Reality strikes back.

If you are like most people, you are either isolated at home or forced to share your usually crowded public transport with even more people because some genius thought cutting down travel frequency is a good way to avoid crowds. And if you happen to live in real, non-joke countries like Taiwan, Singapore, or South Korea: You are one lucky bastard.

Some while in my country ice rinks are being repurposed as improvised morgues, let’s dedicate a few minutes to thing about what it all means. Hmmm… *thinking* Recently, I have had a lot of time for that *serious thinking*

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A short note on the literary offenses of modern writing

As many of you who follow this blog, I came across this yesterday. Naturally, the general objection was about calling out a dead man while profiting from his name and all that.

(click on the tweet to see the image and see what I’m talking about)

Well, sure, but before my mind was even able to process that, what struck me the most was how uncomfortably written the entire thing is (or, at least, the first paragraph.) And I don’t mean typos, grammar errors, and such, but something that is deeper and harder to explain but is quintaessentially modern.

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Level Inflation is a disease even clerics can’t cure.

I recently read a Twitter conversation about high-level cleric characters in D&D and their effects on the game, and I thought about writing something on that. But as usually happens, I can’t tell the difference between things I have already written or just things I have thought about, because as it turns out, I already had a post about this very same thing. But it was in my drafts folder, from July of 2016, unpublished. For reference, this is the tweet that triggered memories of that three-year-old dusty draft:

So here it is, with some minor variations, the post I wanted to write three years ago but never did for some reason:

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Superheroes and dumbing-up culture

Recently I read this post, Marvel Movies: In a Class by Themselves by J.J. Adamson, and that forced me to gett off my lazy ass and write something I had meant to write for a long time.

Summing up, Adamson’s main points are that superhero movies cannot be considered proper art (I won’t get into that, though) and that there’s something inherently silly about the effort invested in making these movies, which he describes as fake. His example is Black Panther, which is, no matter how great the actors and director may be, still “fundamentally about a cool guy in a catsuit.

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It’s not food; it’s water (or beer): surviving in fiction

I’m going to answer and comment on a short post I came across a few days ago, “Three Rules for Food in your Fantasy novel.” It’s a short list of common sense points so there’s nothing much to add, but I noticed this:

Can they carry a day’s worth of food or a week’s worth? Even when spread among several riders, you may have to consider a few pack animals to help carry the load but remember that even then they will not be carrying a month’s supply of provisions or probably a very wide-spread fare.

Three things here: (1) You probably can carry a month’s worth of food if you know exactly what you must carry (and you accept that, indeed, it won’t be a very wide-spread fare,) (2) notice that pack animals are mentioned, but not that they also have to eat (and they eat a lot,) and most importantly, (3) water is not mentioned.

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Tell me, don’t show me your characters’ emotions.

I have written other posts criticizing common bits of advice given to writers, and I have in fact hinted that I believe the emperor to all of them is naked, so here it is: Show, don’t tell. What is it good for? Not much really.

There are also some elephant-in-the-room-sized clues hinting that all this Show, Don’t Tell thing may be, at best, platitudes, and at worst, nonsense. First of all, the entire history of human literature. Pretty much everything written before the last 100 years was 90% Telling, with Showing sparkled here and there to enhance or highlight certain key passages.

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Thoughts on biases and manuscript reading from the other side of the Atlantic

Via one of the blogs I follow (Amatopia), I found this interview with veteran author Paul Clayton. He talks a bit about his life and work and then he is asked about where he believes publishing is going and how his late works, most of them self-published, tie with that.

Clayton claims traditional self-publishing is too slow and that the selection process has become incestuous, compromised by what I guess could be described as either identity politics or just a very homogenous editorial class.

But I was never one of these dominant, mega-selling, white males. I was a “mid-list” author, as my first agent told me. But now, anybody that looks and sounds like me, is, in my opinion, wasting their time trying to get past the 20-year-old female, or feminized male, junior acquisition editors and interns. Especially if they write about what I would describe as “traditional America and Americans.”

But along came eBooks and they have given my writing career, such as it is, new life, although not as vibrant and visible as traditionally published books. You CAN publish without waiting five years, but so can everyone else.

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November 30 post: To sum up…

this has been a productive blogging month. And I didn’t have to put in that much extra effort, which is interesting. I haven’t made a post every day, and certainly not a flash/short story each day (and I already knew I wasn’t going to be able to do that anyway) but this will be the 24th post this month, which is quite good. I have written a few short stories, I have started something that may become a larger work, and I wrote a few posts on writing that have become quite popular, at least compared with my usual numbers.

Thanks to all of you who found some of the posts interesting and shared them. I may despise Twitter, but I can’t deny a good chunk of this month’s visitors came from there.

And what’s in store for December? Well, I’ll continue writing small chapters for Project Contact, but perhaps at a slower pace because, honestly, I don’t even have the general layout of the story — I was pretty much improvising as I wrote them. I have a few ideas for other posts about writing too, and I’m going to start a gaming project but that’s something I’m not going to publish here though (not in its entirety anyway.)

I’ll keep myself busy. And if you want to do the same, remember that you don’t have to wait for any magical month, ruleset, or gamified online community to start pounding that keyboard. You can start tomorrow, or right now, if you want.



November 19 post: some notes on possible sci-fi stories.

For some time I have been playing with the idea of writing my own futuristic fantasy stories. This grew from my disappointment in how the stories from a popular sci-fi franchise are written and, in fact, how space operas in general are written. I’d like them to be a bit harderNot necessarily in the sense of rocket science hard, which is what you may be thinking, but with other plot elements, from warfare, exploration, pacing, economy, the spatial and time span of these stories, the fact that in most you don’t even feel like the vastness of space matters, etc.

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November 4 story: The Dreadful Writer, Part I

This is the full interview with the British-American writer James L. Cunningham. It first appeared on All-Men’s Adventure Magazine in 1935. The original interview was half as long and its most “juicy” aspects had been cut off, probably out of fear of upsetting the moral authorities that back then were keeping a close eye on this kind of magazines. The writer died later that year from cancer, which could explain his strangely forthcoming and open answers. After Monroe Webster, the editor and interviewer, died in 1965, the original interview with lines marking the parts to cut out was found among his papers.

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