Jan 14
Image pixabay.
“That’s cultural appropriation! You can’t do that! Shutup shutup shutup!”
“Do you think that cultures have a right to maintain their traditions, especially ones with a well-documented history going back hundreds of years? Cultural patterns which are as much part of their culture as breathing is part of your living? Cultural behavior which defines them, without which they would stop being their culture?”
“Of course!”
“Good-o. Piss off, Asshole.” Read more
Very first thing: if you haven’t read Amanda’s post from this morning, go read it. While this morality clause nonsense is dangerous to writers, and it’s certainly a CYA move on the part of the publishers including it in their contracts, I can’t help but wonder if it’s *also* being used as a means of further gatekeeping. “You’d better stay in the conservative closet, if you want to keep writing in your favorite world.” Read more
I’ve been pondering whether to write this post for the better part of a week. I’d been hearing rumbling from traditionally published authors about a contract clause that is as evil–their words and I agree–as the rights grabbing clauses that have become common in publishing contracts. But then, several days ago, an op-ed piece appeared in the NYT and I knew what I needed to write. The clause? A morality clause. Yes, you read that right. More and more traditional publishers are now including a morality clause in their contracts. Read more
Oct 25
Although this applies primarily to internet content providers, specifically media outlets such as newspapers, TV, and news sites, the proposed revisions to European Union copyright and “Fair Use” rules could affect [afflict?] bloggers and writers as well, depending on how we use material and if we post things on-line for readers (Article 11) and the evidence requirements for proof of Copyright.
I’ve posted some info and links below the fold:
Sep 16
Fredrick Barbarossa awakens! Photo by author, mural in the Kaisarpfalz in Goslar, Germany.
I was listening to a very modern setting of part of the “Battle of the Trees,” the Cad Goddeu. The poem, or at least the parts we have of it, is long and strange, and includes a declaration by Taliesin of all the various shapes he has worn over the aeons. The list includes:
I have been a sword, narrow, variegated,
I will believe when it is apparent.
I have been a tear in the air,
I have been the dullest of stars.
I have been a word among letters,
I have been a book in the origin.
I have been the light of lanterns,
A year and a half.
I have been a continuing bridge,
Over three score Abers.2
I have been a course, I have been an eagle.
I have been a coracle in the seas:
I have been compliant in the banquet.
From: Mary Jones Celtic Literature Collection “The Battle of the Trees.”
One of the minor pleasures of writing is setting up your major characters to have not just rocks thrown at them, but a major rock slide. Metaphorically speaking.
And for maximum impact, you want the reader to say not “Where the hell did those rocks come from?” but, “Oh, of course that was going to happen, I should have seen it coming.”
For that, you need to keep the reader aware of these stresses and hot buttons that make your characters particularly likely to walk under that cliff, and the clues that tell them the cliff is dangerously unstable. It’s the difference between having your character knocked out by a random rock slide, and having him knocked out by a rock slide in a place clearly labeled Fallen Rock Zone. After he’s made his speech about how modern civil engineers never, ever make a road cut that leaves unstable masses above the road.
Okay, now to specifics.
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