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YouTube Video [July 09, 2009 @ 10:08pm]

jpsorrow
Aha! The conquest continues with a new--and longer!--video! This is the seven authors of doom . . . oh wait, that should be SEVEN AUTHORS OF DOOM!!!! . . . having fun at the signing last June. Really, getting us together is a disaster in the making. But one that you'll enjoy while you die.

Check it out here!
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Contest Winner and Apologies [July 09, 2009 @ 2:51pm]

kateelliott
I'm quite quite late with the Advance Uncorrected Proof (hereafter known as AUP) of Traitors' Gate contest due to moving house and having visitors at the same time. My apologies. Basically, everything online or that was not moving and visitors (or paddling) was derailed for several weeks.

So.

This contest was exceptionally difficult as I loved ALL the entries and found them very very interesting, heartfelt, and illuminating in the sense that it was fascinating to me to see what appealed to different people about different characters.

With the trenchant aid of two of my spawn, I settled on four finalists:

Yileen L
Carol B
Josh S
Christopher Z

The third spawn drew lots from a cup, and the winner is: Christopher Z.

I will try to send out thank you notes to all who participated before the next set of visitors arrives next week. I really appreciated those of you who wrote in; as a writer, I can often wonder what effect my narratives have on readers, and so through your answers I got a glimpse. But because I appreciated every entry so much, I found it agonizing to have to choose between them, honestly. It was like someone asking which one is my favorite child! (well, not quite, but I'm exaggerating for effect)

As an aside, I was alerted that two copies of the AUP of Traitors' Gate are up on eBay. Now, the AUP specifically is not for resale (or any sale). It's a publicity tool. I don't know if my publisher will request the AUPs get taken down, but what burns me in the case of Advance Proofs is that I requested more AUPs but the publisher had already run out. So I could have used those for more contests, or in the case of ties (see above), or for actual reviewers, etc, while meanwhile some schmoe is trying to make a profit over something they got for free and doubtless was not interested in. Feh.
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Marketing Fail [July 09, 2009 @ 8:46am]

cranky_editors

[garyomaha]
Ad from a local cable company:

Q: I really like the new FREE TV Caller ID feature that's available to [company] residential customers who have [company] Digital Cable and [company] Telephone with Caller ID. Where can I learn more about TV Caller ID and how to set it up?

A: You're in luck! There is an easy to use online tutorial for TV Caller ID available on the [company] website. Just CLICK HERE to check it out!


Um, yeah, that couldn't possibly be a planted question. People always talk like that. Furthermore, if you "really like it" then what's there to set up?
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CONTEST!!! and WORLDCON!!!! [July 09, 2009 @ 9:09am]

jpsorrow
First up, Julie E. Czerneda--who has a new book out this month, Rift in the Sky--is offering up a copy of the book as a prize over at the [info]dawbooks community. In addition to entering her contest by commenting with what you think the answers are, any comment automatically enters you into the running for the montly free DAW paperback for July! So two contest entries in one over there. But you have to enter at that post to be qualified.

In addition, and to my utter shock, I've been put on programming at Worldcon. I figured I'd registered a little too late to be included in the planning process. Here's my tentative schedule for the con so far. I need to discuss this with my partner to see if we'll be there for all of the days and whatnot, but if there are any changes made to this, I'll announce them when it's a little closer to the con. But here you guys go. They seem to have really thought about what panels I'd be good for, based on what I write. I'm impressed.

Friday, August 7th:

2pm: Author Reading: Leah Bobet, Elaine Isaak, Guy Gavriel Kay, and Joshua Palmatier will do readings for this hour and a half event held in P-512AE. (English)

3:30pm: Preparing to Write a Series: M.D. Benoit, Laura Anne Gilman, Joe Haldeman, Mindy Klasky, Joshua Palmatier, and Fiona Patton discuss the following in a one hour event held in P-522B: How does a writer plan to write a series? Or is it unplanned until you sign the contract? Writers discuss how they set up and wrote novels that are part of a "series." (English)

Saturday, August 8th:

11am: Writing Workshop U: M.D. Benoit and Joshua Palmatier will run a critique session for previously submitted manuscripts at this two hour event held in D-Vitre. (English)

Sunday, August 9th:

11am: Writing in a Culture Not Your Own: Emma Hawkes and emma_in_oz, David D. Levine, Joshua Palmatier, David Sklar, and Kaaron Warren comment on the following for this one hour event held in P-522B: How does a writer get into the head of a character from a different culture, race, planet, gender? How can writers include diversity in their writing without using stereotypes? Or should they not try at all? (English)

1:30: Signing: For 30 minutes, Joshua Palmatier will be nailed down at a table and will sign copies of his books, or whatever else you have for him to sign. But never fear, if you miss him at the official signing, you can catch him at the succeeding Kaffeklatsch, where he'll also be willing to sign whatever you've got. I'm not sure where the signings are going to be held. It only says "other" in my information. It also says I'll be signing for twelve hours and thirty minutes, but I'm assuming that's a typo. (English)

2pm: Kaffeeklatsch: Come drink coffee, hot chocolate, or even a White Russion with Joshua Palmatier for this day long *ahem* I mean one hour event held in P-521B. Ask anything you want, all those burning questions. You may even get a coherent answer. (English, or an approximation thereof)

4:30pm: Writing Gender Issues: Jason Bourget, Jane Carnall, Lila Garrott-Wejksnora, Anne Harris, Nancy Johnston, John Kessel, and Joshua Palmatier answer the following questions for this one hour event held in P-513B: How do writers approach gender and gender issues? What’s taboo? Can women write men and men write women without making a mess of it? How do you write a story that explores gender issues without hitting the reader over the head? (English)

***************

So that's my schedule according to them. And OMG, I've got a reading with Guy Gavriel Kay! *pause while I hyperventilate* Someone might actually be there! So who else is going to Worldcon?
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Sub-subminimal [July 09, 2009 @ 2:03am]
slacktivist

Every job comes with a set of minimum standards. An entry-level volunteer firefighter, for example, must meet a basic standard of physical fitness as well as be able to demonstrate a basic capacity for learning the craft of firefighting and a basic commitment to keeping the community safe.

Every once in a while, though, someone slips through the screening process and reminds us that every job also comes with a set of sub-minimal requirements. A volunteer firefighter, for example, shouldn't also be an arsonist on the side.

00000ONUG We tend to think of such subminimal requirements as things that go without saying, and thus we rarely state them explicitly. The recruiting materials for volunteer fire companies will mention the minimal requirements of time and physical capability, but they won't usually spell out the subminimal requirements. They won't say, in large block letters at the top of the page: "Firebugs need not apply."

Perhaps they should. Because again every once in a while some person comes along who meets the minimum requirements but turns out not to meet the subminimal ones and we are forced to rethink what we have previously allowed to go without saying. We start to think that maybe we should have stated explicitly that candidates shouldn't expect to spend all day in their cubicles surfing cyberporn, or that they will be expected to refrain from embezzling, or not to fabricate articles or plagiarize.

Or not to set fire to the fire station itself.

But of course we could never keep up. Subminimal requirements, it turns out, not only go unspoken but unimagined. It simply wouldn't be possible to list all of them, or even for most of us to conceive of what they might be until we actually witness some sub-subminimal employee who demonstrates for us some new and startling way to delve beneath simple incompetence into the astonishing realm of the sub-subminimal.

The firebug firefighter may be one exception -- an example of a subminimal standard that does need to be stated explicitly. Arsonists -- the sort who set fires for thrills, not for insurance fraud -- tend to seek work with fire departments and volunteer companies. Most squads, therefore, have learned to carefully screen against this, incorporating this one particular subminimal standard into their hiring process.

The closest parallel to the fire departments' problem is an equally common affliction bedeviling school boards and state boards of education. As with fire companies, the vast majority of candidates for these positions are responsible people committed to public service, the common good and quality education. But just like the fire departments, school boards seem to attract a significant unhinged minority of firebugs -- people who just want to destroy public education and laugh while it burns.

The latest of these is Cynthia Dunbar of Texas, whom I learned about thanks to an e-mail from Matt D.

Gov. Rick Perry is reportedly considering appointing the chair of that state's school board. Dunbar wants to destroy public schools, which she regards as "tyrannical" and a "tool of perversion."

Let me repeat that: Gov. Rick Perry of Texas wants to put in charge of his state's public schools a woman who wants to destroy those schools.

Perry doesn't just want to hire the giggling firebug, he wants to make her the fire chief. This makes Gov. Perry the second craziest person in this story.

The craziest, of course, is Cynthia Dunbar who is -- even by Texas Republican standards -- barking mad.

In a book published last year, Dunbar argued the country’s founding fathers created “an emphatically Christian government” and that government should be guided by a “biblical litmus test.” She endorses a belief system that requires “any person desiring to govern have a sincere knowledge and appreciation for the Word of God in order to rightly govern.”

Dunbar -- who is, astonishingly, an attorney -- takes as her first principle of government an illegal and flagrantly unconstitutional religious test. "Unconstitutional" isn't strong enough a description of Dunbar's views on this point, actually, she's anti-constitutional. Her idea of "an emphatically Christian government" ruled by a "biblical litmus test" douses the Constitution in kerosene and sets it ablaze, then pisses on its ashes.

If Dunbar is really an attorney, then the views in her book make a good case for her being disbarred. Maybe even deported.

It doesn't help that Dunbar is also a staggeringly unoriginal whackjob. Her book is titled, One Nation Under God.

That's the same title as dozens of previously published theocratic "next to of course god america i love you land of the pilgrims' and so forth" books. This hackneyed title comes, of course, from the Pledge of Allegiance -- an incantation from which Gov. Rick Perry of Texas has been working hard of late to remove the word "indivisible."

Also in the book, she calls public education a “subtly deceptive tool of perversion.”

The establishment of public schools is unconstitutional and even “tyrannical,” she wrote, because it threatens the authority of families, granted by God through Scripture, to direct the instruction of their children.

Dunbar home-schooled her own children.

The Houston Chronicle's Lisa Falkenberg provides some additional background on Cynthia Dunbar:

If the chatter from some board members proves correct, and Gov. Rick Perry is indeed considering appointing member Cynthia Dunbar as the board’s new leader, we may find ourselves reminiscing fondly about the good ol’ days when Chairman McLeroy simply disregarded experts, sidelined teachers and insisted on inserting his religious beliefs into public policy-making.

Dunbar’s shortcomings go far beyond ideology and poor leadership skills to beliefs promoting paranoia and bigotry.

This is the same Richmond Republican who penned an online essay shortly before the presidential election warning Barack Obama was plotting with terrorists to attack Americans. She refused to retract her claim, even under pressure from Republicans.

There are 4.7 million children in Texas' public schools. There are children in those buildings that Gov. Perry is willing to watch Cynthia Dunbar set on fire. Somewhere there's a line between simple incompetence and outright, deliberate, predatory evil. Dunbar and Perry have crossed it.

Some subminimal standards are worth stating explicitly. Fire companies mustn't hire firebugs. School boards mustn't hire insane home-schooling zealots who want to destroy public schools. Cynthia Dunbar is sub-subminimal.


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They can be taught! [July 08, 2009 @ 8:23pm]

cranky_editors

[barbarienne]

This is totally not cranky, but definitely appropriate for this community.

I'm currently working a freelance job, keying in corrections from a pencil-edited manuscript. The copy editor was also asked to line edit, and did a brilliant job of it. The author is a doctor, so he's literate but not a writer.

The line edits fall into two broad categories: turning passive sentences active; and tightening up flabby prose, usually by deleting words, e.g. "all of" becomes "all," equivocations and melodrama are excised, superfluous "that"s are removed.

Surprise #1 is that the author didn't object to this anywhere. I've seen many authors get in a snit over exactly this sort of editing, not recognizing how much stronger it makes the text.

Surprise #2 is that in the insert pages (neatly typed and clearly marked), the author's prose is...tight and active! He obviously internalized what he was seeing in the line edits, and applied it to his new text. I can even see how he improved as he went along: the insertions at the front of the book are still a trifle wordy, but by chapter seven, he's writing very well.

My faith in humanity is restored.
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Fundraiser: Virginia Avenue Project [July 08, 2009 @ 5:22pm]

sartorias
This superlative program has pairing up inner city kids with volunteers from the entertainment community since 1992. [info]rachelmanija has been donating time to them for over ten years, and has seen kids from the project make it to college and excellent careers. It's a great program, but the funding has been cut due to, well, you know.

So they are running an auction--really easy to bid on things, and to donate things. If you have some spare change, or some nifties you don't mind donating, this is such a good cause.
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YA Summer Reading [July 08, 2009 @ 12:54pm]

sartorias
I've seem some complaining here and there that urban fantasy is dead as a subgenre--nothing new--same boring vampire angsty boys and even more angsty fae all grim and Gothy. It could be that adults are seeing some retreads in tropes and ideas that appeared in the eighties . . . and those of us who are oldies and moldies have seen patterns reaching far back, though each iteration takes on distinctive characteristics.

This year there are a bunch of new authors on the scene, revisiting much-loved tropes with twists that I really enjoyed reading--and know I would have enjoyed as a kid. Some of these are getting more hype than others--but I liked them all.

Faery Rebels: Spell Hunter, by R.J. Anderson, was called Knife for its release overseas. Somebody over here decided to change the title, which is an okay title, but the problem is, there's really only one rebel: young Bryony, who lives with a severely diminished community of faeries, all females, most of them a tad dotty, in an ancient oak, next to a human house. Bryony gets assigned by Queen Amaryllis to a job as the community's Hunter, which prompts her to gain a knife, which gives her a new name. Knife is a hard working hunter, taking risks the older faeries deplore, but she is intensely curious about the humans across the way, especially when one, a boy she briefly met, arrives home in a throne. She's also intensely curious about why the faeries in the oak are dwindling: what she's told doesn't add up.

Anderson's Knife is strong, determined, loyal, curious, smart. I loved this character. She's not only a typical young teen (though a faery) there is a reason she's a loose carom around the oak. The faeries' community, how their magic works, what happened to the community, adds up to make a nifty mystery as Knife geets to know Paul, the boy in the throne. Anderson is aware of faery cliche; when you think you know what has to come next, the story flits away. The pacing is fast, and I so appreciated the deft snap of humor between sensitively handled emotional realities. I hope that there are going to be more stories about these faeries.

I'd say this is a accessible to any kid twelve and up; there is romance, but at a level that I believe tweeners would delight in.

Eyes Like Stars is the first (Act One) of a series called Theatre Illuminata, which is another about faeries, but in it author Lisa Mantchev proves that any idea can be made fresh and beguiling.

Blue-haired Bertie (for Beatrice Shakespeare Smith) cannot resist pranks, even though she knows that the Managers of the Theatre where she has grown up are getting fed up. Here's a bit of dialogue between Bertie and one of her four faerie pals:

There was a very long silence before Bertie told her reflection, "The only reason I'm friends with any of you is because I outgrew the von Trapps, one annoying Austrian at a time."

"You could have joined the Lost Boys," Moth said.

"They did nothing but whiz on trees, and I'm not properly equipped for that."


Kids who've watched movies as well as plays will get most of the references. The Shakespearean riffs should be intriguing to kids who don't know the works of the bard. Bertie has her faery posse to deal with, the annoyed Management . . . and a dangerously attractive elemental, Ariel. He's devastatingly handsome, and doesn't care about the rules. What he seems to care about is tempting Bertie and mocking her ambivalence.

Mantchev creates vivid characters, writes with wit, and weaves in so much good stuff about Shakespeare, and theater life, lore, and plays--plus the magic of attraction--that any teen who loves acting and faeries is bound to make this book, and this series, a favorite. Mantchev ends this one with an expert balance between resolution and a whole set of new adventures and questions beckoning. I think any kid over sixth grade could enjoy it, but the more the reader knows about the theater, the more fun the book will be. I suspect the idea age is fourteen and up.

Demon's Lexicon, by Sarah Rees Brennan, has received a ton of hype, so I probably don't need to go into detail here. The world is very, very dark--which so many young readers like. Demons are erupting out of another dimension, and magic appears to be solely related to controlling and killing them. There is a lot of violence in this book, including expressed by the viewpoint character, Nick, whose brother Alan is in charge of their small family, as their mother is out of her mind, and they are objects of a hunt. They stumble on a pair of other teens, one with a demon mark, and the other determined to save her brother at any cost. Nick is dyslexic, big, strong, angry, and puzzled. Its his puzzlement about how the world works, especially for someone learning disabled, that makes the book riveting--his honesty imbues a tale that could so easily have become yet another iteration of the Byronic Bad Boy, lending poignance to his relationship with Alan the peace-maker as their lives slowly disintegrate, building to a stunning climax.

For reading age, I'd say 13 and up, but if your kid is a smart reader and likes the brush with dark things, well, read it first. I am looking forward to seeing where this series goes.

Dull Boy by Sarah Cross is about superheroes, another subgenre that some cry against. But I thoroughly enjoyed the voice of Avery, a teenage boy who has discovered he has super powers. He figures he's got to hide them as he does not want to end up dissected in some government lab. But that's harder than he thought, especially when he stumbles on some other kids who seem to have difficulty projecting total normalcy . . and then he meets a gorgeous woman called Cherchette, who offers him training if he'll just leave home and come with her.

I bumped once or twice over sudden shifts or blind spots in motivation, but they were very minor bumps. I loved Avery's voice, his character, and the rest of his gang. Their emotional dilemmas rang true, and the adventures were vivid--cinematic, actually. I think this one would make a great movie.

Anyway, definitely sixth grade and up.
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Monkeys recognise 'bad grammar' [July 08, 2009 @ 10:08am]

cranky_editors

[jaylake]
BBC: Monkeys recognise 'bad grammar'

Sometimes the jokes just write themselves...
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Revisions: The Onset of Doubt [July 08, 2009 @ 8:07am]

jpsorrow
Revisions, revisions, revisions. I've made it through Part I of the book (called "Colin" for those who are interested in teases), which gets me to page 275 out of 650 approximately.

And the doubt has set in.

This is something that always happens during the revision process, at least for me. At some point, I start questioning what I'm doing. In particular, I start questioning whether I'm doing enough. I mean, I'm trying to make changes that someone else has suggested, and some of those suggestions aren't necessarily changes that I feel are absolutely necessary. I don't disagree with them, but . . . What this does though is make me doubt what I've done. Am I adding enough of the worldbuilding that my editor wants? Obviously, I didn't feel it was crucial to the story or it would be in there already, but my editor feels differently. So I add a little bit there, a sentence here, a touch of world color there . . . and now I'm far enough into the book to begin to wonder if perhaps I should have done a little more. Maybe I should go back to this scene and put in some more, or that scene, or the scene over there.

I hate the doubt. Because I want the book to be the best that it can be, but I don't want it to contain gobs and gobs of fluff. I've seen and read quite a few books out there where I think there's a lot of fluff (bloat is what I call it, really) and I don't want my books to have that. Ever.

But I also know that one of the criticisms of my previous books, in particular The Vacant Throne, was that readers wanted to know more about the cities, more about the world.

So, at this natural stopping point in the book, I'm sitting back and asking myself what more I can add and where, and if at some point I'm going to go overboard and bring in the bloat.

And also, I need to make significant changes in the first chapter of Part II (called "Shavaeran") so perhaps *cough cough* I'm procrastinating just a bit.
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Railroading in Fiction [July 08, 2009 @ 1:35am]

greyorm

"Railroading" in gamer culture involves a gamemaster forcing their players along a pre-set plotline through or towards a specific situation. But I've seen its analogue in fiction, too.

But how can you "railroad" when writing fiction, since railroading involves causing another to believe their fictional construct has an effect on a situation and its outcome via choice, when it has no effect and choice is meaningless?

By forcing characters in your plot to adhere to the plot as you've imagined it, rather than the plot as it would unfold around the characters, their skills, abilities, and natures.

An example, from a gaming context: I played in a LARP one year at GenCon where the story revolved around a haunting in an abandoned theater and the emergence of a great evil. Some of the characters had powers of teleportation and flight.

Instead of incorporating such elements into the unfolding narrative, the gamemaster utilized a sad old chestnut of (bad) adventure gaming and declared that no such powers worked, providing a weak rationale for their failure of some sort of unknown barrier effect preventing their usage.

Some might be tempted to argue that such a rationale is perfectly, well, rational. That it may be, but good story it is not. Such excuses only create a situation where your characters serve your plot, rather than the plot serving the characters (who are the living heart of a story). In fiction, this weakens the characters by removing important, established, identifying pieces of that character: it is literally like removing or altering personality traits.

Don't hose your characters out of their powers/abilities/skills/knowledge, unless them being hosed out of such is the point of the story. And if your story doesn't work because your character can do or knows a specific thing, you need to rethink your story, not deus ex machina it out of the way just to tell the story your way. The same applies to all similar alterations one might make in order to serve the plot (such as with character motivations, personality, and so forth).

That's bad storytelling.
(It's also bad gaming, but that's a different post.)

So, examples, where have you seen railroading in fiction? What's the most blatant example you recall?

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Dear Marketing Person... [July 07, 2009 @ 10:01pm]

cranky_editors

[mikesedge]
If you absolutely can't resist the urge to overrule my edits on capitalization of hyphenated compounds--despite the fact that they were clearly in agreement with the style book we've been using forever--

A) At least have the decency to tell me yourself rather than having it come anonymously from an innocent production person

B) For f***'s sake, at least be consistent and not have it two different ways TWO *BLEEP*ING LINES APART!

C) Honestly, next time don't even send me your sh***y copy, because if you're going to micromanage it and undo my correct edits... why should I waste my time?
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Mexico and Man [July 07, 2009 @ 8:20pm]

greyorm
(...Read Here...)
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Has anyone ever noticed... [July 07, 2009 @ 5:39pm]

cranky_editors

[cakmpls]
[ mood | annoyed ]

...that in a collection of essays by various scholars, the ones who generally make the most fuss about changes (including completely standard changes to conform to Chicago) are the ones lowest in the hierarchy at the least distinguished institutions?

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How to Kill A Book--ruminations without a conclusion [July 07, 2009 @ 3:04pm]

sartorias
A writer friend over at SFF.NET linked to this crack-up of a bogus book report on a much-assigned book now lauded as a classic.

While I was watching and laughing, I was also thinking about questions like, what makes a book become a "classic"? When I was a kid in the sixties, To Kill a Mockingbird wasn't a classic yet--in fact, the librarian looked askance when I checked it out at age twelve, but permitted me take it. A whole lot of it whizzed over my head--I saw the world of it exactly the way Scout did, as I was her age. When I read it again some years later, it was almost a different book, the focus had shifted so dramatically.

But back to the age twelve. I had picked the book, I wanted to read it, I got utterly swept away by it, and kept thinking about it on and off afterward. But at no time did I then, or later, identify the rising action, or examples of dramatic irony, or any of the other stuff that so many book reports demand, and that I've had to struggle through with my own kids.

As a teacher, I resisted those types of book reports. I tended to frame questions based on types of books, like, if the kids were reading something set in history (or written long ago), I'd have them compare how the kids in the book look at the world to how kids today look at the world, and then ask them to tell me which world they'd rather live in and why. I tried to make questions that they could think about and address after they'd read the book, not the sorts of questions you have to be on the watch for, and take notes for, which (it seems to me, anyway) to guarantee a crappy reading experience. A crappy writing experience, if the kids were forced to rewrite over and over in order to come to the conclusions that the teacher wanted them to come to.

Who (except for teachers, and maybe some writers?) pulls out the rising action from any book? I never have, except when I had to help my own kids struggle through book report assignments. But maybe everybody else does, and I'm the only one on the clueless bus. Ditto the falling action, examples of dramatic irony, etc etc.

So while I was watching that vid, I was thinking about how the nature of an assigned book means that the reader does not approach the book with the investment one does when one has chosen it. And this can also be true of critics . . . and editors, who once loved books so much they chose to work with them for a living. But much as one adores creme brulee, a steady diet of it over years might make even the most passionate devotee dread the next bowl brought out. Or if not dread it, get extra picky about the texture, the sprinkling of cinnamon on top, the color of the bowl, the exact temperature of the custard, and how well it was flamed. The joy of eating it is gone.

Back to school. Say the book looks okay . . . but it could be that the two page xerox of book report questions sitting by the book pretty much kills any possible investment because the reader dares not sink in, but has to stay outside, aware of the story as a story, in order to get notes down to fill the assignment.

Yet . . . yet. This is actually the sort of reading that Nabokov said that grownups do, referencing an earlier discussion. You're supposed to approach the book as an intellectual puzzle of a special kind, you are not suppose to fall in and perch on the shoulder of a character, experiencing the story as they do. My problem is, I never grew up. That's exactly the reading experience I wanted at age eight when I was first let into the school library, and it's the reading experience I like best at age 58, when I pick up a work of fiction.

So anyway, I was remembering back to my teaching days when kids used to try to skive book reports the way that this one begins to. I couldn't get mad--I found them funny. Most of the time I could tell where the kid fell out of the story (as opposed to who never cracked page one, but tried to suss out the questions from the blurb on the back, this being before kids had instant internet access) and some of these got really creative.








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Superhero Comics [July 07, 2009 @ 8:14am]

sartorias
[info]avalonestel provided a heads up about a superhero comic that, as she says:

It features a diverse cast of multicultural characters that gain superpowers that embody one of the 99 Names of Allah, or the 99 attributes that are considered holy and commendable in the Islamic faith, which we believe are only embodied in their entirety in Allah. (You can read more about it on its main site, or here.) There's going to be a miniseries soon that will have the 99 cross over with the Justice League of America.

I poked around the website a bit--I really liked the look of what I saw--non white heroes. Women of action as well as the guys.
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Where Science Meets Art [July 07, 2009 @ 6:53am]

sartorias
Anyone who has spent an hour (or more) standing in the withering heat of Las Vegas just to watch the Bellagio fountains will probably find this as exciting as I do.
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Lakoff on copy editors [July 07, 2009 @ 6:17am]

cranky_editors

[jaylake]
Lakoff on copy editors.
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Event: Talk and Signing [July 07, 2009 @ 8:16am]

jpsorrow
This coming Saturday, July 11th, I'll be doing a talk at the monthly meeting of the Science Fiction Association of Bergen County (NJ) as their monthly featured guest. The meeting is being held at the Barnes and Noble in Hackensack, NJ, starting at 8pm. Everyone is invited to come to and listen in and, of course, buy and get books signed! As far as I can tell, it's an open discussion, so you can ask any questions you want as well. If you're in the area, stop on by! Here's the address for the bookstore, although it's in the mall, so should be easy to find:

Barnes & Noble
The Shops at Riverside
187 Riverside Square
Hackensack, NJ 07601
201-488-8037

Hope to see you all there!
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Buffy & Lotus [July 06, 2009 @ 3:43pm]

greyorm

Well, I'm earning myself geek cred by finally watching Buffy: the Vampire Slayer, of which I had never seen an episode (only the campy 90's flick it was based on). Since the kids were gone this weekend, we were able to stay up until ridiculous hours of the night watching and have now almost finished Season 3.

And I'm liking it. I wasn't sure I would. Though there are bits that annoy the piss out of me, Whedon is proving capable enough with storylines and character development that things that the annoying bits end up getting changed up soon enough.

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I also have a new 3rd Edition PDF product ready to go from Wild Hunt Studio, in "The Way of the Magus" series, titled "On Lotus Magic". It deals with using specially prepared--addictive and poisonous--lotus flowers to enhance a spellcaster's power. A lot of Conan/S&S influence.

It was a pain-in-the-ass to lay out because Adobe was not cooperating at all. No matter how I exported to PDF, Adobe screwed SOMETHING up in the document: failing to display the title font, or turning the decorative font I used in the background into rectangles, and/or completely hosing the transparencies and borders. So I spent two days piecing it together with Acrobat and Photoshop instead. Guh.

However, I wouldn't mind a pair of eyes or two to go over it before I upload it for sale. If you're interested in being such a pair of eyes, let me know.

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