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Posts Tagged ‘thinkiness’

a better (or rather, worse) metric

Remember how I mentioned before that I wanted to improve my story production this year? Well, I haven’t really made progress on that; I haven’t written anything new (yet). But I have sent something new out, that’s been sitting around waiting to be revised for a year or more.

When I went to add it to my submissions log, I noticed something . . . poor-ish.

Yes, the point (as I said in my previous post) is to sell things, not to submit them. But while the last three pieces I finished and sent out sold to the first place I submitted them — yay! — that isn’t the whole story. All three of those were basically written to order, under conditions where I more or less knew they were sold before I started working on them. The last time I sent out a story that wasn’t solicited and pre-sold?

Was April of 2010.

And it isn’t because editors have been beating down my door with invitations. Three such situations in nearly two years is nice, but not exactly the sort of thing the leads to some authors of my acquaintance saying “I’m going to have to start turning editors down; I’m already overcommitted.” More like, the only times I’ve been able to prod myself into actual short story productivity is when I know the only thing standing between me and an almost-guaranteed sale is my own lack of effort.

This isn’t a self-esteem thing. Obviously I know I can sell stories, if I bother to write them. And it isn’t a lack of inspiration thing, either; one look at my (growing) list of unwritten story ideas would cure any notion of that. I’m not sure what kind of thing it is, really. It may be part and parcel of the fatigue issue I think I’ve mentioned in passing here; writing novels has been harder, too, for at least as long as I’ve been such a short-story slacker, and while I can’t prove that has anything to do with the way I faceplant for a nap almost every day (which is a more recent development), I’m hoping that fixing the latter will lead to miraculous improvements in the former.

Anyway. Mostly I want to pat myself on the back for finally sending out “Mad Maudlin,” after way too much time spent sitting on it. I have another story in similar circumstances (which probably would have been revised and sent out yonks ago, if I could just come up with a title for the damn thing), and I’m going to push myself to get some new things written. This, at least, is a start.

intersectionality in action

Tonight, I realized something I’m not very happy about.

There was a guy outside the grocery store, panhandling. I had to pass him both entering and leaving. And both times, I looked away and walked right past him without saying anything or slowing down.

And then I realized, If I were a man, I wouldn’t have done that.

I don’t like ignoring panhandlers and other people on the street. It erases them, and I’m sure they get that far too often. But at the same time, I know that if I had made eye contact, smiled, said anything . . . my odds of being sexually harassed would have shot up like a rocket.

It isn’t inevitable, of course. Not every panhandler would take that as an invitation to more. It’s happened to me often enough, however, that my reflex is to avoid interacting with strange men on the street, just out of self-defense. And I say that as someone who’s never been raped, or even harassed to an extent I would call traumatic; the worst was enough to put me off my stride for half an hour or so, but in the grand scheme of things, I know that’s not nearly as bad as it gets. But there’s always the little voice in my head reminding me that I’m female, and it could get worse, and so it’s safer to not engage.

(I do more often make eye contact, etc. with female panhandlers. They don’t set off the defensive reflexes in the same way.)

This bothers me a lot, now that I’ve noticed it so directly. If I were my husband — a six-foot-three man — I’d be a lot more likely to acknowledge those people, even if I didn’t give them a handout on the spot. And yet, I don’t think it’s a good idea for me to chuck this pattern of behavior, either. There is no good solution, I fear, except to live in a utopian society where a) women don’t have to fear harassment, b) people don’t have to beg on the streets, or c) better yet, both.

I may try engaging more, anyway. I can withstand sketchy, unwanted compliments, for the sake of the people who don’t respond that way. I live in a pretty safe area, so I don’t think I’m likely to get assaulted just because I decided not to ignore somebody. But that isn’t always going to be true, and so this defensive habit is likely to stay — and I really wish that weren’t the case.

Holmes and Watson need new punctuation

Saw Sherlock Holmes: A Game of Shadows tonight, and had much great fun. Is it just me, or have we seen a tendency in the last 5-10 years for sequels to actually be better than the first movie of a series? If so, I attribute it to these being planned as series from the start, rather than the sequel being tacked on after the first one does well, and also on the way a second movie doesn’t have to spend all that tedious time setting up the characters and situation, but can just jump right into the story.

Anyway. That actually isn’t what I want to talk about here. Instead, I want to talk about slash, and how utterly inadequate I find that word for describing the situation with Holmes and Watson in this movie.

(I’ll try to keep this relatively spoiler-free, but I can’t promise about the comments.)

See, here’s the thing. To me — and I know people use the term in different ways, so this is just my own usage — slash is the process of taking the homoerotic subtext of a story and treating it as text. And one of the reasons I can’t call AGoS slashy is because it isn’t subtext. You simply cannot look at the interactions between Holmes and Watson in that film and think the story is not deliberately presenting you with two men who love each other very deeply, even if they can’t quite unbend enough to express that affection in direct terms.

The other reason I don’t want to call the film slashy is because, although you can find abundant bait there for imagining Holmes and Watson in a sexual relationship, I don’t read them that way. Partly this is because I get frustrated sometimes at how the slash lens tends to filter out all other possibilities for male emotional intimacy; we can’t let guys be friends or enemies even brothers without also sexualizing the relationship. That actually frustrates me sometimes, on par with my frustration over TV shows that like to use slashy subtext to engage the fans, but will never actually deliver on those wink-wink-nudge-nudge promises. (We can have slash, but almost never The Actual Gay.) Anyway, getting back to Holmes and Watson — sure, there’s certainly space there for reading it in that light. But I’m more interested in the story of two friends, because it’s a kind of friendship I feel I don’t see very often these days, where it isn’t all macho fellow-soldier camaraderie, but something with real vulnerability on both sides.

I don’t have a good term for what I see between them, in the first movie and especially the second. The closest I can come is a term my friends and I have used sometimes, “hetero lifemates,” for two straight people of the same sex whose friendship is of the lifelong kind. But it doesn’t quite hit the target I’m aiming at, maybe just because it’s unwieldy. Neither Holmes nor Watson would ever say it openly — let’s face it; they’re both late nineteenth-century men, and one of them is a rampaging narcissist — but they care as deeply about each other as either of them (okay, Watson) is capable of caring about anyone of the opposite sex. I feel like I need to resort to Greek here, except I don’t actually know which word I want. Agape? Philia? Eros? (Wikipedia claims that one doesn’t have to be sexual. Actual Hellenists, please weigh in.)

Whatever you call it, I’m fascinated by the way the movie embraces it, and does so without totally sidelining Mary Morstan. She doesn’t play a terribly prominent role, but they do make it clear that Watson isn’t marrying her just because it’s the sort of thing he’s expected to do. She and Watson have their thing, and he and Holmes have their thing, and it’s my sincere hope for all three characters that they manage to settle down into a dynamic that doesn’t force Watson to choose between them. Mary’s willingness to roll with various events suggests it may be possible.

I can’t refer to the guys as Holmes/Watson, though. They need new punctuation, something other than a slash. Any suggestions? 🙂 And, more to the point — what should we call this kind of thing, if it isn’t slash?

In which I pretend to be a statistician

Since there’s recently been another round of discussion about gender balance (or imbalance) in SF/F, I thought it might be a nice time to collate a bit of data I’ve been wondering about for a while.

Generally people tend to perceive a particular group as being gender-balanced when it’s about 25% female, and if you get up to 40%, they think it’s dominated by women. So it’s useful to ask myself: if my instinct is that a short story market — in this case, Beneath Ceaseless Skies — publishes a lot of women, am I right?

Cut to spare you lots and lots of numbers.

I should have posted this on Valentine’s Day. (Or not.)

So in my SF Novelists post, I made a mention of how a lot of romance novels don’t work for me because they’re often too focused on the hero and heroine, to the exclusion (or at least sidelining) of other characters. And that reminded me that I had some thoughts I’d meant to post, about why, despite giving it a good shot, I don’t think I’ll ever be a romance reader.

Before I get into those thoughts, however, let me say up front: the tl;dr version of this is not “romance novels suck.” Anyone using the comment thread to bash the genre wholesale will be invited to do their bashing elsewhere. This is about why I’m the wrong reader for the genre.

The reason, in short form, is this: I don’t find them all that romantic.

It has to do with where my own personal buttons are.

The [X]-page test

There’s a discussion going on right now in various corners of the internet about how to begin a story: sartorias talks about it here, and then you can follow links to this and this and some other pages I seem to have misplaced.

It’s timely for me because right now I’m going through another of my periodic bookshelf surveys. See, these days I go to a variety of conferences and conventions where I’m given free books, and because I still have the Starving Grad Student instinct of “free stuff is always good,” I take them home. Then they sit on my shelves for months or years without being read, until I get into one of these moods. Then I go through, grab those random books, and read their beginnings to see if I will a) keep going, b) keep it on the shelf for possible later reading, or c) cull it.

In my head, it’s the twenty-page test, though in truth that number fluctuates wildly. If I’m feeling determinedly fair — or uncertain — I’ll give a book fifty pages to convince me I should keep going. If I’m feeling cynical, it’s only ten pages, or five. On occasion I don’t make it off the first page, though that’s rare. (I have very little truck with the notion that you need a really killer opening sentence; for something the length of a novel, killer writing often requires larger units of measurement.)

What makes me keep reading, and what makes me stop? On sartorias‘ LJ, I said this:

I’m coming around to the thought that what I need most in the opening paragraph isn’t action or conflict or even character (which is what I need to keep going after a page or two), but very simply a sense of confidence. Some writers can string together words in a fashion that makes me believe they know what they’re doing; some cannot. And I think that difference is also the difference between writers who pull me in, and those with whom I remain stubbornly aware that I’m reading black marks on a page.

I don’t think I can put it any more concretely than that, except to add an addendum from elsewhere in that comment thread, which is that this only partly depends on the confidence of the author. I’m sure there are many writers out there who sleep well in the certainty that their work is brilliant, but to me it still looks shaky and weak. What I really need is for me to feel confidence in the author — however that may be done.

Some of what I’m looking for is prose — not necessarily Amazing Artful Prose; just prose that knows it’s aiming for and hits the target — but it’s also a feeling of solidity to the setting, or a character whose personality leaps off the page. Or all of the above. (Less often conflict, because for that to be compelling, I need a sense of who and what is at stake. So that takes longer to build.) The unhelpful thing about this is that it can’t be boiled down to useful instructions for the would-be writer, beyond “practice.” Practice will make you certain you want this word and not another, a semicolon instead of two separate sentences, this interesting detail about the setting, a wry bit of self-deprecation from the narrator. Practice will get you to the point where those things happen semi-automatically, without you having to consciously put each one in place, and when that happens I’ll stop seeing the seams between all the bits and just see the whole.

Sad to say, a lot of the books I’m surveying right now are failing that test. With some, to be fair, they’re hampered by genre; the further a given book is from the center of my affections, the more aware I am of the basic machinery at work. They may be perfectly good novels, for some other reader. And, of course, the ones that pass that opening test may not turn out splendidly on the whole; last week I read one that started strong and ended up disappointing. But when I find one that has a confident opening, it truly is a pleasure.

Why is Faerie ruled by Queens?

By popular request, my keynote from Sirens. The actual speech I delivered was a little different — for one thing, this version doesn’t have the comments about Helen Mirren as Prospera in Julie Taymor’s upcoming film of The Tempest — but the gist of it followed this pretty closely. I’m debating whether to post it to my website as-is, or update it based on the comments and feedback I got at the con; thoughts?

Why is Faerie ruled by Queens?

Clearing the Slate: usernames

Continuing my effort to clear out my Firefox tabs and my brain, let’s talk about usernames.

yuki_onna posted about this a little while ago, and I have to say I’m on her side. But first, let’s talk about the original poster’s argument.

I feel like pretty much everything he says can be turned around from a positive into a negative. True, on Facebook you don’t have the problem of signing up only to find your customary username has already been taken. Instead you have the problem of signing up with a name that’s maybe shared by 7,142 other people. An improvement, or only a differently annoying issue? Also, he says you don’t have to use your real name, just a name — but hang on, isn’t that essentially the username thing all over again, except without the restriction that it must be unique? And maybe a requirement that your chosen name has to come in two parts (e.g. Pony McRainbow). If you can still use a made-up name, you still have the problem he describes, of realizing belatedly that somebody you know in person and somebody you know online are actually, y’know, the same person.

But that has an easy fix. If you want your legal name associated with your pseud, put it in your profile or wherever. If you want to keep them separate, you can.

Which is part of Cat’s point. Facebook wants you to use your real name (and other real information) so you can be more effectively tracked: pinned down, advertised to, your information sold to third-party vendors, linked up with things you never intended to touch. Oh, so you’re the Melanie Dunn whose grocery purchases swing erratically between Hostess snack cakes and green vegetables (better sell you some diet aids!), who’s a registered Democratic voter in Kansas (do your neighbors know?), whose medical history shows a procedure at a particular doctor’s office three years ago (and we can guess what that was). So when you go posting on your blog about how you think bigots should get over the whole Islamic community center thing, rest assured people will have an easy time connecting that with your weight and your political activities and the fact that maybe you had an abortion. Aren’t you glad they know who you are?

False names, whether unique usernames or non-unique pseudonyms, can protect people.

But you know, even if that were taken out of the equation, I’d still like usernames, and my reason is the other part of Cat’s point. Choosing a username is an act of identity creation — one we don’t often get to do in modern American society, or (so far as I’m aware) in other high-tech nations. Your parents pick your name, without any input from you, and changing it is a legal hassle. Nicknames are generally assigned by those around you, though you can try to show up to college or your job in a new city and sell people on the idea that while your name is William, usually you go by Bear. We have very few opportunities to choose something that reflects who and what we are, or want to be — or we did, until usernames came along and gave us a whole new field to play in.

The fantasy writer in me can’t help but think about the mystical power of names, and how the process of choice invests them once more with a whiff of that power. They have meaning. How is that not cool?

Is the meaning sometimes stupid? Of course. You may get to a point where you’re embarrassed to be known as shake_that_bootay. But unlike Aschlyee, who’s embarrassed by her parents’ enthusiastic leap onto the bandwagon of “let’s find a totally new way to spell this name!,” you can put it behind you pretty easily. You can escape your party-hard high school years, major in Classics, get involved in radical politics, and rename yourself alecto_reborn. Then, when you’re tired of being a Fury, go into the business world, and settle down as dahlia_blue.

There have been times and places in the world where that sort of change was normal and expected, where having six names by the time you died was nothing unusual. (Read the Romance of the Three Kingdoms if you don’t believe me.) We’ve reinvented a form of that here, and I for one like it.

Celebrate your username! Tell me the story of why you chose it, whether you’re tempted to change it, and if so, what to.

Fascinating Title Goes Here

The Internet has this magical ability to cough up stuff on whatever topic you’re thinking about, even when you aren’t looking for it*. At the moment, that’s this post by Jay Lake, which led me through daisy-chain of other posts by Seanan McGuire, Edmund Schubert, Misty Massey, and David Coe, all on the topic of titles.

I have titles on the brain right now for two reasons:

1) I just sent my crit group the most recent Driftwood story, which doesn’t really have a name yet, though my tongue-in-cheek dubbing of it as “Two Men in a Basket” might end up sticking just for lack of anything better.

2) I still don’t have a title for the Victorian book.

These two situations have different root causes, I think. Thanks to the first three installments in the series, the Victorian book is hedged about with all these requirements that I should fulfill if humanly possible: it has to be a quote, the passage the quote comes from has to work as an epigraph (ideally for the last part of the book), it should have a verb (ideally at the end of the phrase), etc. Finding a piece of Victorian literature that will fit all the requirements at once is proving much more difficult than I expected — to the point where I may well have to compromise on one or more points, though the perfectionist in me doesn’t want to. For the Driftwood story, on the other hand, the problem is that I don’t have any requirements. It’s a wide-open field, and so I end up standing around in it, not sure where to go.

And it’s made more complicated by the fact that novel titles and short story titles aren’t quite the same kind of beast. Certain things could work for either, and in fact I think you can generally port novel titles onto short stories without too much problem. But short story titles can’t necessarily go the other way. “Nine Sketches, in Charcoal and Blood” strikes me as only working for the short form; “Letter Found in a Chest Belonging to the Marquis de Montseraille Following the Death of That Worthy Individual” would NEVER go on a book. Short story titles are allowed to be wordier, because they don’t have to function as a piece of marketing in the way their novel-related cousins do. (Exceptions like The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making are just that: exceptions.) Cleverness in book titles is somewhat limited to humourous work, while a broader range of short stories can get away with it.

I’ve said before that my best titles usually show up at the start of the process; my average titles are the ones I stick on after the fact. (I have some bad titles, too, but let’s not talk about those. They’re after-the-fact efforts, too.) What makes a title good? It has to be evocative — which is one of those vague, hand-wavy descriptors I actually kind of hate, but I don’t have a better one that manages to combine the concepts of “striking” and “memorable” and “suggestive of more than it’s saying.” Lots of writers try to achieve evocative-ness (evocativity?) by throwing in nouns that supposedly carry that quality: Shadow. Soul. Dragon. Yawn. My attention is drawn more to odd juxtapositions. Queen isn’t a terribly interesting word, but the contradiction of The Beggar Queen is a lot more intriguing.

And then you have to worry about titles in a series, and how to make it clear these books belong together. I have to say I’m not a fan of the Mercedes Lackey answer to this question: Magic’s Pawn, Magic’s Promise, Magic’s Price; Winds of Fate, Winds of Change, Winds of Fury; The Black Gryphon, The White Gryphon, The Silver Gryphon . . . well, if you dropped all the books on the floor it would be easy to sort the trilogies from one another, but exciting this is not. I prefer Dunnett’s approach with the Lymond books, where the titles may not be individually brilliant, but the running chess metaphor connects them all. This is why the pattern of the Onyx Court titles matters to me, too, because the structural characteristics are what advertise “this is part of that series!”

But you still have to come up with the title. For the Victorian book, I go looking in Victorian literature, but what about stories or novels where the title could be anything? How do you even get started? I swear, sometimes it’s harder than writing the actual stories. If you have any brilliant thoughts, please do share them in the comments.

*By which I mean that our brains have this magical ability to notice stuff that matches the pattern of what we’re interested in. But it’s more fun to say the Internet gets credit.

I’m perfectly capable of speaking for myself.

Kate Elliott on authorial intent.

Word.

I’m smart enough not to respond publicly to reviews, of course; that pretty much never ends well. But if you want to know which ones get up my nose the worst, it’s the ones that make unfounded declarations about what was in my head while writing. If you read a particular thing out of the story, fine — far be it from me to say ur doin it wrong. But please don’t claim you know why I did things that way.

Mind you, the line between the two isn’t entirely clear. Sometimes — as Kate’s contrasting examples show — a lot of it comes down to phrasing; if you say “it seems the author felt X,” that creates a different impression than “the author felt X.” This is one case where I think it’s a good idea to use qualifiers for your assertions, even though in other circumstances it’s better to just say things directly. And, of course, if you’ve been reading my blog or an interview with me or whatever, anything I say there is fair game for use later; your review can say “because Marie Brennan is concerned with not taking events out of the hands of the real, historical people who were involved, she does Z” — though even there, it would be better to say you presume there’s a causal relationship, because when you get down to it I may have forgotten my own agenda and done Z simply because it looked nifty, or the rest of my plot required it.

Talk all you like about the product. What you say may sound very odd to me; I may blink in surprise at the cool thing I apparently did without noticing, or wonder exactly what novel you read, but in the end “the book” is the product of a chemical reaction between the words on the page and the contents of the reader’s head, and I only control one half of the ingredients. The contents of my own head, on the other hand, do not belong to the reader, and so I would prefer that reviewers phrase any speculation as speculation. Don’t be the guy who went around telling people what Ursula LeGuin “intended” with the Earthsea books. Don’t presume to speak for the author. If I’m going to bite my tongue and not tell you how to read my work, don’t tell me how I wrote it.

Never underestimate the importance of body language.

Last night I was watching Brick while ironing my gi (fabulous movie, btw; noir set in a high school, and it works), and thinking about how Joseph Gordon-Levitt is one of those actors I don’t often see, but generally enjoy when I do. Then I thought about N.K. Jemisin’s guest post on Whatever about Inception, and a comment in the thread there about JGL, and I realized what it is that gets me about his performances:

He understands how to use body language.

Most guys look good in three-piece suits, but as Arthur in Inception, he doesn’t just wear the suit, he wears the posture that makes the suit look good. In Brick, when he’s been beaten up something like four or five times in as many days and is coughing his lungs out, there’s a shot of his feet stumbling down to the path that will lead him to a very dangerous confrontation — and then he stops, and his feet settle, and then he walks off as if nothing’s wrong. (Gamer-brain says, “that’s what spending a point of willpower looks like.”) He doesn’t just act with his face and his voice; it goes through every part of his body, so that the telling details might be in his hands or his shoulders or something else you maybe don’t even notice, not consciously, not unless you’re looking for it.

I’ve realized this is a common theme among actors I like, the ones where hearing they’re in a movie will instantly get me more interested. Johnny Depp does it, and brilliantly. Cate Blanchett does it, though at the moment she’s about the only actress I can think of who does. (I blame the industry, not the actresses; they don’t often get as wide a range of roles to play.) Paul Bettany does it, and he was the one who made me realize body language was a key point for me, after noticing the subtle physical cues he works into his performance. When Vin Diesel remembers to do it, he can hold the entire screen by presence alone; one of the most bad-ass shots in all of Pitch Black is him simply standing up.

And when people forget to do it, that failure can undermine an entire performance. (Now I’ve got kitsunealyc in my head, ranting about Gwyneth Paltrow’s terrible posture in Emma, that made all her dresses look like sacks.)

This drives me a little crazy because of course I want to make use of this idea in fiction, and I can’t — not exactly. The kinds of physical quirks I’m thinking of work best when they’re done subtly, in the background; in prose, though, I have to describe whatever I want you to see, and that automatically draws your attention to it. Especially because getting the nuance of a gesture or twitch might require an entire sentence of description, when the act itself takes half a second. You have to approach it differently: well, duh, it’s a different medium. I think the equivalent in prose is finding that precisely-calibrated angle from which to describe something, that will carry a whole weight of implied meaning without taking up a lot of space. Dunnett does this brilliantly (as she does so many things), particularly with Lymond’s hands; she’ll say something about his face being caged behind his fingers or whatever and somehow her descriptor manages to make me see everything else surrounding it: posture, white knuckles, the whole ensemble of body language, from that one perfect detail. It won’t always work, because one reader’s metaphoric connections aren’t the same as the next, but it’s the only way I can really see to accomplish what I want.

So, I just have to become as awesome as Dorothy Dunnett. <g>

I’d love other examples of this, either in the form of authors who really pull off physical nuance on the page, or actors/actresses who make good use of it in performance. Do you find it as effective as I do, or are your particular buttons of a different sort?

Privileges and Rights

With various responses to the Prop 8 decision floating around out there, I was particularly struck by this tweet, which articulates a divide I’ve been chewing on for some time: Californians knows that marriage is a civil right, not a privilege.

“Privilege” is a word that’s seen widespread use lately, in the context of society’s treatment of different groups of people: white privilege, male privilege, straight privilege, able-bodied privilege, etc. There are many lists out there pointing out what kinds of advantages a person is likely to enjoy if they fit into the preferred group, and how many of those advantages aren’t even the kind of thing you think about in your daily life (unless you don’t have them). But I think there’s a blurring that happens in some of those lists, which I want to look more closely at: the difference between privileges and rights.

Privilege is, literally, private law. It’s a special exception made for favored individuals or groups. Centuries ago, a nobleman might be given the privilege of hunting deer on the king’s land; today, I pay for the privilege of checking books out from Stanford’s libraries, which is otherwise reserved only to their students and staff. If the king decides he doesn’t want anybody shooting his deer, or Stanford decides they don’t want to deal with outside users, then they can take that privilege away.

A right, on the other hand, is something everybody has, unless we permit laws or behaviors that exclude disfavored individuals or groups from it. Voting is a right belonging to all U.S. citizens, unless they’re children (excluded on the basis of immaturity) or incarcerated felons (excluded as part of their punishment). Freedom of speech is a right. Fair trials are a right. You can’t take somebody’s rights away without a damn good reason.

The distinction is important because it affects how a problem can best be solved. One of the white-privilege lists I saw mentioned the privilege of being able to walk around in a store without the employees watching your every move to make certain you aren’t going to steal anything. I had a visceral reaction to that: for god’s sake, that should be a right! Our default should be to assume that a given customer is not a criminal, unless we have evidence to the contrary. (Evidence other than skin color, which doesn’t count.) You don’t fix that problem by telling your employees to give every customer the hairy eyeball; you fix it by telling them not to discriminate against the black (or Latino, or etc.) customers. On the other hand, being able to make an offensive joke about a member of a disfavored group and not suffer any consequences for it? That’s a privilege. You fix that by calling people on it, making sure there are consequences; the privilege harms other people, and so you take it away.

Both of these are important things. But I don’t want to lose sight of the rights, in all the talking about privilege; it downplays the importance of the former, while creating the sense that the only solution is to take things away from the advantaged groups. Sometimes that is the solution — but sometimes it’s better to share the advantages with everybody. Improving the world doesn’t have to be a zero-sum game.

In the case of Prop 8, you don’t resolve the situation by making civil marriage a privilege, granted by the government to those (heterosexual) couples of which it approves. You resolve it by acknowledging that marriage is a right, which cannot be withheld simply because the couple is same-sex — or mixed-race, or one or both parties are incarcerated felons, to choose a few of the relevant legal precedents. Nobody has to lose anything for other people to gain.

a better human being than I could ever hope to be

Another link I’ve had sitting around for a couple of weeks: Abd el-Kader and the Massacre of Damascus.

Read the whole thing. Yes, it’s long, and we live in an age of attention-deficit disorder, where any blog post longer than a few paragraphs threatens to trigger a tl;dr response. But you need to go through it to grasp the enormity of this man’s life: not just what Abd el-Kader accomplished in his fifteen years fighting the French (notice how many times he wrestled them into stalemates or surrenders or treaties?), but the incredible reversal of his image later on, while he was in France, and when he went to Damascus. It’s an amazing story.

I’m writing a novel set in 1884 London right now, and I’m running a game set in the 1875 American frontier, and I’m juggling a back-brain idea that would take place in a world a lot like our own nineteenth century but with differences, and coincidentally kniedzw is reading a biography of Sir Henry Rawlinson, who’s one of your crazy Victorian soldier-scholar-adventurers, and it really makes me want to know: what was it about the nineteenth century that spawned so many larger-than-life characters?

Some of it’s a matter of wealth and privilege. If you don’t have to work for a living, and you don’t particularly care what offenses you commit against your lessers, you can get away with much grander deeds than somebody constrained by budget and consideration. Some of it’s a colonial effect, as the collision of nations destabilized the world and created zones where individuals could make their own law. I think a portion, especially in the case of men like Rawlinson, was an invincible belief in the gospel of progress: there was nothing that they couldn’t do, and if somebody tried and failed and died, well, it was just a sign that you needed to try again harder.

That doesn’t explain Abd el-Kader to me, though. He probably counted as wealthy and privileged in the context of his own Algerian society, but not in comparison to the French, and part of what made his story awesome was that he did constrain himself not to harm those over whom he had power. He wasn’t a colonial adventurer, either, indoctrinated by the European belief in progress. He was just a leader and military genius with an unshakeable goodness of character that gradually won over even his enemies, who found himself in a position to save thousands of lives. And yet he hits that same button in my head, of people whose deeds loom so large in my head, I have a hard time imagining anyone following a similar path today.

Maybe it’s just the perspective of time. Maybe in a hundred years, people who seem ordinary to me today will have the same sheen of outrageousness. It doesn’t feel like it, though. Western history* has colorful characters at all stages, but it seems like there are more in the nineteenth century; and then the things we do today feel smaller, more hedged about by caution and limitation, less grand. In a hundred years, we’ll remember Bill Gates — but his autobiography won’t be stuffed with anecdotes about how as a boy he tried to summon the devil in an attempt to verify the existence of same**.

Possibly it’s better for society as a whole that we have changed (if indeed we have). But every time I come across another figure like Abd el-Kader, the narrative part of my brain lights up a bit with joy, and I wish current events could do that to me.

*My knowledge of non-Western history is intermittent enough that I don’t want to generalize about it.

**Unlike Charles Babbage.

Freshness and tropes

Once again, I’m building up a raft of tabs in my Firefox bar — but since I’m still trying to do that “more posts of substance” thing, I don’t want to knock them all off with a linkdump. So let me see if I can’t get around to discussing these things.

io9 had a good piece recently: Is “avoiding tropes” the same thing as telling fresh stories?

On the one hand, yes, if you define “trope” as “something that’s been done before” and “fresh” as “something that hasn’t been done before.” As Charlie Jane Anders points out, TV Tropes has gotten so obsessively detailed, the term has gone well beyond applying to full-on cliches (things that have been overused to the point of being worn out) to just about anything that might be seen as a pattern, however minor. But Anders goes on to say, Maybe we tend — and by “we,” I definitely mean “me,” among others — to fixate on the presence or absence of too-familiar story elements, instead of thinking about whether the story as a whole was fresh, or strong, and whether it moved us. And that suggests a different connotation for the word “fresh,” that doesn’t restrict it solely to a sense of “pure novelty.”

I’ve come to realize over time that I don’t care as much as some people seem to about novelty. Possibly because it’s both so easy and so hard to pull off: hard because any given idea, taken in isolation, has probably been done before (after all, we are the proverbial million monkeys with typewriters, telling stories for thousands of years), and easy because all you have to do is stick something random into an unexpected context. A guy moving to the big city with dreams of striking it rich is a trope; Jesus opting out of being crucified because he wants to make it as an actor in Rome is a novelty. The latter may be original, but that doesn’t make it good.

And the thing about tropes is, they happen because they work. The pattern is one that speaks to something within the audience’s hearts and minds. One person tries it; the story resonates with a lot of people; it becomes a piece of the toolkit for other storytellers. There’s a point at which trope-avoidance becomes an exercise in not doing any of the things you know will work.

Having said that, some caveats. Sometimes the thing a trope speaks to in the audience isn’t so good; What These People Need Is a Honky (the insertion of a white hero to save the poor beleaguered non-white people) is a splendid example of one that’s both common and problematic. Other times, the trope’s power to move the audience is diminished by overuse; the twist at the end of The Sixth Sense worked for many people because they weren’t expecting it, but then Shyamalan became known for sticking twists into the ends of his movies, so they lost the surprise factor and much of what made them effective. And what holds true on the micro level may fall apart on the macro; I won’t necessarily ding you for telling a story about a farmboy in a fantasy world who gets swept up into epic events, but if he also has a grey-bearded magical advisor and a faithful friend and an elf and a dwarf and a ranger and a magical artifact that needs to be destroyed in order stop the Dark Lord from taking over, then we’re not talking about a trope, we’re talking about an entire insta-kit of them that you’ve assembled according to the instruction booklet.

For me, “freshness” boils down to the ability to make me sit up and pay attention. Sometimes you can achieve that by doing the unexpected, but you can also do the expected so well that it comes to life as if I’ve never seen it before. The characters are so vivid, the plot developments so sharply executed, that I can’t spare the brain cells to think about other stories that have done the same thing before; I’m too absorbed in the drama you’ve pulled me into. There’s nothing wrong with using the tools your forebears crafted ages ago, so long as you use them with skill. Unlike the “entirely new” approach, there’s evidence that those tools actually work.

religion in SF linkage

I’ve had this open in a tab for long enough that I no longer remember who I got the link from, but: back in 2009, the blog Only a Game did a series of posts on religion in various science fiction texts. Not invented religions, but real-world faiths (though sometimes in future-adapted forms), and the ways in which books or TV shows or movies either represent the practice of faith, or grapple with the concepts behind those faiths.

The series starts here with an introduction (which as a second part a few posts later); the first actual discussion of a text is here, tackling Frank Herbert’s Dune. Unfortunately, there doesn’t seem to be a good way to link to the series specifically; the only tag they have is “serial,” and since the blog seems to do a lot of serial discussions, that pulls up a whole swath of more recent posts. But if you start at one of those two points, there are links at the bottom leading you onward to later installments, so you can skip the intervening entries on other topics.

I’ve touched briefly on the subject of religion in science fiction before, noting that the dominant message sent by SF as a whole seems to be that we’ll have gotten over that religion thing by the time the future arrives. There are exceptions, of course, texts that don’t assume the future will mean jettisoning faith, but they do seem like exceptions to me. And I suppose that view makes sense if you assume the primary cause and purpose of religion is the need to explain why the world works the way it does, and if you also make the corollary assumptions that 1) eventually science will be able to explain all of those things much better and 2) we are inevitably moving toward more science, not less. But I take issue with all three of those assumptions: contra Frazer, I think religion isn’t just for explaining the world’s functioning; I also think there are issues (like ethics) that science is poorly-equipped to handle*; and I know way too much about historical instances where scientific knowledge was lost to assume we’re just going to keep climbing that hill. If you define SF narrowly as featuring more advanced tech than we have now, then sure, clearly the future as seen in SF will not have to deal with the question of a new Dark Age. But I still think it’s facile to assume the impulse toward religion will have vanished along the way.

It will have changed, certainly. I never read more than the first Dune book, so until I read these posts I didn’t know Herbert had explored “Mahayana Christianity” and “Zensunni Catholicism” as speculative fusions of current religious traditions. I’d love to see more books that do something like that, imagining futuristic Buddhism or the Church of Christ Digital or what have you. So if you know of any, please recommend them in the comments.

*Please note that I don’t think religion is the only source of ethics. Atheists are perfectly capable of coming up with reasons not to steal from or murder one another; philosophers have been hashing out the issue of ethics for ages, and not always from a religious starting point. But if people have continue to have questions about why evil exists, or what their obligation is to their fellow man, I don’t think they’re likely to find satisfactory answers in string theory.

video games as art

Link from jaylake: Roger Ebert on why video games can never be art.

I’ve got a lot of respect for Ebert, but in this instance I think he fails signally to construct a rigorous argument for his point, even as he’s taking apart Santiago for the same failure.

I could go through his article responding line by line, but that would produce an incredibly long and rambling post, so I’ll try to just hit the central points. First off, he dings Santiago for “lacking a convincing definition of art.” Given that no one has yet managed to come up with a truly convincing definition, that’s a bit unfair. And indeed, he immediately follows that criticism by asking, “But is Plato’s any better?” Okay, so he recognizes the contentious nature of definitions in the first place — but then the rest of the paragraph is spent on his own definition, which at the end, boils down to taste. Art is the amazing stuff. Everything else is . . . something else.

He clearly means “art” as a category of quality, rather than anything structurally defined. Which is an approach I fundamentally disagree with. To pick the simplest way of pointing out the flaw of that argument: Ebert says video games aren’t art (and won’t be) because none of the examples he’s seen impress him. But I guarantee you there are movies that do impress him which would bore me stiff, while there are video games I consider artful. The message I take away from his argument is that my opinion doesn’t matter; only his does, and people who agree with him. And that’s why quality as the delimiter of “what’s art?” is a bad way to go.

More ways in which he’s wrong . . . .

incentives in schooling (and games)

Time has a fascinating article up about the use of monetary incentives in schooling.

The first thing that struck me was the title: “Should Kids Be Bribed to Do Well in School?” I was glad to see my immediate response echoed during the article. As Fryer points out, we do this all the time as adults; we give bonuses and raises and other forms of monetary reward to employees who do their jobs well. So why is it “bribery” when we offer kids the same kind of incentive we give ourselves? Granted, there are differences between work and school; your son’s math test isn’t used for any purpose other than judging how well he understands math. It doesn’t feed (directly) into a larger economy of labor. And there is definitely merit in learning for the love of learning — as the article duly describes. But the difference is maybe not as absolute as people assume.

What really gets fascinating is the finer-grained material, the evidence for what works and what doesn’t. Rewarding kids for good test grades? Not helpful. Not because they don’t care enough to try and earn the reward; they do. But they don’t know how. Test scores, to the type of kids this study worked with, are not sufficiently under their control. They don’t see how to get from where they are to where they want to be, because the educational system has already failed them on that front. It appears to be more useful to target the things the kid knows are under her control, like attendance, good behavior, and the successful exercise of skills she already possesses. That lays the groundwork for the belief that other things — like test scores — can also be controlled. Education is a game she can win.

I use that phrasing because this morning’s blog-crawl produced a semi-terrifying juxtaposition between that article and a piece on Cracked.com, about 5 Creepy Ways Video Games Are Trying to Get You Addicted. It lays out how MMOs (which operate on a subscription model) use psychological tricks to make you keep playing, even when it isn’t fun. Which is all about incentives and reward.

Maybe if we ran our schools more like MMOs . . . ?

a question for those in the romantic know

My understanding of romance subgenres is that Regencies are a separate category from historicals. So not counting those — what time period/place combinations are the most commonly depicted in historical romance novels?

(My money’s on Scottish highlands of whatever period as the runaway winner, but feel free to tell me I’m wrong.)

epic pov

A topic of conversation from ICFA: I’ve noticed that one of the things which makes it hard for me to get into various epic-fantasy-type novels lately is the way point of view gets used. As in, there are multiple pov characters, and shifting from one to the other slows down my process of getting invested in the story.

But hang on, you say; why “lately”? Why didn’t that bother you in your epic-fantasy-reading days of yore?

Because — and this was the ICFA epiphany — the epic fantasies of yore weren’t structured like that. Tolkien wasn’t writing in close third person to begin with, but he pretty much just followed Frodo until the Fellowship broke at Amon Hen; he didn’t leap back and forth between Frodo in the Shire and Aragorn meeting up with Gandalf and Boromir over in Minas Tirith and all the rest of it. David Eddings’ Belgariad, if I recall correctly, is almost exclusively from Garion’s pov, with only occasional diversions to other characters when the party splits or Eddings needs to briefly show a political development elsewhere in the world. My recollection of early Terry Brooks is much fuzzier, and I’ve almost completely forgotten the one Terry Goodkind book I read, but again, I don’t recall their narratives being multi-stranded from the start.

Even the Wheel of Time, which is pretty much the standout example of Many Points of View, wasn’t like that initially. The first book is all Rand, all the time, until the party splits; then it picks up Perrin and Nynaeve for coverage; then it goes back to Rand-only once they’re back together again. Eventually the list gets enormous, but you start out with just your one protagonist, and diversify once the story has established momentum.

The examples I’ve tried lately that present multiple povs from the start — Martin, Abercrombie, Reddick, others I’ve forgotten — are all more recent. And with the exception of Martin, I’ve had a hard time getting into them. Because character is my major doorway into story, and if I’m presented with three or four or five of them right at the start, I don’t have a chance to build investment in anybody. Martin is probably the exception because his different points of view overlap; the characters are not off in separate narrative strands, but rather interact with one another. It’s less fragmented.

Mind you, it’s funny for me to be criticizing this approach when I appear to have an obsession with dual-protagonist structures in my own books, and my pairs are not always connected at the start of the story. But I think this is a new development in the subgenre of epic fantasy, generally speaking, and it might explain why I’ve been less interested — despite the fact that the new epic fantasies often have more originality going on than the books I loved as a teenager. They jump around too much, try to present me with too many threads at the outset. I’d rather read a story that starts small, then builds. I’m curious to know what other people’s mileage is on this particular question, though.