Saturday, September 12, 2015

Review: HALF A KING by Joe Abercrombie

Joe Abercrombie was one of the panelists... one of the best and most interesting panelists... at a Science Fiction and Fantasy convention that I attended this year. After hearing him, I bought HALF A KING, and finally it got to the top of my TBR pile on August 1st, so I took it by train to California where I read it on the outward trip, and --although I had read it-- I brought it back. It's a keeper.

HALF A KING is a page turner, expertly crafted, with a story arc that comes a full circle except that the plot thickens with every degree of curvature. Meanwhile, there are so many reviews that it is not easy to say something original about HALF A KING.

One of its qualities is the amazing, incredibly satisfying, utterly enjoyable "thusness" of the book. That's something a reader may not notice until the very end, which is as it should be. It would be a spoiler to say more, so I won't.

It is a intelligently written book, with nuances that may or may not have been intended to intrigue the thoughtful reader. For instance....

Fourteen- (or possibly fifteen-) year-old Prince Yarvi is the great-grandson of Angulf Clovenfoot, a mighty king known as the "Hammer of the Vanstermen" and is the bullied and scorned, younger son of the great warrior king Uthrik, who was the middle son of Brevaer.

Joe Abercrombie mentions Angulf Clovenfoot three times in "Half A King" by my count. First, from Yarvi's POV during a funeral--a dark moment and a turning point in his life of which he had no control--, second from Yarvi's POV during another dark passage, and finally at a turning point that he discerns and seizes upon, and through the voice of Yarvi's treacherous uncle Odem when Yarvi's ragtag army is massively outnumbered and a turning point is imminent.

Why "Clovenfoot"? Could it be that deformity runs in the family? Is Yarvi's birth defect a congenital abnormality.... perhaps hypophalangism (the congenital absence of one or more phalanges of a digit) ?

If kings in this Viking-like world were respected for winning in hand-to-hand combat, I infer that Angulf could fight very well with "half a foot", but his great grandson could not wield two-handed weapons with "half a hand" and that made all the difference.

It's grossly unfair, of course. 

But, which family? Perhaps his mother's? Joe builds his worlds with a masterfully light touch, but it is suggested that first-cousin marriage is not uncommon in this royal family, and other forms of consanguinuity also, so either or both families may harbor a recessive gene. 

Interesting link about consanguinuity 

Moreover, if the genes are awry in one manifestation, why not in another, such as in defective reasoning? It's a very convenient explanation for pathological behavior... and thus a seeming hero can become a villain, a friend can become a mortal enemy.

Is this an "Underdog" plot? I wonder. Certainly, the hardships and difficulties and rank unfairnesses are piled on to the young and physically handicapped principle character at every stage of his saga and his journey. For those who enjoy categorizing other authors' works (grinning), I recommend Ronald Tobias's "Master Plots" book.

Additionally, as a reader of every word, I was never irritated by repetition. Most authors repeat themselves too much, because they are writing for readers with feeble attention spans, I suspect. I've mentioned that Angulf Clovenfoot was mentioned approximately three times. Another important ingredient in Yarvi's arsenal is mentioned three times, and no more (as I recollect) and I almost missed the second mention.

Finally, since I am an admirer of Survivorman, Les Stroud, and also of the Fat Guys In The Woods.... and wrote a survival-inspired novel of my own (Insufficient Mating Material)... I particularly enjoyed the winter wildeness survival chapter.

Highly recommended:  HALF A KING by Joe Abercrombie.


Rowena Cherry  
SPACE SNARK™ http://www.spacesnark.com/ 

Online references:

Joe Abercrombie | An Extract from Half a King

www.joeabercrombie.com/.../half-a-king/an-extract-fro...
Joe Abercrombie
Or half a king, at least. ... tall beside that of Yarvi's uncle Uthil, swallowed in a storm, and his grandfather Brevaer, and his great-grandfather Angulf Clovenfoot.
www.free-booksonline.com/Half_a_King/41.html
Half a King(41) .... longer within sight of the howes of my brothers Uthrik and Uthil, the howe of my grandfather Angulf Clovenfoot, hammer of the Vanstermen?”
Читать онлайн Half a King автора Аберкромби Джо - RuLit - Страница 17. ... He sang of Angulf Clovenfoot, Hammer of the Vanstermen, and did not mention ...p100 that the man was his great grandfather.


 

Thursday, September 10, 2015

Distant Future Earth

I've been reading a lavishly illustrated book called THE FUTURE IS WILD: A NATURAL HISTORY OF THE FUTURE, by Dougal Dixon and John Adams. (It's a companion to a TV series I haven't seen.) It speculates about the climate, geography, and plant and animal life of our planet's vastly distant future, beginning five million years from now. The imaginary life-forms, wildly creative but based on sound evolutionary principles, could spark fantastic ideas for SF world-building. Sidebar quotes from scientists illustrate the real-world basis for the environments and creatures described in the text. Global maps illustrate the positions of the continents in the various eras being explored. The book also has a decent index and a helpful glossary.

After an introductory overview of continental drift, climate change, and the evolutionary process, the book visits Earth five million years from now, 100 million, and 200 million. Five million years hence, these authors assume humanity will have long since gone extinct. At the peak of a prolonged ice age, Earth has become cold and dry. The Mediterranean Sea is now the Mediterranean Basin. Most of Europe is covered with ice, and North America is mostly desert. At 100 million years, sea levels have risen, and a humid, hothouse climate has replaced the cold phase. The authors postulate a mass extinction of 95 percent of Earth's species at the end of this period. At 200 million years, the continent of Pangaea has re-formed, one single land mass in the midst of a global ocean.

I do have reservations about the extinction of the human species in only five million years. After all, our ancestors survived a previous ice age without the advantages of our technology. A graphic timeline from the Precambrian Era to the future 200 million years hence shows mammals vanishing by the end of the "Hothouse Earth" period. Many exotic creatures are imagined to replace them, though.

Some of the imagined future life-forms, which are often shown alongside contemporary animals with similar features: Scrofas, similar to wild boars, their omnivorous diet including fringed lizards called cryptiles. Babookaris, baboon-like inhabitants of the Amazon grasslands, clever enough to weave fish nets from grasses. The armor-plated rattleback. The ocean phantom of the Shallow Seas, a colony organism modeled on the Portuguese man-of-war, its upper surface covered by algae. Sea spiders called spindletroopers. The swampus, descended from the octopus but able to survive on land for brief periods. Toratons, vaguely tortoise-shaped giant reptiles, bigger than the largest dinosaurs. A four-winged bird, the Great Blue Windrunner. Mound-building insects evolved from termites and growing their own food in the form of green algae. The slickribbon, a three-foot-long, cave-dwelling millipede. The most incredible creature is the squibbon, a huge, land-dwelling, arboreal squid with intelligence equivalent to that of chimpanzees or maybe a bit higher. Many of these animals might as well be inhabitants of alien planets; indeed, the Earth envisioned in the second and third eras has become radically alien to the world we know.

This book is worth checking out for the pictures alone.

Margaret L. Carter

Carter's Crypt

Tuesday, September 08, 2015

Tarot Just For (Romance) Writers Now On Kindle by Jacqueline Lichtenberg

Tarot Just For (Romance) Writers Now On Kindle
 by
 Jacqueline Lichtenberg



This month is seeing the Kindle-only release of a compilation and substantial revision of the 20 blog posts so popular on this blog about how to use Tarot in writing Romance genre, and all its spinoffs.

Below you will find links to the Amazon pages where these 5 volumes and the compilation of all 5 in one volume are available.

Here is some of the story behind these new releases of non-fiction books started in 1996, volumes that contain thinking dating to back 1972.

While we're waiting on release of the Sime~Gen Anthology, FEAR AND COURAGE, with stories by 14 new Sime~Gen contributors (beyond Jean Lorrah and me) and while we're waiting on completion of the Sime~Gen Concordance, I've crammed another project into this time-slot.

That project is the series of volumes on the Tarot that was originally contracted to Belfry Books in 1997.  The first volume was published as The Biblical Tarot: Never Cross A Palm With Silver.

My original series title, now in use on Kindle exclusive editions is The Not So Minor Arcana.

Look at the end of this post for links to pre-order of the volumes on Kindle, or if you're reading this after September 2015, you can download them immediately.

Right after publication of NEVER CROSS A PALM WITH SILVER, Belfry Books went out of business due to the collapse of the Book Distribution business before the next 2 volumes, Wands and Cups, could be published.

I had written the volumes on Wands and Cups, working against the established deadline in the contract, and was ready to deliver them when Belfry Books announced they were out of business.

I retrieved my rights and set the project aside until, in 2006,  Rowena Cherry​ asked me to join this Alien Romance co-blog she had just started.

I'd never blogged, was just barely thinking about doing that, and so of course I said yes!  I love to do new things!

So when I hit on the idea of finishing the set of Tarot Books with a blog post per chapter, I didn't expect anyone to read it.  It's dense, abstract, off-topic, meta-thinking of little interest to anyone.

The blog was about Alien Romance Novels, Science Fiction Romance sub-genre, Paranormal and Futuristic Romance readers, but I wrote specifically for the writers, not the readers, of Romance.
The first two volumes, Wands and Cups, are very abstract, theoretical, written for the Intermediate Tarot student.

The second two, written for this blog on Romance is aimed at the advanced student of Romance Writing looking to add Fantasy and/or Science Fiction elements.  Tarot provides a worldbuilding template that all readers understand without having it explained to them, thus cutting out the deadly Expository Lump.

Here are links to the 10 posts on Swords and the 10 posts on Pentacles.

http://aliendjinnromances.blogspot.com/2010/03/pausing-for-you-to-catch-up-with-me_23.html

http://aliendjinnromances.blogspot.com/2010/03/pausing-for-you-to-catch-up-with-me_23.html

The Kindle versions on Amazon are re-edited and expanded, substantially revised.

This is difficult material to place with a publisher because my take on Tarot is the opposite of what the market for such books wants.  My thesis is that Tarot is of no use whatsoever for "foretelling" the future.  It won't give you magical power, or any other competitive edge of any kind.

The Volumes are very short, about 30,000 words, too short to publish as a stand alone paper book, and they contradict common beliefs on every page.

In other words, these 5 volumes are of use to science fiction romance writers, fantasy writers, creators and purveyors of imaginary fun.  It's a how-to manual on fiction writing, and a non-fiction presentation of how I created and wrote Sime~Gen and most all my other novels.

These volumes contain the world-building I did as I created Sime~Gen, and some of the other universes, like Molt Brother and City of a Million Legends as well as the Dushau Trilogy (remember Dushau won the first Romantic Times Award for Science Fiction - so long ago, the award is not listed in the online compilation though I still have the little statue), Dushau, Farfetch, Outreach.

Oh, yes, and my Vampire novels Those of My Blood and Dreamspy.  Especially, Dreamspy.  Are based in the paradigm I extracted from Tarot.

These non-fiction books contain what is behind that which is behind the underpinnings behind my worldbuilding.  This behind-behind structure, 4-layers deep at least, is why you can't read the novels and spot the mechanism that generated them.

Because these volumes on Tarot are so short, they could not be released economically through a publisher such as Wildside, which does not have any New Age imprint.

The complete, compiled 5 books together are too big to be released as one, certainly not in a print version.

Compile the 5 volumes into 1, then cut that 1 in half, and any abstract meaning someone might glean would be lost.  The 5 volumes are in fact a single structure, built to a point.

Kindle comes to the rescue with their somewhat new arrangement allowing authors to release titles for 99 cents.  And that's about what these little volumes are worth to readers.  Released through a publisher, they would be $4.50 or so apiece, minimum, which is way too much for what you get.

As we have been working on the Sime~Gen titles and then the video game for several years, I have had no time to take Karen L. MacLeod​ 's edited version of the Tarot books and reformat it for Kindle posting (no small feat; a bizarre process indeed!)

After we sent in to Wildside Press Sime~Gen Vol. 13 (Fear And Courage), and while Zoe Farris​ was polishing up the Concordance Manuscript for me to prepare to send to Wildside, I put the Tarot books together in Kindle format.

Now 6 volumes in The Not So Minor Arcana Series are coming available throughout September 2015.  You can order or pre-order.  If you pre-order, Amazon will deliver the books to your Kindle or whatever device you have chosen for your Kindle books.

There are 5 small, separate volumes, plus one huge all-5-volumes together (which is over a meg of download).  If download size is an issue for you, choose the individual books.

I'd like to know if these books turn up being pitched to you by Amazon.

I hope to make these available free for a time toward the end of the year but I don't know when or if I'll have time to do that.

You can pre-order or order at these web-pages now.

The combined volume is cheaper for you than buying each separately.

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

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

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

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

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

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

These books can all be "borrowed" on the Amazon Unlimited program for free, as can Dushau, Farfetch and Outreach.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Thursday, September 03, 2015

Artificial Intelligence and Sentience

The September-October issue of SCIENTIFIC AMERICAN MIND includes an article titled, "When Computers Surpass Us." The new generation of AI differs from computers such as Deep Blue, the famous IBM chess-playing machine, in the way the software learns. These computers are taught by trial and error, similar to the learning processes of human and other organic brains. This method leads logically to the familiar SF prospect of machines with the ability to "self-improve by trial and error and by reprogramming their own code." Nick Bostrom, author of SUPERINTELLIGENCE: PATHS, DANGERS, STRATEGIES, contends that there is no reason why computer AI shouldn't eventually surpass human intelligence.

AI can be divided into "weak" or "narrow" and "strong" or general. Our technology has already achieved dazzling progress in narrow AI, computers "able to replicate specific human tasks," such as driverless cars and facial identification software. Some futurists, including Bostrom, believe we'll produce general AI, with the versatility, language comprehension, and learning capacity of a typical human brain, before the end of this century.

We might ask why we'd want to create a computer that thinks exactly like a human being, except as a research project. We already have a planet full of human thinkers. The advantage of computer intelligence is its ability to do things we can do only with difficulty or not at all, such as lightning-fast mathematical calculations or analysis of vast, complicated systems. Even if or when superintelligent computers are built or evolve, thinking like human beings but on a far higher level, would they be likely to threaten us? Presumably the original AI minds from which all others descend will be designed with some version of Isaac Asimov's Three Laws of Robotics. Machine intelligences, having no emotions, wouldn't experience greed, ambition, or hate unless programmed to have those drives.

Of course, as the SCIENTIFIC AMERICAN MIND article discusses, an AI constructed with completely benign motivations could still be dangerous, even a "weak" or "narrow" one. A narrow AI tasked with "maximizing return on investments" might decide a national or worldwide disaster would be the most efficient method of increasing the earnings of its designated businesses. A computer ordered to make people happy might fulfill that command by implanting electrodes in the pleasure centers of their brains. A "strong" or "general" AI single-mindedly motivated to maximize human welfare might accomplish that goal by reshaping the world in directions we don't expect or want. Remember Jack Williamson's novel about the robotic overlords who decided the optimal way to preserve human safety and happiness was to prevent human beings from doing much of anything?

Asimov's Three Laws can't solve the problem by themselves, since they're subject to complex difficulties of interpretation. The definitions of "human" and "harm" contain potential minefields. A robot must not harm a human being or allow a human being to come to harm through inaction. Suppose the only way to protect one person from harm is to hurt another, such as saving the victim of a would-be mugger? A robot must obey the orders of human beings (subject to the limitations of the first law). Does a robot have to obey a small child, a mentally disabled or deranged person, or a convicted criminal? Ambiguities such as these are why, in many of Asimov's stories, use of robots on Earth is forbidden, their employment being restricted to controlled environments. In one story, two superintelligent robots analyze the meaning of "humanity" and decide it should be defined by mental capacity, not physical form. Therefore, they conclude the two of them are the most "human" entities they know, and hence they don't have to obey anyone else.

Would a computer whose intelligence surpasses ours necessarily become conscious? Heinlein assumes so in works such as THE MOON IS A HARSH MISTRESS, with the self-aware lunar-wide computer system, Mike, and in TIME ENOUGH FOR LOVE, where the self-aware computer Minerva decides to have her consciousness transferred into a flesh body (as much as will fit in a human brain, anyway) so she can experience love.

Another SCIENTIFIC AMERICAN article, "Intelligence Without Sentience," addresses this question:

Intelligence Without Sentience

The author maintains that our assumption of an intrinsic connection between high intelligence and consciousness isn't valid. The AI systems described in this essay are intelligent in the sense that they learn and remember, yet they "have none of the behaviors we associate with consciousness." He bluntly declares, "They are zombies, acting in the world but doing so without any feeling, displaying a limited form of alien, cold intelligence." Many people might argue that this behavior is by definition not intelligent, simply automatic. That would be circular reasoning, though, since if we include awareness as part of the definition of intelligence, the question implied in the article's title has no meaning. The prospect of a superintelligent but non-sentient AI doesn't seem as dire to me as this author hints. Without self-awareness, the computer wouldn't have any selfish motives or irrational emotions to prevent it from acting in humanity's best interests.

With the reservation, again, that an AI might view our best interests quite differently from the way we do.

Margaret L. Carter

Carter's Crypt

Tuesday, September 01, 2015

Marketing Fiction In A changing World Part 14 -- Analysis Of 2015 Fiction Market

Marketing Fiction In A changing World
Part 14
Analysis Of 2015 Fiction Market
Internet Trends

Here is the index to the previous 13 posts on this topic:
http://aliendjinnromances.blogspot.com/2014/05/index-to-marketing-fiction-in-changing.html

Understanding the turning of generations is how great classics become great classics.

There are Eternal Truths -- but there's always a new way of expressing or explaining in terms of the experiences of the current readers. 

At some point in life, a generation turns to "seeking" eternal truths, but most of the time humans are too busy to be bothered by eternity.  Now is all that counts -- a little bit like sex.  NOW!!! 

But as a writer, your primary skill set is based on the ability to view any situation from multiple viewpoints at once.  In this case, the viewpoints to master are the classics of the distant past (Shakespeare, the Greek Plays, the Bible), the classics of the recent past (anything written in the 1900's), and the current classics in the making ( written since 2000). 

That encompasses three disparate points of view on the Human Condition.  Three points give you a "line" or curve along which to extrapolate into the future -- writing the novels that will become "Classics" 40 years hence.

I do highly recommend reading back-lists -- yes, and my own back-list as well -- as research for how to create the effects you aim for in your readers.

You want to know how to worldbuild around a theme to punch a wordless emotional message through to a certain reader looking for a certain experience.

Not every book will "work" for every reader.  Not every content will overwhelm all readers with tears, laughter or personal exoneration from guilt of wrongdoing.

Very often in life, everyone you know turns against you, blasting you with excoriation, destroying your sense of self-confidence, -- basically grandstanding to puff themselves up, but that isn't how it feels to the target being vivisected in public.

Back-list titles (especially in Romance which were written for a pre-Fem-Lib audience) don't "work" for millennials.  The emotional punch is invisible to those raised in a new world.

However, if you are learning to write, studying something that does not "move" you as the author intended  can unlock the clues you need to learn how to construct an emotional punch for your modern audience.

It is a "connect the dots" exercise.  Pick up the "line" of development from decades ago, follow the statistics of significant changes summarized, then contrast/compare then vs. now.

Flipboard.com is an amazing new thing, (actually probably going to be bought out by something huge because it is so neat, and so successful). 

Here is where to subscribe to my Magazines on Flipboard, where you can see what I consider significant developments in terms of audience composition, beliefs, tastes, opinions, and conceptions or misconceptions about science.  The Sime~Gen Futurology magazine is a collection of new discoveries about Space, Galaxies, Stars, and Time itself. 

https://flipboard.com/@jacquelinelhmqg

Flipboard is a "news aggregator."  You set up an account, then sign up to "follow" various newspapers, magazines (all the expensive big names, plus a lot of the best ones from around the world), and you can follow topics, too.  It produces a rich stream of professional articles you can save into "Magazines" of your own to read later, or share.

I'm using this post to share with you one of the most data-dense, richly enlightening articles I've found in 2015.

I have not checked the data, the statistics, and the sources cited in this Powerpoint Presentation, slide by slide.  But the graphs, curves and slopes seem about right to me.  I think it's close enough to let you grasp the Market you are trying to hit, and why you need to hit that market.

Here's a slide about millennial coming to dominate the work force.  You need to aim for "the workforce" because they are the ones with the disposable income to buy books.  TV Series aim for that market as to films.  You want to write novels that can be made into films.  If you get lucky, you cash in big time.

Sunday, August 30, 2015

"Fair" Use ? Exploiting Artists.

Some words, IMHO, simply should not be used as legal terms. "Fair" for one. "Fair" is too subjective; many people understand the term differently. What seems "fair" game to a student or a scholar or a person or business entity who is very happy to redistribute other people's property without permission, may not seem at all "fair" to a creative individual whose livelihood depends on the legal licensing or sale of their work.

My friend and colleague Marilynn Byerly recommends this article on Fair Use:
https://janefriedman.com/the-fair-use-doctrine/ 

Marilynn blogs about copyright here:
http://mbyerly.blogspot.com/ 

On Facebook this week, artist Jon Paul Ferrara posted about the permissionless use of his artwork on the covers of some ebooks being sold for profit on certain retail bookselling sites.
https://www.facebook.com/jonpaulstudios?fref=photo%3E

Musicians and authors receive most of the attention when copyright infringement is discussed, although there was a memorable dust up in 2012 - 2013 when some websites claimed the right to turn "user-generated content" (ie uploaded photographs) into posters and wallpaper and postcards which the sites would sell for their own profit.  I saw my own paperback book covers offered as posters etc. I wonder whether the intent was that I should purchase it?

Quoting from TheTrichordist from 2013
"When Instagram attempted to change its terms of service that would allow the company to monetize the work of the individual without the individuals permission, consumers went ballistic. It seems that permission is not such a difficult concept to grasp when people are personally effected. This is why privacy is a much more universal issue, because everyone is effected by it....."
http://thetrichordist.com/2013/05/08/permission-privacy-and-piracy-where-creators-and-consumers-meet/

"User-generated" too often means "User-Uploaded" but not generated or owned by the site member.

Here's an excellent site that studied social media sites that strip metadata and copyright information from photographs etc.
http://www.embeddedmetadata.org/social-media-test-results.php

Bouquets for Google, in this case. Brickbats for Facebook... apparently.

The sites that remove copyright information could be a potentially serious issue from copyright holders, because these sites, in effect, make copyrighted works look like orphan works or public domain works.  Why does the law allow this? If the artist's name can --and may-- be lawfully removed from a painting, why shouldn't the author's name that the title of a book be stripped from the book?

(I am not seriously suggesting that attribution and titles should be stripped from copyrighted books. My point is that it should not be stripped from artwork.)

For authors who are self-publishing, make sure you purchase your cover art from a reputable source, and make sure you have the appropriate licensing for your anticipated print-run or distribution. If there are photographers and models involved, see if you can obtain waivers from both.

My best,
Rowena Cherry

Thursday, August 27, 2015

Earth's Population Rising and Aging

Current U.N. projections predict that global population will rise to 11.2 billion by 2100. While population increase has been steadily slowing and is expected to level off eventually, it hasn't stopped yet:

World to Get More Crowded

And another article on the same study: World Population

Most of that predicted increase will occur in Africa, while birthrates continue to fall elsewhere. I was surprised to note that North America and Oceania together account for only five percent of the world's people. I knew we were in the minority, but I didn't realize how small a minority. Also, everywhere outside of Africa the proportion of older people is increasing. At present, about a quarter of Europeans are age 60 or older. The global median age today is 29.6. It's expected to reach 36 in 2050 and 42 in 2100.

Back in the 1960s, the prevalent fear was that population would keep increasing out of control until the planet became uninhabitable. Isaac Asimov wrote an essay calculating how soon this fate would overtake us at the then-prevailing rate of increase. I don't remember when he published this article or exactly when he figured the limit would be reached, but his doomsday date fell in the surprisingly near future. In that hypothetical year, he predicted the entire Earth would have the population density of Manhattan at noon on a work day. Everybody would live in high-rises, and food would be grown on the roofs, probably in tanks. Of course, in the real world rather than the realm of mathematical models, society would collapse under the strain and populations would crash long before that point.

The SF motif of relieving terrestrial overcrowding by interplanetary colonization isn't likely to materialize. When such colonies become possible, they will siphon off only a tiny percentage of Earth's people. New World colonies might have revitalized Europe in many ways, but they didn't make a significant dent in the population of the Old World.

At present, though, it appears that our long-term problem won't be overpopulation but an aging society. What solution to the potential shortage of working-age people in first-world countries wouldn't lead to unwanted population increase? Maybe robots?

Also, as has often been proposed, a society dominated by elderly people would need to shift its focus from working for a livelihood to the fruitful use of leisure time. Work as we know it would become only one phase among several stages of life. The residue of our country's Puritan work ethic (one hangover of which is the peculiar "early to bed, early to rise" attitude that sixteen active hours out of twenty-four are somehow more worthwhile if they start at sunrise) will have to be reexamined. We need to question the still too prevalent idea that workaholism is a virtue and relaxation a wicked indulgence. We can hope the world won't look like Jack Williamson's classic novel, in which robots took over all jobs and forced human beings into total idleness for their own safety. Ideally, people relieved of the need to labor for survival would devote themselves to tasks or leisure pursuits that would enrich their lives.

Margaret L. Carter

Carter's Crypt

Tuesday, August 25, 2015

Reviews 17 by Jacqueline Lichtenberg Alien Separation by Gini Koch

Reviews 17
by
Jacqueline Lichtenberg
Alien Separation
by
Gini Koch


Today we're going to look at a genuine Science Fiction Romance with what seems to be Fantasy elements -- that turn out to be alien-advanced-science.  This series is popularizing mixed genre. 

Alien Series Book 11 from DAW Science Fiction, ALIEN SEPARATION by Gini Koch. (534 pages of small print)




Last week and the week before, we looked at Why We Do We Cry At Weddings. 

http://aliendjinnromances.blogspot.com/2015/08/theme-symbolism-integration-part-2-why.html

http://aliendjinnromances.blogspot.com/2015/08/theme-symbolism-integration-part-3-why.html

While I was writing those two posts on why we cry at weddings, I was itching to cite Gini Koch's series because it is a case in point. 

In 2011, the 3rd in Gini Koch's Alien Series was all about The Wedding after two of the hottest Alien Romance novels you will ever read, and was aptly titled Alien In The Family.  I loved the Wedding Dress on the cover.



Here is Gini in 2011, Gini in the foreground and me in the background, at the con where we first met in person.  Photo curtesy of Marsheila Rockwell. 

Gini Koch and Jacqueline Lichtenberg
Gini Koch and Jacquelne Lichtenberg
Only up to Book 3 in this series, and I already admired what Gini was doing with a story that was complex and thus difficult to tell.

Yet, she turned this galaxy-spanning tapestry into a follow-your-nose page-turner plot using elegantly simple techniques but orchestrating them into a symphony. 

These novels illustrate how a text-only writer can use the techniques developed by camera-directors for big screen cinema to create close-up reader engagement.

The tight use of Point Of View enhances the emotional impact because all the things that happen, and all the consequences of actions taken by Kitty-Kat (the main POV character - a human woman with morphing genetics) are felt sharply by the reader.

As I've noted previously, the novel writer's medium is not "words" but "emotion."  These 11 novels are crafted of the emotional spectrum that a modern, well educated, intelligent woman would experience when hit by the inexplicable, the bewildering, and the confounding.

Kitty-Kat's theme song is, "But What Is Really Going On?" 

Think about that theme -- This Is What I See, But What Is Really Going On? 

That is the seminal question of our everyday lives right now. 

Last week, we looked at several scientific reports detailing the 7 Primal Emotions or Primary Emotions as in Primary Colors.  And we looked at one list that reduced that 7 emotions to 4.  None of these lists pinpointed LOVE.  Then we contrasted those scientific lists with a different list that started with LOVE and used love as the driving force behind all the other 6 primary emotions. 


In other words, we did a Kitty-Kat exercise of "What is really going on here?"

We look at the world as it is painted in the News, at the "excuses" employers use for hiring/firing/promoting/transferring workers, at the kinds of cars everyone in your current traffic jam are driving, at what your neighbor's house just sold for, at what your doctor just billed your insurance for, at the endless lists of declared Presidential Candidates, and we think, "Wait a minute!  What's really going on here?"

So we all relate to Kitty-Kat's double-takes and we wish we could penetrate the blurry flog surrounding us the way she solves galactic riddles.

The close following of Kitty's Point of View gives us the perspective on our own problems, and makes each of these novels a treasure of a Good Read. 

The real delight in the series as a whole, a long series of long novels, is how the Romance starts with Love At First Sight, continues through harrowing adventures and desperate combat to the Wedding, and then after the Wedding the Romance continues to get more intense, the "tall, dark stranger in Armani suits," more mysterious and more dear.

As noted in Why We Cry At Weddings, the typical Romance ends before the Wedding Planner is hired.  Gini Koch has crafted a MARRIAGE which is a continuous, ongoing, cliff-hanger Romance (complete with amazing sex scenes).

Kitty-Kat, a human woman from a human family, marries an Alien -- native to Earth, yes, but of off-world ancestry.  The off-world in-laws take a real-time interest in the Wedding, and their political situation on their planet continues to change Kitty-Kat's life, right on through the birth of her first child, and the boomerang genetic effect gestation of that child has on her body. 

Here in Book 11, ALIEN SEPARATION, for the second time, Kitty-Kat and her alien husband are targets of assassins.  That's another theme that runs through Kitty's new life -- she has a very happy marriage still shrouded in Romance, but there's always someone (several someones, usually, and never who you'd expect) trying to kill her, her husband, her daughter, or others who matter to her.

Sometimes, what seems to be an attack actually turns out to be help-in-disguise, or perhaps a cry-for-help.  It gets complicated because there are pure-energy-beings, beings who are native to the inside of worm-holes, hybrid-beings of various types, clones, and mechanical beings.  And you can't quite tell which are "just" animals. 

ALIEN SEPARATION starts out with Kitty, her husband, her daughter, and an ensemble cast of her friends and allies being swept up and transported in a "beam" to an Alice-In-Wonderland-Fantasy world complete with talking animals (or are they animals?).  They land separated from each other, scrambling to survive as they hunt for each other. 

Again, as in the first novel, TOUCHED BY AN ALIEN, the environment and events give the reader the definite impression that this is a Fantasy Series -- when all of a sudden, what is "really going on" begins to re-arrange your assessment of the difference between science and magic. 

If you want to write Alien Romance that reads like Science Fiction to science fiction fans, like Fantasy to fantasy fans, like a Videogame to videogamers, and at the same time, like Romance to romance fans, then make this series your textbook.

Here are some previous posts I've done mentioning or featuring the Alien Series by Gini Koch.

http://aliendjinnromances.blogspot.com/2010/04/turning-action-into-romance.html

http://aliendjinnromances.blogspot.com/2012/09/theme-worldbuilding-integration-part-3.html

http://aliendjinnromances.blogspot.com/2013/05/theme-plot-integration-part-9-use-of-co.html

http://aliendjinnromances.blogspot.com/2013/05/theme-plot-integration-part-10-use-of.html

http://aliendjinnromances.blogspot.com/2013/11/reviews-2-by-jacqueline-lichtenberg.html

http://aliendjinnromances.blogspot.com/2014/05/reviews-7-by-jacqueline-lichtenberg.html

http://aliendjinnromances.blogspot.com/2014/06/information-feed-tricks-and-tips-for.html

http://aliendjinnromances.blogspot.com/2014/08/reviews-9-sex-politics-and-heroism.html

http://aliendjinnromances.blogspot.com/2014/10/dialogue-part-9-depicting-culture-with.html

http://aliendjinnromances.blogspot.com/2015/03/reviews-12-heroic-point-of-view-in-mass.html

In most of those mentions of Gini Koch, I have noted that absolutely everything about her Alien Series makes it a Must Read, whether you are studying how to blend genres or just looking for a good read.

But every time, I have noted that some readers may find the text wordy in spots, which makes the pacing un-even in an annoying way.  Most readers have a "fast-skim" mode and just skip over of fly through sections where there are too many words used to tell a brief part of the story.

When you write a novel, you have to just let the words flow -- and there will always be too many words here and there.  Second draft sees about 10% cut, and third draft -- or the editor's blue pencil over the manuscript -- soaks another 10% out.  If those cuts are well done, the result is easier to read, and more fun to read, and re-read.

When you have a long story to write and a tight deadline, very often there's no time to do those careful cuts.  To know what to cut, you have to let the manuscript sit for a few months, then re-read it and cut as you go.  If you do not have the time to let it sit, then wordy-structures will get into print.

There is one other way to prevent wordy-structures from making it into print -- don't write them to begin with.  Make a habit of crafting your sentences tightly -- of constructing dialogue without loops and repetitions, without one character recounting to another what the reader already knows (except where a character is lying to another character and you want the reader to know that.)

I don't know how she did it, but Gini Koch achieved a huge reduction in wordy-constructions and looping dialogue with this novel.  The published version would not benefit from another 20% cut. 

Every page is filled with purposeful, plot-advancing, story-enhancing words and nothing else.

It's not terse writing, yet, but it is very different from the previous 10 novels. 

For that reason alone, I recommend that you read these 11 novels in order.  This series is not like Sime~Gen, where you can read in any order.  This is an ongoing saga, a story that unfolds in chronological order, and all about the same characters you get to know in depth.

December 2015 has book 12 scheduled for publication -- ALIEN IN CHIEF. 

Go to Gini Koch's Amazon Page and on the upper left, click the button to FOLLOW her.  Amazon will email you when the next book comes out. 

I love that FOLLOW button!  I follow a lot of series this way.

All in all, Gini Koch's Alien Series is a classic in the making.  It breaks new ground, gives a new perspective, and heralds the shifts in modern publishing and audience taste. 

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com




  

Thursday, August 20, 2015

Time Travel Restrictions

Having just reread LIGHTNING, one of my all-time favorite Dean Koontz novels, I was newly impressed by the way Koontz manipulates time travel to create suspense. It would be easy to think time travel lets characters do almost anything to solve their problems. But ingenious authors place conditions on time travel by which it complicates protagonists' lives and sometimes generates as much trouble as it prevents.

The most extreme example of time travel as more of a curse than a boon appears in THE TIME TRAVELER'S WIFE. If you've read the novel (or seen the movie), you'll remember that the protagonist jumps to different moments in his past or future (and in at least one case, after his own death) at random and involuntarily. He has no control over when or where he arrives. Worse, he can't take anything with him that isn't part of his body, not even tooth fillings. He can, however, appear in a time and place where he already exists and often does. In theory there could be any number of versions of him in a single location at once. Thanks to the nonlinear nature of his time travel, he can develop his relationship with his future wife in foreknowledge of their life together.

The TV series QUANTUM LEAP allows its hero, Sam, to leap only into the past and only within his own life span (although late in the series exceptions were finagled). He travels by changing places with a person native to that time period, who's made to wait in a sort of holding area until Sam leaps into another person's life. People in the other time see and hear him as the person he replaces. Therefore, he of course can't bring objects with him.

Connie Willis's time travel series (DOOMSDAY BOOK, TO SAY NOTHING OF THE DOG, BLACKOUT, and ALL CLEAR) features a research facility at mid-21st-century Oxford University, which sends historians back to study the past. They can go to any time and place, but some force inherent in the nature of time prevents them from getting too close to critical events, so they can't change pivotal turning points. (As far as they know—doubts on this issue plague the characters in BLACKOUT and ALL CLEAR.) They can wear and carry items from their own period into the past. But more than one version of an individual can't occupy the same moment. Although the exact outcome of accidentally doing so seems unknown, it's certain to be disastrous.

In Diana Gabaldon's OUTLANDER and its sequels, the magic inherent in certain spots on the earth (usually marked by stone circles) transports people into the past or forward to their own native era. The traveler can take as much as she can wear or carry. There's no control over when the traveler will arrive, though. Each circle seems to transport people a fixed number of years backward or forward. Therefore, nobody has the option of staying in the past for years and then returning to her "present" minutes after leaving. The same amount of time will have transpired as if she'd stayed in the present.

With the time turner in the Harry Potter series, a wizard can travel to any point in the past (or the future?—I don't remember that the books addressed that question), can carry objects along, and can exist in the same moment as an earlier or later version of himself or herself. The only limitation seems to be how long the device will allow someone to stay in a different time.

The closest approach I can recall to a time travel method that empowers the hero to do almost anything occurs in Heinlein's TIME ENOUGH FOR LOVE. Lazarus Long's time-traveling spaceship can go to any spatiotemporal location, and the system freely allows two or more versions of an individual or object to exist in the same moment. So any character can survive apparent death if a time traveler rescues him or her even at the last microsecond, as long as it's soon enough for transportation to the distant future where almost any disease or injury can be healed. This method saves "dead" people in both TIME ENOUGH FOR LOVE and TO SAIL BEYOND THE SUNSET. Maybe that power contributed to the impression of one reviewer who wrote about one of Heinlein's late novels that his characters "have no problems, only transient difficulties."

Stephen King devises an especially odd variant in his novel about the Kennedy assassination. The time portal in this book leads to a particular moment on a particular date in the 1950s, no other time or place. Most peculiarly, any trip back through the portal by anyone resets to the default timeline all changes made during the previous visit. The only way to ensure permanent changes would be to destroy the gate after the last trip. Thus, a traveler can always wipe out his mistakes (or someone else's) and start over. Unfortunately, all changes, whether bad or good, get obliterated. Each visit to the past is a total reset. (Or maybe not exactly, but that wrinkle shows up only toward the end of the story.)

The heroine of Koontz's LIGHTNING enjoys the protection of a mysterious "guardian" who pops in and out of her life at critical moments to head off various disasters. In fact, he has watched over her since before she was born, for his intervention prevents her from dying at birth along with her mother. Because he's a time traveler, he doesn't have to experience her life in linear order. If he learns an event has gone horribly wrong, he can return at an earlier date to fix it. (I won't mention what time period he originates from, since that's one of the book's thrilling surprises.) He can carry items back and forth. He wears a device that allows him to return to his own era at will, so he has no constraint on how long he can stay in a given period. Because of the limitations of his time machine, though, he's far from all-powerful. He can't travel to a moment when he already exists. Anyone who tries simply bounces back to the base site. Koontz uses this condition to create nerve-wracking suspense at the novel's climax. To save the heroine from certain death, the hero has to take advantage of a tiny window of opportunity. If that attempt fails, he has run out of moments he can travel to and still make a difference in the outcome.

For such conditions to incite the desired emotional responses in readers, of course, the rules have to be set up clearly in the early part of the work and adhered to with faithful consistency.

Margaret L. Carter

Carter's Crypt

Tuesday, August 18, 2015

Theme-Symbolism Integration Part 3 Why Do We Cry At Weddings Part 2 by Jacqueline Lichtenberg

Theme-Symbolism Integration
Part 3
Why Do We Cry At Weddings Part 2
by
Jacqueline Lichtenberg
Symbolism
Bride&Groom Pray Before Ceremony
Without Seeing Each Other

Previous Parts of Theme-Symbolism Integration
PART 1
http://aliendjinnromances.blogspot.com/2014/12/theme-symbolism-integration-part-1-you.html

PART 2
http://aliendjinnromances.blogspot.com/2015/08/theme-symbolism-integration-part-2-why.html

And this is Part 3 of Theme-Symbolism Integration - as well as Part 2 of Why We Cry At Weddings.

It is said that laughter is a response to pain, the edge of the zone of pain, the prospect of pain -- a tickle is a sensation that can escalate into pain, but doesn't, yet it sets the nerves on fire and we laugh, giggle, flinch away just as if it were pain.

Emotional pain works the same way -- the tickle of the edge of a painful emotion sizzles through the nerves and jerks out a bark of laughter. 

Like a sneeze, laughter is a reflex: the nerves fire, the muscles respond, on a sliding scale of intensity.

Last week, we discussed Vulnerability -- how a writer does not need to understand precisely where their reader is vulnerable to evoke emotion in the reader, but a writer needs to understand the condition of vulnerability. 

A tickle on a vulnerable spot can be experienced as pain. 

"Salt in an open wound" is an example of that.  Ordinarily, our skin doesn't respond much to salt -- though enough salt on the skin for long enough dehydrates and puckers the skin.  Scrape the skin a little, then trickle salty sweat over the raw spot and OUCH!

The most vulnerable spot people today have in common is, I think, the knotted ball of symbolism that grows out of Religion (all of them; not any particular one). 

Bride Praying Before Ceremony
Religious people are viewed as stupid, or at least uneducated, and who wants to be viewed that way?  So we have a lot of people who seriously believe in God, but disavow all Religion because Religious people are stupid.  Some of these have convinced themselves that they don't believe in God, even though they do.  Some accept the idea of Souls and Soul Mates, but not God. 

We seem to be in an epoch of human history where our penetration of understanding of Nature, of Stars, and Planets, Galaxies and Particles, Dark Matter, Strings, and even Life On Other Planets, is finally becoming common knowledge.

In general, even just a High School education exposes people to the miracles of genetics, neurology, disease treatments and even cures based on our understanding of nerve cells, and the brain as a whole.

Even Sanity is coming under scientific scrutiny.  Out of body experiences can be explained by brain activity.  Many severe psychological conditions can be treated by daily medication, and more miracles are in the works.

We can solve anything.  We are just animals with a little more brain matter than most. 

In many ways that is a very comforting thought, and it leads to clear positions on various difficult matters such as Abortion, Death Penalty Crimes, the morality of War, and how to perform Charitable Deeds (or not).  The list of today's dilemmas seems endless, and most of them are easily resolved once you understand the world in terms of the human brain's electrochemical base.

You don't need God to get married, or have children -- in whichever order you choose.

Even people who go to Church a few dozen times a year to salute the Unknowable Infinite still live their everyday life in a totally explicable Knowable world.

We rely on that scientific view of reality, base all our decisions and actions on it, and feel confident that we know what we're doing as responsible adults. 

Saturn rules Science.

Neptune rules Romance.

Saturn rules bones.

Neptune rules the Soul.

Bones exist - we know that.  Souls do not exist -- we're pretty sure of that.


Yet we search for, and often find and marry, our Soul Mate.

When we fall in love, we FEEL a new sensation on a vulnerable part of the psyche -- it is a loss of virginity, a new sensation, a new set of nerves connecting and sizzling with a message.

Pain and Pleasure are the same thing -- nerves stimulated in a pattern.  One we flinch away from and try to avoid; the other we pursue and try to repeat. 

Where we are vulnerable and tender, very faint stimuli register as intense.  Where we are calloused from repeated stimulation, even the most intense stimuli are barely noticeable.

As physical creatures, we seek stimulation as validation of our existence, of life itself.  Experiencing a response to stimulus is essential to our well-being.

The louder the music (however pleasurable), the faster it deafens (callouses) you. 

Sex works like that.  The more frequent and unrestrained the sex, the more intensity you need in order to feel it. 

Taste works like that.  The spicier the food you regularly eat, the more spice you need to taste anything at all. 

Smell works like that.  If there's a bad smell in your house, you get used to it and your best friend won't tell you how your clothes stink.  You wouldn't believe it, anyway.

What you are used to becomes imperceptible -- yet we seek perception. 

The term is "Jaded Palate" -- if you have a jaded palate, even good things don't seem noticeable.

So how do we, as writers, sneak around to the back door of our readers' Soul and tickle them? 

The main tool we use to get through our reader's thick callouses and pierce their Souls with emotions they can not name is Symbolism.

But randomly chosen symbols will not add up to a story.

Working against each other, randomly chosen symbols produce an undifferentiated fog of gray.

Choosing symbols specifically to explicate a particular Theme produces sharp contrasts, black and white, yellow and red, green and orange.  Emotions work just like colors. 
Armenian Couple Crowned & Blessed


There are Seven Colors in the Rainbow -- and Seven Primary Emotions.

The writer's creative medium is not words, not computer word processing, and not even imagery or poetry -- the writer's creative medium is Emotion.

Naturally, there's a lot of argument over classifying human emotion! 

In early 2014, The Atlantic published this article headlined:
http://www.theatlantic.com/health/archive/2014/02/new-research-says-there-are-only-four-emotions/283560/

-----------quote-------
New Research Says There Are Only Four Emotions

Conventional scientific understanding is that there are six, but new research suggests there may only be happy, sad, afraid/surprised, and angry/disgusted.

-------------end quote------

This theory is in contravention to the accepted model of 6 Primary Emotions: happy, surprised, afraid, disgusted, angry, and sad. 

There is a more classic list of 7 Basic Emotions -- Anger, Contempt, Fear, Disgust, Happiness, Sadness and Surprise.

In 2012, Discover Magazine carried a story about defining humanity's 7 primal emotions by studying rats and making them laugh.

http://discovermagazine.com/2012/may/11-jaak-panksepp-rat-tickler-found-humans-7-primal-emotions

---------quote from Discover article------------
Since the 1960s, first at Bowling Green State University and later at Washington State University, Panksepp has charted seven networks of emotion in the brain: SEEKING, RAGE, FEAR, LUST, CARE, PANIC/GRIEF, and PLAY. He spells them in all caps because they are so fundamental, he says, that they have similar functions across species, from people to cats to, yes, rats.

Panksepp’s work has led him to conclude that basic emotion emerges not from the cerebral cortex, associated with complex thought in humans, but from deep, ancient brain structures, including the amygdala and the hypothalamus. Those findings may show how talk therapy can filter down from the cortex to alter the recesses of the mind. But Panksepp says his real goal is pushing cures up from below. His first therapeutic effort will use deep brain stimulation in the ancient neural networks he has charted to counteract depression. Panksepp recently sat down with DISCOVER executive editor ?Pamela Weintraub at the magazine’s offices in New York City to explain his iconoclastic take on emotion. His new book, The Archaeology of Mind: ?Neuroevolutionary Origins of Human Emotion, will be published in July.
------------end quote----------

See?  Just understand the brain, and you are master of life, the universe, and everything.

There really is nothing else.  Right? 

We can research, re-invent and re-define our Primary or Primal Emotions, and re-arrange ourselves and our lives any way we want.  A little electrical stimulus fixes everything.

These articles on the brain and emotions make perfect sense to us.  What more do you need to know? 
So now you know, can you explain why you cry at weddings? 

If Grief is a Primal Emotion, then it's obvious why we cry at Funerals, isn't it?  Grief is personal, and composed of feeling sorry for oneself at the same time as feeling what it is like to be the person whose life has ended.  How will your life end?  Is there any meaning to anything we do?

Clearly grief is uncomplicated and thus Primal.

Notice the absence of LOVE as a Primal emotion.  Is that absence congruent with your model of reality? 

Now look at this Kabbalah inspired article on the 7 Primary Emotions
http://www.chabad.org/library/article_cdo/aid/277116/jewish/Introduction.htm

---------quote-----------
The seven emotional attributes are:
-----------end-quote------------

Note how each of the 7 Primary Emotions listed on that page is composed of "cross-terms" as they say in math, or harmonics as they say in Astrology, or how an artist mixes colors to make new hues, making a palate of 49 Emotions which these exercises are designed to mature.

With maturity of these emotional states, the corresponding negative emotions cited in scientific articles are absorbed and dissipated by the light of these powerful emotions.  One's internal emotional climate shifts -- yes, climate change -- and the world seems brighter.  And the burst of tears at weddings becomes more explicable, perceptible as a glimpse of something too bright to look at directly. 

Click the links on the page to find the mixtures, which make it easier to sort out the melange of emotions causing that Cry At The Wedding outburst. 

Note this list starts with LOVE.

It starts with Loving-Kindness.

What does it feel like when someone looks at you with Loving-Kindness in their eyes?  I know you've seen it, but have you ever named it out loud?

Also note that LOVE is a component of every one of the other 6 emotions in the list. 

This 49-element model of human emotion uses LOVE as the power-source behind all emotion. 

You can't act in Justice without Love, and so on.  Love is the primary component, the origin and the source powering all others. But look at what "all others" includes -- but most especially does not include in this list of 7 Primary Emotions that combine to drive the human spirit.

Also note Grief is not on the list of 49.  Nor Fear.  This 7-Emotion paradigm depicts a totally different Reality than any of the other lists of primary emotions.

So think hard.  Is this portrait of Human Emotion more akin to your own internal primary emotions?  Does this depict your reality, or the reality you glimpse at the moment you burst into tears at a Wedding?


You may want to buy the following book which explains (though that's not what it was written for) how to create plot-events or symbols from these abstraction emotions. 

In this book:
 http://store.chabad.org/product.asp?Product=bk-mlc-counteng
Which you can also buy on Amazon:
http://www.amazon.com/Counting-Omer-Simon-Jacobson/dp/188658723X/

...each of the 49 individual Emotions discussed comes with a do-it-today exercise that is a challenge to your ordinary way of looking at the world.  These exercises, done in this sequence, strip calluses and leave vulnerability. 

To find out when the Omer is counted, search the App store (iPhone or iPad, probably Android too) for Omer.  Or the Android store.  There are lots of free apps, and some with in-app purchases.  An app usually uses your phone's local time to alert you to the day of the Omer being counted.

Starting with Passover and going 49 days to The Feast of Weeks, each day contains a plot-twist, and each annual repetition is no repetition at all, but rather a unique experience in learning about Emotion. 

You've heard the term "Emotional Intelligence?"  This exercise is preparation for an Emotional Intelligence test. 

There is a mystical (Kabbalah) tie between the day of the Lunar calendar and the action suggested in the exercises.  The idea is that doing that particular exercise on that specific day amplifies the effect the action has on your Emotional Intelligence in a way that doing it at another time would not have. 

The greater your emotional intelligence, the more effective you can be as a writer orchestrating emotional responses in your readers by using concrete plot-actions coupled with symbolism.

With that understanding grasped, let's get back to Weddings as a plot-Event.

As previously noted, the Romance part of a character's story is generally over at the Proposal.

But sometimes the hottest Romances start with a Wedding scene for mutual friend or relatives where the couple first meets -- during or after one of those Crying At A Wedding moments.

Eyes swimming, they see each other through rose-colored tears -- all the sharp edges and harsh lines of character flaws blurred out, and Loving Kindness sweeps them off their feet.

Now why do we understand the Crying At A Wedding moment to be a natural prelude to meeting a Soul Mate? 

If you've never seen it happen, never heard of it happening to anyone you know, still you find it an acceptable postulate to kick off a Relationship driven story.

Another good moment to start a Romance is at a Funeral -- during or after the crying, and desperately trying not to cry scene.

Likewise, there are meetings over a parent's death-bed, in a Court Room awaiting a death sentence, at the scene of a car accident, by the ambulances in front of a house going up in flames, amid the rubble of an earthquake or bombing in a war. 

These are moments of peak emotion, moments when the whole nervous system is in fear-fight-flight mode, constant orientation response mode.

These are not normal, everyday, get groceries and pick up the kids from school moments. 

The emotional peaking stretches the old emotional scars and calluses that ordinarily cover up our emotions and blunt the ability to respond to minor incoming stimuli.
 
These are moments of vulnerability when we can let another person "in" and give of ourselves in ways we ordinarily do not.  Connections can be made at such moments where the cracks in our emotional armor are spread wide.

Emotions welling up can crack that shell from the inside and leave sensitive surfaces exposed, vulnerable.

That happens at Weddings, and other Life Event Ceremonies.  Retirement ceremonies work.  Presidential Inaugural, or swearing in ceremonies. 

But just feeling emotion welling up doesn't cause that very odd, very peculiar and distinctive flash of tears common to the "Crying At A Wedding" moment.

Commonly, the tears well at the moment Bride or Groom says "I do" (or whatever they've written).

Or at the giving of the token (symbolism) - traditionally a ring.

Or at the first kiss -- which is likely not the very first, but is the first as a married couple.

The tears burn up out of the eyes at the moment recognized as "Everything Just Changed."

This is the moment the Future morphs, partly because of what the couple did and partly because you recognized the shift in Reality. 

We live in a state of taking things "for granted" -- of relying on assumptions.  We understand science, we understand ourselves as mortal animals governed by a complex brain - and that's it.

We just can't handle all the variables necessary to envision reality on many levels, extending along many axes, beyond infinity.  It's too much.  We can't work the problems of our lives with too much information.

So we cut down on our perceptions, hide behind emotional callus, and won't admit there is anything there that we are not feeling the presence of.

In these peak moments of life, though, the callus cracks, stretches open and exposes the tender flesh that can feel the "salt" -- the foreign substance -- hear the faint whisper of mystical Presence -- smell the whiff of the Garden of Eden -- taste mana. 

I'm using Biblical references because most readers will understand them.  But this ultimate truth perception-shift happens for everyone of every faith (atheist, too). 

You can use the Wedding Tears as a symbol to move your readers because it is common across all belief systems.

It is a moment in which some people experience confirmation that their Beliefs are true, not beliefs at all but really True-Truth, and that is astonishing and too painful to encompass.  Such a discovery is always followed by flinching away from it -- as if it were painful.

It is also a moment in which some people experience confrontation with the knowledge that everything they believe about Reality just is not true -- or not as complete a picture of Reality as they thought.

Either way, the callus cracks, like the clouds parting and letting sunlight into a dark day -- and we wince just as when sudden light in darkness causes a reflex to close our eyelids.

It is a "pull the rug out from under you" moment, a moment of astonishment when nothing you thought you could depend on actually works.

It is the moment between being shot and noticing that you're dead.

It occurs at that point where pleasure and pain join, where the scream of pain and the shout of laughter are indistinguishable. 

The physical nerves "white-out" and something else continues to perceive .... something.  It isn't the universe as you know it, but the universe unfiltered by your defending calluses.

There is the Uncertainty Principle -- where the observer changes the observed by the simple act of observing.  By noticing that The Future Changed at the moment two souls join, you have changed The Future.

Hence weddings must have Witnesses.  The act of Witnessing is the act of changing.

And that is not possible in the World As We Know It.  Just because I see you does not change you. 

Yet in some other Reality -- yes, it is true.  Two Souls mate and the Third Soul composed of the Two United is changed by the observation of the Witnesses.  So who witnesses can change the course of the marriage.  "I danced at your wedding," makes a difference.

Reality itself warps during these Life Event moments (and with our population in the billions, there are lots of such Events every moment the Earth turns).  Reality warps again as the moments are witnessed.

You've heard the phrase, "Don't look! You can't un-see this!" -- often applied to a gruesome accident or an atrocity. 

Once you have witnessed something, it becomes a part of you and can change the direction of your life.  Hence WITSEC - the Witness Protection Program.  You see it; you testify; you can not be the same person anymore or they will kill you for testifying.

The same is true of Weddings.  The knowledge that you are no longer the same person causes the tears -- grief for who you used to be, joy for all the new possibilities in your life, and maybe Love of God or whatever you deem the source of that searing brightness that lances into your vulnerable cracks.
 
Is it God?  Do you need to postulate that God Is Real or to admit the Soul is Real to understand why you cry at weddings? No, you don't have to.  It is one explanation that works fairly well for some people, but not the only one that covers all the observations.

Few come away from a crying jag at a wedding convinced that God came down and married these two Souls.  In fact, most people would think you crazy for saying that. 

Most people can point to sentimental reasons, memories of other weddings, realization of hopes for the new couple, poignant sorrow at the failure of their own marriage, cynical foreknowledge that this new couple will likewise part, and a piercing hope that, "No, not this time!"

So many mixed emotions clashing with each other create quite enough almost-pain to account for the buckets of tears shed at weddings down the ages.

Compare the tears shed at a Wedding with the burst of tears when you witness (even via TV) a heroic act, or a life sacrificed to save another, perhaps a helpless baby.  Compare the Wedding sensation with witnessing an Event such as how the USA responded during the 9/11 Attacks, or someone's worthy deed being given a worthy award.

Consider any movie or novel that you cried through the last ten minutes or twenty pages.  Finally, finally it all comes out right in the end and your faith in human nature is justified.

Each of these moments speaks in symbols, in traditions, in customs, in passing the torch to the next generation and finding them worthy - in symbols that affirm the continuity of human civilization.

Those symbols, arranged just-so, blindside us with a stab of hot emotion too searing to bear for more than an instant.  Just as when the dentist drills into a tooth and your eye waters, something from outside your callused shell breaks through to exposed nerve and you FEEL it.

That "It" that you feel may as well not exist in your life at all before and after that moment, just like the dentist's drill is always in his office but doesn't always hurt you.

What is that "It?"  What is it that comes through your cracks and hits a nerve in those peak moments of life?

Those who are bored at Weddings, or do not cry or feel deeply (maybe only come to get drunk?) may simply be too afraid of the nascent pain to let their calluses crack open even a little, to let that sensation happen to them. 

Naming that "It" gives you a Theme.  Shrouding that "It" in symbolism gives you a way of explaining what that "It" is to your reader, who may be one of those bored at a wedding type people. 

We see that "It" as "light" -- the kind of Light by which the Third Eye sees.  The wince away from that Light at Weddings is the Third Eyelid squinching shut after Witnessing the souls joined.

The "light" is so bright, the flash through our cracks so sudden, we can't See what's behind it, what's causing it, what's emitting that Light.  To us, it is only "It." 

  

"It" is amorphous.  To make a novel out of "It" manifesting in this world, you have to Name it. 

Your thesis for your theme is a Worldbuilding element.  In this World where these Characters live, Magic is Real, Evil is Palpable and Profitable, Good Always Wins (or Loses?).  Those are themes you never state in words, but mold into the fabric of your World. 

What is the "It" that intrudes at Life Ceremony Moments? Name that "It" and the name becomes your Theme.  "This is a World where "It" is (God, Devil, Demons, Angels, Aliens).  Each choice is a statement about that theme, and dictates the symbols that will be meaningful to your readers.  


Weddings have symbols and traditions for a reason. 

Use that reason even when you have your couple write their own vows and create new traditions.  Every tradition was done for the first time sometime.  Not all first time traditions last more than a generation.









One way to research current traditions is to search Pinterest for Wedding, Bride, Bride and Groom, and related keywords you can think of.  Wedding Planners and Photographers and Caterers are using Pinterest to present their services, and encourage innovative Weddings that won't bore the guests.  You can use their posted images to develop the symbolism in which to discuss your Theme.

 

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com