Thoughts and Reflections – Page 20 – One Thousand And One Parsecs

A Letter To My 2011 Self

Dear Joe,

Well, 2011 has been an eventful year, hasn’t it? It sure didn’t feel like it when you were down in the trenches, but now that it’s over, you’ve got to admit, you sure came a long way.

You’ve discovered a lot of things about yourself since January. In your quest for economic security, you’ve learned that you’d rather work for yourself as a freelancer than be anyone else’s employee. You took the plunge and self-published, something you thought you’d never do (and yes, it’s okay to call it ‘self-published’–the stigma will be dead in another year). You attended your first Wordcon, made a couple of cross-country road trips, worked a ton of crap-jobs just to make ends meet, and now you’re on your way out of the country to try your hand teaching English. It sure seems like a lot, doesn’t it? Just wait. Next year is going to be just as full of changes, though it won’t always seem like it at the time.

I know, I know–cut to the chase and give me some advice already. Well, looking back on what you’re going to go through in 2012, here’s what I have to tell you.

First, don’t stress out so much about the whole self-publishing thing. You’ll figure it out all right. No, I can’t say whether you’re going to hit the turning point before the end of the year. In fact, that’s not even a healthy way to look at it, so stop thinking about it that way. Follow the slow growth model, and don’t angst about sales or price points so much. Keep your butt in that chair, because writing new words is still the most important thing you can do.

Don’t beat up on yourself so much for failing to meet your ridiculously high goals. You’re going to write a novel in the next six weeks, and the rest of the year is going to be a struggle. Right now, you place too much emphasis on your daily word count. Relax a bit, and don’t be too hard on yourself. You’ve still got a lot to learn about your own creative process, so take the time to figure it out.

By the way, you totally rock the beard. Growing it out was a great idea, no matter what your sisters told you back in 2010.

About your upcoming excursion to Georgia, the best advice I can give you is to remember what Spencer told you back in 2008. Adventures are like stories–they each have a beginning, a middle, and an end. You’re going to experience all of that in the next year. No, you probably won’t write another travel journal. Most of your experiences are going to be too personal for that kind of thing anyway. You’re going to accomplish all of your goals, though, so don’t worry–things are going to be just fine.

The most important thing you can do is keep yourself grounded spiritually. I know, I know, that’s always the most important thing. Well, it’s especially true now. Where you’re headed, you’re not only going to be the only Mormon, but the first Mormon to live there. Sundays are going to be a struggle. Everyone is going to think you’re crazy because you don’t drink. You’re going to make wine, though, and that’s going to be an interesting story for your friends back in Utah. Just be sure to keep doing the things you know you should be doing, and everything will turn out all right.

You’re going to love teaching English. Oh, you won’t love everything about it, but it’s something you’re naturally good at, so don’t worry about that. Just try to listen to your Georgian co-teachers and be more considerate of them. And don’t worry about the language. You’ll pick it up pretty quick. Just realize that Georgian verbs are impossible to conjugate unless you’re a native speaker.

I could tell you what your biggest mistake is going to be, but I think it’ll be better if you go ahead and make it. Just be sure to hope for the best, even as you plan for the worst. Follow the path of least regret, and you’ll make some really awesome memories–not to mention some truly amazing friendships.

At this point, I’d tell you you’re on the right path, but that isn’t exactly true. There is no ‘right’ or ‘wrong’ path for you right now, but you’re on a good one, so keep it up and see it through to the end. You’ll be glad you did.

Take care!

Joe

Some thoughts on internet access, self-discipline, and productivity

As many of you probably know, for the past four months I’ve been living in a small Georgian village in the foothills of the Caucasus Mountains. It isn’t as remote as some places in this country (like Tusheti, where some people still practice pagan animal sacrifices), but my internet access has been limited, especially compared to the 24/7 access I had back in the States.

I knew that coming in, and was actually looking forward to it. I had the option to buy a USB stick from the phone company that would give me service, but I wanted to experience living off the grid for a while to see if that would increase my writing productivity. Long story short: it didn’t.

In order to use the internet, I have to take a marshrutka (small passenger bus) about half an hour to Kutaisi, where the most convenient place to get wifi is McDonalds. I can usually go for two or three days without internet, but so many other things in my life (work, family, publishing) are tied up in it that it’s not a good idea to go much longer.

Since each trip takes a huge chunk out of my day, it’s become a lot harder to keep and maintain any sort of momentum on any of my writing projects. Also, cutting out the internet hasn’t increased my self-discipline at all, it’s just driven me to find different ways to distract myself.

In the end, I think I actually would have been more productive if I’d ponied up the 70 GEL and bought a USB stick from the phone company. I certainly would have saved a lot of money, considering all that I’ve spent on these trips to Kutaisi. But at least I’ve learned a few things from the experience.

First, I’ve learned that all of the high-priority things that I absolutely must do on the internet only amount to an hour or two each week. And even for most of those things, it isn’t a disaster if I put them off for a day or two. It’s possible to structure your internet time around everything else in your life, rather than vice versa. In fact, that’s almost certainly a better way to live.

Second, the enjoyment I get from recreational internet usage maxes out after about two hours. Anything beyond that, and I become something of a zombie. It’s a weird feeling when you run out of things to do on the internet, but when you realize that you don’t actually enjoy scrolling down an endless list of photos and status updates, it’s a lot easier to pull back and say “no.”

Third, you don’t need social media to sell books. I made more in book sales in the first week of this month than I did in the first quarter of this year, and my Facebook and Twitter pages are a wasteland. It might help you if you already enjoy that sort of thing, but it’s not an absolute requirement for success. Certainly, you don’t have to open a vein and spill everything.

Fourth, exercising good self-discipline doesn’t mean cutting something completely out of your life, but learning how to properly manage it. The internet isn’t an either/or thing, it’s a matter of finding and maintaining the proper balance. In the future, I plan to do what Dean and Kris recommend, which is to have two computers: one for internet usage, and one for writing.

Fifth, for me personally, it’s actually healthy to have a couple of harmless distractions available while I write. I deleted all of the games off of my computer about a month ago, and I haven’t been able to write more than a thousand words a day ever since–often, much less. Before, whenever I hit a rough patch, I would play a quick round of super-melee in Star Control II and come back to it with fresh eyes. Without that, I find myself taking my butt out of the proverbial chair and wandering around until I find something else to do, which inevitably takes more time and energy. A lot of games (Tetris, Spider Solitaire) are addicting and should be nixed, but for me personally at least, opening up something that isn’t a time-sink can actually help to keep me going.

That’s just about all I can come up with now. I’m sure there are other lessons to be had, but these are the major ones. I’m coming back to the States on the 31st, and should be back in Utah in time for LTUE and Conduit. It’s going to be interesting living with 24/7 internet access again; hopefully, it won’t be too hard to adapt back.

Some new thoughts on productivity

I’ve been thinking a lot about writing and productivity, mostly because I seem to be struggling a lot with it lately. With nanowrimo just starting, this is a pretty topical thing to blog about, but I also want to look at it from a long-term career perspective, since that’s what I’m personally more interested in.

As writers, when we spend all our time procrastinating or fail to meet our word count goals, we tend to beat ourselves up and frame the problem in terms of a lack of self-discipline. If only we had greater will power, we could buckle down and pound out five or ten thousand words a day like those super-prolific authors.

While there’s definitely something to say for raw self-discipline, though, I think there’s another dimension to writing productivity that we tend to miss. Not all writing-related activities are productive–and not all non-writing related activities are totally unproductive. In order to make the most efficient use of our writing time, I think it’s more important to understand and respect our individual creative process than it is to merely force ourselves to produce more words.

To better understand my own creative process, I took a little time to group every writing-related thing I do into four different categories:

Writing activities
Fill-the-well activities
Publishing chores
Procrastinating

WRITING ACTIVITIES

This should be pretty self-explanatory. It’s basically all the stuff that leads directly to a finished manuscript. It requires the highest amount of energy and produces the most important content.

Activities in this category include:

Writing new material
Making substantial revisions (putting in and taking out)
Updating chapter and scene outlines

FILL-THE-WELL ACTIVITIES

This is the non-writing stuff I do that helps me to be more productive when I switch back to the writing activities. Basically, it’s the stuff I do before and after I write that helps me to maintain a creative momentum.

Activities in this category include:

Reading
Blogging
Catching up on blogs
Listening to podcasts
Doing mindles chores
Going on walks
Exploring new places
Watching movies
Playing RPGs
Talking with friends
Reviewing first reader feedback
Writing character outlines
Making book soundtracks

PUBLISHING CHORES

This is all the professional stuff that I have to do, which may feel productive while I’m doing it, but actually takes time away from the stuff I should be doing. I still have to do it, but I should waste as little time doing it as possible.

Activities in this cateogry include:

Ebook formatting
Producing cover art
Writing blurbs and book descriptions
Writing author’s notes
POD typesetting
Handing financial stuff (royalties, invoices, etc)
Researching the publishing industry
Processing copy edits
Sending out email newsletter

PROCRASTINATION

Again, pretty self-explanatory. This is the stuff I shouldn’t do, but end up doing anyway in order to avoid stuff that feels like work. It’s all the stuff that I need to cut out entirely if I want to maximize my productivity.

Activities in this category include:

Minecraft
Alpha Centauri
Any other game that I can’t stop thinking about
Checking ebook sales numbers
Dicking around on Facebook and Twitter
Browsing the Kindle Boards
Watching TV and Youtube
Minecraft

So now that that’s done, what next?

I’m still figuring this part out, but I think the best thing to do would be to put as much distance as possible between the stuff that boosts productivity (writing and filling the well) and the stuff that doesn’t (publishing chores and procrastination).

The way I see it, there are basically two ways to do this:

Physically separate the activities. Do all your writing on a machine that’s disconnected from the internet and doesn’t have any games installed, and do everything else on a separate computer.
Set aside blocks of time specifically for writing. Organize your schedule so that writing is a priority, while acknowledging the need to take breaks and refill the creative well.

I can’t really do the first one while I’m here in Georgia, but I definitely can do the second. So far, I’ve found that waking up early to start the day with an hour of writing helps me a ton to build and keep momentum. However, I need to do a better job setting time aside in the afternoon, both for writing and for refilling the well. If I don’t, I usually end up procrastinating by default without realizing it until it’s too late.

So anyhow, those are some of my latest thoughts on writing and productivity. What are yours? Does this square with your experience, or is there a better way to think about it that I’ve missed?

Trope Tuesday: Mentor Occupational Hazard

Being a mentor to the hero can be a pretty tough job. Don’t believe me? Check out the tvtropes page:

If you don’t have to convince The Chosen One who just wants to be normal to grow a spine and accept the Call to Adventure, you have to convince your blindly excited and dangerously eager young pupil that You Are Not Ready to learn the Dangerous Forbidden Technique. When you try to protect The Hero from the Awful Truth, you end up facing their Rage Against the Mentor. You have to maintain an ongoing conspiracy to keep The Hero Locked Out of the Loop. If they’re an orphan, you have to find them a set of Muggle Foster Parents while keeping social services in the dark. You have to endure accusations of insanity when you’re trying to teach your charge that Your Eyes Can Deceive You, give them advice on how to tell a love interest “It’s Not You, It’s My Enemies,” and keep a close eye on them 24/7.

And what is your reward for all this patience and effort?

You die.

And that right there is the heart of the matter: mentors tend to die. And stay dead. Even if they do figure later in the story, they tend to be spirit advisors from the other side with little or no chance of coming back from the grave–even if everyone else does.

So why does this happen?

The most obvious reason is that if the mentor and the hero are both working toward the same goal, the mentor cannot overshadow the hero–otherwise, why not forget the hero and send the mentor off to save the world? The hero may start off weak, which is why he needs the mentor in the first place, but at some point in the growth arc, he’s going to have to stand on his own two feet. Oftentimes, the most poignant (and convenient) way to mark that transition is to knock the mentor off.

That doesn’t explain everything, though. If the only reason for killing the mentor is to give the hero a growth arc, you can accomplish that just as well by putting him on a bus. So why does he have to die?

Lots of reasons! Character growth, increasing tension, making the story more meaningful–the list goes on and on. For an in-depth discussion on killing off characters, I’d recommend checking out this last week’s episode of Writing Excuses. My own personal take is that everyone dies eventually–even the immortal characters have to pass through some sort of transition from this world to the next–so the best thing I can do for a character isn’t to keep them alive, but to make their lives and their deaths actually mean something.

It’s also worth pointing out that in most stories, the mentor isn’t actually fighting against the big bad, but the dragon–the big bad’s lancer. Again, the main reason for this is to keep him from overshadowing the hero. But the dragon is a character in his own right, with his own agenda that may run counter to his boss–think Darth Vader from Star Wars. And in a lot of stories, the dragon actually tries to tempt the hero to come around and join him.

Perhaps that’s another reason why mentors often die–if they didn’t, then the bad guys wouldn’t ever be able to dissuade the hero through temptation. The hero would be so protected that he’d never have the opportunity to switch sides, or at least he’d never have to face any moral ambiguity because of the guardian mentor constantly guiding him.

So those are some of the reasons why mentors tend to have a short life expectancy. Can you think of any good ones?

Trope Tuesday: A Man is Not a Virgin

I’m back from vacation, but I’m going to take a break from the Hero’s Journey trope posts to talk about something that I really feel passionate about. I hope you’ll forgive me if this turns into a rant, but I think this is an important issue that has some very dangerous implications that need to be explored.

In modern fiction, there’s a very prominent trope that a man is not a virgin. The basic idea is this: if the protagonist is an adult male and he hasn’t yet had sex with a woman, there’s something fundamentally wrong with him. Of course, because of his adventurous lifestyle, he can’t be tied down in a committed relationship–that would spoil the story. But he can’t be holding himself back, either, lest his manhood come into question. And most of the time, he doesn’t really want to, anyway.

This trope has a whole host of unfortunate implications, though, all of which serve to reinforce constrictive gender roles, disempower both men and women, drive a gulf of misunderstanding between the sexes, and emasculate true manhood and its role in our society.

To demonstrate this, let’s take this trope to the logical conclusions that our society seems to have come to.

If a man is not a virgin, then sex is a rite of passage, and it isn’t rape if it’s female on male.

In fiction, the sex as rite of passage trope is often seen in stories about angsty teenagers trying desperately to get laid. These are not typically stories about love–they are stories about peer pressure, objectification, and power. By equating sex as a rite of passage in this way, it actually divorces sex from any concept of love or commitment, and turns any form of physical intimacy into a caricature of itself.

It doesn’t stop there, though. If sex is a rite of passage, then it’s only reasonable that the young novice should have an older mentor to help him through the initiation process. Thus we get the professional sex-ed trope, where the boy’s mentors or guardians help guide him through his first sexual encounter. The implications for pedophilia and underage sex are more than a little disturbing.

We can see this trope in action in the way we treat female sex offenders. If a 30-something male teacher has sex with one of his female students, he gets a lengthy prison sentence and spends the rest of his life stigmatized as a predator. If a 30-something female teacher has sex with one of her male students, she gets a slap on the wrist and TV spot. She’s not a sexual predator–she’s just having a personal crisis.

Needless to say, this double standard is extremely destructive for the victims of such abuse.

If a man is not a virgin, then men cannot help themselves. Therefore, all men are perverts.

If a true man is not a virgin, then a true man doesn’t say no to sex. Even if he can say no, he won’t because that’s just not what men do. Therefore, being a man is functionally synonymous with being a pervert.

The danger here is that it reduces men to their basic animal urges. If being a man means finding a warm, inviting place for your penis each night, then you might as well go out to the pasture and eat grass. Whatever happened to self control and delayed gratification? Do you think anything meaningful would ever have come out of our civilization if we couldn’t keep our pants on?

And yet, both men and women seem perfectly willing to believe that it’s not only unmanly for a man to control his animal urges, it’s impossible. On the Kindle Boards forum about a month ago, there was a thread on erotica and marriage and one of the members posted this:

I used to work as a forums admin on a large women’s forum (over 100,000 members) and the relationships forum had a lot of heated discussions on this topic. I won’t of course refer to any specific threads, but the discussions went a lot like this:

One woman concerned that her husband was spending too much time watching porn
A massive amount of women telling her that it’s ok, that ‘all men watch porn’
A small amount of women saying either they don’t agree with it or that their men don’t view it
A percentage of women saying their men are addicted to porn and would rather watch it than go to bed with a willing wife
A percentage of women saying it’s not the porn itself that concerns them, but the type of porn their husbands watch
Another group of women saying they either watch it themselves, or watch it with their husbands
Yet another small group of women who either were or are prostitutes/strippers/involved in amateur porn (who are either for or against based on their experiences)
A very vocal percentage of women saying that if your man says he doesn’t watch it, he’s a liar
A heated discussion ensuing….

How does it possibly empower men to tell them that they cannot control their own sexual impulses? It’s a self-fulfilling prophecy, which harms not only men but women as well. If all men are perverts, then women can’t afford to wait for a decent man and should settle instead for a deadbeat porn addict.

But that’s not even the worst of it:

…and if all men are perverts and all women are prudes, then men and women are two entirely different species that are completely incapable of understanding one another.

This one really gets to me. I hear it everywhere, even from people who don’t consciously buy into the logic behind it. I used to buy into it myself. It’s the idea that women are so complicated that they are impossible to understand, whereas men are as simple as an on/off switch.

In my experience, men and woman are both human. Both of them are equally complex and equally emotional. Yes, they are different, but in such a way that it’s equally difficult (or equally easy) for the one to understand the other. Generally, women tend to externalize their complexity, whereas men tend to internalize it. At least, that’s what I’ve found.

Our society takes this to the next level, however, and teaches men that they should just swallow their emotions. If they don’t, they risk being seen as weak or effeminate (never mind that equating weakness with femininity is a whole other can of worms in itself). And after a lifetime of living this way, it can be hard not to believe that that’s just the way men are.

But this is perhaps the most insidious danger of all. It’s the falsehood that real men don’t cry, or show emotion, or have any capacity for compassion or tenderness. It’s the fallacy of equating strength with violence. It’s the destructive belief that men will never rise above the lowest common denominator of their hormones, and should never even try. And because men are so obviously different from women in this regard, any attempt to understand them would be futile.

But how can you have a committed relationship with someone you can’t understand? How can you possibly hope to make the necessary sacrifices for each other to make the thing work out? And if you can’t reach the understanding necessary for a committed, loving relationship, how can you ever hope to raise a family together?

So yeah, sorry for the rant, but this trope REALLY gets under my skin. It doesn’t help that one of my favorite authors, David Gemmell, is a big fan of it. I tried to get into his Rigante series, but this trope was so strong that I couldn’t finish the first book.

I should also clarify that the thing that irks me isn’t just the trope, but how much our society has bought into it. By themselves, tropes are neither good nor bad, but when something like this becomes so prevalent that it defines the entire operating system on which our society is based, that’s when someone needs to speak out.

And for the record, I am a 28 year old single male who is not ashamed to say that he is still saving himself for marriage. Am I gay? No. Has it been difficult? Yes. Am I anything less than a man because of it? Hell, no. In fact, I would argue that the wait has made me more of a man than I otherwise would have been, and I’m sure that my future wife will agree.

Real men aren’t defined by their hormones or their sexual history. They’re defined by the way they treat the people around them, especially the ones who are most important in their lives.

If you’re thinking of self publishing, read this. All of it.

I just read a fascinating Q&A on Reddit with Hugh Howey, author of the self-published phenomenon Wool. After six trancelike hours reading through all the comments, all I can say is “wow.”

Okay, I guess I can say a little more. Yesterday, I listened to Brandon Sanderson’s lecture on self-publishing from his English 318 class this year. While I agree with much of what he says, a lot of it is already out of date. Probably the biggest thing is whether it’s still advantageous for indies to go with a traditional publisher after making a name for themselves. In 2011, Amanda Hocking had some good reasons for going traditional. In 2012, Hugh Howey has some very good reasons not to.

The other big thing, though, is this idea of author platform–that to be a successful indie, you have to find some way to drive large numbers of people to your books. Well, not necessarily. Hugh Howey was a nobody for three years, and the title that finally pushed him over the tipping point was the one he promoted the least. To me, that shows:

current sales are not a predictor of future sales, and
a great book will grow into its audience independent of its author.

Granted, there may be a threshold that needs to be crossed before word-of-mouth really starts to kick in, but if a nobody with passable cover art and no author platform can cross it, that threshold isn’t very high–and that’s good news for all of us.

The way I see it, there are three big myths that writers struggle with in making the shift from traditional to indie publishing:

1) The flood of crap books will keep you from getting noticed

This grows out of the paradigm of limited shelf space–that the best way to get noticed is to have your book occupy more space relative to all the other books on the shelf. This might be true in the brick and mortar world, but the rules are much different in the digital realm.

Think about it: how many new blogs are launched every single day? Thousands, if not hundreds of thousands. And yet people still find the good content amid the sea of crap. On Youtube, an average of one hour of video content is uploaded every single second. And yet there are still entertainers making a lot of money through their Youtube channels.

The rules in the digital realm are completely different from everything in the physical world. Figuring that out requires a huge paradigm shift, one that even indie writers struggle with.

2) Publishing a book is an event that must be promoted

This grows out of the paradigm of velocity, or as Kris Rusch puts it, the “produce model” of publishing:

Every month publishing comes out with brand new product. Shelf space is limited in every single brick-and-mortar bookstore. Big Publishing makes the bulk of its money during the first few months of a book’s existence. So if a book sits on a bookstore’s shelf until the book sells and that sale takes six months to a year, the bookstore and the publisher lose money.

Better to dump the old inventory on a monthly basis—for full credit for unsold items—than it is to have the inventory sit on the shelves and grow “stale.”

Of course, the flaw in this logic is that digital shelf space is unlimited, therefore books do not “spoil.” No matter how much time passes, an ebook can still be found in the same place.

Therefore, does it really make sense to make a big deal over an indie book release? Maybe to jump start some word-of-mouth, but it’s not like your career is going to be harmed if you do nothing. In fact, it might be better to hold off until you have a few more titles up, so that when you give the first one that push, readers will have something else to read once they’ve finished it.

3) To succeed you need to find a way to “break in”

This grows out of the gatekeeper paradigm, where the system is closed and the few entry points are guarded by a select group of taste makers whose job is to bestow legitimacy on those who meet the qualifications to get in. It’s the concept of patronage, where success comes from being chosen by a wealthy benefactor, and it’s connected with the idea that you haven’t truly “arrived” until <fill in the blank>.

The flaw with this paradigm, of course, is that publishing is no longer a closed system. The gates haven’t just been flung open, the walls themselves have been torn down. The job of the taste makers is no longer to protect readers from the dross, but to lead them to the gems–which is honestly much closer to what it should have been in the first place.

So what does this mean for creators? It means that there’s no longer a system to break into. You don’t need to write better than everyone else, you just need to find (and keep) your 1,000 true fans. Success isn’t bestowed upon you by some higher authority, it’s something that you discover on your own as you hone your craft and build your business.

Honestly, this is one that I still have a lot of trouble with. When I left to teach English in Georgia, in the back of my mind I had this vague notion that I was going into a self-imposed exile, and wouldn’t come back or settle down until I’d “broken in.” Of course, this made me quite discouraged, because it felt like things were out of my control–or worse, that I’d somehow failed.

But listening to Brandon’s lecture and reading Howey’s Q&A session helped me to remember that it’s all still in my control. I don’t need a benefactor, I just need a good plan, if that makes any sense. So right now, I’m thinking things through and making the necessary revisions to that plan. There probably won’t be any big ones–I still think I’m more or less on the right track–but it will be good to update my paradigm.

By the way, the title of this post applies to the Q&A with Hugh Howey, not to the post itself. Though if you are thinking of self publishing, I hope it’s helped out in some way.

Also, I just finished part I of Wool, and it deserves every bit of praise that it’s got. Expect to see a review of the omnibus shortly.

Last day of school

So today was the last day of school in Georgia, with all of the craziness that that entails. It was kind of sad to say goodbye, even though I’ll probably be coming back to the same school in September. In the meantime, I’m going to miss being a rockstar to all the 7-12 year olds and giving them high fives after class and in the hallways.

I haven’t posted much about my teaching experience, but it’s generally been positive, though not without its ups and downs. I’ve met a lot of great people, taught a lot of great kids, and lived in a culture very different from my own. I’m not sure how I’ve grown yet, or what I’ve learned from the experience, but it isn’t over–I’ll be back after the summer, for a least one more semester.

I asked to be placed in the same school again, though I’ll be changing homestay families. If they can’t find another family in this district, I asked to be placed in a village near Kutaisi. It’s impossible at this point to say what will happen, though, and things in this country tend to change without notice.

When I came to Georgia, my goals were to find out if I could balance teaching English with my writing career, to get some useful teaching experience, and to gain some cultural exposure that would enhance my writing. On all three counts, I think I’ve had success.

My writing productivity has gone down slightly since coming out here, but I think that has more to do with the homestay and finding a good, quiet place to write. I’m still writing every day, just 1.5k words instead of 2.5k. Teaching English isn’t the problem–in fact, it’s probably one of the best careers for aspiring writers, just so long as you know your creative process and have a modicum of self-discipline. I’ll probably do another post on that later.

As far as teaching experience, I don’t know how much my time here in Georgia is going to help my resume, but it has helped me to have a bit more confidence when it comes to teaching. I still feel like there’s a lot of room for professional improvement, though, and it’s going to be difficult to get that here. I like Georgia, though, so I’ll be happy to come back. If anything, I figure one year looks better on a resume than six months.

And as for cultural exposure, coming out here was definitely a good move. Living in a developing country changes your perspective in a lot of interesting ways, and Georgia is so different from America that I’m sure I’ll be talking about it for years to come. How all of this will affect my writing, I don’t exactly know, but I’m sure it will only enhance it.

So yeah, that’s been my experience so far. The last day of school was kind of bittersweet, but I’m definitely looking forward to coming back!

My Muse

A long time ago, I did a whimsical post about my muse and what she is like. Imagine my surprise when I found a picture of her on Deviant Art!

I had a lot of fun with that post, so I thought I’d revisit it. Enjoy!

Young Universe by *DestinyBlue on deviantARTMy muse is about fifteen years younger than me and three thousand years older. She listens to my philosophical dabblings like a younger sister, but is a lot closer to the pulse and rhythm of this world than I have ever been.

She has a soft spot for Homer and the old Greek epics (I suppose that’s right around the time when she got her start at being a muse), but she’s been deeply in love with space adventures since the days of Wells, Burroughs, and Heinlein. Her love of the stars must have started back in the days of the Greeks and Romans, because that’s the only thing that’s ever on her mind. She’s definitely a night owl and I think she spends her nights stargazing while I’m asleep.

In contrast to my blunt, forward, and sometimes overly-aggressive manner, she doesn’t really speak to me unless she knows that I’m listening. She doesn’t slap me upside the head to get me working, and she usually doesn’t come to me until I’ve been slaving away for a good long while. If I choose not to listen to her, she shrugs and walks away without an argument.

As much as I love to toy with ideas, she likes to touch, taste, see, and smell things directly with her own senses. She’s the kind of person who would take off her shoes to walk barefoot in the grass, even if it makes her late to where she’s going. She’s easily distracted and she never really lets me know where she’s going until we get there. However, if I listen and humbly follow her, she always leads me someplace worthwhile.

My muse is very mischievous. Her favorite thing is to give me random flashes of inspiration when I’m in the middle of something else. I can’t tell you how many crazy ideas I’ve had while driving on the highway, or taking a class, or working a mind-numbing job. She teases me, too–if I don’t write everything down in the moment of inspiration, she won’t tell me again until I fall on my knees and beg her.

My muse looks young and innocent, but don’t be deceived. She’s a wanderer who isn’t likely to settle down anytime soon. Blood, violence, battle, and death excite her. She gleefully urges me to torture and confuse my characters as much as I can. Still, deep down, I think she wants the good to win out in the end, and the evil to be revealed for what it really is.

I have no idea why she chose me out of all the writers out there, but she’s been with me long as I can remember. Whatever I do and wherever I go, I know she’ll always be there.

Ray Bradbury, 1920-2012

Wow. Ray Bradbury, one of the greatest writers of our time, just passed away at the age of 91. The news is affecting me a lot more than I thought it would.

My first exposure to Bradbury’s work came in seventh grade, when I read Farenheit 451 as part of the required summer reading. Most of the books I read in middle school and high school were quite forgettable, but that one stuck with me, especially the scene with the professors scholars sitting around homeless in front of the fire.

Later in college, when I was just starting to find my footing as a writer, I read Zen and the Art of Writing, and it had quite a positive impact while I was still largely insecure about my own writing. The most memorable piece of advice I gleaned from it was to write about the stuff that really moved me–to infuse all my writing with passion, and not give a damn about those who told me otherwise. That helped give me the strength to tell the stories that I love, which is now a huge part of everything I do.

My favorite Bradbury work is his collection The Martian Chronicles. The stories in that book are just amazing, and infused to the core with passion. I remember breathlessly reading the one about the astronauts who land on Mars, only to find a beautiful Ohio village populated with all of the friends and family that they’d left behind. Wow.

Whenever I pick up a Bradbury story, it’s like having this little old man clasp his hands on my shoulders and, with a gleam in his eye, shake me until I’m sure I’ll never forget it. Every story is like a roller coaster, with stunning heights, beautiful views, and drops that make you scream for your life. It’s awesome.

It brings tears to my eyes to know that he’s gone, but they’re bittersweet tears of the best kind. The man had a rich, full life, and lived to see his work appreciated for how great it truly is. At 27 novels and over 600 short stories, with more than 8 million copies in print in at least 36 languages, he has truly left us a great wealth of literature. Some mourn that the world is a poorer place because of his passing, but I rejoice for how rich the world is because he lived at all.

Goodbye, Ray Bradbury. Your stories truly changed the world.

Trope Tuesday: The Three Faces of Eve

Why do so many character combinations come in groups of three? Unlike love triangles, where the combo is primarily a way to build conflict, the characters in power trios all build on each other in some way. They might be foils for each other, but as complementary archetypes, they do far more to drive the story together than they ever would apart.

One of the most interesting all-female power trios is the Three Faces of Eve, which combines the archetypes of child, seductress, and wife:

The “child” (who does not have to be a child literally) will be seen as innocent, perhaps to the point of naïveté. The wife, the wiser, calmer aspect, someone around whom one could build a home life. The third, the seductress, is sexually experienced and independent.

Roughly speaking, the characters in the trio correspond to:

The Ingenue: A naive, innocent, childlike girl who is just setting out into the world. In a Freudian Trio, this would be the Ego.
The Femme Fatale: A seductive, alluring, mysterious woman who is experienced in the ways of the world. Unlike the Vamp, she may or may not use her feminine wiles for evil. In a Freudian Trio, this would be the Id.
The Yamato Nadeshiko: A calm, steady, faithful wife, who provides the kind of marital stability and maternal strength that is ideal for settling down and raising a family. In a Freudian Trio, this would be the Superego.

You’d be surprised to see how often this trope shows up, even in works of science fiction. In Star Wars, Leia was the child in A New Hope, the wife/mother in Empire Strikes Back, and (what else?) the seductress in Return of the Jedi. Just about every Star Trek series featured some alignment of these archetypes.

Squaresoft played with this trope a lot in their Final Fantasy series, which may be illustrative to examine in greater depth. I’ve only played through FF IV, VI, VII, and Chrono Trigger, but each of these titles features some interesting variations (warning: spoilers!).

Final Fantasy IV: Porom (child), Rydia (seductress), Rosa (wife).

Porom is pretty solidly the child, though Rydia starts out as this and later grows up into the seductress role. She doesn’t get the guy in the end, though: that would be Rosa, who pretty much starts out with him as well.

In terms of story, the characters don’t really seem to build much on each other, though in terms of gameplay you definitely want to have Rydia and Rosa/Porom in your party (though not Rosa and Porom together–you only need one white mage, after all).

Final Fantasy VI: Relm (child) , Celes (seductress), Terra (wife).

This is my personal favorite in the series. Unlike IV and VII, which both center around male protagonists, Final Fantasy VI revolves around Terra (world of balance) and Celes (world of ruin) as the central protagonists. Because they also play a role in the power trio, their characters are quite complex, especially in the second half of the game. Relm is arguably more of a Mary Sue, but her relation to the other characters, especially Shadow, also makes her role more complex and interesting.

In the end, the romantic subplot is fulfilled by Celes, not Terra, which was something of a surprise to me in my first playthrough. It works really well, though, because of Celes’s heel face turn and subsequent reformation (in which Locke is arguably a Manic Pixie Dream Girl Spear Counterpart). Does that also translate into a shift from seductress to wife as well? I’m not sure, but I’d probably say no–after all, it’s Terra who takes on the mother role in the world of ruin.

Final Fantasy VII: Yuffie (child), Aeris (seductress), Tifa (wife).

The main twist with this one is that visually, you’d think Tifa is the seductress and Aeris is the wife. In terms of story archetypes, however, it’s just the opposite: Tifa is the one whom Cloud depends on, the one who helps him work through his problems, while Aeris is the shifty, mysterious one.

Unlike IV, where Rosa and Cecil are set up from the very beginning, for a while it actually looks like Aeris and Cloud are going to end up together. But then, in perhaps the most tragically gut-wrenching moment in all of video game history, Aeris dies (and doesn’t come back). Since Yuffie is kind of, well, crazy, Tifa and Cloud are pretty much garanteed to get together after that point (and as for Sephiroth…I don’t even want to go there).

Chrono Trigger: Marle (child), Ayla (seductress), Lucca (wife).

Chrono Trigger is interesting because the girl who ends up with the guy in the end (Chrono) is actually the one who fulfills the child archetype, Marle. It works, though, because of the childlike feel of the story. Unlike FF VI and IV, Chrono Trigger is not a dark or an edgy tale–it’s heartwarming innocence at its best. I always did feel that Lucca got the short end of the stick, though–but she did get a cameo in Xenogears, so perhaps the last laugh was hers after all.

Ah, Xenogears. <sigh>

Anyhow, long story short, the Three Faces of Eve power trio is a fascinating way to play with feminine archetypes. Recently, I’ve become quite interested in it because it showed up quite inadvertently in my current project, Heart of the Nebula. It’s funny how tropes can sneak up on you like that, especially some of the more archetypal ones.

Anyhow, in its current form the novel is a piece of trash, but now that I’ve recognized the potential to set up this particular power trio, I think I can really make it shine. If you have any insights, please share–I’m very interested in this trope right now!