Even though I’m only a quarter of the way through Dialogue 2, In Pacheco’s Compendio, his very heavy redaction of Carranza’s Philosophy of Arms, the contrast between it and Dialogue 1 is stark. I kind of feel a kinship with Carranza, because as formal as he is in the First Dialogue, he lets his inner playwright run rampant in the second. (As much as I do research and fact-based work, my true love lies with fiction and dialogue.) This is just an early analysis, a sort of feeling things out about the book itself, but I think there’s much to be learned from the differences in these two sections. The first hews pretty closely to dialectic teaching structures. The second, however, is much more dramatic, much more like what you might see on stage. Why would Carranza do that? Was it caprice? What might it achieve? Let’s look at dialectics … Read on!
Representation matters, still and always. Leslie Jones tweeted in response (one of a longer thread of tweets) to people complaining that she’s been pigeonholed as the only non-scientist in the upcoming Ghostbusters film. To be clear — I had some reservations about just that, but most of them were fairly small, especially after seeing Patty in action in the trailer. But then this Twitter thread cropped up on the interwebz. Jones talks about a message she received from Joanna Briley, writer-performer of SWIPE THIS! MY LIFE IN TRANSIT*, who herself is an MTA token booth clerk; Briley had been asked by a reporter about her thoughts on Jones’s role in the new film. I received this from a MTA worker:Hey Leslie, thanks for being you. A question was asked by a news writer about your role on your new movie — Leslie Jones (@Lesdoggg) March 4, 2016 black actresses. This was my … Read on!
I know I’ve spoken in the past about GenreCon (and it’s happening again this year! GO. DO IT), and what a phenomenal experience it was for me, and all the fantastic people I met there. I want to tell you about one of them, because she’s offering a twelve-week mentorship program centering on writing and creative exploration. Jodi Cleghorn writes: My vision is to be the curator of a supported creative space with the benefits of one-to-one personalised attention and small group interaction. One of the greatest things to have come from GenreCon, for me, is the discovery of a creative community of vastly different people with incredibly different talents and styles and genres, but who are united by a sense of inclusivity, generosity, and openness. And this mentorship program is a distillation of that. I imagine I’m not being terribly clear, so I’ll let Jodi explain it better: For … Read on!
There’s tons of bad news out in the ether. I can’t deal with it now, I don’t have the wherewithal, but I wanted to do something constructive. So I wanetd to talk about looking at the things you do and letting yourself see the good in it. Western society — or at least this corner of Western society that I live in — thrives on hypercriticality. Things aren’t quite good enough. Maybe it’s because I’m a woman and I will never be attractive enough or thin enough or charming enough on my own, so I really really need to buy a panoply of things to cover my hopeless flaws. Maybe it’s not. Anyway. I was sitting around with friends yesterday and recounted a summary of a story I’d submitted in the hopes of getting it published and I thought at first I wouldn’t remember it properly. (Memory and I don’t … Read on!
So anyone who knows me knows I have Opinions about Representation. Representation in anything — games, movies, books, the gamut of communicative arts. So let me tell you about this thing that I just found because YES. It’s a game called Aberford in development by an outfit called Sketchy Panda Games. Here are their four primary protagonists: Yeah. That totally got my attention. In a sentence, Aberford follows four women in post-WWII America faced with a zombie apocalypse. There’s a single-player story mode and a multiplayer zombie-smash mode, too. But if you worry that this is being handled poorly, that the characters are cardboard cutouts and the story will be a thin veneer of zombie bashing dressed in June Cleaver’s best, let me point you to this excerpt from their tumblr, which they update quite frequently: Besides being a game about 50’s housewives and zombies, Aberford is about people finding their voices … Read on!
Okay, so, I’ve been gaming since, like, forever. And my family wasn’t the kind to get an Atari or a Nintendo or whatever. No, my gaming was pen and paper and the kinds of stigma you expect when not being whatever’s popular that week in high school (I actually started earlier, but hey). I’m not here to talk about that, I’m here to talk about why I made my impulse buy. Which was a weekend pass to GenreCon here in Brisbane. I’ve know about Chuck Wendig since my White Wolf days, and then somehow, years ago, I stumbled onto his blog. If you haven’t read it, you should quit my site right now and go do so. I even linked for you just above. There’s a bit of a naughty word warning, but whatever, he’s a George Carlin variety of profanity-slinger. Trust me on this. Anyway. He was coming to … Read on!
I’ve managed a bit of a breakthrough, tightening the pacing on the story (improving the first episode significantly) and getting a much livelier sense of the characters, which is immeasurably valuable. I did it by eliminating/consolidating three characters. Reminds me of a phrase used when it comes to modern media technology: “Just because you can, doesn’t mean you should.” Polyphonic stories require ensemble casts: it is the nature of the tale. But too many characters and you muddy and confuse everything, and no one remembers who anyone else is. Too few, and you have no tension at all. I’ve had to be mercenary about this story, looking at every scene from a screenwriting perspective: no wasted airtime. No wasted words, no wasted sound, no pointless scenes. But the difference here is that in a three-act film, every scene pushes the story forward on the shoulders of the main character (even though … Read on!
So, the good news is the reason I haven’t written about Part 2 is because I’m busy with my script. The bad news is that right now I’ve hit a really crunchy bt and I’m backing off for a moment, so here I am. Procrastinating from writing, by writing. This is a first for me. Anyway, if you take a look at the previous entry, I had three things that happened to shake me out of whatever doldrums had locked me feet down. I’ve talked about one, I’m writing about the second here, and now that I’m re-reading that post, number three may escape me because I can’t remember precisely what it was my advisor said. Anyway. Have some squiggly mind maps. The thing with a story that relies on tensions among characters for its very existence is that it needs characters. I’d been talking about bringing Neyu’s sister Pukka … Read on!
It always feels like this: after a good stretch of feeling at sea and nothing making sense, there’s a pivotal stretch of time, maybe a few hours, during which you begin to work, and you’ve given up feeling bad about things because let’s be honest there’s a deadline looking and folks asking questions and you have nothing left to lose. And it happens. Things fall into place. Things begin to make sense, they have a sensible extrapolation, a kind of logic about them. And you feel like you’ve got your feet on the sand again, even if you’re still shoulder-deep in water. Three things happened to make this so. I went back to Bakhtin, dug around, read up on the context of his life and the political and social circumstances of his time; I took a good, solid look at polyphony again as a structure, as a theory, as a lens, … Read on!
GAH. So I was filling up hot water bottles, getting ready to head to bed (it’s winter here, and while a Brissie winter isn’t terribly onerous, the lack of any kind of insulation where I live means it’s as cold inside as it is outside), and I was thinking thinking thinking. Polyphony. Yeah. I harp on it. Foundational theory for me. Anyway. The original scope of Neyu’s story was quite big and long. …Ignore the double entendre. It was expansive, and had like three to five parts to it divided into smaller chapters. Which is epic, and not a problem when you’re working on something for the long run. And it’s not to say that I’ll never get to those far-flung places. But I won’t get to them for this thesis. Because all those opposing and conflicting and resonating viewpoints? It’s all in the ship. It’s like I said, what, two … Read on!