I think I’m going to need to steal this idea!

One of my goals for this year is to complete 25 inspirational books or classic novels. Of course that will involve a lot of reading, and a lot of reading seems to go hand in hand with a lot of losing track of what I learned.

So my newest idea – I’m going to start a notebook or document to list the books I read and what lesson, concept, idea, or overall feeling I walk away with. It’s not exactly a new idea, but it’s something that I’ve never taken the time to do. And I bet a lot of you are thinking the exact same thing.

To give an example of a book that I just completed, I’m going to go with the very popularSteal Like an Artist” by Austin Kleon. This book was a delightful manifesto on creativity that I can imagine has a great…

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The false “debate” about SOPA

Hollywood and some “quisling” artists want us to believe that intellectual property theft is pervasive, and that we must urge Washington to pass SOPA. They have been so skillful at spreading their alarmist propaganda (it is Hollywood, after all, the birthplace of modern propaganda) they even have a friend of mine convinced that if she starts a blog thieves will steal and sell her posts.

I did not make her up. And she’s not stupid, just very suggestible.

Hollywood liberals and Washington DC conservatives might seem like two different species, but in reality they are two sides to the very same coin. (Look at a coin. See that it has two completely different sides?) Both Hollywood and DC are cities that exist to feed – and exploit – people’s fears. They manufacture fear like Detroit manufactures cars – on an assembly line and according to a schedule, and despite popular opinion they operate more in concert than in opposition. They use fear like any predator does – to get the prey animals (that’s us) to react in predictable ways: noise on the left startles prey into moving to the right (or vice versa, which is the DC scaremongering model) while noise in front (horror movies, Hollywood’s specialty) scatters the herd – so they lose the advantage of numbers.

Of course, we prey animals don’t always act upon instinct. After all, we are not that different physiologically from the predators who exploit us, but they have tamed us enough with entertainment and false camaraderie – Hollywood’s other product, the one designed to lull us into complacency so they can ensure we remain prey between bouts of fear-induced panic.

So fear-mongering doesn’t always work as intended. But if the fear the predators manufacture doesn’t succeed in getting the prey into moving in the direction they want, they wait a few weeks or months and try again. Sooner or later we will go where they want and do what they want.

Which is why the SOPA arguments are so interesting. Hollywood wanted it; DC tried, but the herd didn’t tack as directed. We seem stubbornly resistant to this particular fear-mongering. No matter. As Chris Dodd says in this interview,

Here’s the good news: No one’s arguing about whether the theft of intellectual property needs to be dealt with. The question becomes, how?

[The technology community] globalized the issue, made it [about] freedom of speech and breaking the Internet. It’s [rather] a question of whether the hard work of the creative community ought to be protected.

Who is Chris Dodd? He’s past master of the DC fear machine and current spokesman for Hollywood’s fear-mongers. He recently replaced Jack Valenti as President of the MPAA – you will see Dodd make a brief appearance at tomorrow’s Oscar ceremony – but before that he was “the longest-serving Senator in Connecticut’s history.” Hollywood, meet DC. (Oh – you’ve already met him. See Dave.)

Yes indeed, it is a conundrum. How do you get people to believe your lie when it’s such an obvious one? Dodd – and by extension Hollywood – seems determined to continue trying to convince the herd to move toward their lie that they are trying to prevent theft. And who is for theft? Why, it’s even mentioned in the ten commandments!

Sorry, herd – it’s a fear noise. The internet “battle” isn’t being waged because people want to “steal” from the artist, it’s because the artist no longer wants to agree to a system where the chain of businessmen above them take the lion’s share of the money made from their art. Everyone knows artists make the smallest percentage from their art. It’s the studio heads and network owners and publishers – the owner class – who take the big money. Read the Dodd article carefully – what he’s trying to prevent is excessive profitability moving out of grasp of business and – not into the artist’s pocket. Instead, it remains in the consumer’s pocket.

These guys and gals in the non-creative side have had the artists in a vise for years, and they don’t like it that some artists did the math and discovered that a half a cent per song sold is about what they receive from a big record label anyway, so they might as well take the 1/2 cent per download that iTunes will give them and screw the studio system out of their “profits.” Same goes with the 99 cent book and the “pirated” DVD that Hollywood is holding onto in order to create a false scarcity.

I mean really – who knew that an artist could do math?

But there’s another issue at stake for the owner class: They are threatened with the loss of all that excess profit they gain from maintaining their artificial scarcity business model.

In actual manufacturing there is a very real threat of scarcity. Detroit can only manufacture so many cars, for example, and this limitation created scarcity. But anything existing in the “cloud” economy where, theoretically, an infinite supply exists. This should mean that demand will never outstrip supply, but the owner class is used to the scarcity model, so they are trying to legislate control of the demand.

No one would need to “steal” (their word) a movie or a television show if Hollywood (or New York, to be more precise, since that’s where film and television and publishing are headquartered) would simply distribute the damned thing a little more liberally, but they don’t because they are hooked on artificial scarcity.

Remember when the Harry Potter books first came out? The publishers wanted to maintain a by-now-nonexistent time lag between a London publication date and a U.S. publication date, but fans circumvented their delay and ordered the U.K. edition. In fact, so many fans ordered it from overseas that Scholastic Press rushed up the publication date and afterwards the books had worldwide simultaneous premieres…

… which increased their sales! But did the owner class learn the lesson? No! They still try to create artificial scarcity, but now they want to pass SOPA (or whatever it will be called when they next re-introduce it) so consumers can be arrested for not honoring their artificial scarcity business model, and artists/website owners can also be arrested – for eliminating the need for an owner class.

It used to be that studios and publishers and the like performed some service for the artist. They arranged for publicity and did the editing and manufacturing/publishing. Now they perform none of these services – they even have the customer conned into purchasing their own hand-held printing/recording machine so they don’t have to manufacture as many items – but they still want to be paid as if they still do perform a service.

The new economy didn’t just eliminate the need for a middle class. We no longer need owners. Predators are redundant – and they’re annoying besides. Let’s stop behaving as prey. Stop feeding the beasts!

More zombies

The zombies are coming after me again! Since writing my first “zombie” post I’ve had two encounters with zombies.

First, the other night I had a “zombie story” dream. This particular zombie dream was similar to others I’ve had: There was an adorable preschool boy who was a zombie, and his parents were anguished because of it. They could not kill him – could you kill your own son? They wanted to comfort him, and in the end they did. Yes, it meant he would bite them and they would also be zombies, but he was their little boy!

Then I woke up and realized two things:

    It would make a compelling story.
    It would never be sold because editors only publish “plucky survivor” zombie stories.

See? Sort of the opposite of the “elusive room” dream, where you search and search for a room in a dream that you can easily find in real life. My “adorable zombie” story works in dreams but selling it as a concept is elusive.

Then I came across this offer to take one of my photos and re-design it into a zombie photo. Perhaps not in time for Valentine’s Day, but ideal for any couples occasion. Again, this disconnect between people’s fondness for “adorable” zombies when there’s no market for a story about one.

Why won’t agents and publishers consider a novel with zombies as protagonists?

Three readers = three interpretations

I find it fascinating that a group of people can read the exact same text and each one can take a different meaning from it.

Take this interview, for instance: I was led to it by Seth Godin, who found in it a “right” and “wrong” interpretation of what an “author’s job” should be. Godin’s take was that he disagreed with Raab, who interpreted her job as being: “The most important thing an author can do is have his or her book in on time.” (At least that’s Raab’s belief according to the interviewer, Jeff Rivera, who is the original reader of Jamie Raab, publisher.)

But that’s not the interpretation I had when I read the interview. The first thing that caught my attention was that Ms. Raab had originally majored in something entirely unrelated to books – City Planning. It interested me because it’s an anomaly. One would expect a business or literature major to go into publishing, but a city planner? I’m now intrigued by how she ultimately became a publisher.

For me (a writer) Raab represents a mini-lesson in the “chaos” of character-building, because as a writer I find such anomalies make for a more interesting “character” – which is essential when creating a protagonist, skillful when creating secondary characters, and distracting when creating background characters.

But that wasn’t what interested the other two readers. For Mr. Godin (a philosopher) her major was irrelevant, because his focus was on a perceived anomaly in the job description (what’s “the most important thing a publisher can do”). His interpretation represented a mini-lesson in the “chaos” of the publishing industry in the midst of a transformation – a topic which also fascinates me.

And for Mr. Rivera, the interviewer (a reporter), the major was also irrelevant. It was an item on a list of background information. He didn’t ask a single question about it, for example (or at least not for publication), but focused on the business aspects of her job, on how successful publishers make money from authors and books.

Why care that three readers gleaned three insights for three reasons? Because of what it tells me about the differences between writers.

Mr. Rivera is paid to be interested in certain topics, and if that’s not what interests him as a person we aren’t supposed to know that. He’s a reporter: his product is an interview.

Mr. Godin is also paid to be interested, but his specialty is the philosophy of the internet. As a philosopher, what interests him is his product.

I am paid to create interesting characters and utilize their anomalies in fiction. I would never create a protagonist that’s a publisher (because in my world they are never protagonists!), but the anomalies in Ms. Raab’s character – how she started out on one career trajectory but wound up in a completely unrelated field – would work for any protagonist. A detective. Or a spy. Or a zombie.

And who knows? I might need an anomalous publisher-character as a secondary, and she may well be based on my interpretation of Ms. Raab.

“Not all who wander are lost.” – Gandalf

My favorite zombie

I’ve had zombies on my brain for a while now, ever since I read World War Z (which I recommend, by the way). Before this I had been avoiding zombies: I have NO interest in horror films (they give me nightmares!) and zombies had only really existed as films before Brooks.

I’m now infatuated with them in a small way. I watched a few films: Shawn of the Dead (because Simon Pegg was in it) and Night of the Living Dead (to sample some George Romero) and even White Zombie (to get a feel of the racist-plantation zombie movies, which came in handy when Herman Cain began making “plantation” references), but zombie films still aren’t that interesting to me.

I find it frustrating how films treat zombies: they either show them as slaves or as objects of fear and revulsion.

Zombies as slaves don’t come up much anymore, but they are a part of the lore. They were the original zombies, fresh from the plantations of Haiti (that evil place where slaves held the only successful rebellion against their white owners which could only have happened if they were zombified – oooooh!). But the zombie as object of fear and revulsion is more popular right now – and it’s such a limited trope!

Take the Romero zombies, for example. In order for the “plucky survivors” to outwit the “zombies,” the zombies are presented as very slow and very stupid indeed. Nevertheless, the non-zombies are just slightly-less stupid, slightly-less slow and a lot weaker and frailer, because otherwise why would our plucky survivors be in any danger?

Literary Agents are now actively looking for zombie books to sell to publishers, but the books they want are ones that feature the “plucky survivors” model that George Romero and Max Brooks favor. Publishing follows the trends set by films – and book sellers want to cash in on the audience they might capture when the film version of World War Z (starring the hottie Brad Pitt!) is released than with the Brooks book – which has been out for several years now and is sort of “literary” besides.

I’m sure the agents will find plenty of such zombie books to publish (there are already several out there) and, according to my online zombie group for writers, more than enough writers eager to write such “zombie vs. plucky survivalist” books.

But is that all there is to the zombie infatuation – plucky survivalism?

In several cities people participate in “zombie walks.” Many thousands dress themselves up as zombies and shamble down a street.

No one dresses up and participates in a “plucky survivor” parade.

One of the more popular songs/videos in history was “Thriller” – a song featuring zombies, not “plucky survivalists.”

Isn’t the zombie genre missing out on an audience of people who identify more with zombies than survivalists?

Poetry and zoos and poetry

I wanted to mention this article about a project taking place at New York’s Central Park zoo. It’s a poetry installation by Sandra Alcosser, who I had the honor to learn from at San Diego State University’s Master of Fine Arts program.

Although I was accepted into the program for my prose writing, it required us to take several classes in the discipline outside our area – which meant I had to study poetry – for me a very scary proposition! I took my first poetry class with Sandra – then took all my other poetry classes from her – she is that good!

Through her class I read several contemporary poets I may have never read. I also wrote some (bad, in my estimation) poetry. I never did pick up a desire to write poetry, but the experience definitely changed the way I wrote prose.

How I became a Runaway Serfer

I didn’t start out as a Runaway Serfer. I originally wanted to change careers.

I was working as Executive Administrative Manager at a biotech company and hated it (hint: they are vivisectionists!). I had originally wanted to write, and abandoned it for personal reasons, and since I still wanted to write, I quit my job one summer day to ease back into writing, re-enroll in graduate school, teach elementary education as my new profession, and create a few writing websites on the side. (I’m a multi-tasker!)

Six weeks later: 9/11/2001.

In the years while I obtained my teaching credential and earned my MFA, the world – and both my planned professions – changed.

  1. Elementary education changed from wanting to educate to wanting to test children. (Might as well have stayed with the vivisectionists!)
  2. The internet morphed into social media, meaning simple websites were not so simple anymore and weren’t the only formats a writer needed.
  3. Graduate school turned out to be a lot more interesting than I had imagined (when I left it was a place to get a degree to impress agents and publishers).
  4. And September 11 really did change everything, and not in a good way

I re-emerged into a society that didn’t want to employ someone my age, then didn’t want to employ anybody, really.

So now I’m learning how to be a Runaway Serfer (a Serf without a Master).