Other Cool Blogs: i09 March 4, 2017

Meme created by Erin Penn

Cultural appropriation is a bitch – a bitch to define and a bitch to have happen. One of the easiest versions to spot is Whitewashing, where a written work is converted to the screen (movie or TV) and the main character is replaced with a person of the dominant-economic-melanin levels for the culture. In normal words – when Hollywood takes a black, yellow, or red character and washes them with white big-ticket lead.

The spectrum of humanity should be seen in books AND on the screen. i09 website wrote an article about a “Powerful video shows why Ghost In The Shell whitewashing has real consequences.”

The video talked about in the article is below:

For the fifth Thursday of the month, I am going to review the 2017 portion of my blog for the Smurfette Principle, the Bechdel Test, plus the gender and melanin splits as promised during last year’s “Made Me Look“, “Fail (Part 1)“, and “Fail (Part 2)” blogs. The world is diverse, writing should be as well.

WATCHING EXERCISE: Go through you recent Netflix watched list, your DVD collection, or what is playing and/or coming out in movies – look at at least 30 of them. How many of the movies are whitewashed? How many star female characters with agency and how many have male leads? Are any characters non-binary? How many of the movies have characters which are not “you” (i.e., black, white, Asian, male, female, etc)? How many leads are non-white? (In a group of 30 movies, if going with America’s racial mix, 4.5 should be black, 1.5 should be Asian, and 4 should be immigrants.)

WRITING EXERCISE: Choose a movie to watch where the director made a conscious choice to avoid whitewashing the characters. Write a blog or a Facebook post reviewing the movie.

Word of mouth drives Hollywood, make a difference.

***

ADDITION: Whitewashing can involve fictional covers. See “Sci-Fi Author Nnedi Okorafor Says Publishers Whitewashed Her Book Cover” (Huffpost by Maddie Crum, 3/14/2017)

Other Cool Blogs: Fantasy Faction July 11, 2017

Pennsic War starts today. At 9 am Eastern Time, the flood gates open and I will be standing in the breach, my first year as a “general”. I am in charge of troll. If you want to check-in, you go through me and my staff. (Needless to say, I have prepped this posting in advance.)

Worldbuilding, whether creating a world through writing or through digging dirt and setting up tents, needs to be done on multiple layers. For Pennsic, it isn’t enough to buy a modern tent and show up. You need garb and money, food and equipment. And once everything is set up, learning, fighting, friends, and stories. Layers upon layers.

When writing about warcraft, the layers are also needed, especially in the fantasy and science fiction setting. Historic game-changers for war have included the spear, the bow, the stirrup, gunpowder, tanks, and missiles. Each modified strategy and logistics. Fog and rain negates long-distance weaponry. Mud negates heavy objects like horses and tanks. High ground, low ground. Water, food, heat, cold, distance, troops. Each impact a battle.

What happens when magic is added to the mix? How would scientific advancements adjust tactics? Could plain-old weather and landscape negate the fantastic science and magic? What worldbuilding is needed to make a magical world at war be real?

Fantasy Faction explores this in “Worlds within Worlds – Part Three: Magic Warfare“. Having lived through and in a (reenacted) medieval mud and war environment, I have some different ideas than are presented here. No mention is made of fortifications, and the magical enhancements to said fortifications. I seriously doubt the wizards would be the group leaders, more like specialists within a group, since they will be too busy casting to keep track of the battle around them. The healers in the backlines would be major targets, like the supply depots are today, though hard to reach.

And mud. Mud is a thing. I am so hoping this year will be a dry year for Pennsic. Though dust is also a thing. Dust and camp fire smog. The haze burns the eyes. So a little rain once every other day would be nice. But even a little rain means mud when you got 5,000 warriors on a field. Basically war is mud and dust no matter what and I will be living in it for three weeks. Checking in other crazy people for this worldbuilding of war exercise.

Read the article to see how layers can be added through worldbuilding: http://fantasy-faction.com/2017/worlds-within-worlds-part-two-magic-warfare

 

DAY-OF NOTE – It is a wet Pennsic … rain every day for three weeks is predicted. Scattered showers so around 10-20 minutes per day. Result will mean not as much dust … lots more mud. Clay mud resulting in “slick” in the hard pack areas; deep, boot-sucking fens in the grassy areas.

 

WRITING EXERCISE: If you are writing a fantasy or science fiction story, think about one of the defining magics/scientific advances of your story. Apply it to a battle situation, guerrilla or traditional. Where would changes occur: supply lines, medical units, food, mobility, communication, hand-to-hand, and distance? Take one of the changes and expand on how it would affect an officer, a grunt, and a civilian who lives near the battlefield. 

***

A laser pistol. The beam goes until it hits something, then burns a hole – instantly vaporizing the material. 

“until it hits something” – Missing is bad. The beam continues until it disperses. At this time we have home tools which can measure as far as 660 feet, about a tenth of a mile. Let’s say the laser pistol is has an effective TIGHT range of 0.1 miles and disbursement stops somewhere around triple that. 

The radius of the hole is very limited, which means it needs to hit a particular spot on a human being to kill them (sniper) or go right through them. Sniper accuracy in battle is pretty bad, so it needs to be a borer – go through about a foot of human flesh.

Not a weapon one would like to use on a spaceship or in close-combat where the troops are mixed up. 

The upside medically is the laser self-cauterizes resulting in less bleed-outs; if the wound isn’t fatal, the injured party can keep fighting. The downside medically is the self-cauterization means that wound is basically permanent. Dead flesh, whatever is left after the vaporization, all the way through. The medical staff would need to remove the burned, destroyed flesh as part of the treatment, significantly increasing the tissue damage.

First thing people are going to do is create an armor to deflect the damage. Armor adds heat and weight to soldiers. Face grills will be required, because even diffuse lasers will be nasty to the eyes at three-tenths of a mile, which will restrict vision – a requirement on the battlefield. Likely a full helmet will result, restricting breathing and being very nasty for when sick.

The grunt would prefer a splatter weapon with a shorter range, three-tenths of a mile is too big. Too much a chance of friendly fire downrange. The armor and full helmet will annoy and be horrific in hot environments, but the grunt will wear it anyway because getting hit pretty much mean limb or organ loss since medical ain’t got nothing to fix after its been vaporized. Thank the skynet for cyberparts, right?

Officers will train snipers and also need to set protection against being sniped.

The civilian will need to get out of the way. In urban warfare the range of the weapons is five blocks. I can’t even see that far. No hiding in the house from a weapon good at penetrating a foot of material. And out in open fields, lie down in a rut like a tornado is about to go over.

On Sunday, look for the flash “Wounds”, inspired by this writing exercise.

Writing Exercise: Driven by Wants

Image courtesy of Theeradech Sanin at FreeDigitalPhotos.net

People don’t move out of their comfort zone unless they have a Want. Neither do characters. Maybe it’s just to get away from the pain, but in those cases, usually the character doesn’t move further than the next room – away from the pain. Close door, forget the trouble, like they are a baby who hasn’t master the permanency of object. 

To get a character to move and keep moving, they need to have a deep Want. In romances, it could be finding and then being with that special person. In Urban Fantasy, they may Want to save the world – more likely, they Want to save their favorite pizza joint who delivers, saving the world as a by-product.

If a story has stalled out, if the characters are just looking and talking and not doing much, maybe a huge glass of Want needs to be added.

Edmund Schubert went into this in the magical word post “The Importance of Wanting in Fiction”, and a huge light bulb went off in my head. Next time my story stalls out, instead of just blowing something up (which a lot of writers recommend), I’m going to see what my characters want. What is driving them. More details can be found here (and be sure to read the comments): (11/3/2023 – They have finally taken down the magicalwords.net.)

Want is also agency, or, more accurately, the ability to pursue and make choices to get what one wants. Want is very important to a character.

WRITING EXERCISE: For your current work-in-progress (WIP), write down what all the characters want by the end of the story. For a scene giving you trouble, write down what each character wants (1) in the next 10 years – their driving life plan; (2) by the end of the book – about a week out; (3) right now – by the end of the scene. Is the scene Want going to met (ending the scene) or change (also ending the scene, but now the character has a different driving Want)?

WRITING EXERCISE 2: Let’s play mad-libs for a moment. Think of a “noun”. Now a “person”. Okay, this is a person and their Want. Write a flash on it.

***

(my example added 11/15/2019) “Three” and “Editor”. 

An Editor Counts to Three

One, two … One, two … No matter how many times Janey counted, she couldn’t make it three manuscripts. She had put out a discount call on her website and Facebook. Three manuscripts would pay for her week’s bills, even if the final one was discounted by 20%. Only two would mean something would have to give.

Food most likely. She wasn’t sure about giving up dinner for a week again. Last time she started getting dizzy about Wednesday.

Maybe she should email blast her publisher friends to see if they have things, but most of them pay when the product gets published, not on delivery of an edit. Small presses suck for income; people who work for small presses are in an even bigger bind.

Nothing doing, except by the doing. Janey winged off the blast hoping against hope and sat down to complete the edits on the second manuscript. She had already sent the first one back hoping a third would come in while she worked on the first. When she started the second, she had done her “flash sale” to no effect.

Style sheet, cover sheet, and annotated manuscript number two appended to an email. Clicking sent, Janey moved to close Outlook when a ping sounded. In the lower left corner of her screen a little blurb of an incoming email flashed, “Greenman@EarthColony.US – manuscript available – Dear Janey Curtpatrick, I saw your flash sale. I have a four-book epic fantasy in need of …”

She quickly clicked on the black box before it went away and it opened to the full message. “…editing, but before I make such a large investment, I would like to meet in person and get a feel. I notice your website says you operate out of Riverside. By lucky coincidence, I flew in from the West for a conference this week. I’m available tonight at the Hilton, could you drop by? I’m sorry for any inconvenience and will pay for dinner. Would seven work? – Sincerally, Mr. John Greenman.”

A four-book epic fantasy!?! That is some serious cash. 

While she usually bumped into new clients at cons, Janey didn’t see much danger in meeting a new client at a hotel. Especially if he would feed her. Lunch had been skipped getting the last edit out. Hopefully he would be on a expense account, and she could pick up enough food to get a couple days worth of doggie bags. Even if things don’t work out for the fantasy series, and she hoped it did, she could still end up with enough food for this week.

She typed out a quick reply before rushing to get ready. (words 450, first published 11/15/2019)

Other Cool Blogs: Tor Feb/Mar 2017

Image courtesy of toonsteb at FreeDigitalPhotos.net

Costume and Story

Last year I attended a panel on costume in writing. Being one of two audience members, matching the two speakers, we had a lively round-robin discussion. (Sometimes smaller is better.) The panelists were steampunk writers; few other genres are as clothing driven as steampunk. But we ranged from the uniforms of the David Weber‘s science-fiction Manitcore Navy to the shawls of Robert Jordan‘s fantasy used to represent Ajah alliances. Clothing provides meaning, layering. World history. 

And sometimes clothing defines the character.

Tor, publisher of science fiction and fantasy, asks their authors to provide posts on occasion for their website. Sarah Gailey provided one on Storytelling through Costume. She stuck with the visual mediums of television and movies, but the ideas are sound for writing as well.

Iconic SFF Costumes: Storytelling through Costumes

The Allure of the Red Dress

The Woman in White

The Badass Black Tank Top Walks the Line 

While I am well familiar with the Red Dress and the Woman in White tropes, I hadn’t run into the Black Tank Top before. Very illuminating on finding a balance between the strong woman and the vulnerable woman, a person of competence and an object of objectification.

WRITING EXERCISE: Define a character through his or her costume.

***

In Honestly, during Chapter Four, Kassandra has the following observation of Troy:

Today, Troy had on his normal button down long sleeve shirt with collar paired with a set of slacks. Only the top button was unbuttoned, transforming a nerd look into sleek male. Was he brown all over, or did his father’s inheritance make him paler where the sun doesn’t shine? A golden yellow shirt and the forest green pants prevented her from finding out immediately. How he would tolerate what she was coming to think as his uniform once summer truly began, she had no idea. May first just past and the temperatures outside were peaking in the high eighties every day.

Troy’s formality shows through in his clothing choices, as well as the wish to hide the scars on his body and soul, but a hint of opening in his armor shows with the single button unbuttoned. As the story progresses, less of his body is covered and his clothing gets more informal but never completely informal or poorly maintained (wrinkled or torn).

Note the long clothing description did not occur until well into the story (chapter four), when the reader is committed to the story. The scene served two purposes: character development for Troy and hint at the emotional evolution of Kassandra who both admired him sexually and delved deeper into who he was as a person.

Writing Exercise: Out-Of-Alignment

Alignment by Pajamas
Acquired from the Internet Hivemind

WRITING EXERCISE: Today’s writing exercise comes in two parts. First write a scene, a hundred to two hundred words, nothing long. Should have a Point-of-View character (POV); may have other characters as well. Second, redo the scene by changing the POV character’s alignment. Define the old alignment, and then state the new alignment being attempted. Have the scene remain the same as possible, only change the motives and what the reader sees through POV character.

How does the morality/ethical code of the character change how the story unfolds? How important is the internal mindset of the POV to how the story unfolds? How hard is it for the other characters of the scene to judge the character’s intentions?

Alignments are a concept from Dungeons and Dragons and other roleplaying games. They help form a character’s personality for non-actors playing in the game. Lawful good are goody-goody while chaotic evil are psychotic. If you are not familiar with the concept or want to try something outside your comfort zone, change the basic moral code of the POV character. For example: will do anything for money; refuses to do actions to upset people; will only act in a legal manner; just don’t make me dress up; etc.

***

My Attempt – Text Flash: Dream Dancing

Chaotic Good Version

I don’t like the room, a tight classroom where the girl-woman-child-female is compressed into a desk, the tabletop pressing her knees into her body and her neck and arms constrained. The blackboard screeches as chalk writes a dozen formulas, while an overhead projector burns like the sun, flashing words slightly out of focus and too fast to read on a white board covered with half-erased scribbles. All the other children in the classroom are much smaller, middle-school age and chatting up a storm, making the sole adult at the front – a faceless being – inaudible in the din.

Slipping into the dream, I sweep all of the distractions away, expanding the desk so the woman full-grown is behind a business desk. As she relaxes, I change the scene once again so the overhead light becomes a disco ball, and the woman is at a table next to a dance floor. My hand is nut brown against her pale skin as she accepts and joins me on the dance floor. 

Her head tilts up, smiling in confidence as we dance around the dream room. My suit and her flowing gown touching only around the legs and at the wrists. Her alarm interrupts the dream just as I had been leaning down. Outside the window, behind a screen, I watch her fall back onto her pillows and scream in frustration. She isn’t alone, but this is the first night of many. (words 240)

***

Lawful Evil Version

The dream room of the woman doesn’t suit my purposes. The tight classroom twists in from all directions, compressing the female a school desk with the tabletop pressing her knees into her body and her neck and arms constrained. Across from her, the blackboard screeches as chalk writes a dozen formulas, while an overhead projector burns like the sun, flashing words slightly out of focus and too fast to read on a white board covered with half-erased scribbles. All the other children in the classroom are much smaller, middle-school age, and chatting up a storm, making the sole adult at the front – a faceless being – inaudible in the din.

Slipping into the dream, I sweep all of the distractions away, expanding the desk so the adult woman has a moment is behind a business desk, unlike her day-job but something she aspires to. Before she fully relaxes, I change the scene  again modifying the overhead light into a disco ball, and the woman sits at a table next to a dance floor. My hand is nut brown against her pale skin as she accepts and joins me on the dance floor. 

Her head tilts up, smiling in confidence as I lead her around the dream room. My suit and her flowing gown touching only around the legs and at the wrists. Her alarm interrupts the dream just as I had been leaning down. Timing is everything after all. Outside the window, behind a screen, I watch her fall back onto her pillows and scream in frustration. She isn’t alone, but this is the first night of many. (words 269)