I haven’t posted here in a long while. Medium with it’s bigger audience lured me away. I’m trying to fix that…
Cue the Ennio Morricone music…
The Gor novels are mostly forgotten nowadays (although Politically Incorrect Games [P.I.G.] have released a Gor game; l have to find the email). I’m not surprised. The series began well, got bad very fast, and became worse after.
Gor is also called Counter-Earth. It’s in the same orbit as Earth, just equidistant on the opposite side of the sun, so we’ll never see it. The planet has a lower gravity than Earth.
The civilizations are a mixture of Roman, Greek, Native American and Viking, other cultures too, transplanted by spaceship from our Earth by an insectoid race that they call the Priest Kings. They are allowed to advance in architectural, agricultural and medical skills (including life extension), but are forced to remain primitive in the fields of transportation, communication and weaponry (at approximately the level of Classical Mediterranean civilization) due to restrictions on technology imposed by the Priest-Kings. This limitation is imposed to ensure the safety of both the Priest-Kings, as well as the other indigenous and transplanted beings on Gor who would otherwise possibly come to harm due to humans’ belligerent tendencies.
This was the first novel. Written by John Norman — the pseudonym of Dr. John Lange, a professor of philosophy and a classical scholar — it drew a lot from the Barsoom novels of Edgar Rice Burroughs (although poorly marketed, the movie John Carter was based on the series.
John Norman’s main character here, Tarl Cabot, was loosely inspired by John Carter (I may be wrong about that).
This was the Good. Then it went bad, and quickly.
“I’m not for censorship but I am for strategies which marginalize stuff that works to objectify women and suggests women enjoy being beaten.-
Around the fourth book, it got its own style. Unfortunately, not a good one: women were often slaves, often beaten until they were docile and submissive (often by the hero of the novel) and fell in love with the men who beat them.
This may make them popular among the alt-right, but for those of us more enlightened, it’s disgusting.
I stopped reading the series then, but from what I’ve read on Wikipedia, it gets worse.
and The Ugly
Science fiction/fantasy author Michael Moorcock has suggested that the Gor novels should be placed on the top shelves of bookstores Later books became (I’m quoting Wikipedia here) “sadomasochistic pornography”. The author claimed to draw inspiration from philosophy, Earth history, Homer, Freud and Nietzsche… then came in with… this.
Surprisingly, this series not only got reprinted in several languages, and is a strong seller in Ebooks… but before I did research for this article, I’d mostly forgotten.
My short story and novel – and the series that they’re a part of – supernatural dramedy, is fairly new to fiction (although technically Janet Evanovich does it in all but name), but it has a long history on television.
The word ‘dramedy’is a combination of ‘drama’ and ‘comedy’. As a genre, it combines them too: the subject matter is dramatic, with moments of humor mixed in.
English: Joss Whedon at the 2010 Comic Con in San Diego (Photo credit: Wikipedia)
One of the most popular (although there were others) was LA Law. It ran from Sept. 15, 1986, to May 19, 1994.
David E. Kelley was showrunner until the end of the fifth season of the show, and it also gave new life to the career of actor Susan Day (Laurie Partridge on The Partridge Family) as Grace von Owen.
The series was set in the fictional law firm McKenzie, Brackman, Chaney, and Kuzak.
What makes this an example of dramedy: the show deals with serious issues (AIDS, LGTBQ issues,racism,domestic violence, etc.) but wrapped around the issues were running gags and other bits of humor.
For example partner Chaney dies of a heart attack in the opening of the first episode, but at first, nobody knows because all we see is his hand clutching a tax manual. At his funeral, we learn that the secretary he last hired is transgender and that they met originally at a gay bar (this revelation comes to his wife just now). He paid for the secretary’s surgery, and the hire was meant to be the first real world test. One of the surviving partners fires her immediately due to his transphobia.
(This was in the late 1980s, and the firing character was an over-sexed womanizer. Regardless, I don’t find that funny now.)
This series was co-created by Steven Bochco, and it had a large ensemble cast. Rigger, Mortiz and Shivver doesn’t have as big a cast, but there is an ensemble nonetheless.
When I researched this on Wikipedia I found that I’m not the only person to make that link.
Robert A. Heinlein, with Ginny Heinlein Robert and Ginny Heinlein in Tahiti 1980 (Photo credit: Wikipedia)
Robert A. Heinlein was one of the three people seen as pillars of the Golden Age of science fiction (that’s another post). He wrote many books and short stories, but a period of his novels are considered as the start of YA, although he didn’t consider them as such.
The books that I’m referring to are his juveniles.
Between 1947 and 1958e had 12 such novels published by Scribner, with another (Starship Troopers) published by Putnam instead (Scribner rejected it) and another novel (Podcayne of Mars) listed as a juvenile, though he didn’t consider it one.
Heinlein didn’t consider these books as juveniles, at least not by nature. They were written for younger readers, but Heinlein had great respect for these younger readers, so he tried to write more challenging fare for them. In fact, this got him into hot water with his editors at Scribner, and often, after he brought guns into his novels, starting with Red Planet.
He also wrote 2 short stories in Boy Scout magazine, Boy’s Life. He created them after his tours in WW II, trying to diversify his writing from only pulp SF magazines. These stories were serialized.
Not only focussed on boys, he took a challenge to write for girls too, which led to 3 Maureen “Puddin'” stories in Calling All Girls magazine. He liked the character so much that he lowered her weight and relocated her to Mars for Podkayne of Mars.
I have to re-read this book. The original ending was hated by fans, so Heinlein rewrote it, then had it published with both endings. I don’t remember what they were. It’s been more than 3 decades since I read it.
Pundits call it a juvenile, but Heinlein himself did not. His involvement with Scribner and the juveniles line ended when they rejected Starship Troopers. As an aside, I don’t see a novel about interstellar wars as a book for young people, it was just not a great book to me.
What made the juveniles a step toward YA: youths are the protagonists of the stories. Not bad, considering they were written nearly 80 years ago.
The setup for NaNoWriMo at home, if I need to be portable. Long exposure lit by sweeping aLED flashlight over the scene. (Photo credit: Wikipedia)
(I began this post before this event; I’ll state what I didn’t do.)
… or Camp NaNoWriMo, which I’m doing right now… which is why I haven’t updated this site in a week.
Camp scene, preparing for dinner, by Buell, O. B., 1844-1910 (Photo credit: Wikipedia)
Here are some tips to achieve your word goal in the month (50, 000 for NaNo, variable for Camp – I’m writing a 20, 000-word project, for example):
1. Avoid distractions
Scrivener can do distraction-free writing via its full-screen mode. The text editor part is all that you see. You don’t see the Binder, or the menus, or anything else. All you have to focus on is writing.
Scrivener (software) (Photo credit: Wikipedia)
There are more distractions that you should avoid. Avoid e-mail, Twitter, and (especially) Facebook; most of it is flashy graphics that draw your attention away.
Twitter (Photo credit: Wikipedia)
I failed on most of this. My blog subject list is in Drive, so I was usually in Gmail. I had my Twitter feed open at all times and kept it open to check on. As to Facebook… there’s a good reason that it has the nickname ‘Wastebook’… I was on it constantly.
2. Word-Padding is Your Friend
Always write full character names. Don’t use contractions; spell each word. Your fingers accidentally space words out? Leave them in. You don’t need the word ‘that’ in a sentence? put it in anyway. Adverbs slow a sentence down? Doesn’t matter. Use them anyways.
For NaNo / Camp NaNo quantity is your goal, not quality. The next point will talk about that fact.
At first, I didn’t fully embrace this. I tried to correct my typos. I got out of it eventually.
At last count, I’ve written 59 novel-length manuscripts since 1993, and I’ve just come back from a weekend-long novel writing marathon with the better half of # 60. Some have been completely pre-planned. Some were written off the cuff. Most haven’t been published, because they just haven’t been solid enough.
When I thoroughly plotted the story in advance, one of two things would always
The Marathon (Photo credit: Wikipedia)
happen: either I would deviate wildly off course, or I would get so bored that I’d just stop writing altogether. I often mistook a tangent as some kind of award-winning plot-twist, and having to delete 10-15% of the manuscript was a real killer to my motivation. And sometimes, I was just bored, because there was no sense of discovery left over, no room to play around. I was choking my own creativity.
At the other extreme, stories that had no predestination took longer to finish. I’d often spend hours staring slightly cross-eyed at the ceiling, trying to remember where I was taking that last thought. I’d also ended up spending countless hours editing after the fact, removing tens of pages of verbal dross.
But for this year’s novel writing marathon, I decided to try something new. I planned only so much, but I also left major plot points blank.
I thought of it like a vacation itinerary. Let’s say that I knew I was leaving Montreal on a Monday at 7:00 a.m., and that I had to be in Toronto by Saturday at noon. Let’s say, furthermore, that I also wanted to visit Ottawa, Brockville, Kingston, and Oshawa, before finally heading into the Big Smoke. As long as I got to Ottawa by 4:00 p.m., I could take any route I wanted. I could take the back roads and enjoy a longer drive through the country, or I could stick to the highways and get there sooner, then park the car and stroll around on foot before leaving at 4:00. I wouldn’t decide which route to take to Ottawa until I was in the car with the radio on and a coffee in hand.
During the marathon, I discovered not only that I actually stuck to the plan, but I wrote in an unforeseen major character, who made the plot more engaging and resolved a lot of plot holes. I finally had a planner that would direct my story toward a fun and logical conclusion, but one that left plenty of opportunities to make stuff up as I went along. Most surprisingly of all, because I had a known destination and unknown roads, I found my narrative pacing became the strongest it’s ever been.
But, after this many novels, I know that what works for one project doesn’t necessarily work for another. Likewise, what works for me may not work for you. All I can suggest is that you keep experimenting until you find what works best, and have fun with it along the way.
With me starting at Camp NaNoWriMo on July 1st I thought that I should explain the difference between these two story methods, and what I do or don’t.
This is an expression, short for “writing by the seat of your pants”. A writer goes into a project with nothing planned and just writes what comes to them. They have no characters planned, no scenes either. They just make everything up as they go along writing.
For some people this is the best way to work on a project. They are always surprised by what appears on their screen (or on their typewriter / paper), and as a result don’t have many predictable turns in their stories.
Me? I ‘ve tried it for many years — and won the first 4 — but it proved to be too open for me. I needed more structure to guide me.
The opposite alternative is to work from a detailed outline of your story. Even the characters are defined — in name, personality is sketched, their character arcs are mapped out, the works.
Some people like that level of planning. They can come to finish novels often that way.
Personally, I find that much structure too much. I like to have some measure of surprise in my writing, so control to that level I find stifling.
English: Wil Wheaton at a San Diego Comic-Con panel for The Guild in July 2010. (Photo credit: Wikipedia)
I agree with both views. I offer what I write free on this blog; what I’m writing for Exploits of a Midnight Traveler is also free — but no one is being paid for it.
In the case of Huffington Post, however, the site is valued at 53 million dollars. It makes money off the advertising that it sells on every post it puts.
Telling people that it can’t pay them is silly. Saying that it is free publicity and exposure… that’s offensive. Will it offer beads and rags too?
When someone is making profit from your work, you should be paid for it too. PERIOD. A restaurant doesn’t give away food in return for word of mouth (unless you’re a published food critic); a non-Olympic athlete won’t play for a team solely out of love for their sport; why, then, is it OK for an artist to work for free?
I write RPG products to make money. My novels will sell on Amazon. I’ll give away a story to help to build up my email list… I don’t write these things without a purpose to benefit to myself.
If I was under a contract to a big company, I could only write the books that I was under contract for. I could write other things, but I’d likely have to sit on them for a different deal, or have to publish them under another publisher, under a pseudonym.
As an indy, I can publish whatever I want whenever I choose to.
Advantage: indie pub
Independent Truck Company logo (Photo credit: Wikipedia)
If I was under a contract to a big company, I would be hampered to writing in just one genre, and just one style. If I was signed for one series, I would be forced to write for that series alone. If it was for novels (it often is) I could only write novels and not short stories or non-fiction (the exception being if they help to drive interest to your contracted novels, and if they don’t affect your contract time).
[Of course Steven King, James Patterson, and J.K. Rawlings are exceptions to this rule.]
Indy pub authors, on the other hand, can write and publish whatever I want and when I want to. I can start one series, then another, then put out an unrelated short story or a non-fiction work. I have that freedom.
ADVANTAGE: INDIE PUB
People under contract to a big publisher have no control over how their work is presented.
Indy pub authors control every aspect. The cover art is what they chose, as are the fonts (for a hardcopy book; for eBooks it’s still not under your control) and even illustrations inside the book .
You can print on demand and/or e-publish on Kindle/Nook/epub/Smashwords/whatever you choose.
[If you pick the Kindle KDP program you can’t try another for 90 days..]
ADVANTAGE: INDIE PUB
Audiobook? Indy Pub authors can do this at will, and profit from it. Authors on contract can too — if they’re on the contact to get paid for it. Otherwise the publisher might produce one, but all profits go to them.
ADVANTAGE: INDIE PUB
To play Devil’s Advocate, there is a big negative: all the costs (art, editing, advertising, etc.) come to you. After your first work sells, you can set money aside for the next one, but that first one may cost a lot.
advantage: traditional pub
Novels in a Polish bookstore (Photo credit: Wikipedia)
The one minus doesn’t outweigh the positives though.