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Dark Pearl Skies

This morning I dreamed that a man came to my door, asking if he could take a look at some books that he had seen through my window. I told him that the books weren't really in my house, they only appeared to be there. They were visible when you looked in through the window, but not from inside the house. They were, I explained, due to a ghost -- various things around the house would appear to be there that really weren't. These were signs that the house was haunted. About as I said this, it occurred to me that the man at my door was the ghost. I also realized, in the way that you do in dreams, that he needed to find a way to get to those ghost books to get a crucial piece of information, and that I was going to have to help him. And then I woke up.

The afterimage of the dream feels like the kernel of a story to me. I wonder if I'll write it?
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Okay. Say your story is set in London in the early 19th century, and you've established that a group of characters are poor. They're a guild of servant-class laborers who collectively have not had work in months. And they were never well paid or prosperous to begin with. And now, because of public antipathy, these guys have been stuck in their guild hall for weeks for fear of getting beaten up whenever they go out. They are understandably sick of this circumstance, and so they've been whipped into a frenzy and they are going to go out and march on Parliament, and so they rush out into the yard of the guild hall, and some of them have horses so they get on them, and...

And no. No they don't. None of them have horses. These guys were poor to begin with, did not use horses to make their living, and hadn't been able to earn any money for ages and were too proud to accept charity from their few allies. Horses, famously, eat their heads off, whether in use or not. Even if these fellows were hauliers or some such, they couldn't possibly afford to stable and feed animals who weren't earning their keep. No one without significant wealth could afford to keep idle horses. Horses and carriages, especially in town, were the purview of people of pretty serious means. People of moderate means used hired hacks and carriages, and people of little means used their feet. And you can't even say the guild members might plausibly have borrowed the horses from carters or the nearest leasing stables because they had been trapped in their guild hall for weeks because virtually everyone had turned against them, and beat them to a pulp whenever they stuck their noses out.

So no. No horses. Also: no one in the early 19th century described soliciting an opinion as "input."

And so I say: arrrgh.
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One of our junior-most faculty came into the office this morning to tell me that she had been laughing out loud on the bus to work while reading my minutes of the previous month's faculty meeting. It's always gratifying when someone notices. Most especially when it's my very favoritest of they junior faculty, which is a very hard won laurel, given what a charming, amiable, pleasant, and interesting bunch we currently have among the juniors. It gives a person hope for the future, it does. And today I made someone laugh out loud. That is a thing.

Also today, I noticed a thing about my native language for the first time. So, is it weird, or just culturally revealing, that Swedish has two completely different words that translate into English as "worse"? Yeah, I know värre and sämre are used in somewhat different contexts, but really, how many ways do you really need to be able to say that things are worse, especially when you only have one way to say they're "better"? Upbeat folks, my people.

And speaking of upbeat, today I also gave my first oral presentation of the quarter in my Mandarin class. It was on educational inequality and child poverty among ethnic minorities in Hong Kong. Yeah, it's possible I got a little too ambitious in my choice of topic. But I can tell you what the child poverty rate for Filipino immigrants in Hong Kong is. In Mandarin. And With PowerPoint, because we were strongly encouraged to use slides. I don't do PowerPoint. *ptui* *hairball*. And because for me there is no such thing as the final draft of anything, just the most recent before the deadline, naturally I went off script winging it at a couple of points. That did not go entirely well. But it is over. And hey, given the near fluent, been-to-China young things in my class, I may well be Cao 老师's worst Third Year Mandarin student, but I still am a Third Year Mandarin student, so that's still something.

And I trotted down to the student union to get in on the last day of on-campus flu vaccinations for the season so I don't have to remember to go in to the doctor or queue up at the pharmacy or whatever. Must see if there's a way to self-report flu shots to my medical group's web page, though, so the flu shot reminder goes away. On the plus side, the line for getting a shot was short and quick. On the minus(?) side, the vaccination clinic had been popular enough that they had run out of Starbucks cards. I signed up on the list for them to e-mail me one. Not sure how that will work. And of course I hadn't been thinking about immunizations when I got dressed this morning, and had thoughtlessly put on a long-sleeved merino mock turtle. Suboptimal for accessing a shoulder for the jab, at least in a public ballroom with various folks of all genders and sexes wandering about. The nurse advised me to pull aside the collar as the better choice.

"But don't do it until I'm ready," she said. "We don't like to have people strangling themselves."

"Yeah, I said, "That would kind of defeat the purpose. Dead people don't catch flu."

"We should make that our new slogan."

But no new pictures taken today -- it was gray and sullen all day, and the weekend windstorm blew off many of the pretty leaves. Also, Chinese ate my brain. Luckily I took a metric buttload of pictures last week when there was sun. I'm still in pursuit of a really good photo of how wonderful the view from my office windows is in October, and have failed for another year, but here's a placeholder until I get it right.

First Friday in November
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Japanese Maple Demilune

Well, it's been a glorious October here in Seattle, with dry weather, clear sunny skies, and a particularly spectacular fall display around campus. It's been so dry that I actually got to wear my red suede coat for much of the month without fear of ruination. And I've been keeping my little Lumix in my coat pocket and taking quite a few pictures as I walk to and from work and class. I also keep thinking about nattering about it here, but, well, Chinese class, therefore bizy. Also, after Randy Byers asked about it, I made the mistake of starting a little post about my trip to California to clear out my parents' Mariposa place, and that post turned into this massive, ever-growing travel journal about the entire drive down and all my little detailed observations along the way, and side trips into recent fan visitors and outings, plus fannish participants in my Big Estate Sale Adventure, and basically the thing snowballed into a fanzine article that is currently 8 pages long and not yet done, but overdue. Go, me.

I'll probably post it here eventually, too, once it's actually finished, because lately the things I send off to fanzines seem to fall into a dark gravity well of egobooless obscurity and despair from which no comment hooks can ever emerge and I do like to have at least *some* sense that other people read what I wrot.

Anyway, for the longest time I had that post saved only as a draft in LJ and so I kept feeling like I couldn't post other things until I got it finished with it. And when it comes to trip reports I seem unable to let go of recording every picayune detail for my own recollection and amusement, and this is why I have thirty thousand words of TAFF report down and no immediate hope of getting it edited down to a readable finished work.

But for now I have that post saved as a Word .doc, and a clean slate here. And so here, before it's too late, a post for October. It's been a grand month.

Gold Decked Savery
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I got a little note from YouGov (I must stop calling them PollingPoint, they haven't used that name for a while) saying they would like to feature my essay on their website. So that's good, I reckon. What's interesting is that they asked me to review/rewrite the final sentence for clarity because they thought there must be a typo. As far as I can tell, they had trouble with "parrots" as a verb. We'll see if they like "repeats" better.
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The Polling Point people are running essay contests through the election, requesting opinion-driven essays (blog posts, really) and videos on various issues. The current one is on the prompt, "If you could speak directly to Obama and Romney, what would you tell them they had to do to secure your vote?" What follows is my take -- it's a short version of something I've been meaning to write as a letter-to-the editor for a while now:

In the coming election the candidate who first appoints Paul Krugman to his economic policy team gets my vote. As the American economy has cratered, then struggled vainly towards recovery, Professor Krugman has been there first, telling us how it would go, and why. And he’s been right. He has been doing this since before the housing bubble burst. His was the lone voice in the wilderness telling us there even was a housing bubble, back when all the Wise Old Men of Washington and Wall Street pooh-poohed the idea, certain that unregulated financial speculation could keep expanding forever. Alan Greenspan has since recanted. Washington politicians should follow his example.

The country needs a sound economy before any other political agenda can be pursued successfully. So the President and Congress’ first job is to fix the economy. And to fix the economy they need to stop taking bad economic advice, and listen to someone who actually knows what he’s talking about. You don’t fix the economy with government belt tightening or grim austerity measures. “Austerity” is just another word for cutting yet more vital jobs. People have to have jobs in order to make money in order to spend it to buy the things private industry wants to sell. You don’t fix the economy by focusing on retiring debt. Debt can only be retired from profits, which means you have to make more money than you spend before you can pay down the debt. Government can only make more money than it spends when the economy is already robust, so that tax income on individual and corporate earnings is also high. In other words, to get the economy going again, the Federal government needs to spend money on targeted job growth, especially in emergency services, infrastructure, and education. Yes, that will increase the national debt in the short term. But any good businessman knows that sometimes you have to take on debt in order to increase your capacity and expand your business. Once you expand, and your income grows, you retire the debt again.

And before any blowhard parrots the lie that government never created jobs, remember that anyone who believes that does not belong in Congress, or the White House – because anyone who believes that obviously doesn’t take the very real job of running the country seriously.
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So many bits and bobs I think about and don't get around to writing. RSN a brief consideration of my thoughts on first reading Alan Garner's Weirstone of Brisingamen, but that is not yet. For now, a little bit of random meme-cruft for LJ is perhaps better than nothing at all. So here's a thing I picked up from [livejournal.com profile] mrissa:

1. Go to page 77 (or 7) of your current ms
2. Go to line 7
3. Copy down the next 7 lines – sentences or paragraphs – and post them as they’re written. No cheating.

Sadly, I fall just a bit shy of having a page 77 so I'll try page 7 instead:

Something felt wrong in my brain: jangly, disjoint, and wrong.

Something felt wrong in the room, too. The air was too still. Late night city sounds filtered up from the street, but nearby I could only hear the sudden hammering of my own heart filling my ears. A dark premonition drew cold fingers down the nape of my neck.

Anxiously, I rolled over, reaching out for Min across the disheveled bed. He was there. My questing fingers found the warm, swelling curve of his shoulder as he lay with his back to me.


Hmm. Okay, I didn't cheat. But my blue-pencil finger is twitching: that needs cleaning up. Instead, repeat with me, "Crappy first draft," and we move on.
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Hal and I watched another episode of James Burke's BBC series Connections last night. Wow this is fascinating stuff! I never watched the series when it aired in the late 1970s, but it holds up surprisingly well for television that's three decades old. Burke is a science historian, and each episode traces the scientific and technological breakthroughs that were stepping stones to some modern technological necessity. The path through the intervening history is always complex and circuitous and each individual stop is a story in itself. The show skips lightly from exotic location to historical re-enactment, guided along by Burke's puckish narration, and inevitably draws connections that I had no previous idea of. For instance (and this will sound mega-dorky) I had simply no idea how interesting and varied is the history of coal tar. The damn' stuff turns out to be crucial to everything from artificial dyes (mauve!) to oxy-acetylene welding to the illumination of London to the invention of artificial fertilizers. And there I thought it was just good for dandruff shampoos... For anyone who means to write alternate history or alternate technology fiction, this series seems like an absolutely invaluable grounding. For that matter, for anyone doing home schooling, they could do a lot worse than getting this series for their charges. If, like me, you've somehow managed to miss it up 'til now, by all means go forth and seek it.
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Earlier today I spotted this post over on James Nicoll's LJ. All unknowing whose birthday (or more correctly, baptismal date) it was, I answered that if I could resurrect any author at the height of their powers knowing they would be brains-craving zombies, I would choose William Shakespeare. Well, then Abi over at Making Light started a sonnet thread in honor of Shakespeare's birthday, and silliness came bubbling forth. Ergo, in honor of National Poetry Month and my favorite English playwright, I give you:

Sonnet for Zombie Bill, on the Anniversary of His Baptism

Behold, what soul would I a zombie make
What long-dead penman to this life renew?
For whose gilt words would brains forsake…
…well, not my own, if giving yours would do…

The puzzle posed, its answer must contain:
No English language poet can compare
If giving up one’s living mind’s in train,
No lesser author’s work is worth the dare.

So Bill-the-Bard we bow our heads to thee,
And hope to live to see your next Act III.
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Pretty much how my writing brain works: I have a major revelation. About the metaphysics of vampires. And how they relate to demons, angels, and gods. And how all of this is just an instantiation of Thomist metaphysics, and accounts for the problem of vampire souls and disappearing gods in my story.

Inevitably, this occurs in a location where I am totally out of contact with the means to write stuff down as I think of it. Sometimes I'm in the shower. Sometimes I'm on an elevator. Or a very bumpy bus ride. This time, I was on the toilet. Okay, I guess there was paper. But no.

I would start carrying pen and paper everywhere I go, but my fear is, then I would stop having ideas altogether.
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Via our Sekrit SFWA Mole and other sources. Writer Beware Blogs has the details on a fake short story contest falsely claiming to be sponsored by SFWA. SFWA has confirmed it's not them. So if you hang with aspiring SF writers who might be taken in, please pass on the news.
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Another for-my-reference writerstuff post.

Jo Walton explains her rather handy-and-powerful-seeming name-system generating algorithm here.

Also, a census-data-powered contemporary American name generator (with adjustable name-obscurity) can be found here.

This post paid for and approved by your local Gratuitous Hyphen Propagation Council.
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Largely so that I can find it again later, here's a link to this piece by Elizabeth Moon on how to chose, and how to coach, your feedback readers in order to get more useful feedback. But if you're also a writer who wants to find the right people to provide feedback on their work, I commend it to you. It seems like pretty solid advice.

Pointer thanks to [livejournal.com profile] hank.
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I hereby denounce the New Eclectics as a bunch of non-serious, impure mongrel revisionists of Ulm. I do this because Movement SF is dumb, and I want no part of it. Also, I have a dire fear of briarpatches. Go forth, my minions, and make holy war on Charlie. Or, you know, not.

On the other hand, writing a type of Genre Stuff you would normally not be seen dead with is a very interesting prompt. I guess it's Guntoting Libertarians in Space for me.
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So Ellen Klages is teaching a YA Fiction workshop through the offices of Richard Hugo House. Cool. In fact, there are several workshops in the series that sound interesting. The James Patrick Kelly workshop sounds particularly useful. Interesting writing workshops with fine writers, available locally -- keen, right? What's not to like?

Yeah, except I've been through this before. Last year there was another such series, and so I clicked through the complex maze of links to and through the Hugo House web page, only to find that the when/where/how-much information was all buried deep in a gigantic .pdf of the poster-sized flyer for all of Richard Hugo House's workshops for the entire year, and NOWHERE ELSE. Pages and pages of scrolling later I find the eyewatering workshop fees in 3 pt. Bodoni narrow in the bottom drawer of a locked filing cabinet, stuck upside-down, in a disused toilet with a sign on the door saying 'BEWARE OF THE LEOPARD! at the very bottom of the form, with no way to find out if the workshop was already full. And so it was only with some trepidation that I again essayed the journey, drilling down through the links again, only to find that now the folks at Hugo House have managed a new wrinkle, and the link to the registration form comes back with a 404 Not Found error. So this time the particulars for signing up aren't available anywhere at all. And that, dear friends, is Richard Hugo House in a nutshell. So close and yet so very, very far.
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So John Scalzi has a post up on the continuing appeal of Robert Heinlein, in which John claims that the blurb from Publisher's Weekly on the cover of Old Man's War, a blurb which anoints Scalzi as The New Heinlein, plays a significant role in how well Mr. Scalzi's book sells. It's perfectly possible that this is true. But if it is, I wonder how Scalzi knows it. How much do book blurbs really influence consumer behavior? How measurable is that influence? Do publishers do bookstore exit polls? Does anyone actually fill out marketing surveys on book purchasing choices? Are the reasons why any particular book sells actually known, actually knowable, or just an article of faith inside publishing? I dunno. I have not much other than my usual over-abundance of skepticism.

The preponderance of responses to this post in NYT Opinion, by Stephen J. Dubner, do seem to be running against the idea of people buying books because of blurbs most of the time. On the other hand, as Howard Moskowitz found (here ably explained by Malcolm Gladwell, in the course of his fabulous TED talk, or in print form here at gladwell.com), consumers often can't informatively access or articulate their own desires, reasons, or consumer processes anyhow.

So who the heck knows. Anybody happen to have Marshall McLuhan in their vest pocket?
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In case you don't already read the blog, I wanted to note that Teresa over at Making Light points to an excellent essay [NB: pdf format] of advice on writing -- it's aimed specifically at critiquing novels in progress, but it has lots of sound advice which applies to writing at any length. Mary Kay and Mris will presumably hate this piece of advice: "If you're not naturally a visual thinker, learn to be one." But for me as a reader, this is dead on. On the other hand, "Some new writers love to withhold information so they can give the reader a surprise later. This [...] might [...] mean you’re relying too much on the idea of surprising the reader later instead of entertaining the reader now," hits close enough to the bone to be an owie.

Also hitting home for me at the moment: "Good writing does more than one thing at a time," -- the insight here being that if you have a scene or paragraph that does only X (scene setting, character, plotting, whatever) and the feedback you get is that it has "too much" X, it may be that it isn't really too much X, but rather that there's not enough of anything else.

A number of the observations by various vetted pros in the comments section are good stuff on process,too. Though you may want to skip over the back and forth about Why People Hate .pdf Format. (I did.) I was particularly interested when Elizabeth Bear weighed in on revising process, possibly because I suspect my process mirrors hers, and I love to be validated by writers I admire.

Edit: The HTML version of the piece is now available here. [Scroll down past the giant, irksome YouTube screen]

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