The Increasing Cost Of Copyright

The Copyright Office plans to increase the cost of copyright registration by an average of 41%.

How do you feel about that?  If you have registered your own copyrights in the last 5 years, The Copyright Alliance would like your anonymous feedback before August 17th, to help them craft a written response to the Copyright Office that accurately represents the views of American creators.

https://www.surveymonkey.com/r/ZPJ23ZC

The deadline for the anonymous survey is August 17th, 2018.

Karyn A. Temple, blogging on the Library of Congress site, explains the thinking behind the new fee increases.

https://blogs.loc.gov/copyright/2018/05/copyright-office-proposes-new-fee-model/

One can comment on her blog. One can comment officially here:

https://www.regulations.gov/document?D=COLC-2018-0005-0002

The deadline for public comments on the regulations.gov site has been extended until September 21st, 2018

All the best,

Rowena Cherry

Reboots and Remakes

You've probably heard about the projected "reboot" of BUFFY THE VAMPIRE SLAYER. I'd call it a "remake" instead, since the intent seems to be to start the series over with Buffy in high school, but in a 21st-century setting and played by a black actress. Judging from the few online comments I've read, I'm not the only fan whose first reaction to this proposal was, "Why?" A remake isn't likely to surpass the excellence of the original. While I'd be thrilled with a return to the Buffyverse, a far better approach (as has been suggested by others) would be a "next generation" series, spun off from the original story with new characters. If we want to see another black Slayer, introduce a new one instead of calling her Buffy. Because the series finale created hundreds of Slayers throughout the world in place of a single Chosen One, the potential exists for a rich variety of stories, taking the mythos in a different direction from the comic-book continuation that followed the end of the TV series.

I've come across speculations about remakes of CASABLANCA and GONE WITH THE WIND. In the former case, a resounding "Good grief, why?!" seems the most appropriate response. The original is as nearly perfect as humanly possible; tinkering with the plot and characters to produce a new version could only go downhill. As for GONE WITH THE WIND, the only thing "wrong" with the classic movie is that, even at its great length, many details from the book had to be omitted, including two of Scarlett's three children. A miniseries instead of a feature film could remedy those omissions, but could it ever be as good as the existing movie otherwise? Furthermore, present-day technology doesn't allow the resurrection of Clark Gable to play Rhett, and the role wouldn't be the same without him. (When the sequel, SCARLETT, appeared on TV, I had a very difficult time accepting Timothy Dalton as Rhett.)

One remake that I thought worked well was the prime-time DARK SHADOWS with Ben Cross as Barnabas. The production values, naturally, were superior to those of the vintage soap opera, and the story moved along more briskly. It also focused on the plot thread of greatest interest to fans, the arrival and possible redemption of Barnabas. It was disappointing that the series didn't last long.

The new STAR TREK films qualify as a true "reboot," an alternate-universe iteration of the original setting and characters. Although I'm lukewarm toward this movie sequence, at least it began with a believable SF rationale for the new version.

The futuristic anime series NEON GENESIS EVANGELION may hold some kind of record for remakes, reboots, and alternate-universe story lines produced by the original creators. The plot of the series was condensed into a movie version. Another movie expanded upon the confusing ending of the TV series. Several different manga (graphic novel) variants exist, featuring the characters in different settings and situations from the one established in the original.

The most pointless remake I've ever heard of was the filming of PSYCHO with not only the same script as Alfred Hitchcock's adaptation but shot almost frame-by-frame identically to the earlier version. Couldn't they have made a brand new adaptation, returning to Robert Bloch's novel for a fresh take on the story?

In general, remaking films based on books is a different matter. If it wasn't done "right" the first time, a fresh attempt could be worthwhile. GONE WITH THE WIND as it stands adheres as closely to the novel as can reasonably be expected of a feature film. Lots of other book-to-film transformations, though, haven't been done "right" and could benefit from another try. (My concept of a "good" film adaptation means one that follows the book as closely as the film medium allows. When I watch a movie based on a novel, I want to see the novel brought to life, not some director's personal "vision.") No perfect adaptation of DRACULA has ever been filmed. The BBC TV miniseries with Louis Jourdain comes closest. Coppola's so-called "definitive" DRACULA, however, does include more of the book's characters and plot points than any other, including the Louis Jourdain version. Unfortunately, Coppola adds a love story between the Count and Mina that has no basis in the book. If he wanted to do that, he should have adapted Fred Saberhagen's excellent reinterpretation of the story, THE DRACULA TAPE. In one of my favorite series, the Narnia books, PRINCE CASPIAN has suffered most in the adaptations filmed so far. The BBC version, aside from its dated special effects, renders the book with more fidelity and respect than the dazzling feature film; even the former, however, leaves out an important sequence toward the end that's also omitted from the big-screen movie.

What movies or TV series would you like to see remade? What do you think should never be remade?

Margaret L. Carter

Carter's Crypt

Reviews 37 - Ilona Andrews Magic Shifts

Reviews 37
Magic Shifts
byIlona Andrews 

The Reviews series has not been indexed yet.  And I have messed up the numbering, resulting in two posts numbered 34. I'm not planning to fix that, as I think this is the only duplicate.

The first Reviews 34 is:
http://aliendjinnromances.blogspot.com/2017/11/reviews-34-implausible-made-real-by.html

The second Reviews 34 is:
https://aliendjinnromances.blogspot.com/2018/05/reviews-34-by-jacqueline-lichtenberg.html
Today we again raise the topic of what, exactly, is Paranormal Romance?

In fact, it would be good to ponder the abstract problem of what Romance really is.

The best way to figure out where you, the writer, stands on these two questions is to read-read-read.  Read reams of non-fiction, yes, but loads and loads of fiction outside your target genre.

It is painful, I know, but as you did in High School and College, read things you don't enjoy.  Yes, you must read for enjoyment because enjoyment is your stock in trade, what you have to sell, and if you don't have any enjoyment, you can't sell any.

You must have an overflowing reservoir of enjoyment in your heart.  Therefore, read Ilona Andrews (all titles).  Pay special attention to the Kate Daniels novels.  If you read them already, just because they are best sellers - read them again as a set.

At the same time, to convey that enjoyment in your heart to others, to purvey that enjoyment you have collected over years, you must understand more about story structure than your reader does.  You must make the structure of your story as invisible to your readers as the great writers you've been reading make their story structure invisible to you.

Therefore, today we take up a relationship-driven Action-Romance-Paranormal by a husband/wife collaborating team.  There are a few like that working in the field today, but the Ilona Andrews byline is the best example at my fingertips right now.

MAGIC SHIFTS is a "Kate Daniels Novel" -- and the 8th in the Series.

The collaboration is seamless -- there is no jarring shift from one writer's style to the other.  It is a blended style, probably done somewhat the way Jean Lorrah and I collaborate, with every word gone over by both.

They have mastered the trick of "pacing" -- the narrative moves smoothly from cerebral to action scenes.

They have SHOW DON'T TELL down pat. The Characters do not tell you what they are feeling (and the novels replete with conflicting feelings).  Even if you have not read the previous novels, you know what these people are feeling.

The two main Characters, a retiring Alpha pair from a shapeshifter Pack, are not yet married, but yes they are very married, oh, very very married.

This is a Couple novel -- an after-the-Romance novel, which does ask the question, "Can this couple ever get to Happily Ever After?"

The answer seems to be Yes, but maybe not "ever-after" -- as there are still problems to be solved.  They are now living in typical suburbia, adjacent to acres of wild forrest to run in, with houses on the block inhabited by other shapeshifters who have left the Pack to follow the Alpha Couple out of loyalty or other personal necessity.

Yes, I recommend the previous novels in this series, and yes, I have read them.  If Shapeshifter novels are your passion, you must know all your readers will have a familiarity with these works.

But the Kate Daniels universe has another, vastly interesting, quirk.  Here is not a choice between magic and technology, not a World Bridge to cross to go from where Magic works to where Technology works.  Here, Magic washes over the Technology based normal world you know, and disables all our devices and gadgets.  Civilization adjusts, and we see our world in semi-ruins but life goes on, with Magic working sometimes and Technology working other times.

The shifts can be dangerous.

Meanwhile, Magical creatures rampage and must be stopped.

Plenty of monster hunts, and battles, and plenty of mysterious puzzles to solve.  The latter gives this the flavor of a Mystery/Detective series while the puzzles themselves work a lot like science fiction.

So, just don't miss reading Ilona Andrews titles.  It is a trustworthy,, go-to byline.

Jacqueline Lichtenberg
http://jacqquelinelichtenberg.com

Expensive Mistakes

Not all art is in the public domain, even if it is in a public place. even if an image-licensing service can license the right to use a specific photographer's photograph of that art. One might still, additionally, need a license from the original artist.

The United States Postal Service made such an expensive error, and will have to pay $3,554,946.95 plus interest to a sculptor.

Initially, a USPS employee mistook a view of a modern sculpture inspired by Lady Liberty for the Ellis Island original.  The latter is in the public domain. The former is the intellectual property of the living sculptor. Possibly, the USPS could have settled for $5,000 when they first discovered their mistake.

In a Washington Post article from 2013, author Lisa Rein quotes the lawsuit.

"Defendants, through the USPS, determined that it was in their financial best interest to continue to infringe upon Davidson's rights, as the costs to discontinue the infringing activity exceeded the marginal cost of royalties...."

They calculated wrong. Way wrong.  Legal blogger Jesse M. Brody for the law firm Manatt Phelps and Phillips LLP suggests that this may turn out to be one of the most expensive copyright mistakes ever.

https://www.lexology.com/library/detail.aspx?g=382f2fb0-40d7-46a1-bf28-5abef7caa891&utm_source=lexology+daily+newsfeed&utm_medium=html+email+-+body+-+general+section&utm_campaign=lexology+subscriber+daily+feed&utm_content=lexology+daily+newsfeed+2018-07-20&utm_term=

It would appear that the costliest part was a 5% running royalty on the 3.24% of the stamps that were bought by stamp collectors, and represented unadulterated profit for the USPS.

An article by Timothy B. Lee for Ars Technica shows the two faces of the Statute of Liberty: the fierce-faced original on Ellis Island, and the troubled-looking homage in Las Vegas.
https://arstechnica.com/tech-policy/2018/07/post-office-owes-3-5m-for-using-wrong-statue-of-liberty-on-a-stamp/

Presumably, this costly lesson in copyright infringement affects us all. We'll probably all pay more for stamps,
forever.

Now comes General Motors, with the argument that Joe Public should not be expected to research the history of every public building (especially if that building is covered in graffiti) before taking a photograph, or filming something else where the graffiti is in the background.

The case of Faulkner v General Motors Company is discussed by author Alan Feuer for the New York Times.
https://www.nytimes.com/2018/07/17/arts/design/general-motors-graffiti-artist-copyright.html

It raises some interesting issues about the use of photographs and films of public buildings and art in (and on) public places.

For artists, the copyright alliance has a timely article on how to copyright your paintings.
https://copyrightalliance.org/ca_faq_post/copyright-my-paintings/

For artists who wish to license certain rights to a work, but not to relinquish their copyright in the work, the very generous and courteous people of ARTREPRENEUR publish a template agreement, free, on condition that the beneficiaries of this template give them written credit.

Find the template here:
https://artrepreneur.wpengine.com/wp-content/uploads/2017/08/Artist-licensing-agreement.pdf

Explicit credit: https://artrepreneur.wpengine.com/

All the best,

Rowena Cherry

Monsters in the Modern World

A recent question on Quora asked how well vampires would be able to survive in the modern world. My reaction was along the line of "better than ever." In DRACULA, Bram Stoker envisions how the Count uses "nineteenth-century up-to-date" conveniences to move to the modern, technologically advanced environment of England from his "ruined castle in a forgotten land" (as Van Helsing describes it). Many urban fantasy novels imagine how vampires and other traditional "monsters" might fit into the twentieth and twenty-first centuries.

To begin with, a contemporary vampire who wants to relocate can buy a plane ticket instead of having to endure a lengthy ocean voyage, with the risks of exposure in being confined to a limited space for days or weeks with a small group of oblivious human companions. An even more fundamental consideration is that, in contrast to past times and places when tight-knit communities were suspicious of strangers and people with eccentric habits, nowadays in any first-world country a vampire could blend in as just one of many representatives of diverse ethnic groups and lifestyles. For much of European and American history, failure to attend church would be seen as peculiar or downright suspicious; nowadays that behavior wouldn't raise an eyebrow. If he or she has a severe reaction to sunlight (like the undead in movies and many modern novels, although not in nineteenth-century fiction or most folklore) or simply prefers a nocturnal existence, stores and businesses with extended hours are plentiful in any decent-sized city. The Internet, of course, makes it easy to obtain most products and services without leaving home. If the vampire needs to earn money, numerous night-shift jobs are available. Never being seen eating could be attributed to allergies or some other dietary restriction. ("I'm on a liquid protein regimen.") What about nourishment? Blood banks (with, presumably, bribeable employees who could supply newly expired blood) offer an obvious source. Also, it wouldn't be hard to find potential donors with romantic notions about vampires, who would happily give blood under the impression that the alleged vampire is simply playing a role.

Computers and the Internet, in my opinion, would make transition from one lifetime to the next easier rather than harder. A competent hacker can create a new identity with supporting data planted on all the relevant websites. In the TV series FOREVER KNIGHT, one vampire makes a career of performing that very service. The issue of possible exposure by old photographs was raised on Quora, a problem that I believe is much exaggerated. What would you think if you saw a century-old photo that closely resembled a contemporary acquaintance? Would you instantly jump to the conclusion that the person must be immortal? No, most likely you would think, "What an amazing family resemblance." My husband's brother looks remarkably like a picture we have of their father in late middle age, and nobody wonders whether my brother-in-law is really his father under a new identity. :)

Werewolves could also benefit from modern conveniences. With rapid transit, on full-moon nights a werewolf could quickly travel to an isolated region where he or she could roam and hunt animal prey. If he or she suffers from the affliction of being unable to control the change or behave rationally when transformed, an electronic lock on a timer could keep the werewolf safely confined in a reinforced room during the critical period—no need to involve a fallible human helper. In case of a craving for raw meat, any big city has butcher shops where fresh meat of all kinds can be bought, then consumed in the privacy of the home. Or maybe a discerning werewolf would order exotic cuts online (venison? buffalo?). Interesting side note: Poul Anderson wrote a couple of stories about werewolves who stay rational in wolf form but need moonlight to transform. They carry flashlights that simulate moonlight, so that they can change shape by shining the artificial moonlight on themselves.

Would the Internet and social media make contact with friendly extraterrestrials easier or harder to adjust to? The news of their arrival, with visual recordings, would be transmitted around the world instantly. On the other hand, given the ease of faking photos and videos, would much of the public think it's a hoax at first? How long would it take for governments and mainstream news media to convince most of their constituents that the landing really happened? Considering we still have believers in a flat Earth and disbelievers in the moon landings, some people might never accept the existence of aliens.

Vampires on FOREVER KNIGHT worried about photographs, because they could alter human memories by hypnosis, but memory erasure didn't stick if the victims had physical evidence to reinforce their awareness of the truth. One might think social media would pose a serious danger to the anonymity of vampires, werewolves, and other monsters. Again, I think the risk isn't that high, because audiences have solid reasons to be cynical about visual "proof." Anybody who isn't already predisposed to believe in the supernatural would probably dismiss pictures or videos as staged, photoshopped, or both. If vampires WANTED to come out in public (as in the Sookie Stackhouse series and its TV adaptation, TRUE BLOOD), they might have as much trouble getting the world to believe in them, at first, as visiting aliens would.

Margaret L. Carter

Carter's Crypt

Dialogue Part 15 Writing Inner Dialogue of Soul Mates

Dialogue 
Part 15

Writing Inner Dialogue of Soul Mates

by

Jacqueline Lichtenberg 

Previous parts of the Dialogue series are indexed here:

http://aliendjinnromances.blogspot.com/2012/10/dialogue-parts-1-4-listed.html

We visualize the wedding moment as divine intervention to make life Happily Ever After - it is a supernatural moment.

A wedding is the beginning of a new life.  It changes everything including your self-image.

Usually, all the Romance happens before the wedding -- the wedding scene may be the final scene of the novel.

Sometimes, the story is about what happens if the anticipated inflection point of getting married somehow aborts -- one or the other gets cold feet, one or the other is accidentally killed on the way to the wedding, one or the other is put in the hospital by an accident at the verge of death, or one of them is murdered or deliberately attacked and left hospitalized.  Possibly, an ex or some jealous stalker emerges or a love-child situation is revealed during the ceremony.

Drama (Pluto is Drama) abounds at the peak pivotal moments of life.

The bigger the pivot the more spectacular and singular the drama.

For example, true Soul Mates rammed together by circumstances may experience Hate At First Sight.  Most Romance readers do understand this dynamic -- that the intensity of the aversion can be the sign that these two are Soul Mates.

Not just lovers, or two people having an affair or a one-night-stand -- but true Soul Mates.

Months ago, there was an article posted online at mindbodygreen.com that pointed out what all Romance readers know.

---------quote---------
Many years ago, I was sitting with a couple in my office, marveling about what a "perfect fit" they were: They were both into healthy living, rescue dogs, and hiking. They didn’t argue, their facial expressions were kind, and their nonverbal signals showed they cared.

Despite this, they were talking about ending their relationship. They couldn’t describe what was wrong, but both felt the relationship was empty. I followed the usual process: We looked for places of trouble, which were few, and explored the good parts of their relationship, which were many. However, it was as if a spark between them was never lit. In the end, they felt it was best to part amicably, which they did.

That session was followed by an hour with another couple who didn’t stop arguing from the moment they walked in the door. They had been waiting all week to "tell on the other," i.e., talk about the agreements each had broken and the far-reaching arguments about washing the dishes or sex, all with a plethora of eye-rolling and grimacing. However, the passion between them was palpable; under the power struggle, there was a lot of interest and passion. We worked hard for months, and they were eventually able to break their destructive loop and spend more time living with the pleasure they found in each other.

These two stories point to one of the most important truths my 35 years of working with couples has shown me. Though we know many of the qualities and skills that make a great relationship—most of which can be learned—there is no rule book for what makes two people work. Sometimes people just know their relationships are over; other times, even though it’s hard, they are willing to do the work to make it good again.

There are times you MUST leave ...

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

Read the article at:
https://www.mindbodygreen.com/articles/how-to-know-when-its-time-to-walk-away-from-your-marriage\

It is full of great novel ideas about when to admit the "Happily Ever After" so anticipated at the wedding is not going to happen, and what to do about it.

As a writer, look inside yourself and then examine the people closest to you -- you will find an abundance of "internal conflict" which is the raw material of such drama, the kind of deep realization that your HEA didn't happen -- and won't.  Many, in the grip of this realization or those suppressing the realization of this truth leap directly from "I don't have it" to "It does not exist."

What evidence would you accept that the HEA is real, possible, and you missed your chance?

Soul Mates are two individual, and very different, people who are two halves of a whole -- they become one at the wedding.  That's what "wedding" means - it is a word used in wine making for mixing two wines, so you can't take them apart again.

But once married, building a life together -- jobs, commutes, buying cars, choosing a house or condo or apartment, furnishing it, having children (or deciding not to), thousands of individual decisions suddenly become joint projects.

The two become one.

What is going on inside one person splashes over into the inside of the other.

The more emotionally heated the anger, love, passion, offense, indignation, jealousy, resentment, and demands that YOU (not me) change behavior -- the more likely the two actually do belong together.

Their inner conflicts have crashed into each other, and shards of hard-headed rocks are flying everywhere.  Bystanders can be sliced to the bone as collateral damage.

True Soul Mates rarely meet in tranquility and sail blissfully on into a calm life.

Depicting a pair of Soul Mates on their shake-down cruise is a serious challenge for a Romance writer who wants to explore passionate sex and carefree joys because after the honeymoon is over, the conflicts become riptides pulling the couple apart.

The inner dialogue - the unspoken thoughts - of such a pair differ as male and female differ, but reflect each other.  Each seeks justice which means having their own expectations fulfilled.  Or, with some, the inner dialogue is about fulfilling the expectations of the Other and having that fulfillment acknowledged in a specific way.

For example, the 2018 culture is grappling with the conflicts between the traditional image of "Being A Man" and a new self-image for healthy masculinity that has not yet crystalized.

It will take 4 generations for such attitudes to be "natural" to men and women, and the transition will be confusing.

Fiction writers can explore these options with inner dialogue -- and how what one person in the couple is thinking one thing, but forcing themselves to do another.

Last Spring a huge misunderstanding of a University of Texas program erupted around the idea that a University was officially regarding masculinity as a mental illness.  (What A Theme!)

But that's not exactly what was really going on.

---- quote -----

The University of Texas is facing ridicule after a new program called “MasculinUT” was announced in a way that insinuated it was treating masculinity as a mental health crisis.. The university has attempted to explain the program as simply an effort to “bring more men to the table to address interpersonal violence, sexual assault and other issues,” but the reality is that UT is still promoting a facetious connection between masculinity and assault and violence.

When the program was originally announced, its stated goal was to help male UT students “take control over their gender identity and develop a healthy sense of masculinity.” as PJ Media reported:

The program is predicated on a critique of so-called “restrictive masculinity.” Men, the program argues, suffer when they are told to “act like a man” or when they are encouraged to fulfill traditional gender roles, such as being “successful” or “the breadwinner.”

Though you might enjoy “taking care of people” or being “active,” MasculinUT warns that many of these attributes are actually dangerous, claiming that “traditional ideas of masculinity place men into rigid (or restrictive) boxes [which]… prevent them from developing their emotional maturity.”

“If you are a male student at UT reading this right now, we hope that learning about this helps you not to feel guilty about having participated in these definitions of masculinity, and instead feel empowered to break the cycle!” the program offers.

As mentioned above, the program is also run by UT’s Counseling and Mental Health Center “[l]ike other UT programs related to sexual assault and interpersonal violence.” And the website’s stated “project goals and guiding principles” still focus on the idea that certain types of masculine emotions and traits are negative and connected to sexual assault and violence.

For example, they are making an effort to “[p]romote an ethic of care for men and masculine-identified individuals who cannot escape expectations of masculinity,” “‘[e]ncourage a wider range of acceptable emotions,” and “[d]ecrease excessive competition and increase empathy.”

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

Read the article at:
https://www.redstate.com/sarah-rumpf/2018/04/30/new-program-university-texas-conflates-masculinity-sexual-assault/

There is certainly enough material regarding the female self-image, and the idea that a woman "should be" this and never that (whatever the this or that involved in the current culture's demand might be) for writers to depict a woman's inner dialogue as bemoaning the requirement.

All of this raises the science question which makes the essence of Science Fiction Romance -- "what exactly is gender?"

And do Souls come in genders?  Kabbalah says yes, Souls are locked in a single, specific gender lifetime to lifetime.

Science Fiction plays with the theory that Souls can reincarnate as human even if their prior lifetime was non-human.  And the idea of a male reincarnating as a female is common.  Most Science Fiction TV shows (including Star Trek) played with the idea of a male identity being trapped in a female body (or vice versa).

If you want to write a novel involving Soul transfers, be sure to do a state-of-the-art search and read up on what has been done -- there is much more to say on this topic!

Consider if reversing gender for a day would change the Character's inner dialogue.  Is the inner dialogue a product of gender or of mis-match between Soul and body's gender, or merely of societal expectations?

What exactly is gender?

The question is relevant to the idea of "Mates" -- as we are currently challenging the age-old assumption that Mates must be a pair of opposite gendered people.

Does gender come in opposite?  Is it this OR that but nothing in between?

Is gender optional?  Are Souls neuter?

All of these questions must be answered only if the answers differ from your reader's everyday world.  These questions frame the world you are building around your story.

Consider the example from the marriage counsellor noted above, where the couple arrived arguing the moment they walked in the door.  If they exchanged genders, would they still be Soul Mates?  Would they also exchange arguments and the fighting just go on without missing a beat?

Is the reason they are arguing simply that one is trapped in a gender whose expectations he/she can not meet?  (Men to be the bread winner; women to bear and raise children).

Would expectations have to be adjusted in such a situation, to result in an HEA?  What hammering drama would have to pound their heads together to create such an adjustment?

Find answers to those questions and cast them as simple statements -- and you've created a THEME.  Telling the story may be harder than anything you've ever done.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

"Stifling Creativity" AKA The Profitable Ingenuity Of The Lawless

Applying bricks-and-mortar laws to the internet would "stifle creativity" and prevent "the sharing" of "information" and generally "end the internet as we know and love it". Such is the gist of the so-far-successful opponents of the controversial copyright law that was just rejected by the EU Parliament.
https://www.bbc.com/news/technology-44712475

"Critics said the laws would stifle creativity..."

Allow this author to translate. The "creativity" that would be stifled" by a reform of European copyright laws is not the genius of authorship, musicianship, cinematic film making, or the artistry of a photographer or painter. No, it is the profitable ingenuity of thieves.

"Sharing"..."information", is usually a matter of monetizing stolen creations of others. Pirate sites don't publish and distribute helpful advice or uncommon knowledge. Their "information" is more likely to be illegal copies of movies, games, works of fiction, music. And, they don't "share" like one neighbor does to another over the garden fence. They broadcast (like tossing seeds in a wide arc over a ploughed --or plowed-- field), usually for the purpose of payment from advertisers.

Legal blogger Gill Grassie for the law firm Brodies LLP  examines what is legally or logistically unacceptable about the draconian Article 13 of the EU proposal.
https://www.lexology.com/library/detail.aspx?g=06f30201-e4c4-4756-8035-a7c35b486bf2

To wit, bigger platforms might have been obliged to prevent copyright infringing work from being uploaded by users.  Additionally, websites might have had to pay a license fee for displaying  snippets of text snagged
(my term) from published  articles.

By contrast, and from the sharp end, here's a fine video analysis of piracy by film maker Ellen Seidler of who profits from piracy, and how, and why. (It's from 2012, but still relevant.).
https://thetrichordist.com/2012/04/03/who-profits-from-piracy/

If lawmakers were to intellectually follow the money, they might do a better job of protecting creators. Perhaps the wrong Congressional and legislative bodies are looking at the problem... and of course, too many lawmakers are campaign-funded and lobbied by entities that find piracy profitable.

Aatif Sulleyman for the Trusted Reviews site examines the reasons produced in a 2018 survey on why Britons steal online.
https://www.trustedreviews.com/news/piracy-reasons-copyright-infringement-3501618

It seems to boil down to the love of a freebie. It's free, and it's convenient. Or at least, that is the popular perception.

(But, all this "free" stuff is ruining musicians' livelihoods. A musician debunks the idea of touring and T-shirts as an adequate substitute for record sales, and points out that concert performances provide zero income for songwriters:  https://thetrichordist.com/2018/07/11/a-timely-repost-the-economics-of-mid-tier-touring-from-someone-who-has-done-it-for-34-years/ )

Aatif Sulleyman wrote this, about watermarking.
https://www.trustedreviews.com/news/piracy-future-covert-watermarking-free-stream-3483149

This author never expected a search for "remove watermarks on copyrighted content" to produce any search results at all. Wrong!
https://www.google.com/search?q=remove+watermarks+on+copyrighted+content&ie=utf-8&oe=utf-8&client=firefox-b-ab

Colour me shocked.
On the other hand, the same socially responsible purveyors of useful information will also assist bricks-and-mortar perps.
https://www.google.com/search?client=firefox-b-ab&ei=LmpLW8KjIOrCjwT41IDwAg&q=How+to+crack+a+safe&oq=How+to+crack+a+safe&gs_l=psy-ab.3..0l10.213654.229082.0.238308.58.33.0.0.0.0.112.2566.31j1.32.0..2..0...1.1.64.psy-ab..38.20.1528...33i22i29i30k1j0i273k1j0i131k1j0i67k1.0.sypCEQvBLpE

I should probably now clear my cookies... and so, dear reader, should you.

The host of this blog (Blogspot) puts cookies on visitors' devices, and conveniently infers that visitors agree to deer-tick-like cookies piling on and burrowing in. Most sites to which this article has linked make the same inference.

Although "Cookie Consent" is the new panic according to legal blogger Eduardo Usteran, blogging for Hogan Lovells, blogs and websites have been obliged to let visitors know about their no-opt-out cookies
since an EU directive in 2009.
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All the best,

Rowena Cherry

Sword and Sorceress

I'm thrilled to announce that I've had a story accepted for this fall's SWORD AND SORCERESS 33 anthology, published by the Marion Zimmer Bradley estate and edited by Elisabeth Waters and Deborah J. Ross. I submit a story most years but don't often make the final cut, so it's exciting to win a place in the book. As you may guess from the title even if you haven't read any of the previous volumes, the series comprises "sword and sorcery" fantasy with female protagonists. Here are the contents of the forthcoming anthology, which we're encouraged to share:

SWORD AND SORCERESS 33 TABLE OF CONTENTS

WRESTLING THE OCEAN by Pauline J. Alama

HAUNTED BOOK NOOK by Margaret L. Carter

THE HOOD AND THE WOOD by Lorie Calkins

SINGING TO STONE by Catherine Mintz

THE RIVER LADY’S PALE HANDS by M. P. Ericson

LIN’S HOARD by Deirdre M. Murphy

THE CITADEL IN THE ICE by Dave Smeds

ALL IN A NAME by Jessie D. Eaker

DEATH EVERLASTING by Jonathan Shipley

BALANCING ACT by Marella Sands

FIRST ACT OF SAINT BASTARD by T. R. North

THE FALLEN MAN by Deborah J. Ross

A FAMILIAR’S PREDICAMENT by Jane Lindskold

THE SECRET ARMY by Jennifer Linnea

COMING HOME TO ROOST by L. S. Patton

FROM THE MOUTHS OF SERPENTS by Evey Brett

MAGIC WORDS by Alisa Cohen

CHARMING by Melissa Mead

My tale features a ghost in the library of a magical university, with a bit of humor.

SWORD AND SORCERESS has had a complicated publishing history, perhaps symptomatic of the shifting tides of publishing in the past few decades. It began as a long-running series of mass market paperbacks from DAW Books. After DAW and SWORD AND SORCERESS parted ways following MZB's death, a lapse of a few years was followed by several volumes in trade paperback from a small press. Finally, up to the present, the annual trade paperbacks have been published by the Marion Zimmer Bradley Literary Works Trust itself.

A few years ago, the Trust also resumed producing Darkover anthologies, a project that had been dormant for a long time. Now they're publishing a new one each May, in trade paperback rather than the former mass market format.

Most of the works released by the Trust are also available as e-books. Moreover, many stories from the anthologies, plus some other short pieces by anthology contributors, are sold on Amazon as stand-alone e-books. You can find them here. (If you scroll down far enough, you'll find a selection of my short stories.):

MZB Works in Kindle

Another anthology series from the Bradley estate, now on its fourth volume, is called LACE AND BLADE. It contains swashbuckling tales of adventure with touches of magic and romance. I would characterize the first volume as "perfectly targeted to Zorro fans," although subsequent anthologies have gradually widened their scope.

You can find out about the various books and series at the link below. Also, the Trust produces some audiobooks and CDs. In short, they offer a prime example of taking advantage of the full range of available media and formats to reach fans:

Marion Zimmer Bradley Literary Works

Margaret L. Carter

Carter's Crypt

Reviews 36 by Jacqueline Lichtenberg Comparing Expository Techniques

Reviews 36

by

Jacqueline Lichtenberg

Comparing Expository Techniques

Reviews posts have not yet been collected into an Index post.  Some other blog series also discuss novels of Romance and/or Science Fiction and/or Fantasy/Paranormal all mixed or separately.

In general these Tuesday posts are about writing techniques, and though techniques are not (as course instructors will insist) the same in all genres, we float techniques across genre lines to blend genres seamlessly.

One of the techniques common to most kinds of fiction is taming the Expository Lump.

The lumping together sentences, paragraphs and whole pages of explanation of what the reader needs to know before they can understand the story, the plot, or the Characters' motivations and emotions, is a mistake beginning writers make because they have no other tools to convey the necessary information.

That information may be fascinating, and completely engrossing to the target readers, but unacceptable, unreadable, or just too much work for the readers at the edge of the target.

To broaden the swath of readers a story might reach, engage and stimulate, the writer has to find other ways to explain things -- entertaining ways.

This is necessary to establish a byline in the commercial marketplace.  The new byline has to earn the trust of readers who finish the book, and then finish the sequel, so the reader knows for a fact this writer will deliver on the promises of Page 1, and deliver big time.

The satisfaction readers experience at the end of a novel is what they pay for, it is the writer's product.  That emotional payoff is what the writer has to sell, but it first must be manufactured.

The final satisfaction has to be packaged to grab attention of readers browsing for something to read, and it has to stimulate the reader to mention it to friends (or Facebook Friends, people they don't know who don't know them, but share interests).

However, once a byline is established as one that delivers all it promises in the cover blurb, flap copy, and genre logo, and the writer is three long, complicated books into the Series, editors require Expository Lumps.

Of course, editors will declare unequivocally that there must be no expository lumps.

Then they ask the writer to make sure new readers who have not read the previous books can just pick up the series here, right in the middle.

Writers tend to go bald pulling their hair out over this one.  To keep the series in print you have to explain the previous books' adventures, but to engage a new reader you must SHOW DON'T TELL all that explanation.

WORSE!! Editors take the manuscript to committee, it gets accepted provided it is half the size that was turned in.

What goes?  The action?  The exposition? 

There comes a point in a long series where you just can not both explain what happened before, why it happened, and what this oddball universe uses for physical Laws, and still advance the plot a novel's worth of events.

So today let's look at the effect various solutions have on readers.

Here are two Series to compare. 

The 19th book in C. J. Cherryh's FOREIGNER series -- 6 trilogies and book 1 of another trilogy. 
https://www.amazon.com/Emergence-Foreigner-C-J-Cherryh-ebook/dp/B073PB22BS/

And Book 3 of Bradley P. Beaulieu's THE SONG OF THE SHATTERED SANDS series.
https://www.amazon.com/Veil-Spears-Song-Shattered-Sands-ebook/dp/B0738KC9NW/

FOREIGNER is set on a planet where a lost-colony ship from Earth left humans stranded to cope with the native Alien civilization.  It is all very tight point of view, though bits come from the point of view of an alien child being groomed to rule the world.  The story is about the human linguist interpreter, Bren Cameron , and most is from his point of view while he works through Human/Alien politics.

The "romance" angle is that he sleeps with one of his Alien Security Guards, though there aren't many sex or bedroom scenes and very little "relationship" -- still the warmth and firm bonding is vivid.

Book 19 in this series is shorter than some previous ones, and filled with Bren Cameron's long, intricate thinking about the Situation that has emerged from the previous trilogy's interactions with a third Alien species -- and doesn't mention the secret Bren carries (except obliquely) that he met a human who is a captive of these (formidable and menacing) Aliens.

The political situation is coming clear to "The Young Gentleman" (the Alien kid who will rule when his father dies).  He's only 9, but obviously more broadly mature than a human 9 year old.

Between Bren's adventures on one continent and "The Young Gentleman's" adventures on another, we understand why these new Aliens are a disaster waiting to happen -- they have left orbit, but their influence reshapes this world.

Bren "sold" the world as peaceful, but in truth it is a powder keg that will explode.

The specific threads of plot from the previous 18 novels that are going to mature in this trilogy (or the next) are all described in long expository lumps, couched in terms of Bren Cameron's new and changing understanding of the broader Situation.

Here's the challenge: If you have not yet read any FOREIGNER novels, or read only a couple and have forgotten, pick up EMERGENCE and see how hard it might be to slog through the exposition of Events past that you have not read.

Ask yourself as you struggle with names, places, and event sequences Bren is thinking about as he makes decisions, is this stuff interesting?  Do I write like this -- all about what has happened, not what is happening? 

Mark points where your eyes glaze over with a, "Who cares?" 

My secret is that I gobbled down every word of that exposition, loving the ride in Bren Cameron's head, whooping with joy at the Young Gentleman's maturation (when he takes over the House command position and orders servants to prepare a welcome for his mother and baby sister - he is perfect, so you know what is going to happen!)

I just love this series, and I have every confidence that C. J. Cherryh did not put a word in there which will prove unnecessary. 

Now, if you have not read THE SONG OF THE SHATTERED SANDS, try diving in with Book 3.

I have not read the previous books, do not know Beaulieu either personally or by previous writing.  I have no particular affinity for the oddball Fantasy world with a crazy-quilt of complicated "powers" that this story is set within.

I did not finish reading this thick novel. 

Why?  Expository Lumps - couched as narrative, and a wild and pointless floating point of view.  Bits and pieces in different locations involving different people whose actions are not clearly the result of, or connected to, what happened in the previous chapter from another point of view.

In other words, by page 118 of 582, I had no idea what this novel is ABOUT - who it is about, or why it might be interesting. 

Yes, the unique "powers" and the complex political revolution against entrenched and powerful "Kings" is fascinating.  The deep and odd bonding between two of the main characters is intriguing.  The basic material of this series is meat and potatoes to me.

But I bounced out 20% through.  Why?

Does it matter why? 

Yes, actually, it should matter to the author and maybe the editor. 

If the writer's skills were a "hit" with me, I would have gone searching for Book 1 and read from the beginning.  That would sell 2 books the publisher wants to move off the warehouse shelves -- maybe more if I tout the book on Facebook.

I would have been caught up in the series if there were any indication why these events are happening to these people -- or if there were fewer people so there is enough time to get to know them before the next group is introduced. 

I would have been caught up in the series if there was something about the main Character to show she deserves what is happening - that her efforts, and the backlash of responses from forces around her, will lead her to revising her innermost Character, make her grow stronger, understand where she's been wrong about "right and wrong and the difference between them."

In other words, the third book has to have a "hook" into the heart and soul of the character indicating why this is her Karma.  

In my real life, life and the world make sense -- if only you can get the right camera angle on yourself (see yourself as others see you).

In C. J. Cherryh's novels (all of them) the Characters fit their lives, learn and grow stronger for the hammering they take.  There's a comprehensible logic underlying events, however odd.

You can find that underlying logic right at the beginning of each of her books, and even if you disagree personally, you can comprehend the Characters innermost Souls because it is clear why they live the life they do.

In A VEIL OF SPEARS (lovely title), as the Characters come on stage, there is no hint that their souls belong in the lives they are living, and no awareness that belonging in your life is possible or desirable or that the Characters are working to get to a life where they do belong. 

So as I read, I never was compelled to ask myself, "What would I do in that Situation?"  I barely understood the Situation and had no idea why this Character was in that pickle (pretty marvelous pickle, could have made a great book.)

Eventually, I did ask myself, "Why am I reading this?" 

You never want your readers to ask themselves that! 

I love the material Beaulieu has created, but after about a hundred pages I still have no confidence in the writer's ability to deliver on the material's promise because the skills we have discussed on this blog over the years are not evident.

For example, there is no plot-or-story reason why the point of view changes except a lazy writer who can't be bothered to tell the story.  There is nothing to follow from one chapter to the next, no story at all, so why turn the page? 

Of course, if in the previous book, you were engrossed in these other characters, you might be pleased to go visit them.  But the writer's job is to engross you in the Character whose story this is -- and there's no hint whose story is being told. 

Contrast with the flipping from Bren Cameron to The Young Gentleman -- Bren is striving mightily to keep the human friends of The Young Gentleman happy, healthy and safe, while The Young Gentleman is getting a grasp of the threats that are coming -- and will need those human friends all grown up and well educated.  The Young Gentleman on one continent and the human friends on the other form the lynch pin of the world to come.  These people belong in their lives but have to grow into them. 

I love the FOREIGNER series, and don't want to read THE SONG OF THE SHATTERED SANDS. 

This is odd because both the Cherryh and  Beaulieu series are from one of my favorite publishers, DAW BOOKS (OK, prejudiced -- I've had some titles from DAW, too).

I like and admire these editors. 

Note that both writers here are creating intricate plots involving complex relationships between human and Alien (or not-quite human) and both involve a vast canvas of history, war, regime change -- all focusing the abstract topics we have discussed in this blog as ripped from the headlines.

DAW has created a collection of works that will appeal to similar readers, and they've done a great job of it.

I don't doubt that Bradley P. Beaulieu has an avid following that will devour this third novel in this series with rapt attention.  Knowing the payoff coming at the end, it won't seem like a difficult read.

But in general, widening your readership, grabbing new readers into a series as you go along, is the more commercial strategy.

So, if you are faced with a writing situation requiring exposition explaining what happened in previous books, make that exposition a precursor to what will be not a rehash of what was. 

Use exposition to explain how a Character now sees the same events from a new perspective.  What those Events portend for the Character's future differs from what readers of the previous books expected. 

Without spelling it out, show-don't-tell how many things might go wrong, how many different paths might lead out of the current pickle, and more why that how these Characters got themselves into this pickle.  What aspect of soul is begging to grow and learn this new karmic lesson?

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Guest Post: "The First Pirate Hurts Most" by Addison Brae

Today, Addison Brae shares a debut author's rude awakening.

The first pirate hurts most

July 8, 2018
By Addison Brae

Digital piracy is rarely discussed in the publishing world, so seeing an unauthorized PDF of my book for the first time for free download was a shocker. Then add the extra punch that the site owner invites people to pay to join, and the first month is free. How did this jerk get the PDF? And what nerve to sell something that isn’t theirs.

The even bigger bombshell is how many authors have given up on chasing down pirated copies of their books. Last time best-selling crime writer Sue Coletta (http://suecoletta.com/) checked the pirate sites, her books neared 1,000. “If I wasted time trying to get every book off these sites, I’d be sending copyright notices full-time, with no time to write another book, never mind market my existing ones,” Sue said. “Sometimes we need to pick our battles.”

Piracy is cybercrime. It drastically changed the music, movie, and book publishing industries, and it’s spawned other industries to help stop it. But why does piracy continue?

My theory? No one’s looking. People do it thinking no one will notice or care.

A June 6, 2018 Digital Music News (https://www.digitalmusicnews.com/2018/06/06/muso-global-piracy-study/)  article says 53% of UK adults surveyed felt accessing media content illegally is wrong, but did it anyway.

It takes two. One steals the file and makes it available. You have a say in whether pirates are successful. Don’t download from shady sites. Besides, if they steal what they’re selling, they’ll steal and sell the personal information you provide.

Someone I know recently captured an unauthorized version of my book trailer (https://youtu.be/Mf-GlfxPzdY) from the web to play for a group. The intention was good, but the video quality suffered since it was pirated.

I found the first copyright violation instance with a simple Google alert on the book title and author name. I spent about an hour contacting the company that owns the site, and they disabled the link three days later, but hundreds of other titles remain. It was time I should have spent writing or doing something else productive.

Authors overwhelmingly use Blasty (https://www.blasty.co/) to monitor for copyright infringement. Monitoring is free, but the company charges $156 per year to blast the violator with automated notices about DMCA—the Digital Millennium Copyright Act. It took me about a minute to set up a free monitoring account. Another author recently shared with an author email group, “They have taken down over 4k pirates offering my work in the last year.”

Wow. I’m not endorsing the service, but speechless at the number of people who will steal content for their own profit.

Please consider carefully before you swipe a book, piece of art, video, song, or anything without paying.

Think twice before you download!

A version of this post first appeared on Addison Brae’s blog (http://addisonbrae.com/piracy). Addison’s first novel is Becker Circle (Tirgearr Publishing, March 2018). Read more on her website (http://addisonbrae.com/).

Thank you, Addison!

Illusions of Safety

Last week, five people on the staff of our local newspaper were killed by a gunman who attacked their office because he had a long-standing grudge against the paper. (It's worth noting that the paper did not skip putting out a single issue.) Naturally, the rector of our church preached on the incident. He drew upon Psalm 30, which includes the beautiful verse, "Weeping may spend the night, but joy comes in the morning." To reach that epiphany, however, the psalmist has to recall a time when he felt confident in his security but then experienced the apparent loss of that safety and protection. Our rector talked about how we might have existed in a "bubble," thinking we were safe from such unpredictable mass violence, that it would never strike where we live. Now the bubble has been burst.

That reflection reminded me of what the media repeatedly told us after 9-11: "Everything has changed." Then and now, that remark brings to mind an essay by one of my favorite authors, C. S. Lewis, "On Living in an Atomic Age" (collected in the posthumous volume PRESENT CONCERNS). Lewis reminds us that such catastrophic events change nothing objectively. What has changed is our perception. That idea of safety was always an illusion. To the question, "How are we to live in an atomic age?" Lewis replies:

"'Why, as you would have lived in the sixteenth century when the plague visited London almost every year, or as you would have lived in a Viking age when raiders from Scandinavia might land and cut your throat any night; or indeed, as you are already living in an age of cancer, an age of syphilis, an age of paralysis, an age of air raids, an age of railway accidents, an age of motor accidents.' In other words, do not let us begin by exaggerating the novelty of our situation. Believe me, dear sir or madam, you and all whom you love were already sentenced to death before the atomic bomb was invented: and quite a high percentage of us were going to die in unpleasant ways."

As he says somewhere else (in THE SCREWTAPE LETTERS, maybe), the human death rate is 100 percent and cannot be increased or decreased. The bottom line is NOT that, knowing the inevitability of death, we should make ourselves miserable by brooding over our ultimate fate. It's one thing to take sensible precautions, quite another to live in fear. Just the opposite—we should live life abundantly. Lewis again:

"If we are all going to be destroyed by an atomic bomb, let that bomb when it comes find us doing sensible and human things—praying, working, teaching, reading, listening to music, bathing the children, playing tennis, chatting to our friends over a pint and a game of darts—not huddled together like frightened sheep and thinking about bombs. They may break our bodies (a microbe can do that) but they need not dominate our minds."

Steven Pinker's two most recent books, THE BETTER ANGELS OF OUR NATURE and ENLIGHTENMENT NOW, offer an antidote to the mistaken belief that we live in a uniquely, horribly violent age. Although Pinker and Lewis hold radically different world-views (Pinker is a secular humanist), both counsel against despair. Pinker demonstrates in exhaustive, rigorous detail that in most ways this is the best era in history in which to live—and not only in first-world countries. The instantaneous, global promulgation of news makes shocking, violent events loom larger in our minds than they would have for past generations. (But what's the alternative—to leave the public uninformed?)

We can deplore evils and work for solutions without losing our perspective.

Margaret L. Carter

Carter's Crypt

Depiction Part 37 - Depicting Dreams: Male Or Female by Jacqueline Lichtenberg

Depiction

Part 37

Depicting Dreams: Male Or Female

by

Jacqueline Lichtenberg 

Previous parts in the Depicting series are indexed here:
https://aliendjinnromances.blogspot.com/2015/04/index-to-depiction-series-by-jacqueline.html

Research into Dreams - beyond superstitious interpretation and into scientific observation of brain activity during sleep - continues to find new things. 

Dreams are not only an eternal fascination to people in general, but a powerful story-telling technique to add insight into the psychological pressures driving a Character's behavior.

The focus on the importance of Dreams is engraved on the Priestly Blessing that Aharon the High Priest and his sons were Commanded to pronounce over the Jewish People  in the desert.  It is still practiced today, with no reason to believe it has changed (much) over millennia.

Here is a video of how it is done:

https://www.youtube.com/watch?v=wExzxe2XtUc

During the last 3 words sung by the Cohen, the congregation prays (aloud while the Cohen sings a wordless melody) to have their dreams changed from good to better or from what we call nightmares or just bad dreams to "good.  The prayer references the way G-d changed the curse that Balaam was commissioned to pronounce upon the Jewish people to a series of huge Blessings.  So we pray to have our nightmares be transformed to Blessings.

https://www.chabad.org/library/article_cdo/aid/3715894/jewish/Balaam-and-Balak-The-Full-Story.htm

-------quote-------
The Torah records how, after being thoroughly humiliated by his talking donkey, Balaam, the non-Jewish sorcerer and prophet commissioned by Balak King of Moab to curse the Jews, found himself incapable of cursing them. Instead, he bestowed on the Jews four tremendous blessings, some of which we even recite in our prayers today, and the last which foretells the Messianic redemption.

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

Tracing how a nightmare or bad dream a Character remembers can be turned, step by decisive plot step, into a Blessing, can allow the writer to depict the nature of Dreams, and thus explicate a vast bundle of Themes which can support a long, complex series of novels.

The nature of Dreams in your World will clearly Depict your Theme - so you never have to state it except in that one, single, clear statement near the opening.

For writers of Romance Novels doing Science Fiction Romance, we now have a deep and rich source of real, concrete science to incorporate into the emotional and often mystical plot element of the Dream.

Here is an article describing a book, titled Superhuman, which you can use as a source of science on Dreams.

Science Is Getting Closer to Understanding What Goes on Inside The Mind When We Dream
Here's why dreams matter.
ROWAN HOOPER, THE WASHINGTON POST
8 APR 2018
2018 © The Washington Post

------quote-------
What you dream about and the emotional tone of the dream probably reflects what your brain considers important.

Research shows that if you play Tetris all day long, your brain will decide that Tetris is what you need to dream about. If you are anxious about something, your brain may well give you a dream with anxiety as the dominant emotion.

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

They needed research to figure that out?  If I drive all day, I dream of white lines whizzing by.  If I write scenes all day, I dream the next scene at night.  In text flowing by.

Earlier in the same article:

------quote-----
There's a good reason dreams are so skittish and peculiar. Memories of life events – "episodic memories" – are stored in a part of the brain called the hippocampus, and in rapid eye movement (REM), sleep signals coming out of the hippocampus are shut off.

That means we can't access specific memories of things that happened in the past while we dream.

But we can still access general memories about people and places, which form the backbone of our dreams.

At the same time, activity in brain regions involved in emotional processes are cranked up, forming an overly emotional narrative that stitches these memories together.

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

The significant parts of this picture of the brain shifting functional areas (also turning off critical thinking during dreaming) is simply that when you are plotting and crafting scenes with conflict and action, there is no room in your narrative for extensive exploration of Characters' emotions-- especially not conscious "thinking about emotions" in the heads of male Characters.

In general, people don't know why they feel what they feel, so when reading about Characters the reader doesn't want to know (consciously, explicitly, in narrative) why the Characters feel what they feel.  The reader just wants to FEEL what the Characters feel the way they would if they were the Character.

So including 1 visually rich, emotionally explicit dream in your narrative can help the reader understand in their guts rather than in words what the Characters feel and why, what is important to the Character and why.  All in a few, short, vivid images, you can bring your readers into the story.

When using dual point of view, male and female, (each might dream), it is useful to keep in mind that modern research is revealing that the Dreams of men are different from the Dreams of women (who knew???).  The results of very expensive research that verifies this difference are yours for reading a bit of non-fiction.

Again from the same article:

-----quote-----
A couple years ago, Christina Wong and colleagues at the University of Ottawa, wrote a computer program to differentiate between the dreams of men and women.

The program correctly predicted the gender of the dreamer about 75 percent of the time. This suggests there may be gender differences in dreaming – but for now it's too soon to say why.
-----end quote----

And of course this suggests that research into trans folks finding their dreams shifting as they change could be worth while.

Here's the book that prompted this article:
https://www.amazon.com/Superhuman-Life-Extremes-Our-Capacity/dp/1501168711/
Hooper is managing editor at New Scientist, from which this is excerpted. His book "Superhuman: Life at the extremes of mental and physical ability" will be published in May, 2018.

So if you want to tell a story of Soul Mates finding each other from opposite ends of the Universe, and include science along with mysticism (e.g. Paranormal Romance), using Quantum Entanglement and Dream Research could create a hard-science Plot for your novel.

Science Fiction Romance is a hard label to earn.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

On Cheating: To Win Or Not To Win... That Is The Question.

According to science, "Some winners really are losers,"  Carol Pinchefsky concludes for GEEK & SUNDRY, discussing scientific findings on why persons who identify themselves as winners will cheat, especially in competitive situations.
https://geekandsundry.com/science-explains-why-people-cheat-at-games/

In other words, if they are a winner in their own mind, they feel entitled to win, and will cheat to preserve their winning status. Philosophically, those guys are probably Consequentialists. (The good ends justify the means.)

On the other hand, goal-focused guys tend to play fair. They are more interested in doing their personal best, rather than feeling that they deserve to score better than someone else.

There's an interesting --albeit archived, so you cannot join in-- thread on Reddit about why people bother to cheat at video games.
https://www.reddit.com/r/Games/comments/7l3bdx/throwaway_time_people_who_cheat_in_video_games/

For someone needing inspiration for character building or motivation of an endearing cheat, this author found it to be a fascinating resource.

I've written of a hero who cheats. At chess. Just as some persons of influence and power use a game of golf to get the measure of a potential ally or employee, one of my heroes used a board game for interrogation and character assessment.

One of the reddit gamers mentioned the delight of annoying other people (by cheating to win). Another Machiavellian player in battle-games asked himself,  "How many enemies do I have to kill so I don't get caught by the cheating filter?"

For him, the thrill of the game appears to be in finding out how few enemies he could kill before he was ejected from the game by the algorithms for not fighting.

However, aside from the ethical and self-esteem and character aspects of cheating, there can be legal repercussions.  Using "cheats" can be copyright infringement or even a crime.

United Kingdom legal blogger Alistair Symes for Taylor Wessing explains how cheating is becoming "a revenue issue" for games developers and publishers.
https://www.lexology.com/library/detail.aspx?g=e8271099-771c-4854-946e-41f7bf37671b

As Alistair Symes explains, the game developers own the copyright to their games. Anyone who copies the game or modifies it (by adding "cheat codes") or publishes their adaptation to the public... is infringing the developers' copyrights. "Cheat" makers who sell or rent out infringing copies of software code are also committing a criminal offense in the UK.

In the USA, a teenager's mother tried to assert  an "infancy" defense for him after he had allegedly posted videos on YouTube (allegedly since removed) in which he allegedly promoted and distributed cheat codes to an online game. The copyright owner is not backing down from pursing legal remedies against the alleged copyright infringer and repeated violator of their TOS.

Jason Gordon and Virginia Pavlik, blogging for the USA Law firm Reed Smith LLP detail the case, and suggest that game creators ought to require age disclosure and parental permission slips before young persons may create online player accounts.

https://www.lexology.com/library/detail.aspx?g=8f37d499-8056-4ce2-93eb-6b655dbb69e9&utm_source=lexology+daily+newsfeed&utm_medium=html+email+-+body+-+general+section&utm_campaign=lexology+subscriber+daily+feed&utm_content=lexology+daily+newsfeed+2018-06-28&utm_term= 

If a teenager is disposed to cheat, and to breach contracts, and flout Terms Of Service, will he not also be disposed to lie about his age?

Happy Fourth!

Rowena Cherry

Superpower Pros and Cons

A new Marvel superhero TV series recently premiered, CLOAK AND DAGGER. Tandy ("dagger") can materialize a knife out of light. Tyrone ("cloak"), associated with shadow and darkness, can teleport. So far, the powers of both protagonists pop up spontaneously, with little or no control. Also, each can read minds, sort of, in a limited sense. With skin contact, Tandy sees visions of people's hopes; Tyrone sees people's fears. My initial thought upon watching the first few episodes (although I do like the series so far) was that these aren't terribly impressive superpowers. Teleportation does have versatile possibilities—once he learns how to control it instead of leaping from place to place at random when confronted with danger. Materializing light daggers, however, seems of limited benefit unless the character gets into a lot of knife fights or aspires to become an assassin. Moreover, her magical knives wouldn't do her much good in combat without training and practice in using them. The latest episode demonstrates, though, that the conjured blade can cut through anything, a potentially versatile feature. She would be even better off if she would develop an ability to create other kinds of objects, too. As for the empathic visions, because they transmit images of people's hopes and fears, they can't be counted on to convey factual information. It's an appealing facet of the story, actually, that discovering their paranormal gifts doesn't automatically and immediately make the heroes invincible.

As I see it, many superpowers that seem cool at first glance wouldn't, by themselves, turn their bearers into superheroes. There was a TV series I never watched (so I may be misjudging it) whose protagonist couldn't feel pain. I got the impression that this trait was presented as a gift. No, it would be a handicap. In real life, people with defective pain perception live in constant danger of getting badly injured. Immortals in the "Highlander" series come back to life within minutes of getting killed unless they're decapitated. Living for centuries has its appeal, and if you work in a dangerous occupation or devote yourself to rescuing victims and protecting the innocent, immunity to most modes of death would confer a definite advantage. The gift has downsides, though. Like vampires, Highlander immortals are frozen at the age they'd reached at the time of their first death, so there are a few children and adolescents stuck with centuries of life in which they never grow up. Immortals aren't necessarily any more intelligent or ethical than ordinary mortals; whether they learn anything over the course of their extended lives depends on their individual characters. And even though they heal fast and can survive horrible injuries, getting killed still hurts. Furthermore, an immortal trapped at the bottom of the ocean or locked in a dungeon with no drinking water will die and revive over and over indefinitely.

Flying would be impressive but wouldn't make a hero invincible by itself. He or she could get to the scene of a crisis in a hurry, especially if the power included being able to fly faster than normal human running speed. But once the flying hero got to the site of the trouble, if he or she didn't have any other paranormal gifts, the success of the ensuing fight or rescue would come down to ordinary human strengths. Super-strength alone would seem pretty useful, once the hero learned to use it efficiently, but if that were his only power, he could be wounded or killed like anybody else. Flying and super-strength together would make a better combination, yet the hero could still get hurt—unless he or she were also invulnerable. Now you're approaching the qualities of a multi-gifted superhuman such as Superman himself. Spider-Man, with his leaping, climbing, and web-spinning, also has the capacity to travel quickly to otherwise inaccessible places; however, his ability to trap villains in webs probably needed to be honed through practice.

What about invisibility? An invisible character can sneak into places, explore without getting caught, and (if so inclined) steal small objects. Unless his or her powers include walking through walls and closed doors, though, the invisible man or woman still needs to access enclosed areas in the normal, physical way. Furthermore, invisibility in the strictest sense has obvious drawbacks. Do your clothes disappear with you? If not, you have to endure the discomforts of nudity. In H. G. Wells's classic novel, anything eaten by the invisible man remains visible until digested, so the time periods during which he can be truly unseen are limited. More effective might be a gift for clouding the minds of observers, like the Shadow; in that case, cameras would still reveal the hero's presence.

The most versatile type of superpower might be a multifaceted psychic talent such as the ability to read and control people's minds (provided you could shield against the thoughts and emotions of others at will). There we get into some deeper ethical problems, though.

Margaret L. Carter

Carter's Crypt

Believing in the Happily Ever After Part 9, Why Strive to Fulfill Your Destiny by Jacqueline Lichtenberg

Believing in the Happily Ever After

Part 9

Why Strive to Fulfill Your Destiny?

by

Jacqueline Lichtenberg

Index to the Happily Ever After series is:

https://aliendjinnromances.blogspot.com/2016/11/index-to-believing-in-happily-ever-after.html

"Youth is wasted on the young." 

That is one of the oldest (maybe wisest) adages you will hear, and a cautionary tale in one succinct line.  Most Romance novels, science fiction romance, paranormal romance, are about young people.

Romance is, obviously, the dominant feature of life when you are young -- looking for it, wishing for it, wanting it, seeing others attain it, yearning to have your life-path changed by an encounter with a true Soul Mate.

Youth, especially the teen years, is peppered with giant miseries.  Or they seem giant at the time -- rather smaller in retrospect.  Still, such teen-angst is very real,  very potent, and very life-determining. 

How an individual responds to an angst or misery, a situation of being tormented, bullied, oppressed, or outright abused, of being trapped, forced, and desperate, seems to determine where that person's life will go -- the "destiny" of that individual.

Is "destiny" something you choose by choosing your response to your teen-challenges?

Or is destiny something you are born to -- as the Ancient Greeks depicted -- a decree of "the gods" which, if defied will result in something even worse?

In other words, whether a Character views their Situation (miseries and all) as a springboard into a (very real, tangible, and actual) Happily Ever After lifetime, may depend on their religion, creed, culture, or cussedly defiant Nature.

Is "Destiny" -- a Happily Ever After life is one possible Destiny -- something you can attain only by fighting, battling, risking life-or-death, desperately striving for?  Or is "Destiny" something that just happens, and can't be avoided (as the Greeks believed).

What exactly is Destiny? 

If it is something you will reach, and have no choice about, then why strive? 

If it is something you might attain, if you work hard enough for it, then it is a choice.

In either case, Youth is the inflection point -- somewhere between maybe 15 years old and possibly 29, critical choices are made.

For example, choose to go to college when you are 15, then hurl yourself wholly into academics and win a scholarship, devote every waking moment to studying (not going on Dates), and make it through a Ph.D. -- but in what discipline?

Another choice, then, would be a choice of career, or career direction, and once made, these early, (youthful) choices are very hard to set aside.

Many people, in later years, regret mightily their choices in their teens.

Is the choice, made in ignorance, by the teenaged self actually the real Destiny of that Soul?  Or is the actual Destiny chosen in later life -- say 35-45 years of age (the second marriage is the typical Romance novel motif).

This idea is rooted in the concept of Destiny as something that is the consequence of choices made in innocence, ignorance, and Youth.

Suppose in your Paranormal Romance universe, Destiny is set by Birth, written in the genes, or perhaps the Social Status of the Parents?

Once set, once carved into the developing person before the age of 7 years, can it be changed?  Should it?  What is the price of choosing a different Destiny than is expected of you?

Why should you strive to fulfill the expectations of "others" (parents, siblings, teachers, Authority, Society)?  Don't you have anything more important to do? 

The answer to that question -- "why should you" -- is a theme.

http://aliendjinnromances.blogspot.com/2018/02/index-to-theme-symbolism-integration.html

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

We've discussed THEME in almost every post -- it is the origin of the opening scene, the Middle Pivot Point, and the final Climax as well as the last word. 

Theme is this novel's statement about the nature of the reality the Characters must navigate to get to their Happily Ever After situation -- and what makes those Characters Happy is not necessarily obvious to the reader without a very clear ILLUSTRATION of the theme by the writer's use of symbolism.

Theme is energy of Culture - and it resides in the non-verbal part of the mind, or perhaps pre-verbal.  Theme is what you know about the world that you have no idea you ever learned.  But you did.  You learned your Reality before you were able to form words.  That is why few writers begin shaping a story by stating the theme to themselves.

Theme is often something you discover while working through a final polish draft -- and suddenly realizing you need a major rewrite to communicate that Theme to the readers. 

If the readers understand the Theme, the Characters will never seem "one-dimensional" or "cardboard" or "out of character to do that stupid thing." 

The Character's motivations will be excruciatingly clear to most all there readers to can grasp the Theme -- the single-pointed center of the Character's "reality."  The Origin Story of their reality.

So the Origin Story is very important to followers of the exploits of the Superhero.

Two TV Series Superhero properties based on Comics illustrate this point.

ARROW - based on DC Comics superhero Green Arrow, about a scion of a wealthy family Oliver Queen, thought drowned in a shipwreck who survived on an Island learning Martial Arts. 

https://en.wikipedia.org/wiki/Arrow_(TV_series)

IRON FIST - about a scion of a wealthy family thought killed in a plane crash who survived by being rescued by Monks from "another dimension" (where he learned to control chi and make his fist glow with Power). 

IRON FIST is a Marvel property, done as a Netflix Original,

https://www.netflix.com/title/80002612
Marvel's Iron Fist: A Netflix Original
2017 TV-MA 1 Season
Danny Rand resurfaces 15 years after being presumed dead. Now, with the power of the Iron Fist, he seeks to reclaim his past and fulfill his destiny.



Do an in-depth contrast-compare study of the first seasons of these two series.

Both these are typical Superhero Characters -- somehow striving to fulfill a Destiny.   Broken from their "past" (like Superman was sent to Earth in a capsule as a baby). 

They appeal to the youth in us all with the dream of a better life earned by striving.

In the best of these mythical universes, one gets a better life by making the world a better place (fighting crime, evil, whatever invading forces want to ruin good things).

The dream of striving to fulfill a Destiny is mostly a thing of Youth, and with decades of life behind (think Gandalf) most humans realize they never will "make it."

But some (like Gandalf) get another chance before age robs them of abilities.

So to convince your Readers that the Happily Ever After ending is realistic, craft a thematic answer to the question about the nature of reality in your Characters' Universe -- "What exactly is Destiny, where does it come from, does everyone have it, does anyone need it, or even want it, and is Destiny worth striving for because it is Destiny or because it is the HEA condition we all yearn for?"

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com