Fantasy-Filled Young Readers Give the Season Imagination

Rocketfuel, the youngest group of science fiction and fantasy writers in the Yukon, showcased their own writing (and art and music) Dec 4th at the Frank Slim’s Building at Shipyard’s Park.  It’s a nice venue with a roaring fireplace.  Makes it cozy.  Snacks were had, parents were entertained.  Must have been about twenty people there.  

About the readings–wow.  Okay, I know, I’m biased, but even I was blown away that night.  My boss, Mia Lee, was also amazed.  And the parents were too.  The writing was great, and fun.  We had readings about a day in the life of one of the heads of Cerberus, an alien abduction, a psychiatrist who knows a bit too much about Hell, an amulet that everyone wants, and other writings of imagination. 

Even the parents got to play when we brought out Justin Whitney’s patented Story Seeds, guaranteed to jump start a story, and starting playing the game around the room.  

I’d like to thank all those students in our Rocketfuel afterschool writing program–Franz, Hal, Santana, Zeb, Kylie, Erica, Kalyna, Renyka, Aubrey–and our emeritus writers Ashley, Bailey and Victoria.  We really do believe that writing contributes to the well-being of a young adult, and that fantasy and science fiction are part of our culture–a vivid part–that contributes to our cultural identity.  It can also change the way we see our world.  

Every culture holds dear a story that has supernatural elements in it, and this story defines and contributes to that culture.  Someone had to write about the dragon, Grendel and his mother, chomping on knights in the King’s Hall, or a Monkey to bring back the wisdom from the West, or captured a Djinn in a lamp, or brought a people across a sea split by the hand of God, and someone defined vampires, werewolves, ghosts and the Devil for a culture that enjoyed hearing the dark stories as much as the light ones….  Fiction even changed the way we celebrate Christmas. When our young writers write fantasy they are contributing to a long line of fantastical stories–to explain their world, even as they live in ours.  

The Young Author’s Conference understands this, and every summer, when the writers gather with our high schoolers, those writers read the works of our kids and at least half of them are fantasy and science fiction.  It’s important to develop a vivid and detailed imagination.  This is how adults solve problems—by imagining the solutions AND how to get there.  

Watch for the Yukon News article on Rocketfuel on Dec 23rd!  Woo-hoo!  

In January, TWO Rocketfuels start back up after school.  One at Porter Creek on Tuesdays and one at FH on Wednesdays.  If you think someone in your family might enjoy this, sign up through the Parks and Recreation, City of Whitehorse Leisure Guide or by calling Mia Lee at 668-8327.  

Treats, Beverages, and a bit of Fantasy, Shipyards Park, Fri. Dec 4

Students who are a part of Rocketfuel, the science fiction and fantasy writing group afterschool program–sponsored by the City of Whitehorse–will have a reading Friday night–TOMORROW–at Shipyards Park.  They’ll be reading from some of their current work.  There might actually be a story of Santa Claus meeting the Reaper…you never know.  

THE DETAILS:

Shipyards Park

Friday Dec 4, 7-9 pm.  

Treats, goodies, beverages like tea and coffee, and a bit of Fantasy to go home with and share with your season….

If you’re free tomorrow night, come by.  We’d love to have you.

The Thrill of Deadlines, and How to Meet Them Alive.

(Corrected: eliminated all the bad advice about the two week story)

That race to a deadline is fun and satisfying.  It’s a test to see if you can pull it off, get that story done and out by the time that clock strikes.  But you have to plan ahead, or else you’ll be turning in bad stuff, or stressed so much you miss the deadline.  

Douglas Adams loved deadlines too.  “I love deadlines.  I love the whooshing sound as they shoot past.”  

New Scientist says your heart attack risk rises six times normal at the approach of a stressful deadline.  

(But they also list sexual activity as a precursor to heart attack, and who wants to cut that out??)

My history has been spotty on deadlines.  I’ll admit, like Adams, I let them reluctantly whoosh past me, relieved at the amount of stress reduction they can have when they do leave—or when the professor gives you another day, or another hour—but this has not been good for me in the long run.  Always hoping that I’ll get an extension on a deadline has made me think that anyone will give an extension.  And this is not the case.  

I remember when I got my story in to an anthology Claude Lalumiere was editing at like 12:40, forty minutes past the deadline.  He said, no!  Holy cow.  I thought that he was a stickler, but I’ve learned this is standard practice.  Not everyone will give you an extension, and no one is obligated to.  There has to be a cutoff time.  Chaos can ensue.

And really, it’s bad form (Jerome!) to ask for extension on deadlines outside of real emergencies.  I’ve done that once in awhile, and I’m very happy for those who accommodate me.  But that puts them at risk.  An editor I know once had a rule about her deadlines: “Never tell the author the REAL deadline.”  She always told me a false deadline, in advance, knowing I would push it.  She actually had three false deadlines (one day I pushed through nearly all of them! eek).  But this was a magazine deadline, not a submission one.  

Submission deadlines are part of life.  They should be hard.  They make you plan better, and I think, increases the thrill without increasing bad stress if you aim accurately for the deadline.  

I can’t wake up two hours before a story deadline and think I’ll be able to pull off a winner: I’ve tried writing stories too close to the deadline, and I get bad stories.   But when I’ve had a story go through revision about six times and then I spot an anthology deadline, it really makes me polish well.  And a polished story, even if you send it in 17 minutes before midnight, still feels great!   

My heartfelt applause goes out to all those who made it by Tesseracts 14’s deadline, and the man who made it by the stroke of midnight!  WOO-HOO!  

How to plan ahead for deadlines.  Okay, I should preface this with the following disclaimer: I don’t write stories in two weeks, not normally.  And so I can’t tell anyone to write a story in two weeks.  A lot of my stories have been through lots of drafts, some over years, to figure out what the dang things are about.  But there are a few tips I have to think about when I’m writing towards a deadline.  

I go backwards from the last thing I have to do and count that as time I need.  So I save enough time for the spell-checking, the last minute editing, the spit-polishing.

I also try to save enough time for multiple drafts.  My worst writing comes out in the first draft, usually.  Bad, stinky writing.  So, you have to save time for yourself to redraft and rethink your story.  How long? I don’t know.  Sometimes, if I’m doing nothing but writing, a few days.  But this doesn’t count the thinking time in between a first draft and the multiple drafts that come after.  I’m working on a story right now that started life in 2002 as a 2500 word short story.   Then it had another incarnation in my dissertation as a 7000 word short story and now, in 2009, well, it’s getting another draft.  Not everything takes this long—but some of ’em do.

A week is only enough time for me to get an adrenaline draft—that first idea that you run on a pretend course to get to some conclusion.  Like a pace car.  But that isn’t time to see all the layers, the themes, etc.  It’s barely time to get the first draft out of your fingers.  

The ideas take longer:  you’ve been mulling over a cool idea, or have a vision of a great scene, so you’ve been jotting notes…this can take as long as it takes before it gels enough into a story.  Normally I won’t count this in the time I need.  If it hasn’t gelled, it’s not ready for a story.  

Your timeline will be different, but know where you are in the course of your writing, and what your normal speed to write your best story, in order to know how to plan for a deadline.  I remember a story not too long ago that I planned too short a time for….. and all I got was a nice first draft out of the story.  Yikes!  So, now I get to go back and give it work and it will shine!  

Thomas Jefferson had his deadlines too.   This quote from the Independence Visitor Center in Philadelphia:  “Thomas Jefferson wrote the rough draft of the Declaration in only a few days? He spent a period of two weeks refining it and even gave a copy to John Adams and Benjamin Franklin for their review.”  I’m no Thomas Jefferson, but I’m imagining he was under a tough deadline and had to get it right.  

Know your writing speed, and count backwards from the deadline.  Then you’ll be alive when you cross it.  Really, really alive!

Flash Mobs as Fantasy Writing: Some Tips from Mobs

Who doesn’t love a flash mob suddenly breaking out and dancing?  Below are many examples of the Flash Mob, some of my favorites.  I wonder if they could be called Fantasy Writing, in a sense.  A collaborative work that changes the reality of those watching into a fantasy version of reality.  It’s more honestly described as theatre—probably Guerilla Theatre,  and certainly it is based on “musical reality” where tough gangsters in Guys and Dolls dance, or thugs in West Side Story snap their fingers.  But I think the Flash Mob which has really gained popularity has a more recent common ancestor.

A film called, The Fisher King, starring Robin Williams and Jeff Bridges.  In that film, there’s a sequence where all the walking people in Grand Central Station suddenly turn into dancers.  It’s the essence of Flash Mob–to create a dream sequence.  It’s such a stunning moment that I often see it in mash-ups of film retrospectives.  And the fact that modern flash mob dance sequences take place in large public spaces–like Grand Central–nods, at least a little to “The Fisher King.”

Here’s the Fisher King sequence, and then following it a selection of some of the most entertaining Fantasy moments you’ll find, this side of Reality.  Following that is a short selection of tips I think Fantasy writers can pick up from Flash Mobs.

Fisher King dance at Grand Central Station

Michael Jackson tribute in Stockholm

Oprah and Black-Eyed Peas

Frozen Grand Central Station (the opposite of Fisher King)

And for more of Improv Everywhere–they do musicals in grocery stores and much much more!

What tips can Fantasy Writers pick up from Flash Mobs

1.  They know what their audience expects, and they do the unexpected.  Grand central is supposed to be busy and chaotic–but not when it’s choreographed or frozen in place.  Fantasy writing wants to both fulfill desires and offer something new.   If you have a dwarf, an elf, a ring….uh….we know what might happen, we know what could happen, and we may not wait for anything surprising TO happen.  Shrek and Princess Bride play off expectations.  They successfully surprise and entertain their readers—but they are parodies.  Creating completely surprising fantasy realms–with new creatures, new settings, no medieval setting–can also surprise a reader and make him or her want to read.

2.  Flash Mobs bring joy to their watchers, or a sense of wonder, by giving the mundane new life.  Subway commutes, catching a train, buying groceries–now that’s a list of first dates I wanna go on!  But if you give the mundane a new sense of wonder you can re-vitalize something that was boring.  Wish they’d do that with filling out registration for car insurance….  Fantasy writing can take the ordinary and make it amazing.  Look at how exciting a compass got in The Golden Compass (yep, an alethiometer!), or CS Lewis transforming a game of hide and seek in an old mansion on a rainy day, or tornadoes in Kansas….  Find a way to take something ordinary, an object, an action, and give it new meaning, new wonder.  Honestly, I want reality to be a little more like fantasy, a little more like a flash mob.

3.  Flash Mobs are Choreographed.  They look spontaneous!  But in reality, a lot of effort was put in to make them look effortless.  Same in writing.  In writing, you guide the reader’s experience.  It requires you to be more calculating and choreagraphical than maybe you’re used to, but that’s what an interesting plot is.  Imagine if the dancers in these sequences had done boring moves…  Plot is choreography–telling your reader where to move, and what to watch….

4.  But everyday flashmobbing would become boring.  If you saw this happen all the time, you’d start to think this was reality, and ignore it.  It’s the unusual nature of a flashmob–the sudden coming together of people doing the same thing–that makes it unique.  It has to stay unusual to escape being usual.  What does that mean for fantasy writers?  That we should only create one thing— nope, but variation is important.  If you only do one kind of thing, dragons, let’s say, then your reader may eventually become bored with what you’re doing–even your interesting fantasy might become mundane.  Imagine ten more books of Harry Potter.  HP had to have a story arc that encompassed a certain number of books.  Plan that arc, and then, it’s over.  Else you get a Wheel of Time that keeps on spinning.

Good fantasy writing changes reality—and ripples into your reality forever altering it.  

Okay, I could be analyzing too much.  Enjoy the damn flashmobs and stop thinking of writing….  Oh, look, over there, it’s a whole collection of random werewolves doing Bollywood!  Made you look. 

Deadline Nov 30 for Tesseracts 14: Canadian Sci-fi and Fantasy Stories

from Woodleywonderworks on FlickrA reminder to all those thinking about submitting your short fiction (limit 7500 words) to Tesseracts 14, the latest in the series of anthologies featuring Canadian science fiction and fantasy.  It doesn’t have to be about Canada, or about the north.  Basically they are anthologies of Canadian writing.  (Okay, and a few stray Americans or other Nationalities who have immigrated to the fair shores of Canada)

Personally, Brian Hades, publisher of this series, would love to see greater representation of Canada in the anthology.  So, the Yukon needs to put out!  Haha.  Seriously, if you have fiction that strays just outside the everyday reality, consider submitting to Tesseracts 14.  Let’s wow Brian with Yukon writers!

More information at my previous post here:  Tesseracts 14 Open for Submissions

Realms of Fantasy re-opened and ready for your submissions

Shuttafly by Natassia A. Davis, from her Flickr pageIt’s official:  Realms of Fantasy is back, and expecting a ton of submissions.  I don’t think we should disappoint them.  

Note, Canadian authors: though you still have to submit hardcopy, if you supply your email, they will answer you via email.  They don’t want to work with IRCs and who does?  So, this saves us time too.  

Editorial guidelines from their link:

Editorial Guidelines

Realms of Fantasy, a bimonthly magazine, is a professional market for the best in fantastic short fiction. Stories should be no longer than 10,000 words, and can address any area in the realms of fantasy: heroic, contemporary, traditional, feminist, dark, light, and the ever-popular “unclassifiable.” What we do not want to see is standard SF (this means no alien worlds, no hard-edged technology, no FTL drives, etc.)  Additionally, ROF is not a market for poetry.  What we do want to see is the very best in the field–Realms of Fantasy is a highly competitive market.

For stories under 7,500 words, rates begin at 6 cents per word for new writers and move upward as a writer gains recognition. For stories over 7,500 words, the rates break at 7,500 to 4 cents a word. Thus, a 10,000-word story by a newcomer would pay $550. Again, for established writers, the rates will be proportionally higher.

All submissions must be typed in a 12 pt. serif font such as Courier or Times Roman, double-spaced, and accompanied by a self-addressed stamped envelope large enough to hold your manuscript.  Manuscripts not typed and double-spaced will not be considered.  Manuscripts without return postage will not be returned.  If you wish us to discard the ms. and reply only by letter, you need only enclose a letter-size (#10) envelope and mark your ms. DISPOSABLE.  Your name, address, email address and phone number should appear on the first page of the text, not on a cover sheet, as cover sheets can easily get separated from the rest of the ms.

International authors must still submit hardcopies of their stories but we will respond via email rather than regular mail, assuming that you do not require your ms. to be returned to you.  We do not accept multiple or simultaneous submissions.  Response time is ordinarily 8 to 12 weeks.  We regret that the majority of our responses must be in the form of pretyped letters.  This in no way reflects on your work, only on our time and work load.

Thank you for your interest in Realms of Fantasy, and we look forward to seeing your work in our pages.

Shawna McCarthy 
Editorial Address: Realms of Fantasy P.O. Box 527 Rumson, NJ 07760

Now, go give them what they want!  Good Yukon Stories, or stories from Yukon authors.  

 


The Resonance of Flashforward for People of Faith

graph on the sidewalkThe ABC series, Flashforward, arguably one of the best written series in a long time, and the best using a science fiction concept, wrestles with a very old idea:  what if you knew the future?  The show expands it to ask: what if everyone knew the future? And by Episode 3:  What if everyone THOUGHT they knew the future?  This is not a new concept when you are dealing with people of faith.  Christians, specifically, have a vision of the future they hold on to.  Actually, they have two.

The first one is a concept of Heaven/Hell–that after they die, they will forever be installed in one of two polar extremes: a place of happiness vs. a place of sorrow–both eternal (also known as With God and Without God).  After that moment, there will only be a seamless future–one that never changes.  

This vision of the future does guide their/our actions to certain degree.  Some believe, still, that you have to hedge your bets.  Do a lot of good things to move your path towards Heaven, or ask forgiveness–quickly–and move yourself away from Hell.  This can also guide people’s actions towards you as they try to drag you to one path or the other–most often to Heaven by use of guilt, judgment or restriction.  Ah well, the path to Heaven, I guess is paved with good intentions too.

But really it’s the other vision of the future that is more worrisome for people of faith.  

Revelation was a book written based on John’s Flashforward.  In that vision he saw lots of stuff–lots of destruction, lots of wrath…it gets ugly.  And believers think they may have an escape route–the Rapture.  That miraculously they get to escape the major drama of the Earth’s end because they believed.  This is not unsubstantiated by the Bible, but it is questionable when it will happen. Trust me, I don’t want to argue pre-post-or mid-millenial tribulation/rapture.  And please–don’t discuss it in the comments!  

What I’d rather discuss is the idea that Christians may be creating the Tribulation themselves–or creating parts of it.

In Flashforward we are slowly beginning to believe that the main character, Agent Benford, is actually creating the bulletin-board he saw in his vision not because it has answers but because it was there.  In some ways, he may be creating his future, not actually solving the mystery of why everyone blacked out for two minutes.  We’ve already seen, in Episode 3, a man get hired to the position of airport security, not based on good qualifications, but because he saw himself in that future, and so did someone else.   

Many times I’ve watched Christians start to cringe if current events start to resemble events predicted in the Bible: the Anti-christ being a big icon to watch out for, as well as the Mark of the Beast, etc.  Credit cards, health cards, any kind of number that identifies you will no doubt bring a lot of fear–and have that implanted in a chip inside your hand or your forehead, and Christians will freak out.  (Hopefully lawmakers would NEVER pass an idea like that unless they want great opposition from Christians).  

I’ve lived through three people who were thought to be the Anti-Christ:  Ronald Reagan, Pope John Paul II and now, Barack Obama, for various reasons.  Often each one of them had a mystical kabbalistic criteria (their names added up to three sixes as Reagan’s does, or Obama’s “name” was spoken about in the Bible as paired with Lucifer–a complete stretch of the imagination) and a few of them have been “assassinated” and come back to life (Reagan and the Pope).  Each time I hear that someone new is the anti-christ, I cringe, thinking that people are gonna start believing all us Christians are loony.  And some of them, those that seem to be magnets for the news, deserve that label, not the airtime.

But then I wonder how often I too look at events with Revelation in the back of my mind.  At what point will events start coinciding so well that there’s a tipping point in even the most casual reader of the Bible–where people start to say–Hey, I’ve seen that before?  How often do we reject good things based on a false premise that THIS moment is part of Revelation, when obviously time just keeps rolling on?  

 

In Christian circles, we often thank God we don’t know the future–because if we did, it might take away from “who holds the future” and make it Fate, not choice.  But maybe that fits more squarely in Christian mythos–that our fates, our destinies, are already written.  I don’t think so, myself.  Everyone has choices.  But if you see a glimpse of your future, you won’t know if it is meant to be, or if you are being given a warning. We ask all the time for God to guide our lives, for us to make good choices, but we fear getting on the road to the wrong destiny.  As if the roads are already there and once on them, we’ll go 90 miles an hour.  

From Cassandra’s ignored warnings to Oedipus fighting against his fate to modern day futurists who tell us what will happen based on world economic events…one of our eyes is always on the future.  But will we let our concepts of the future influence today’s actions?  Will we allow small evidence to convince us that we are living in  “the end times” and then make irrational decisions?  Or will we make good decisions based on evidence in front of us and walk knowingly into the future, brave, but watchful, not reacting to everyone who says—the anti-christ is here, the anti-christ is there, etc.

What’s probably most disturbing is the Christian concept that they will be persecuted in the End Times.  And certainly every time someone critiques a Christian we hear echoes of this “end times” fear resurface.  That the critique means that the critic must be an enemy, and that Christians are being targeted.  This most resembles “making the future happen.”  By letting ourselves be irrational, afraid of debate, sensitive to criticism, and dogmatically judgmental–I think we will create the discrimination and persecution that will probably come.  But it happens because we’re being a$holes.  I mean, spread negativity long enough, represent bigotry, discrimination and narrow-mindedness long enough and folks will be distrustful.  Eventually, yes, being a Christian will be bad publicity.  But NOT because the enemy is bad, but because Christians are unloving, paranoid judges.  We will create the future we don’t want to happen.  Just like Benford is creating in Flashforward.  

Flashforward is a great show, allowing us to be thankful we DON’T know the future.  What a burden.  Hopefully it will teach us to treasure the moments we have, without being afraid of what’s coming–and make us watch out not to create the fates we want to avoid.  Let’s be good to each other out there.  We’re in this world together.

2012: The Last Movie Explosions and the End of an Era

Well, just saw a clip from the movie 2012, out in theatres in November.  After this movie, there will be no bigger explosions.  Hurray!   

I remember when Independence Day blew up the White House, and much of New York.  It was a cool special effect.  I remember when the Titanic split in two.  Wowzers!  But now, there’s not gonna be a special effect left to do using real places after 2012.  We’ll have seen the Eiffel Tower destroyed so many times, seen a realistic crumbling of the Rio Jesus, seen California being pushed into the sea, or dribbling into it as is the case here.

I mean, after that, the real end, when and if it does come, will seem like a rerun.  I bet when an earthquake hits California, one day, God forbid, but if it does, people will say “It looked just like 2012.”

Now, imagine filmmakers discussing options after 2012 comes out:  

“Well, there goes my next volcano film.  Can’t get more realistic than that!”

“And they just sunk Iowa into the ground.”

“We can’t redo the crumbling of the Statue of Liberty–we’ll be copying!”

“Exactly, boys.”  They’ll sigh.  Nod their heads.  “You know what this means?”

They’ll look around nervously.  

“We go back to plots and characters.  People won’t expect it.”

“What you mean is–they’ll yawn through another White House implosion.  No,” someone will shake his head, “we’ll go back to those all right—there’s nothing left to blow up, or blow up more realistically.  There’s nothing left but characters.  Damn.”

And this will be the END OF SPECIAL EFFECTS DRIVEN MOVIES.  Relief.  

It’s like the last ten years–post Jurassic Park–that directors have been like little boys with a new Chem Set and a set of bottles—what can we blow up?  Or Matthew Broderick and Ally Sheedy in Wargames, playing “Global Thermonuclear War.”   “What will we nuke first?” Broderick asks Sheedy.  “Las Vegas!  Seattle!” 

So many films destroying highways and bridges and houses and monuments…like Godzillas of the Green Screen.  Well, we’re all done with that!  Who can follow 2012?  The special effects people will be looking around for things to do and they’ll have to morph bodies on screen or something else….cause we’ve seen every conceivable iteration now.  Reality won’t be half as good! 

Either we move on now to plot/character driven movies whose special effects serve the moment, or this really is the end of the world….

God:  “Well, they’ve blown up everything they can on screen.  If I don’t cash in my chips, and call my peeps home, they’ll get bored…”

Flashforward: the Excellence that “Knowing” could have been

flashforward Watch Flashforward, Episode One

Robert Sawyer’s Flashforward has been made into an ABC miniseries. It is a masterpiece. I haven’t read the book, so I don’t know how faithful the series is to the original book, but the book won an Aurora Award.

The premise is that everyone blacks out at the same moment for 2 min and 17 seconds. In that time, they glimpse their futures. When they return to the present, mass chaos has already happened. Planes fell from the sky, cars crashed, trains derailed. People died, lots of people died. Everyone had blacked out, so no one was in control of all those vehicles.

The main characters, and there are several, include two FBI agents, a surgeon, a man who lost a daughter in Afghanistan, a doctor about to commit suicide, and several others. The series will be about them either trying to avoid their futures, or trying to get to them, depending on what they saw.

Oddly enough, the date they jump to, April 29, 2010, will be the season finale of the show–and at that moment you get to see if they reenact their futures or not.

Obviously, I don’t know how they can carry this through after that episode…BUT, I’m thoroughly pleased with watching till they get there. After this first episode I know that we have a great team of writers involved.

Now, this is what “Knowing” should have been. In my original review of “Knowing” I talked about how the movie, though predicting disasters, left very few for the main characters to experience, and I was troubled by the fact that it seemed the directors had determined that no one could change anything, so why bother.  That movie dripped with errant theology and left no doubt that everything was predetermined.  I don’t mind that fate or God may be a part of my life, but free-will is a human trait,and makes movies much more palatable.  To see someone struggle against their fate, to see them try.  It is what makes those who are given two weeks to live all the more heroic for skydiving or organizing a political rally.  How we react to what seems to be inevitable–THAT is interesting.

Already, I can tell that the show has set up five or six different beliefs about pre-determinism.  Some believe God gave them a gift, others that He gave them a punishment.  Some want to avoid the future, some to run to it.  For some it predicted a horrible mistake they will make.  

“Knowing” passed up all opportunities for real drama with real people, skidded ahead with bad dialogue and coincidence, to an ending which tried to justify the movie.  

Flashforward is like Mozart taking hold of the Salieri “Knowing” and actually making a great movie out of it.  Yes, I know, Knowing only had two hours…but still, this series is good solid writing.

1.  The characters are individuals, who walk onto the scene with their own problems, their own pasts.  They are well drawn and WHAT they do will determine the plot, not what others do.  Now that the big blackout is done, the characters guide the series.  They will push things forward accidentally or on purpose to meet up to April 29th.  They will determine their plots!

2.  Great dialogue, great stuff that isn’t about “the plot”— that Dimitri has to dance at his wedding to “Islands in the Stream.”  That the chief of the FBI has to lie about his vision because he’s embarrassed.  

3.  The plot starts with the action.  I can imagine this series beginning without the crash first.  But who would have waited the whole episode to have the blackout?  Nope, have the crash first, back up, and then take it slow.  Maybe this is just the difference between TV and reading….but I think starting as fast as you can into the action gets people involved with you.  I noticed in Robert’s book, first chapter, that he has a description of each character first…but within a page, he gets to the blackout.  He knows the blackout is a great hook, and that everything of importance happens afterwards.  

4.  I like the music in this series, already, the building, the back and forth between plots so quickly so that you know they are happening simultaneously–the music and this choice to flash around gives you a sense that everything is tied together.  In some sense it is like a trailer—when the trailer starts shuffling between images so fast that you get excited: all trailers seem to end this way these days.  The director took the music and that shuffling sequence to build suspense.  

I hope Robert Sawyer makes a huge amount of cash from this.  This is brilliant stuff.  And I’m glad to see a Canadian Science Fiction Writer land such an opportunity.  I hope they do more interviews with Robert Sawyer in the States.  

Well, I will keep watching the series.  I’ve already become a HUGE fan.

Seeing Things: a Captain Bly cartoon story of polar bears uploaded

IMG_0677I used to be a cartoonist.  I had a comic strip for 4 years in the local student paper, The Maneater, at the University of Missouri.  I found that a visitor to Whitehorse had kindly uploaded some of my strips from a book called Captain Bly, 1994, as a way to show off my nifty book.  Thanks, Aniko!  So I decided to upload a short 6 page story not included in the book.   (The pic on the left is actually a pastel of the same bears–these bears are reciting Shakespeare’s The Tempest)

I’m still working on those bears.  They appeared a little in my short story “Lemmings in the Third Year” and I’m trying to work on a novel about them. 

Below is a short story I did for a Comic Strip 101 class I had with Frank Stack, an artist and cartoonist teaching there.  He is credited with the first underground comic book, The Adventures of Jesus.  He was a great teacher.  Had us draw comic strips and pin them to the wall for critique and then he would go about busting us!  He thought we were a great class though.  Full of potential.  I’ve been playing with my cartooning roots, and working around in some other mediums.  But here is that short story.

 

Seeing Things, Page 1, Jerome Stueart, 1995
Seeing Things, Page 1, Jerome Stueart, 1995
Seeing Things, Page 2, Jerome Stueart, 1995
Seeing Things, Page 2, Jerome Stueart, 1995
Seeing Things, Page 3, Jerome Stueart, 1995
Seeing Things, Page 3, Jerome Stueart, 1995
Seeing Things, Page 4, Jerome Stueart, 1995
Seeing Things, Page 4, Jerome Stueart, 1995
Seeing Things, Page 5, Jerome Stueart, 1995
Seeing Things, Page 5, Jerome Stueart, 1995
Seeing Things, Page 6, Jerome Stueart, 1995
Seeing Things, Page 6, Jerome Stueart, 1995