Showing posts with label Harry Potter. Show all posts
Showing posts with label Harry Potter. Show all posts

Saturday, July 25, 2020

Book Review: "Fantastic Schools Vol. 1"

Chris Nuttall is not only a prolific writer, but he appears to be getting into the production side as well. Here's my review of his newest project, the collection Fantastic Schools Vol. 1 that he edited in addition to contributing a story.


The Plot

Most people are probably aware of the Harry Potter series that takes place at the magical boarding school Hogwarts, but the "magical boarding school" genre is actually much older. Chris and several other authors have written stories of their own set in these types of environments--Chris himself has a lengthy series entitled Schooled In Magic--and this volume collects fourteen of these magical tales into a book of respectable length.

The Good

*The collection is pretty long for an anthology--the Kindle version has 500-odd pages, as does the paperback. You're definitely getting a lot for your money with this one.

*The collection ends with "Gennady's Tale" by Chris himself. I haven't read any of his Schooled In Magic series, but I know enough that this is one of the villains' Start of Darkness. This story starts out with him as a crippled boy treated horrendously by the superstitious ignorant villagers he grew up among. And though magical school brings many improvements to his life, it also brings more bullies. His need to be respected, his need to be powerful, is understandable under such circumstances, but how he goes about trying to get these leads down a very dark road. This story serves as a warning to those whose bad circumstances might tempt them to envy, resentment, and spitefulness. 1 Corinthians 10:12 comes to mind--everybody who thinks they're standing should take heed lest they fall. You can see the train wreck coming, the temptation he falls to, but it's relentless. Our hero definitely has an arc, but it's a very bad one. Definitely well-done, and rather sad.

*One of the other top stories in the collection is "The Last Academy" by G. Scott Huggins,  a parody of Harry Potter with a dash of Lovecraft. The Chosen One has defected to the Dark Lord and the only bastion of wizarding society not under his control is a school for magical misfits meant more for containment than teaching them how to function in society. I enjoyed the evil counterparts to the HP Golden Trio (Harry, Ron, and Hermione), especially evil Hermione, and there's a good joke in there about the misuses of the Invisibility Cloak. Not going to go into any more detail for reasons of spoilers.

*Another story I really liked is "How To Get Into A Magic School" by Erin N.H. Furby. Not only do they touch on some deeper topics like high-stakes testing and apply the whole "hidden magical world" to an American setting rather than Harry Potter's British one, but it made me care about the characters and the choices they make. It also touches on Native American mythology in some interesting ways.

*Another story with well-developed characters that makes me care about them is "Metamorphosis" by Roger D. Strahan. Although some of the stories set in pre-existing worlds didn't stand on their own--more on that later--this one followed a completely new character and made the protagonist of his novel The Witch of New Orleans a side character. That seems like a good technique for writing short works in an established fictional universe and it's something to keep in mind.

*I also liked the opening story "Little Witches" by Mel Lee Newmin. It takes a lighthearted approach to a fairly heavy topic--sexism among British wizarding schools in the Victorian era, with the girls' school getting the short shrift on funding. It doesn't appear to be set in a broader fictional universe based on my googling the author's name and checking out their Amazon page. That's helpful because there's no need to be more familiar with a broader fictional universe to understand it, which was an issue with some other stories in the collection.

*Another interesting one is essentially a LitRPG story featuring a Christian seminary student from our world who ends up as a wizard in a Dungeons and Dragons style fantasy. Who knew that knowing Koine Greek could be so helpful? :)

The Bad

*Some of the stories are set in the authors' pre-existing fictional universes and don't really stand well on their own.

*In "Gennady's Tale," a couple characters' actions seem rather out of character and severe and happen far too quickly. It seems like they're there for plot purposes rather than happening organically due to the characters.

*Unfortunately "Metamorphosis," despite being one of the best stories in the collection, begins with what appear to be formatting problems. The paragraphs aren't indented, nor do they have spaces between the paragraphs. The rest of the story looks normal, so I assume this is an error rather than an artistic choice.

*The shadow of Harry Potter hangs heavily on the stories. Although some hang a lampshade on that and even poke fun at the Potterverse, one story does have something that looks to me like the author was copying the Sorting process.

*One of the stories has an absolutely unsympathetic, two-dimensionally evil Complete Monster lead whose capabilities and actions reach Villain Sue territory. The story would have been much better if the reader were able to sympathize with them at all.

The Verdict

Definitely a good concept and with some very good stories in it. Some weaknesses though. 8.5 out of 10.

Sunday, October 6, 2019

My Next Convention: MultiverseCon (Plus Panels I Wish I Could Attend)

In my admittedly limited experience as an author, I make more money from going to events and signing books than from royalties, much like how musicians make more money from going on tours and concerts than from selling records. Consequently, I go to a lot of events--this past year's adventures included the Decatur Book Festival, Hypericon in Murfreesboro (where I was a panelist), various bookstore appearances, a gun show, and the new Next Chapter Con in Ringgold where I sold a bunch of books and definitely plan to come back.

At most book events I have two books to sell, The Thing in the Woods and The Best of Heroic Fantasy Quarterly Vol. 2, which contains my short Viking monster story "Nicor." In November I will have a new book coming out, Little People, Big Guns from Deadite Press, but there's one more big fandom convention in Atlanta between now and then and that's MultiverseCon. It seems to be a relatively new event at the Hilton Atlanta Airport 10/18-20 and not only was the author table price relatively cheap but it's pretty close to my day job, so off I'm going.

Not only will there probably be a lot of vendors at the event (the vendors are sold out this year), but MultiverseCon's schedule shows a lot of really interesting panels. Given my table responsibilities I would only be able to attend the ones after the dealers' room closes, but here are some I find particularly interesting:

Friday, 10/18

Where Horror Lives (2:30 PM)-As a teen and then an adult there's not a lot in horror movies or books that really scares me, although there is stuff I do find really depressing (the unnecessarily bleak ending of the film The Mist that I have no interest in seeing comes to mind). I think the only time I've ever gotten straight-up nightmares from something was James Tuck's (as Levi Black's) first Mythos War novel Red Right Hand and my own short story "I am the Wendigo," and that's having been interested in the scary stuff since preschool (I wasn't allowed to see Arachnophobia and Gremlins 2, which was for the best). So looking for ways to crank up the fear would be a wise use of time.

Flash Your Fiction: How Short Can You Go? (5:30 PM)-I've heard that flash is hard to write but easy to sell and my first paying sale, "I am the Wendigo," isn't that much longer than flash. This might help me churn out salable material in a relatively short time.

Meetup: Podcasters and YouTubers (5:30 PM)-I'm a regular on the podcast Myopia: Defend Your Childhood and an occasional contributor to The Geekly Oddcast. I've also considered starting my own YouTube channel as an additional income stream and as an additional marketing mechanism. I've also appeared on podcasts to promote my work and have promotional appearances lined up for Little People, Big Guns, so this would be a good place to network too.

Pub Pitch (10 PM)-Various writers help each other refine their elevator pitches.

The Virtue of Villains (10 PM)-The villains that inspire the most discussion (and thus money-generating word of mouth) are often at least some degree sympathetic. A lot of people sympathized with Killmonger from Black Panther for example, while I've repeatedly defended Magneto from The X-Men and been very critical of his unnecessarily-evil portrayal ("Kill all humans") in the second X-Men film. I've worked hard to make the Big Bad Grendel and his son and heir Falki in my upcoming "Dark Tower meets Game of Thrones" novel Battle for the Wastelands deeper and more developed characters with understandable and even sympathetic motivations, even when they do really bad things like execute people trying to surrender, keeping defeated enemies' teen daughters as concubines, etc. This panel is noted for featuring Falstaff Books overlord John G. Hartness, whom I've met at DragonCon several times.

Saturday, 10/19

Beyond Ghosts and Goblins (10 AM)-Creating new and innovative monsters, especially ones that tap into current fears.

From Smaller to Baller: What Technological Advances Can Help Build Galactic Empires? (10 AM)-How to conquer defended planets, build interstellar polities, etc. This could be really helpful for my Federated Worlds universe, which features interstellar warfare and governance.

Publishing Q&A (10 AM)-Also featuring Mr. Hartness and writer Terry Maggert, whom I met at Hypericon over the summer.

Girls Rule (11:30 AM)-Female writers on how to write female characters. This could be useful for improving my personal writing.

Beyond Vampires and Werewolves (11:30 AM)-This is like the earlier "Ghosts and Goblins" panel, but with a focus on urban fantasy rather than horror. I don't think I've written a lot of (if any) UF, but I have written across many genres and what's one more? The more varied one's product, the more successful one is.

Teaching Speculative Elements (11:30 AM)-As you might've seen on Twitter, my day job is a high school teacher. This is something that could help me improve in that area.

Beyond the European Paradigm: Creating Fantasy Worlds for your TTRPG that Aren't Anglo-Saxon (1 PM)-I'm not a gamer, but this could be a good place to learn some interesting world-building elements.

Social Media For Writers (1 PM)-Social media is a pretty big time sink and I need to learn how to use it more effectively.

Sunday, 10/20

Let's Do the Mash! The Genre Mash! (10 AM)-As the panel write-up points out, mixing sci-fi and horror created the wonder that was the Alien franchise and I explicitly describe Battle for the Wastelands as "Dark Tower (Weird Western) meets Game of Thrones (deliberately subversive high fantasy)." I've also supported the idea that horror is an aesthetic more than it's own genre--Alien, Terminator, and the works of Lovecraft are sci-fi, Hellraiser is fantasy, etc.

ASK ME ANYTHING: How to Get Into Working on Licensed Properties (11:30 AM)-I've written for the BattleTech fictional universe before with my short story "Skirmish at the Vale's Edge," but that was a very long time ago. Scoring a gig in an established property like Star Wars or V-Wars like Delilah S. Dawson and James Tuck (whom I knew when we all lived in the general Atlanta area) would be awesome.

Craft of Writing: Characterization (11:30 AM)-Although I've gotten better at it, I remember writing-group critiques of "make us care about them before you kill them" and this would be a big help.

The Many-Faced God: Unraveling Sub-Genres in Fantasy (11:30 AM)-Lots of potential market research here.

Advanced Craft: Characterization: Writing the Anti-Hero(ine) (1 PM)-This ties in with my desire to improve my characterization--flawed heroes and sympathetic villains are more interesting characters. Some of my favorite fictional characters (Magneto, Snape) would fit in this category. Hell, in my Harry Potter fan-fic "Lord of the Werewolves" I took the kindly Remus Lupin of all people in this direction.

Pushing the Envelope: Religion, Politics, and More in Horror Fiction (1 PM)-Although I don't buy the adage that "all art is political," a lot of time the arts are more political than you think. Hell, my novel The Thing in the Woods deals with "retro vs. metro," religion, racial and class prejudice, etc. I've even written an article about it. And Little People, Big Guns deals with religion, disability, etc. These days when there's an increased awareness of that sort of thing, this could be useful.

Unless the vendor's room is truly dead I'm not likely to abandon my post to check these out, but the rest of you might find this interesting. So if you're in the Atlanta area 10/18-10/20 or are able to come down for the weekend, definitely check out MultiverseCon.

Friday, December 22, 2017

Music Inspired By Other Faiths I Enjoy

As most of you know, I am a Christian. I'm a member of the Presbyterian Church (USA), although given the theological liberalism of much of the PC-USA, ECO is looking more and more interesting. However, that doesn't mean I don't enjoy listening to music inspired by other faiths. Here are some examples:



Given how this is based on Miriam's "Song of the Sea" from the Book of Exodus and Christianity has no validity except as the successor of Judaism, this isn't really "another faith" per se. It's still in Hebrew--"mi chomocha" means "who is like you, Lord?" according to a Jewish friend. The artist is Debbie Friedman, who seems like the Jewish equivalent of a contemporary Christian artist.



This one invokes the Horned God of Wicca, the lord of the hunt, and this one is actually a bit raunchy. The notion of the gods coming down and having their way with mortals is alien to the Abrahamic tradition (before anyone starts, the conception of Jesus was a non-sexual supernatural act--we don't worship Zeus here), but many polytheistic cultures have plenty of demigods. One wonders what it's like to be part of a religious tradition where getting knocked up by a god is a distinct possibility. This song is by S.J. Tucker, who has liked some of my comments on Twitter.



The Norse story of Ragnarok has always been interesting to me, especially since I read the story of Thor and his Mutual Kill with the serpent Jormundgand in James Byron Huggins' novel Leviathan. A pity iTunes doesn't have this, because I'd love to buy it. For the record, this is a Sabaton cover of a song by Amon Amarth, but since Sabaton actually enunciates, it sounds a lot better. There are Christian songs celebrating Jesus's return like Nicole Sponberg's "Hallelujah" or the various versions of "Days of Elijah," so a song celebrating Thor's self-sacrifice in destroying a monstrous world-devouring snake would work too.



This is about ritual magic I think, and given the reference to "so mote it be," perhaps it refers to Wicca. In S.M. Stirling's The Protector's War (I think), a Wiccan priestess thinks to herself "I will have him. So mote be it" or something to that effect upon meeting the man who will eventually become her husband. This is also by S.J. Tucker. Let the record state that the Bible condemns all forms of occultism, not just "black magic," so listen to the song if you wish but don't go doing what's described.

(Also let the record state that the magic in Harry Potter isn't the type of magic the Bible condemns with the exception of divination, which is generally depicted as fraudulent.)



This one is by Manowar. If I were an Asatruar (a practitioner of the Norse religion), I'd be interested in licensing "Loki God of Fire" for religious purposes. It gets the character of Loki right--in most of the Norse myths, he was a trickster but was still a friend of the gods. I suspect the influence of Christianity made him into a more overtly demonic entity, although I'm not sure. Evidence for the worship of Loki in ancient times is scant but it's not nonexistent, but there are some modern Asatruar who worship him. Given my propensity for shocking people, I could imagine going for Loki-ism as a means of seeking attention. :)



Sometimes it's hard to understand what exactly they're saying, but they're invoking the names of various mythological goddesses like Astarte (Semitic), Inanna (Mesopotamian), Kali (Hinduism), Isis (Egyptian), Hecate (Greek), Demeter (Greek), and Diana (Roman). It's my understanding that Wiccans believe that all the gods are aspects of the Horned God and all goddesses are aspects of the Goddess (in one of S.M. Stirling's books the Hebrew God is referred to as the "jealous" aspect), which would allow for deities to be invoked willy-nilly despite being members of different pantheons.

Although I've got a friend who really loves Muslim nasheeds (which might have contributed to his conversion to Sufism), I haven't got any here. I've never listened to them. Perhaps I'll check them out.

Many of these songs are produced by actual musicians. If these are songs you're interested in listening to, I would recommend you purchase them on iTunes. Even though I found most of these on YouTube, I ultimately purchased them so the artist could be paid for their work.

Monday, August 1, 2016

The Geekly Oddcast Is Here!

There's a new film and culture podcast out there in the world. It's called The Geekly Oddcast and was put on by the good people from The Brothers Herman and The Dudeletter. The first episode, dedicated to the subject of spoilers, premiered on Podbean a few days ago and further episodes will appear every two weeks. This episode features Daniel from The Corner Critic, a Myopia regular, as well as Myopia: Defend Your Childhood and Dudeletter overlord Nick and the merry Hermans.

The podcast is dedicated to "geeky" topics (hence the name). I'm in three episodes that I can think of--one dedicated to Star Wars, one to Harry Potter, and a third to the realities of working as an Internet writer. The first two have companion blog posts I've already written that will appear here once the podcast goes up.

So enjoy!

Tuesday, December 15, 2015

THREE Cool Sci-Fi and Fantasy Movie Trailers For You!

A couple more cool trailers for movies I'd like to see have graced my laptop in recent days.

Here's the first one, the science fiction/alien invasion saga Independence Day: Resurgence. For anybody who hasn't been hiding under a rock for the last twenty years, that's the sequel to Independence Day.



Looks pretty cool. When I first saw the trailer I was wondering why there was another attack on Earth itself. One would think the aliens would have learned not to descend into a gravity well to battle the natives, while we would want to engage them as far away as possible. I was hoping for human-made City Destroyers to duke it out with alien City Destroyers in deep space.

Well, this website chronicling "The War of 1996" kind of explains that. There are bases on Mars and Saturn's moon Rhea, so either the alien attackers bypassed them (not hard given how planets orbit) or blasted through them. And now the battle has come to Earth itself, to the older survivors of the war (including a crazy-seeming ex-president) and new heroes...

And here's something that came out Monday, Star Trek Beyond.



If I remember right, the Enterprise leaves on "the five-year mission" to explore uncharted space at the end of Star Trek Into Darkness. So it seems that, not long into the mission, the Enterprise is wrecked by hostile aliens and its crew stranded. Furthermore, they're in the hands of hostile aliens intent on "push[ing] back" against the Federation itself.

I'm wondering how Kirk and friends get out of this pickle. And I also like McCoy's "isn't this just typical" line. :)

Finally, there's this Harry Potter spin-off, the film adaptation of Fantastic Beasts and Where To Find Them.



Author J.K. Rowling created a fantasy world that's so huge that there's plenty of room for more stories other than those about Harry and his friends. The fan-fic covering the Marauder Era (when Harry's parents were in school), the next generation, etc. shows that.

But all of that is in Great Britain. Here we get to see what the American wizarding community is like. There's not much here, but it looks nice.

Saturday, September 26, 2015

A Marcus Rediker Take On PIRATES OF THE CARIBBEAN

Awhile back I remember a critique of the third Pirates of the Caribbean film that takes issue with, among other things, the depiction of pirates as some kind of quasi-ethnicity being mass-murdered by the East India Company. In particular, the reviewer objected to the sequence where a bunch of pirates, including a child, get hanged and it's depicted as a bad thing. After all, pirates are basically sea robbers and were prone to committing atrocities--for a paper I did on the historiography of Atlantic piracy, I found accounts of pirate Henry Avery's men committing a mass rape of Muslim women on the pilgrimage to Mecca, other pirates torturing and murdering the crew of a ship they'd taken, and various other grotesque acts. The book Under the Black Flag strongly disputes the romanticized view of pirates that omits or downplays their bad behavior.

However, there are pirates and there are pirates. The earliest buccaneers weren't pirates at all, at least at first. They were European adventurers who lived in various Caribbean islands, hunting the cattle that the Spanish had introduced (that had gone wild) and selling the meat to passing ships. Their name comes from a Taino Indian word for "grill." The Spanish repeatedly tried to run them off, until they took control of the island of Tortuga and started attacking the Spanish instead. Furthermore, many later pirates were actually licensed by their governments to attack enemy ships in wartime. The "classic" (and worst-behaved) pirates were at the tail end of the age of piracy, when governments no longer employed freelancers against each other and the pirates basically preyed on everybody.

(To be fair, many pirates had understandable reasons for adopting that way of life--sailors who'd been abused aboard merchant ships or in the military, runaway slaves, etc. Marcus Rediker's Villains of All Nations and the book he co-wrote The Many-Headed Hydra describe these people in more detail, including accounts of how sailors on ships attacked by pirates would often jump ship and join them. However, that still doesn't acknowledge torturing people to find hidden money, rape, etc. Somebody can have a sympathetic back-story and still be an unpleasant, nasty person. Consider Severus Snape, the poor Goth kid oppressed by the rich spoiled popular athlete as a student--who became a cruel teacher who bullied his students and rarely if ever bathed. And Snape is one of my favorite characters.)

So here's a way to get sympathetic pirates and still be at least somewhat realistic. Depict Jack Sparrow and others like him living on some nominally-English but de facto independent island near Port Royal in Jamaica, perhaps a more benign and less violent version of Nassau (depicted as an independent pirate commune in The Republic of Pirates). Emphasize that despite the disdain of Port Royal's residents, most of them are making an honest living selling meat to passing ships, fishing, growing enough food in a month to sustain them for a year, etc.

If they are engaging in criminal behavior, it's more sympathetic activities like smuggling to avoid excessive tariffs. After all, our Founding Fathers did it. :) If there's any actual piracy, it's defensive or retaliatory in nature--they're fighting more violent criminals trying to take control of their island (think how The Godfather made the Corleones sympathetic by pitting them against even more immoral crime families and dirty cops), plantation types trying to reclaim members of their community who'd fled slavery, former employers who'd mistreated them, etc. Emphasize the more sympathetic parts of Jack Sparrow's back-story in particular--according to a deleted scene, he refused to participate in the slave trade. Think Han Solo, who on the surface was a rogue, mercenary, and criminal but had been drummed out of the Imperial Navy for defending a Wookiee slave.

However, not all residents of this island are good folk deep down beneath the veneer of roguishness and petty criminality. Barbossa could be present as a crueler and more violent pirate, with the back-story of him usurping Sparrow's ship still there. He comes to the island and despite Sparrow's opposition is welcomed for his wealth and powerful ship. Then he promptly starts raiding the Port Royal merchants, engaging in the more typical pirate atrocities (including the "dining with the crew...and you'll be naked" implied rape threat from the first film). The fantasy elements can stay or not--their terrorizing her with their undead nature would further show they're bad apples and retain the supernatural stuff depicted in the Disney World ride.

While all this is going on, we can have the canonical romance between Will Turner and Elizabeth. Will is an unappreciated apprentice--he's a trained sword-fighter and makes an excellent weapon, but his lazy master gets all the credit. He might be tempted to join the pirates himself. Elizabeth could too--she clearly has issues with the gender roles of her time ("Do you like pain? Try wearing a corset!") and isn't interested in marrying the older Commodore Norrington.

For the later films, here's where the East India Company (or a more Caribbean-focused equivalent) comes in. Even with Barbossa defeated, the Powers That Be use the fact that Sparrow's island hosted him and many of the inhabitants joined him as a pretext to drive the population away...so they can make it into a sugar plantation. And sugar-production back then was horrifically destructive to the enslaved work force. This is where we can meet Beckett and get his back-story with Sparrow. If Sparrow and his friends engage in outright piracy and the more aggressive behavior originally more characteristic of Barbossa, it's in defense of their homes against a ruthless and dangerous opponent operating under the color of law.

(And, if we retain the fantasy elements, possibly in collusion with evil supernatural forces like Davy Jones.)

So, you all like?

Saturday, September 19, 2015

My Trunk Novels, Fan-Fic, and One Million Words

The other day I was listening to the Writing Excuses podcast in which they interviewed Charlie Holmberg, who said she had finished nine novels before she sold one. That was mildly worrying, as I'm currently pitching The Thing in the Woods (got a full-manuscript request from an agent who's an AAR member ten minutes after querying, although he ultimately rejected it) and seriously considering indie-publishing Battle for the Wastelands in hopes of being like Marko Kloos (parleyed independent novel Terms of Enlistment into multiple-book deal with 47 North) or Chris Nuttall (successful independent writer). Both Battle and Thing are my first finished original novels. I'd rather not have to write between three and six more that never see the light of day--when I make something, I generally like the ideas, characters, etc. too much just to toss them.

There's a term for books that never escape the drawer--"trunk novels." I've got one writer friend who has a book (that to me sounded really cool) she was told was "fatally flawed" that's never going to see the light of day, plus a second finished novel that doesn't seem like it's going anywhere either. I've also heard the "my first, second, third, etc. novel didn't sell either" from a bunch of different writers.

It turns out I've got a fair number of those myself. The main difference being, however, that they're not actually finished.

Darkness in the North-This one I actually started writing in high school, with one of my friends really liking the prologue. It has some interesting concepts, including the idea of a revolutionary republic in a fantasy world (which the Powder Mage novels like A Promise of Blood get into) and how a coed military (of said republic) might function. I was outlining it and it turned into a rambling mess, but the prologue did eventually see the light of day as one of the stories in Flashing Steel, Flashing Fire. Other than that prologue, nothing from this is likely to see the light of day. 14,750 words.

Seventeen Sons-This one I remember writing in college (my college ministry had a writing group as part of its arts division) and bringing before my secular writing group at least in part some time after I graduated. It involves a half-demon who's getting hunted by a religious order despite not being a bad guy at all. After his girlfriend is killed by mistake, he wages a one-man counteroffensive, only to unintentionally help his evil father carry out his plans for invading the mortal realm. This in turn necessitates allying with his old enemies. Perhaps it'll get "reimagined," but in its current form isn't going anywhere. 22,964 words.

The American Principate-I'm generally a conservative, but there was a lot of stuff about the Bush Administration I came to dislike. Think the Patriot Act, the Transportation Security Agency, citizens getting interned without trial, etc, all to the applause of people who would have been outraged if Bill Clinton did it. A wise man named Randolph Bourne once said that, "War is the health of the State" and Founding Father James Madison said that if tyranny and oppression came to America, it would be in the guise of fighting a foreign enemy. And there's this questionable quote ostensibly from Julius Caesar.

So I decided to adapt the fall of the Roman Republic and the establishment of the Roman Empire to American circumstances, with a faux George W. Bush as Julius Caesar, an illegal war with Iran as the crossing of the Rubicon, faux Ron Paul as Brutus, and ultimately faux Dick Cheney (whom I dislike much, much more than Bush) as Caesar Augustus. Here's some more detail. The manuscript is full of early-2000s zeitgeist and even some flirtation with questionable economics--there's the implication that the war with Iran had to do with the country deciding to sell oil in Euros and the United States ends up a financial vassal of China. As such the window of opportunity to write it would have been in 2004-2006 or so. Too late now. 2,769 words.

Aaron Greymalkin-This is another high-school story--I remember telling some of my Quiz Bowl friends about it on a trip and one said they liked the character's name. It's set in an independent California after a comet strike destroys most of the United States and causes an impact winter that wrecks the rest of the world. Think the awesome novel Lucifer's Hammer. Notable for a nuclear-armed neo-Aztec cult being manipulated by the surviving U.S. military leadership in Colorado Springs and an independent Alaska trying to avoid resource vassalage to Japan. I'm thinking this would make a really good setting for an RPG. 2,727 words.

Blasted Lands Cycle-Another high-school project--I remember doodling about this rather than watching a Spanish translation of The Never-Ending Story as the first semester drew to a close around Christmas. This takes place in the Gulf Coast in the aftermath of a nuclear war between the United States and Putin's Russia...in which the latter deploys some kind of weapon that opens a gateway to the age of the dinosaurs. So you have various warlord types, Haitian settlers, a Russian warship that's still fighting the war, and dinosaurs. Another good RPG setting, but the actual novel isn't going anywhere. The last time I remember doing anything with this one was in 2006 when I visited Destin with my friend Nick and his buddies from Ohio. 7,561 words.

Gates of Vasharia-Up until relatively recently, it was widely believed that the Ninth Legion was destroyed somewhere in Scotland fighting the Picts. I wondered, what if the Ninth Legion wasn't wiped out in battle, but ended up...somewhere else? And they weren't the only ones?

Enter the world of Vasharia, where the descendants of the Ninth Legion established a new Roman Empire that grew to encompass various other cultures (including my personal favorites, the Nestorian Christians--imagine a world where the Church of the East continued to thrive) and traded with other worlds through controlled wormholes. I started writing this one probably in 2004 and there are characters based on people I knew in high school and early college. Oh boy, that's a good way to get into trouble. :)

It's been so long since I touched this one that I'm thinking this one isn't going anywhere. That said, I had the idea of re-telling the story from the first-person point-of-view of Patrick Rassam, a Nestorian Syrian general who was cast into the dark spaces between the worlds (think Stephen King's todash darkness), only to return having made a Faustian deal with things living there. I'd call it I, Dark Lord, a title that would capture Rassam's dry wit.

I re-read the manuscript a year or so ago and found there are some pretty good character moments, so of all of the "trunk novels," this one might be the most salvageable. Of all of them, it's the one that's gotten the most attention from my writing group, which helped me work a lot of the bugs out, especially dealing with military stuff. 40,274 words.

However, although none of the above would count toward having a bunch of finished novels one writes before one sells the big one, I have finished novels that aren't going anywhere either. They certainly contribute to the whole "you have to write a million words before you're any good" maxim far more than the 91,000-odd words of those "trunk novels." They're called fan fiction. You can find my fanfiction.net profile here.

The Wrath of the Half-Blood Prince-My friend Jamie pointed out this one is actually longer than the first three or even four Harry Potter novels combined. It's actually 193,000 words. It's basically the entire First War if Snape had broken with the Death Eaters his fourth or fifth year--the divergence is at the same time as Snape and Lily's argument about his skinhead friends, some time before the "Mudblood Incident." If this was a book series, I imagine it could be a trilogy.

Lord of the Werewolves-This one I wrote with a pen-pal. It's 125,000 words. It's a "fix fic" intending to correct the underuse of Lupin and Tonks in Deathly Hallows. The first part of the story is basically Deathly Hallows from Lupin and Tonks' points-of-view and includes stuff we don't see, like their romantic relationship (a lot of people thought Tonks some kind of stalker, but the impression I had was that Lupin liked her too but was just too hung up on being a werewolf to act on it), wedding and honeymoon, and much of the Battle of Seven Potters. It diverges from canon during Bill and Fleur's wedding and gets really dark. Like, really, really, dark. Of all my fan-fiction, it's probably the best in terms of characterization. Heck, of all my fiction generally it ranks up there.

Revenge of the Fallen Reboot-I loved the first Michael Bay Transformers film, but was rather disappointed by the second. Good concept, but mediocre execution. So this is how I would have done it. There was some stuff suggested by the commercials (like a confrontation between female lead Mikaela Banes and Starscream) that never happened, but would have been really cool. Heck, the Bay universe botched Starscream's character massively, and that's just one of its sins. 58,476 words, about the length of a decent novel and not that much longer than Thing. I should probably write a TVTropes page--there's already Fix Fic, What The Hell Hero, and a bit of Your Approval Fills Me With Shame.

The Dragon and the Bear-There's very little actual narrative here. It's basically an alternate version of S.M. Stirling's Draka timeline where Russia defeats the Domination in World War II. In terms of sheer word count it would match a novel though--and I still haven't posted all of it on fanfiction.net. I'm self-banned from the forum until Christmas, so maybe I'll post the rest of it then. It's 46,000 words now, but there's a big chunk left to transfer. I kind of let it peter out a decade or two after the Final War between the Domination and the Alliance for Democracy, but I would bit it's around 60,000 words all total.

So of my "modern" fan-fic (i.e. stuff I wrote after college), that's around 436,000 words. I also wrote some Dark Angel fan-fic in high school that was basically how I would have done Season Two. Combined I think that's around 100,000 words--there were several 20K to 25K installments. There're also various dribs and drabs from short stories both unfinished and finished, my 2006 Battlestar Galactica short story "The Death of the Triton," the 600-odd posts on The World According to Quinn (if they average 800 words each that's 480,000 words), and the thoroughly massive amount of writing I've done for multiple newspapers in my seven-odd years as a full-time and part-time professional journalist.

(Not sure if the latter counts, since some members of my writing group have said writing like a journalist leads to a rather dry and overly-informative product. Good for newspapers, not good for novels.)

So I realized that I'm not necessarily all that different from those "I wrote ten books before I sold one" writers. Even if Battle for the Wastelands (92,000 words) is ultimately destined for the trunk too (God forbid, and I mean that), perhaps The Thing in the Woods (56,000 words) won't be, and neither will my secret third project I've obliquely referenced before (17,000 words presently) or my science fiction tale The Cybele Incident (20,000-odd words presently). :)

Friday, August 29, 2014

Social Justice Warriors and How "Punitive Medicine" Might Come to the United States

I came across this article by Andrew Todd and although I agree with his macro-point that people who threaten women who disagree with them with rape need to be stopped, one part I did disagree with. See below:

“Social Justice Warriors” is a term used often by these sort of people, and it’s a term whose pejorative use perplexes me, because aside from the source of its invention, it sounds like a really badass thing to be. I’d much rather label myself a Social Justice Warrior than a warrior for...whatever it is that these people are warriors for. Social justice is such an inherently positive thing - literally everyone benefits from greater equality - that it’s impossible to see its enemies as anything but sociopathic. Hatred of Social Justice Warriors can be seen as a broader hatred of social justice itself.
Apparently Mr. Todd can't distinguish between people opposed to the cause of social justice (i.e. people who are racists, sexists, etc) and people opposed to the actions and attitudes of belligerent Internet left-wingers. And furthermore, he claims that people who are racists, sexists, etc. aren't simply immoral people, but sociopaths. Assuming the notion held by some Internet left-wingers that right-wingers have something congenitally wrong with them is true (it's not), that doesn't explain why left-wingers have come out against SJWs like this gentleman has here.

Let the record state that I am strongly opposed to racism, sexism, sending rape threats, and all the various a-hole things that take up most of Mr. Todd's denunciation. Those people deserve every ounce of opprobrium that can be rained down on them--and legal action too. Let's see how tough they are when they get charged with terroristic threats and get put in the cooler with really bad dudes.

However, I've criticized the SJWs myself a fair bit because of their propensity for swearing and many occasions when their claims get ridiculous--claiming J.K. Rowling is some kind of creepy Calvinist, which strikes me as quite absurd given the amount of criticism she's received from conservative Christians. Being a blowhard is so essential to these people they've invented a term that makes calling them out for their incivility immoral--"tone policing."

Obviously one should not ignore legitimate evidence just because the person presenting said evidence is a tool--Hitler and Stalin claimed the other was evil and they were both right--but I've seen people being complete jerks and claiming people are objecting to their behavior because they want minorities to shut up, not because they're jerks. Just because someone is a supporter of an ostensibly good cause doesn't mean that anybody opposed to that person is opposed to the cause itself--I'm a Christian, but I don't interpret attacks on individual Christians or organizations that misbehave as attacks on Christianity or Jesus.

Furthermore, accusing people with disagreeable views of being mentally ill is the first step down a very dangerous road. The kind of road that ends with the Soviet psychiatric gulag. Although I remember seeing some idiot on FreeRepublic claiming the Clintons and Obama were clinical narcissists, it seems to be more common on the (secular) left because they believe people are inherently good--so therefore when the reality of human evil becomes too obvious, they decide evil people aren't really people. See this article on sociopathy on Richard Dawkins' old website, for example. Or this one about the Virginia Tech shooter. In real life, I've got one friend who said "sociopath" is the scientific term for evil, another who said it's okay to love fictional psychopaths (including Loki from the Marvel films, who based on his attachment to his mother Frigga is not a clinical psychopath however much a murderous jerk he is) but one should avoid them in real life, and a third (a vocal member of the skeptic movement) who said that one of my Wastelands-verse characters is a psychopath even though, speaking as his creator, he's not.

(For the record, I toned his actions down a bit from that version of the story. If you're a writer and your reader misinterprets your character, odds are it's your fault for not defining him or her clearly enough.)

The "evil people are sociopaths" meme is something I first noticed a lot of on the site DemocraticUnderground, where people liked to claim various prominent Republicans were psychopaths and sociopaths (presumably the corporate variety chronicled in Snakes in Suits as opposed to the stereotypical mad ax-murderer). An entire pseudo-science called "ponerology" has been invented to justify this type of thing. Here's an example of ponerology being applied politically, to the point of conspiracy theory if you take the bit at the end about "PSYCHOPATHS RULE THE WORLD" into account. Here's another example of ponerology-as-ideology.

You say these people are isolated individuals (most of whom are limited to certain quarters of the Internet) who have no real power, right? Well, for starters every one who can vote has a small amount of power and once you get enough voters, then you're talking the potential for something truly dangerous. Once notions of un-persons and that certain political views are a sign of being an un-person get traction--and it wasn't long ago that a shadow of this passed over the political landscape--watch out. And before you say, "It can't happen here," well look at what's being discussed in Britain. Or what actually has happened in New York. Or the prominence of eugenics in the United States not all that long ago. The prevalence of the "bad people are sociopaths, not regular people who have made poor or immoral decisions" meme could represent a wider cultural trend, especially as Christianity, with its notions of universal human sin and that anyone can repent of their wickedness even late in their lives, declines in influence in the United States.

And politically, what happens when older left-wing leaders die and these people replace them in positions of leadership?

I imagine someone will accuse me of indulging in the slippery slope fallacy, and I concede that A doesn't necessarily lead to B and so on. However, if I were some obscurantist, I would have denied the existence of personality disorders as a whole, despite objective evidence for them. I could mimic the young-earth crowd and try to use religion to trump science (see Romans 2:15, which implies everyone has a conscience, something psychopaths/sociopaths don't have) and claim that the notion of personality disorders will inevitably lead to psychiatric abuses, the mistreatment of the children of criminals due to their supposedly defective heredity, etc. (fallacy of appeal to consequences), much like how the young-earthers claim belief in evolution leads to racism. My main concern is not popular prejudice (although I certainly object to that), but the political implications.

Ideas have consequences. If an idea is able to spread unchallenged and people believe it--and those people can vote--it is quite likely that laws will be made to reflect that. The notion that sex offenders cannot be rehabilitated, for example, led to those laws in New York, even though it may not be true.

Friday, November 11, 2011

Jeffrey Stepakoff Dispenses His Wisdom

Last Saturday, I attended a seminar at a local library featuring Jeffrey Stepakoff, a novelist, screenwriter, and a professor at Kennesaw State University.  I figured someone with his extensive experience writing in several fields would provide much wisdom for a small fish like me, and I was correct.

Stepkanoff told the participants that they should stop thinking of themselves as being at the mercy of producers and publishers.  If producers and publishers did not have content, they had nothing.

"We are at the center, the epicenter," he said.

He said there are people right now looking to find the next big book or the next script for a big television show or film.  However, he said this doesn't mean that one shouldn't write well and produce good content in the first place.  He advised people to wait until their content was outstanding before putting it out there.  If it really is good, getting it published/produced is just a matter of time.

A professional writer shouldn't just start writing without planning.  One should know one's story and ensure the story works before one starts writing.  Writing a script that doesn't come from a good story is a miserable process that requires a lot more work--one has to come up with stuff as one goes along.  This is important when one pitches one's story to an editor--one should have a good story, not just a vague world.

Then he dropped a substantial bomb.  He said if one's novel or script isn't getting traction, even after years, chances are it's not that good.  Write well.  "Have your killer story," he said.

He advised those writing scripts to pay attention to what the market wanted.  If someone writes for cop shows, but the market is for comedies, one should ask if they've ever written something funny during one of their cop shows.  If they have, they can write comedy.  However, he said that doesn't mean one should take the novel one has been working on for 20 years and add vampires just because they're trendy.

Stepkanoff said if one thinks one's book is in the same vein as, say, Jodi Piccoult, one should study her work and who reads it.  If the book is unpublished, find out who Piccoult's agent is.  Examine the book jacket.

He warned even if one has a contract for a book, if it's not a good point, the publisher will only print a small number of copies and won't put a lot of effort into promoting it.  However, if it is good, one's editor will push for the publisher to promote it.  Most publishing houses put out around 1,000 books. How many books get first print runs of 20,000 to 50,000 copies?  Maybe 20, and of those, 15 will have been written by established authors.

Stepkanoff described the process of "selling in."  If the sales people hear from on high the publisher is psyched about the book, they'll push that one more so than the other 300 or so books they're responsible for selling.

He advised the writers they should have the book jacket in mind when they write the book.  One should think about where the book should go in the bookstore.  One's pitch begins with the author and will ultimately travel all the way to the book buyers.  Stepkanoff designed his pitch before he even started writing the book.  This doesn't mean one shouldn't have the writing space to develop good characters, but that one should have a good idea from the beginning.

He then advised writers to build a public persona.  Publishers don't want just an image, but a built-in fan base.  Editors are thinking about how to pitch a person.

(Hmm...I think my built-in fan base are Harry Potter and Transformers fans from my fan-fic, BattleTech people from "Skirmish at the Vale's Edge," Digital Science Fiction readers from "Coil Gun, people I know from Marietta because I grew up there, Griffin and North Fulton because I work there, and alternate-history enthusiasts due to my long posting history at AH.com.)

Audience members asked him if he wants them to write something that can be easily forwarded.  Stepkanoff said this was the case.  An agent once asked a colleague of his to tell her what to tell publishers.  The colleague was upset, until Stepakoff told him the agent had connections and does her things so he can live in Georgia nad have a good place with his family.  He recommended audience members to craft a killer letter.

Stepakoff then explained the differences between literary and film agents.  A Hollywood agent, especially one who works in television, invests a lot in a single writer.  A literary agent will work with a larger number of writers and, consequently, will not be as present in one's life.  New York agents are more accessible--although their Web sites often say not to e-mail them, it does work.

An audience member suggested the Web site Everyone Who Is Anyone, which contains contact information for many publishers and agents.  Stepakoff told people who approach agents and publishers via this method to wait until their product is darn good, as a favor to other writers who might use this site later.

Stepakoff suggested people join the Writer's Market Web site or purchase the large Writer's Market books to find agents in one's field.  One should also find books in one's genre and check out the acknowledgements section.  One should find the agency that represented the writer and then go to the agency's Web site to find an agent.

However, he advised them not to fire off crazy e-mails and to think long and hard about one's opening line.  Agents don't just get you jobs--they're your business partners.  You have to give them something.

He then discussed marketing.  Most writers aren't pushed hard by their publishers and if the publisher won't put the effort into promoting one's book, one should.  However, there needs to be a balance between time spent writing and time spent on things like Facebook, blogging, Twittering, or doing signings in bookstores.

He then had some advice about bookstores.  If one goes to a bookstore and tries to arrange a book signing, the staff will be much more interested in you if you can point out where the book is in the store.

"Make noise on the Internet," Stepakoff advised.  "Get people to review the book."

(That advice I've already implemented.  I've promoted "Coil Gun" and the collection it's in, the third Digital Science Fiction anthology, via contacts I've made on AH.com.)

Stepakoff is on the fence about spending one's own money on Internet advertising.  He recommended if one is in a niche market, one should focus on social networking, as well as focused events relevant to your topic.  He then said every writer should have a Twitter feed.

"Nobody knows what's going to happen to publishing," he said.

His informed opinion is that consumption of stories is not going to fall and that digital media is going to be remarkably beneficial to it.

(I can agree with this wholeheartedly.  My publications, including the well-paying BattleTech and Digital Science Fiction ones, were in primarily online markets.  I did make a couple of sales to a smaller print magazine, but the magazine went under before they could be printed.)

Stepakoff discussed electronic readers like the Nook.  Amazon is selling more e-books than print books these days and many people bring their e-readers into stores, see what interesting books are on the shelves, and download them electronically.

He suggested that independent bookstores conduct a public-service campaign.  People who go to bookstores just to see what books they can download don't know they're not supporting the bookstores.  He said people complained about the death of Borders, but had to be asked if they even bought books in the first place.  He said Barnes and Noble is trying to integrate more with the local communities and compared them to Whole Foods.  Barnes and Noble also promotes books by region.  The company promoted his book Fireworks Over Toccoa heavily in the South, where it has been selling well.

Stepakoff also discussed giving out content for free as a means of enticing readers.  He has a free e-book entitled "Love A La Carte," which he described as being the "deleted scenes" from his novel The Orchard.  It's the number-two free item on Amazon.com at the moment.  He suggested writers put their own content online or for free at a low price, but not to just spew low-quality stuff.

An audience member brought up James Patterson, who gives out the first few chapters of his books online for free--people will buy the complete product to finish it.

Stepakoff said Patterson's books are so well-designed, they hook readers.  He reminded the writers it's their job to get people to read the second page.

He also weighed in n book trailers.  He recommend they not mess with those and instead focus on social media, which is free.  Creating a quality book trailer is expensive and it involves putting faces on characters Hollywood would like to cast.  If one absolutely must do a book trailer, one should focus it on selling the writer, not just the story.

"Let the publisher pay for it," he said. "Let them do the professional version of it."

He suggested a better way to get one's name out there is to guest-write for blogs.  There is a correlation between this and a high Amazon author rating.

Tuesday, July 19, 2011

Movie Review: "Harry Potter and the Deathly Hallows" Part Two (2011) (spoilers)

Saw Harry Potter and the Deathly Hallows, Part 2last night.  Here's my review:


The Good

I liked how we saw more of the actual Battle of Hogwarts than we did in the book.  The scene where Voldemort used the giants to batter through the statue-guardsmen defending the bridge into Hogwarts shows tactical acumen on his part--he's using his toughest units for the job.  Plus, given his attitudes, I imagine he'd prefer to use giants to pureblood wizards for meat-grinder tasks.

The importance of the Elder Wand is highlighted by it being necessary to break the magical energy shields defending Hogwarts from bombardment.  The Death Eaters are attacking Hogwarts using ordinary curses like a multiple-rocket launcher (firing in arcs toward the target en mass) without success and then Voldemort busts out the Elder Wand and cracks the shields.

I also liked "let's finish this together" when Harry throws himself and Voldemort off one of the towers in Hogwarts.

The escape of the abused guard-dragon from Gringott's was well-done.

Although some people really objected to this, I didn't dislike seeing the actors who played Harry, Ron, Hermione, Ginny, and Draco "up-aged" for the epilogue set 19 years later.  Wizards in the books have longer life-spans than Muggles (Dumbledore was either 114 or 140 when he died and he was able to defeat multiple Death Eaters and duel Voldemort a year before), so them looking younger than ordinary 36-year-olds actually makes sense.

I liked how Harry decided, upon learning he was the Elder Wand's new master, to simply break it and throw it away.  With the Elder Wand gone, even if someone were able to find the Resurrection Stone and steal the Invisibility Cloak from Harry or his heirs, there will be no Master of Death.

I also liked how, when Professor Flitwick referred to Voldemort as "You Know Who," Professor McGonagall flat-out says "his name is Voldemort" and then tells Flitwick that Voldemort will try to kill him regardless of what name he uses.  That was awesome.

Harry's dialogue with the Gray Lady (the ghost of the daughter of Hogwarts founder Rowena Ravenclaw) was well-done.  The part where Helena Ravenclaw flips out about how the young Voldemort defiled her mother's diadem with dark magic was cool.

Hermione and Ron's kiss, although rather different from the books, was very well-done.

On a general note, the film was never boring.

The Bad

This is a general comment, but a lot of important stuff was abbreviated. 

*Snape's back-story particularly suffered from this.  We only see a very limited amount of James Potter's bullying of Snape--Snape borderline-psychotically venting on James years later ("your father was a SWINE!") is rather pathetic if Lily were the sole issue, but if James had treated Snape badly from the beginning of their Hogwarts years (as he did in the book), that's something else.  We also don't see Snape's growing association with the Death Eater wannabe kids and how their views rubbed off on him to the point he referred to his best friend/love interest using the wizarding version of the N-word when, years before, he said being a Muggle-born didn't matter.  Although we do see Dumbledore telling Snape to kill him so Voldemort will trust him unconditionally, we don't see the line about why that's important--Dumbledore believed Voldemort would assume control of Hogwarts and wanted Snape to protect the students from the Dark Lord's excesses.

*Although Harry makes a reference to Lupin's son in the "death march" scene, we never actually see him.  Fans who've read the books might pick up on Tonks' near-announcement of her pregnancy in Harry Potter and the Deathly Hallows, Part 1, but not many others would.

Some of McGonagall's lines during the lead up to the Death Eater assault seemed to conflict with the dignity of her character.  When she sends the castle's statue guardsmen out to fight, she gets borderline-giggly and says she always wanted to use that spell.  Not cool.

In Harry Potter and the Order of the Phoenix, the teen Snape was played by Alec Hopkins.  They should have had him playing Snape when he defected to Dumbledore and later when we see him cradling Lily's body rather than Alan Rickman made to look younger.  Alan Rickman is in his 50s or 60s--having him playing a 20-something came off as a bit ridiculous.  Hopkins is 25, so him playing Snape (who would have been around 21 at the time) would be appropriate.

What exactly was Snape doing at Godric's Hollow?  He shows up soon after Voldemort's death and cradles Lily's body while crying.  I can understand why he'd be upset, but how he learned about this is never explained.

I didn't like how McGonagall retaliated against the entire Slytherin House when Pansy Parkinson advocated turning Harry over to Voldemort after Snape was driven out of Hogwarts.  McGonagall is supposed to be tough, but fair.  In the books, she gave Slytherin a choice as to whose side they would be on and all of them, including the cowardly Head of House Horace Slughorn if I remember right, marched out of the castle.  However, Slughorn later returned with reinforcements and although it's not expressed very clearly, Slytherin students could have returned with him.

I think it would have been better if we'd seen even more of the Death Eater attack on Hogwarts intercut with Harry's search for the diadem of Rowena Ravenclaw.  It'd be a means of building suspense, plus we could give characters like Lupin, Tonks, and Fred on-screen deaths.  Rowling said Bellatrix killed Tonks and Dolohov (who the Trio could have killed earler but did not) killed Lupin and it would have been good to see this.

In the "19 years later" scene, adult-Ginny's hairstyle was kind of goofy looking.

The Verdict

A good movie, although it could have been better.  8.0 out of 10.

This review was also posted at the Dudeletter: http://www.dudeletter.com/?p=955