I've made the decision to temporarily put the YWO blog on hiatus. I think the site is a little young for it right now. We'll come back to it in the future. Right now I think it's in the best interest for the site to focus on other things.
We'll be back! Don't you worry!
--Shaun, Admin of YWO
16 May 2008
01 April 2008
So You Want To Be A Writer: Tough Skin
You might be the most brilliant writer to date (though I wouldn't recommend you think this of yourself), but no matter how much this might be true, it means nothing at all. Writing well and writing stuff that people want to read are entirely different things. So, when I say "writer" here, I mean writer in the published context, not the folks who sit at home and write stories, but never intend to do much beyond writing them. They may be writers, but the ones that get the recognition these days are those who sell their work to a publisher and manage to see it in the hands of someone else (the reader). If you want to be a writer for art only, then don't read beyond this, because nothing will really apply to you past this point.
So, you want to be a writer, eh? Great. Do you have tough skin?
If you don't have tough skin you should probably find another profession or develop a thick set of armor ASAP. First off, people who give REAL critiques are not going to coat their words with feathery praise, cookies, and flowers. In fact, REAL critiques are going to feel brutal and if you don't have the skin to deflect such comments and take them for what they really are--helpful--you're just going to get frustrated. Frustrated people tend to do what is called "revenge critiquing", where the offended party intentionally rips the offender's work just to get back at them. This is going to hurt you even more because suddenly you'll find yourself isolated from fellow writers. Thick skin is necessary. You have to be able to see the difference between constructive criticism, which might feel brutal, and plain mean-spiritedness. You can get angry at one, in which case you should say something, and you are just going to have to take it from the other. Constructive criticism is meant to help you see the flaws that you can't already see.
Then comes the big one: rejections. Oh no, you got a rejection. That darned editor must be a complete moron right? Well, possibly, but the likely answer to that question is complicated. No matter how much it hurts you have to realize that rejections are part of the process. Few writers have sold a story the first time they tried. A rejection can mean a lot of things:
Work on your skin. Toughen it up. That way when someone gives you a comment that points out something you did wrong, or you get a rejection letter, you can take it, shrug it off, and see it for what it really is: just part of the process.
P.S.: When I say shrug off comments I mean that you shouldn't let it get to you, but look at the comment as something that is potentially helpful. It becomes difficult to catch all the things you do wrong by yourself.
So, you want to be a writer, eh? Great. Do you have tough skin?
If you don't have tough skin you should probably find another profession or develop a thick set of armor ASAP. First off, people who give REAL critiques are not going to coat their words with feathery praise, cookies, and flowers. In fact, REAL critiques are going to feel brutal and if you don't have the skin to deflect such comments and take them for what they really are--helpful--you're just going to get frustrated. Frustrated people tend to do what is called "revenge critiquing", where the offended party intentionally rips the offender's work just to get back at them. This is going to hurt you even more because suddenly you'll find yourself isolated from fellow writers. Thick skin is necessary. You have to be able to see the difference between constructive criticism, which might feel brutal, and plain mean-spiritedness. You can get angry at one, in which case you should say something, and you are just going to have to take it from the other. Constructive criticism is meant to help you see the flaws that you can't already see.
Then comes the big one: rejections. Oh no, you got a rejection. That darned editor must be a complete moron right? Well, possibly, but the likely answer to that question is complicated. No matter how much it hurts you have to realize that rejections are part of the process. Few writers have sold a story the first time they tried. A rejection can mean a lot of things:
- You're not good enough yet. It's possible. Be honest about your work. Is it REALLY up to publishing level? Really? If you think it's something that an editor would like, then it may not be this, unless you're blind.
- It's not what the editor is looking for. It happens, don't throw a fit. Sometimes editors look for a certain kind of story, and yours wasn't it.
- You didn't follow the guidelines. FOLLOW THEM TO THE T!
Work on your skin. Toughen it up. That way when someone gives you a comment that points out something you did wrong, or you get a rejection letter, you can take it, shrug it off, and see it for what it really is: just part of the process.
P.S.: When I say shrug off comments I mean that you shouldn't let it get to you, but look at the comment as something that is potentially helpful. It becomes difficult to catch all the things you do wrong by yourself.
18 March 2008
Pratchett's Alzheimer Donation
When Terry Pratchett announced his £500,000 donation towards Alzheimer research, he talked about how shamefully small the donations towards this disease are. Terry Pratchett was recently diagnosed with Alzheimer. During an Alzheimer's conference he said, “It’s a shock and a shame, then, to find out that money for research is 3% of that which goes to find cancer cures.” This best-selling author is truly raising awareness about Alzheimer.
Read Full Article Here.
Read Full Article Here.
16 March 2008
WHAT ARE BLURBS FOR?
All too often I've come up with authors who have a habit of slapping down their novel onto the forum and leaving it at that. Often, I have no idea where it's going. No, it's not because I'm stupid (well...maybe), but I'm pretty sure its because the only parts I've read belonged to the first chapter, or in most cases, a prologue.
Here's a tip to raise people's interest in your work:
POST! A! FREAKIN'! BLURB!
There's a few reasons why:
1) It tells the reader or critiquer what to expect without revealing too much spoilers
2) It shows them that this might actually go somewhere.
3) It shows that you know what you're doing with this work
Yes, a lot of other things like flair, quality of grammar and plot that count for most of the novel's popularity, but first impressions also make a big difference. It helps the reader critiquing the work by stating what you plan to convey. That way, any feedback can say if you were successful at telling the story.
So, remember. Post a blurb.
(Just in case no one knew, a blurb is a shot description of the story without giving too much away. Ever read that paragraph or two behind that paperback novel? That's a blurb.)
Here's a tip to raise people's interest in your work:
POST! A! FREAKIN'! BLURB!
There's a few reasons why:
1) It tells the reader or critiquer what to expect without revealing too much spoilers
2) It shows them that this might actually go somewhere.
3) It shows that you know what you're doing with this work
Yes, a lot of other things like flair, quality of grammar and plot that count for most of the novel's popularity, but first impressions also make a big difference. It helps the reader critiquing the work by stating what you plan to convey. That way, any feedback can say if you were successful at telling the story.
So, remember. Post a blurb.
(Just in case no one knew, a blurb is a shot description of the story without giving too much away. Ever read that paragraph or two behind that paperback novel? That's a blurb.)
11 March 2008
Word of Advice: Know What You're Talking About
The title sounds simple enough, but you should all pay a lot of attention to what it's saying. Fiction is, by default, about making things up. The characters you create aren't real, though they may be based on real people, and neither is the world, even if it is just like our world. One problem I see a lot, however, is that people write about locations and places, about peoples and cultures, and come off as if they don't actually know anything about those things.
So a huge rule of thumb is this: If you don't know anything about it, research it. If you still don't know anything about it after researching, research more. If after researching and researching over and over you still don't know anything, assume you never will and don't write about that.
You can't write a story using complex quantum physics if you don't know a darn thing about quantum physics. People who know something about it will know, and those that don't know a lot will likely question. The same can be said if you want to write about a Brazilian character living in Brazil. If you don't know anything about Brazil, or about it's culture, why are you writing about it? You have to be conscious of how such a culture thinks, feels, believes, etc. If you look at a lot of Canadian literature, for example, you can see the differences between the Canada and the U.S. or even the U.K., despite our cultures being remarkably similar, in general. The differences are small, but it does serve to establish that we don't think exactly the same.
When writing, you have to be certain that you are being believable, even in fantasy (unless you're being weird for comedic effect, which is okay too). Your characters have to reflect who or what they are. If your character is American there are certain things you should be aware of. For most of us here at YWO that shouldn't be a problem, so I'll take it from another angle. If you're writing about a character who lives and is native to the U.K. you have to be completely and fully aware of what it means to live there. You can't just make it up off the top of your head, because you'll likely be horribly wrong. You have to know, even if you want to write something that might be alternate history, because even then you will find that similarities are likely to exist. The same goes if you're writing about China, Russia, or anywhere.
So the first step to making your fiction believable and creating believable characters and addressing them from their cultural perspective appropriately.
So a huge rule of thumb is this: If you don't know anything about it, research it. If you still don't know anything about it after researching, research more. If after researching and researching over and over you still don't know anything, assume you never will and don't write about that.
You can't write a story using complex quantum physics if you don't know a darn thing about quantum physics. People who know something about it will know, and those that don't know a lot will likely question. The same can be said if you want to write about a Brazilian character living in Brazil. If you don't know anything about Brazil, or about it's culture, why are you writing about it? You have to be conscious of how such a culture thinks, feels, believes, etc. If you look at a lot of Canadian literature, for example, you can see the differences between the Canada and the U.S. or even the U.K., despite our cultures being remarkably similar, in general. The differences are small, but it does serve to establish that we don't think exactly the same.
When writing, you have to be certain that you are being believable, even in fantasy (unless you're being weird for comedic effect, which is okay too). Your characters have to reflect who or what they are. If your character is American there are certain things you should be aware of. For most of us here at YWO that shouldn't be a problem, so I'll take it from another angle. If you're writing about a character who lives and is native to the U.K. you have to be completely and fully aware of what it means to live there. You can't just make it up off the top of your head, because you'll likely be horribly wrong. You have to know, even if you want to write something that might be alternate history, because even then you will find that similarities are likely to exist. The same goes if you're writing about China, Russia, or anywhere.
So the first step to making your fiction believable and creating believable characters and addressing them from their cultural perspective appropriately.
04 March 2008
Science Fiction: Subgenres (Part Two)
Alright, so we've covered Military SF, First Contact, and Dystopias. What next?
Apocalyptic, Holocaust, and Post-apocalyptic
This is very similar to dystopian novels because many of the same elements do exist. What sets them apart is really a fine line. Basically, they are the same, but "dystopia" applies to a much wider range of similar ideas. For apocalyptic novels there is a heavy focus on, well, apocalyptic things. Super-pandemics wiping out the world, nuclear holocaust, biological warfare, etc. The list goes on. There are also post-apocalyptic, which show the after effects of whatever has gone wrong in teh world. These sorts of stories are actually rather common. You've seen more than enough to be able to rattle off a few.
Examples: 28 Days Later, 28 Weeks Later, Day After Tomorrow, The Core, Parable of the Sower by Octavia Butler.
Cross-genre
Well, let's put it this way, have you ever read a book where it is neither fantasy and neither science fiction? It just doesn't fit into either, but it's certain odd? Think of this genre as one where you can have both things, but it's so hard to decide if it's fantasy or science fiction. You have a spaceship of humans who land on a planet filled with dragons or witches. That's sort of what cross-genre is. It tries to fit in somewhere, but can't because both elements exist!
Examples: The Dragonriders of Pern by Anne McCaffrey
Science Fantasy/future fantasy
This is a rather vague term. It seems like it is talking about cross-genre, but it's not. What science fantasy is is sort like what science fiction used to be like when it really started to blossom. These are stories that look like science fiction but literally break all the rules of physics. We could easily lump all those stories with FTL drives in here, but we won't, cause that wouldn't be fair. Regardless, if a story defies the laws that we know exist and it is clearly trying to be science fiction (i.e. no witches or wizards in spaceships, which would be cross-genre), then it's science fantasy.
Example: Star Wars, All Golden-age Science Fiction (for the most part), and works by Edgar Rice Burroughs.
And that's that for today. If you have any suggestions to stuff into the example categories for any of the subgenres I've thus far listed, leave a comment
Apocalyptic, Holocaust, and Post-apocalypticThis is very similar to dystopian novels because many of the same elements do exist. What sets them apart is really a fine line. Basically, they are the same, but "dystopia" applies to a much wider range of similar ideas. For apocalyptic novels there is a heavy focus on, well, apocalyptic things. Super-pandemics wiping out the world, nuclear holocaust, biological warfare, etc. The list goes on. There are also post-apocalyptic, which show the after effects of whatever has gone wrong in teh world. These sorts of stories are actually rather common. You've seen more than enough to be able to rattle off a few.
Examples: 28 Days Later, 28 Weeks Later, Day After Tomorrow, The Core, Parable of the Sower by Octavia Butler.
Cross-genre
Well, let's put it this way, have you ever read a book where it is neither fantasy and neither science fiction? It just doesn't fit into either, but it's certain odd? Think of this genre as one where you can have both things, but it's so hard to decide if it's fantasy or science fiction. You have a spaceship of humans who land on a planet filled with dragons or witches. That's sort of what cross-genre is. It tries to fit in somewhere, but can't because both elements exist!
Examples: The Dragonriders of Pern by Anne McCaffrey
Science Fantasy/future fantasy
This is a rather vague term. It seems like it is talking about cross-genre, but it's not. What science fantasy is is sort like what science fiction used to be like when it really started to blossom. These are stories that look like science fiction but literally break all the rules of physics. We could easily lump all those stories with FTL drives in here, but we won't, cause that wouldn't be fair. Regardless, if a story defies the laws that we know exist and it is clearly trying to be science fiction (i.e. no witches or wizards in spaceships, which would be cross-genre), then it's science fantasy.
Example: Star Wars, All Golden-age Science Fiction (for the most part), and works by Edgar Rice Burroughs.
And that's that for today. If you have any suggestions to stuff into the example categories for any of the subgenres I've thus far listed, leave a comment
More rules for teens?
According to an author with many teen fans, Dame Jacqueline Wilson, parents need to be stricter when setting down rules for teenagers. It is shocking that an author that incorporates adult content in her young adult novels, believes that "children" shouldn't grow up so fast.
Read Full Article Here.
Read Full Article Here.
29 February 2008
Rowling Annoyed at Twisted Fan-Author Relations
Steven Vander Ark is the manager of a Harry Potter fansite full of fan fiction and essays, as well as lots of information about the Harry Potter Universe. Now, Ark is attempting to publish an unauthorized reference book, "Harry Potter Lexicon."
Rowling has said that she is annoyed that Ark and the publisher, RDR Books, are arguing that Rowling's acceptance of unofficial Harry Potter websites is justifying the creation of the book.
She says, "I find it devastating to contemplate the possibility of such a severe alteration of author-fan relations."
Rowling intends to publish her own Harry Potter encyclopedia, the sales of which could be compromised by the publication of Ark's own lexicon.
Read the full article here.
Rowling has said that she is annoyed that Ark and the publisher, RDR Books, are arguing that Rowling's acceptance of unofficial Harry Potter websites is justifying the creation of the book.
She says, "I find it devastating to contemplate the possibility of such a severe alteration of author-fan relations."
Rowling intends to publish her own Harry Potter encyclopedia, the sales of which could be compromised by the publication of Ark's own lexicon.
Read the full article here.
How to take Critiques
Alright, while I’m looking for more anti-cheese tips, why don’t you guys read over these for a bit…
Azrael Domination’s Ten Tips of the Day. Topic: How to take Critiques.
(Note: this is obviously for writers only)
(Note 2: I might revisit this in the near future)
1) No matter how harsh the critique, always take it in a good way. Never take it personally, even if it does bite.
2) Acknowledge everything the critique is saying – even if they’re doing it out of spite. Remember, the people most expert at pointing out your mistakes are your enemies.
3) With respect to Tip 2, be sure to filter out any useless stuff. Treat harsh critiques like eating fish. Eat the meat…spit out the bones.
4) Then again, if the critique is totally useless, and is not constructive in any way, you have all the right to give that person a piece of your mind. Be sure to do it in a way that doesn’t make you look like a loser. Be witty, calm, and nonchalant.
5) Unless it’s totally unavoidable, or you’re just addicted to it, do NOT critique a critique. Personal opinions are personal opinions, and it’s only going to be a waste of time trying to change them. Why not change your work first, and maybe the next one won’t be so harsh.
6) Remember, there’s safety in a multitude of councilors. Look at what all the critiques you’ve gotten have in common. Most likely, they’ll all contain the suggestions to correct mistakes that everyone has noticed.
7) Don’t blindly obey a critique either. Analyze it and determine whether it’s reliable and worthwhile.
Any questions?
Azrael Domination’s Ten Tips of the Day. Topic: How to take Critiques.
(Note: this is obviously for writers only)
(Note 2: I might revisit this in the near future)
1) No matter how harsh the critique, always take it in a good way. Never take it personally, even if it does bite.
2) Acknowledge everything the critique is saying – even if they’re doing it out of spite. Remember, the people most expert at pointing out your mistakes are your enemies.
3) With respect to Tip 2, be sure to filter out any useless stuff. Treat harsh critiques like eating fish. Eat the meat…spit out the bones.
4) Then again, if the critique is totally useless, and is not constructive in any way, you have all the right to give that person a piece of your mind. Be sure to do it in a way that doesn’t make you look like a loser. Be witty, calm, and nonchalant.
5) Unless it’s totally unavoidable, or you’re just addicted to it, do NOT critique a critique. Personal opinions are personal opinions, and it’s only going to be a waste of time trying to change them. Why not change your work first, and maybe the next one won’t be so harsh.
6) Remember, there’s safety in a multitude of councilors. Look at what all the critiques you’ve gotten have in common. Most likely, they’ll all contain the suggestions to correct mistakes that everyone has noticed.
7) Don’t blindly obey a critique either. Analyze it and determine whether it’s reliable and worthwhile.
Any questions?
27 February 2008
Science Fiction: Subgenres (Part One)
Science fiction is a widespread genre. Everything from aliens to near future to intergalactic human empires, it encompasses just about anything you can imagine that can be explained, in some manner, by science. Magic becomes psionics, fantasy monsters become genetic creations. For this post I'm going to talk about three subgenres of science fiction to give an idea what they are about. Other posts will add to these.
Military Science Fiction
Space + Military + the Future. That's basically it. The great thing about this genre is that you have a huge range of options for dealing with military battles. Interstellar wars are common, wars between humans and aliens, or even humans and humans are just as common. The most important thing about this subgenre is that the military is involved.
Imagine entire campaigns of war and you have an idea what this genre is about. It does, however, extend beyond that. If you look at Battlestar Galactica you'll see that there isn't a whole lot of actual war, at least in the first season, of which I'm familiar with. While there are battles, a lot of the episodes deal with espionage, conspiracy, and other things within the framework of a militaristic society. The military exists to protect the fledgling human civilization and has to deal with problems beyond war.
Examples: Starship Troopers by Robert A. Heinlein, Old Man's War by John Scalzi, Warhammer 40K, and Battlestar Galactica.
First Contact
Any time you read a story or see a movie in which humans meet aliens for the first time, that is a first contact story. That's the basic premise. Humans meeting aliens for the first time. Star Trek does this quite a lot, where Captain Kirk or Captain Picard find new species. That's sort of in the reverse, but you get the basic premise.
Examples: Star Trek, Mission To Mars, and Contact by Carl Sagan.
Dystopia
The infamous dystopia. Okay, it's not infamous, but it is famous. Dystopian novels are probably the most chilling of the science fiction breed because they intentionally draw upon all the darkest things you can possibly imagine about the human condition. Fallen societies, worlds crushed into the stone age, people preying on people for survival, governments ruling their people with violent force, etc.
There are enough movies and books out there to fill this genre to the tipping point. Why? Because it is a most loved genre. All that we hate about ourselves comes out in dystopian novels.
Examples: 1984 by George Orwell, Brave New World by Aldous Huxley, Parable of the Sower by Octavia Butler, V For Vendetta, and A Clockwork Orange by Anthony Burgess.
Military Science Fiction
Space + Military + the Future. That's basically it. The great thing about this genre is that you have a huge range of options for dealing with military battles. Interstellar wars are common, wars between humans and aliens, or even humans and humans are just as common. The most important thing about this subgenre is that the military is involved.
Imagine entire campaigns of war and you have an idea what this genre is about. It does, however, extend beyond that. If you look at Battlestar Galactica you'll see that there isn't a whole lot of actual war, at least in the first season, of which I'm familiar with. While there are battles, a lot of the episodes deal with espionage, conspiracy, and other things within the framework of a militaristic society. The military exists to protect the fledgling human civilization and has to deal with problems beyond war.
Examples: Starship Troopers by Robert A. Heinlein, Old Man's War by John Scalzi, Warhammer 40K, and Battlestar Galactica.
First Contact
Any time you read a story or see a movie in which humans meet aliens for the first time, that is a first contact story. That's the basic premise. Humans meeting aliens for the first time. Star Trek does this quite a lot, where Captain Kirk or Captain Picard find new species. That's sort of in the reverse, but you get the basic premise.
Examples: Star Trek, Mission To Mars, and Contact by Carl Sagan.
Dystopia
The infamous dystopia. Okay, it's not infamous, but it is famous. Dystopian novels are probably the most chilling of the science fiction breed because they intentionally draw upon all the darkest things you can possibly imagine about the human condition. Fallen societies, worlds crushed into the stone age, people preying on people for survival, governments ruling their people with violent force, etc.
There are enough movies and books out there to fill this genre to the tipping point. Why? Because it is a most loved genre. All that we hate about ourselves comes out in dystopian novels.
Examples: 1984 by George Orwell, Brave New World by Aldous Huxley, Parable of the Sower by Octavia Butler, V For Vendetta, and A Clockwork Orange by Anthony Burgess.
26 February 2008
"Poetry Makes Nothing Happen"?
Is it true that "poetry makes nothing happen"?
Excerpt from http://books.guardian.co.uk/
The quotation about poetry making nothing happen is, in fact, half-remembered from the second part of Auden's In Memory of WB Yeats, that goes:
For poetry makes nothing happen: it survives
In the valley of its making where executives
Would never want to tamper; it flows south
From ranches of isolation and the busy griefs,
Raw towns that we believe and die in; it survives,
A way of happening, a mouth.
Read Full Article Here
Excerpt from http://books.guardian.co.uk/
The quotation about poetry making nothing happen is, in fact, half-remembered from the second part of Auden's In Memory of WB Yeats, that goes:
For poetry makes nothing happen: it survives
In the valley of its making where executives
Would never want to tamper; it flows south
From ranches of isolation and the busy griefs,
Raw towns that we believe and die in; it survives,
A way of happening, a mouth.
Read Full Article Here
22 February 2008
An Interesting Character Indeed!
"Oh! You're such a Character!" or how about, "He's a character at heart." I'm sure we've all heard these phrases before; whether it was on a cheesy cartoon or in real life. What's the first thing that comes to your mind when you think of Character? Someone who's funny? Angry? Lively? Well, to me, a character is someone with personality; someone who keeps me interested, you know? Heh...that's my definition at least, but let's see what the real one is...
Character (KARE-ec-ter): A person who is responsible for the thoughts and actions within a story, poem, or other literature. Characters are extremely important because they are the medium through which a reader interacts with a piece of literature. Every character has his or her own personality, which a creative author uses to assist in forming the plot of a story or creating a mood. The different attitudes, mannerisms, and even appearances of characters can greatly influence the other major elements in a literary work, such as theme, setting, and tone. With this understanding of the character, a reader can become more aware of other aspects of literature, such as symbolism, giving the reader a more complete understanding of the work. The character is one of the most important tools available to the author. In the ballad "Edward," for instance, the character himself sets the tone of the ballad within the first stanza. After reading the first few stanzas, one learns that Edward has murdered his father and is very distraught. His attitude changes to disgust and finally to despair when he realizes the consequences he must face for his actions. An example of the attitudes and personalities of characters determining the theme is also seen in the book of Genesis. The proud personality of Cain and the humble personality of Abel help create the conflict for this story. Cain and Abel were brothers, possibly twins, who displayed intense sibling rivalry. God was not pleased with Cain's offerings, but found pleasure in Abel's offerings. Provoked by God's displeasure with him, Cain murdered his own brother out of jealousy
Character (KARE-ec-ter): A person who is responsible for the thoughts and actions within a story, poem, or other literature. Characters are extremely important because they are the medium through which a reader interacts with a piece of literature. Every character has his or her own personality, which a creative author uses to assist in forming the plot of a story or creating a mood. The different attitudes, mannerisms, and even appearances of characters can greatly influence the other major elements in a literary work, such as theme, setting, and tone. With this understanding of the character, a reader can become more aware of other aspects of literature, such as symbolism, giving the reader a more complete understanding of the work. The character is one of the most important tools available to the author. In the ballad "Edward," for instance, the character himself sets the tone of the ballad within the first stanza. After reading the first few stanzas, one learns that Edward has murdered his father and is very distraught. His attitude changes to disgust and finally to despair when he realizes the consequences he must face for his actions. An example of the attitudes and personalities of characters determining the theme is also seen in the book of Genesis. The proud personality of Cain and the humble personality of Abel help create the conflict for this story. Cain and Abel were brothers, possibly twins, who displayed intense sibling rivalry. God was not pleased with Cain's offerings, but found pleasure in Abel's offerings. Provoked by God's displeasure with him, Cain murdered his own brother out of jealousy
19 February 2008
New Line Cinema to Lose Big
[Excerpt from guardian.co.uk]
JRR Tolkien's estate is suing the studio behind the Lord of the Rings trilogy and threatening to block production on the planned prequel, The Hobbit over claims it has not been paid its share of profits from the massively successful fantasy series.
JRR Tolkien's estate is suing the studio behind the Lord of the Rings trilogy and threatening to block production on the planned prequel, The Hobbit over claims it has not been paid its share of profits from the massively successful fantasy series.
Science Fiction: Definition
Defining science fiction is an elusive practice. One can point to thousands of wholly different definitions and never get a full picture of what it means. Regardless, I'm going to see if I can come up with a decent enough definition for such a powerful literary genre.What is it about?
The question should probably be "what isn't it about?" but for this argument we have to understand what makes up this genre. First, to the easy stuff:
- The Future
SF is primarily about the future, or more simply, it is about tomorrow. We can look to a vast majority of SF works and all of them have dealt with the future. When coming to this point, however, we have to note the location of literature in its written history. 1984 by George Orwell was written in 1948, roughly, and dealt with the year 1984, which was then considered to be the future. Obviously that year is long past us, but Orwell's vision is still one of the future. It doesn't matter that the year has past. For the time that it was written it had the future in mind and we have to consider its placement in the literary timeline. - Science/Technology
Well, the word science is in the name of SF, so it's pretty obvious this would be a part of it. The interesting thing about science and technology is that it is a vague point. Star Wars certainly shows a vast array of technological achievements for the semi-fantastical society that exists within the movies, but such technology is likely not rooted in science. SF only requires, for the most part, that science or technology exists. Some stories delve deeper into realistic science, while others skip past that, or ignore it.
Star Wars is science fiction because most people don't watch it and spend the whole time pointing out the logical fallacies in the science. There isn't an expectation of the story to be realistic. One can watch it and forget they are watching something that isn't real.
When you write science fiction you don't have to follow all the rules. Faster-than-light travel is, theoretically speaking, impossible. Einstein ruined that golden nugget of fun for everyone. But you can still write about FTL travel and ignore the rules. We can create wormholes and jumpdrives and warpdrives and not worry about it being completely real. FTL is a device that is, in and of itself, a fantasy, because, so far as we know, mankind will never achieve it. Even wormholes are not proven, and may very well be a fantasy too.
Science fiction, essentially, speculates upon the future, or a future. Star Wars is a possible future of a society that probably doesn't exist. Still, it's a future. Star Trek, for what it's worth, is a possible future of our world and galaxy. Spaceships, however, don't have to be a part of SF. In fact, they aren't even close to a requirement. One could easily have a story about hackers and have it be called science fiction, and in fact this has happened before. 1984 isn't a book about space travel, but about a totalitarian future. There are a million possibilities in SF.
So we have future and science/technology, and some rules about how those are incorporated. How would you define science fiction, then? Here's how I would define it:
Science fiction is a form of literature that deals with the future in some way and includes science or technology. It speculates on what might be, what could be, and what will be.
What do you think? Does that adequately describe it?
12 February 2008
MORE TIPS, LESS CHESSE...
1) Happy scenes that make you puke.
- Please, no unrealistic weather and animal scenes, unless your novel is set in some Teletuby fantasy world
2) To name the attack, or not to name the attack?
- Unless it relates and is absolutely necessary, try not to use 'Dragon' or any other creature in the attack names TOO MUCH. People might think you have a fetish or something...
3) Boot-worthy dialogue
- Slang can get really annoying when overdone. Limit it, or sell the book to a bunch of hill-billies (no offense)
4) Crap fights
- Avoid the Dragonball Z fad when all the characters do is power-up while roaring for three episodes (or in your case, chapters) before making one move. We get it. They're powerful. And they have insanely large lungs.
5) Love scenes that inspire hate
- Go nothin' today. Come back next week
6) When Heroes turn into Half-wits
- When the good-guy takes a bullet and sacrifices himself, try not to draw too much attention on the 'weeping' characters. Yes, show they're sad, for a while. But when you fill several pages of nothing but condolence speeches, you're stepping into Cheese Territory. Be careful if you do.
7) When Antagonists turn into Addle-pates
- Honestly, does the bad guy have to monologue every single time? Well, if they have to, make sure they don't get too dramatic about it, unless you're writing a comedy and you're doing it on purpose, in which case SET THE SETTING UP before you try that
8) What characters shouldn’t do in their sleep
- The 'EWWWW' prize goes to the character who tosses and turns in their sleep before bolting upright and freaking out. Overdone into a crisp. Please.
- Please, no unrealistic weather and animal scenes, unless your novel is set in some Teletuby fantasy world
2) To name the attack, or not to name the attack?
- Unless it relates and is absolutely necessary, try not to use 'Dragon' or any other creature in the attack names TOO MUCH. People might think you have a fetish or something...
3) Boot-worthy dialogue
- Slang can get really annoying when overdone. Limit it, or sell the book to a bunch of hill-billies (no offense)
4) Crap fights
- Avoid the Dragonball Z fad when all the characters do is power-up while roaring for three episodes (or in your case, chapters) before making one move. We get it. They're powerful. And they have insanely large lungs.
5) Love scenes that inspire hate
- Go nothin' today. Come back next week
6) When Heroes turn into Half-wits
- When the good-guy takes a bullet and sacrifices himself, try not to draw too much attention on the 'weeping' characters. Yes, show they're sad, for a while. But when you fill several pages of nothing but condolence speeches, you're stepping into Cheese Territory. Be careful if you do.
7) When Antagonists turn into Addle-pates
- Honestly, does the bad guy have to monologue every single time? Well, if they have to, make sure they don't get too dramatic about it, unless you're writing a comedy and you're doing it on purpose, in which case SET THE SETTING UP before you try that
8) What characters shouldn’t do in their sleep
- The 'EWWWW' prize goes to the character who tosses and turns in their sleep before bolting upright and freaking out. Overdone into a crisp. Please.
The Everchanging Book of Names
This little tool has been mentioned before on YWO, but I think it deserves a good look. This is possibly one of the best tools I've ever come across for writing.
Where can you find it?
Here! Everything you need to know about the program is on that site, including addons, etc.
So, what is EBoN?
The Everchanging Book of Names is a random name generator, only it's better than that. It's a name generator that comes with 'chapters' or alternate languages not only from real life, but from Tolkien's works and various other writers and fantasy worlds.
So what? I've already got a random name generator!
What makes it better than other random name generator is that it isn't entirely random. Yes, the names are generated at random, but depending on the 'chapter' you use you'll get varying result. Why? Because each 'chapter' has its own set of rules that it must follow to produce the names. You'll never see Bob in two different languages unless that name would exist in both languages (so, in the case of Japanese and English, you'd never see Bob in the former).
Additionally, you can actually edit the settings that EBoN uses to determine names. You can affect how many consonants or vowels are used, etc., giving you a huge variety of names in one language set. Most likely you'll not mess with that, but if you wanted to get really trick you could!
What about those addons you talked about?
Well, the great thing about having a product like EBoN available to the public without a lot of security garbage protecting things is that users can make their own 'chapters'. The result is that you can find on the website all sorts of languages that don't initially come with the software. Some users have their own languages that they've uploaded and others have worked out the languages of writers or fantasy worlds like Warhammer or D&D. This means that you could end up with a whole lot of different options to come up with names!
How much is it?
Well, technically it's shareware, but the great thing about the program is that you can still use its amazing features without registering. Here is the downside: you can only generate five names at a time with most 'chapters' (these chapters are 'locked'). But all you have to do to get another five names is reload the 'chapter'. That's it!
However, if you want to pay for the software and use all its features, including the ability to generate 100 names instantly, among other features, then it's a mere $10 USD (or you can pay for it in other currencies too).
So, if you need a good tool to come up with names, this is it! Check it out, give it a try, and you'll see how useful it is!
Where can you find it?
Here! Everything you need to know about the program is on that site, including addons, etc.
So, what is EBoN?
The Everchanging Book of Names is a random name generator, only it's better than that. It's a name generator that comes with 'chapters' or alternate languages not only from real life, but from Tolkien's works and various other writers and fantasy worlds.
So what? I've already got a random name generator!What makes it better than other random name generator is that it isn't entirely random. Yes, the names are generated at random, but depending on the 'chapter' you use you'll get varying result. Why? Because each 'chapter' has its own set of rules that it must follow to produce the names. You'll never see Bob in two different languages unless that name would exist in both languages (so, in the case of Japanese and English, you'd never see Bob in the former).
Additionally, you can actually edit the settings that EBoN uses to determine names. You can affect how many consonants or vowels are used, etc., giving you a huge variety of names in one language set. Most likely you'll not mess with that, but if you wanted to get really trick you could!
What about those addons you talked about?Well, the great thing about having a product like EBoN available to the public without a lot of security garbage protecting things is that users can make their own 'chapters'. The result is that you can find on the website all sorts of languages that don't initially come with the software. Some users have their own languages that they've uploaded and others have worked out the languages of writers or fantasy worlds like Warhammer or D&D. This means that you could end up with a whole lot of different options to come up with names!
How much is it?
Well, technically it's shareware, but the great thing about the program is that you can still use its amazing features without registering. Here is the downside: you can only generate five names at a time with most 'chapters' (these chapters are 'locked'). But all you have to do to get another five names is reload the 'chapter'. That's it!
However, if you want to pay for the software and use all its features, including the ability to generate 100 names instantly, among other features, then it's a mere $10 USD (or you can pay for it in other currencies too).
So, if you need a good tool to come up with names, this is it! Check it out, give it a try, and you'll see how useful it is!
05 February 2008
Beginnings: Episode Three -- First Paragraphs
You can find the first two episodes of this here (on YWO). I've been wanting to finish this series, so here goes episode three. This is going to be somewhat of a refresher on the first two though, as they deal directly with this one.
If you've managed to write your first sentence well, and the first few sentences well, then you're on your way to doing well in general. That might seem like a lot of wells, but this is all true. While your first sentence is the most important sentence in your entire book (beyond the last sentence), and the first few sentences are you more important sentences, the first few paragraphs are your most important paragraphs. Your first sentence establishes the tone and gives the reader the hook. It tells the reader to pay attention, or at least it's supposed to. The sentences that follow that are meant to keep that reader interested. In comes the first few paragraphs.
The first paragraphs of your work not only have to continue to keep the reader interest, but they also have to give the reader insight into the world you'll be working with. If you're in a fantasy world, then here is where you want to make that very clear. I'm not talking about info-dumping. Your first paragraphs are paragraphs that establish completely the general setting, the general tone, and push forward the hook.
Here's an example (from The Hobbit):
Tolkien does, however, establish the setting and the character and the general tone of the work. This is what you have to do in your work. If you don't, your reader will be very unlikely to read beyond that first page. These first paragraphs are crucial. An editor wants to be entertained and to know that you will entertain the audience the editor is going to be dealing with. Remember, editors are picky for a good reason. Their jobs depend on putting out works that are, to put it simply, good. Good starts in the beginning. Attention spans are short, so if you can't entertain from the start, then you'll be out of luck.
So, get to writing those first paragraphs!
If you've managed to write your first sentence well, and the first few sentences well, then you're on your way to doing well in general. That might seem like a lot of wells, but this is all true. While your first sentence is the most important sentence in your entire book (beyond the last sentence), and the first few sentences are you more important sentences, the first few paragraphs are your most important paragraphs. Your first sentence establishes the tone and gives the reader the hook. It tells the reader to pay attention, or at least it's supposed to. The sentences that follow that are meant to keep that reader interested. In comes the first few paragraphs.
The first paragraphs of your work not only have to continue to keep the reader interest, but they also have to give the reader insight into the world you'll be working with. If you're in a fantasy world, then here is where you want to make that very clear. I'm not talking about info-dumping. Your first paragraphs are paragraphs that establish completely the general setting, the general tone, and push forward the hook.
Here's an example (from The Hobbit):
In a hole in the ground there lived a hobbit.There's your hook. What is a hobbit? I don't know (well I do, but let's pretend this is my first time reading it). But now I want to know what a hobbit is and why the heck it lives in a hole in the ground. Then come the next few sentences of your first paragraph:
Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort.Now we know all about that lovely little hole, well mostly. What we still don't know is what a hobbit is. The great thing about Tolkien is his ability to draw you into the story. His weak point is in his writing style, which to modern standards is highly antiquated. But still, here is the second paragraph of The Hobbit:
It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube-shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats--the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill--The Hill, as all the people for many miles round called it--and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, diningrooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the lefthand side (going in), for these were the only ones to have windows, deep-set round windows looking over his garden, and meadows beyond, sloping down to the river.What we've learned here is mostly about the hobbit-hole, which is a problematic paragraph by today's standards. This is what you should avoid--info-dumping. Tolkien was king of it for a reason: he was inventing an entire world from the ground up, with different races, customs, and beliefs.
Tolkien does, however, establish the setting and the character and the general tone of the work. This is what you have to do in your work. If you don't, your reader will be very unlikely to read beyond that first page. These first paragraphs are crucial. An editor wants to be entertained and to know that you will entertain the audience the editor is going to be dealing with. Remember, editors are picky for a good reason. Their jobs depend on putting out works that are, to put it simply, good. Good starts in the beginning. Attention spans are short, so if you can't entertain from the start, then you'll be out of luck.
So, get to writing those first paragraphs!
The Next Batch of Anti-Cheese Tips
(Note...once you have a target audience)
Tips for today concerning....
1) Happy scenes that make you puke.
- Regulate the ‘cheer level’ according to what’s going on, but set a limit. The mermaids singing, elves prancing, fireworks blazing, birds flying, random-slapstick-deus-ex-machina acts of goofiness by foil characters gets sickening after a while. Again, recognizing your target audience helps.
2) To name the attack, or not to name the attack?
- Say it yourself in the tone your character would say it. If it’s English words coined together, try choosing ones that aren’t too much of a mouthful or have a nice ring to it. The same goes for non-English names.
3) Boot-worthy dialogue
- Cheese in dialogue mostly revolves around the ones with lots of emotion and drama in it. Be careful when you have to make an angry/sad/love-struck/jovial character speak. Avoid using hyperboles and painfully-obvious dialogue tags that seem like they’re enhancing the feel of what the character is saying, but aren’t.
4) Crap fights
- About time I got here. Fight scenes can be sickeningly sweet – if you know how to manage them. Inserting too much trash-talking, drama, wannabe-witty catchphrases and heroic actions can ruin a perfect action sequence.
5) Love scenes that inspire hate
- Oh, I’ve got a ton for this topic, but one per day will do. Remember, once you’ve chosen your target audience, make sure you stick to their preference. And, unless they crave the uber-dramatic scenes, I’d avoid dialogue bloated with flowery Shakespearian speech (related to Romeo taking half an hour to tell Juliet ‘hi. You’re pretty.’), sex after a fight (I mean, seriously: overworked and frankly, unrealistic), and the ever so corny ‘Sing to the girl from beneath her window’ scene. And that’s just for starters. However, it is possible to make cheese in romance work out. You’ll just have to set up the mood for it. (Check out the scene in 10 things I hate about you where Heath Ledger sings to his lady-love in front of everyone during soccer practice. It’s mega-corny…but it worked out.)
6) When Heroes turn into Half-wits
- The ‘hero speech’ before some great conflict is a risky thing you do. When used with the proper setting, mood, tone and diction, it could turn to some famous quote one day. If not, it could turn into a mozzarella-infested ramble that will make the fans cringe.
7) When Antagonists turn into Addle-pates
- The laugh has got to go. I mean, again, if you use it properly, it WILL work…but the bad guy that does nothing BUT laugh and trash-talk will get on people’s nerves.
8) Next week, I’ll be adding “What characters shouldn’t do in their sleep…”
Tips for today concerning....
1) Happy scenes that make you puke.
- Regulate the ‘cheer level’ according to what’s going on, but set a limit. The mermaids singing, elves prancing, fireworks blazing, birds flying, random-slapstick-deus-ex-machina acts of goofiness by foil characters gets sickening after a while. Again, recognizing your target audience helps.
2) To name the attack, or not to name the attack?
- Say it yourself in the tone your character would say it. If it’s English words coined together, try choosing ones that aren’t too much of a mouthful or have a nice ring to it. The same goes for non-English names.
3) Boot-worthy dialogue
- Cheese in dialogue mostly revolves around the ones with lots of emotion and drama in it. Be careful when you have to make an angry/sad/love-struck/jovial character speak. Avoid using hyperboles and painfully-obvious dialogue tags that seem like they’re enhancing the feel of what the character is saying, but aren’t.
4) Crap fights
- About time I got here. Fight scenes can be sickeningly sweet – if you know how to manage them. Inserting too much trash-talking, drama, wannabe-witty catchphrases and heroic actions can ruin a perfect action sequence.
5) Love scenes that inspire hate
- Oh, I’ve got a ton for this topic, but one per day will do. Remember, once you’ve chosen your target audience, make sure you stick to their preference. And, unless they crave the uber-dramatic scenes, I’d avoid dialogue bloated with flowery Shakespearian speech (related to Romeo taking half an hour to tell Juliet ‘hi. You’re pretty.’), sex after a fight (I mean, seriously: overworked and frankly, unrealistic), and the ever so corny ‘Sing to the girl from beneath her window’ scene. And that’s just for starters. However, it is possible to make cheese in romance work out. You’ll just have to set up the mood for it. (Check out the scene in 10 things I hate about you where Heath Ledger sings to his lady-love in front of everyone during soccer practice. It’s mega-corny…but it worked out.)
6) When Heroes turn into Half-wits
- The ‘hero speech’ before some great conflict is a risky thing you do. When used with the proper setting, mood, tone and diction, it could turn to some famous quote one day. If not, it could turn into a mozzarella-infested ramble that will make the fans cringe.
7) When Antagonists turn into Addle-pates
- The laugh has got to go. I mean, again, if you use it properly, it WILL work…but the bad guy that does nothing BUT laugh and trash-talk will get on people’s nerves.
8) Next week, I’ll be adding “What characters shouldn’t do in their sleep…”
01 February 2008
Best Sellers, From Cell Phones?
Cellphone novels, believe it or not, are books written on cell phone keypads, typed one tiny key at a time. For the most part, readers have experienced them on those tiny screens as well. Also for the most part, they have been called a category of literature that's even more frowned upon than fan fiction.
Recently, these novels, born on a phone, have started appearing in paperback form. Not only that, but they have become increasingly popular in Japan. At the end of last year, five of the nation's ten best sellers were originally made on a cell phone.
Absurd? Perhaps. A trend that could lower the standards for literature in Japan? Also a maybe. Whatever the future holds for these books, their authors are making the sort of money that would make many conventional authors jealous.
Read the full article.
31 January 2008
"Wasn't That Ironic?"
"To be? Or not to be? That is the question." Can you remember who made these words? YUP! It was Shakespeare. Still, looking at things like this make me wonder if he had a life beyond writing excellent Literature...guess not. I mean, do you wake up every morning and ask yourself that question...I would hope not. Well, with the exception of saying some wierd yet extraordinary phrases, Shakespeare also made some extraordinary plays. Let's take Romeo & Juliet; the two lovers who died due to their rash decisions and Family Conflict. Let's take a short re-cap: After a night of passion and sex, Romeo runs off(He was definitely a "Player") becuase he is exiled from his city. Juliet wants to free herself from her family and find Romeo, so she takes a potion that will make them think she is dead when she is really under a deep sleep.(Good idea girl, your just lucky they didn't throw your dumb ass in the furnace and put your ashes in a jar) Romeo comes back and finds his true love dead in the tomb, so he kills himself (Can you say "Moron!"). Five seconds after he dies, Juliet wakes up and finds her true love dead, so she kills herself (Stupid...). This whole scene at the end of the play is...Dramatically Ironic...
irony (i-RAH-nee): a literary term referring to how a person, situation, statement, or circumstance is not as it would actually seem. Many times it is the exact opposite of what it appears to be. There are many types of irony, the three most common being verbal irony, dramatic irony, and cosmic irony. Verbal irony occurs when either the speaker means something totally different than what he is saying or the audience realizes, because of their knowledge of the particular situation to which the speaker is referring, that the opposite of what a character is saying is true. Verbal irony also occurs when a character says something in jest that, in actuality, is true. In Julius Caesar, Marc Antony’s reference to Brutus being an honorable man is an example of verbal irony. Marc Antony notes all of the good deeds Julius Caesar did for his people while, more than once, he asks the rhetorical question, “Did this in Caesar seem ambitious?” Antony uses this rhetorical question to try to convince his audience that Caesar is not ambitious, presenting Brutus as a dishonorable man because of his claim that Caesar was ambitious. Dramatic irony occurs when facts are not known to the characters in a work of literature but are known by the audience. In The Gospel According to St. John, the Pharisees say of Jesus, “Can any good thing come out of Nazareth?” This is dramatic irony for the reader already knows, according to the author, that Jesus is the Savior of the world and has already done much good for the people by forgiving their sins and healing the sick and oppressed. The Pharisees are too blinded to see what good actually has come out of Nazareth. Cosmic irony suggests that some unknown force brings about dire and dreadful events. Cosmic irony can be seen in Shakespeare’s Othello.
irony (i-RAH-nee): a literary term referring to how a person, situation, statement, or circumstance is not as it would actually seem. Many times it is the exact opposite of what it appears to be. There are many types of irony, the three most common being verbal irony, dramatic irony, and cosmic irony. Verbal irony occurs when either the speaker means something totally different than what he is saying or the audience realizes, because of their knowledge of the particular situation to which the speaker is referring, that the opposite of what a character is saying is true. Verbal irony also occurs when a character says something in jest that, in actuality, is true. In Julius Caesar, Marc Antony’s reference to Brutus being an honorable man is an example of verbal irony. Marc Antony notes all of the good deeds Julius Caesar did for his people while, more than once, he asks the rhetorical question, “Did this in Caesar seem ambitious?” Antony uses this rhetorical question to try to convince his audience that Caesar is not ambitious, presenting Brutus as a dishonorable man because of his claim that Caesar was ambitious. Dramatic irony occurs when facts are not known to the characters in a work of literature but are known by the audience. In The Gospel According to St. John, the Pharisees say of Jesus, “Can any good thing come out of Nazareth?” This is dramatic irony for the reader already knows, according to the author, that Jesus is the Savior of the world and has already done much good for the people by forgiving their sins and healing the sick and oppressed. The Pharisees are too blinded to see what good actually has come out of Nazareth. Cosmic irony suggests that some unknown force brings about dire and dreadful events. Cosmic irony can be seen in Shakespeare’s Othello.
29 January 2008
No longer a difference between YA books and sleazy T.V shows?
A big issue in the literary world has been the recent flood of Young Adult books that seem to have content that is surely aimed at the wrong age group. Although Young Adult books are meant to be aimed at all teens, there’s no doubt that books like the Gossip Girl series by Cecily von Ziegesar are read by preteens as young as 12 years old. Books like the "A-List" and "Clique" series look nice with colorful covers and catchy titles; they even come in nice boxed sets for parents to give their kids as gifts.
What has been causing the news about these kind of novels, are the “mature content” within the pages. Naomi Wolfe expressed her extreme dislike for these books in an article in The New York Times, calling the books "corruption with a cute overlay,”. NBC news also calls these books “dangerous” and says that lately YA books are more “Sex and the City” than “Nancy Drew.” However, not all adults and parents seem to agree that these books aren’t appropriate reads. Pam Spencer Holley of the American Library Association (ALA) supports these books, supposedly she’s "happy to see teen girls reading." Her feeble argument is that "Unless you read stuff that's perhaps not the most literary, you'll never understand what good works are." It seems to me that she is saying teens should read books with no good or decent content just for the sake of reading and realizing that there’s a difference between trash and good literature.
The narration and plot in books like “A-List”, and “Clique” seem to support judging young girls only on a physical and materialistic basis, as the protagonists in the these novels enjoy the seventh grade with their Prada bags. While the majority of complaints seem to be warning the parents of the content, I think it’s the authors who are at fault and the readers. And of course these authors will write more such stories, as a thirteen year-old said “It’s fun to read about people doing that stuff and having sex,” It’s a shame to see literature in such states, and even sadder to see teens yearning a new novel filled with sleazy content.
What has been causing the news about these kind of novels, are the “mature content” within the pages. Naomi Wolfe expressed her extreme dislike for these books in an article in The New York Times, calling the books "corruption with a cute overlay,”. NBC news also calls these books “dangerous” and says that lately YA books are more “Sex and the City” than “Nancy Drew.” However, not all adults and parents seem to agree that these books aren’t appropriate reads. Pam Spencer Holley of the American Library Association (ALA) supports these books, supposedly she’s "happy to see teen girls reading." Her feeble argument is that "Unless you read stuff that's perhaps not the most literary, you'll never understand what good works are." It seems to me that she is saying teens should read books with no good or decent content just for the sake of reading and realizing that there’s a difference between trash and good literature.
The narration and plot in books like “A-List”, and “Clique” seem to support judging young girls only on a physical and materialistic basis, as the protagonists in the these novels enjoy the seventh grade with their Prada bags. While the majority of complaints seem to be warning the parents of the content, I think it’s the authors who are at fault and the readers. And of course these authors will write more such stories, as a thirteen year-old said “It’s fun to read about people doing that stuff and having sex,” It’s a shame to see literature in such states, and even sadder to see teens yearning a new novel filled with sleazy content.
The Save Button Is Your Friend
The title says it is. The save button is a writer's best friend. Perhaps you don't realize that it is the one thing that can save you from a world of irritation. If not, perhaps a little story should help you get a clear picture:
Once upon a time a curious little writer, but the glorious age of twenty-four, was writing a little tale on his magical box of clickity goodness. His tiny fingers pushed down upon the mystical keys, producing the great parchments of his thinking mind. Words flowed like a river: one hundred, two hundred, and then three hundred.
But all was not well in the Kingdom of Writingswall. For there amongst the evil timbers of Hardware lay the Blockernauts, a wicked race of invisible beings bent on the destruction of all creative endeavors. They, in their disgusting ways, were prone to cause problems for the poor people of Writingswall, and it was this day that the Blockernauts had found a new victim. They flew fast through the air and no man or woman could see them. When they reached the writer, seeing his glorious progress on a great novel that would one day be revered for its literary merit, they came up with a wicked plan: overheat the magical box of clickity goodness.
So it was the heat built up, unbeknown to the little writer. Then, as the little writer leaned back ever so slightly to smile at his wondrous progress, the magical box of clickity goodness shut off. The little writer was frantic, pushing buttons, trying to figure out why his poor magical box of clickity goodness had turned off. He looked down at the magical connection to the powers of Writingswall, but all was well and no failure of power was a fault. Then, he managed to get it to turn back on, but when he looked again at his progress, he found it had disappeared, and the great writings of his minutes past were lost, never to be seen again.
The little writer learned a valuable lesson that day: save your work every thirty seconds.
This should be a magical rule for everyone. Laptops overheat, computers lock up, shut off, etc. Every computer has a problem, and it could happen to you. Don't let yourself get in a position like the little writer where your writing is permanently lost. It doesn't matter what type of computer you are on. Something can happen and Murphy's Law says it will happen. Don't get caught with your metaphorical pants down.
Once upon a time a curious little writer, but the glorious age of twenty-four, was writing a little tale on his magical box of clickity goodness. His tiny fingers pushed down upon the mystical keys, producing the great parchments of his thinking mind. Words flowed like a river: one hundred, two hundred, and then three hundred.
But all was not well in the Kingdom of Writingswall. For there amongst the evil timbers of Hardware lay the Blockernauts, a wicked race of invisible beings bent on the destruction of all creative endeavors. They, in their disgusting ways, were prone to cause problems for the poor people of Writingswall, and it was this day that the Blockernauts had found a new victim. They flew fast through the air and no man or woman could see them. When they reached the writer, seeing his glorious progress on a great novel that would one day be revered for its literary merit, they came up with a wicked plan: overheat the magical box of clickity goodness.
So it was the heat built up, unbeknown to the little writer. Then, as the little writer leaned back ever so slightly to smile at his wondrous progress, the magical box of clickity goodness shut off. The little writer was frantic, pushing buttons, trying to figure out why his poor magical box of clickity goodness had turned off. He looked down at the magical connection to the powers of Writingswall, but all was well and no failure of power was a fault. Then, he managed to get it to turn back on, but when he looked again at his progress, he found it had disappeared, and the great writings of his minutes past were lost, never to be seen again.
The little writer learned a valuable lesson that day: save your work every thirty seconds.
This should be a magical rule for everyone. Laptops overheat, computers lock up, shut off, etc. Every computer has a problem, and it could happen to you. Don't let yourself get in a position like the little writer where your writing is permanently lost. It doesn't matter what type of computer you are on. Something can happen and Murphy's Law says it will happen. Don't get caught with your metaphorical pants down.
26 January 2008
Azrael Domination’s guide to: NOT WRITING CHEESE
(Disclaimer: Cheesy (or corny, sappy, flowery, melodramatic, pretentious, try-hard) work may vary with the reader. A ten-year-old might enjoy the attack names screamed out by characters as they fight in a graphic novel. An older teen may not. Boys (might) cringe at one of those soap opera-style love scenes, but his mom might be moved to tears. A hero taking a bullet for a loved one could be powerful to one audience, while another says “what an idiot.” It all depends on your target audience. If someone else other than whom you originally had in mind comes along and reads your work, and disses it for being too cheesy in THEIR opinion, acknowledge their opinion graciously, and then take it with a grain of salt.
Also, comments would be useful for this blog to progress.)
Tips (I’ll be posting new tips under each heading every so-often)...
1) Happy scenes that make you puke.
2) To name the attack, or not to name the attack?
3) Boot-worthy dialogue
4) Crap fights
5) Love scenes that inspire hate
6) When Heroes turn into Half-wits
7) When Antagonists turn into Addle-pates
8) (More to come)
Also, comments would be useful for this blog to progress.)
Tips (I’ll be posting new tips under each heading every so-often)...
1) Happy scenes that make you puke.
2) To name the attack, or not to name the attack?
3) Boot-worthy dialogue
4) Crap fights
5) Love scenes that inspire hate
6) When Heroes turn into Half-wits
7) When Antagonists turn into Addle-pates
8) (More to come)
21 January 2008
Who's the bad guy?
Hey! Hey! Hey! What's up everybody? This is your lovely, Literary man, Zaphkiel speaking, and I've got the first Literary word for the week! However, before we get to that, let's talk about something that relates to our word. So, how many of you have heard of The Joker? You know, that crazy villain from Batman that will put a smile on your face whether you like it or not. He really got on Batman's nerves, didn't he? I mean, always escaping from prison and causing terror in Gotham City. You'd think after so many villains escaped from jail somebody would have enough sense to say: "Hey, maybe we should stop walking so close the cells. That way, the prisoner won't trick us, knock us out, or do any other harmful things that will allow them to get our keys." SORRY, NOT GONNA HAPPEN! You know why? It's because if those guards did wise up and learn how to defend themselves, from The Joker's slyness, Poison Ivy's sex appeal, or the Riddler's tricks, then Batman would have no one to fight, which leads to no conflict/problems. Of course, not all books need to have a bad guy, in fact, there are a lot of famous books that don't have one, like Leo Tolstoy's Anna Karenina. So can you guess what our literary term is? TIME'S UP!
Antagonist (an-TAG-uh-nist): a character in a story or poem who deceives, frustrates, or works against the main character, or protagonist, in some way. The antagonist doesn’t necessarily have to be a person. It could be death, the devil, an illness, or any challenge that prevents the main character from living “happily ever after." In fact, the antagonist could be a character of virtue in a literary work where the protagonist represents evil. An antagonist in the story of Genesis is the serpent. He convinces Eve to disobey God, setting off a chain of events that leads to Adam and Eve being banished from paradise. In the play Othello by William Shakespeare, the antagonist is Iago. Throughout the play, he instigates conflicts and sows distrust among the main characters, Othello and Desdemona, two lovers who have risked their livelihood in order to elope. Iago is determined to break up their marriage due to his suspicions that Othello has taken certain liberties with his wife. See Benet’s Reader’s Encyclopedia. Victoria Henderson, Student, University of North Carolina at Pembroke
Antagonist (an-TAG-uh-nist): a character in a story or poem who deceives, frustrates, or works against the main character, or protagonist, in some way. The antagonist doesn’t necessarily have to be a person. It could be death, the devil, an illness, or any challenge that prevents the main character from living “happily ever after." In fact, the antagonist could be a character of virtue in a literary work where the protagonist represents evil. An antagonist in the story of Genesis is the serpent. He convinces Eve to disobey God, setting off a chain of events that leads to Adam and Eve being banished from paradise. In the play Othello by William Shakespeare, the antagonist is Iago. Throughout the play, he instigates conflicts and sows distrust among the main characters, Othello and Desdemona, two lovers who have risked their livelihood in order to elope. Iago is determined to break up their marriage due to his suspicions that Othello has taken certain liberties with his wife. See Benet’s Reader’s Encyclopedia. Victoria Henderson, Student, University of North Carolina at Pembroke
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