The Media and the Flashlight in the Dark Room theory

 

What do you want us to see now?
What do you want us to see now?

Imagine, if you will, a large room, completely dark.  The room is crowded with people, most of whom you can’t see.  Only those next to you can you see dimly.  You don’t know what others are doing, thinking, or what they look like.  

However, a flashlight comes on and you can see a person, and also hear what he is saying.  

Let’s say he’s ranting about something.  There is a murmur in the darkened crowd, and suddenly six other flashlights pop on.  The people highlighted now chat about that rant.   No one in your area.  But you can see all the others and hear them talking about it.  

Then a strong murmur sweeps the crowd and seventeen new flashlights pop on, the people responding to the first flashlit rant.  Sometimes, you notice, they try and correct the rant, sometimes the person rants about the rant, and occasionally a spotlighted man or woman will talk about how this rant is felt through the entire room.  

But you don’t know what everyone else is thinking about the rant.  And even more importantly, you don’t know if they would have been thinking about the rant had the first person not been flashlit.  Why was that person flashlit in the first place?  Hmmm.  Maybe those with flashlights enjoy the reaction of the crowd, or they may be paid by someone to flashlight on a regular basis, and sometimes those with flashlights are concerned about other people with flashlights getting more attention.  

This is Media.  

I work for the media, and I know that my flashlight is used to highlight something I want people to know or talk about.  To keep my job, I have to have things to light up.  To move up the career ladder, I must highlight things that will get people talking–and even to flashlight more people talking about what I talked about–to create the bigger murmur.  I can either join the chorus of voices, lead the chorus of voices, or attempt to highlight something else–and wrest the focus, the murmur of the crowd, the other flashlights, on a topic I want to highlight.

Recent articles on Sarah Palin forget one thing–they turned the flashlight on her.  Her Facebook page is one of a billion Facebook pages; her opinion is one of a billion opinions.  She has no more sway if we don’t flashlight her.  We would never have known about her Facebook page, except that someone with a flashlight wanted to get the crowd’s attention.  Media control people’s knowledge and awareness.  In that darkened room, no one really is aware of my opinion without the media.  My blog comment here will reach exactly 120 people over the course of my life–only because these are my friends and they don’t need a flashlight to see me.  I’d be lucky if this post made it outside my close circle of friends.  My opinion here couldn’t make the murmur happen–and flashlighting someone without the expectation that this will cause a murmur is a waste of batteries, it seems.  Fluff stories.  Feature articles to pass the time.  

I hope as new technology transforms all of us into Media—with our own flashlights–that we choose carefully what to highlight–that we don’t spread the rants of bigotry, lies, distortions, and divisive arguments around the internet or TV.  Let’s choose truth to highlight–even ugly truth, but we make sure it is truth first.  

As flashlighters in a darkened room, we are responsible for vetting what we highlight—we are asking the whole room to turn and look at us.  We are asking the whole room to think about what we are flashlighting them to see.  What we flashlight may not be indicative of the thoughts of the whole room, but it can influence people so much that other people will think they are the thoughts of everyone, might even change their minds, or it might cause them to assume that the whole world is thinking this or that.  Gradually, that assumption will win over naysayers.  

You can use this to the world’s detriment, or use it to sway the world for its good.  Palin may cry foul over the media’s flashlighting, but she loves the light.  And she knows how to manipulate it.  You can END this story by turning the flashlights off of her.  Ignoring someone is the fastest way to shut them up, to make them irrelevant.  You can kill “news” by putting it in a vacuum.  You can choose to flashlight INTELLIGENT opposition, not lies.  It doesn’t help the Republicans or the naysayers to the Healthcare plan to continue spotlighting Palin’s rants.  Turn off her light; let smarter voices be heard.

The media, ultimately, is responsible for the life of a bad, or good, story.  

Please, for the sake of our time and sanity, stop highlighting things that tear down truth, and spotlight the truth instead.  You can still get the murmur, get the crowd talking.  We have to train the crowd to murmur against real injustice, murmur about the making the world better–something that makes a difference, not that makes a buck out of a murmur.

In the dark, the flashlights are the only way anyone can see.  Use them well.

Steve Parker, Yukon Author, publishes Skrelsaga

 

Steve Parker looking pretty satisfied next to his book, Skrelsaga.  He lives to autograph!
Steve Parker looking pretty satisfied next to his book, Skrelsaga. He lives to autograph!

Good friend and Fantasy writer, Steve Parker, known to many of you as the man who holds the downstairs desk at Mac’s Fireweed Bookstore–ordering your books, being pleasant, being Welsh–is the proud author of a new book, Skrelsaga, now available at Mac’s.  Here are a few photographs of his signing.  

 

This is, I think, the first Fantasy novel published in the Yukon.  Yay, Steve!  

More on the book in a review that will come later. For now, we celebrate the achievement!

 

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Science Fiction and Fantasy Writing–at FH Collins and PC

 

Artist: C. Gerber
Artist: C. Gerber

Starting in the fall, I’m going to be doing the afterschool programs for teen writers at FH Collins (our second year!) and now, at Porter Creek.  It’s for science fiction and fantasy writers, and everyone’s welcome.  There is a fee.  We do serve food.  

 

It’s through the City of Whitehorse.  You can contact Mia Lee at 668-8327 or mia.lee@whitehorse.ca to be a participant.  More information to come.  Programs will start up in late September or early October.  The guide comes out in two weeks so we’ll have more info then.

Bringing Star Wars to the Research Station: Part I

Part I:  A New Thought

And now you will witness the full power of this        
         station….” General Tarkington, Star Wars: Episode   
         IV, A New Hope

 

 

Bronwyn Goodwin shows the power of the X-Wing Fighter kite at KLRS
Bronwyn Goodwin shows the power of the X-Wing Fighter kite at KLRS

As a science fiction writer embedded now as a science writer at a northern research station, I thought my job was pretty clear: bring northern science to a larger audience through whatever means were at my disposal.  Blogs, Facebook, press releases, radio series.  But then I found out that a few people there had not seen Star Wars.   Suddenly, my best, natural personality came to the fore.  I had a new mission: Bring science fiction to scientists.

 

While science fiction might be easily dismissed by those working in scientific fields, it is often the first place that the average person learns about scientific concepts like graviton waves, geodesic folds, Dyson spheres, and quantum mechanics.  It can also be a first introduction to Shakespeare, to history, to world cultures, and to understanding the alien—those different than us.  But it is also a huge asset when it comes to igniting the imagination about science and about the future.  In this way, fiction about science, or even science writing, aids the cause of science—by compelling the average person to both think about science now, and think about science as part of our future.

Star Wars: a New Hope was aptly named.   In 1977, it transformed the movie industry, making possible special effects that matched our imaginations.  And it also introduced science fiction to the masses of non-science fiction readers—making science fiction mainstream.  Star Wars was nominated for 10 academy awards, and won six of them, including Best Musical Score.  Of course, everyone reading this knows this.  We grew up with Star Wars.

But Bronwyn Goodwin, age 8, did not, and neither did her mother, Sian Goodwin, both raised at a Research Station.

This is hardly to their disadvantage—imagine having brilliant scientists traipsing through your living room on their way to amazing science exploits, and having your dad be the pilot that takes them up to many of the highest peaks in North America.  But they missed what turned out to be a seminal cultural event in Western Culture.  Star Wars entered into our collective psyche in the eighties and has re-emerged in many forms—whether it’s Reagan’s Star Wars defense system, or the idea of being “turned to the dark side” as a reference for negative behavior.  The characters are well known to us—Han Solo, Luke Skywalker, Princess Leia, Chewbacca, R2-D2. 

But there was a certain glee in bringing Star Wars to two people who had never been exposed to it.  And eventually, the audience at the research station grew…

Continued in Part II….

Shine Anthology Extends Deadline: spin positive, change the world

Incredible Art by Kater Cheek
Incredible Art by Kater Cheek

Shine Anthology, edited by Jetse de Vries, has extended their deadline for submissions of positive, near future science fiction to August 1st.  You got less than a month.  Just a reminder--SHINE guidelines, SHINE expectations, and some fine essays:

Why I Can’t Write a Near Future, Optimistic SF Story–this one is a brilliant essay and really calls into question the nature of science fiction.  Have we been feeding off science to create doomsday scenarios and don’t-touch-this theologies?  These are great excuses about why people CAN’T write positive science fiction, but in the end, we should.

Optimistic Literature and SF Around the World:  5 parts just as the title suggests. Great reading.  Nice job, Jetse.  I wish these were published in a book, too, but then they wouldn’t be so graciously free!  Thanks!

 

So AUGUST 1st:  Get WRITING.  Create the World.  You have three weeks.  

Yes, Captain Kirk has a Character Arc

chris-pine-as-captain-kirkI don’t want anyone to miss this great discussion that Dave Wesley mentioned as a response to my earlier post.  He said that we ought to check out the discussion of character arcs in the new reboot of Star Trek

Frankly it’s a great discussion about writing.  Here’s KFM (Rogers) initial premise (SPOILERS):

“Captain James T. Kirk, the protagonist of the movie, does not have the development executive’s beloved “character arc.” He has no arc at all.

He starts as an arrogant sonovabitch, and becomes a slightly more motivated arrogant sonovabitch. He does not learn to sacrifice, he does not learn to work well with others — he takes over the goddam ship. He’s right all the time, he never doubts he’s right, and the only obstacle he occasionally faces is when other people aren’t sharp enough to see how frikkin’ awesome — and right — he is as quickly as they should.”

But read the responses and you’ll see a lot of varied ideas on character arcs.  Me, I think Kirk has a character arc.  (And I actually posted it on the responses to his post)–but in a nutshell:

Yes, he’s a sunovabitch through the whole movie, but he is a listless, aimless SOB at first, and he has to find purpose. He never thought his fighting, his rebelling, his go after the baddies ideas fit in well with tight-shirt Starfleet, ultra PC. And yet, it is a Kirk who transforms Starfleet.

Starfleet needs a person who thinks with his gut, and Kirk jumps into that role.  Both old Spock and Pike serve as catalysts to transform brawler Kirk into Captain Kirk.

I like Pike’s speech to him early in the movie:  “Have you ever felt you could be something more?”

I think this is one of the lines that resonates for the viewer.  Don’t we all wonder who we could be if we had the opportunity?  And the line from Spock’s past:  “You will always be a child of two worlds, fully capable of living in either one. “ And Spock has to make the decision where to be fully, and which side of himself to favor–Human or Vulcan.

The movie is about Destiny, and it screws around with time travel to ask the larger question about whether destiny is fixed or fixable.  I think the movie promotes fixable.

The whole discussion is worth reading, but here’s a great later post:

Both have arcs, and the arcs are definitely related because they are almost mirror images of each other. Even Kirk’s dead father is a mirror image of Spock’s dead mother.

Their arcs also cross each other when Kirk tries to gain control of the starship by picking a fight with Spock. Except this time, he doesn’t try to stage mutiny, but rather talks to Spock to get him to resign his post. Following this fight, Spock realizes that he has emotions and he can’t control them. At the end of the scene, Kirk realizes that if he is to be Captain, he has to stop being impulsive and Spock realizes that he can not be Captain with his spasms of rage, and that he will never be able to ignore his emotions.

The movie is good, but I think there’s a lot to discuss about how the movie moved towards good through the writing of characters we thought we already knew.  And character arc is important.  I don’t think that Abrams achieved his great story by NOT giving Kirk an arc–because Kirk is not static.  Kirk learns.  He learns how to adapt t0 and also transform Starfleet protocol to fit him–thereby creating the James T. Kirk of the TOS that we know, and the Starfleet that surrounds him.

In some ways, we learn a lot about how Kirk and Starfleet function with each other, and in spite of each other.

Wolverine: You can’t hurt him, so you can’t hurt us

x-men-origins-wolverine-20090212020925195While Wolverine looked promising, it was a confusing mess of action with never a moment of tension. The problem was established early–in the credits–and this hindered us from caring about the characters.

If you make your characters indestructible, then you eliminate us from caring. It was the problem with Superman many years ago–he had no real vulnerability. So the writers rewrote him. Here with Wolverine and Sabertooth, they are given nearly immortal status at the beginning of the film. They don’t age slowly–they just don’t age once they hit their thirties. And they go through the Civil War, WW1, WW2, and the Vietnam War all in about ten minutes of screen time. They are always frontline, get shot at over and over, get hit, but never get hurt. There is no danger for these guys. None. That is established up front. So why would there be any tension in the film?

The film goes on to try and make Wolverine truly indestructible by giving him admantium bones. But since he was already invulnerable (yeah, he could get slightly bruised in a fight with his brother), the admantium claws gave him no discernible advantage. Ah, yes, in fights with Sabertooth, Sabe’s face was a bit more pained–but he was still walking tall after the fights. Spare me the argument that they can heal. 1) An ability to heal that quickly means there are no consequences. No consequences eliminate plot and choice–both essential to story. 2) Wolverine never healed that quickly in the comics. The point of Wolverine’s healing ability was to protect him in the long run, but he got beat up bad in the comics. Often, it would take him days and weeks to heal. And that’s good—it made him vulnerable, but gave him a slight advantage in the ICU. It made me care. But in this film, immediate healing meant that two shadows were boxing each other. I thought–so what?

The fights were scripted so that either Wolvie or his opponent should fall down so there could be a bit of dialogue, or a change of scene. If Sabertooth met up with any other character, that character was toast. It was just a matter of time. Because Sabertooth was established as indestructible.  Worse yet, I am now not sure what Sabertooth is really responsible for–since his main kill comes back to life.  The body count might have been high–but a viewer can’t care if the bodies spring back to life or never had much life to begin with.

Working against it too–the movie was a prequel. And if the survival of the main characters is the plot of a prequel, you’ve doomed yourself. The plot of a prequel needs to be another mystery–because their survival is assured. Here, we were told that we were going to learn the mystery of Wolverine’s origins–but there was no central goal for the main character, no puzzle to solve; just event after event happening to the main characters. No choices, no consequences, no mystery.

I was looking forward to Cyclops, to Gambit, Blob, etc. These characters were used more for the trailer than the movie. This movie had no arc, no plot, and characters who needed to wade through two hours of special effects to return them to X-Men 1, where they began.

Yukon Writers Festival: Reading, 7pm, Beringia Centre

Everyone, come hear the six Yukon Writers Festival writers read on Wednesday night at 7pm at the Beringia Centre for FREE. Part of Live Words: Yukon Writers Festival and the Young Authors Conference, these six writers will be teaching young adults to write at FH Collins–and this presentation is free and open to the public.

I’ve been asked to be the MC for the evening. As I have nothing funny to say, and you can’t be a good MC without funny material–I need six words from readers of my blog–one per person please–the first six– that I have to fit into my opening short speech. And if I get all six, I should win some sort of prize. Nothing that I couldn’t say in public please–so I won’t accept vulgar expressions.

It’s fun. And if you come, you get to see if I can fit them all in.

24hr Playwriting Contest: deadline for registration April 9th

color-swallow-1--catherine cheekGang of Writers!

You say you want to write a play!  Or a spoken word piece!  Come to the 24hr Playwriting Contest that happens April 18th-19th from 11am on Saturday to 11am on Sunday at the Westmark.  For 50 bucks you get a room for the night, free breakfast, free coffee and snacks, free yoga, and free dramaturges who sit around waiting to tow your plots out of the ditch, free your scenes, and otherwise encourage you.  You can’t find a sweeter deal for writers!

Deadline for sign-up is April 9th at 5pm!  Call Nakai at 667-2646 (#2) and someone will take your info off the phone call, or come by Nakai’s office in the Whitepass Station on 1st street and get a registration form.

Come and enjoy the frenzy of community writing in  a nice shwanky hotel.  Turn your play in on Sunday 11am with the rest of the writing crew!  And sign up for our later Cabaret (in May) to see a scene performed from your play.  Prizes will be awarded by our judges!  There are TONS of good prizes.

Come Play with Us!!

Jerome Stueart

Producer, 24hr Playwriting Contest!

—picture by Catherine Cheek

Yukon Writers’ Conference: Deadline March 15th

Hey Everyone, just wanted to note the upcoming deadline for the Yukon Writers’ Conference happening April 3,4,5 here in Whitehorse.  If you are thinking of NOT going, let me give you some reasons to come.

We don’t often get to hear and work with writing professionals here in the North. Normally, you would have to go south to get this convergence of writing instruction.  The conference brings up six people you would never get to talk to otherwise.  I would never have ten minutes alone with Shawna McCarthy in Toronto or Vancouver.  She would be surrounded by other writers more important to Canada, and her time would be scheduled to meet the needs of hundreds of people.  Here, we can chat.  I can even buy her a Cranberry Wheat Ale.

This is not to discount in any way the professional writers we have here in the north–including Lily Gontard, editor of Yukon: North of Ordinary, who will be a speaker and participant in the conference.  I’m only highlighting the fact that she and other editors will be together pooling their knowledge in this conference–a rare occurence.  You can still, of course, get great writing instruction from any of the professional writers who live here—but you have us every year!  hehe.  And we’re gonna be there learning at the conference too!  We want to take advantage of this conference made to help writers in every stage.

Sure, you say, this conference is for people who are going to make a living writing.  I just want to write for myself. Actually, this conference, with its seminars, is aimed at a broad audience.  You will pick up many writing tips from these editors who have seen writing in every stage imaginable.  You will pick up tips to help you where you are.  While they do know the market and know how to get people ready for publishing, they are here for all writers to help you make your writing into what you want it to be.

If you are at all interested in possibly publishing, this is YOUR conference. While the conference accommodates a wide audience, these editors and publishers have expertise they want to share with writers in the North who seek to move their writing to a public level, who want to share their writing and Northern sensibilities with folks down South.  Highlighting a collective experience of over 70 years in the publishing industry, these seven voices (six from the South, one from the North) have a wide range of insight and a diversity of opinion on what makes a work publishable and how to make a story or article most effective.

We have 40 people–at least– in the Yukon working on novels.  You have completed a first draft.  Revising can be difficult–and editors know how to revise. I love hearing writers talk; they know how to create–but usually have experience with only their texts (discounting those who teach–who have seen a lot of other writers’ stuff too).  But editors and publishers can tell you what to do after you’ve created.  Their experience with thousands of manuscripts lead them to a wider knowledge of how to get different stories moving, how to motivate different writers.

It’s 90 bucks, which covers a weekend full of learning.  Hearing any one of the six editors from down South could cost you much, much more–just in travel expenses.  Contact Marcelle Dubé at mdube@northwestel.net or come hear her and Mitch Miyagawa read Thursday night a Whitehorse Public Library at 7:30 and ask her more about the conference there.

I hope to see you there.  The Deadline is March 15th!  Go now.  Sign up.