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Sep 1 2011

Books Read in August

1. Wastelands: Stories of the Apocalypse, edited by John Joseph Adams
2. Blindness, by Jose Saramago
3. Behemoth, by Scott Westerfeld
4. Speak, by Laurie Halse Anderson
5. Boy Meets Boy (audio book), by David Levithan
6. 101 Best Scenes Ever Written: A Romp Through Literature for Writers and Readers, by Barnaby Conrad
7. The Door to Lost Pages, by Claude Lalumiere
8. You’re Not Fooling Anyone When You Take Your Laptop to a Coffee Shop: Scalzi on Writing, by John Scalzi
9. Castle in the Air (audio book), by Diana Wynne Jones
10. Ceremony for the Choking Ghost (poetry), by Karen Finneyfrock

Read the reviews on my livejournal.

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Aug 30 2011

The end is not nigh

In “The death of books has been greatly exagerated,” Lloyd Shepherd looks at the anecdotal evidence many publishing doomsayers present and notes that it’s not as bad as it seems.

What does all this data add up to? Hardly an industry in its death throes, so one must ask why there are so many long faces about the place. Let’s not be naive. These are times of massive change, and change is never, ever comfortable. The retail sector worries publishers and authors alike; in the past year, publishers have lost Woolworth, Borders and British Bookshops as sales channels and, as Kate Pool from the Society of Authors says: “The increasing dominance of Amazon (as retailer, increasingly as publisher, as owner of the Kindle, etc) is potentially very worrying.”This, combined with the emergence of digital technology, creates enormous uncertainty. It’s a fact that the transition to digital devices will mean greater efficiencies and more focus on cost and, overall, a rather less generouspublishing industry than before; a rather colder-hearted, fiercer one. The old world is fading, the new world isn’t yet in focus. When newspapers and music faced this moment, there was a significant tendency to become hugely angry that the old world in which we were all so comfortable was being “swept away”. It’s almost impossible for someone who has spent decades working in a calm, creative environment not to be enraged by the sight of American technology companies tipping everything
on its head.

But let’s not overdo things. Let’s not lose sight of the data we have, and let’s not invent data when we only have anecdotes. And finally, let’s not forget the wonders this new world opens up.

It’s an interesting and reassuring read.

[Cross-posted to my livejournal.]
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Aug 18 2011

just because it’s done, doesn’t mean it’s done

Current Project: The Witch of the Little Wood
New Words: 5,254 new words over three days, which was brought down to 3,614 words after editing
Current Total Word Count: 17,304!
Goal: Complete the story (this short story is definitely a novlette).

Random Rough Sentence(s): Devan’s body felt like it was made of lead, so heavy that she couldn’t move, so heavy that she was sinking into the couch, sinking past the cushions, snapping springs and cracking the wood frame.

Notes: I’m calling this draft of the story done, completed, in its entirety — more or less. When initially outlining the story, I had planned on ending it on another scene. However, when it came to writing that scene, it felt far too much like an epilogue or the start of a new story, so I left it alone.

I think my ending scene works, but I’m not in love with it.

At this point, I’m going to put it aside and work on something else. In a few weeks (probably after I get back from Australia), I’ll look at the whole beast and assess how everything fits together, whether the scene breaks work, and if the past/present jumps are cohesive. Right now, I’m feeling that it doesn’t, that it’s missing something vital, and that the resolution isn’t strong enough. I tend trust my gut in writing, though I have to be careful and not confuse “gut” with “anxiety” or “fear of failure”. I’m pretty sure that my gut is guiding me true, though, and that the story does need work. I want to try to submit to magazines as a short story, so that will probably mean trimming it a bit, too.

While I’m letting that simmer, I’ll be throwing together a retelling of Cinderella in short-short story format, as well as doing some outlining for the Untitled Werewolf Novel, which I’m planning to launch into.

[Cross-posted to my livejournal.]
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Aug 11 2011

Blindness, by Jose Saramago (translated by Giovanni Pontiero)

A man stopped at a traffic light, waiting for the light to turn, suddenly goes blind, a white blindness, like you’re viewing the world in a fog so great it obliterates all the world from view. He stumbles out of the car, calling out, I can’t see, I can’t see. A man takes him home. His wife takes him to the eye doctor.

Shortly after coming into contact with him, all of these people go blind as well, following by all of the people they come into contact with. An epidemic of blindness spreads through the city. The government in an immediate and swift effort to quell the spread, take all the people who are blind and all the people who have come in contact with them an lock them into quarantine, a sanatorium without doctors or anyone to aid them.

In order to stay with her husband, the doctor’s wife claims that she is blind too, in order to join her husband in quarantine. She is certain that her time to be blind will come, but in the meantime, she is the only person with vision in a ward of the blind, the only true witness to the horrors that all the detainees experience.

The first thing you will notice about this book is that there are no names. In a world of the blind, Saramago asserts, identity is eliminated. The characters in this book are known only as the man, the doctor, the woman with dark glasses, the boy with a quint, etc. Unable to see each other and recognize each other, names have no meaning.

Likewise, and to assert this point, dialog is not separated out into separate paragraphs. Whole strings of conversation flow into one another within a single paragraph. To give you a sense of what I mean, here’s a string of dialogue:

“What does reading do, You can learn almost everything from reading, But I read too, So you must know something, Now I’m not so sure, You’ll have to read differently then, How, The same method doesn’t work for everyone, each person has to invent his or her own, whichever suits them best, some people spend their entire lives reading but never get beyond reading the words on the page, they don’t understand that the words are merely stepping stones placed across a fast-flowing river, and the reason they’re there is so that we can reach the farther shore, it’s the other side that matters, Unless, Unless what, Unless those rivers don’t have just two shores but many, unless each reader is his or her own shore, and that shore is the only shore worth reaching.”

What you get are dense blocks of text, paragraphs that occasionally go on for several pages. Surprisingly, this did not throw me. Saramago is a skillful writer, and I was soon able to pick up the pattern of his writing and make sense of where the dialog began and ended. I wasn’t confused and the reading was easy, despite the thick chunks of text. Descriptions, scenes, dialog, and musings tumble one into the next, just as in life one day’s emotional and physical events and toils tumble into each other. The story maintains clarity and carries you along as though you are merely on a boat at the mercy of the flow of the river.

Saramago’s writing is philosophical, pondering, and beautiful, even as he is describing the horrifying events that occur. He manages to bring out the humanity in his characters even as he asserts that this mass epidemic of blindness eliminates the humanity of the population, which suddenly unable to care for itself is starving and desperate to survive.

Blindness is a beautiful book, one I would love to read again some time as I’m sure I would take something new away from it the second time around.

As a side note, a movie was adapted from the book, staring Julianne Moore. The movie is a fair adaptation and a good movie, though clearly it lacks the philosophical depth of the book.

[Cross-posted to my livejournal.]
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Aug 9 2011

Showing Intimacy between Characters

Two Weeks Notice is an average romantic comedy in which Sandra Bullock plays a lawyer Lucy (a brilliant tofu-eating liberal) who agrees to work for George, a lazy, self-indulgent playboy, played by Hugh Grant at his corporation. After working for him for several months, she becomes so annoyed with being more like his personal nanny than his lawyer that she tries to quit.

As I said, the movie is average. Both leads are funny and charming and they play well enough off of each other to keep things entertaining. (The movie also has one of my favorite movie lines, when Lucy declares that she’s going to quit. George says he’s become addicted to her opinion and needs to know what she thinks. He holds up a pair of cuff links and asks, “What do you think?” She replies, “George, I think you’re the most selfish person in the entire world.” He replies, “Well, that’s just silly. Have you met everyone in the entire world?” Classic.) However, I never can’t quite buy their relationship fully. I know opposites attract is the point of many romantic comedies, but sometimes the connection isn’t always there.

But that’s not the point of my post.

While Two Weeks Notice is far from a perfect romantic comedy, it does have one scene that perfectly shows intimacy between the two characters. I don’t mean sexual intimacy. I mean the kind of intimacy that comes about when two (or more) people spend so much time together that they come to be very comfortable in each other’s presence.

At one point in Two Weeks Notice, about a third of the way through, Lucy and George sit down to an otherwise uneventful business lunch together. The conversation between the two of them is unmemorable, the same kind of “this meeting is when” conversation that anyone would have. What’s important is what they do while they are talking.

The waiter brings over their plates of salad — they both have the same thing — and without hesitation Lucy reaches over and takes the crispy noodles off of George’s salad. Once she’s done, George reaches over and takes the beets off of Lucy’s salad. Just like that.

I would never take food off of my boss’s plate without asking. I wouldn’t even take food off of a good friend’s plate without asking, and even then I would feel shy and embarrassed just by asking. But with my brothers and sisters, whom I’ve known just about all my life on the other hand, I would have no problem reaching over to take something off their plate.

Having Lucy and George share their food in such a manner makes it instantly clear that these two people know each other very, very well. So well that they are completely comfortable around each other and in their interactions.

When my friend, Jordan Dobbs Rosa and I were working on the script for Firecracker together (he plays the firecracker salesman, btw), he came up with the idea of having our MC reach over, take her boyfriend’s sunglasses off of his face, and put them on herself. “It’s that kind of gross intimacy,” Jordan said. “It’s when you know two people have been together too long.”

I don’t know about gross (sometimes I think it’s cute), but it definitely shows that two people have known each other a long time. That bubble of “this is my space / this is your space” is broken and becomes closer to “this is our space” or at least “this is communal space.”

It helps to remember this kind of thing when writing stories in which you have characters who know each other well. These little seemingly insignificant actions are excellent ways to show that they are comfortable with each other without saying so.

What are some movies or books you’ve seen that show this kind of comfortable intimacy well? How have you approached showing intimacy in your own stories?

[Cross-posted to my livejournal.]
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