Monthly Archives: February 2021

Pedestals Are for Things Not People

 

With the flood of new support for Charisma Carpenter and Ray Fisher as they recount abusive and toxic environments on sets under the control of Joss Whedon it is important to remember that any artistic creator no matter how beloved their work are fallible flawed messy human beings not statuary icons of platonic virtue.

One can adore an artist’s work such as Buffy The Vampire Slayer, Harry Potter, or Chinatown and still recognized and condemn the creator for their actions or unjust philosophies.

It is equally justifiable to refuse to engage with their art if the offense is beyond a pale you can accept. That is a line that each person must determine for themselves.

Wherever you draw your personal line of embargo it is important long before that moment before the horrible revelations come to light that you do not place these people on the pedestals of adoration, that is where the art belongs, but always remind yourself that no matter the touching nature of their creations they people and that  good art can come from bad people.

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I Write Lean

 

As I approach the end of the first draft of my new novel I am once again struck with thoughts on my own writing process.

Many sf/fantasy novels today are well north of 100,000 words and yet my own works tend to land around that mark or under. Vulcan’s Forge (available from all booksellers) was a slim 80,000 and generally well-reviewed and the feedback I got was that the exposition was deft and sufficient so it would not appear that I am shortchanging on conveying my world-building to readers.

It is simply that I write lean. This is not to say I write better or worse than authors who have much larger works. It is a function of both plot and style not of quality. I find that in my editing and even in my critiquing I tend to be an advocate of cutting out words, phrases, or sentences for more direct writing.

I think this stylistic approach is in part a development that sprung from my lifelong love of film. Cinema is by its nature a very lean form of storytelling. While producing longer books os more expensive that cost increase is nothing compared to the fantastic cost of making a feature length film. This constraint presses on production to tell their stories in the simplest, leanest, method possible that can still achieve the artistic vision of the film. It is perhaps the single most identifiable element of my voice. (Someone else would have to speak to that matter I seem constitutionally incapable of seeing hearing my own voice in my fiction.)

I am quite comfortable with my lean prose and writing and hopefully others will be as well.

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Not Worth Your Time: Hello Mary Lou; Prom Night 2

 

The 80s were a good time and a bad time for horror films. The monumental success in the late 70s of Halloween inspired innumerable low budget film makers and studios that a cheap slasher was the sure path to box office riches producing a crop of under-funded knockoffs that possessed none of the style of the films they were following. 1980 brought the rip-off production Prom Nightwhich had the benefit of starring Jamie Lee Curtis who had starred Halloween but other than that had precious little to offer.

Six years later a wholly different production under the title The Haunting of Hamilton High retooled and retitled itself in Hello Mary Lou; Prom Night 2 a story without any connection to the first Prom Night save that take place in the same high school. Both films are Canadian productions that attempt to present their locals as standard Americana but I could swear that in Prom Night 2 when money is flashed it has a clearly Canadian appearance.

The plot of Prom Night 2 is fairly straight forward, Mary Lou Maloney, an enthusiastic sinner of a high school girl, is killed in an accident on Prom night 1957 before she can be crown as prom queen and 30 years later her vengeful and still sinful spirit descends on the high school thirsting for sex, violence, and her crown.

This is film is a mess.

It rips off so many themes and shots and concepts from other movies that there is scarcely anything in it which it can claim as its own. Trying to merge ideas from The Exorcist, Carrie, and Nightmare on Elm Street proved to be a fool’s errand and aside from Lisa Schrage as Mary Lou and perhaps Michael Ironside there is little to praise in the acting presented to us. The lines are delivered without conviction or credibility while being shot in a flat over-lit video style. There is nothing to recommend this film and its gratuitous use of female nudity reveals not only the actresses but the production desperate attempt to drawn in an audience as low class as the production itself.

Hello Mary Lou; Prom Night 2 is currently streaming on Shudder.

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Second Pfizer Dose

 

Yesterday, now about 23 hours ago, I received the second dose of Pfizer’s mRNA vaccine for COVID-19. I count myself extremely lucky that workers in the health care industry, though I do not directly interact with patients or people receiving care, I am eligible to get the vaccine. I have to say that my employers and my union have done an excellent job providing care to our members and patients while protecting the staff and workers throughout our facilities.

As far as adverse events I seem have suffered quite few. I took the day off from work and that was the right call. By late afternoon I experienced muscles aches and possibly a fever but nothing more than that at the time. I was still able to get just over 1000 words down on my novel and attend the virtual meeting of my writers’ group.

This morning I awoke to a minor headache, enough to be annoying but not enough to compel the heavy-duty migraine medication or that I remain home. In about fifteen minutes or so I will leave for work, I am among the few that are working in the office versus working from home, and I expect today to be fairly routine. In one week, I should be at full immunity and be able to relax a little while mourning my dear friend who passed from this pandemic last year far too soon gone from our lives.

 

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Streaming Review: The Lodgers

 

With Saint Patrick’s Day fast approaching I was in the mood for some Irish themed horror and something a little more authentic that any film of the Leprechaun franchise. Sunday night I treated myself the 2017’s Irish Gothic horror The Lodgers.

Set in the Irish countryside following World War I the story centers on fraternal twins Rachel and Edward who live in an isolated and decaying manor trapped by a family superstition or curse that compels them to always be in their beds by midnight, never admit a stranger to the home, and never abandon one another. The film opens on their 18th birthday and an unrevealed expectation that is linked to their coming of age. Into this creepy atmospheric situation comes Sean recently returned home from the war facing the dual challenges of having lost a leg and being seen as a traitor for her service to the hated English. Rachel’s blossoming sexual desires, Edward’s terror of leaving the house day or night, the family’s non-existent finances, and Sean’s attraction to Rachel combine for an explosive mixture that threatens the twins with the exposure of their actual natures.

There are many styles of horror films, rampaging monsters, murderous masked killers, and the slow burn mood piece of which The Lodgers falls neatly into. The film is not one with an exaggerated body county and the effects are there to create unsettling imagery rather than memorable kills. It is a film that unwinds with its characters and as each secret is pulled unwillingly from them. Directed by Brian O’Malley The Lodgers takes it’s time in revealing its truths trusting that the audience will be intrigued by the mystery and the dreamlike haunting imagery beautifully photographed by cinematographer Richard Kendrick. The performances by Charlotte Vega and Bill Milner are suitably internalized, matching the gothic nature of the story’s themes of isolation, both physical and social, and repressed nature of the characters.

With a brief running time of 92 minutes The Lodgers does not overstay its welcome nor needlessly meander but rather tells its tale with clean plotting that doesn’t disrupt its sedate pacing. While some reviewers have complained that the films has few ‘scares’ I enjoy a film that expects moods to carry more than a suddenly startling image or sound.

The Lodgers is not for everyone. If your tastes in horror expects more excitement than slow tension it is likely not to your taste but for people who enjoyed Robert Wise’s The Haunting this may be more to their liking.

Update: The Lodger is currently streaming on Amazon Prime Video.

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5 Quick Thoughts

 

1) My current Work in Progress novel is rapidly reaching the completion for the first draft. I am currently at 97 thousand words and the story is likely to land between 101 and 106 thousand, then onto the revisions.

2) Resident Alien the SciFi show on Syfy has been pretty entertaining. Quirky characters, fun premise, and a fantastic performance from Alan Tudyk as the extraterrestrial marooned on Earth and masquerading as a doctor is amazing.

3) A deep concern for all my friends and everyone in the massive state of Texas.

4) I get my second dose of the Pfizer vaccine on Monday and I urge everyone to get vaccinated as soon as they are able.

5) Ted Cruz once again displays that not only does have zero concern for the well-being of anyone not in a position to help him but that his intellectual capabilities are hamstrung by his selfish desires and wants. A competent villain would have used the crisis the forge a facade of ability and caring to propel them to greater political power but Cruz is incompetent as he is cruel and spineless.

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Rush Limbaugh has Assumed Room Temperature

 

Yesterday, February 17th, 2021, Rush Limbaugh radio/political personality died.

In the mid to late 90s I did listen to his radio program though I could never be called a fan and certainly not a ditto-head, a term for his most devoted followers. During my failed collegiate pursuits, I, for a while, majored in political science and as this blog indicates still have a deep and abiding interest in the political arts, governance, and public policy making at least occasional listening to his program something of interest. It never became a regular experience because even though at the time I was a registered and voting member of the Republican Party Limbaugh did not present reasoned argument from a foundation of logic and solid moral philosophy bur rather engaged in demeaning, cruel, petty, and personal attacks masquerading as humor in place of serious thought. He was not a satirist; he was a bully. Limbaugh’s crude and vicious attitude towards those he perceived as enemies established the moral direction of conservatism and cleared the path for the ascendency of Trump. Today’s ignorant, petty, lying, Republican party devoid of morality or honor is the crop that grew from Limbaugh’s popularity and unchallenged position as the party’s loudest voice. Before he himself went into the grave he first put serious conservatism there leaving behind its idiot and bigoted brother.

There are voices on the right demanding that Limbaugh’s critics restrain their voices and their tone out of respect for the dead. I will not mock or demean him or engaged in petty, puerile, personal attacks not because Limbaugh is deserving of respect but because he is not worth the violation of my manners or principals. Nor will I criticize those who are unleashing their own brands of cruel humor because to demand that this man be treated with a respect he never found for others is hypocrisy that is unmatched. Let him bask in the same respect he showed for his enemies.

He is dead but the wreckage on our political norms from his career lives on.

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Needed Reforms

 

 

It is clear that at the Federal level there are some absolutely essential reforms required to our government. There are two that I am think of this morning, one that requires a constitutional amendment and one which does not.

Requiring that we change our constitution is the manner in which we impeach presidents. It is clear in a party driven political system no matter the clear evidence of crimes a political party simply will not impeach its own leader as long as that leader command significant support from the party’s base of voters. General election voters are irrelevant to the calculation as politician understand that must survive the primary before facing the wider pool of voters. As it currently stands impeachment is a dead letter. The solution would be to remove the trial and conviction phase of the process from the politicians to a body more immune to the current political winds such as the Supreme Court. Impeachment would require a simple majority vote in both houses and then be tried before the Supreme Court for conviction and removal. But as I said this requires a Constitutional Amendment, not easy.

The other topic is reforming the Supreme Court. The constitution requires that the United States have a Supreme Court but does not specify it make-up or operation leaving that to the congress. A suggestion I have read and favor is that instead of having a 9-justice court where all the justices participate and rule on every case and thus creating an incentive to pack the court towards one political philosophy or the other expand the court, say to fifteen to reduces the load on each justice, and then every case would be heard by a panel selected randomly for that case. While the larger court could have a partisan tilt, no one could be assured that the panel that hears the case would reflect that. This would reduce the arms race in stacking the court and in running to the court to decide every major issue.

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Re-Reading Dune

 

A few weeks ago, I purchased a new copy of Dune on eBook and began a re-read of the science-fiction classic. It had been decades since I last read Dune and while the major contours of the plot were well-known to me one of the things that took me by surprise is the out of style point of view.

Writing prose comes in three major points of view.

1) First Person, where the narrative is told directly by the character. The story is literally narrated by the protagonist. It’s a very intimate with every word being the character’s own. It’s also very limited as you can only see and hear what the character sees and hears.

2) Second Person, this takes the form of ‘You see this’ and so on. It is very rare as a fictional point of view but has been used here and there though it never works for me and always kicks me out of the story.

3) Third Person where the prose drops the artifice of a narrator and the prose is told from the viewpoint of observation outside of the characters,

Third person subdivides into three more types.

Third Person Objective, this is best thought of as a ‘like a movie.’ The point of view is outside all of the characters’ inner thoughts or lives and while we can see and hear things around the character we can never see into the characters’ heads.

Third Person Close, here we have a point of view that takes its tone from the character and even present narrative bits with the same biases and observations as the character. Looking at a factory with a close third person view where the character is an environmentalist may present the scene as despoiled and ugly while the same factory with an industrialist character may be presented as vibrant and thriving. This is the point of view most in style today.

Third Person Omniscient, this is the ‘god’s view.’ The point of view can be whatever the author wants. Close to the characters or even inside their minds hearing their thoughts and it is applied to whatever character the author needs. This is the point of view of Dune and it used to be used a lot more often than it is used today. A danger of the third person objective is something called ‘head hopping’ where the point of view switches often and frequently between various characters and this is very true in Dune. Two characters in the novel will be having a conversation and the Herbert will fly between the unspoken thoughts of both back and forth. To me this is jarring and makes the scenes difficult to emotionally engaged with as I have to keep shifting mental gears to follow the oscillating points of view. Mind you this point of view is a fairly common one decades ago and its disuse is more of a matter of style than narrative rule. However, because it is a now nearly an archaic prose approach it has put some distance between me and the book.

 

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The Unused Gun

The Unused Gun

I am on twitter but not gifted with prose that is pithy or witty my tweets die lonely deaths in the vastness of the internet. That’s fine. I read and share a number of great tweets and threads so I get value from it.

Yesterday in response to C.C. Finlay’s tweet about Game of Thrones and how the ending was so botched it made him indifferent to re-watching the series I answered with a couple of tweets one of which actually got engagement- shocking.

In writing there is the concept of Chekov’s Gun, it had nothing to do with the fiery is miseducated officer of the Enterprise but rather the Russian playwright who advised that if there is a gun on the mantle in first act it must be fired by the third.

In Game of Thrones a great deal of narrative time and energy was consumed having young Arya Stark but one of the faceless men, assassins able to take on the appearance of others in order to complete their missions. The audience followed Arya through trials, tribulations, and near death as she acquired these skills. This is the gun on the mantel.

And yet at the end of the series this mystical ability played no part in the resolving of any major plot element. yes, it allowed Arya to get revenge on people and Houses that had wronged and betrayed her family but in the central plotlines of ‘Who will Rule Westeros?’ or ‘How will the Threat from the North Be overcome?’ the years training and leaning this talent proved worthless.

In their mad rush to complete the series the show runners trampled one of the most quoted and most valued pieces of writing advice and the gun stayed on the mantel.

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