“Power Unlimited” is in Daikaijuzine’s Anguirus Issue

Those wonderful, brave, and intelligent folks at Daikaijuzine published my short story, Power Unlimited, today. These are the wonderful, brave, kind, and intelligent folks who published another of my short stories, Cold War, last September.

Power Unlimited originally appeared in the April 1992 (and now defunct) ARAASP and my self-published anthology, Tales Told ‘Round Celestial Campfires V1 2016.

Daikaijuzine’s editors and publisher have exquisite taste. Don’t you think?

The story behind the story Continue reading ““Power Unlimited” is in Daikaijuzine’s Anguirus Issue”

The 3x Rule

Note: This material originally appeared on a marketing site and dealt with branding. People who know what they’re doing recognize all branding is an application of neuroscience, hence neuromarketing (which may have been a part of neuroscience at one point and now is a buzzword and poorly degraded from its original).
I’m resurrecting it for a friend who’s curious about
The 3x Rule.
The 3x Rule has broad applications – everything from education to marketing to branding to military training and for the purposes of writing, creating memorable characters. You can use The 3x Rule to have your children, partners, peers, et cetera, remember to do something when they need to do it.
I use the
The 3x Rule rule in my writing to lock characters and scenes into reader memory.

The 3x Rule has six elements:

  1. Memory
  2. Touch
  3. Mirrors
  4. Words
  5. Sentences
  6. Voice

Let’s explore each element separately then put them together.

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To-ing and Fro-ing

We’re going to build on elements from Using One-Line Summaries to Write Better Stories and Flashback as Story Frame to deal with another story challenge that often leads editors and publishers to stop reading and reject a story: To-ing and Fro-ing, something I first wrote about in Quit Stage Directing.

Simply put, To-ing and Fro-ing occurs when the writer/author has their characters move around or do things for no real story purpose; there’s no character development, no character revelation, the atmosphere doesn’t change, no plot elements are furthered or revealed, the movement is irrelevant to any established or impending plot points, the movement is unnecessary to the dialogue, et cetera.

The end result is weak writing, exposition, narration, and lots of uninteresting things happening just to fill the page. Most writers/authors fall down on “movement is unnecessary to the dialogue.” They’ll have two or more characters talking and feel the characters should be doing something while they talk.

The desire to have characters do something while talking is good, the execution is usually poor, and now we’re dealing with attribution via action which I’ll cover in another post.

Eating my own dogfood
I’m currently editing Cicatrix, a work-in-progress last picked up and put down in late Feb 2019.

What follows is the ninth scene in the story. I’ll share the scene’s original form first with brightly colored “Problems” buttons after each weak paragraph. Click on the “Problems” buttons for examples of that paragraph’s problems. Next I’ll share share a rewrite with brightly colored “Solutions” buttons. Click on the “Solutions” buttons for explanations of why the rewrite is better.

PS) this is more for my edification than yours. Feel free to disagree. Please make sure you explain your disagreement and offer suggestions for improvement. Always happy to learn, me.

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Ruminations Part 4 – I can’t talk to women anymore

(This post originated as “Ruminations Part 3 – Sensitivity Readers, Part 5 – I can’t talk to women anymore”, but I’m tired of the sensitivity reader thread, aren’t you?)

My first rumination can be found at Ruminations Part I – “Your eyes are completely healed”
My second at Ruminations Part 2 – Numbers lead to informed decisions
Rumination Part 3-1 is Ruminations Part 3 – Sensitivity Readers, Part 1
Rumination Part 3-2 is Ruminations Part 3 – Sensitivity Readers, Part 2
Rumination Part 3-3 is Ruminations Part 3 – Sensitivity Readers, Part 3 – I Take a “Writing the Other” class
Rumination Part 3-4 is Ruminations Part 3 – Sensitivity Readers, Part 4 – Is your character POC or POM?

It started long ago, I’m sure. A slow dawning, a creeping awareness.

I’ve thought about it for a while. It started innocuously; a character in one of my works-in-progress knows what other characters think, how they’ll respond, what they’ll do.

Study consciousness and this ability shows up as Theory of Mind. The literature is full of it. While not calling it telepathy or mind-reading or whatever, most people do it automatically because it’s part of how we function in society; we hear something in someone’s voice and know they’re having a bad day. The truth is we’re assuming they’re having a bad day because having a bad day would cause our voices to sound the way theirs does (if you’re ravenously interested in exploring this, read my Reading Virtual Minds Volume I: Science and History. It’s rife with this stuff).

This works pretty well as long as you’re in the same cultural group as the other person.

Fails miserably when you’re from different cultural groups, which is why well done First Contact stories are wonderful reads.

The Foreigner, the Other, the Stranger
I mention off and on about the technology Susan and I created (it’s documented in that Reading Virtual Minds book I mention above). Give it a some digital communication – an email, a company organ, a business brief, whatever – and it can determine how psycho-emotively close the author feels to their reader (just one of its many abilities). One thing we discovered quick was lots of business communications authors viewed their audiences adversarially at best and as completely alien at worst (the technology provided suggestions for both tightening and loosening that bond).

The technology broke social distance – the bond between author and audience – into five degrees of separation: Otherness, Strangerness, Difference, Sameness, and Selfness. Phrasically these would be:

  • Selfness – I/me
  • Sameness – We/us
  • Difference – I/we, you/them
  • Strangerness – Us, Not-Us
  • Otherness – I/we/us, WTF?

Most fictional aliens are variants of recognizable earth lifeforms. That’s why most StarTrekTM aliens had two arms, two legs, a head, eyes, ears, nose, mouth… Didn’t matter where the aliens originated, they pretty much had the same bilateral symmetry humans have. Want to indicate the alien was nasty? Make him bilaterally non-symmetric. No Borg (except the Queen Mum and 7of9) had bilateral symmetry. They all had some kind of projection coming out of them somewhere or a huge prosthetic attached somewhere (simply put, they were out-of-balance). The Queen Mum and 7of9 were exceptions because their purpose (scriptwise) was to interact with and/or seduce humans (a different kind of assimilation, if you will).
Continue reading “Ruminations Part 4 – I can’t talk to women anymore”

Mystery Writers of America “Mystery Writer’s Handbook”

Another book purchased years ago and finally read because a work-in-progress, Search, had mystery elements and I wanted to know ahead of time what I should be doing and what to look out for.

Mystery Writer’s Handbook, like most of the writing books I’ve reviewed on my website, is a worthy read for all authors, writers, and writer-wannabes. It’s focus is mystery and its view is broad. Romantic suspense novels fall into the mystery fold. I didn’t know there was such a genre, but I do now and surprise! my work-in-progress with mystery elements is more a romantic suspense novel than not.

Like all writing books, it discusses character, scene, POV, dialogue, description, and the like. Its real power is in both plot – because good plot tends to drive most mystery and the plot techniques are gems – and editing – the chapter on revising and editing is truly a standout. An extra bonus is a short section on contracts. Many of the books I’ve read mention contracts, Mystery Writer’s Handbook provides a roadmap of potholes and things to avoid.

Strongly recommended.