand but, hell and damn, it came out sounding more like a plea.

Competent and kissable. That applies to both Theo and Jorie. And I like the fact that science fiction romance gives me the opportunity to experience that.

Blissfully—as Jorie would say—Romantic Times BOOKreviews gave THE DOWN HOME ZOMBIE BLUES not only 4-1/2 stars (their highest rating) but named it the magazine's Top Pick:

"Quirky, offbeat and packed with gritty action, this blistering novel explodes out of the gate and never looks back. Counting on Sinclair to provide top-notch science fiction elaborately spiced with romance and adventure is a given, but she really aces this one! A must-read, by an author who never disappoints."

I'm thrilled and hope you have fun with Jorie and Theo in November.

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