I love S. M. Stirling's "Dies the Fire" series, about a world in which all advanced technology (anything dependent on electronics, explosions, internal combustion, etc.) instantaneously and inexplicably stopped working at one catastrophic moment in the 1990s. So I was intrigued when I picked up JULIAN COMSTOCK, by Robert Charles Wilson. It's set in the twenty-second century of an America where technology has recovered to a late Victorian level after the devastating End of Oil, False Tribulation, and Plague of Infertility in the twenty-first century. The United States, though nominally a republic, is governed by despotic presidents who rule for life. Julian's uncle, the current president, was responsible for Julian's father's death. The theocratic Dominion also wields vast power, including censorship of books and culture in general. Julian (whom the author modeled on the Roman emperor Julian the Apostate) has an avid interest in the forbidden works of the Secular Ancients (us) and heretical doctrines such as Evolution. The story is told by a naive young man, Adam, Julian's best friend. In this future, elections are only a ritual. The outward forms and verbal formulas of American culture and politics as we know them are mostly preserved, but with altered meanings. There's a biting scene in which a military officer solemnly tells Adam the Dutch are trying to drive the Americans out of Labrador because "they hate our freedoms"—while the guileless Adam accepts this claim at face value, the reader by this point is well aware that most of those "freedoms" survive in name only.
As the current crisis in Iran reminds us, the mere existence of an election process doesn't guarantee rights and freedoms, much less the peaceful transitions we're fortunate to enjoy here. In the America of JULIAN COMSTOCK, presidents often lose their lives, like many of the Roman emperors, to coups and assassinations. This novel offers cautionary and mildly satirical retrospective glimpses of our own world through the eyes of a future century with only distorted memories of the pre-collapse world.
How well would most of us cope if our technological civilization suddenly collapsed? I don't know about you, but I am not and never will be an omnicompetent Heinlein-style survivalist. I don't even like camping! I'm very attached to my conveniences and would hate to go back even to the 1970s. My favorite historical era is the 1890s, but I don't want to *live* there. Five days without electricity after Hurricane Isabel made that point clear (worse than the nineteenth century, actually, because without power our well pump doesn't work). And relatively few of us have the useful experience of belonging to the SCA or other historical re-creation groups, as the resourceful protagonists in Stirling's DIES THE FIRE do. I'm afraid I would be a victim of the collapse, not a survivor.
Margaret L. Carter
Carter's Crypt
Thursday, June 25, 2009
Tuesday, June 23, 2009
Snow Dogs And Happily Ever After
Before we discuss a possible format for an Alien Romance complete with HEA, here's my speaking schedule for Westercon ( http://www.westercon.org/ fiestacon this year in Tempe, AZ.)
LIT/MED-What Universe Are You In? Fri 10a-11a, Palm E room
w/ Jacqueline Lichtenberg (moderator), Dani Kollin, Etyan Kollin, Janice Tuerff
LIT-How Are Small Presses Fri 11a-noon, Palm E room
w/ Jacqueline Lichtenberg (moderator), Adam Niswander, Michael D’Ambrosio
MED-Star Trek Movie Review Fri 2p-3p, Palm F room
w/David A. Williams (moderator), Alan Dean Foster
LIT-It Was A Dark & Stormy Night Fri 4p-5p, Abbey South
w/ Jacqueline Lichtenberg (moderator), Kevin Andrew Murphy, Moira Greyland,
Shirley Runyon
AUTOGRAPHING Fri 5p-6p, Dealers Room
LIT-Writer’s Support Groups Sun 11a-noon, Boardroom
w/ Jacqueline Lichtenberg (moderator), Rick Novy, Dennis McKiernan
FAN-Effect of Web on Fanzines Sun noon-1p, Jokake room
w/John Hertz (moderator)
FAN-SF/F Websites Sun 2p-3p, Augustine
w/ Jacqueline Lichtenberg (moderator), Lee Gilliland, Lee Whiteside
-----------------
And on another note which is actually in the same key:
I picked up on Twitter and "Re-tweeted" (relayed to my followers)
LIKE SO: RT @victoriastrauss Should bookstores be publishers? http://tinyurl.com/mrdatl
Twitter makes these tiny-urls for you when you post a long url and there are several companies now that make condensed URLs.
So Victoria Strauss found an article by Literary Agent Richard Curtis on whether bookstores SHOULD be publishers. Here's a quote from the article she found.
QUOTE
As if all that were not enough, Amazon has now become a publisher, too. First, there's its Encore program "whereby Amazon will use information such as customer reviews on Amazon.com to identify exceptional, overlooked books and authors with more potential than their sales may indicate. Amazon will then partner with the authors to re-introduce their books to readers through marketing support and distribution into multiple channels and formats, such as the Amazon.com Books Store, Amazon Kindle Store, Audible.com, and national and independent bookstores via third-party wholesalers."
ENDQUOTE
http://www.ereads.com/2009/06/should-bookstores-be-publishers-too.html is the blog.
Victoria Strauss also found announcements of other closings in publishing, and coincidentally I'm on a panel at Westercon about small "presses" (which is today a misnomer; it's small publishers, and I suspect one day every blogger will be considered a small publisher.)
To keep up on interesting developments I come across this way, just "follow" me on twitter. http://twitter.com/JLichtenberg look at my profile to find all my tweets.
----------------
OK, so back to researching the future of Romance on page and screen by scrutinizing and analyzing old movies.
I saw a 2002 Disney movie titled SNOW DOGS and just couldn't resist transposing it into an Alien Romance as I watched it. It is soooo SF-Romance!
Snow Dogs with Comedy, Drama, a clean family style, Nichelle Nichols for a treat, and starring: Cuba Gooding Jr., James Coburn Director: Brian Levant. You can still get the DVD on Amazon.
If you've been following how I've been developing the Alien Romance potential for TV and film, and you happen to have seen this "family" movie, you'll know what's coming here. It's really irresistible.
Here's the IMDB link to all about this movie.
http://www.imdb.com/title/tt0281373/
Here's the Product Description from Amazon:
-----------quoted from Amazon---------------
Make no bones about it -- Disney's SNOW DOGS is a hilarious action-packed comedy your whole family will love. Eight adorable but mischievous dogs get the best of dog hater Ted Brooks (Cuba Gooding Jr.) when he leaves his successful Miami Beach dental practice for the wilds of Alaska to claim his inheritance -- seven Siberian huskies and a border collie -- and discover his roots. As Ted's life goes to the dogs, he rises to the occasion and vows to learn to mush with his inheritance. Totally out of his element, he faces challenges he's never dreamed of. There's a blizzard, thin ice, an intimidating crusty old mountain man named Thunder Jack (James Coburn), the Arctic Challenge Sled Dog Race that's only two weeks away, and a life-and-death rescue. This fish-out-of water, tail-wagging comedy is nothing but doggone good fun and a celebration of family -- both human and canine!
-------------end Amazon Quote---------------
Compare that description to SAVE THE CAT GOES TO THE MOVIES and find the category it belongs to. (more on that later -- think it out for yourself first.)
Now substitute "Earth" for Miami Beach and "Alien Planet" for Alaska.
Notice the description has left out the ROMANCE which is the B-story in this film as written.
That's a lesson for all writers -- THIS is how you generate and pitch a Concept. THIS is how you "outline" a story you're going to write. Watch the movie, then read that description again. It hits the exact plot-points you need to put in your outline before you write and be sure that you build up to each plot point. All the B-story is support for the A-story and does not belong in the initial outline or Concept, but is generated by that concept.
Novel writers don't learn to do the sequence in this direction, or haven't until recently. Read that blog post by Agent Richard Curtis, think about how marketing has changed.
http://aliendjinnromances.blogspot.com/2009/05/marketing-fiction-in-changing-world.html is a blog where I discussed modern marketing.
The novels that get the promotion, the novels that you as an author would find easiest TO PROMOTE, the novels that sell, the novels that attract busy reader's attention -- those novels today resemble games, films, and TV shows more and more.
Market structures have always been morphing, and every generation puts its own stamp on what's popular. But I suspect never in all human history have "markets" (for everything) changed and changed again, 100% replaced in shorter and shorter intervals. This was predicted by Alvin Toffler in Future Shock which I discussed in that blog entry on marketing fiction in a changing world.
This means that never before in human history has there been such an opportunity to overthrow the existing order because the walls between genres are melting and morphing.
Instability like that is a threat in the areas where we have actually got it right -- but in the area of Relationships, I doubt any expert would say that humanity has optimized our ability to establish and hold relationships.
Love is all about relationship -- and it's very hard to get to love without going through Romance (one day we should discuss the astrology behind that).
So let's see what we can do with the example of Snow Dogs to create a template for Alien Romance with broad appeal. A "template" would be a pattern that, if all of us on this blog used to create a screenplay or novel, would generate 7 or more totally original, completely different stories. They wouldn't compete, they would expand a genre.
It would be easy to make the Romance the A-story and transform this movie into an Alien Romance.
So here's a description of Snow Dogs based on the assumption that you know or remember this movie.
In Snow Dogs, the very successful and popular Miami Dentist Ted Brooks (whose mother is played by Nichelle Nichols, the woman who raised him, not his deceased biological mother) is served with a legal notice that he's inherited something in Alaska from his MOTHER and Nichelle Nichols confesses that he was adopted (oh, she's GOOD in this film!).
For more on Nichelle Nichols see my blog post on High Concept:
http://aliendjinnromances.blogspot.com/2009/05/medium-is-message_19.html
Thus stressed, Ted Brooks flies to Alaska to be present at the reading of the Will in a tiny out-back town, complete with Bush Pilot who turns out to be his real father.
That's the A-story. Ted, his Miami Beach mother Nichelle Nichols, his Alaskan father who is a white man, his dead biological mother's photo (she was black as Ted is) and her heritage of dogsled racing.
The B-story goes like this: as soon as Ted gets to Alaska, flown into the little town by the Bush Pilot he doesn't know is his father, he meets a WOMAN HIS AGE who takes him out to the house he inherited. He insists he go in alone, so she leaves him. He goes in and meets the friendly Border Collie, then gets attacked by the Alaskan Huskies his deceased mother owned.
Between the Bush Pilot (James Coburn was FANTASTIC in this role!) and the young woman, Ted learns to "mush" and learns the words to command the dogs from his father. She teaches him how to harness the dogs so they'll cooperate.
Then Ted discovers he loves dogsledding, and just as he's really enjoying it, he drives off a cliff and has a (very comic book) slide down a mountainside, gets rescued by the Bush Pilot who takes him to a refuge cave where he confesses Ted was conceived during a dog sled race, but that there was nothing at all between his real mother and the Bush Pilot, and tries to convince Ted that he doesn't care that Ted is his son. (Oh, Coburn is good, but what would you expect?)
Ted goes home to Miami. On TV in Miami, he sees the local annual dogsled race. Nichelle Nichols drops the photo he kept from his biological mother's things which is of Ted's biological mother with her dogsled trophy. The frame breaks revealing a photo tucked behind the trophy photo. This older photo shows his mother with the Bush pilot and newborn Ted. Ted realizes his real father, the Bush Pilot, lied, and he was indeed present at his birth and he did care for his mother, and he cares for Ted too. His real father lied.
So Ted goes back to Alaska and arrives during the race, as a storm is blowing in, just as it did during the dogsled race when he was conceived.
The young woman tells him that his father is lost out on the race course in the storm -- that just as he did that first time, his father has passed by the camp where the racers would wait out the storm, and driven on into the blizzard. After the storm, Ted's father has failed to show up at the finish line with the others.
That kicks off the Act 3 action where Ted takes his sled, his mother's dog team (sans the lead dog which his father took for his team), and finds and rescues his father who has taken refuge in that same cave where Ted was conceived. Bt this time his father has a broken leg. Ted's a Dentist, but he splints the leg nicely. Then it turns out that his mother's lead-dog Demon was in a bad temper because he had a rotten tooth, so Ted pulls the tooth, justifying the whole "Miami Dentist" part of his characterization.
Meanwhile, Ted's Miami mother, Nichelle Nichols, flies to Alaska and the young woman takes gentle care of her as they wait to see if Ted will make it back to town alive.
Of course (this being a Disney movie) Ted and his father make it back to town, Ted almost kisses the young woman in public (being Disney, only almost) and then there's a very quick but moving wrap-up sequence where Ted marries her, establishes his Dental practice in Alaska with his wife as receptionist (now very pregnant), and two of the dogs arrive with puppies following them, and Ted's Dental Assistant from Miami is helping him with patients. And there's a great scene with Coburn and Nichols -- the end-note is TOTAL HEA!!! But the bulk of the plot is comedy-action.
Frankly, the tag-ending providing the HEA (a real tear-jerker) would make a fine novel, all by itself. One part of this story is seen through a magnifying glass (Notice of his biological mother's death all the way through to rescuing his biological father), and the much larger and more complicated part is seen through the wrong end of a telescope. But it works.
Now, if instead of dogsledding there was some non-human skill-set that a human talent would be adaptable to and that talent was substituted for Dentistry, it would work perfectly as an Alien Romance.
Let's say the human is female, and the reason she is pulled off Earth is that tests show she has a gene for being SOMETHING (immune to alien diseases? learning languages? Telepathy?) that makes her valuable on Earth's first-contact team. But she's no astronaut and never dreamed of ever going "out there" just as Ted was happy and successful as a Miami dentist and had no intention of going dog sledding in Alaska.
So Our Heroine goes out there, and has to learn to (SOMETHING ALIEN), and does, and in the process establishes a Relationship with an alien male, just as Ted established a relationship with the Alaskan young woman.
Our Heroine and the Alien Male are the A-story here, and the B-story is her winning some sort of respect from the Earth-Team that has been ordered to take her out-there in spite of her ineptitude because of her talent.
The team returns her to Earth safe and sound but changed by the experience. Something happens on the alien planet, and she muscles her way back to the alien planet (possible only because the B-story characters help) to deal with unfinished business with the Alien Male.
She wins a permanent place on the Alien Planet (as Ted opened his Dentistry office in Alaska) doing what makes her happy with her talent, not necessarily what Earth-gov would prefer her to do.
I'm thinking that a really good setup would be that the Aliens are the "flying saucer" aliens who have been kidnapping kids, and now she has to go there to be the psychological counsellor to those kids and ease them back into Earth society, but proves that's impossible for the kids (they'd be miserable and a disruptive influence). Then she goes back and settles down to take care of the kids who can't be repatriated.
The Alien guy would be someone in charge of settling the matter of the kidnapped Earth kids, maybe someone from a new alien government that ousted the aliens that believed in "studying" humans by kidnapping kids. The new gov't thinks this deed was an attrocity.
That would make a feature film -- and the foundation for a TV series like maybe THE WALTONS IN SPACE? THE KING AND I IN SPACE?
If you get a chance, grab the DVD of Snow Dogs (it's also being rerun on TV) (maybe netflicks has it, or it can be viewed online?) and watch the whole film with the Alien Romance possibilities in mind.
In Blake Snyder's SAVE THE CAT GOES TO THE MOVIES, check out the category that SNOW DOGS belongs to on the free pdf file:
http://www.blakesnyder.com/downloads/STCGTTM_AtGlnceFnlRev2.pdf
Snow Dogs is not listed, but I would place it under FOOL TRIUMPHANT in the sub-category FOOL OUT OF WATER (a variant of Fish Out Of Water), which is the category headed by LEGALLY BLONDE. What do you think of that placement? And would that category and its formula lend itself to a platform for an Alien Romance that would have an appeal outside Romance fandom as Star Trek had an appeal outside of SF fandom (mainly to women who wouldn't crack an SF novel if their life depended on it -- those very women who INVENTED Alien Romance in ST 'zines!) ?
Blake Snyder's category depends on the MAIN CHARACTER being a CHARACTER (as in USA CHARACTERS WELCOME) who responds to a challenge with zest, joi de vivre, and the flexibility to learn, making "a fool of herself" in public in the process, and yet triumphing over the learning process in the end.
Note that Crocadile Dundee also belongs to this category. Scrumptious alien male, a fish out of water in Manhattan.
It seems to me that the category lends itself to Alien Romance so smoothly that I think we could see our breakthrough using this type of vehicle.
And as I pointed out, all of us could write the screenplay or novel structured like a screenplay from this template, and not compete with each other for shelf-space.
Jacqueline Lichtenberg
http://www.slantedconcept.com/
http://facebook.com/jacqueline.lichtenberg
http://twitter.com/jlichtenberg
LIT/MED-What Universe Are You In? Fri 10a-11a, Palm E room
w/ Jacqueline Lichtenberg (moderator), Dani Kollin, Etyan Kollin, Janice Tuerff
LIT-How Are Small Presses Fri 11a-noon, Palm E room
w/ Jacqueline Lichtenberg (moderator), Adam Niswander, Michael D’Ambrosio
MED-Star Trek Movie Review Fri 2p-3p, Palm F room
w/David A. Williams (moderator), Alan Dean Foster
LIT-It Was A Dark & Stormy Night Fri 4p-5p, Abbey South
w/ Jacqueline Lichtenberg (moderator), Kevin Andrew Murphy, Moira Greyland,
Shirley Runyon
AUTOGRAPHING Fri 5p-6p, Dealers Room
LIT-Writer’s Support Groups Sun 11a-noon, Boardroom
w/ Jacqueline Lichtenberg (moderator), Rick Novy, Dennis McKiernan
FAN-Effect of Web on Fanzines Sun noon-1p, Jokake room
w/John Hertz (moderator)
FAN-SF/F Websites Sun 2p-3p, Augustine
w/ Jacqueline Lichtenberg (moderator), Lee Gilliland, Lee Whiteside
-----------------
And on another note which is actually in the same key:
I picked up on Twitter and "Re-tweeted" (relayed to my followers)
LIKE SO: RT @victoriastrauss Should bookstores be publishers? http://tinyurl.com/mrdatl
Twitter makes these tiny-urls for you when you post a long url and there are several companies now that make condensed URLs.
So Victoria Strauss found an article by Literary Agent Richard Curtis on whether bookstores SHOULD be publishers. Here's a quote from the article she found.
QUOTE
As if all that were not enough, Amazon has now become a publisher, too. First, there's its Encore program "whereby Amazon will use information such as customer reviews on Amazon.com to identify exceptional, overlooked books and authors with more potential than their sales may indicate. Amazon will then partner with the authors to re-introduce their books to readers through marketing support and distribution into multiple channels and formats, such as the Amazon.com Books Store, Amazon Kindle Store, Audible.com, and national and independent bookstores via third-party wholesalers."
ENDQUOTE
http://www.ereads.com/2009/06/should-bookstores-be-publishers-too.html is the blog.
Victoria Strauss also found announcements of other closings in publishing, and coincidentally I'm on a panel at Westercon about small "presses" (which is today a misnomer; it's small publishers, and I suspect one day every blogger will be considered a small publisher.)
To keep up on interesting developments I come across this way, just "follow" me on twitter. http://twitter.com/JLichtenberg look at my profile to find all my tweets.
----------------
OK, so back to researching the future of Romance on page and screen by scrutinizing and analyzing old movies.
I saw a 2002 Disney movie titled SNOW DOGS and just couldn't resist transposing it into an Alien Romance as I watched it. It is soooo SF-Romance!
Snow Dogs with Comedy, Drama, a clean family style, Nichelle Nichols for a treat, and starring: Cuba Gooding Jr., James Coburn Director: Brian Levant. You can still get the DVD on Amazon.
If you've been following how I've been developing the Alien Romance potential for TV and film, and you happen to have seen this "family" movie, you'll know what's coming here. It's really irresistible.
Here's the IMDB link to all about this movie.
http://www.imdb.com/title/tt0281373/
Here's the Product Description from Amazon:
-----------quoted from Amazon---------------
Make no bones about it -- Disney's SNOW DOGS is a hilarious action-packed comedy your whole family will love. Eight adorable but mischievous dogs get the best of dog hater Ted Brooks (Cuba Gooding Jr.) when he leaves his successful Miami Beach dental practice for the wilds of Alaska to claim his inheritance -- seven Siberian huskies and a border collie -- and discover his roots. As Ted's life goes to the dogs, he rises to the occasion and vows to learn to mush with his inheritance. Totally out of his element, he faces challenges he's never dreamed of. There's a blizzard, thin ice, an intimidating crusty old mountain man named Thunder Jack (James Coburn), the Arctic Challenge Sled Dog Race that's only two weeks away, and a life-and-death rescue. This fish-out-of water, tail-wagging comedy is nothing but doggone good fun and a celebration of family -- both human and canine!
-------------end Amazon Quote---------------
Compare that description to SAVE THE CAT GOES TO THE MOVIES and find the category it belongs to. (more on that later -- think it out for yourself first.)
Now substitute "Earth" for Miami Beach and "Alien Planet" for Alaska.
Notice the description has left out the ROMANCE which is the B-story in this film as written.
That's a lesson for all writers -- THIS is how you generate and pitch a Concept. THIS is how you "outline" a story you're going to write. Watch the movie, then read that description again. It hits the exact plot-points you need to put in your outline before you write and be sure that you build up to each plot point. All the B-story is support for the A-story and does not belong in the initial outline or Concept, but is generated by that concept.
Novel writers don't learn to do the sequence in this direction, or haven't until recently. Read that blog post by Agent Richard Curtis, think about how marketing has changed.
http://aliendjinnromances.blogspot.com/2009/05/marketing-fiction-in-changing-world.html is a blog where I discussed modern marketing.
The novels that get the promotion, the novels that you as an author would find easiest TO PROMOTE, the novels that sell, the novels that attract busy reader's attention -- those novels today resemble games, films, and TV shows more and more.
Market structures have always been morphing, and every generation puts its own stamp on what's popular. But I suspect never in all human history have "markets" (for everything) changed and changed again, 100% replaced in shorter and shorter intervals. This was predicted by Alvin Toffler in Future Shock which I discussed in that blog entry on marketing fiction in a changing world.
This means that never before in human history has there been such an opportunity to overthrow the existing order because the walls between genres are melting and morphing.
Instability like that is a threat in the areas where we have actually got it right -- but in the area of Relationships, I doubt any expert would say that humanity has optimized our ability to establish and hold relationships.
Love is all about relationship -- and it's very hard to get to love without going through Romance (one day we should discuss the astrology behind that).
So let's see what we can do with the example of Snow Dogs to create a template for Alien Romance with broad appeal. A "template" would be a pattern that, if all of us on this blog used to create a screenplay or novel, would generate 7 or more totally original, completely different stories. They wouldn't compete, they would expand a genre.
It would be easy to make the Romance the A-story and transform this movie into an Alien Romance.
So here's a description of Snow Dogs based on the assumption that you know or remember this movie.
In Snow Dogs, the very successful and popular Miami Dentist Ted Brooks (whose mother is played by Nichelle Nichols, the woman who raised him, not his deceased biological mother) is served with a legal notice that he's inherited something in Alaska from his MOTHER and Nichelle Nichols confesses that he was adopted (oh, she's GOOD in this film!).
For more on Nichelle Nichols see my blog post on High Concept:
http://aliendjinnromances.blogspot.com/2009/05/medium-is-message_19.html
Thus stressed, Ted Brooks flies to Alaska to be present at the reading of the Will in a tiny out-back town, complete with Bush Pilot who turns out to be his real father.
That's the A-story. Ted, his Miami Beach mother Nichelle Nichols, his Alaskan father who is a white man, his dead biological mother's photo (she was black as Ted is) and her heritage of dogsled racing.
The B-story goes like this: as soon as Ted gets to Alaska, flown into the little town by the Bush Pilot he doesn't know is his father, he meets a WOMAN HIS AGE who takes him out to the house he inherited. He insists he go in alone, so she leaves him. He goes in and meets the friendly Border Collie, then gets attacked by the Alaskan Huskies his deceased mother owned.
Between the Bush Pilot (James Coburn was FANTASTIC in this role!) and the young woman, Ted learns to "mush" and learns the words to command the dogs from his father. She teaches him how to harness the dogs so they'll cooperate.
Then Ted discovers he loves dogsledding, and just as he's really enjoying it, he drives off a cliff and has a (very comic book) slide down a mountainside, gets rescued by the Bush Pilot who takes him to a refuge cave where he confesses Ted was conceived during a dog sled race, but that there was nothing at all between his real mother and the Bush Pilot, and tries to convince Ted that he doesn't care that Ted is his son. (Oh, Coburn is good, but what would you expect?)
Ted goes home to Miami. On TV in Miami, he sees the local annual dogsled race. Nichelle Nichols drops the photo he kept from his biological mother's things which is of Ted's biological mother with her dogsled trophy. The frame breaks revealing a photo tucked behind the trophy photo. This older photo shows his mother with the Bush pilot and newborn Ted. Ted realizes his real father, the Bush Pilot, lied, and he was indeed present at his birth and he did care for his mother, and he cares for Ted too. His real father lied.
So Ted goes back to Alaska and arrives during the race, as a storm is blowing in, just as it did during the dogsled race when he was conceived.
The young woman tells him that his father is lost out on the race course in the storm -- that just as he did that first time, his father has passed by the camp where the racers would wait out the storm, and driven on into the blizzard. After the storm, Ted's father has failed to show up at the finish line with the others.
That kicks off the Act 3 action where Ted takes his sled, his mother's dog team (sans the lead dog which his father took for his team), and finds and rescues his father who has taken refuge in that same cave where Ted was conceived. Bt this time his father has a broken leg. Ted's a Dentist, but he splints the leg nicely. Then it turns out that his mother's lead-dog Demon was in a bad temper because he had a rotten tooth, so Ted pulls the tooth, justifying the whole "Miami Dentist" part of his characterization.
Meanwhile, Ted's Miami mother, Nichelle Nichols, flies to Alaska and the young woman takes gentle care of her as they wait to see if Ted will make it back to town alive.
Of course (this being a Disney movie) Ted and his father make it back to town, Ted almost kisses the young woman in public (being Disney, only almost) and then there's a very quick but moving wrap-up sequence where Ted marries her, establishes his Dental practice in Alaska with his wife as receptionist (now very pregnant), and two of the dogs arrive with puppies following them, and Ted's Dental Assistant from Miami is helping him with patients. And there's a great scene with Coburn and Nichols -- the end-note is TOTAL HEA!!! But the bulk of the plot is comedy-action.
Frankly, the tag-ending providing the HEA (a real tear-jerker) would make a fine novel, all by itself. One part of this story is seen through a magnifying glass (Notice of his biological mother's death all the way through to rescuing his biological father), and the much larger and more complicated part is seen through the wrong end of a telescope. But it works.
Now, if instead of dogsledding there was some non-human skill-set that a human talent would be adaptable to and that talent was substituted for Dentistry, it would work perfectly as an Alien Romance.
Let's say the human is female, and the reason she is pulled off Earth is that tests show she has a gene for being SOMETHING (immune to alien diseases? learning languages? Telepathy?) that makes her valuable on Earth's first-contact team. But she's no astronaut and never dreamed of ever going "out there" just as Ted was happy and successful as a Miami dentist and had no intention of going dog sledding in Alaska.
So Our Heroine goes out there, and has to learn to (SOMETHING ALIEN), and does, and in the process establishes a Relationship with an alien male, just as Ted established a relationship with the Alaskan young woman.
Our Heroine and the Alien Male are the A-story here, and the B-story is her winning some sort of respect from the Earth-Team that has been ordered to take her out-there in spite of her ineptitude because of her talent.
The team returns her to Earth safe and sound but changed by the experience. Something happens on the alien planet, and she muscles her way back to the alien planet (possible only because the B-story characters help) to deal with unfinished business with the Alien Male.
She wins a permanent place on the Alien Planet (as Ted opened his Dentistry office in Alaska) doing what makes her happy with her talent, not necessarily what Earth-gov would prefer her to do.
I'm thinking that a really good setup would be that the Aliens are the "flying saucer" aliens who have been kidnapping kids, and now she has to go there to be the psychological counsellor to those kids and ease them back into Earth society, but proves that's impossible for the kids (they'd be miserable and a disruptive influence). Then she goes back and settles down to take care of the kids who can't be repatriated.
The Alien guy would be someone in charge of settling the matter of the kidnapped Earth kids, maybe someone from a new alien government that ousted the aliens that believed in "studying" humans by kidnapping kids. The new gov't thinks this deed was an attrocity.
That would make a feature film -- and the foundation for a TV series like maybe THE WALTONS IN SPACE? THE KING AND I IN SPACE?
If you get a chance, grab the DVD of Snow Dogs (it's also being rerun on TV) (maybe netflicks has it, or it can be viewed online?) and watch the whole film with the Alien Romance possibilities in mind.
In Blake Snyder's SAVE THE CAT GOES TO THE MOVIES, check out the category that SNOW DOGS belongs to on the free pdf file:
http://www.blakesnyder.com/downloads/STCGTTM_AtGlnceFnlRev2.pdf
Snow Dogs is not listed, but I would place it under FOOL TRIUMPHANT in the sub-category FOOL OUT OF WATER (a variant of Fish Out Of Water), which is the category headed by LEGALLY BLONDE. What do you think of that placement? And would that category and its formula lend itself to a platform for an Alien Romance that would have an appeal outside Romance fandom as Star Trek had an appeal outside of SF fandom (mainly to women who wouldn't crack an SF novel if their life depended on it -- those very women who INVENTED Alien Romance in ST 'zines!) ?
Blake Snyder's category depends on the MAIN CHARACTER being a CHARACTER (as in USA CHARACTERS WELCOME) who responds to a challenge with zest, joi de vivre, and the flexibility to learn, making "a fool of herself" in public in the process, and yet triumphing over the learning process in the end.
Note that Crocadile Dundee also belongs to this category. Scrumptious alien male, a fish out of water in Manhattan.
It seems to me that the category lends itself to Alien Romance so smoothly that I think we could see our breakthrough using this type of vehicle.
And as I pointed out, all of us could write the screenplay or novel structured like a screenplay from this template, and not compete with each other for shelf-space.
Jacqueline Lichtenberg
http://www.slantedconcept.com/
http://facebook.com/jacqueline.lichtenberg
http://twitter.com/jlichtenberg
Sunday, June 21, 2009
This is not the blog I want to write...
Tank trotted around the cabin after MommySass left, sniffing corners, putting his wet nose to the viewports, and then staring nowhere and everywhere. Be alert, Friend Reilly had warned him. Bad Thing watches us with its ugly smelly light.
Tank knew. He scented another drip of ugliness just now, a fetid ripple in the neverwhen. A small one, yes. But there.
Gone now. He looked again through the neverwhen. Perhaps he’d scared it away. He might be only a fidget, but he was growing stronger. He blinked his eyes, searching for something more pleasant.
Friend? Friend?
He felt Reilly’s answering purr.
Play now? Play time?
Play now, came the answer from down the corridor. Come here. Go Blink.
Fun! He swished his tail, remembering to do what Reilly taught him. Stretch. Reach. Sense. Go Blink.
He felt the neverwhen ruffle his fur. And then he was in Friend Reilly’s cabin sharing a wet-nosed greeting. Fun! he said again, and pounced on his friend’s back, wrestling the larger furzel to the floor....
The two furzels touched noses one more time before Reilly followed Tank into Sass’s small kitchen. Tank sat and looked up at the countertop. Reilly leaped gracefully, landing next to a shallow bowl of cream.
Tank scrunched his pudgy body against the floor and pushed with all his might, managing only to scramble against the cabinet doors before falling.
Shtift-a! he swore.
Reilly looked down at the pudgy fidget, then indicated with a lift of his nose the other side of the counter and two tall stools. Obediently, Tank trotted around and, paw over paw, grunting audibly, managed to pull himself up to counter level. Reilly graciously left a bit of cream for his friend.
Food!
Food!
Sweet. Cool.
Cool. Sweet.
A noise at the cabin door drew their attention.
Sass. Friend. Love, said Tank. Mommymommy!
Friend. Sass, agreed Reilly.
She pulled her hand away to examine the object, knowi
ng by touch what it was before she even held it up in the dim light. Five diamond-studded stars riding a slash of gold lightning.
“Keep it this time. Please.” He secured it to her shirt, just over her captain’s bars.
She knew she would never let it go again. A part of him, a part of Branden Kel-Paten. And a promise of forever.
She threaded her hand back through his and let him lead her through his ship’s dark and dying corridors to the airlock’s hatchway. A fat long-furred black and white furzel sat patiently waiting for them in the bright glow of the only working overhead light. Guardian of their safety. A beacon to guide them home.
(all selections from GAMES OF COMMAND )
Daquiri aka Daq Cat aka Tank the Furzel
Nov 1996 - June 21, 2009
You will be in my heart forever.
~Linnea aka MommySass
The future of Health Care
The most ridiculous health care system I've seen in my reading of alien romances and futuristic romances is to put an injured or sick person into a smart box for a short time.
Like magic, they recover completely with no explanation. All the hero has to do is carry the heroine to the nearest box. Or vice versa!
Superheroes and new agers require crystals. What else have you seen in speculative fiction?
Could an MRI or the combination of radioactivity with a psychically attractive meditation object really stimulate the body to regenerate itself?
Or will doctors and nurses always be with us? And if they are, will they dress differently... because those white coats or scrubs that are worn all day long might be the modern equivalent of the unwashed hands that went from dissecting cadavers in the morgue to the childbed in the maternity ward.
It would be nice if Go To Meeting Dot Com technology could be adapted for sick patient consultations, wouldn't it?
Go-To-Doc dot com.
We could sit at our computers with the camera on, and the doctor would be at his computer. We could show him our tongues, throats, nostrils, spots and rashes, hemorroids (I never could spell that!), or anything else that bothered us.
I dare say it wouldn't be too hard to have a DIY stethoscope, ECG, and blood tester. Also a DIY urinalysis, and occult blood test. Pharmacies could sell kits.
My vision is that this would be like Triage. If the patient wasn't satisfied, or if the doctor was suspicious of his or her own diagnosis, a referral could be made. In many cases, we go to a walk in clinic, the doctor pays close attention, prescribes an antibiotic or an over-the-counter remedy, admonishes us to rest and drink lots of non-alcoholic liquids, and tells us to come back in ten days if the condition does not improve.
There's already Ask-A-Nurse by telephone and probably in chat forums. Why not have Doctor-Zoom (with apologies to Legal Zoom) ?
It seems to me that medicine is Socialized on the USS Enterprise, on Babylon 5, and on Rebel alliance starships. Did Luke have to pay for his bionic hand? Would Mr. Spock be required to pay privately if he elected to have a medically irrational ear job?
Being sick is bad enough, without it being financially ruinous. On the other hand, perhaps we don't all have the right to be as beautiful and sexy as modern medicine could make us... at least, not at taxpayers' cost.
What would happen to society in the future if the person who communicated a disease was financially responsible for the treatment of those he or she infected? Unworkable? Unenforcible?
Look at H1N1. Some cities closed the schools.
It's a fact of life. Some parents will send their children to school when they know that child has a fever and is infectious... even with H1N1. There is no economic disincentive to endangering the community, but there is a financial incentive. If the child is kept at home, the parent cannot go to work and may lose wages.
Some people have a cock-eyed view of social responsibility. We had a school camp. One parent allegedly (so others said) left the bedside of a husband who had a 104 degree fever and alleged swineflu to come to camp and take her turn serving food at the snack table.
If the health care system is in financial trouble, will the elders of the future seek to encourage and even reward "self-quarantine"? Or, in the future, would the spread of a deadly disease be seen by government as a cost-effective way to eradicate the most expensive and non-productive members of society?
(Playing Devils Advocate, here. That is not what I endorse.)
My Fictional Future Health Care Plan
1. Private Pay. Walk-In clinics. Doctor-Zoom.com
If anyone wants to see a doctor in the walk-in system for cuts, scrapes, colds, flu, bronchitis, drug testing, rashes, broken toes/fingers, flu shots, prescription refills, (the sort of things that the uninsured take to the Emergency Room, and everyone else "walks in" and claims on their insurance, which cannot possibly be efficient in terms of paperwork time in relation to face-time with the doctor)
Flat rate of $10 for up to 10 minutes face-to-face online, or $30 in a facility.
(Or whatever AMA deems reasonable... Perhaps tax CREDITS could be an answer to the discrepancy in what people can afford to pay, and what is fair compensation for long, expensive training.)
Cash payment before being seen (on the spot or online).
Medical PayPal model?
Sign medical waiver, so there is no insurance/malpractice issue.
No insurance forms to be filled out, or claims to file. No exceptions. Just like walk in flu shots.
This will save doctors a lot of paperwork.
This will put the onus on patients to turn up at the clinics or online with all their own records and a list of their symptoms.
2.
Health Care Spending Account. PayPal for Medical costs.
Everyone (even children) may set up a tax-free, personal, individual Health Care Spending account, on the same principal as a college account. Possibly, the state could match savings for the lowest income individuals. The dollars would "roll over" and never be lost (unless spent.)
Employers could "buy out" existing health care, by transferring cash into their employees' Health Care Spending Accounts.
This would be a private pay system. Those who keep themselves in good health would not be subsidizing those who have unhealthy lifestyles.
3.
Private Insurance. (Like the British BUPA)
Individuals could opt to buy private, annual, term insurance for operations and other expensive procedures, also for elective and cosmetic procedures. This would be for patients who did not wish to wait for hip replacements, and other elective procedures, or who wished to have annual physicals at "resort" hospitals such as the Mayo Clinic instead of in their local physicans' offices with "participating providers".
It could work like car insurance, with cash back for people who do not make claims, and reduced premiums for those with clean health records. Premiums (at the Health Care Account owner's sole discretion) could be paid out of the Health Care Savings Account.
4.
State System.
Everyone is covered for everything requiring a referral from the $30 walk-in or $10 online clinic and upwards. Everyone waits their turn. No penis or breast enlargement (or reversal of medically successful cosmetic surgery) etc.
Only prescriptions that are necessary for pain, life preservation, treatment of infections, functioning of tests, etc would be provided. (No self-esteem drugs, no birth control, no viagra, no fertility drugs.)
Catastrophic care would be covered.
What's on your future wish list?
Rowena Cherry
Like magic, they recover completely with no explanation. All the hero has to do is carry the heroine to the nearest box. Or vice versa!
Superheroes and new agers require crystals. What else have you seen in speculative fiction?
Could an MRI or the combination of radioactivity with a psychically attractive meditation object really stimulate the body to regenerate itself?
Or will doctors and nurses always be with us? And if they are, will they dress differently... because those white coats or scrubs that are worn all day long might be the modern equivalent of the unwashed hands that went from dissecting cadavers in the morgue to the childbed in the maternity ward.
It would be nice if Go To Meeting Dot Com technology could be adapted for sick patient consultations, wouldn't it?
Go-To-Doc dot com.
We could sit at our computers with the camera on, and the doctor would be at his computer. We could show him our tongues, throats, nostrils, spots and rashes, hemorroids (I never could spell that!), or anything else that bothered us.
I dare say it wouldn't be too hard to have a DIY stethoscope, ECG, and blood tester. Also a DIY urinalysis, and occult blood test. Pharmacies could sell kits.
My vision is that this would be like Triage. If the patient wasn't satisfied, or if the doctor was suspicious of his or her own diagnosis, a referral could be made. In many cases, we go to a walk in clinic, the doctor pays close attention, prescribes an antibiotic or an over-the-counter remedy, admonishes us to rest and drink lots of non-alcoholic liquids, and tells us to come back in ten days if the condition does not improve.
There's already Ask-A-Nurse by telephone and probably in chat forums. Why not have Doctor-Zoom (with apologies to Legal Zoom) ?
It seems to me that medicine is Socialized on the USS Enterprise, on Babylon 5, and on Rebel alliance starships. Did Luke have to pay for his bionic hand? Would Mr. Spock be required to pay privately if he elected to have a medically irrational ear job?
Being sick is bad enough, without it being financially ruinous. On the other hand, perhaps we don't all have the right to be as beautiful and sexy as modern medicine could make us... at least, not at taxpayers' cost.
What would happen to society in the future if the person who communicated a disease was financially responsible for the treatment of those he or she infected? Unworkable? Unenforcible?
Look at H1N1. Some cities closed the schools.
It's a fact of life. Some parents will send their children to school when they know that child has a fever and is infectious... even with H1N1. There is no economic disincentive to endangering the community, but there is a financial incentive. If the child is kept at home, the parent cannot go to work and may lose wages.
Some people have a cock-eyed view of social responsibility. We had a school camp. One parent allegedly (so others said) left the bedside of a husband who had a 104 degree fever and alleged swineflu to come to camp and take her turn serving food at the snack table.
If the health care system is in financial trouble, will the elders of the future seek to encourage and even reward "self-quarantine"? Or, in the future, would the spread of a deadly disease be seen by government as a cost-effective way to eradicate the most expensive and non-productive members of society?
(Playing Devils Advocate, here. That is not what I endorse.)
My Fictional Future Health Care Plan
1. Private Pay. Walk-In clinics. Doctor-Zoom.com
If anyone wants to see a doctor in the walk-in system for cuts, scrapes, colds, flu, bronchitis, drug testing, rashes, broken toes/fingers, flu shots, prescription refills, (the sort of things that the uninsured take to the Emergency Room, and everyone else "walks in" and claims on their insurance, which cannot possibly be efficient in terms of paperwork time in relation to face-time with the doctor)
Flat rate of $10 for up to 10 minutes face-to-face online, or $30 in a facility.
(Or whatever AMA deems reasonable... Perhaps tax CREDITS could be an answer to the discrepancy in what people can afford to pay, and what is fair compensation for long, expensive training.)
Cash payment before being seen (on the spot or online).
Medical PayPal model?
Sign medical waiver, so there is no insurance/malpractice issue.
No insurance forms to be filled out, or claims to file. No exceptions. Just like walk in flu shots.
This will save doctors a lot of paperwork.
This will put the onus on patients to turn up at the clinics or online with all their own records and a list of their symptoms.
2.
Health Care Spending Account. PayPal for Medical costs.
Everyone (even children) may set up a tax-free, personal, individual Health Care Spending account, on the same principal as a college account. Possibly, the state could match savings for the lowest income individuals. The dollars would "roll over" and never be lost (unless spent.)
Employers could "buy out" existing health care, by transferring cash into their employees' Health Care Spending Accounts.
This would be a private pay system. Those who keep themselves in good health would not be subsidizing those who have unhealthy lifestyles.
3.
Private Insurance. (Like the British BUPA)
Individuals could opt to buy private, annual, term insurance for operations and other expensive procedures, also for elective and cosmetic procedures. This would be for patients who did not wish to wait for hip replacements, and other elective procedures, or who wished to have annual physicals at "resort" hospitals such as the Mayo Clinic instead of in their local physicans' offices with "participating providers".
It could work like car insurance, with cash back for people who do not make claims, and reduced premiums for those with clean health records. Premiums (at the Health Care Account owner's sole discretion) could be paid out of the Health Care Savings Account.
4.
State System.
Everyone is covered for everything requiring a referral from the $30 walk-in or $10 online clinic and upwards. Everyone waits their turn. No penis or breast enlargement (or reversal of medically successful cosmetic surgery) etc.
Only prescriptions that are necessary for pain, life preservation, treatment of infections, functioning of tests, etc would be provided. (No self-esteem drugs, no birth control, no viagra, no fertility drugs.)
Catastrophic care would be covered.
What's on your future wish list?
Rowena Cherry
The future of books
My opinion is that bookstores will become more of a cross between an internet cafe and a library. If patrons could do all their browsing on free computers, books would not have to be displayed attractively, and books could be stored much more efficiently.
The idea of allowing any single-product merchant access to everything on my personal computer is ludicrous.
http://www.opendemocracy.net/article/email/book-futures#comment-508303
Happy Fathers' Day
The idea of allowing any single-product merchant access to everything on my personal computer is ludicrous.
http://www.opendemocracy.net/article/email/book-futures#comment-508303
Happy Fathers' Day
Saturday, June 20, 2009
When a story doesn't work, part five
For the past few weeks I've posted the synopsis and first three chapters of my post apocotlypic romance that I shopped around to some different houses the end of 2008. One editor called it a MadMax/Matrix mix. I liked that reference. Still no one bit. No one even came close. They just could not identify with the characters.
So what was I to do? I had a concept that I thought was a good one. The greatest power is the mind. My overall story arc was pretty much typical. Guy meets girl, guy falls for girl, bad guy wants girl, bad guy takes girl, guy rescues girl and they live happily ever after. My world, as I envisioned it was complex and would need at least three books to tell, maybe four. Most important, I had two characters and names that I loved. Dax and Merritt.
I think one thing that went against me was the time of year. I sent out a dark, desperate and depressing world at Christmas time. That really should not influence it but deep down I think it did. Christmas is a happy time as it should be. But mostly I think the market was to blame. sci/fi romance is a very narrow niche and its hard to take a risk on something that does not have the potential for making a lot of $$$.
Publishers had taken a hit along with everyone else in 2008. A major book distributor went under. Returns were up, book stores were not buying as many titles as before but buying more of sure things. It was a hard time to sell period.
I took a long hard look at the market. I needed to come up with something new and fresh. Something that did not have vampires since I feel the fur and fangs market is way over done. I also felt as if urban fantasy might be overdone as well. Something well written in a new market sells, it becomes popular and suddenly every publisher in the world wants the same thing. They buy it up in hopes that they can cash in on the sudden craze and the reader gets tired of it. I am a firm believer that the reader wants a well written book in any genre instead of mediocre books in their favorite genre.
So thinking, new and different. Something that I could do well. Something in my writers wheelhouse. Somthing with strong characters, and great world buildling. I'm known for writing historicals and scifi. What blends those two genre's together?
Steampunk.
It wasn't as if I had a lightbulb moment. I'd read a few articles, thought about it, watched some movies with some elements of it, then a friend called me up and said. "I think you should try writing Steampunk. Its' perfect for you."
But I still had this proposal with elements that I liked and characters that I adored. Could I turn it into a steampunk story?
Here's the synopsis. You tell me.
Prism by Cindy Holby
A Steampunk Romance
Cindy Holby, award-winning author of historical and scifi romance, blends both genres together with Prism, a steampunk romance featuring a cowboy, a psychic heroine and a diabolical plot to take over the world using imaginative technology in Victorian England. What’s a proper British lady to do when a mad scientist is after her brain and an American cowboy is after her heart?
London, England 1887
David Alexander Conrad, AKA Dax, is a cowboy. But he's not just any ordinary cowboy—he's one of the famed performers with the Buffalo Bill Wild West Show who, in the summer of 1887, travels to England in order to give those stuffy Victorians a jolt of good old American showmanship. He is a renowned sharp shooter and trick rider with skills honed when he worked as a scout for the US Cavalry in the American Southwest during the Apache Wars with Geronimo. At twenty-seven, he’s the youngest star of the show and something of a celebrity in a London unaccustomed to his type. It is while Dax is on the party circuit that he meets a woman unlike any he has ever known.
Merritt Elizabeth Chadwyke is the daughter of Member of Parliament, Lord Pemberton She lives in a society bubble because she is subject to spells and needs the constant monitoring of a nurse. During her “spells” Merritt has been known to make outlandish comments about things of which she should have no knowledge. There is also evidence that during these spells, objects appear to move on their own. Merritt’s parents are very protective of her since they have already lost a son to a tragic accident. What her parents do not know is that at ten years of age, Merritt had a vision of her brother’s death but was afraid to say anything because of her parents reactions to her visions. She did try to warn her brother, who was fourteen when he died, but he ignored her. He realized he should have paid attention to her and said so as he died in his father’s arms. At their wits’ end over her strange illness, her parents send her to the Paranormal Research Institute run by Baron Edmond Von Swaim, who has become a society darling himself by using his powers of hypnotism to charm the upper crust. As Von Swaim performs test upon test on Merritt, he comes to the conclusion that she is something so unique and rare, he wasn't even certain it existed. Merritt is a Prism. And more importantly, she is exactly what he needs to complete his plot to overthrow the British Monarchy and take what he feels is his claim to the throne.
Von Swaim does everything to encourage Merritt’s family to turn her over to his care to cure her “spells.” His research into the study of the human mind has led him to believe that it is the greatest power upon earth. Through the use of his brilliant inventions and the enhancement of crystal prisms he plans to harness Merritt’s mind. Merritt, true to the nature of her spells, has a bad feeling about Von Swaim and refuses to go with him, despite her parents’ belief that it is the perfect solution to her strange illness. It is also during this time that Dax and Merritt have met each other and find that they are unable to stop thinking about each other. He finds it’s a bit more difficult to track a young woman through Victorian London than it is to fight Indians in the American west. Still he manages to find her, at parties, at the park, even in an exclusive tea shop. The feelings they share grow stronger with each passing moment and they go to great lengths to spend time together when they realize there is something special between them. As they pursue their romance Dax finds Merritt’s strange sense of things more of a gift than an illness and Merritt knows that Dax truly loves her for who she is, not what society or her parents expect her to be.
Frustrated with the constraints her family and society have put upon her, and unable to escape from Von Swaim’s constant presence, Merritt sneaks out to see a final performance of the Wild West show. Dax is happy to see her in the crowd and pulls her out to do some trick shooting. Meanwhile, Von Swaim, who has had Merritt watched ever since he’s treated her, is told of her escape from her home. Von Swaim sees this as the perfect opportunity to take her and sends his men, who wear armor and carry weapons that shoot lasers and electrical currents after her. Dax and Merritt manage to escape and spend a romantic night together in hiding. The following morning Von Swaim’s army finds their hiding place and chase Dax and Merritt through the streets of London. Dax is well armed but his trick shooting has no effect upon the special armor Von Swaim’s soldiers wear. Dax and Merritt are finally captured when Von Swaim uses a zeppelin to run them down in Hyde Park. He takes both of them prisoner, Merritt to be his weapon, and Dax, who is wounded in the leg to be brain washed and become a soldier in his army. They are taken by zeppelin to Von Swaim’s hidden castle in the Swiss Alps.
Dax finds there is no torture or brainwashing powerful enough to erase Merritt and his feelings for her from his memory. He manages to befriend a doctor in Von Swaim’s employ who has repaired Dax’s wound using Von Swaim’s invention of brass fittings and joints. After some time in which his injury heals and with the doctor’s help Dax manages to escape, only to find himself alone in a country where he knows no one and does not speak the language. To makes matters worse, Merritt is now under Von Swaim’s control and he has taken her to away for “treatment” with her parents’ permission. Fortunately for Dax, the Wild West Show is now touring Europe and he is able to find his friends who welcome him back with open arms. Dax is desperate to find Merritt but has no idea where to look.
Merritt, who is under Von Swaim’s control, cannot forget Dax either. Even though her memories of him are supposedly erased by Von Swaim’s hypnotism, her Prism abilities guide her back to Dax at one of the performances of the Wild West Show. Dax knows that he may never have this chance with Merritt again. With the help of his friends from the Wild West Show he is ready to use Von Swaim’s weapons against him. Dax and Von Swaim enter into a battle for her mind, but Von Swaim does not realize that Dax is also fighting for Merritt’s heart and soul. Dax will stop at nothing to free her from Von Swaim so that Merritt may make her own choices for her own life. Dax can only hope that once he frees her from Von Swaim that Merritt will choose him because he loves her just the way she is. Neither technology nor mind control, no matter how powerful, are any match for the strength of their love.
So what was I to do? I had a concept that I thought was a good one. The greatest power is the mind. My overall story arc was pretty much typical. Guy meets girl, guy falls for girl, bad guy wants girl, bad guy takes girl, guy rescues girl and they live happily ever after. My world, as I envisioned it was complex and would need at least three books to tell, maybe four. Most important, I had two characters and names that I loved. Dax and Merritt.
I think one thing that went against me was the time of year. I sent out a dark, desperate and depressing world at Christmas time. That really should not influence it but deep down I think it did. Christmas is a happy time as it should be. But mostly I think the market was to blame. sci/fi romance is a very narrow niche and its hard to take a risk on something that does not have the potential for making a lot of $$$.
Publishers had taken a hit along with everyone else in 2008. A major book distributor went under. Returns were up, book stores were not buying as many titles as before but buying more of sure things. It was a hard time to sell period.
I took a long hard look at the market. I needed to come up with something new and fresh. Something that did not have vampires since I feel the fur and fangs market is way over done. I also felt as if urban fantasy might be overdone as well. Something well written in a new market sells, it becomes popular and suddenly every publisher in the world wants the same thing. They buy it up in hopes that they can cash in on the sudden craze and the reader gets tired of it. I am a firm believer that the reader wants a well written book in any genre instead of mediocre books in their favorite genre.
So thinking, new and different. Something that I could do well. Something in my writers wheelhouse. Somthing with strong characters, and great world buildling. I'm known for writing historicals and scifi. What blends those two genre's together?
Steampunk.
It wasn't as if I had a lightbulb moment. I'd read a few articles, thought about it, watched some movies with some elements of it, then a friend called me up and said. "I think you should try writing Steampunk. Its' perfect for you."
But I still had this proposal with elements that I liked and characters that I adored. Could I turn it into a steampunk story?
Here's the synopsis. You tell me.
Prism by Cindy Holby
A Steampunk Romance
Cindy Holby, award-winning author of historical and scifi romance, blends both genres together with Prism, a steampunk romance featuring a cowboy, a psychic heroine and a diabolical plot to take over the world using imaginative technology in Victorian England. What’s a proper British lady to do when a mad scientist is after her brain and an American cowboy is after her heart?
London, England 1887
David Alexander Conrad, AKA Dax, is a cowboy. But he's not just any ordinary cowboy—he's one of the famed performers with the Buffalo Bill Wild West Show who, in the summer of 1887, travels to England in order to give those stuffy Victorians a jolt of good old American showmanship. He is a renowned sharp shooter and trick rider with skills honed when he worked as a scout for the US Cavalry in the American Southwest during the Apache Wars with Geronimo. At twenty-seven, he’s the youngest star of the show and something of a celebrity in a London unaccustomed to his type. It is while Dax is on the party circuit that he meets a woman unlike any he has ever known.
Merritt Elizabeth Chadwyke is the daughter of Member of Parliament, Lord Pemberton She lives in a society bubble because she is subject to spells and needs the constant monitoring of a nurse. During her “spells” Merritt has been known to make outlandish comments about things of which she should have no knowledge. There is also evidence that during these spells, objects appear to move on their own. Merritt’s parents are very protective of her since they have already lost a son to a tragic accident. What her parents do not know is that at ten years of age, Merritt had a vision of her brother’s death but was afraid to say anything because of her parents reactions to her visions. She did try to warn her brother, who was fourteen when he died, but he ignored her. He realized he should have paid attention to her and said so as he died in his father’s arms. At their wits’ end over her strange illness, her parents send her to the Paranormal Research Institute run by Baron Edmond Von Swaim, who has become a society darling himself by using his powers of hypnotism to charm the upper crust. As Von Swaim performs test upon test on Merritt, he comes to the conclusion that she is something so unique and rare, he wasn't even certain it existed. Merritt is a Prism. And more importantly, she is exactly what he needs to complete his plot to overthrow the British Monarchy and take what he feels is his claim to the throne.
Von Swaim does everything to encourage Merritt’s family to turn her over to his care to cure her “spells.” His research into the study of the human mind has led him to believe that it is the greatest power upon earth. Through the use of his brilliant inventions and the enhancement of crystal prisms he plans to harness Merritt’s mind. Merritt, true to the nature of her spells, has a bad feeling about Von Swaim and refuses to go with him, despite her parents’ belief that it is the perfect solution to her strange illness. It is also during this time that Dax and Merritt have met each other and find that they are unable to stop thinking about each other. He finds it’s a bit more difficult to track a young woman through Victorian London than it is to fight Indians in the American west. Still he manages to find her, at parties, at the park, even in an exclusive tea shop. The feelings they share grow stronger with each passing moment and they go to great lengths to spend time together when they realize there is something special between them. As they pursue their romance Dax finds Merritt’s strange sense of things more of a gift than an illness and Merritt knows that Dax truly loves her for who she is, not what society or her parents expect her to be.
Frustrated with the constraints her family and society have put upon her, and unable to escape from Von Swaim’s constant presence, Merritt sneaks out to see a final performance of the Wild West show. Dax is happy to see her in the crowd and pulls her out to do some trick shooting. Meanwhile, Von Swaim, who has had Merritt watched ever since he’s treated her, is told of her escape from her home. Von Swaim sees this as the perfect opportunity to take her and sends his men, who wear armor and carry weapons that shoot lasers and electrical currents after her. Dax and Merritt manage to escape and spend a romantic night together in hiding. The following morning Von Swaim’s army finds their hiding place and chase Dax and Merritt through the streets of London. Dax is well armed but his trick shooting has no effect upon the special armor Von Swaim’s soldiers wear. Dax and Merritt are finally captured when Von Swaim uses a zeppelin to run them down in Hyde Park. He takes both of them prisoner, Merritt to be his weapon, and Dax, who is wounded in the leg to be brain washed and become a soldier in his army. They are taken by zeppelin to Von Swaim’s hidden castle in the Swiss Alps.
Dax finds there is no torture or brainwashing powerful enough to erase Merritt and his feelings for her from his memory. He manages to befriend a doctor in Von Swaim’s employ who has repaired Dax’s wound using Von Swaim’s invention of brass fittings and joints. After some time in which his injury heals and with the doctor’s help Dax manages to escape, only to find himself alone in a country where he knows no one and does not speak the language. To makes matters worse, Merritt is now under Von Swaim’s control and he has taken her to away for “treatment” with her parents’ permission. Fortunately for Dax, the Wild West Show is now touring Europe and he is able to find his friends who welcome him back with open arms. Dax is desperate to find Merritt but has no idea where to look.
Merritt, who is under Von Swaim’s control, cannot forget Dax either. Even though her memories of him are supposedly erased by Von Swaim’s hypnotism, her Prism abilities guide her back to Dax at one of the performances of the Wild West Show. Dax knows that he may never have this chance with Merritt again. With the help of his friends from the Wild West Show he is ready to use Von Swaim’s weapons against him. Dax and Von Swaim enter into a battle for her mind, but Von Swaim does not realize that Dax is also fighting for Merritt’s heart and soul. Dax will stop at nothing to free her from Von Swaim so that Merritt may make her own choices for her own life. Dax can only hope that once he frees her from Von Swaim that Merritt will choose him because he loves her just the way she is. Neither technology nor mind control, no matter how powerful, are any match for the strength of their love.
Thursday, June 18, 2009
More on Animal Intelligence
An article titled “Native Intelligence,” in a special Winter 2009 issue of DISCOVER magazine about the brain, showcases the smartest animals in all the major groups (mammals, birds, insects, etc.). One general principle mentioned is, "Group living promotes a quick mind," because social interaction with other members of one's species requires flexibility and responsiveness. Being a social species isn't an absolute requirement, of course; some solitary animals are also conspicuous for their intelligence. Dolphins, border collies, pigs, and chimpanzees won't surprise anybody. Crows, among birds, are well known for their cleverness. I've also seen parrots celebrated for their smartness, although not in this article; apparently they can actually learn context-appropriate application of words rather than just "parroting." Horses, though? It turns out they're smarter than their reputation suggests. They can "be trained to pick the bigger or smaller of two objects," and wild mustangs can remember the location of water and food sources in their desert environment. Maybe Jonathan Swift's civilized horses in GULLIVER'S TRAVELS aren't so far-fetched—or the centaur-like aliens in one of John Varley's novels.
Bees? The article cites their "sophisticated spatial memory" and dance communication as signs of intelligence. I was thinking more of the "hive mind" concept, with an anthill or beehive analogous to a brain and the individual insects filling the role of neurons. A sinister hive mind takes possession of Tiffany, the young witch in Terry Pratchett's HAT FULL OF SKY, and manages to exchange thoughts with her in a rudimentary way. An extraterrestrial hive mind would be fascinating to deal with, as far as communication is concerned, but SO alien it might be difficult to integrate into a romance plot. If you fell in love with a "cell" in a group mind, wouldn't the entire hive share your intimate experiences?
The cleaner wrasse, a fish that nibbles parasites off larger fish, has enough brain to be sneaky about eating small chunks of a host's body and yet not bite the wrong fish, one that might eat him. Lobsters are "master navigators." My favorite aquatic smart creature from this article, however, is the octopus. Octopuses learn from experience and have been observed apparently playing with objects, a sign of intelligence; only intelligent animals continue to play into adulthood. Because they can manipulate things with their tentacles, super-octopuses on an alien planet could develop some sort of material technology, making them the kind of ET we could comprehend and maybe communicate with.
The last example in the article doesn't even have a brain—the amoeba. In foraging for food, it follows a zigzag pattern displaying "search optimization." This example brings up the question of how far the definition of intelligence should be stretched. The first page defines it as "the capacity to learn from one's surroundings and use reason to apply that knowledge toward a goal." Okay, just about any animal, including the amoeba and the lowly paramecium, can learn from its surroundings in the sense of modifying its behavior accordingly. But in what sense can a creature without a brain be said to "use reason"? Which relates to the SF problem of whether we could recognize an alien as intelligent if it had a type of intelligence extremely different from ours. Or suppose we met a being whose difference of scale went in the opposite direction from the bee's or amoeba's—a creature the size of a planet or star. Maybe its thoughts would move with such ponderous deliberation that it would have trouble recognizing US as intelligent.
P. S.: What kinds of topics would you be interested in seeing us blog about? I think this has been asked before, but more input is always welcome.
Margaret L. Carter
Carter's Crypt: http://www.margaretlcarter.com
Bees? The article cites their "sophisticated spatial memory" and dance communication as signs of intelligence. I was thinking more of the "hive mind" concept, with an anthill or beehive analogous to a brain and the individual insects filling the role of neurons. A sinister hive mind takes possession of Tiffany, the young witch in Terry Pratchett's HAT FULL OF SKY, and manages to exchange thoughts with her in a rudimentary way. An extraterrestrial hive mind would be fascinating to deal with, as far as communication is concerned, but SO alien it might be difficult to integrate into a romance plot. If you fell in love with a "cell" in a group mind, wouldn't the entire hive share your intimate experiences?
The cleaner wrasse, a fish that nibbles parasites off larger fish, has enough brain to be sneaky about eating small chunks of a host's body and yet not bite the wrong fish, one that might eat him. Lobsters are "master navigators." My favorite aquatic smart creature from this article, however, is the octopus. Octopuses learn from experience and have been observed apparently playing with objects, a sign of intelligence; only intelligent animals continue to play into adulthood. Because they can manipulate things with their tentacles, super-octopuses on an alien planet could develop some sort of material technology, making them the kind of ET we could comprehend and maybe communicate with.
The last example in the article doesn't even have a brain—the amoeba. In foraging for food, it follows a zigzag pattern displaying "search optimization." This example brings up the question of how far the definition of intelligence should be stretched. The first page defines it as "the capacity to learn from one's surroundings and use reason to apply that knowledge toward a goal." Okay, just about any animal, including the amoeba and the lowly paramecium, can learn from its surroundings in the sense of modifying its behavior accordingly. But in what sense can a creature without a brain be said to "use reason"? Which relates to the SF problem of whether we could recognize an alien as intelligent if it had a type of intelligence extremely different from ours. Or suppose we met a being whose difference of scale went in the opposite direction from the bee's or amoeba's—a creature the size of a planet or star. Maybe its thoughts would move with such ponderous deliberation that it would have trouble recognizing US as intelligent.
P. S.: What kinds of topics would you be interested in seeing us blog about? I think this has been asked before, but more input is always welcome.
Margaret L. Carter
Carter's Crypt: http://www.margaretlcarter.com
Tuesday, June 16, 2009
Writer's Eye Finds Symmetry
We had an interesting discussion on Spoilers recently in which I held that any story worth reading or viewing couldn't be "spoiled" by knowing the ending, or any particular scene, plot development or bit of dialogue.
In other words, I held that there is no such thing as a "spoiler."
http://aliendjinnromances.blogspot.com/2008/03/prologues-and-spoilers.html
If knowing what happens "spoils" it for you, then it wasn't well written enough to be worth your time and money anyway.
But in fact, there is such a thing as a spoiler!!!
What "spoils" fiction for readers and viewers is not knowing what happens, but knowing the trick behind the fictional facade.
The trick that's jerking your emotions around, that takes an event or line of dialogue and carries it straight through your conscious defenses into your subconscious and hits your deepest, most buried buttons, works just as well whether you've heard the plot in advance or not.
But once you know the trick being used against you, you don't react to it any more.
As stage magicians loathe letting anyone know their "secrets" (even other magicians), so also writers (who are prestidigitators of the emotions) should guard their proprietary secrets. Some writers go so far as to not-teach new writers because newbies are 'the competition.'
There is a process which trainee writers undergo as they pass from audience to stage-magician that is extremely wrenching. As you learn the secrets that writers have been using to jerk your emotions around, to make you laugh or cry over a scene, to deliver a GASP!, or a whoop of triumph, you find that your favorite fiction is "spoiled" -- you just don't enjoy it anymore, the way you used to as a mere reader.
You've found the keywords that trigger your emotional responses, even when used 200 pages before the impact hits you. You've found how you fall for the hero's kryptonite weakness, or root for heroes who have no such weakness. You've read a lot of these articles on how to write, and you've attended panels at conventions where writers reveal their secrets. Perhaps you've even done some writing yourself, and realize that these stories that always seemed so real, so important, so filled with higher truth, spiritual insights, or personal affirmation of your view of the world -- all this stuff you always adored suddenly seems as flimsy and false as the Western town main street consisting of plywood fronts for stores with catwalks on the back for cameras.
And it's all bland and pointless, except there's money to be made writing! So you set out to write, and that just makes the apathy for reading or viewing any fiction worse.
This state of apathy for fiction can persist for years once fiction has been "spoiled" for you by glimpsing behind the scenes. Or it might persist only for a few months, depending on how fast the stage of mastering the craft lasts. And the length of that interval depends on how hard you work at mastering the tricks yourself, and how much of yourself you put into it, and on how good you are at learning abstract things then applying them in the practical world.
Some people actually reach a version of this stage of apathy just while watching television, never thinking to become writers. They grasp the underlying formula for a TV series, find it predictable, and then find it boring because it's predictable.
Some will then segue into an "I can write better than that!" attitude and proceed to do so (with varied results), but still not find their enjoyment of commercial fiction returning.
So let's talk a little about how writing students bootstrap themselves up to the level of professional writers, and begin enjoying fiction for totally different reasons than they had ever been able to imagine before. This sheds light on why the same novel rarely wins both the Hugo (voted by fans) and the Nebula (voted only by professional writers.)
What does the writer's eye see that the reader's eye misses?
What do writers see in each others' work to send them into paroxysms of joy, of admiration, or even (*gasp*) into becoming a FAN of another writer's work?
It's all in the writer's TRAINED EYE. The writer's inner eye "sees" patterns that escape the casual reader. Having attempted to capture such a pattern and display it in a fictional universe, a world they have built themselves, the writer is aware of how difficult it is to put such an abstract vision into a piece of fiction and have the fiction still work as a story comprehensible to other people.
Only the writer who has studied the craft, then attempted (and perhaps even sold) stories has full appreciation of what an achievement capturing a real-world pattern in a bit of fiction can be.
If the pattern is put into the foreground of the fiction, the fiction fails to reach the reader/viewer's subconscious. If it's in the background or too buried in symbology or assumptions, the fiction doesn't communicate the pattern to a commercial size audience. If it's too hidden in the THEME, the fiction fails. Too blatant or too hidden -- either one is easy to write. But getting the pattern to be visible, clear and well stated, but still open to personal interpretation, and thus able to engage the audience's subconscious, now that's hard.
A writer can have a blazing epiphany, become filled to the brim with the urgency of showing the world an important bit of wisdom, and write their heart into a story -- only to have it sneered at or rejected.
After such a failure, a writer is set up to break through the apathy barrier, to become a FAN of other writers, to appreciate writing as craft and art welded into a thing of beauty.
What does a writer learn in that moment of breaking through the apathy barrier? What breaks that barrier and restores enjoyment to fiction? Finding a pattern you recognize properly used in a bit of fiction, understanding the craft elements that construct and convey the pattern, and knowing "This is what I was trying to do!" Recognizing another writer's success at something difficult restores a writer's zest for reading/viewing other writer's fiction.
All that is very abstract. Here's a concrete example.
Let's take the film MR. AND MRS. SMITH, the 2005 movie version where a husband and wife are in marriage counselling, and discover that each one has been keeping a secret from the other.
They are both assassins working for secret agencies. And they've been assigned to kill each other, and in fact the situation which pits them against each other was rigged by their superiors simply because they were living together. (um, yeah, it's a romance, and has all the elements of an alien romance, since each is "the unknown" to the other)
http://www.imdb.com/title/tt0356910/
I've seen this film several times, and once again just recently.
But this last time was the ONLY time I saw what it was that speaks to me in this film.
Previously, it had been years since I'd written a screenplay. Recently I've done three (none yet to my own satisfaction!). Now I'm seeing movies differently, and really enjoying things I did not enjoy before. Apparently I stopped writing screenplays before I broke this barrier.
So in Mr. & Mrs. Smith, I found the PATTERN that (when I couldn't see it) was jerking me around. Now it is very likely you saw this pattern the first time you saw the movie, and you won't understand why I didn't see it.
And I like this movie even better now that I've seen clearly what was only hazy before.
I hope you've re-read my post
http://aliendjinnromances.blogspot.com/2008/03/prologues-and-spoilers.html
because in that post I did mention that if you have a prologue, you also need an epilogue. That's a technique of structure often called "bookends." Mr. & Mrs. Smith has "bookends" in the structure, and I never missed that point.
The film starts with the husband and wife sitting in office visitor chairs before a desk you don't see. It's a marriage counselling session. They haven't had sex in a while (with each other, that is) and can't agree on how long that's been, nor on how long it's been since they met. We see how they met, pretending to be a couple even though they didn't know each other, evading a police search for an assassin who was an American traveling alone. Total strangers, they provided cover for each other.
We see each of them in their ordinary workday persona, in wild "James Bond" action, battling, killing, almost being killed, arriving home in very "James Bond" unruffled fashion, being the perfect suburban couple. They argue or go stone-silent over trivial household matters. Clearly something abnormal there.
Then they're pitted against each other (we don't know why at first) and each wrestles with whether to kill the other (almost does it), and finally they begin actually TALKING about the issues between them ("What did you think the first time you saw me?" asking frank and embarrassing questions and answering honestly.) As they clear the air, they decide they won't kill each other, and they team up as allies against the conspiracy of their superiors to make them kill each other because they're living together (and therefore the "other" is a spy.)
The battle scenes get wilder and wilder until they shoot up a store, blow things up, (even their own house gets turned into a pile of kindling) then there's a stunt-doubled car chase to make Indiana Jones pale.
And after one wild-WILD action fight sequence, they blow off the rest of their aggressions in sex, wild passionate sex like they haven't had in years.
They settle the problem with their superiors, and they're back at the marriage counsellor. Mr. Smith prompts the marriage counsellor to ask the sex question again. They admit they redecorated the house (one of the issues they were spatting over was the color of the curtains).
Of course, the way I've outlined the story here, the pattern is obvious because I see it now.
The VIOLENT ACTS we see as they do their day-job, the violence in joining in combat at a job (that was a setup) where one tries to steal the "package" from the other, all the way through forming an alliance and shooting up and destroying a SUBURBAN HOUSEWARES STORE (with all kinds of nasty hunting weapons) (and they turn out to be wearing kevlar vests! I tell you the SYMBOLISM is perfect for penetrating subconsciouses), even the explosion that destroys their house -- all that violence and destruction is the SHOW DON'T TELL illustration, an exact replica or reflection, of the usual ho-hum marital-spat screaming fights most couples have. When a marriage is in real trouble, those spats become symbolic of the real problems in exactly the way the violence and truth-in-marriage issues do in this film.
The violence in this film acts as a SYMBOL for the marital issues that are screamed over and around but never actually stated in ordinary marriages (such as viewers of the movie might be living through). As the violence escalates, their COMMUNICATION over the real issues escalates (as rarely happens in real life -- I said this is a romance.)
The marriage counsel session dialogue is easily recognizable as marital issues. Just read some self-help books and you can't miss it. Textbook stuff. The marriage counsellor doesn't know they're both assassins by trade. Would that trade make a difference?
The VIOLENCE appears to be just rollicking good fun needed to sell a movie. Neither is rattled by explosions, wounds, etc. The violence isn't about the violence. It's about conversation, about communicating.
This is a film in which VIOLENCE is CONVERSATION. DESTRUCTION is SEXUALITY.
The film doesn't go into great detail about the sex scenes, but the violence is detailed move for move and prolonged for fun, right down to gradually stripping off clothing as it gets ruined by the violence.
We've all discussed the psychological equivalence of sex and violence.
From the writer's point of view, the trick is to define a HIGH CONCEPT, and write that story, delivering on the fun in the concept.
The CONCEPT that husband and wife are (secretly from each other) professional assassins casts the marital "battle of the sexes" into HIGH CONCEPT, and provides the "violence" that producers require to pull in audiences.
But the violence in Mr. And Mrs. Smith (2005 version) is not gratuitous. It's not there to draw audiences. It's not there to display the grandiose physiques of the stars or the director's genius. It's there to FULFILL A PATTERN, to reticulate a pattern, and to discuss the nature of marriage.
Whee! This writer SQUEALS FOR JOY at seeing every bit of this script so clearly etched that every line traces right back to where the concept came from.
Now seeing into the wheels-and-gears behind the illusion does not spoil it for me. It is in fact the reason I imbibe fiction in all media. I take vast joy in well oiled wheels-and-gears.
Seeing into the mechanism is one part of the exercise of creating such a mechanism of your own. Seeing this particular mechanism fitting a typical alien-romance plot into commercial box office parameters makes me ever more hopeful that we can indeed create that blockbuster, runs-for-twenty-years PNR TV series.
Does anybody reading this remember TOPPER? It's not even currently available on DVD, and what's available used is only "highlights" -- it's time to rethink all this PNR stuff.
AMAZON SAYS: "A madcap comedy escapade, The Adventures of Topper is a collection of the funniest episodes from the ""Topper"" television series. The show, based on a novel by Thorne Smith and the book's subsequent spin-off motion pictures, features genteel banker Cosmo Topper who moves into a new house that comes complete with ghosts and all!"
Remember "The Ghost And Mrs. Muir" ???
Each of those two "Concepts" spoke to a particular generation in terms of what was bugging that generation most. Mr. & Mrs. Smith speaks to the issue of truth in marriage. Note how on SMALLVILLE, and even in BUFFY, the truth issue is make-or-break in the Relationships. (Clue: truth in marriage wasn't always iconic in USA society, [rememer I LOVE LUCY?] nor in Victorian or Renaissance English Romances. It's really a very new yardstick for measuring relationships.)
Book, film, TV Show -- there's a link, a trail to follow that connects these forms of entertainment with each other and with the social matrix they address. And today we have to add web-originals, and other graphic novel, TV, and other new distribution channels.
Now think CONCEPT and think SYMMETRY as only the writer's eye can see it.
Think about Mr. And Mrs. Smith and how the violence level of the script mirrored the exact textbook progress of a marriage encounter-group session. See the pattern whole and completely reticulated, in the subconscious and in the conscious. The pattern is not in the foreground, not in the background and not even in the THEME. It's in the ties between the violence and the psychology that exist ONLY IN THE VIEWER'S MIND, and never on screen.
Don't just admire the modern Mr. And Mrs. Smith -- follow the pattern lines back to the originating concept, reverse engineer the script, deconstruct that concept into its components, and delve into how that concept was created.
It's not just a flash of inspiration that creates concepts. It's long, hard days of perspiration -- sometimes watching or reading things you wouldn't ordinarily want to. When that flash of inspiration occurs, it's your subconscious reporting on its month's work.
Writers do most all their work while sleeping, but the IRS doesn't let you deduct the bedroom of your house. Talk about unfair tax practices.
So replicate what they did to create and recognize the High Concept, "A married couple where each is secretly an assassin."
You can't use their concept, but you can use their method of finding that concept.
What other conflicts besides the "battle of the sexes in marriage" do you know of that go on in millions of people's lives every day? That's the question to answer in order to get the effect Hollywood wants: THE SAME.
What kind of well known, familiar conflict is so pervasive people don't even notice it's there, nor consider it worth commenting on? And what are the best self-help books that address subsets of that vast conflict area?
Nail that SAME part, then search for the BUT DIFFERENT part of the formula.
With Mr. and Mrs. Smith, the "different" part is that they're BOTH professional assassins.
Then the grind-the-crank part of the plot leads directly to "assigned to kill each other" - you just have to figure out a reason. The elegant solution is "because they're living together which means each is a spy assigned to waggle our secrets out of our hired assassin."
The twist with Mr. and Mrs. Smith is that the box-office requirement of VIOLENCE is supplied by their day jobs, not by the domestic dispute over keeping secrets.
I'd bet all of you already know all this.
So what are you thinking. Two alien from outer space spies meet on Earth and marry to maintain their cover? But they've each been sent here to search for the other and a) kill him, or b) protect Earth from his faction Out There?
Here are some widespread "conflicts" to explore other than Battle of the Sexes:
1) People Vs. Medical System
2) People Vs. Insidious Advertising Practices (think 0% nothing down mortgages)
3) People Vs. The Boss From Hell
4) People Vs. College grading system
5) People Vs. Traffic congestion
6) People Vs. Post Office Screw Ups
7) Tech Support Slave Vs. Enraged Customers
8) Mom Vs. School System over allowing Bullying
What other pervasive, everybody knows what it is about, conflicts can you think of?
Jacqueline Lichtenberg
http://www.simegen.com/jl/
http://twitter.com/JLichtenberg
In other words, I held that there is no such thing as a "spoiler."
http://aliendjinnromances.blogspot.com/2008/03/prologues-and-spoilers.html
If knowing what happens "spoils" it for you, then it wasn't well written enough to be worth your time and money anyway.
But in fact, there is such a thing as a spoiler!!!
What "spoils" fiction for readers and viewers is not knowing what happens, but knowing the trick behind the fictional facade.
The trick that's jerking your emotions around, that takes an event or line of dialogue and carries it straight through your conscious defenses into your subconscious and hits your deepest, most buried buttons, works just as well whether you've heard the plot in advance or not.
But once you know the trick being used against you, you don't react to it any more.
As stage magicians loathe letting anyone know their "secrets" (even other magicians), so also writers (who are prestidigitators of the emotions) should guard their proprietary secrets. Some writers go so far as to not-teach new writers because newbies are 'the competition.'
There is a process which trainee writers undergo as they pass from audience to stage-magician that is extremely wrenching. As you learn the secrets that writers have been using to jerk your emotions around, to make you laugh or cry over a scene, to deliver a GASP!, or a whoop of triumph, you find that your favorite fiction is "spoiled" -- you just don't enjoy it anymore, the way you used to as a mere reader.
You've found the keywords that trigger your emotional responses, even when used 200 pages before the impact hits you. You've found how you fall for the hero's kryptonite weakness, or root for heroes who have no such weakness. You've read a lot of these articles on how to write, and you've attended panels at conventions where writers reveal their secrets. Perhaps you've even done some writing yourself, and realize that these stories that always seemed so real, so important, so filled with higher truth, spiritual insights, or personal affirmation of your view of the world -- all this stuff you always adored suddenly seems as flimsy and false as the Western town main street consisting of plywood fronts for stores with catwalks on the back for cameras.
And it's all bland and pointless, except there's money to be made writing! So you set out to write, and that just makes the apathy for reading or viewing any fiction worse.
This state of apathy for fiction can persist for years once fiction has been "spoiled" for you by glimpsing behind the scenes. Or it might persist only for a few months, depending on how fast the stage of mastering the craft lasts. And the length of that interval depends on how hard you work at mastering the tricks yourself, and how much of yourself you put into it, and on how good you are at learning abstract things then applying them in the practical world.
Some people actually reach a version of this stage of apathy just while watching television, never thinking to become writers. They grasp the underlying formula for a TV series, find it predictable, and then find it boring because it's predictable.
Some will then segue into an "I can write better than that!" attitude and proceed to do so (with varied results), but still not find their enjoyment of commercial fiction returning.
So let's talk a little about how writing students bootstrap themselves up to the level of professional writers, and begin enjoying fiction for totally different reasons than they had ever been able to imagine before. This sheds light on why the same novel rarely wins both the Hugo (voted by fans) and the Nebula (voted only by professional writers.)
What does the writer's eye see that the reader's eye misses?
What do writers see in each others' work to send them into paroxysms of joy, of admiration, or even (*gasp*) into becoming a FAN of another writer's work?
It's all in the writer's TRAINED EYE. The writer's inner eye "sees" patterns that escape the casual reader. Having attempted to capture such a pattern and display it in a fictional universe, a world they have built themselves, the writer is aware of how difficult it is to put such an abstract vision into a piece of fiction and have the fiction still work as a story comprehensible to other people.
Only the writer who has studied the craft, then attempted (and perhaps even sold) stories has full appreciation of what an achievement capturing a real-world pattern in a bit of fiction can be.
If the pattern is put into the foreground of the fiction, the fiction fails to reach the reader/viewer's subconscious. If it's in the background or too buried in symbology or assumptions, the fiction doesn't communicate the pattern to a commercial size audience. If it's too hidden in the THEME, the fiction fails. Too blatant or too hidden -- either one is easy to write. But getting the pattern to be visible, clear and well stated, but still open to personal interpretation, and thus able to engage the audience's subconscious, now that's hard.
A writer can have a blazing epiphany, become filled to the brim with the urgency of showing the world an important bit of wisdom, and write their heart into a story -- only to have it sneered at or rejected.
After such a failure, a writer is set up to break through the apathy barrier, to become a FAN of other writers, to appreciate writing as craft and art welded into a thing of beauty.
What does a writer learn in that moment of breaking through the apathy barrier? What breaks that barrier and restores enjoyment to fiction? Finding a pattern you recognize properly used in a bit of fiction, understanding the craft elements that construct and convey the pattern, and knowing "This is what I was trying to do!" Recognizing another writer's success at something difficult restores a writer's zest for reading/viewing other writer's fiction.
All that is very abstract. Here's a concrete example.
Let's take the film MR. AND MRS. SMITH, the 2005 movie version where a husband and wife are in marriage counselling, and discover that each one has been keeping a secret from the other.
They are both assassins working for secret agencies. And they've been assigned to kill each other, and in fact the situation which pits them against each other was rigged by their superiors simply because they were living together. (um, yeah, it's a romance, and has all the elements of an alien romance, since each is "the unknown" to the other)
http://www.imdb.com/title/tt0356910/
I've seen this film several times, and once again just recently.
But this last time was the ONLY time I saw what it was that speaks to me in this film.
Previously, it had been years since I'd written a screenplay. Recently I've done three (none yet to my own satisfaction!). Now I'm seeing movies differently, and really enjoying things I did not enjoy before. Apparently I stopped writing screenplays before I broke this barrier.
So in Mr. & Mrs. Smith, I found the PATTERN that (when I couldn't see it) was jerking me around. Now it is very likely you saw this pattern the first time you saw the movie, and you won't understand why I didn't see it.
And I like this movie even better now that I've seen clearly what was only hazy before.
I hope you've re-read my post
http://aliendjinnromances.blogspot.com/2008/03/prologues-and-spoilers.html
because in that post I did mention that if you have a prologue, you also need an epilogue. That's a technique of structure often called "bookends." Mr. & Mrs. Smith has "bookends" in the structure, and I never missed that point.
The film starts with the husband and wife sitting in office visitor chairs before a desk you don't see. It's a marriage counselling session. They haven't had sex in a while (with each other, that is) and can't agree on how long that's been, nor on how long it's been since they met. We see how they met, pretending to be a couple even though they didn't know each other, evading a police search for an assassin who was an American traveling alone. Total strangers, they provided cover for each other.
We see each of them in their ordinary workday persona, in wild "James Bond" action, battling, killing, almost being killed, arriving home in very "James Bond" unruffled fashion, being the perfect suburban couple. They argue or go stone-silent over trivial household matters. Clearly something abnormal there.
Then they're pitted against each other (we don't know why at first) and each wrestles with whether to kill the other (almost does it), and finally they begin actually TALKING about the issues between them ("What did you think the first time you saw me?" asking frank and embarrassing questions and answering honestly.) As they clear the air, they decide they won't kill each other, and they team up as allies against the conspiracy of their superiors to make them kill each other because they're living together (and therefore the "other" is a spy.)
The battle scenes get wilder and wilder until they shoot up a store, blow things up, (even their own house gets turned into a pile of kindling) then there's a stunt-doubled car chase to make Indiana Jones pale.
And after one wild-WILD action fight sequence, they blow off the rest of their aggressions in sex, wild passionate sex like they haven't had in years.
They settle the problem with their superiors, and they're back at the marriage counsellor. Mr. Smith prompts the marriage counsellor to ask the sex question again. They admit they redecorated the house (one of the issues they were spatting over was the color of the curtains).
Of course, the way I've outlined the story here, the pattern is obvious because I see it now.
The VIOLENT ACTS we see as they do their day-job, the violence in joining in combat at a job (that was a setup) where one tries to steal the "package" from the other, all the way through forming an alliance and shooting up and destroying a SUBURBAN HOUSEWARES STORE (with all kinds of nasty hunting weapons) (and they turn out to be wearing kevlar vests! I tell you the SYMBOLISM is perfect for penetrating subconsciouses), even the explosion that destroys their house -- all that violence and destruction is the SHOW DON'T TELL illustration, an exact replica or reflection, of the usual ho-hum marital-spat screaming fights most couples have. When a marriage is in real trouble, those spats become symbolic of the real problems in exactly the way the violence and truth-in-marriage issues do in this film.
The violence in this film acts as a SYMBOL for the marital issues that are screamed over and around but never actually stated in ordinary marriages (such as viewers of the movie might be living through). As the violence escalates, their COMMUNICATION over the real issues escalates (as rarely happens in real life -- I said this is a romance.)
The marriage counsel session dialogue is easily recognizable as marital issues. Just read some self-help books and you can't miss it. Textbook stuff. The marriage counsellor doesn't know they're both assassins by trade. Would that trade make a difference?
The VIOLENCE appears to be just rollicking good fun needed to sell a movie. Neither is rattled by explosions, wounds, etc. The violence isn't about the violence. It's about conversation, about communicating.
This is a film in which VIOLENCE is CONVERSATION. DESTRUCTION is SEXUALITY.
The film doesn't go into great detail about the sex scenes, but the violence is detailed move for move and prolonged for fun, right down to gradually stripping off clothing as it gets ruined by the violence.
We've all discussed the psychological equivalence of sex and violence.
From the writer's point of view, the trick is to define a HIGH CONCEPT, and write that story, delivering on the fun in the concept.
The CONCEPT that husband and wife are (secretly from each other) professional assassins casts the marital "battle of the sexes" into HIGH CONCEPT, and provides the "violence" that producers require to pull in audiences.
But the violence in Mr. And Mrs. Smith (2005 version) is not gratuitous. It's not there to draw audiences. It's not there to display the grandiose physiques of the stars or the director's genius. It's there to FULFILL A PATTERN, to reticulate a pattern, and to discuss the nature of marriage.
Whee! This writer SQUEALS FOR JOY at seeing every bit of this script so clearly etched that every line traces right back to where the concept came from.
Now seeing into the wheels-and-gears behind the illusion does not spoil it for me. It is in fact the reason I imbibe fiction in all media. I take vast joy in well oiled wheels-and-gears.
Seeing into the mechanism is one part of the exercise of creating such a mechanism of your own. Seeing this particular mechanism fitting a typical alien-romance plot into commercial box office parameters makes me ever more hopeful that we can indeed create that blockbuster, runs-for-twenty-years PNR TV series.
Does anybody reading this remember TOPPER? It's not even currently available on DVD, and what's available used is only "highlights" -- it's time to rethink all this PNR stuff.
AMAZON SAYS: "A madcap comedy escapade, The Adventures of Topper is a collection of the funniest episodes from the ""Topper"" television series. The show, based on a novel by Thorne Smith and the book's subsequent spin-off motion pictures, features genteel banker Cosmo Topper who moves into a new house that comes complete with ghosts and all!"
Remember "The Ghost And Mrs. Muir" ???
Each of those two "Concepts" spoke to a particular generation in terms of what was bugging that generation most. Mr. & Mrs. Smith speaks to the issue of truth in marriage. Note how on SMALLVILLE, and even in BUFFY, the truth issue is make-or-break in the Relationships. (Clue: truth in marriage wasn't always iconic in USA society, [rememer I LOVE LUCY?] nor in Victorian or Renaissance English Romances. It's really a very new yardstick for measuring relationships.)
Book, film, TV Show -- there's a link, a trail to follow that connects these forms of entertainment with each other and with the social matrix they address. And today we have to add web-originals, and other graphic novel, TV, and other new distribution channels.
Now think CONCEPT and think SYMMETRY as only the writer's eye can see it.
Think about Mr. And Mrs. Smith and how the violence level of the script mirrored the exact textbook progress of a marriage encounter-group session. See the pattern whole and completely reticulated, in the subconscious and in the conscious. The pattern is not in the foreground, not in the background and not even in the THEME. It's in the ties between the violence and the psychology that exist ONLY IN THE VIEWER'S MIND, and never on screen.
Don't just admire the modern Mr. And Mrs. Smith -- follow the pattern lines back to the originating concept, reverse engineer the script, deconstruct that concept into its components, and delve into how that concept was created.
It's not just a flash of inspiration that creates concepts. It's long, hard days of perspiration -- sometimes watching or reading things you wouldn't ordinarily want to. When that flash of inspiration occurs, it's your subconscious reporting on its month's work.
Writers do most all their work while sleeping, but the IRS doesn't let you deduct the bedroom of your house. Talk about unfair tax practices.
So replicate what they did to create and recognize the High Concept, "A married couple where each is secretly an assassin."
You can't use their concept, but you can use their method of finding that concept.
What other conflicts besides the "battle of the sexes in marriage" do you know of that go on in millions of people's lives every day? That's the question to answer in order to get the effect Hollywood wants: THE SAME.
What kind of well known, familiar conflict is so pervasive people don't even notice it's there, nor consider it worth commenting on? And what are the best self-help books that address subsets of that vast conflict area?
Nail that SAME part, then search for the BUT DIFFERENT part of the formula.
With Mr. and Mrs. Smith, the "different" part is that they're BOTH professional assassins.
Then the grind-the-crank part of the plot leads directly to "assigned to kill each other" - you just have to figure out a reason. The elegant solution is "because they're living together which means each is a spy assigned to waggle our secrets out of our hired assassin."
The twist with Mr. and Mrs. Smith is that the box-office requirement of VIOLENCE is supplied by their day jobs, not by the domestic dispute over keeping secrets.
I'd bet all of you already know all this.
So what are you thinking. Two alien from outer space spies meet on Earth and marry to maintain their cover? But they've each been sent here to search for the other and a) kill him, or b) protect Earth from his faction Out There?
Here are some widespread "conflicts" to explore other than Battle of the Sexes:
1) People Vs. Medical System
2) People Vs. Insidious Advertising Practices (think 0% nothing down mortgages)
3) People Vs. The Boss From Hell
4) People Vs. College grading system
5) People Vs. Traffic congestion
6) People Vs. Post Office Screw Ups
7) Tech Support Slave Vs. Enraged Customers
8) Mom Vs. School System over allowing Bullying
What other pervasive, everybody knows what it is about, conflicts can you think of?
Jacqueline Lichtenberg
http://www.simegen.com/jl/
http://twitter.com/JLichtenberg
Sunday, June 14, 2009
Eyes On The Future
Car Designers start with a respect for the past when they envisage the future. That is one reason why the G.M. Heritage Center is important.
If you know where you (or a brand) came from, and you can plot the evolution to the way things look today, you have a much better chance of projecting how things will look in the future.
Today --my today-- was taken up with preparing for, and then interviewing a man I have the honor of calling a friend: Dr Philip Hessburg, head of the Detroit Institute of Opthalmology
http://lsc.audioacrobat.com/download/bb99178b-f535-adcd-c798-346851331b0d.mp3
When you write science fiction, you try to imagine what our world will be like in the future. Reading Scientific American, and Discovery Magazine helps. So does listening to the great and visionary minds of our time, such as those of Dr Larry Burns of General Motors, and Dr Philip Hessburg of the Detroit Institute of Opthalmology.
If you know where you (or a brand) came from, and you can plot the evolution to the way things look today, you have a much better chance of projecting how things will look in the future.
Today --my today-- was taken up with preparing for, and then interviewing a man I have the honor of calling a friend: Dr Philip Hessburg, head of the Detroit Institute of Opthalmology
http://lsc.audioacrobat.com/download/bb99178b-f535-adcd-c798-346851331b0d.mp3
When you write science fiction, you try to imagine what our world will be like in the future. Reading Scientific American, and Discovery Magazine helps. So does listening to the great and visionary minds of our time, such as those of Dr Larry Burns of General Motors, and Dr Philip Hessburg of the Detroit Institute of Opthalmology.
Saturday, June 13, 2009
Part Four. When a story doesn't work
This is where I ran into problems. Swaim wants to use Merritt as a weapon. So he's hooking her up to computers and keeping her in a dream state where she believes that he's her father. It makes it easier for him to control her and use her. Kind of useless place for a heroine. My intention was to replay Dax and Merritt's love story using her subconscious. Even though she's doped up and believes she's Swaim's daughter, subconciously she'll be remembering her life with Dax. So I would tell their story as Merritt remembered it. Meanwhile, Dax is also hooked into the super computer and somehow his subconscious connects with Merritt's, he realizes what's going on, he breaks free then goes back to free her. It turns out that I've over used that tool recently. Seperate H/H and have hero rescue heroine. So yes, it is hard to connect with a heroine who is doped and unconscious. I have to agree there. But they didn't see Merritt the way I did. Which was also my fault. I didn't write enough of the book. Its hard to do a indepth proposal when you've got a dead line looming.
Chapter Three
The Dome
There had to be something beyond the shadows. Or maybe it was just her vision that was blurry. There was always the possibility that she was dreaming. Could that be it? Merritt walked through the room with her fingers trailing over the clean lines of the plain but functional furniture. Everything was done in shades of gray, from the plush carpet that cushioned her feet to the heavy gray drapes that covered the walls. Were there windows behind the drapes? For some reason she could not recall the view. Everything around her was familiar, yet everything she saw was strange.
“There you are my dear,” a man’s voice said.
Merritt turned. A man stood before her. He was tall and slim with blond hair that held a touch of silver at the temples. His eyes shaded more towards gray than blue, but it could easily be that the room they were in made them look that way. He wore a perfectly tailored suit that was on the edge of a new trend in fashion, yet would not be considered ostentatious by his peers. How was it that knew that, or even cared?
“Father?” she asked. The word came unbidden to her lips and for some strange reason she was not sure if it was appropriate.
“Who else would it be?” He came to her and took her upper arms into his hands. He kissed her forehead. “Silly girl,” he said.
She scrunched her forehead up as he kissed it. As if she could ward off the touch of his lips. His eyes bore into her and she turned away from his intense scrutiny.
“Merritt,” he said his voice heavy with concern. “Are you all right?”
A pain shot through her temples and she pressed her hands against them.
“It hurts,” she cried out.
<>
“What’s wrong?” Swain asked.
“She’s fighting it,” Foster replied. “Her mind is sensing the reality shift. Her consciousness senses the dream so she’s trying to wake herself up.” Foster turned from his perusal of the monitor and added. “I told you she was strong. One of the strongest I’ve ever seen.”
Swain let his head drop back against the cushion. He reclined in an ergonomic chair while Foster worked the code for Merritt’s program. His Simkey pulsed while it accepted the code and aligned the program with the matching Simkey that glowed from the admanium port Foster had inserted in Merritt’s temple.
Strong and mine…
She really was quite lovely with her silvery blonde hair and clear blue eyes which were closed. It was a shame really that he could not look at them. They reminded him of the wildflowers that grew outside the dome. They were the dominant feature of her heart shaped face and quite an exquisite color of blue with black flecks around the edge of the irises. It was as if he possessed a valuable piece of art that he had to keep behind lock and key. He well remembered the sparks in those eyes as she attacked him in the real. It would be nice to see the life in them again. That, however, would not be conducive to achieving his goal.
She wore a silver rehab suit that stretched from her toes up to her neck. It would aid in the prevention of sores on her body from being in the same position for so long. It would also stimulate her muscles and enhance her circulation as she stayed suspended in the simlife. It clung to her like a second skin and showed the healthy vitality of her body which would soon fade away with enforced inactivity. Various tubes and wires were attached each one there to serve a purpose in keeping her alive for as long as he needed her.
To Swain, she looked like a princess from one of the ancient fairy tales as she lay reclined in a chair similar to his. Her brow seemed troubled and was drawn sternly down, marring the porcelain like complexion of her skin.
“Sleeping Beauty,” he said as he recalled the ancient fairytale she brought to mind.
“Sir?” Foster inquired.
“I noticed that you cut her hair.” No need to let Foster know where his musings led him. The man was bright enough as it was. Bright enough that he bore watching.
“Yes sir,” Foster did not turn away from his keypad.
No excuse or reason was given. When she arrived her hair hung to her waist. Now it was cropped close to her head and the ends of it curled up around her face.
Why did he care?
“It would have been a nuisance to care for,” Foster added after a moment.
Swain had to agree. Still it was a shame.
“I sold it,” Foster said as he swiveled his chair around to face him. “To the sonaspa.”
Swain resisted the urge to roll his eyes in disgust. The pursuit of eternal youth in their society was not unlike a cult. Someone would pay dearly for those hair enhancements. He wondered if he would recognize the color if he came across it in his social circle.
“I assume you deposited the credits in my account,” Swain said.
“Yes,” Foster said. “We can try again whenever you are ready. I added a head injury to her history which will help explain her confusion and I also gave her a pet for distraction.”
“A pet?”
“A fluffy white kitten,” Foster said with a smile that seemed insincere at best. “A gift from her father.”
Swain nodded his approval as he settled back into his chair and closed his eyes.
<>
“Have I told you how relieved I am?” He said.
Merritt touched her temple once again. “About what?”
“About your recovery of course.” The look he gave her was full of concern. “The Doctor said your periods of memory loss would eventually fade.”
She pushed her fingers against her temple as if there was a switch there that needed to be on. If only she could remember…anything…There was nothing that was familiar. The walls seemed distant yet suffocating. She wanted to see the sky and feel the breeze on her face.
“I was hurt?” she asked. That would explain much. It would explain everything. She looked at her father hopefully. Why couldn’t she remember him?
“Yes,” he said calmly. Patiently. As if she was a small child. “You fell. You hurt your head. You have only recently come home from the Medcen.”
“Is that why it hurts?” she asked as she rubbed her right hand over her forehead. She scrunched up her eyes and then opened them in hopes that things would appear clearer to her. Her left hand caught her attention and she looked at it, spreading the fingers wide as she turned it over to examine it.
“I lost it,” she said. “I lost my ring. Did I leave it at the Medcen?”
“What ring?” he asked.
Merritt held her hand out. “My ring.” She twisted the fingers of her right hand around the base of the ring finger on her left hand.
“What did it look like?”
She continued to rub her finger as she tried to remember. She could see it in her mind. Silver and gold twisted together in a never ending circle. She recalled the weight of it. How it slid down the length of her finger and settled at the base as if it were a part of her flesh. She could almost feel a hand close over hers as if holding it in place. A strong hand with blunt fingers that were heavily calloused at the tips. To whom did it belong? “It was silver…and gold…It was both?” she said in hope that he would offer her some confirmation.
“I’m sure it will turn up,” he said a trifle bit too indulgently. How could something that felt so real and now so lost be a figment of her imagination?
It was apparent that her father thought she was imaging it. She turned away. She could not stand to see the indulgence in his pale eyes. Her eyes darted back and forth looking for the way out. She felt claustrophobic, as if the walls were closing in around her. The only door was behind him. Even with her back turned she knew she would not make it past him.
As if he knew what she was thinking he came up behind her and placed his hands firmly on her shoulders. Perhaps he meant to offer comfort. Instead she felt as if he’d captured her and there was no escape.
If he was her father then why couldn’t she remember his name?
“I have a gift for you,” he said. “Something to help you with your recovery. The doctor’s said if you didn’t try to remember so much then it would be easier.”
“They did?” She had a vague recollection of some sort of medical procedure. Of bright lights over head, the sterile smell of recycled air and strange faces hovering over her. She also felt a strange sense of loss, as if with the accident and what followed she lost a part of herself.
It was all so strange yet she could not say what was different. Only that it was.
The man who was her father walked to the plush gray sofa that curved around two sides of the room. He returned with a white box tied with a bright pink bow. It was strange that she had not noticed it earlier when she first walked into the room. Certainly the brightness of the bow would have stood out against all the misty gray that surrounded her.
“Open it,” he said encouragingly as he held it out to her. She had no choice but to take it. She pulled on the ribbon and it fell away as if it were nothing. She opened the box and a black kitten with deep blue eyes poked its head up and stared at her inquisitively.
“Oh,” Merritt exclaimed. She scooped the kitten out and dropped the box to the floor. “He’s adorable.”
Her father seemed confused. He chucked a finger under the kitten’s chin and it turned its head into her neck as if trying to escape from his attention. “You shall have to give it a name,” he said.
Merritt held the kitten up before her face and looked into its deep blue eyes. They were such a strange color for a cat, but somewhere she had heard that kittens were born with blue eyes and then they turned green or gold. Perhaps his just hadn’t changed yet. He let out a tiny meow as she looked at him and she smiled in delight as she clutched him back to her breast.
“I shall name him Dax,” she said.
“Dax?” Her fathered seemed to disapprove. “Isn’t that a strange name for a cat? Where ever did you come up with that name?”
Merritt turned halfway away from him. She felt as if the kitten was in jeopardy. “I don’t know where it came from,” she said as she rubbed the silky fur. “I just know that I like it and it seems to fit him.”
“Are you even sure that it is a him?” he asked.
Merritt held up the kitten once more and looked beneath its tiny round belly. It was hard to say one way or another at this young age but for some reason, she just knew it was a he. “I’m sure,” she said.
“I’m glad you are pleased,” her father said. “Now come, the Doctor’s said you must rest.” He took her arm and guided her to a door. “Go in and lie down. Snuggle up with your kitty,” he added as he opened the door.
Merritt looked around the space, hoping for something that was familiar, but all she saw was the same misty grayness around the walls and a gray cover upon the bed that was the only piece of furniture in the room. She heard the door close firmly behind her and knew without checking that it was locked. It didn’t matter one way or the other however as she found herself suddenly very tired. Her eyes closed the moment she lay down on the bed but before she drifted off to sleep her finger tips grazed the base of her ring finger.
H
er last thought as the darkness overcame her was of her ring. She must find it.
<>
“I thought you told me the kitten was white,” Swain exclaimed as he disconnected his Simkey and slid it into the pocket inside of his coat. He positioned his chair for easy rising and stalked to where Merritt lay in her dream like state. Her hands were clutched together with the fingers of her right hand holding onto the base of her left ring finger and her forehead was drawn down as if she were heavily troubled.
“I programmed it white,” Foster said. “What did you see?”
“A black cat with blue eyes,” Swain said. “She named it Dax.”
“Dax?” Foster asked.
“The man with her,” Swain exclaimed. “His name was Dax. At least that’s what she was screaming if I remember correctly.”
Foster raised his eyebrows. “How interesting,” he said. “Her subconscious is compensating for the absence of familiarity. It also appears that it is rewriting the program to adapt to her longings.”
“Fix it,” Swain said in disgust. “I need her to be fully operational as soon as possible.”
“I’ll get right on it,” Foster said. But instead of turning back to his desk, he studied Merritt intently. “Perhaps we should give her a mother,” he mused aloud.
“No,” Swain said. “The simpler the program, the better it will run. She has to trust me. Only me,” he added as he turned to go. He had a council meeting to attend. “Have it working by the time I return,” he snapped as he left.
He walked through his luxurious apartment that covered the entire top floor of one of the most prominent buildings inside the dome. Above him was a rooftop garden full of plants that at one time grew in the Caribbean islands which were now rumored to be nothing more than desolate peaks. No one knew for certain. No one who ventured out to travel what remained of the world ever returned.
The best part about his garden was that he could stand upon a chair and touch the skin that sheltered them from the outside. It felt fragile, as if it could be sliced with a knife, yet it withstood pounding rain and hail and the freezing rains that pelted it in the winter. When he was younger and full of idealism he imagined he was touching the sky. Now he knew better.
Swain entered the lift that only stopped on his floor and the main floor many stories below. It was open on three sides and from it he could survey the city. He saw the many storied buildings, the green areas, the elevated trains that encircled the dome and the moving sidewalks that created a spider web effect from the center of the city to the edge. Everywhere he looked he saw the vid screens. The screens that gave their society all their information, from the latest news to the latest in the celebrity gossip. Screens that were present on every corner, in every office, in every apartment, in every classroom.
Screens that controlled the populace with suggestions made by the Paranormal Research Instruments of Sublimal Messaging called Prisms by those on the council. There were nearly one hundred of them, all kept in simsleep, all heavily guarded and behind locked doors on a floor of the government building. Each Prism was connected to the main frame and each was given instructions which they, in turn, passed on to the populace. Buy this, eat here, avoid this, all suggested to keep the peace within.
Swain allowed himself the luxury of a smile as he quickly descended to the streets below. Now he had his own Prism. One who was programmed to do his bidding and spread his will.
Soon everything he beheld before him would be his.
“All mine,” he said with a smile.
Chapter Three
The Dome
There had to be something beyond the shadows. Or maybe it was just her vision that was blurry. There was always the possibility that she was dreaming. Could that be it? Merritt walked through the room with her fingers trailing over the clean lines of the plain but functional furniture. Everything was done in shades of gray, from the plush carpet that cushioned her feet to the heavy gray drapes that covered the walls. Were there windows behind the drapes? For some reason she could not recall the view. Everything around her was familiar, yet everything she saw was strange.
“There you are my dear,” a man’s voice said.
Merritt turned. A man stood before her. He was tall and slim with blond hair that held a touch of silver at the temples. His eyes shaded more towards gray than blue, but it could easily be that the room they were in made them look that way. He wore a perfectly tailored suit that was on the edge of a new trend in fashion, yet would not be considered ostentatious by his peers. How was it that knew that, or even cared?
“Father?” she asked. The word came unbidden to her lips and for some strange reason she was not sure if it was appropriate.
“Who else would it be?” He came to her and took her upper arms into his hands. He kissed her forehead. “Silly girl,” he said.
She scrunched her forehead up as he kissed it. As if she could ward off the touch of his lips. His eyes bore into her and she turned away from his intense scrutiny.
“Merritt,” he said his voice heavy with concern. “Are you all right?”
A pain shot through her temples and she pressed her hands against them.
“It hurts,” she cried out.
<>
“What’s wrong?” Swain asked.
“She’s fighting it,” Foster replied. “Her mind is sensing the reality shift. Her consciousness senses the dream so she’s trying to wake herself up.” Foster turned from his perusal of the monitor and added. “I told you she was strong. One of the strongest I’ve ever seen.”
Swain let his head drop back against the cushion. He reclined in an ergonomic chair while Foster worked the code for Merritt’s program. His Simkey pulsed while it accepted the code and aligned the program with the matching Simkey that glowed from the admanium port Foster had inserted in Merritt’s temple.
Strong and mine…
She really was quite lovely with her silvery blonde hair and clear blue eyes which were closed. It was a shame really that he could not look at them. They reminded him of the wildflowers that grew outside the dome. They were the dominant feature of her heart shaped face and quite an exquisite color of blue with black flecks around the edge of the irises. It was as if he possessed a valuable piece of art that he had to keep behind lock and key. He well remembered the sparks in those eyes as she attacked him in the real. It would be nice to see the life in them again. That, however, would not be conducive to achieving his goal.
She wore a silver rehab suit that stretched from her toes up to her neck. It would aid in the prevention of sores on her body from being in the same position for so long. It would also stimulate her muscles and enhance her circulation as she stayed suspended in the simlife. It clung to her like a second skin and showed the healthy vitality of her body which would soon fade away with enforced inactivity. Various tubes and wires were attached each one there to serve a purpose in keeping her alive for as long as he needed her.
To Swain, she looked like a princess from one of the ancient fairy tales as she lay reclined in a chair similar to his. Her brow seemed troubled and was drawn sternly down, marring the porcelain like complexion of her skin.
“Sleeping Beauty,” he said as he recalled the ancient fairytale she brought to mind.
“Sir?” Foster inquired.
“I noticed that you cut her hair.” No need to let Foster know where his musings led him. The man was bright enough as it was. Bright enough that he bore watching.
“Yes sir,” Foster did not turn away from his keypad.
No excuse or reason was given. When she arrived her hair hung to her waist. Now it was cropped close to her head and the ends of it curled up around her face.
Why did he care?
“It would have been a nuisance to care for,” Foster added after a moment.
Swain had to agree. Still it was a shame.
“I sold it,” Foster said as he swiveled his chair around to face him. “To the sonaspa.”
Swain resisted the urge to roll his eyes in disgust. The pursuit of eternal youth in their society was not unlike a cult. Someone would pay dearly for those hair enhancements. He wondered if he would recognize the color if he came across it in his social circle.
“I assume you deposited the credits in my account,” Swain said.
“Yes,” Foster said. “We can try again whenever you are ready. I added a head injury to her history which will help explain her confusion and I also gave her a pet for distraction.”
“A pet?”
“A fluffy white kitten,” Foster said with a smile that seemed insincere at best. “A gift from her father.”
Swain nodded his approval as he settled back into his chair and closed his eyes.
<>
“Have I told you how relieved I am?” He said.
Merritt touched her temple once again. “About what?”
“About your recovery of course.” The look he gave her was full of concern. “The Doctor said your periods of memory loss would eventually fade.”
She pushed her fingers against her temple as if there was a switch there that needed to be on. If only she could remember…anything…There was nothing that was familiar. The walls seemed distant yet suffocating. She wanted to see the sky and feel the breeze on her face.
“I was hurt?” she asked. That would explain much. It would explain everything. She looked at her father hopefully. Why couldn’t she remember him?
“Yes,” he said calmly. Patiently. As if she was a small child. “You fell. You hurt your head. You have only recently come home from the Medcen.”
“Is that why it hurts?” she asked as she rubbed her right hand over her forehead. She scrunched up her eyes and then opened them in hopes that things would appear clearer to her. Her left hand caught her attention and she looked at it, spreading the fingers wide as she turned it over to examine it.
“I lost it,” she said. “I lost my ring. Did I leave it at the Medcen?”
“What ring?” he asked.
Merritt held her hand out. “My ring.” She twisted the fingers of her right hand around the base of the ring finger on her left hand.
“What did it look like?”
She continued to rub her finger as she tried to remember. She could see it in her mind. Silver and gold twisted together in a never ending circle. She recalled the weight of it. How it slid down the length of her finger and settled at the base as if it were a part of her flesh. She could almost feel a hand close over hers as if holding it in place. A strong hand with blunt fingers that were heavily calloused at the tips. To whom did it belong? “It was silver…and gold…It was both?” she said in hope that he would offer her some confirmation.
“I’m sure it will turn up,” he said a trifle bit too indulgently. How could something that felt so real and now so lost be a figment of her imagination?
It was apparent that her father thought she was imaging it. She turned away. She could not stand to see the indulgence in his pale eyes. Her eyes darted back and forth looking for the way out. She felt claustrophobic, as if the walls were closing in around her. The only door was behind him. Even with her back turned she knew she would not make it past him.
As if he knew what she was thinking he came up behind her and placed his hands firmly on her shoulders. Perhaps he meant to offer comfort. Instead she felt as if he’d captured her and there was no escape.
If he was her father then why couldn’t she remember his name?
“I have a gift for you,” he said. “Something to help you with your recovery. The doctor’s said if you didn’t try to remember so much then it would be easier.”
“They did?” She had a vague recollection of some sort of medical procedure. Of bright lights over head, the sterile smell of recycled air and strange faces hovering over her. She also felt a strange sense of loss, as if with the accident and what followed she lost a part of herself.
It was all so strange yet she could not say what was different. Only that it was.
The man who was her father walked to the plush gray sofa that curved around two sides of the room. He returned with a white box tied with a bright pink bow. It was strange that she had not noticed it earlier when she first walked into the room. Certainly the brightness of the bow would have stood out against all the misty gray that surrounded her.
“Open it,” he said encouragingly as he held it out to her. She had no choice but to take it. She pulled on the ribbon and it fell away as if it were nothing. She opened the box and a black kitten with deep blue eyes poked its head up and stared at her inquisitively.
“Oh,” Merritt exclaimed. She scooped the kitten out and dropped the box to the floor. “He’s adorable.”
Her father seemed confused. He chucked a finger under the kitten’s chin and it turned its head into her neck as if trying to escape from his attention. “You shall have to give it a name,” he said.
Merritt held the kitten up before her face and looked into its deep blue eyes. They were such a strange color for a cat, but somewhere she had heard that kittens were born with blue eyes and then they turned green or gold. Perhaps his just hadn’t changed yet. He let out a tiny meow as she looked at him and she smiled in delight as she clutched him back to her breast.
“I shall name him Dax,” she said.
“Dax?” Her fathered seemed to disapprove. “Isn’t that a strange name for a cat? Where ever did you come up with that name?”
Merritt turned halfway away from him. She felt as if the kitten was in jeopardy. “I don’t know where it came from,” she said as she rubbed the silky fur. “I just know that I like it and it seems to fit him.”
“Are you even sure that it is a him?” he asked.
Merritt held up the kitten once more and looked beneath its tiny round belly. It was hard to say one way or another at this young age but for some reason, she just knew it was a he. “I’m sure,” she said.
“I’m glad you are pleased,” her father said. “Now come, the Doctor’s said you must rest.” He took her arm and guided her to a door. “Go in and lie down. Snuggle up with your kitty,” he added as he opened the door.
Merritt looked around the space, hoping for something that was familiar, but all she saw was the same misty grayness around the walls and a gray cover upon the bed that was the only piece of furniture in the room. She heard the door close firmly behind her and knew without checking that it was locked. It didn’t matter one way or the other however as she found herself suddenly very tired. Her eyes closed the moment she lay down on the bed but before she drifted off to sleep her finger tips grazed the base of her ring finger.
H
er last thought as the darkness overcame her was of her ring. She must find it.
<>
“I thought you told me the kitten was white,” Swain exclaimed as he disconnected his Simkey and slid it into the pocket inside of his coat. He positioned his chair for easy rising and stalked to where Merritt lay in her dream like state. Her hands were clutched together with the fingers of her right hand holding onto the base of her left ring finger and her forehead was drawn down as if she were heavily troubled.
“I programmed it white,” Foster said. “What did you see?”
“A black cat with blue eyes,” Swain said. “She named it Dax.”
“Dax?” Foster asked.
“The man with her,” Swain exclaimed. “His name was Dax. At least that’s what she was screaming if I remember correctly.”
Foster raised his eyebrows. “How interesting,” he said. “Her subconscious is compensating for the absence of familiarity. It also appears that it is rewriting the program to adapt to her longings.”
“Fix it,” Swain said in disgust. “I need her to be fully operational as soon as possible.”
“I’ll get right on it,” Foster said. But instead of turning back to his desk, he studied Merritt intently. “Perhaps we should give her a mother,” he mused aloud.
“No,” Swain said. “The simpler the program, the better it will run. She has to trust me. Only me,” he added as he turned to go. He had a council meeting to attend. “Have it working by the time I return,” he snapped as he left.
He walked through his luxurious apartment that covered the entire top floor of one of the most prominent buildings inside the dome. Above him was a rooftop garden full of plants that at one time grew in the Caribbean islands which were now rumored to be nothing more than desolate peaks. No one knew for certain. No one who ventured out to travel what remained of the world ever returned.
The best part about his garden was that he could stand upon a chair and touch the skin that sheltered them from the outside. It felt fragile, as if it could be sliced with a knife, yet it withstood pounding rain and hail and the freezing rains that pelted it in the winter. When he was younger and full of idealism he imagined he was touching the sky. Now he knew better.
Swain entered the lift that only stopped on his floor and the main floor many stories below. It was open on three sides and from it he could survey the city. He saw the many storied buildings, the green areas, the elevated trains that encircled the dome and the moving sidewalks that created a spider web effect from the center of the city to the edge. Everywhere he looked he saw the vid screens. The screens that gave their society all their information, from the latest news to the latest in the celebrity gossip. Screens that were present on every corner, in every office, in every apartment, in every classroom.
Screens that controlled the populace with suggestions made by the Paranormal Research Instruments of Sublimal Messaging called Prisms by those on the council. There were nearly one hundred of them, all kept in simsleep, all heavily guarded and behind locked doors on a floor of the government building. Each Prism was connected to the main frame and each was given instructions which they, in turn, passed on to the populace. Buy this, eat here, avoid this, all suggested to keep the peace within.
Swain allowed himself the luxury of a smile as he quickly descended to the streets below. Now he had his own Prism. One who was programmed to do his bidding and spread his will.
Soon everything he beheld before him would be his.
“All mine,” he said with a smile.
Friday, June 12, 2009
Guest Blogger Rachel Caine
Rachel Caine ( http://www.rachelcaine.com ) is a New York Times bestselling author of action/adventure fantasy with a good dose of Relationship, Love and Romance in the plot. She joins us this week responding to questions asked by Jacqueline Lichtenberg and Rowena Cherry on the occasion of the publication of the 6th novel in her Morganville Vampires series, Carpe Corpus.
We told Rachel the following:
The aliendjinnromances.blogspot.com blog is by a group of PNR and SFR writers who often talk to the "audience" as we would if we were on a panel at a convention, bouncing a topic around and around from our various viewpoints. It's not a blog about promoting our books, but about nurturing new writers who want to enter the field, and giving our general readers a glimpse of everything that goes on behind the scenes. Thus, from time to time, we post excerpts, chapters, out-takes, and character analyses of current novels, but mostly we talk about the past, present and future of the entire field, including TV and film.
So please answer these questions (or make up questions of your own) as if you were sitting on a stage with all of us around you talking to an audience that came to find out all about what we write and why we write it. Feel free to skip any of these questions, or amalgamate them into a little essay of your own. Readers of this blog love Vampires, Werewolves, Star Trek, and Buffy all equally.
Then we asked these 10 questions. Here are Rachel's responses. I think you're going to want to check out her novels, so I've added some links to Amazon where you can read what other fans have said about her books.
ROWENA: 1. Which was the first Vampire story that you remember seeing or reading? Why do you think it made a powerful impression on you?
I believe it was probably Dracula, which I might have stumbled on in the Bookmobile (I lived far out in the country, and the only reliable access I had to books for my early teen years was the mobile library, which was very limited). I was intrigued, but not overwhelmed. The second book, which probably made a HUGE impression on me, was an illicit copy of of Stephen King's 'SALEMS LOT, which was a pretty shocking take on vampires at the age of ... 13? I believe? But I *loved* it. Then I began to look for vampire books, and my first encounter with a vampire who wasn't a terrifying monster was Chelsea Quinn Yarbro's wonderful St. Germain books. (I am also extremely flattered to be interviewed by you, because I eagerly followed your Sime/Gen books, Jacqueline! Hello! /Fangirl.)
ROWENA: 2. When you are writing a Vampire hero or heroine, what are the top five points you consider vital to characterization.
I'll give it a try! 1) Mystery. Especially in a vampire, I like to have some bit of mystery about their background, their true motivations. 2) Motivation (speaking of). I like to know, very clearly, what it is the vampire really wants -- whether it's redemption, dinner, romance, or just to get through the next day/night. All greatly affect how the character will respond to situations. 3) Friends/allies/enemies. I need to know how my vampire fits in with the other characters ... who he's crossed before, who he secretly loves or loathes, etc. 4) Redeeming qualities. These are, for me, quite important in a vampire character. You're working, after all, with the initial premise that this is a creature who survives on the blood of others, so what about him or her is admirable? How does the reader connect with/root for the vampire? There has to be some common ground. 5) Reliable mythology. Whether it's unique to your own universe or drawn directly from the folklore, it should be consistent or your vampire won't be believable.
Whew. That was harder than I thought!
ROWENA: 3. What is the Vampire lifestyle?
In Morganville, it's complicated. There are social levels, certainly -- the elites, who pretty much control the town and live in luxury (think Mafia dons). The working-class vampires, who are more like Mafia soldiers. And then there are outcasts and rebels, even among the vampires, who may or may not play by the rules, but probably are just as unhappy with the status quo as the various human factions in town.
Added to that, there's the undeniable fact that Morganville itself is a closed society ... the vampires may run the town like the Mafia, collecting blood and services from the human residents, but it's also a kind of protective enclave. An animal preserve, for a dying race. To me, that's what makes my vampires interesting; they're dangerous and unpredictable, but they're also the last of their kind.
ROWENA: 4. What are the rules for your Vampire world-building, and how did you formulate them?
I decided I wouldn't do this project unless I could make it interesting for myself, and different from the type of vampire stories that were already making new headway with teen readers, so I focused on the town itself -- how it worked, who ran it, and how it affected my human inhabitants (including poor Claire, who gets dropped into it). I needed to understand the fundamental secrets of the town before I could decide how it was constructed. It seemed logical to me to find Morganville in a bit of a decline -- fewer and fewer people living there, buildings decaying, unrest among the vampires. I believe I really did, in a literal sense, build the town from the ground up, because some of what happens in the books happens underground, where some of the true secret lay.
ROWENA: 5. What advice would you give to a writer who has not yet completed her first draft of the vampire story in her head?
There's no substitute for sitting down and writing. You can write in your head forever, but it's putting pen to paper, or fingers to keyboard, that creates something real. But there's also a learning curve in this, as in anything that's really worth doing ... you're going to find yourself struggling sometimes to get your ideas on the page, or to make them different, or better. Keep going. It's a process, and if we're very lucky, the process never stops.
JACQUELINE: 6. What do you think your readers are looking for in a relationship between a paranormal such as a Vampire and an ordinary human?
My situation is a little bit unique, because although I do have vampires and humans interacting constantly, the only real vampire/human romantic relationship I have is between Eve and Michael, who became a vampire quite recently. I know that, based on the conversations and feedback from my readers, they really want Eve and Michael to work out ... and that's going to be interesting to me, because Michael's just really starting to discover who he is, and what it is he can do. So I think there's going to be a lot of bumps for that relationship along the way.
In terms of ordinary friendships, I think my readers are enjoying the growing ties between Claire and her somewhat-crazy vampire mentor Myrnin; she's becoming a bit of a caretaker for him, and he's in turn teaching her a lot about Morganville and the unique brand of science he's developed to run it.
JACQUELINE: 7. How do your novels manage to provide the Happily Ever After endings that both Romance and Action readers crave? (we have discussed the Happily Ever After requirement at length on this blog).
I think that as long as the main core relationship of the book -- Claire and Shane -- stays strong and deepens, readers will support all the other twists and turns. And I am determined to have happy endings for all of the Glass House residents, which helps. (Can't guarantee anything beyond that, though ...)
JACQUELINE: 8. How much real romance do you put into your novels? Or do you ever put just a love story into the plot? Or is the relationship always a sub-plot to the action?
I'd have to say that I categorize my stories as action/adventure first, romance second, so it's very much a sub-plot. BUT ... it's also central to why Claire is in Morganville, and why the readers care what happens, so it's extremely important as well. In my Weather Warden novels,
I believe the romantic relationship between Joanne and David is actually the "A" plot, and everything else comes second, no matter how world-destroying. In Morganville, I think it's slightly more of an even balance.
(Carpe Corpus is Rachel's 6th book in the Morganville series)
JACQUELINE: 9. How would you characterize your novels -- are they dark like the TV show SUPERNATURAL? Or mixed like FOREVER KNIGHT or BUFFY? Is there any message of optimism for humankind in your work?
I would say mixed, more like BUFFY than FK (although I love all of those, and SUPERNATURAL too). Dark things definitely happen, but one of the keys to my enjoyment of writing the books is how resilient the characters are, and how funny they can be, even in the darkest of times. (Huge Geek TV fan, here. HUGE. I own one of those "Joss Whedon is my master now" T-shirts.)
JACQUELINE: 10. Give new writers a tip on how to follow in your footsteps.
First of all, don't follow my footsteps, they lead down all kinds of blind alleys, into swamps, sand traps, snake pits ... I've made just about every mistake that can be made. And I'm a bit glad, actually. I've really enjoyed my career, even in the worst times ... but then again, I never quit my day job (for long, anyway). I'd say this: practice, practice, practice. Learn patience and humility, and learn the BUSINESS, which is a strange and wonderful thing.
Many writers think their job ends with turning in a manuscript; I believe that there's a lot before, during, and after that we really should be involved in, including marketing. Learn a variety of skills -- I trained in graphic design, video editing, and public relations, which is all extremely helpful in promotion work for the books.
But most of all: write what you love, not what others tell you is hot. Sooner or later, if you're doing your best work, you will catch a wave. How well you ride it is always the question, but be ready for the opportunity when it comes. Be professional -- treat people well, and respect what they do at every level.
And pay it forward. Mentor others when you can. I was the incredibly lucky recipient of mentoring from a huge variety of great authors, including P.N. Elrod, Patricia Anthony, Nina Romberg/Jane Archer, Joe Lansdale, and so many others. Some of them just offered me handy advice at a time when I needed it. Some shared agents. Some critiqued my work. Some introduced me to editors who later bought my work. There are many, many ways that you can help people, and the simplest thing can sometimes be the most helpful.
Thank you so much for letting me participate today! I truly appreciate it, and once again: I AM A HUGE FANGIRL, LADIES.
Thank you
Rachel Caine
http://www.rachelcaine.com
We told Rachel the following:
The aliendjinnromances.blogspot.com blog is by a group of PNR and SFR writers who often talk to the "audience" as we would if we were on a panel at a convention, bouncing a topic around and around from our various viewpoints. It's not a blog about promoting our books, but about nurturing new writers who want to enter the field, and giving our general readers a glimpse of everything that goes on behind the scenes. Thus, from time to time, we post excerpts, chapters, out-takes, and character analyses of current novels, but mostly we talk about the past, present and future of the entire field, including TV and film.
So please answer these questions (or make up questions of your own) as if you were sitting on a stage with all of us around you talking to an audience that came to find out all about what we write and why we write it. Feel free to skip any of these questions, or amalgamate them into a little essay of your own. Readers of this blog love Vampires, Werewolves, Star Trek, and Buffy all equally.
Then we asked these 10 questions. Here are Rachel's responses. I think you're going to want to check out her novels, so I've added some links to Amazon where you can read what other fans have said about her books.
ROWENA: 1. Which was the first Vampire story that you remember seeing or reading? Why do you think it made a powerful impression on you?
I believe it was probably Dracula, which I might have stumbled on in the Bookmobile (I lived far out in the country, and the only reliable access I had to books for my early teen years was the mobile library, which was very limited). I was intrigued, but not overwhelmed. The second book, which probably made a HUGE impression on me, was an illicit copy of of Stephen King's 'SALEMS LOT, which was a pretty shocking take on vampires at the age of ... 13? I believe? But I *loved* it. Then I began to look for vampire books, and my first encounter with a vampire who wasn't a terrifying monster was Chelsea Quinn Yarbro's wonderful St. Germain books. (I am also extremely flattered to be interviewed by you, because I eagerly followed your Sime/Gen books, Jacqueline! Hello! /Fangirl.)
ROWENA: 2. When you are writing a Vampire hero or heroine, what are the top five points you consider vital to characterization.
I'll give it a try! 1) Mystery. Especially in a vampire, I like to have some bit of mystery about their background, their true motivations. 2) Motivation (speaking of). I like to know, very clearly, what it is the vampire really wants -- whether it's redemption, dinner, romance, or just to get through the next day/night. All greatly affect how the character will respond to situations. 3) Friends/allies/enemies. I need to know how my vampire fits in with the other characters ... who he's crossed before, who he secretly loves or loathes, etc. 4) Redeeming qualities. These are, for me, quite important in a vampire character. You're working, after all, with the initial premise that this is a creature who survives on the blood of others, so what about him or her is admirable? How does the reader connect with/root for the vampire? There has to be some common ground. 5) Reliable mythology. Whether it's unique to your own universe or drawn directly from the folklore, it should be consistent or your vampire won't be believable.
Whew. That was harder than I thought!
ROWENA: 3. What is the Vampire lifestyle?
In Morganville, it's complicated. There are social levels, certainly -- the elites, who pretty much control the town and live in luxury (think Mafia dons). The working-class vampires, who are more like Mafia soldiers. And then there are outcasts and rebels, even among the vampires, who may or may not play by the rules, but probably are just as unhappy with the status quo as the various human factions in town.
Added to that, there's the undeniable fact that Morganville itself is a closed society ... the vampires may run the town like the Mafia, collecting blood and services from the human residents, but it's also a kind of protective enclave. An animal preserve, for a dying race. To me, that's what makes my vampires interesting; they're dangerous and unpredictable, but they're also the last of their kind.
ROWENA: 4. What are the rules for your Vampire world-building, and how did you formulate them?
I decided I wouldn't do this project unless I could make it interesting for myself, and different from the type of vampire stories that were already making new headway with teen readers, so I focused on the town itself -- how it worked, who ran it, and how it affected my human inhabitants (including poor Claire, who gets dropped into it). I needed to understand the fundamental secrets of the town before I could decide how it was constructed. It seemed logical to me to find Morganville in a bit of a decline -- fewer and fewer people living there, buildings decaying, unrest among the vampires. I believe I really did, in a literal sense, build the town from the ground up, because some of what happens in the books happens underground, where some of the true secret lay.
ROWENA: 5. What advice would you give to a writer who has not yet completed her first draft of the vampire story in her head?
There's no substitute for sitting down and writing. You can write in your head forever, but it's putting pen to paper, or fingers to keyboard, that creates something real. But there's also a learning curve in this, as in anything that's really worth doing ... you're going to find yourself struggling sometimes to get your ideas on the page, or to make them different, or better. Keep going. It's a process, and if we're very lucky, the process never stops.
JACQUELINE: 6. What do you think your readers are looking for in a relationship between a paranormal such as a Vampire and an ordinary human?
My situation is a little bit unique, because although I do have vampires and humans interacting constantly, the only real vampire/human romantic relationship I have is between Eve and Michael, who became a vampire quite recently. I know that, based on the conversations and feedback from my readers, they really want Eve and Michael to work out ... and that's going to be interesting to me, because Michael's just really starting to discover who he is, and what it is he can do. So I think there's going to be a lot of bumps for that relationship along the way.
In terms of ordinary friendships, I think my readers are enjoying the growing ties between Claire and her somewhat-crazy vampire mentor Myrnin; she's becoming a bit of a caretaker for him, and he's in turn teaching her a lot about Morganville and the unique brand of science he's developed to run it.
JACQUELINE: 7. How do your novels manage to provide the Happily Ever After endings that both Romance and Action readers crave? (we have discussed the Happily Ever After requirement at length on this blog).
I think that as long as the main core relationship of the book -- Claire and Shane -- stays strong and deepens, readers will support all the other twists and turns. And I am determined to have happy endings for all of the Glass House residents, which helps. (Can't guarantee anything beyond that, though ...)
JACQUELINE: 8. How much real romance do you put into your novels? Or do you ever put just a love story into the plot? Or is the relationship always a sub-plot to the action?
I'd have to say that I categorize my stories as action/adventure first, romance second, so it's very much a sub-plot. BUT ... it's also central to why Claire is in Morganville, and why the readers care what happens, so it's extremely important as well. In my Weather Warden novels,
I believe the romantic relationship between Joanne and David is actually the "A" plot, and everything else comes second, no matter how world-destroying. In Morganville, I think it's slightly more of an even balance.
(Carpe Corpus is Rachel's 6th book in the Morganville series)
JACQUELINE: 9. How would you characterize your novels -- are they dark like the TV show SUPERNATURAL? Or mixed like FOREVER KNIGHT or BUFFY? Is there any message of optimism for humankind in your work?
I would say mixed, more like BUFFY than FK (although I love all of those, and SUPERNATURAL too). Dark things definitely happen, but one of the keys to my enjoyment of writing the books is how resilient the characters are, and how funny they can be, even in the darkest of times. (Huge Geek TV fan, here. HUGE. I own one of those "Joss Whedon is my master now" T-shirts.)
JACQUELINE: 10. Give new writers a tip on how to follow in your footsteps.
First of all, don't follow my footsteps, they lead down all kinds of blind alleys, into swamps, sand traps, snake pits ... I've made just about every mistake that can be made. And I'm a bit glad, actually. I've really enjoyed my career, even in the worst times ... but then again, I never quit my day job (for long, anyway). I'd say this: practice, practice, practice. Learn patience and humility, and learn the BUSINESS, which is a strange and wonderful thing.
Many writers think their job ends with turning in a manuscript; I believe that there's a lot before, during, and after that we really should be involved in, including marketing. Learn a variety of skills -- I trained in graphic design, video editing, and public relations, which is all extremely helpful in promotion work for the books.
But most of all: write what you love, not what others tell you is hot. Sooner or later, if you're doing your best work, you will catch a wave. How well you ride it is always the question, but be ready for the opportunity when it comes. Be professional -- treat people well, and respect what they do at every level.
And pay it forward. Mentor others when you can. I was the incredibly lucky recipient of mentoring from a huge variety of great authors, including P.N. Elrod, Patricia Anthony, Nina Romberg/Jane Archer, Joe Lansdale, and so many others. Some of them just offered me handy advice at a time when I needed it. Some shared agents. Some critiqued my work. Some introduced me to editors who later bought my work. There are many, many ways that you can help people, and the simplest thing can sometimes be the most helpful.
Thank you so much for letting me participate today! I truly appreciate it, and once again: I AM A HUGE FANGIRL, LADIES.
Thank you
Rachel Caine
http://www.rachelcaine.com
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