Monday, August 10, 2020

A New Lucky Strike?

 Cheyenne Evening Star—Thursday, August X, 1880 

A New Lucky Strike?

According to a reliable source, this reporter has learned that a party or parties unknown delivered a sizable sample of pure gold quartz ore to Heinzler & Heinzler Assayers last week. While Heinzler Sr. would not confirm or deny the existence of such a sample, nor less its purity of weight, the unnamed source intimated the sample tested at the highest percentage Heinzler had ever personally seen, indicating a strike that, if accessible, could rival the Homestake in Dakota Territory. 

But where did it come from? None of the usual geologists or front-men for the great investors were known to be in town. Certainly Mssr. Heinzler would not break professional confidentiality by disclosing the name of his customer. So we are left to speculate…

Union Pacific Seeks Workers

Meanwhile, in Joss Houses, gambling dens, and laundries from Cheyenne to San Francisco, agents have been recruiting Celestials with mining or explosives experience. But for what operation? Not for Rock Springs or Carbon—  

To this reporter’s best knowledge, the U.P. has not actively recruited American labor for the past two years, being largely intent on driving out the labor unions by importing hoards of Celestials. Typically, Chinese do not apply via recruiters, being more often rounded up and imported in via steamer ship and cattle-car by their own better-connected countrymen. That someone is recruiting Chinese miners already located in America, and doing it without going through the usual Chinese Bosses, may indicate a need for secrecy?

At any rate, whoever is recruiting these workers and assaying this gold ore, obviously wishes to keep their venture a secret, to the extent that the average newsman has a Chinaman’s chance of uncovering their identity. But this reporter being no average newsman, stay in touch for further developments…

Monday, April 20, 2020

noir fiction vs gothic romance

Is there a rule or convention or expectation that every installment in a series of novels has to be the same type of story? I mean what trope is the determining factor? As long as each book in the series has the same setting and mostly the same characters, does it matter if one volume leans more toward action and the hero's journey, and the next is a romance, and the third is a dystopic allegory, and the forth a war story?

I was told once by a beta reader that Curious Weather had "too much romance" for the type of book it was. This assessment, I must assume, was based on the fact that The Curse of Jacob Tracy was a weird western—a boy's adventure book, to be blunt—with no sex and only the barest allusion to romance.

So, naturally, I doubled down on the love story in Curious Weather because the whole point of that book was that it IS a romance, albeit a gothic one.

What are the tropes of the gothic romance? Well, Barbara Michaels is/was my favorite of the modern writers, and she did a batch of supernatural-flavored ones in the 80s, so I take her as my guide.

1. Told from the POV of the heroine, who's out of her usual milieu due to a family shake-up of some kind—or in the modern stories, a professional change.

2. The heroine's new milieu is hostile or threatening in some way, because of isolation, locals, or roommates—or all three.

3. There is at least one love interest, usually two. These two heroes are foils for each other; one seemingly, the other unsuitable in some way, both attractive and/or menacing by turns.

4. Usually the charming love interest turns out to be the villain.

5. There's a mystery afoot, or some deep dark secret.

6. The heroine's efforts to solve the mystery or uncover the secret lead her further into danger.

In many ways it's the same plot as a hard-boiled detective story, just with the gender roles reversed.

I'm pleased to say that Curious Weather alternately embraces and subverts all of these tropes, sometimes both, and you could make an argument that it brings in elements of the noir novel as well. As for the idea that there might be "too much" romance in a noir story... have you read any Mickey Spillane? or Robert B. Parker?

Tuesday, May 28, 2019

some thoughts on writing the 'other' and the mob mentality of identity politics versus fiction

Prompted by this article here, derived from a lot of stuff I've been thinking about for the last two decades.

1. It's not possible to write a book that appeals to everyone.
2. It's not possible to write a book that portrays everyone in a positive and affirming light.
3. If you don't like this book, there's another one you will like.
4. There might be less of a brouhaha over "writing the other" if there were more "others" getting published.
5. No culture is a monoculture (this is the inverse of intersectionality, but no one seems to notice).
6. Publishing is, by and large, a monoculture.
7. Just because your subculture (or the one you want to read about) isn't mainstream, doesn't mean there aren't books out there for you to read and enjoy. Go find your tribe and promote it instead of whining about why someone isn't bringing self-affirmation to your inbox/doorstep.
8. It would be great if the gatekeepers of publishing (agents, first readers, editorial assistants) were more diverse.
9. It would also be great if the people who tally up the supposed metrics of which editors publish people of color/queerness/ability actually had accurate data to work with, because their assumptions are wrong.
10. Don't assume someone's experiences based on their appearance.
11. Own voices are great. Allies are also great.
12. Writing only characters that match my personal background and experience is erasure, which is tenfold less cool than writing the other and making a few mistakes.
13. Writing the other in a lazy or cliched way is probably still not as bad as erasure. Hard to calculate that one.
14. You must research the shit out of any subject you choose to write about that you don't have first-hand experience with. Relying on the words of other fiction writers is not research. Have at least three primary sources. Ideally two of them should be live people.
15. Trying to write a book that will appeal to everyone, pass everyone's virtue standards, and still be entertaining literature is probably impossible. You will make yourself crazy if you try. Accept that no matter what you write there will be a bell curve of responses to it. If you can't keep the perspective that 10% of readers are going to hate your book no matter what, you probably should just write for yourself.

Saturday, November 03, 2018

adventures in unpopular opinions

When I was 17 or so I made some critical remarks about our school paper. Specifically that it had a history of typos and factual errors—names misspelled, listing students' ages/grades wrong, etc. Nothing I said was inaccurate but I happened to say it in the hearing of some other students who worked on the paper and they forever after hated me for that. And I felt bad about it for years after.
Fast-forward ten years and I say some critical things about a certain fan club—granted, I was trying to be funny, and not succeeding—and naturally one of the people in a position to be offended got wind of it, got offended, and tried to whip up a mob against me. I fired back at him, he stomped off in a huff, he has never forgiven me. I still feel bad about that, but resentful too, because the remarks I made were still accurate, intended to be light-hearted, but because someone chose to be offended and vindictive there's always been a rift there.
Fast forward another ten years, I'm on a panel with a guy I don't know, never met/heard of before, talking about race. I think I'm saying everything right but I'm not using his preferred jargon and/or scourging the people he came there to scourge and/or committing the sin of speaking while White, I'm still not sure. I get publicly stoned on the Internet by a bunch of people who never met me and only heard one side of the story. I didn't even bother to tell my side of the story because I'm old enough to know that people will believe what they want to believe based on their need to defend their own egos.
What's the moral of this story? Think before you speak, but having spoken, move on. People are going to hear your message strained through their own filter, and respond accordingly. It's got very little to do with you.

Saturday, September 08, 2018

Review: Sacred Lies on Facebook Watch

There's a line early in Facebook Watch's Sacred Lies when the FBI shrink says to the traumatized and distrustful heroine, "I'm interested in why people do terrible things to each other in the name of religion."

If you pick up on that statement as the show's whole premise, you'll be a lot happier than if you come to it expecting a teen drama or a horror story, although it uses tropes from both those genres to tell its story.

I binge-watched the whole show over the past few days. I know, I'm as shocked as you are. Initially I thought the hook was somewhat gratuitous (handless girl arrested for murder!) until I learned that the series was based on a book which was a retelling of the Grimms' tale 'The Handless Maiden."

I'm always on board for a Grimms' retelling because they are so relentlessly dark, even beneath the slather of Christian piety. This one has a miller (accidentally) bargaining his daughter away to the devil, and then hacking off her hands rather than take her place as the devil's victim. But she's so pious and forgiving God makes her hands grow back after seven years.

So far the only happy ending in sight for the show is Minnow's own search for self-actualization. Incredibly, the show seems to be aiming for a PG-13 rating despite the horrific things going on off-screen—sexual abuse, animal abuse, forced marriage, self-harm, torture and manipulation in the name of religion—these things are discussed or alluded to with glancing matter-of-factness and no one using language stronger than "crap." Frankly, the subject matter is sensational enough that any attempts to make it "grittier" would push it into exploitation.

I mean you've got girls in prison, many of whom have been sexually abused, most of them with physical scars, and our heroine is in shock from having her world burnt down and adapting to a challenging new disability. I've read at least one review condemning the handling of that disability—the camera lingering over all the everyday objects that are designed for five-finger use, the jokes and questions by the other inmates, Minnow's rage over what was done to her. To those critics I say, leave your agenda at the door, dude—the girl's in shock; her reactions and those of the people around her are nothing less than accurate and worthy of attention.

And while we're on the subject of representation, I kept noticing the diversity in this show. The FBI shrink is black, the local sheriff appears to be a First Nations woman (and gay), Minnow's cell mate is an indeterminate shade of not-white (?)with probable lesbian-leanings, and all the secondary characters in the prison are a Russell Stover assortment of races, sexualities, and religions. And although Minnow makes the remark that she's not used to being around "so many different people" it's merely a facet of her world expanding; she's long suspected that the world she grew up in was a false one, and she's eager to broaden her horizons.

What is a plot point (slight spoiler here, although you see it coming way early) is that Minnow's cult is racist—they claim black people have dark skin because God burnt out their souls—and when she falls in love with Jude, a young black man, the cultists lose their shit. But I like the way this plot point is handled: the discovery of their relationship moves the plot forward, but it also furthers everyone's character development; nobody makes any big speeches about it or "learns" anything from it, there's no "very special" episode, it's just a thread woven into the whole. Other critics have harped on this lack of "learning moments," as it were—for instance wanting more "exploration" about how low-income white folk tend to be racist—but I really didn't see a need. The writers treat their audience as intelligent enough to infer and keep up.

It's not perfect. The dialogue is a touch didactic at times, although this is clearly for the audience's benefit because the show has a lot of psychological concepts to unpack; frequently the FBI psychologist serves as the narrative voice of this dark fairy tale but actor Kevin Carroll carries off the dialogue so naturally that I found myself intrigued in much the same way as when I was watching Mindhunter.

The show is plugged as drama/horror on IMDB, which is accurate enough if you consider human evil horrific, as I do. But as I watched this the horror was mixed with sadness and anger, mostly at the self-servingness of institutions and structures that consume women and girls. I've seen enough religious fanaticism to believe I could all-too-easily find myself in the same situation as Minnow, especially with the direction the country has taken lately.

For a deeper exploration of the themes of the story, this review of the book is excellent, and from what I can tell applies to the TV series as well.

Sunday, August 12, 2018

reading: Year of the Flood by Margaret Atwood

Took me a few tries to get into it, because I wasn't in love with Oryx and Crake. While that one was an undeniably strong piece of work it also came across as William Gibson lite, with a couple of absolutely toxic male lead characters that I could hardly stand to let in my head.

Much easier for me to read about about Toby and Ren, partly because they're women and partly because they're just nicer people, although the cyberpunk lite aspects are still there, and Atwood's cutesy corporate names (pigoon, rakunk, ANooYoo) are even more grating the longer I'm familiar with them. I appreciate this is supposed to be satire but I don't feel it's particularly successful.

I'm deep enough in now (about 60%) that the political machinations of the Gardeners are starting to be revealed, the intrigue is getting intriguier and the stakes proportionately higher. The mastery of scene and character are, as always, superb. Even though I know what's going to happen the sense of impending doom keeps ratcheting up my anxiety level so that I keep having to put the book down, and then dash back to it a few minutes later.

I've been talking with my friend Rob lately about tone and theme in sci-fi, trends over the decades, what makes a book seem dated vs the current style. Again comparing Gibson and Atwood it seems that the former is more idea-driven sf and the latter more psychological, although I'm not sure that's exactly true. Gibson's work is highly psychological (Neuromancer is a tale of addiction and self-loathing hung on a fairly pedestrian neo-noir framework) and I'll add him to my very short list of male writers who write convincing female characters. However, Gibson's early work seems decidedly more full of masculine energy than Atwood's. Or am I projecting? Pattern Recognition is one of my favorite books ever, and it's written from the POV of a single chick.

Do we assess the masculine/feminine energy of a book slanted heavily toward which and how many pronouns are used?

One very useful thing about my reading this book right now is its structure. Alternating but restricted POV's between two characters, with lots of flashbacks. I'm doing something similar in Curious Weather, between Boz & Trace's plotlines, with Miss Fairweather's flashbacks sprinkled in-between. I've been worried about how it reads, but reading Year of the Flood I quickly got used to the changeovers and I'm having no problem keeping up. Reassuring.

Sunday, June 03, 2018

Review of A Stupid Place

Just watched A Quiet Place, and despite the undeniable quality of production and the acting, there are so many gaffes and gaps in common sense that by halfway through I was completely disengaged and pissed off.





Writers take note: never get so enamored with a McGuffin that you allow it to blind you to all common sense.

Monday, May 14, 2018

thoughts while watching American Mary for the eighth time

If this Soska sisters had wanted to be really subversive they would have ended the movie with Billy and Mary living happily in Berlin or Argentina as legit club owners at the heart of the underground scene. Sure, some aspects of the movie could have been better fleshed out—Mary's sense of betrayal when she catches Billy getting a blowjob, for instance, or Ruby's husband's controlling streak, or the question of whether Billy actually understood where Mary was coming from in terms of her damage or if he merely had a death wish. Letting Mary come out the other side of her trauma and find some balance—even if it meant she got away with her crimes—would have been more disturbing and satisfying than killing the monster at the end. The ending was the only cheap move in the film.

Friday, May 11, 2018

in case you were wondering

I have deactivated my Facebook account. I had become fed up with what a friend of mine called "the constant horrible buzzing." It was making me ugly.

I haven't deleted the account, I've just been turning it off for a week at a time. I might try checking back once a week unless that gets out of control. Those of you who are actual friends know how to reach me, and a couple have, which is why I'm writing this. I don't want anyone to worry.

I'm making myself read more. Even writing a bit. Trying to reestablish good habits. I might even start blogging again.

Saturday, April 14, 2018

actual costs of historical costuming

I'm feeling the need to tell on myself a bit here, because once again it's convention season, and every year, every con worth its salt proposes a "costuming on a budget" panel, and I'm always strung out between wanting to help and a fatalistic sense that it's a lost cause.

Wednesday, October 25, 2017

Me, too.

Look, I don't do memes. I've turned my nose up at going with the crowd since I was eight or ten, at least. And that, I suspect, has protected me from a lot of the shit that women put up with.

Friday, September 30, 2016

projects in the closet: midnight blue velvet

Those of you who've known me a long time may remember when, lo these many years ago, me and a friend cosplayed Darla and Drusilla in their 1880 garb. (From the Buffy/Angel crossover flashback where Dru and Spike meet.) 

That dress was the beginning of my long infatuation with the Natural Form Era (1878-1882) of fashion, and the original reason Curse of Jacob Tracy is set in 1880. Sad but true. Anyway, I outgrew this dress over the past decade-plus, and it being my first Victorian sewing project there were certain construction elements in the bodice I no longer approved of (we won't even talk about the polyester underskirt). Also, it was green.

So last winter I decided to make it over. I trashed the underskirt, took the bodice and overskirt completely apart. They are both cotton velveteen, originally white, which I had dyed green. I soaked them in dye remover to get them back to beige, then overdyed the fabric indigo. It was an interesting exercise because it was only the second time I'd used fiber reactive dyes, but the overall result was very good--it just was a bit lighter and truer blue than I'd hoped for. I was undecided about what to do next, so I threw the disassembled, indigo pieces in a drawer and let them sit for a year.

With the weather cooling off I started thinking about this project again. A couple weeks ago I was home sick and browsing through I came across this lovely crossweave silk taffeta and I knew that was what I wanted to piece out my velveteen with. 

I bought two yards to see if it would match. It doesn't. 

The discrepancy is stronger than I could capture with my camera; the taffeta is a couple clicks toward the purple. But it's much more the color I want, so I ordered a fresh batch of dye from Dharma Trading Co. and I'm going to tint the velveteen yet again. Stay tuned!