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Thursday, November 29, 2012

Thursday Thoughts

So I came to a realization today:  writers need to be whole-brained people.

This may require some explanation.  Most of you have heard of the Left Brain, Right Brain theory, where the left brain controls logic and the right controls creativity - the thinking brain and the feeling brain.  (It's a lot more complex than that, but bear with me.)  You may not have heard of the other component:  the further division into frontal ("higher" processes) and basal (more instinctive processes).  This means the brain has four quarters, or:

Frontal Left:  Logical, analytical
Basal Left:  Order, organization - "the rules"
Frontal Right:  Creative, experimental
Basal Right:  Emotional, interpersonal

If you're familiar with Tarot, another useful analogy is to align the quadrants with the minor arcana:  swords, pentacles, wands and cups, respectively.  (If you're not "into" Tarot, this just confused you more.  Ignore it.)

Anyhow, I looked at this and realized how much a good fantasy writer needs all of these. It looks like this:

Frontal Left:  Construct an internally consistent world where special powers / elements are carried out to their logical conclusion.  Plot coherency - does it make sense for X to do Y?
Basal Left:  Organize and track information so a character's eyes don't change color every chapter.  Grammar, punctuation and sentence structure.
Frontal Right:  The fundamental creative juices.  Everything from the first "what if?" to the writing itself.
Basal Right:  Understand human emotions, incorporate them into the story, and draw them out of readers.

And that's not even getting into the editing process - which, while it may be more of a left-brained process, also requires contributions from the right brain:  creative solutions to plot-holes, gut feel about the best route to take ... your mileage may vary depending on your revision process.

So those are my thoughts on the whole-brained writer.  Of course, this doesn't have to be restricted to fantasy:  all stories require these elements, including worldbuilding ... even if that world is your corner store.

Tuesday, November 20, 2012

Tuesday Thoughts

This week, the thoughts have been shifted to another day of the week so I can be thoughtless on Thursday due to tryptophan.  I can't promise this post will be any more inspired than that particular bit of obnoxious alliteration.

With my most recent sale, I'll be moving on to edit / tidy up "Splinter Cell," another of my short stories set in the Flow-verse.  That means I now have four:

Xmas Wishes - now available from Gypsy Shadow Publishing!
A Dose of Aconite - in submissions
Splinter Cell - up for editing
Untitled - currently under filename "KierryDealWithDevil" (no, not the literal Devil, folks) - may or may not be submitted, as I'm not too sure of the ending ... it relies not so much on the main character as a secondary character responding to his actions.

I also have one potential plotline to write and another story sparker involving the DC Metro.  For me, who is always exploring new worlds and concepts, this is a fair number to have in the same setting, but I'm hoping some of them will draw readers to the novel.

I do have to be careful with the implicit timeline.  Since Flow is set in 2007, and the potential sequel kicking around in my head will probably be 2010, I need to make sure that the stories agree with this timeline in regards to how the two main organizations - the water-witches and the Borderwatch - interact.  This is not too hard, as status quo is something of "cold war," but I don't want details to contradict, even when I'm writing forward, back and to the side of myself.

Lightning Strikes sold to Kaleidotrope!

Lightning Stikes - the story of an augur struggling to find her sister in a city overrun by centaur barbarians - was just purchased by Kaleidotrope for publication in late 2013!  I'm looking forward to it.

Thursday, November 15, 2012

Thursday Thoughts

I have a twice-monthly routine for checking on submissions, and it just so happens that this Thursday falls on one of those days, so I thought I'd take this post to talk briefly about the business end of writing - or at least, the submitting end.  So - dry deserts ahead!

I have my own system for submissions that's always worked well for me.  I keep approximately eight stories and three pieces of flash fiction or poetry in circulation at any one time.  (Obviously, there's some overlap in the markets, but there are enough venues that accept only poetry and/or flash, and conversely venues that don't accept it, that I feel justified in running separate "tracks" here, as it were.)

If a story is rejected, it goes right back out again unless:

1)  There's a particular place I want to send it, and they're currently closed to submissions (or I already have a piece there); or
2) I receive commentary that I feel is merited and decide to make the changes.

For agent querying, I start with three queries, and every time I get a response, I send two more out until I have a total of a dozen (at which point I go back to 1:1).  This ensures that I'm not trying to do a ton all at once.  At least, that's the idea:  I've only done this organized plan the once, with Journal of the Dead, but it's worked well, so if I have to keep querying ... at least I have a process.

As for the twice-monthly routine, it's to check up on all this.  I go down my tracker, check the response times of the market (or agent), and if it's been significantly over the listed amount of time, a receipt query letter goes out.  (With agents, I'll send an inquiry only if their website doesn't state that they don't respond for rejections, obviously. ... oh, wow, there were a lot of negatives in that sentence.)  I figure out "significantly" by something between formula and gut feel - proportionally more time for markets that have a longer lead-time to start with, if I've worked with a market before and know they're a smidge slower than advertised .. etc.

So that's submissions side of it for me.

Sunday, November 11, 2012

The Lizzie Bennet Diaries

So early this week, I got completely absorbed in this:

The Lizzie Bennet Diaries

It's an online adaptation of Pride and Prejudice in the format of a web blog.  I originally got drawn in because it was cute, clever and put together in nice, bite-sized chunks, but I soon became intrigued by the concept and format.  The bulk of the story is told in summary (and often, dramatic re-enactment by the main character and whoever she can draft into donning a goofy costume element) ... in fact, until well over two-thirds of the way through the run so far, none of the key scenes in the plot occur on-camera.

To be honest, I was a little disappointed when this changed:  I was absolutely fascinated by the way that the whole story could be told in summary, gossip and supposition, filtered purely through the eyes of the video blogger(s), and yet you were able to see that the truth was not necessarily what Lizzie presented.  The authors also do a great job of incorporating other social media into the story, and even add a video blog from the point of view of the usually-reviled Lydia.  It's really rather mesmerizing.

On the other hand, I can see why the other characters needed to be introduced.  There is a point at which it becomes unsatisfying never to see them directly, especially when they so deeply impact the lives of the on-camera cast.  I hope that as the project continues, however, that these guest appearances will be kept to the dramatically necessary minimum.

Interestingly, this method of storytelling recently ran into a limitation:  a letter which, in Pride and Prejudice, the narrator keeps secret from the other characters.  However, to show it on the video blog would be to allow the other characters (who are viewers) to learn the information ... but to not-show it would conceal it from the real audience.  The video blog went the latter route, but (I think) did a great job hinting at what might be between the lines.

Of course, as a writer of fiction, I tried to think of how this might be applied in a short story.  It's trickier, because fiction is (in most cases) effectively summary:  a narrator - implicit or direct - relating what happened through their eyes.  Much has been made of the unreliable narrator, the storyteller who is outright lying.  So how do you recreate this effect in a more distilled fashion?

Here are a few ideas I came up with, of varying technology / setting assumptions.  Which do you like?  Do you have any others?

Told through servants' gossip
Told through emails
Told through newspaper clippings
An amnesiac having his/her circumstances explained by the other parties involved
Told as minutes of a meeting
Told as reports to a spymaster

Thursday, November 08, 2012

Thursday Thoughts

I'm still ruminating on some personal thoughts I had during the World Fantasy Convention, so this post will address those ... but expect another fairly soon dissecting the writerly side of a recent media series I've been enjoying.

First of all, I realized watching panels that unlike in my harp career, I don't consider myself an expert or authority in the writing field.  I've been examining this outlook, and I think it's not entirely accurate.  It's true that my successes have been fairly minimal, but I have my own perspective to impart.  Writing isn't one-size-fits-all; you never know when someone else's odd habit or technique will click with you.

Second of all, I realized that I don't really consider selling books to friends and family a success.  Now, that doesn't mean I'm not happy and grateful that people in my life want to support me ... but that doesn't say anything about the quality of the book.  I want people to buy my book because it's a great book, or because I've said that something that interests them in me as a writer.  I want it to be about the writing.

Third of all, I very much need practice reading out loud.  (See Saturday's post and "the less said, the better.")  My mother suggested I try recording myself, and I thought this was a great idea.  However, to make it more of a "dress rehearsal," as I get more into it, I thought I might post some of them.  Of course, before I do that, I'll want to listen to some examples, so I'll be checking out some podcasts, including a CD I received in the WFC packet, Laurel Anne Hill's, and probably Podcastle.

Yep.  Because I need more to do ...

Sunday, November 04, 2012

WFC 2012: Day 4 - Looking Ahead

As I sit in the Toronto airport, blasted out of my mind with exhaustion, I try to gather my thoughts about the last few panels and some of the initial decisions that came out of the conference as a whole.

Maps In Fantasy Literature (Bill Willingham (m), Robert Boyczuk, Laura Goodin, Matthew Johnson, Sara Simmons, Jo Walton):  I was really intrigued how different this panel was from the one I (vaguely) remember at the last WFC.  Of course, they started with the idea of the obligatory maps, those that tell you what kind of book you're about to read, and reiterate that if you need to consult the map, something is wrong.  But then they diverged into the idea of whether or not the map should include things not in the story, what purpose that serves, the reminder that ancient maps weren't nearly as accurate ... and that often, maps were metaphorical, emotionally true even if they weren't literally accurate.  The panel also talked about the attiudes of travel, and that the "three weeks later" is in some ways very modern:  in older cultures, travel was infrequent and perilous, and even in modern England, the psychological concept of distance is far different than it is in America.  Even a journey of a few hours requires preparation.

One thing that was brought up was maps as agendas, and how the evil overlord's map is like to be very different.  I wondered if there were any books where two conflicting versions of the same map had been used, and got a recommendation - Tourists by Lisa Goldstein - although in that case, the maps are internal / plot-based rather than provided in the book.  There was also some intriguing discussion of maps that actually alter reality by their existence ...

Reality Made Fantastic, Or Fantasy Made Real (2) (Isobelle Carmody, Sally Harding, L.E. Modesitt Jr. (m), Greg Wilson, Karl Schroeder):  Another second take, this one much fresher on my mind ... and venturing into waters even further afield.  Modesitt picked up the moderator slot at the last minute and had a lot of thoughtful questions prepared - I was impressed.  (But not surprised:  every time I've seen Modesitt, he's been funny, eloquent and organized.)  Schraber is actually an SF writer who discussed his approach as seeking possible wonder within the constraints of the real world.  (Someone) state that reality was human nature; the fantastic was the way through which it expresses itself.  Carmody brought up the idea of the world resonating from the character, which is very much opposite the way I do things, but fascinating.  Much of the discussion focused on the use of language - of using prosaic descriptions versus poetic / fantastical descriptions, and using the turning point in the language to help signal the turning point in the story.

I went up to Wilson later - who contributed much of the discussion about this - and asked about how you make the speculative element a "surprise" in the context of short fiction, where, of course, the reader is expecting just that - or the story wouldn't be in F&SF, for instance.  He talked about focusing less on surprise than on turn of language and of making the story evolve naturally.  Sounds like good advice to me.

So now I sit in the airport, having had my flight delayed and now rebooked on an earlier (... than my original) flight, and I'm thinking back on the experience.  I've made a few resolutions:

Next year, I want to contribute more.  I want to attempt to get on a panel, though I suspect I may not have the gravitas for Brighton ... but I will try, whereas this year, I just chickened out.  I've decided I want to attend the banquet, read all the award nominees (if I can; sometimes "award-worthy" fiction just seems Literary (tm) for the sake of it, and nothing turns me off faster) and have my own opinions.

In January, I want to go back over my WFC notes thoroughly, distill story ideas, and actually write at least one of these.  I would like to buy some of the (multitude) books I've written down over the many WFCs, but I suspect I just won't have the money.

And if I am more involved and better read, maybe I'll party a bit more, too.

Saturday, November 03, 2012

WFC 2012: Day 3 - Sucking The Life Out Of Me

Today was a slower day as far as panels were concerned.  Beside lunch break, I spent two hours sitting at the BroadUniverse table with Laurel Anne Hill.  I was relieved she stayed, because I would have muddled through, but I am quite shy if I don't have a five foot instrument to hide behind and sound knowledgeable about, and she was also fun to talk to.  We discussed anthologies a bit; I've always been frustrated by my inability to find closed calls and invite-only anthologies.  Since my real love in short fiction is the anthology, not the magazine, this is something I very much want to change.

I keep haunting registration, waiting for them to put out the sign-up for Brighton (WFC 2013).  By now, I imagine the volunteers working the table are sick of seeing me.

On to the panels!

(With a caveat:  I only saw the first 40-some of this first panel because I wanted to make it to the BU table before the dealer's room was officially open, and I also missed the first few minutes of the next one I attended.  Neither was due to lack of interest, just timing and my desire to be diligent.)

Relevance of Revenants (Barbara Roden (m), Jeffrey Ford, Paula Guran, Michael Kelly, Kit Reed):  The panel discussed ghost stories as one of the last oral traditions - the stories kids still tell each other; the interest in scientific explanation of ghosts (a mention of EVP, which has always fascinated me); and the evolving of the ghost story to fit with modern settings and technology, such as cellphones, email and computers.  Doesn't the very concept of internet communication - disembodied figures floating through our lives? - sort of sound like a ghost story?  Paula shared a moving personal story that illustrated how thin the barrier between life and death can be for the next generation.

I came to this panel thinking, "Gee, I'm not really interested in ghosts."  Uh ... no, Lindsey.  I'm always writing about mediums, spirits, and really, if you look at it from a certain perspective, Journal of the Dead is one massive ghost story (and it's sort of Victorian, the age of ghosts ... hmm, that was totally accidental).  Even Flow has a ghostly apparition appearing at a crucial phase in the story.  And, of course, I think of Dead Like Me, which remains my favorite portrayal of life after death.  Hands down.

Eerily, I came out of this panel and noticed several tables with Kleenex.  My immediate reaction was, "What?"  Then I discovered there was a memorial service occurring concurrently in the neighboring portion of the ballroom ...

The Real World In Fantastic Fiction (Ian Drury (m), Donald Crankshaw, Geoff Hart, Kristin Janz, Christopher Kovacs Kenneth Schneyer):  "Reality is a crutch for people who can't handle fantasy."  This was an amazing panel, with a lot of thoughtful discussion about how to approach the verisimilitude in fantasy, such as:  pay attention to the consequences, especially in elements of the world where breaking basic assumptions of reality; consider the attributes of control and access when introducing magical elements that can muck about with basic economics (teleportation, anyone?); when using real world societies as a starting point, try to avoid modern judgment and see the society from within; aaaand ... do your research.  But, of course, it's not what you know, it's what you think you know and you don't - the unperceived needs of research.  I was also fascinated by a discussion of idiomatic language being central to a story, which is something I love to muck about with.  You see it a lot in Butterfly's Poison; it's a world with very little contiguous landmass, so there's a lot of water / ocean / sailing language.

The Changeling (Jeffe Kennedy (m), Holly Black Karen Dales, Graham Joyce, Sean Williams):  Another panel that got deep into the psychology and the deeper meaning / expression of fears that the changeling represents, more than just the outward shape.  I love fairy and what they represent (hi, Flow), so I adored this panel.  They discussed the protean, changing nature of the fairy, and the fact that it may be that they look just like us, and we don't recognize them because we don't recognize themselves.  The feeling of being a changeling was traced back by a few panelists to childhood experiences of deciding they must be adopted.

(I remember my mother telling me a story about how she convinced her older brother that he was, and how much it traumatized him.  Of course, she said she found a document in the desk drawer, and my grandmother had to point out, "She's five.  She can't read.")

The panel also discussed the changeling story as a coming of age - stepping between two worlds and having to decide which to become a part of.  They concluded that fairies and humans are psychically interdependent:  one cannot exist without the other.  And fairies are also necessary to shift the blame and shame of society - scapegoating.  The case of Bridget Cleary came up, and I really want to get my hands on that account.  It's apparently online somewhere ...

It occurred to me that another variant of the changeling story giving parents an excuse to abandon unwanted children goes back to Greek myths, where many of the classical heroes were abandoned as children, sometimes by the order of the gods, sometimes by a jealous father ... but these children always were raised in good (sometimes better) circumstances by kindly rescuers.

Lunch break!

Special Guests Mercedes Lackey and Larry Dixon (interviewed by Fiona Patton):  These two seem like the perfect writerly couple - separate studies, strategic togetherness, brainstorming on road trips ... they were a blast to listen to, though they goofed juuuust a bit too much for my tastes.  I loved how Lackey discussed balancing writing with the other endeavors in her life:  writing until she runs out of brain juice, then switching to something else.  She also recommended a screenwriting book that sounded fantastic for writers, Save The Cat by Blake Snyder - first as outlining, but also valuable for characterization and even pitch.  Finally, the pair admitted that they had, every now and again, used fan sites to double-check facts on Valdemar ... which I think cracked the entire audience up.

Pencils, Pixels and Paint (John Picacio, Todd Lockwood, Charles Vess):  This panel featured three artists displaying works and walking us through the process of creation.  A lot of technical difficulties and snafus, but I was utterly absorbed by their various methods of working and how they let spontaneity influence their creativity.  Vess believed that paintings shouldn't be overly rendered, leaving viewers space to fill in the gaps.  Picacio has a fascinating technique of drawing in black and white, then creating paintings in the desired color scheme ... then overlaying and performing transparency in Photoshop.  I would give a lot of money to have enough skill in either to attempt this, because it sounds like so much fun as a creative process.  The color was also his way of introducing a chaotic, non-linear element.  Lockwood, too, mentioned the incorporation of chaos with a random pattern, to simulate organic forms.

After Twilight:  Whither The Vampire (Michael Rowe (m), Stephanie Bedwell-Grime, Sean Hayden, Nancy Kilpatrick, Rio Youers, Nancy Baker):  This panel was less interesting than I had hoped it would be, because the panelists got focused perhaps a bit too much on the Twilight phenomena specifically, but I still found they had a lot of interesting things to say.  They discussed the charting of sexual mores by the development of vampire fiction; the "Abercrombie and Fitch"ization (yes, really) of vampires by Twilight; the trivialization by reducing them to highschool; and that a fantasy that was originally of the other has become increasingly a fantasy of privilege.  They concluded that each generation is reinventing the vampire.

The fantasy of other vs privilege immediately made me think of the "vampires don't age" rule and how it's usually applied now - young and beautiful forever - versus ... well ... probably THE vampire for me is Claudia from Interview With The Vampire.  I'll admit I'm not well-read in vampire fiction, but she struck me like a lightning bolt.  If I were going to write in this particular vein, I think that's the angle that's most interesting to me:  the vampire who is eternally stuck at the wrong age.

Dinner break!

Broad Universe RapidFire Reading (Kathryn Sullivan, Brenda Carre, Me!, Ada Brown, Laurel Anne Hill, Carol Berg, Julia Dvorin (m), Cat Rambo, Heather McDougal):  Short excerpts from a wide variety of fiction in just as many styles - a great sampler of female writers.  We had an unexpectedly large audience, too.  Ladies, you all were excellent - dramatic, funny and enjoyable to listen to, and I was glad to meet those of you I hadn't before.  Of my own contribution, the less said, the better.

I found that I shared a table of contents with Ada Brown - in the compilation issue of Crossed Genres she brought with her, no less!  Her "Nadirah Sends Her Love" (Tragedy) appeared with my "Bird Out Of Water" (Opposites) in Quarterly #1.

Friday, November 02, 2012

WFC 2012: Day 2 - Charles Dickens' Chickens

This was a remarkably long day, even though I skipped a panel (a repeat topic with different panelists) for lunch and other sundry organization attempts.  As before, I'll talk about the panels first, then some personal thoughts that arose from them that don't necessarily directly relate to the conference.

First, though, I want to comment generally on what an amazing, eloquently, witty, funny group of people all these panelists were.  I think there was more uproarious laughter today than I can remember in a long time, and not just in the humor panel.

Faith And Fantasy (Jonathan Oliver (m), Ada Milenkovic Brown, Bill Willingham, James Moore, Kari Sperring):  One of the panelists -I think it was Willingham - described his upbringing as Jewish and Catholic, which meant he had to go to confession, but he was allowed to bring a lawyer.  They talked about the difficulty of removing belief from culture, how it serves to help us deal with not being the center of the world, and Welsh-born Sperring offered a hysterical rant about the cliche fantasy where the evil, monotheistic patriarchal religion persecuted the benign Celtic witches.  The idea of quantum physics entered it near the end, in the sense that if you go deep enough, we are all made of nothing ... and if the universe is infinite, then by definition, we are, in fact, at its center (and so is every other point).

Humor In Horror and Fantasy (Michael Plested (m), Sarah Beth Durst, Nalo Hopkinson, Tanya Huff, Patrick Weekes):  This was a great panel, and I was struck by how different it was from the perspective given at the Whimsical Fantasy WFC in 2010, though some of the same points predominated - that humor can be very sensitive to time period, but that character humor is universal.  Other thoughts:  it's funny because it's true; humor as a coping mechanism; faithful execution of an absurd premise; laughter as a way of bringing people together.  One writer said they loved unintentional character revelation:  a statement that seems normal to the character, but brings the reader up short and tells them a lot about a twisted world view.  Durst earned my appreciation by stating how much she hates characters embarrassing themselves as a source of humor:  she has to look away when it's on TV.

Another interesting possibility:  humor that is relevant for the characters, but the reader doesn't get, as a way of illustrating the alienness or difference of a culture.

Defining Urban Fantasy (Linda Poitevin (m), Ginjer Buchanan, David B. Coe, Adria Laycraft, Tim Powers, S.M. Stirling):  This panel confirmed a lot of the thoughts I had in the beginning of Oct about the growing definition in the field and distinction between urban and contemporary fantasy.  It has become its own thing, where the city setting, the close, noir voice, the grit, and often the female protagonist, have become critical elements, with some cross-pollination with paranormal romance.  Ultimately, the publisher on the panel, Buchanan, said it's a matter of sensibility.  They also discussed the importance of using as much real world "lumber" as possible to ground the setting.

They Call Me The Wanderer (David D. Levine (m), Rajan Khanna, Stefon Mears, Robert V.S. Reick, Patrick Rothfuss):  This panel proved both very philosophical and very specific, isolating the true wanderer, who has lost his place or cannot return, from the traveler, who has a destination or a home.  The wanderer has both a lot of power as a source of information, but is also continuously an outsider.  One panelist (can't remember who, alas) discussed traveling as building up a charge, and arrival as its release ... but the wanderer never truly arrives, so he maintains that electricity of potential.  They also discussed the wanderer more broadly as an isolated figure and that the journey might be in time (such as vampires, the Wandering Jew, other immortals) as much as place.

Gothic Fantasy Noir (Elwin Cotman (m), Dana Cameron, Gemma Files, Elizabeth Hand, Rhiannon Held, Nicholas Kaufmann):  This panel was far more intriguing than I had anticipated, comparing the conventions of the noir and the gothic and how they blend together in urban fantasy.  They discussed the idea of a secret culture and how it operates in our world:  one way of practice at home, another as soon as you walk out the door.  The idea of the apocalypse came up in discussion:  the gothic is a slow apocalypse; in other contexts, it's almost comforting, because you don't have to worry about the crushing details of mundanity.  By contrast, the urban fantasy offers more hope:  by giving real life phenomena you can't control (such as the rise of crime) a supernatural cause, such as a vampire boss, you can, well ... kick its tail.  And both the noir and the urban fantasy frequently feature a moment of sacrifice, where something is put right, even as the protagonist has to pay the price.

One point was made that I loved:  that too much grit is just as unrealistic than too much gloss, if not more so.

Here I took my break.

Bibliofantasies (Helen Marshall (m), Tina Connolly, Jennifer Crow, Michael DeLuca, Don Pizarro):  One of the best panels I attended today, this was a thought-provoking discussion of the qualities of the fictional book, of why it intrigues so many people.  The imaginary book, of course, is always more fascinating than any real tome could be, because our mind builds it up that way.  (One panelist commented that the real horror of such stories is the fact that we can never find them and read them.)  It binds the reader together with the character, because both are performing the same act, that of reading, and both are - or should be - changed by it.  They also discussed how the electronic age influenced this, and came to the conclusion that the nature of the barriers had changed, but they still existed ... and there will be always be tension between what one wants to know and what knowledge you have access to.

I brought up Jasper Fforde's books and asked for comments, and the immediate response was, "They're awesome."  Yep ... that's pretty accurate.

Special Guest Tanya Huff (interview by Sandra Kasturi):  This was an amazing interview - Huff is a warm, personable, funny woman who said a lot of things that struck a chord with me.  For instance, she always writes to an ending, and her outlines frequently phrases like "a bunch of stuff happens in the middle."  She says she hits two-thirds of the way through a book, suddenly has an "aha!" moment as to what it's really about, goes back to tweak ... only to find her subconscious has been designing it that way all along.  She also said that her personal recommendation is to stay away from your reviews, good and bad.  One doesn't need the ego inflation, and the bad review will stick with you more than the  dozens, even hundreds of good reviews.  I was also heartened to see how many people nodded along when she said as a child, she never realized The Lion, The Witch and The Wardrobe was a Christian parable.  And ... she read D'Aulaire's Greek Myths as a kid as well.  Oh, how I loved that book.

New Twists On Accepted Myths (Marie Bilodeau, Mercedes Lackey, Virginia O'Dine (m), Meg Turville-Heitz):  This panel started on an aggravating note, the discussion of cultural appropriation and even the claim that one should possibly avoid taking on a mythology to which one has no personal connection.  Oh, this is such a pet peeve of mine.  Why should any mythology be more sacrosanct than another?  Why should happenstance of birth define what I "should" write about?  An audience member pointed out that this wariness can manifest as racism and a form of censorship, and drew the response from the panel that truly, any good writer needs sensitivity to their subject, regardless of its source.  I'll go with that.

The panel otherwise focused on how myths move through time, and that the authentic ones can't be divorced from culture and the progression of history.  The anthropologist in the group commented it was fascinating how historians place so much importance on found objects, not realizing that just because it was preserved, doesn't necessarily mean it was essential.  Ultimately, mythology is how people understand the world, and create mythos have to embrace that.

I mentioned Ladyhawke, which is a fantastic example of a wholly invented myth that completely fits the themes and tropes of its originating culture.

So I said I wasn't going to buy any more books, but Patrick Weekes (see the humor panel) described his book, The Palace Job, as a humorous fantasy take on a heist story, ala Ocean's Eleven, and I pretty much couldn't summon up the willpower NOT to buy it.  I am vastly looking forward to this one.  How could it not be awesome?

Today, my writer thoughts were mostly about the Citadel, my setting where the gods of all the worlds have mysteriously vanished, leaving mere humans to use the tools they've left behind to serve as stand-ins.  I've had a story published in this setting:  The Weather-Woman, which appeared in Reflection's Edge and was basically a romance.  But I had a brainstorm:  in the story, which was the last novel I've ever abandoned outright (which I did because I think I was 60,000 words in and I realized I hadn't even gotten to what I thought was the meat of the story), I had decided I was going to reveal what really happened to the gods.  It struck me that it's far more interesting to leave that nebulous, a setting point outside of the main conflict.  Of course, there goes (more than) half my plot.

I'm also thinking through my FWO challenge story, which is being obnoxious in that it wants to start much earlier than I had originally intended for an ensemble piece - but I have an opening image so clear and vivid it has to begin there.

Considering this and how complex the zombie story is turning out, I think my brain is telling me if I don't work on a novel soon - and writing, not editing - there's going to be a revolution.

Oh!  Almost forgot to explain the title:

Met Sheri Lane today, and it turned out she grew up in Cincinnati and found out in her research that Charles Dickens did a book tour in our city.  Promotion was important even back then.

Thursday, November 01, 2012

WFC 2012: Day 1 - Enter The Bagpipes

This post comes in two parts - first, commentary on events and panels, and then some related thoughts / decisions of mine.  I'm going to assume most folks are interested in the former, so feel free to stop there.

Registration came this morning with a massive bag of books, more than I remember in previous years and some that look very intriguing.  As always, there was a swap table in case someone already had a book or something else looked better.  I was disappointed, however, to notice that there were apparently no anthologies in the book bags, so I told myself I was allowed to purchase one.  Just one.  No, really.

I also assisted with setting up the first of the freebie tables, since they weren't up that morning.  This means I got my bookmarks and cards out first.  Kathryn Sullivan had the excellent idea (particularly for a writers' conference) to create pens, so I'm actually using one of hers to scribe notes with.

Also walked out the rooms and noticed that the two locations for panels on Fri-Sat-Sun could not be further apart.  Oof.

Next stop - panels!

Whither The Dark Arts? (Stephen Pearl (m), Richard Gavin, David Sakmyster and Derek Kunsken):  The panel discussed psychic detectives, whether the concept is alive and well, and how it plays out in modern fantasy.  As happens in so many of these concepts, the panelists took a particular delight in debunking the panel title and the flavor text.  A lot of intriguing example works were mentioned, such as Charles Stross' series that combines computer IT with something like the Cthulhu mythos, a work whose author I didn't catch named Zeus City, and mysteries featuring angel Remy Chandler.  They talked about how so frequently, the two worlds of the psychic detective - the mundane world and the speculative one - overlay each but don't interact; the analog (or lack thereof) with the hardboiled detective and the knight-on-white-charger phenomena; and the narrative power of mysteries:  ask a question and the reader will hang with you until it's answered.

I asked here about the difficulties of balancing an occult power that could potentially end a mystery before it starts - for instance, the medium who can speak to the deceased and asked who killed them.  How do you keep coming up with mysteries in these circumstances without it feeling contrived?  Not that - as I think about it more - regular mysteries are immune to this:  think of how many people just happened to drop dead around Jessica Fletcher ...

The Wilderness Within (Eileen Gunn (m), John Clute, Nathan Crowder, Lois Gresh, Matthew Moore):  Such cosmic irony in the timing of this panel.  It was meant to imply that the exterior wilderness has given way to a more internalized, urbanized form ... but the topic that infused much of the dialogue was that of Hurricane Sandy and what she demonstrated - the malice of the world, our belief that we have a much bigger place in it than we do, that we can control it.  It was pointed out the Puritans thought the wilderness was evil; we've evolved beyond that view, but we're sometimes still conflicted by it, balanced between fear and respect.  There were also a few anecdotal stories that evolved into a comparison between a sea of elk and a sea of outlaw bikers.  (Thank you, Eileen Gunn.)

Opening Ceremonies (Gary K. Wolfe introducing Guests of Honour and Special Guests):  This was only about fifteen minutes long and basically consisted of an introduction to the guests of honor and expressed hopes that we could all hit the bar.  It was prefaced by a piper in full dress, and I had to explain to the poor person sitting next to me (hi, Folly Blaine!) why I had just said, "Get me a shotgun."  That is:  why yes, harpers and bagpipers have an ongoing feud.

Reality Made Fantastic, Or Fantasy Made Real (Garfield Reeves-Stevens (m), Patrick Nielsen Hayden, Judy Reeves-Stevens, Kat Richardson):  (Mercedes Lackey was, regrettably, still en route at the time of this panel.  Safe journeys, Ms. Lackey!)  First of all, it needs to be mentioned that apparently, Patrick Nielsen Hayden gets tweets from dyslexic Neil Patrick Harris fans.  The Reeves-Stevenses (... no, I don't know if that's the proper plural.  Is it like Jacks-in-the-box?) are into film and media tie-ins, and had a lot of interesting things to say about approaching the fantastic element.  For instance, when pitching a Witch World pilot, they found they could take two angles:  start with the fantastic world, then introduce the modern character, or start with the modern character and then pull back to the world.  PNH stated that that many books that are "almost publishable" are those that have too much invention, too fast, and Kat Richardson drew a parallel to The Matrix:  you can only swallow one pill at a time.

Another very interesting concept was that of imagination overhead:  both for the reader, who has to have the capacity to encompass certain ideas, and for the writer, who has to use the proper frames of reference.

I piped up with the third imagination overhead:  the character.  I asked the panel to comment on suspension of disbelief, when it's too fast, when it's too slow, and they generally agreed that the most important part was it had to be appropriate to the character.  Richardson commented that she almost found it more annoying when the character suspended disbelief too fast.  It was also pointed out that many modern transplant stories involve characters who themselves have read fantasy or seen recent pop culture examples, like the Lord of the Rings movies or Harry Potter.

Music Hath Charms (And Terrors) (Charles de Lint (adhoc m), Robert Eldridge, Patrick Nielsen Hayden, Neil Williamson):  Ellen Kushner couldn't make it, so de Lint sort of got shanghaied into moderating.  I loved this panel, and it focused more than I had expected on the incorporation of music that really interests me:  when it's not overt / obvious, a musician character, but the influence of musical themes and the presence of music in a story.  De Lint commented he "scores" his fiction, using musical devices, such as staccato language, to convey mood.  I got (too) many recommendations of fiction to look up.  In particular, I want to look up Williamson, because he apparently has stories that are intended as musicals:  narrative prose, but all the dialogue is intended to be sung.

PNH discussed something which I was surprised I didn't know about, given my focus / study on the Renaissance era:  gallery music, which was essentially pub musicians brought in to play church music from the galleries, and their very rousing, toe-tapping renditions of what are typically thought of as stately church hymns.  It's a backwards take on what I'm familiar with, the religious borrowing and "taming" of traditional music.  Also covered:  music as pre-verbal structures of feeling, genre expectations in music itself, and the idea of avoiding a detailed description of magical music and illustrating it by the audience's reaction.

I took a moment to pipe up about my experience with a Scandinavian music class, where the teacher pointed out a certain comma end-of-phrase structure, and told us that it was present in the language, as well.  This really struck me as an illustration of the bond between music and language.

Our Monsters, Our Selves (James Alan Gardner (m), Lena Oakley, Ellen Datlow, Christopher Golden, Richard A. Kirk):  Great panel - way better than I expected it to be, considering it wasn't a topic of huge interest to me.  There was a surprisingly involved discussion of zombies, including as a metaphor for resurrection.  And I finally heard an explanation of the phrase "uncanny valley," which I had just taken for granted, courtesy of Oakley.  It actually comes from computer science / robotic development, where scientists tracked on a graph that humans become more empathetic to a robot the more human it looked - until the point it became *too* human, at which point the empathy drops sharply - hence a "valley" in the chart.

Other topics touched upon:  monsters as perverted versions of humanity; making something monstrous potentially allows you to draw it out and make friends with it; the fear / attraction of breaking taboos.

At this point, the panels are over for the day and I am feeling sort of like a zombie, myself.

I took some personal notes during all this, too.  I jotted down the story idea I had come up with waiting in the cellphone lot and watching the pair (they looked like mother and son to me, but I'm not so great with ages; they could have been a couple) in the neighboring car.  And I got some great ideas for the zombie story (yes, you read that right) I've been mulling over, in particular to use a "superstorm" such as Sandy to delay the kind of military reaction that would "realistically" shut down such an event.

Especially in the monsters panel, I keep hearing reinforcement for my newborn zombie idea.  I'm doing it "right" and tapping into the elements that I want to tap into, going into directions that bring out the kind of story I want to tell ... even though zombies aren't my usual tools.  I really want to work on the science aspect - not of the zombies themselves, but of a consequence that I think makes this is an unusual take.  It's the pivotal point of the concept, and it was inspired by two photos I got at a zombie walk.  (Yes, you read that right.)

I also purchased two books.  I only brought American cash with me to discourage myself from buying stuff.  This has ... sort of worked, but it's only Thursday evening.  Anyhow, the two were Booklife, by Jeff Vandermeer, which looked like a great resource for a writer not just limited to writing, and Rum and Runestones, an anthology of fantastic pirate stories from the BroadUniverse table.  I picked this one partly to support BU and Laurel Anne Hill, who rode to the rescue in starting up the table today.

Finally, I made some plans for the next few months.  Haven't figured out how my editing will dovetail, but next stories:  FWO November challenge; cellphone lot couple; prep and then write zombie piece ... and in January, I want to go back through my notes for all the prior World Fantasy Cons and strip out specific ideas and recommended reading.

As an aside, I got to recommend Connie Willis' Inside Job to someone today.  I really can't speak highly enough about the novella - it's awesome.  Great meshing of supernatural elements with a historical persona, and (coming from someone who hates titling) it has an absolutely perfect title.


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Thursday, February 27, 2014

Thursday Thoughts

Today, I'd like to talk about the Olympics and a story that spoke to me - so if you haven't seen the Ladies' Free Skate for some reason (my cable decided to die Thursday evening, and it was only last night that the program finally showed up in my On Demand listing), close out this window post-haste.  Here be skating spoilers.

Most of the attention and commentary was on defending Olympic gold medalist Yuna Kim, who was clearly a lovely person with a humanitarian bent and a mature skating style; and on the young athletic Russian phenom, Adelina Sotnikova, who came out of nowhere when the spotlight focused on her younger teammate ... both of whom were trying to make history.  Yuna Kim would have been only the second woman to ever win back-to-back gold medals, while Adelina Sotnikova would be Russia's first gold in women's figure-skating.

But there was one more historical landmark at stake that evening:  27 year old Carolina Kostner of Italy, an Olympic veteran with a painful history of faltering at the key moment - she was ninth in 2006, sixteenth in 2010 - stood a chance to give Italy its first medal in solo figure-skating.  But Kostner's opportunity was also deeply personal.  After the Olympics in 2010, she was defeated and weary; she decided to quit skating.

Her mother and coach, once a figure-skater herself, urged her not to.  She said:  skate for the love of skating.

Sounds so simple, so obvious.  It's almost a cliche.  It's the first advice any artist - and make no mistake, figure-skating is as much an art as a sport - receives when contemplating a life in pursuit of passion.

Yet for Carolina Kostner, it was magic.  She was reborn; she was the World Champion in 2012.  And at the 2014 Olympics in Sochi, she performed a flawless short program followed by a triumphant free skate.  As she got off the ice, her mother said to her, "Now do you believe in yourself?"

Adelina Sotnikova might have stunned the crowd with her athleticism; Yuna Kim might have moved them with artistry ... but Carolina Kostner, the bronze medalist and Italy's first solo figure skating medal, showed them love of skating.

I suppose this story speaks to me because, as a writer, I often feel like Kostner.  Publication has been a long trudge with a few bright lights, but my main goal keeps eluding me while writers who have been at it a much shorter time keep racking up their successes, and I start to wonder ... what's wrong with me?

That's not to say I should ignore the fact that there are areas in which I need improvement.  I always try to keep an eye on my faults and work to correct them.  But when I go from submitting and selling back to writing, there's only one thing that matters:  do it for the love of writing.

Thank you, Carolina Kostner.

Monday, February 24, 2014

GoodReads Review: Wild Magic by Jo Clayton

Wild Magic (Drinker of Souls: Wild Magic, #1)Wild Magic by Jo Clayton
My rating: 3 of 5 stars

The story of spunky, defiant Faan who is forced into a war between god and goddess, Wild Magic is, at its heart, a tale of ordinary people caught up in cosmic circumstances. It's a story with an intensely realized and complex world which is never fully explained to the reader - most of its concepts are learned by osmosis (or perhaps not at all). It's the kind of book that probably wouldn't be published today: full of dense, poetic language, an overabundance of made-up words, and following its heroine from infancy through growing pains to the adolescence in which the real story starts. Yet this life-long course is perfect for the story: it allows us to understand Faan in both her mundane and magical aspects.

It's a pity that this book is under-explained - some major concepts, like the Change, seem to appear suddenly and are left to inference, and there are aspects of the setting that I still don't understand. Faan's time learning sorcery was generally glossed over, which felt like a major omission, though it wasn't necessarily crucial to the story and seems like it will come into play more in the second book. As far as a satisfactory ending, Wild Magic has a great "Yes, but ..." conclusion ... and that's all I'll say on that.

View all my reviews

Thursday, February 20, 2014

Thursday Thoughts

I belong to a small writing forum which has been doing bi-weekly free-writes on and off for a while.  Someone hosts and provides a topic / inspiration, and everyone writes for an hour.  I almost never finish, but I've gone back, finished and sold many of these stories.  This week, I plopped down to write up a list of what I had and had some surprises.  The general statistics:

Total free-writes:  58
Finished:  34 (of these, 1 was trunked for being, well, terrible)
Sold / Published:  5 (+1 that was sold and hasn't come out yet)
Currently in Submission:  2

Several patterns appeared.  There was no real science fiction here; a few stories had far future settings, but were closer to science fantasy.  Most of the stories were in secondary worlds, usually with significant worldbuilding basis, but a handful were contemporary.  Most of the protagonists were female.  There were far more stories that involved cooks, bakers or confectioners than I would have expected - keeping in mind these free writes were done long before I decided to attend culinary school.  Four of these stories were in worlds I had used before ... not including the two Ishene and Kemel stories, since the first story started as a free-write, and the story start from the perspective of Ishene's apprentice, decades later.

Some of the free writes were experimental.  One of the finished stories I had forgotten about is completely in dialogue, the arguments of two minds who end up in the same body.  Another is present tense, first person plural.  Then there's one that I have to blame on the prompt:  the entire story is one sentence.  Well, two, but the last sentence is used as sort of a cap to the run-on insanity.  A lot of the finished stories are way too long, and almost all of the unfinished ones need tightening.

So what did I learn here? ... I need to start doing free-writes again, of course.

Thursday, February 13, 2014

Thursday Thoughts

As I've mentioned before, I use the backburner of my brain a lot.  I tend to work best when I give stories time to simmer on their own, with just the occasional stir ... and I'll stop there, because otherwise the culinary metaphor is going to become laboured.

But it works even better when I don't just idle in between, instead working on a different project.  I found out the hard way some years ago that two novels wasn't a good idea simply because I ended up in a never-ending editing sequences, but short fiction and poetry is definitely an excellent change of pace.

So a bit late, and I've already missed one month, but I'm resolving to write a short story a month for the rest of the year.  Length is no object - if I have an idea for a piece of microfiction, that's perfectly valid.

So February's story is Stone Unturned, about a historian who specializes in "Soundings" - summoning visions of the past through prayer and song.  It's intended for the monthly challenge, which is to write a story including these five elements:  a child, a journey, a betrayal, a bird and a deserted building.  I always tend to take FWO challenges and add an additional, personal level of difficulty - my intention with this one was to have all the elements in both the past and the present, but I believe I'm just short of this ...

As far as this blog is concerned, this project will also give me more opportunity to share the occasional tidbit, as Unnatural Causes has already reached the point where most segments would either require extensive explanation, be "spoilers" for the plot, or both.

Monday, February 03, 2014

GoodReads Review: Shades of Grey

Shades of Grey: The Road to High Saffron (Shades of Grey #1)Shades of Grey: The Road to High Saffron by Jasper Fforde

My rating: 5 of 5 stars

Eddie Russet lives in a world where most people can only see one natural color - and how much of that color they can see determines their place in the world.  He has life figured out ... until he's banished to the Outer Fringes for attempting to improve the process of queueing, where a rebellious Grey named Jane challenges everything he thinks he knows.

It's a fantastic premise for a world, and many authors would have stopped there, but the setting of Shades of Grey is both deeply whimsical and twisted.  It is built on a mysterious past of "the Previous," who the reader assumes (but is never sure) was our own society, then bent thoroughly out of shape by premises that seem absurd, but hinge together with a logic one can almost - but never quite - make out.  It's a balancing act of dizzying skill.

Before the last quarter of Shades of Grey, I'd have to say that I felt Fforde spent too much time just exploring his world, without much clear conflict or advancement of the plot.  Then when I got to the chilling pay-off in the last pages, well ... I still think the story could have done with a little less exploration, but that deep immersion in the setting is crucial for the impact of the climax, and having been hit upside the head with it, I am confident that many of the apparently extraneous details will have relevance in the sequels.

Because this is definitely a book one ... but it's a book one that ends in a satisfying place, with the character resolved and evolved.  The main questions are really deeply personal ones:  will Eddie find his place in the world?  Will he be able to kindle romance with Jane? ... and both these questions get my absolute favorite answer:  "Yes, but ..."

The only other quibble I have with Shades of Grey is that I never felt particularly deep in Eddie's head.  For a first person narrative, it's surprisingly shallow in POV.  But small points aside, I don't say it lightly when I describe this novel as brilliant.  Give it a try.

View all my reviews

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Saturday, 7 July 2012

Interrogation of Linzé Brandon - Part 2

(Continue interview with Prime Suspect in the Case of the Novelist)

Date 3.14.B

“Was it Géra’s Gift?’
I had to smile. “Yes and no. My first stories could probably be considered novellas, but Géra’s Gift is definitely the first full length novel that I wrote.”
“He is a bit young for you, don’t you think? Sure he is gorgeous, smart and ...”
“Are you nuts? Géra Ville is a character in the book. Yes, he is young, but it is his story. I just wrote it.”
Jessica waved her hand. “And the title?”
I shrugged. “It changed a few times. The final title - Géra’s Gift - just felt right, so it stayed.”
She nodded. “So what is this gift?”
I waved a finger at her. “Oh no, not answering that.”
She arched an eyebrow, but did not reply to that. Instead she looked down at the tablet and then back to me. “What is a Grandmaster?”
I organised my thoughts for a few moments before replying. “The Grandmaster is the leader of the magician’s order. The book introduces the Nations of Peace to the reader. Each nation that has magicians and an order, has a Grandmaster that leads them. He or she is not a leader of the nation, for that they have presidents and kings like we do. You know, elected officials or successors to a throne by some predetermined bloodline or something.
The Grandmaster is usually a warrior magician, but not always. In one of the books in the series the Grandmaster is a scholar, not a warrior.”
The eyebrow again. “So there is a series?”
I nodded. “Yes. The series has five sub-series within it: The Grandmasters, The Dragon Masters, The Future Masters, The Strike Masters and The Council of High Lords. The next book, that I am busy doing final editing on, is the first of the Dragon Masters, its called Keeper of the Dragon Sword. And if all goes to plan, it will be released by the end of the year or very early next year.”
“The High Lords, why not some Masters thing again?”
I shrugged. “The High Lords don’t feel like Masters. They don’t need or become Masters like the other books. They are the High Lords, they are who they are. The High Lords also tend to lean more towards the erotica genre, although I wouldn’t call it that exactly.”
She consulted her tablet again. “So the sub-series do not follow one series at a time?”
“No, although it might have started that way, it didn’t turn out that way. The books each stand on its own two feet, but if you want to follow the story in the ‘bigger picture’ so to speak, you have to read them in the order that they are published.”
She looked thoughtful for a moment, then held up her arm showing me her AI screen. “Any more stories like mine?”
Now I laughed. “No, you are completely unique.”

(Interrogation to be concluded next week)


text:
Sunday, April 13, 2008

Babies, babies and more babies?

Calm down, no big news will come out of this...

I love, I mean L-O-V-E my girls. I think after Heidi I am just about exploding with love for them. And babies. Oh man, she is getting to be such a fun age. I could just eat her up. Ok, I sound like a crazy woman...and I am. Jeff can attest to that. Everyday I think I want another one. I do, but I don't. I think the reason I'm really sentimental is because she could be my last baby. And then from here on out, they just keep growing up - and way too fast! Liddy will be starting kindergarten next year already. So, I think it's only normal to feel this way, right?

1 comment:

julesklimek said...

Absolutely! Right on! I love, love, love my boys and for the most part, we are done. But, I get sentimental when I think that Korey is my last baby and then I get crazy thoughts of having another one. But, how nice would it be for me to be able to buy pink and have a little girl who wants a pony!!! :)


text:
[CDBI] Make CDBI go fast

Perrin Harkins pharkins at gmail.com
Thu Feb 15 19:40:40 GMT 2007

On 2/15/07, Michael G Schwern <schwern at gmail.com> wrote:
> In reality its much worse because searches often involve REGEXP (in order to do a proper word search rather than substring) which is much slower than LIKE and/or MySQL's full text search engine (which isn't that great) and lots of joins and the fields to sort by are user selected and difficult to index.

It sounds like you know what would help there: full text search on
this column, pre-processing to turn this into an exact match on a
related table, or even using a LIKE with an anchor at the beginning
(since 'Smith%' can use an index).

> MySQL doesn't use indexes to do ORDER BY when it has both ASC and DESC anyway.

If this is important and frequently-used, it may be worth creating
artificial sort columns that reverse the sort order of certain fields.
 Then you can sort the same direction and use the indexes.  You may
end up creating many indexes though, so it's not a simple solution.

> I'm hunting things down, but really the slow query log isn't showing much.  When it is the database its usually because MySQL had to do a filesort.

There are a couple of server tuning parameters you can tweak that may
help.  I expect you know about those, since they're described on the
"order by" optimization page.

> You'd be surprised how long it takes to create 100,000 CDBI objects, inflate their columns, use their accessors, flesh out their groups....

I believe it.  In some cases it probably does another query per object.

> > One thing that I noticed when looking at how our CDBI app performs is
> > the way the database handles are always asked for with a method call,
> > even in places where passing them would be really easy.  Many tiny
> > methods in CDBI need a handle for something, and call db_Main, causing
> > a $dbh ping.  I haven't checked how these add up in the profiler
> > though.
> Hasn't shown up in profiling.

Good, glad to hear it.

- Perrin

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Re: Tom Tom and Microsofts Linux patent lock-down ..

From: Rex Ballard
Subject: Re: Tom Tom and Microsofts Linux patent lock-down ..
Date: Mon, 16 Mar 2009 15:34:33 -0700 (PDT)
User-agent: G2/1.0

On Mar 15, 11:09 am, Doug Mentohl <address@hidden> wrote:
> 7 wrote:
> > TomTom is better off spending its energies eliminating FAT from all its
> > products and encouraging other manufacturers to do the same
> There's also the case of the third party code .. see here what the
> actual patented 'invention' is ...

> (Vehicle computer system with open platform)

> (Vehicle computer system with wireless internet, 1999)
At Federal Express, the DADS unit provided Wireless Internet from the
FedEx courier vans to the local stations via radio signals.  The
SuperTracker (first PDA), was inserted into an interface that read
data from the tracker and sent the information to the Federal Express
COSMOS IIB system. - ALL of this was in place in 1987.  Patents would
have expired if the technology could have been patented at that time.

Anything since then could have been intuitively derived.  The Cellular
phone network itself was patented, but plugging a PDA to a cell phone
chip instead of a 2-way radio is easily an intuitive leap.  Many of
the details of the system where disclosed when Federal Express filed
for, and won, the Malcom Baldridge Award in 1990.

> (Method and system for generating driving directions, 2003)

LIFE 911 systems for emergency dispatch systems have been around since
1985.  Computer Consoles had technology for getting routing and
dispatch instructions to emergency service personnel.

Bill Gates wrote a program to help locate and route Car Pool members -
back in 1974-5, on his PDP-11, about 3 years BEFORE he formed Micro-

Several popular "maze solving" algorythms, including several
implemented in Prolog, with weights, speeds, and other "optimal
routing" factors have been around since the early 1980s on UNIX
systems.  Similar technology is still used today to provide optimal
routing of TCP/IP traffic.  Again, Microsoft has to prove that it was
THEIR code that was stolen, and not code that was intuitively derived
from all the Open Source, BSD, and UNIX code, much of which was
federally funded.

> (Methods and Arrangements for Interacting with Controllable Objects
> within a Graphical User Interface Environment Using Various Input
> Mechanisms, 2000)

Small-Talk - 1976.  Byte Magazine did a nice article on it in 1979.

X11 - provided interaction in 1987 that didn't appear on Windows until
Windows 2000.

> (Portable computing device-integrated appliance, 2005)

Fedex - Supertracker - 1985

> (Common name space for long and short filenames, 1996)

Unix - 1968

> (Method and System for File System Management Using a Flash-Erasable,
> Programmable, Read-only Memory, 1992)

FORTH - 1986
Unix - 1988
Back then, it was called EEPROM.

Microsoft makes up new terminology for concepts that have been around
for years, and now they want to claim patent rights on those concepts
based on their ability to evade patent search algorithms and

On each of these patents, was ANY of this prior art listed?

Did Microsoft describe how their specific implementation was DIFFERENT
from the prior art?

Did Microsoft describe how their specific implementations were SIMILAR
to the prior art?

If not, then the patent applications were fraudulent.

Microsoft should be punished for filing the fraudulent patents, as
well as for fraudulently attempting to extort consideration (money,
market advantage, collusion against competitors, ...) using a
fraudulentnly obtained patent.

Even today, can Microsoft prove that the Linux implementations are
EXACTLY THE SAME as the Microsoft implementations.  Remember, a
software patent does not protect an idea or an algorythm, only a
specific IMPLEMENTATION of an algorythm.

To keep their patent, Microsoft would have to prove that the Linux
    A.  Had access to the proprietary and protected Microsoft code.
    B.  Had used this proprietary and protected code as his PRIMARY
source of information for the implementation.
    C.  Had knowingly submitted this specific implementation to the
OSS project in question.
    D.  Had informed the Linux community and it's customers that the
contributed code was stolen.

If you create a new and better paper clip, that doesn't mean you own
exclusive rights to every kind of paper clip that has ever been
designed or implemented.  In fact, if you don't list prior
implementations that are similar to yours, even if the patents have
expired, your patent application would be fraudulent.

If you did list all of the prior versions of paper clips, would your
particular implementation be considered original?  Many patent
applications are denied because it's obvious that the invention could
be intuitively derived from existing technology.

Unfortunately, the patent office has been horrible at managing the
archives of "prior art" with regard to software, and companies like
IBM, HP, Sun, Texas Instuments, and many others are listing as much of
their prior art, along with much of the prior art in public domain
(from a patent law point of view), including GPL, LGPL, OSS, and
federally funded software "devices" just to make sure that some
"poacher" doesn't try to patent the heap sort or floating point.

One of the biggest problems is that most companies didn't keep
detailed records of software development for 40 years.

Keep in mind that if NASA had been able to patent all of the devices
they invented as part of all of their projects, the agency would be
completely self-funded and could probably afford to send manned
expeditions to Mars if they wanted to.  NASA created most of the
technology used in computers, cell phones, GPS devices, Integrated
Circuits, long-life batteries, and thousands of other devices - all of
which are in daily use.  However, because the projects were federally
funded, and government agencies didn't document "patentable"
inventions, many of the inventions were patented by contractors,
vendors, and other third parties - usually those who mass-produced the
technology first, not by the actual developers themselves.

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Re Time lost Litecoin

There is also a message that says that " my alert key is compromised"…what can I do about that?

1 - You need to backup your wallet.
2 - If you have the address where you had the coins check it out on the explorer and see if your coins are there.
3- Download an up to date wallet from the oficial litecoin website, install and let sync.
4- Load your backup on the new wallet and enjoy. (you may need to rescan).

Ok ta very much. Questions: I have the original address…but check it out on what Explorer?

I was wrong. I do not have any address in " addresses". The only thing I have is if I debug…that brings up some info…but no address. If I open debug I have Loads of data…but no idea what any of it means
Of course, i can put in a new label and address…but if I do that…how does that help me?

hmmm, you should have at lease one address in there, when the wallet is created it also creates 1 address.

something is not right.

The address that I thought I had turned out to be a dummy example

Are you online now…sorry but some of messages do not seem to be getting through

Are you online now? Sorry,but the message board has gone all weird on me

1 hour.

coins recovered.

Now, time to remember that passphrase!


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Vintage Airstream Window Dressings (Pt. 1: Curtain Fabrication & Dry Fit)

Back in January, I was able to source and purchase fabrics for the upholstery & curtains for the Little Green Airstream:

Materials 2.0 – newer selections are on the left.
Materials 2.0 – newer selections are on the left.

Finding someone who specializes in making curtains for vintage Airstreams meant that they would better understand the idiosyncrasies of these trailers’ interior construction, meaning less guesswork and a greater likelihood that they’d turn out right the first time. But conversely, my experience with custom work is that you still have to review the proposed construction in detail, especially if the work is being done a good distance away from you.

So to find the right person, I checked the Airstream Forums for reviews and also did a Google search, and came up with the names of two potential contractors. The first one I reached out to fell through; they were on the verge of retirement and our communications went from spotty to nonexistent. The second company I reached out to – also highly recommended – was JPA Drapes. I’ve found the proprietor, Audrey, to be very amiable and passionate about fabricating a final product that fits properly.

She started by sending me a worksheet template for me to fill out, so that she would have basic information about the number of windows, curtain track types and dimensions for my particular trailer. Because a) each trailer has a different layout and these “rooms” may be called different names, and b) measurements need to be taken precisely and agreed upon by both parties, I found that a follow up phone call reviewing this worksheet was necessary.

Curtain measurements for fabrication. Notice that some of the room names and one of the measurements was adjusted so that we could both be clear about the details.

One of the design challenges we faced was the installation of curtains in the Galley (Kitchen) area. When I purchased the trailer, there were no curtains or shades installed. On each side of the Galley window, there were small, trapezoidal wooden blocks with curtain snaps that look like this:

Galley curtain hardware… original or not, practical or not, they may offer additional privacy

My first impression was that this was an inconvenient location for curtains. Because they were located so close to a stove and sink, they’d get dirty very easily and perhaps even pose a fire hazard. Removing and replacing them every time you cooked or washed the dishes would mean more wear-and-tear, so you’d have to take very good care of them, use a sturdy material, and if you had enough fabric, perhaps make two or three sets to match the lifespan of the other curtains. My second impression was that, if you instead used a set of blinds to cover that window, you might not have complete privacy if people can see in along each side of the blinds. So a couple of curtains on each side might offer some additional privacy.

I sent pictures to Audrey, who was not convinced that these were installed by Airstream originally, but I suspected that they were. When I showed them to pro restorer Colin Hyde when we met at his shop, he said he hadn’t seen them before either but that from the quality, they looked consistent with the type of work that Airstream might have done in the factory. Either way, they were there, and I was interested in seeing how they might be incorporated to work with a set of blinds. I found this photo online that suggested a method, and sent it along to Audrey:

One option for incorporating curtains on each side of a set of blinds for a Galley / Kitchen application. Also notice the valance, which my trailer does not have.

Once we worked out the basic measurements and rough pricing, I needed to get her the fabric and a payment in order to get the work started. It turned out that I was headed out of town on a family errand and her home / office was on the way, so I suggested a drop off to save me the shipping cost, and so that we could review a couple of final details. Audrey was very gracious in allowing me to stop by (which I gathered was not a usual practice for her), but I found it to be very clarifying to review details with visual aids in person, especially the Galley hardware.

I made a payment in full up front in this case, which is not necessarily a common or recommended practice in working with contractors (for a number of reasons), but I made a concession here in good faith and because I knew it would be more convenient for Audrey. The pricing was very fair and the turnaround time was 3 weeks, and I appreciate the care and dedication that went into getting this work done.

The curtains arrived to me neatly packaged, with brand-new hardware and a set of instructions for the installation:

Curtains fresh out of the box
Curtain snaps, hooks and track sliders

Now, it was time to “dry fit” the curtains. Dry fitting is a preliminary installation you do to see how well something you’ve constructed is actually going to fit or work in the space you’ve made it for. You take note of any necessary adjustments, remove the piece and work on it so that it fits perfectly for a final install.

I hadn’t installed this type of curtain or worked with these hardware types before, so this was a little bit of a learning experience and took a little more time than I anticipated, but it was fun and very satisfying. I sat with the instructions for a few minutes, and being a very visual learner, I found myself wishing that they had a couple of pictures so that I could figure things out more easily. But the curtains were clearly labeled with the places they should be installed, and I was able to figure out how to install the windows that used sewn-in track slides first, and gradually worked my way through the more difficult applications one-by-one.

Curtains dry fit at the Dinette and Bedroom (above gaucho) windows

When I got to the bank of windows at the very front of the trailer, I had to figure out how to use the curtain hooks and sliders, and wasn’t sure how to go about installing them properly. I found this YouTube tutorial to be very helpful, and I watched it a few times before and during the install:

IMG_5027 (1)
Using a tape measure and black pearl-headed pin to determine curtain hook placement

Here’s how it turned out and a few things I learned in the process:

  • Lubrication: I plan to lubricate some of the curtain tracks with lithium grease spray or a similar product, to make the hardware glide along the tracks more smoothly. I’ll be careful not to get any lubricant on the fabric.
The drape color works really well with the new upholstery and most of the existing interior
  • Existing hardware: One of the things that Audrey and I didn’t account for was the locations of existing wall snaps that hold the curtains in place. Ideally, female halves of snaps on the new curtains land on their male counterparts that were installed when the trailer was originally manufactured. But, if the male halves are located arbitrarily somewhere on the interior wall instead of on the track we took measurements for, then the female part of the snap should be located on the curtain in a specific place that matches.
The original, male half of the snap mounted on the wall is in a place that does not work for this curtain. It’s installed too close to another wall running perpendicular for the hardware to meet. Solution: Keep the existing snap in place so to avoid having a hole, and add a new male snap to the wall so that it works with the curtain.
The original, male half of the snap mounted on the wall does not meet the female half on the new curtain. This was a failure to consider locations of existing hardware. To remove the original hardware leaves an undesirable hole in the wall. Possible solution: Review with contractor and see if moving the female half of the snap up to meet the original hardware will work without damaging the curtain.
  • Galley Hardware: The galley curtains are the pieces that need the most adjustment. There was a likely oversight about one of the measurements and the construction of an additional flap that don’t quite work.
The galley hardware, particularly on the right side, is very close to a cabinet and doesn’t tolerate much additional fabric.
  • Filtering makes a huge difference: This isn’t perhaps much of a surprise, but being able to filter your experience in the space, not just who looks in or out but how much sunlight gets in, &c. makes a HUGE difference. I’ve lived with this trailer for a couple of years, and it’s had a mostly intact interior and exterior during this time. I’ve recently installed new seat cushions and even had a meal or two with my dad inside, and every little thing you do in a renovation makes a kind of psychological or sensual difference in your experience of the space. But there was something about installing these curtains that made if feel like a home for the first time.
The drapes immediately give a sense of privacy that’s very calming

Generally, the dry fit was a success. I am really happy with the quality of the construction of the curtains and I’m confident I’ll be able to work with Audrey on the final details to have a perfect fit. Having these curtains installed really makes living in the space practical in a way I didn’t fully appreciate until now.

Up next: Working with a Professional Airstream Restorer (Pt. 3)

  1. What an amazing difference the curtains make! The tailoring was very well done, and your instillation meticulous and inventive. Bravo.

  2. I bought a ’69 Globetrotter in April last year, which had original cushions and some of the window coverings. Just wanted to tell you that my galley window also has the little wooden block things, too! I don’t know what was attached to them, but possibly like what you had made. My window had a roller shade with fabric and fringe (turquoise and green!) glued on it to match throw pillows. A lot of the old and original furnishings are in a shabby state, and I appreciate your great ideas for these vintage trailers!

    1. Thanks, Angie!

      I appreciate the feedback and compliments! 🙂 And good information about those wooden block things. I’d asked pro restorer Colin Hyde about them, and he wasn’t sure if they were original either (and he’d also recently bought a ’69 for himself…) so just goes to show the power of and need for community in sharing details like these if you’re going to restore. I’m installing a shade there for sure, and then see if I feel like I need the additional privacy of installing the curtains around it. I’ll be posting about it soon, so please stay tuned!

  3. Being a fairly good seamstress, I am about to tackle this project myself. I do have a few questions, you might be able to answer. May I contact you via phone or Facebook messenger?

    1. Hi Paula, since I didn’t do the work myself, I’m not sure I can help you. I’d recommend contacting Audrey from JPA Drapes (see the Contractors section of my blog). But if you’d like, I’d be happy for you to post any questions here on the blog. That way, if your questions might help someone else we can share our exploration here!

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Tuesday, May 30, 2017

Challenge #80- Winner

Hello. It's time to announce the winner from the Stencil Challenge. A big thank you to all who participated.

The top tangle goes to...
by Kristina
Congratulations, Kristina! Your stenciled background compliments your adorable scene so well. Great Job!

Please email neatandtangledstamps(at)gmail.com so we can get you set up with your prize and feel free to display the "top tangle" badge on your blog!

There were a few other projects that caught our eye that we thought deserved some recognition, so here are the honorable mentions, or as we like to call them, the "lovely little tangles"!

By Maryam
By ScRapEva
By Jill H

Gorgeous cards, ladies! Please feel free to display the 'lovely little tangle' badge on your blogs!

Thanks for stopping by and make sure to check out the next challenge that will debut this Thursday, June 1st @ 9:00  a.m. EST...

  1. Oh my... Thank you so much for choosing my card! I'm so excited! Congrats to all the winners! :)

  2. Congrats, Kristina!! So well deserved--I adore this card you made! Goodness, so fun!! :)
    I'm also happy to see these other fantastic cards featured! Inspiring designs!
    Thank you for the shout out for my card--made my day! ❤ N&T stencils!

  3. Oh my.. Thanks so much.. I really enjoyed this lovely challenge . Congratulations to all you ladies your cards are amazing 😍😍

  4. Hi and congratulations to all for your cards!!! They are awesome!!!
    I am very happy to see my card with an honorable mention. Thank you!!!
    Have a nice day ;)


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( FOUNDER /CEO)  - has been involved in the field of
    recruitment of performing artistes for more than 13 years
    Worldwide and has had extensive experience in the Asian region
    particularly in Malaysia and other South East Asia countries such
    as China, India, Thailand, Singapore, Japan, Middle East, India,
    Taiwan, Korea, Vietnam, Cambodia,Myanmar and Australia.

Under her expertise, she was responsible for recruiting musical group for prestigious
hotels and Resort group International. Thus, the company supplies all models of
entertainment to the Hotel Industry.

With a B.S.B.A degree majoring Accountancy, She first ventured into the world of print
media, fashion shows, talent scouting and special events and she explore her great
ability in Human resource International being an International Manpower Consultant to
International Entertainment Consultant. Ms Chua relocated in the United States of
America 5 years ago and continues her involvement in Music  Promotion, Club
Promotion, Event Planning (Locally and Abroad), Hosting Events, Coordinating
Corporate and Government Events and Gala's as well as wedding planning services.
She also takes great pride in volunteering her spare time with local fund raising efforts
and church events.

Ms Chua a sole proprietress of JCC Entertainment Associates and Events LLC,
Owner/Partnership of The First "Miss OFW International - USA " Pageant ,OFW
International Today,Magazine and Zaza Entertainment International,LLP
offers access
to some of the
most skilled
and engaging
artists in the
JCC Entertainment is recognized nationally
and internationally as a highly successful
Talent Management agency. JCC
Entertainment Agency has over 14 years
experience and remains at the forefront of
the industry. JCC thinks outside the box to
manage Professional Musicians, Actors,
Actresses, Models, Music Artists,
Comedians, Broadcasters, Writers,
Voiceovers, Athletes and any other
professionals in the entertainment industry.
JCC will give you the highest level of
management and full service that you
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companies have the recognition, respect
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We can provide all kinds of fresh and
innovative shows for you including live band
karaoke, keynote speakers, celebrity meet
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other great ideas to make your event one to
SINCE  1999
Copyrights ©1999 - 2013  JCC Entertainment LLC. All rights reserved.   DEVELOPED AND MAINTAINED BY:  JANE  CHUA


WARC-Identified-Payload-Type: application/xhtml+xml

text:
Tuesday, October 02, 2001

If you really wanna live like me the first thing you got to do in the morning is to brush your teeth, then open your pc, eat breakfast while your pc is booting up then surf the net kinda cool isnt it?
Hello Everyone this is the first time i actually make a blog! and all i can say is that im officially a blogger... yay


text:
Monday, February 19, 2007

HarriL: Global Illumination

Electronic artist Harril has taken advantage of Youtube and posted recordings of many of his songs. Something I think more live artists should take advantage of. This particular recording was done using the Korg Electribe MX, Quasimidi Rave-o-Lution 309, Novation K-Station, and Roland SP-404. You can find more of his music and videos at his Youtube profile .:Here:.

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Thursday, August 27, 2009

Chard...Groundhogs...and Tomatoes

The kids are gone camping and I got to fix myself an "adult" lunch today.

The Five-Color Silverbeets(aka Rainbow Chard) in the garden needs to be picked, so I decided that I would incorporate it into my lunch.

I picked about 5 large leaves of chard and washed them. I cut the stems to about 1/2" pieces and the leaves I cut/tore into pieces and set it all aside.

I also had 2 slices of bacon calling my name in the fridge.

I cut the bacon into pieces and cooked it in the cast iron skillet.

I then added 2 garlic cloves, minced and a splash of lemon juice to the skillet, followed by all of the chard. I stirred it up a bit and put a lid on it for 4 minutes.

When the timer beeped, I went in and took the lid off and stirred it and put it into a bowl.

That's all 5 large leaves! It really cooks down!

On a side note, as I was going outside to take a pic of my lunch, I met a new *ahem* Friend.

This would probably explain the reason many of my tomatoes have been 'taste-tested' out in the garden! Argh!

Speaking of tomatoes, earlier this week I peeled, cored, seeded, chopped 17 lbs of tomatoes and made them into salsa and put it in the freezer in 2-cup increments, in quart freezer bags. I really did not want to deal with canning once I did all of that other work, especially at the height of allergy season and with a potential food allergen of mine. Just didn't want to push my luck too far. By the time I was finished, my nose was itchy and runny, but I wasn't miserable like the last time I canned tomatoes!

Today I am picking tomatoes, coring them, and putting about 9 or so in a gallon bag and freezing them and stacking them in the freezer. The less I have to deal with tomatoes during this allergy season the better. I fully expect my body to be able to handle making tomato sauce in the winter just fine, but don't want to push it for now. And I feel this method works fine for adding them to soups, making cabbage goulash, and probably even making spaghetti sauce. I take them out of the freezer and run them under warm water and the skins slip right off.
So far I have gotten 9 gallon bags of tomatoes.
Organic, home-grown tomatoes in the dead of winter. Double-Yum!

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text:
Home » » The Danish Girl (2015)

The Danish Girl (2015)

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  • Year of movie : 2015
  • Genres of movie : Drama,
  • Status of movie : Post Production
  • Release date of movie : 2015-11-27
  • Companies of movie : Pretty Pictures, ELBE, Harrison Productions,
  • Countries of movie : United Kingdom, United States of America,
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  • Durationof movie : 120 Min
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  • Youtube ID of movie : d88APYIGkjk
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  • Cast of movie :Eddie Redmayne (Einar Wegener / Lili Elbe), Alicia Vikander (Gerda Wegener), Amber Heard (Oola), Matthias Schoenaerts (Hans Axgil), Ben Whishaw (Henrik), Emerald Fennell (Elsa), Sebastian Koch (Warnekros), Adrian Schiller (Rasmussen)
Find the courage to be yourself.

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