Real Help on Thanksgiving

Posted: November 26, 2014 in Just a Thought
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Thanksgiving is around the corner! While plenty of us are planning on trucking out to homes of friends and family on order to get their turkey grub on, there are some who are worried about a place to live.

While I like to help folks under “umbrella” charities, it’s good to make it personal every once in a while.

So this guy, who is a friend of a friend, was more worried about how his loyal and beloved pup was going to fare than himself! Looks like he’s got some help for the pup, but HE needs plenty of help too and I want to see him have the most Thanksgiving-ever-after in spite of the shit hand he’d been dealt. Being a veteran myself, those who have served and continue to serve hold a special place in my heart.

Help here.

Or night job, as the case may be. Lately, I’ve been tempted to throw in the towel and give up the rat race. I’m sure most people have experienced the uglier side of office politics (not ‘what’ but ‘who’ you know and how far you’re willing to stick your nose up their butt), or the stereotyping (that person’s just a dumb admin who can’t read too good) or even vicious racism or misogyny.

But… There’s a time to get disgusted and walk out, and there’s a time to hang tough. Not just for the steady paychecks (big, big reason to hang on, to be sure), but also for the conflict. I’ve frequently been finding myself thinking of the events at work: “wow, this situation reminds me of a story I read once.” Sometimes I even think what’s happening right in front of me would have required a massive suspension of disbelief in order to incorporate into a story — “you can’t make this crap up” is a common phrase uttered at work. And if it wasn’t so personal, it would be hilarious. Maybe a little softening over time and I’ll have a comic bestseller.

While I’m working on the next stories (I anticipate having Belly of the Beast published early next month), hoping I’ll be able to earn enough from my writing to keep a roof over my head and some food in my fridgeI’ll keep at it and think of it as inspiration to

And Office Space, believe it or not, is not as strange as it seems to be. Anyone who worked in an office can attest to this. The scenes with the copier? Spot on.

Yes, it’s true, apparently. Over at Authorgraph, readers can request an inscription and signature for their digital copies, and I am happy to provide the service for my readers.

In the middle of NaNoWriMo, I have chosen to forego some of my word count in favor of a vacation. True, I had planned to take a break way back in the distant past (July 2014. Ancient times, you know) but in choosing not to write as much as I normally do per day during this month, I have been able to let some of the ideas simmer. And like anyone who makes spaghetti sauce (or tomato gravy, if you happen to be from Philly), the more they simmer the thicker and tastier it gets. Unfortunately, instead of the ideas for my NaNoWriMo novel, I found some ideas for the sequel to Umbra worked their way into my brain. Can’t entirely fault it, but it’s just as well, since I had been deciding whether or not to restructure my schedule and do the sequel earlier in 2015. Now I’m actually pretty eager to let the ideas get out and play around on the page. So Shaw and Vera and the others may just be making appearances earlier than expected. Stay tuned.

The Opal Necklace

Anyone whose done any creative writing at all has most assuredly had the old “Show, don’t tell” beat into their skulls by well-meaning instructors.  Nothing wrong with the phrase, and, in fact, it works.  What they usually don’t extrapolate is the “How” part of that showing without simply telling.

I have discovered my method of “How” and it’s very simple.  I ask myself, about everything I describe, how does it make me feel?  (And by me I mean that I filter it first through me, then through the character whose point of view I’m using for the scene.)  Each of us has a plethora of experiences, and quite a few of us like to share these memories, good or bad, with one another.  Look at social media entries on sites like Facebook* -most everyone is more interested in telling us how they feel about something rather than exactly what occurred there: “Having a great time!”  Or the opposite – your car breaks down in a dark neighborhood.  It’s not just the broken streetlamps, or the sound of rats scurrying in the trash littering the alleyways.  These things help to build the tone, but its the reaction to them which holds power, especially in fiction.

Most of our most poignant memories elicit a memory of the FEELING of being in it, rather than a second-by-second replay of events.  The latter would be horrifyingly droll.  The former is what brings others into the moment.  We may not have exactly the same experience, but every human being on this planet shares the same set of emotions, whether they show it or not.  (Or misdirect it.  Some really creepy villains stem from those who absolutely LOVE things the rest of us find abhorrent, but to them it is love.)

This is insanely useful in fiction, as it brings the human element into what is essentially a foreign world (fantasy and science fiction are notorious for high-level play-by-plays of the scenes.)  It allows the reader to sense the world rather than reading what it’s all about.

For example:

The sun crested in the noonday sky, baking everything below.

Consul Norrus felt uncomfortable in his breastplate and leather armor, and cursed.

 

This one rates a “meh” on the description meter.  Barely.

But now I take it to a personal level:

 

Consul Norrus mopped at the sweat on his forehead and squinted at the scorching noonday sun.  His breastplate absorbed the heat, cooking him in the

ridiculous accoutrement his title forced him to wear, and he prayed some small crisis erupted requiring his presence erupted, preferably somewhere with plenty of shade.

 

Now I get a sense of not only of the heat of the day, of Norrus’ discomfort with the armor, but also his feelings about some of the necessities of his position.  This makes him a human –how many of us have been forced to wear something uncomfortable just to satisfy some obligation of our profession or duty?  This brings us closer to him as a person, either as someone we like (which I hope in this case you, dear Reader, will, as Consul Norrus will be showing up as a protagonist in The Opal Necklace) or someone you despise.

Of course, there are plenty of scenes in stories which have character, no point-of-view, right?  Wrong.  An omniscient narrator point-of-view falls very flat without a tone, without a reaction to the course of events they are narrating.  Otherwise, it’s once again just a narration, and probably worthy of setting the book aside.

I want to make my reader sense the scene rather than simply read it.

 

* Or don’t. I won’t necessarily advocate it, because I’m not a fan myself, but it has its uses.

 

 

Clones are People Two The Opal Necklace

 

CLONES ARE PEOPLE TWO is on the virtual shelves, at least on Smashwords and Amazon.  Others will be added shortly.

Now that CLONES is out, I have another story which I’ve been planning for NaNoWriMo.  It’s the same basic premise as the novel I had done two years ago for that same organization, but a lot more thought has gone into it, and a whole other subplot which necessitates a major re-write.  I also am planning to have this thing published some time early next year so I can get started on the second Umbra novel.  Please note that this is a “working cover” for The Opal Necklace.

With the rise in the last several years of movies and books with dystopian or post-apocalyptic themes, the reporting media (as usual) does not take a careful look at the particular connotation behind these two terms.

Rule #1:  ‘Dystopia’ and ‘Post-apocalyptic’ are NOT synonymous.

‘Dystopia’ refers to the community or society.  ‘Post-Apocalypse’ refers to the milieu, setting, and is essentially a world-building term, of the locale after the Apocalypse.

The latest dystopian work to reach the masses, The Hunger Games, contains both dystopian elements and post-apocalyptic, but the latter only in a superficial and lazy way (never truly defined).  Mostly, it bases its storytelling on the interaction of the people within this society to ‘current’ events.

Rule #2:  Apocalyptic events often create Dystopias.

The society Panem from The Hunger Games could just as well have arisen from modern politics without the intervention of some apocalypse, in that the series of laws created eventually funneled the society into the state where it happens to be at the time of the novels, when the sheeple have given up their power to the government.  (Another aside: note that they tried once and failed, and gave up after that.  If they allow themselves to be so easily trod upon, then they deserve the government they got.)

Rule #3: Dystopias can beget a man-made Apocalypse

Nineteen Eighty-Four, by far the most famous, also has both elements to give it background, but by and large is dystopian.  It is about the people within the proscribed society.

For another example, I would personnally argue that Mad Max isn’t so much a dystopia as a film of anarchy slipping towards its apocalypse hinted at in the introductory montage in The Road Warrior.  Still, it shows that the societies that are created or born from the bad decisions of mad can eventually lean toward the type of mentality that would unleash its own post-apocalypse.

Rule #4:  Not all Apocalypses are created equal.

Zombie apocalypse abounds in our world.  In my youth, during the Cold War, the threat of a Nuclear Apocalypse reigned (and is still, ironically, my ‘favorite’ PA theme and may or may not be the ‘Visitation of the Fallen Suns’ alluded to in the first novel, Umbra: A Post-Apocalyptic Mystery).  The Road Warrior came from this era, as did one of my favorite games of all time, Wasteland (and its nearly 30 years in the making sequel, as well as the beloved ‘Fallout‘ series.)  The threat of pervasive, mutating radiation infecting everything for decades or hundreds of years, along with the (now-disproven) threat of a ‘nuclear winter‘ seemed just too juicy to not spawn some of the greatest PA works of all time.  (Now there’s also a discussion of a ‘nuclear summer’, for the global-warming hangers-on.)  Of course it had its stinkers too, like World Gone Wild, with Adam Ant and Steel Dawn, with Patrick Swayze, God rest his soul.

But what about all those other ones?  Day of the TriffidsWaterworld?  One of my favorite (and arguably one of the only ‘romance’ novels I will ever read, let alone love) – The Silver Metal Lover?  They introduce their own type of apocalypse (blindness/sentient and malevolent plants and melted polar ice caps for the global-warmers, and pollution/asteroid interference, respectively) and all of these are directly influential on the events that occur in the novel.

There are still plenty of differences, and I am sure to revisit this post as time permits to add a few more of my observations, and I invite you to research and suggest some of your own.