done with fear (and the mongers who peddle it)

Five unsettling days here in Boston, and somehow I didn’t feel as anxious as I could have. I’ve spent the weekend mulling this over in spare moments and I’ve come to the conclusion that, somewhere along the way, I decided I simply refuse to let fear rule me.

If there’s one thing terrorists, politicians, and the media have excelled in since 9/11 its been the increase in peddling fear for their own gain. It doesn’t matter to me if its an improvised bomb set off at public event or a pundit deliberately spewing slanted opinion or a politician trying to rationalize the sanctity of gun ownership in this country, these are all terrorists utilizing the language of fear for their own purposes.

And I’m done with all of it.

It sounds simple, to say you won’t be ruled by fear, and the amazing thing is that it is simple. I grew up in California and when I would tell people from other parts of the world where I grew up they would inevitably tell me that they couldn’t live under the constant threat that an earthquake could come without warning at any minute.

You know what? So could getting hit by a car crossing the street. Tripping and falling down a flight of stairs. A gas explosion. These things, and millions of others, could happen at any time. Maybe it sounds like a false sense of security to say that when you live under the constant threat of danger you become enured to it, but how could a person truly call it “living” to be in such a constant state of fear wondering when “the big one” is going to send your home state sliding into the sea?

Accidents happen. Tragedies occur. Horrific acts of violence are committed. Yes, there are ways to prevent and mitigate them, but should we fear them? Should we allow ourselves to live in fear?  Of course not. And there’s medical evidence to suggest that it can be both physically and psychologically damaging to your well-being to constantly worrying and living in fear.

In short, fear itself can kill you. How’s that for something to be afraid of?

I know people who were down near the Marathon last week who were fortunate enough to not be harmed; hell, my younger daughter was planning to be within a few blocks from there before her plans fell through. And later in the week, on Thursday night, I walked past the location where the MIT security officer was shot less than two hours before it happened. There was actually a moment where I almost had to double-back to work while on my way home which would have put me in Cambridge right when the convenience store up the street was being robbed by the alleged bombers. These are the “close calls” with recent events that were on my mind on Friday while I watched (as did the rest of the world) while the metropolitan area I lived in was shut down for an unprecedented manhunt. I went through a range of complicated emotions as the events unspooled but in the end, as eerie as the entire week was, I didn’t find myself once afraid.

Fear is the currency of those looking to hold power over our emotional well-being, and I’m no longer interested.

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guns

Naive. Unrealistic. Fascist.

These are just some of the things I have been called for saying that the biggest problem we have with gun control in the United States is not having enough of it. The presumption is that I have some ill-formed liberal notion about the Constitution or our civil rights or that I somehow want nothing more than a parental state governing my every moment of liberty. Invariably, every person who has passed judgment on my views, most of them either conservatives or gun owners or both, does not have the experience I have had with guns.

I have been held up at gunpoint. Twice.

Many would argue the first time “didn’t count” because the circumstances were far from malicious. I was a teacher at a middle school, coming out of my classroom during the passing period, when a boy of 13 leapt out from around the corner and aimed the revolver square at me from ten feet away. “Freeze!” he shouted, like a cop in a TV show, egged on with laughter by the friends around him. By the time I realized what was happening a campus supervisor – a hall and yard monitor, the closest thing we had to security – wrestled the boy to the ground and called out for help. A group of teachers surrounded and escorted the boy to the principal’s office while a fellow teacher stayed behind to make sure I was okay. The whole thing had happened so quickly, so surreally, that only later I understood they had wanted to keep me as far away as possible from the boy, fearing I had been his intended target and that my presence would antagonize him.

He was only showing off to friends. The gun wasn’t even loaded. It was taken from his home where it was purchased and kept to protect family and property. This was the one and only time it had been ever pointed at another human being.

I was told I was lucky that day.

But that kid was just showing off. One teen with access and a case of severely bad judgment. Perhaps it shouldn’t count as having had a weapon drawn on me but some of my fellow teachers afterward said things like “Makes me wish we could carry our own weapons.”

Why? So we can turn schools into gunfights at the OK Corrall?

The second gun incident was more “traditional.” I was coming home extremely late from a nighttime job – it was after 2 AM – and I was forced to take a different bus than normal because my usual bus stopped running. As a result I had to walk a half mile from the bus stop to my house through a pretty sketchy area. I wasn’t more than a block from the bus stop when I realized I was being followed. One person passed in front of me, pulled a hood over his head, then turned, forcing me to stop. From behind there was a gun pressed into my back from a second person. I was told to lie face down on the ground and make no sound. My shoulder bag and wallet were taken, my pockets turned inside out, and my jacket yanked off my back. Just in case I was doubting their sincerity, the guy holding the gun brought the barrel to my eyes and told me to count to one hundred and not to get up until I did. I counted and listened as they ran to a truck parked nearby and sped off.

When I finished counting I stood up, got my bearings, and saw an all-night diner just a block away. There was a police cruiser in the parking lot, an officer inside on his break. When I approached to report what had happened he looked at me with a start as I pointed to the location of the incident, clearly visible from the windows of the diner. None of the nighthawks inside saw or heard a thing. When the officer asked what they had taken, and I reported my jacket, a bag with a notebook in it, and less than $5 in cash he shook his head and said “You’re lucky to be alive. When they hold someone up and get nothing for it, that pisses guys like that off.”

Lucky. As in, not dead. How lucky would I have been if I’d been carrying a concealed weapon?

This is the problem I have with the self-defense argument. Most of the times you would want or find yourself in the position of needing to defend yourself, a gun isn’t convenient. Nor is it a solution.

“If someone was breaking in you could be damn sure they’d realized they made a mistake!” This is the counter-argument I hear the most,usually said with the bravado of someone who has never actually been in an home invasion situation.

I have. Twice.

The first time, in broad daylight, a scruffy-looking bearded crack fiend started climbing in through my living room window, cursing up a storm and sounding for all the world like he was fixed to murder. My housemates ran to the back of the house, to call the police, while my instinct was to walk up and push him back out the window. It was the first floor, so it wasn’t that far to the ground, and it seemed as if the fall had sobered him up some. I went outside to confront him and on closer inspection he was merely drunk and disoriented: he sincerely thought he was climbing into his own home, having lost his keys somewhere. Many a gun advocate who have heard this story pointed out how dangerous my behavior was. “What if he’d had a gun! I tell you, if it had been me there’d have been one dead hobo on the rug! Next time you might not get so lucky.”

There it was, that word again. Lucky.

The next time there was nothing innocent about the invasion. We were living on the fourth floor of an old Victorian, our windows open in the summer, safe from outside intruders by the virtue of having no access that high up short of a ladder.

Or the old tree next door, as we discovered.

This time a young man intent on performing some sort of mischief climbed the tree, hopped onto the roof, and was attempting to lower himself into my kitchen by hanging from the rain gutters. He’d managed to get half way in, his head, a leg, and one arm trying to squeeze through ll at once. And in his had, a gun.

I hadn’t heard anything and was simply on my way into the kitchen for some water when I saw him there, looking for all the world like he was stuck. I yelled, in a voice so deeply unhuman that to this day I simply think of it as my reptile brain voice. “You get the hell out of my house!” I shouted and then proceeded to take the nearest thing I could find – a cast iron skillet – and threw it at him. I got him in the leg, and between my yelling and throwing things he must have figured I was crazier than he was so he backed out of the window… and dropped four stories to the ground. The police were called and he was eventually caught – sans gun – limping along with a broken ankle. No word on whether it was the fall or the skillet that broke his ankle.

But he’d had a gun. And that, according to some, should have been enough to convince me that even if I didn’t believe in gun ownership for protection that I should be sympathetic to others who do.

But I don’t.

This is where I get called naive, suggesting that we treat the cause and not the symptom. Because guns are the symptom of diseases called fear, ignorance, and violence. Fearing (and hating) other people provides people the opportunity to find the justification in killing other people. A teen boy who thinks its “funny” to pull an unloaded gun on a teacher at school is simply ignorant of the reality behind the imagery he emulates from TV and movies. Violence, no matter the source, is a learned behavior, one that alters the chemistry of the brain over time the same way that abuse, drugs, and fear do. And if we knew for certain that a person’s brain was impaired I’d like to think we wouldn’t knowingly give them access to weapons (or armies for that matter) because what would follow would be carnage.

We are, as a society and individuals, defined by the choices we make. If you choose to live in fear, and raise children to live in fear, that fear will consume your thinking and alter the prism of your world view. If  you believe that American liberty and freedom are inexorably linked to the ownership of a machine whose sole purpose is to kill then there will be no argument that will persuade you otherwise.

If this is how we choose to live as a society we should expect to see scores of violent gun deaths and massacres, because unless we choose to change things we have agreed to choose gun violence as a bi-product of freedom and liberty.

I long thought the phrase “Live by the sword, die by the sword” was a fair enough summary of the notion that violence begets violence but it hides a bitter truth about who suffers the most.  Sadly, those who live by the sword (or gun, as the case may be) kill and those who choose not to live by the sword are more often the victims of those who do.

I will no longer argue with those who believe that gun ownership in America is what the Second Amendment is all about. People will stand behind any excuse that allows them to continue thinking what they believe, without question. If those who shout the loudest in favor of a right to bear arms will not more actively help solve the problem of gun-related violence in this country I am forced to accept only one conclusion: they have chosen to accept the slaughter of innocent victims as an acceptable price in exchange for the false sense of freedom and liberty their belief provides.

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the author-appearance-versus-sales equation

Last night I worked my first author event in eight years. It wasn’t a kidlit event, but it was public and there was a book for sale and I was suddenly reminded of something I have noticed in the past.

Less chatter = more sales.

This isn’t scientific, and my not ring true for name-brand authors, but I witnessed once again something I had seen many times over in the days before there were blogs and twitter and other social media, so I’m sharing.

I’ll make the numbers round so they’re easier to discuss. As the author began their talk and reading there were 50 people in the room. The author spoke for around 40 minutes and then took questions for over 50 minutes. As the Q&A wore on people slowly began to slip quietly out of the room. By the time the event was over there were 20 people left in the audience. Those who slipped out went to the nearest exit, as unobtrusive as possible, not wanting to create any noise or fuss… which included avoiding or barely glancing at the table with books for sale.

Bottom line: we sold 3 copies of the author’s book.

True, it may have been that everyone who wanted the book already bought it elsewhere, or that they decided the author’s presentation wasn’t all that great, but what is more commonly true is that you cannot sell books to an audience that isn’t there.

Here’s where I think many authors make a huge mistake: getting so caught up wanting to talk about their book or area of expertise that they do so at the expense of book sales.

Granted, it can be tough to set a limit of questions (or worse, open the floor to questions and not get any response) but time and again I’ve seen audiences leave the longer they were forced to sit and listen. It’s almost as if there is a point where the authorial magic is lost, where people feel like they’ve heard so much that they no longer need to purchase the book.

And so they don’t.

I have read (and seen) a similar principle with business meetings. Any meeting that is over 20 minutes long becomes a drag. People stop listening and cannot wait to leave. The experience is not positive, and honestly, the longer the meeting the more it taps into the those memories of boring school days. Conversely, regular meetings that are no longer than 15 to 20 minutes make people actually enjoy the meetings. They feel like their time is being respected and they’re more engaged in the process of give-and-take.

You wouldn’t waste a reader’s time on the page, so why do it in person?

Here’s what I think would make an ideal author event: After the introduction, five minutes of anecdote or something light-hearted, ten minutes TOPS of reading, and then ten minutes TOPS of public Q&A, with the promise of “I’d really rather talk one-to-one with you.” Then the author should plunk themselves down at a table and sign books for those buying and answer questions for those not buying. The author would still be devoting more time to talking to people but there’s a greater chance people will buy the book because it makes people feel more comfortable to make purchases when they see other people doing it. This is a proven fact of retail, that people will be more inclined to buy what everyone else is buying. Why do you think there’s such a thing as a bestseller’s list?

There will be times, of course, when sales aren’t the goal – a lecture at a symposium or a Skype visit to a school, for example, or giving a keynote address. But any author whose appearance provides the opportunity for sales would do well to take into consideration the simple fact that you cannot sell books to people who aren’t there, so you really need to think about doing everything you can to retain your audience.

So they’ll buy your book.

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books = time in a box

I am someone for whom the internet was invented. My friends have told me so. It has to do with my generally insatiable curiosity and the ability to ferret out the bits of life’s ephemera, the stuff that amuses and illuminates and unifies our lives. I am a scholar in the loosest sense of the word but no less so than one with a formal doctorate. Of course, internet surfing – or “research” as it is sometimes derisively called in our house – has turned us all into masters of the ephemeral, but it also has become a giant time-suck as well. Such is the double-edged sword of knowledge.

On one of my ventures into the wilds of the internet I came upon a tumblr blog that did a daily upload of the scans made from the journals of artist Keith Haring. I could try to summarize Haring’s life, style, and his impact on the art world, but that’s what the internet is for, and others have already done that. I subscribed to Haring’s journal feed because the archive handling his journals were uploading pages chronologically from Haring was a teen and I was curious to see if there was a moment when you could see an artist emerge. I wanted to know because I have a back-burnered project to write about a teen artist coming into their own and I was hoping to limn some sense of what it looked like from within.

There was a lot of earnest trying-to-be-an-artist type entries, and while I recognized the truth in this from my own life – those early days when everything is so deep and so full of meaning, as if you were the first to have these thoughts – what I wanted was the moment when the trying became simply being. This, I knew, was what I wanted to capture, the narrative moments that rang true without all the sturm und drang attached. Sometimes capturing the truth means editing out the whole truth. Then this past week the beginnings of a new journal were posted and I felt like I’d found the emotional core of what I was looking for.

WRITING IN A BOOK IS ALSO PUTTING TIME IN BOXES – PAGES – THE TIME IN BOOKS IS A DIFFERENT TIME THAN RECORDED TIME BECAUSE YOU CHOSE WHAT SPEED TO READ IT.

Haring had written this on the inside front cover, and it encapsulates not only the inculcation of a life deliberately set on understanding the process of creating, but it so underscores the experience of the reader and the writer and the event. Haring isn’t likely the first to articulate this idea but his youthful phrasing was what I was looking for, and his use of a box as a metaphor was exactly what I’d hoped to find. He elaborates on the first page of the journal proper

TIME defines CONTEXT

We experience “art” as a result of many factors outside of the actual “art” itself.

Are all of the factors part of the “art experience” itself?

Three years after Haring had written these words I was coming to a very similar understanding though through a different lens. I had encountered Koestler’s theory of bisociation at the same time that I discovered the Dadaist art movement and suddenly it was as if the creative world started making a whole lot more sense. But I didn’t keep a journal (foolish me) and it was stumbling onto Haring’s that helped me understand what I had been wrestling with in this shelved project.

But beyond my personal searching Haring underscores what makes books a distinct storytelling medium that has survived, and thrive, despite the development of television, movies, and other narrative distractions. Other media control the speed at which the story is told but the book allows for an individual, personal, and perfectly tailored experience. Naturally time can be controlled within all storytelling – it can be condensed, expanded, telescoped, and otherwise manipulated – the the experience of that time, that’s the ability to look inside the “box” and decide when it’s time to move along. When you look at a painting or a photo and are amassing the thousand or so words the picture paints you are composing the page that places that experience, that moment, in a box of memory. Likewise, reading a book allows the reader to take in the information at their own speed before defining the memory box in which it is kept.

So while casually looking for an attempt to capture the feel of a young artist making sense of the creative process I managed to find some comfort that working in the written word isn’t the pointless exercise it can sometimes feel like. Especially when the idea of finding an audience is still in a distant “someday,” a box full of time for another day.

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mining fear, pain, anxieties for fun (and eventually profit)!

If you’re not scared, you’re doing it wrong.

It’s one of those clichés that shows up in movies as an unimpeachable truth, a type of suffering artists grok and continue to believe is necessary in order to create great art. Ray Bradbury’s own advice to writers is to make a bucket list of fears and write about them as a way of conquering them, and in his own work those fears, guilt, and anxieties he possessed all manifested themselves in great stories; his fear of flying was the source of his writing about ships heading into deep space!

In the kidlit game, writers are encouraged to mine the depths of their childhood anguish in order to render a realistic world for their young readers. This is what allows a 40- or 50- or 60-year-old to capture the imaginations of those just barely into their double-digits. The advice to writers is to put the reader into the main character’s head, then keep putting the main character into increased danger, and at the very last minute pull them to safety — the requisite “hopeful” if not happy ending.

A bit sadistic when you think about it.

The danger in a culture, a media, an entertainment that continually relies on fear, pain, and anxiety as its inspiration is that it diminishes the value of other emotions and experiences. It trains individuals to respond more and more (and ultimately only) to fear to the extent that our political discourse is almost entirely based on our reaction to manufactured dangers. The worst part of all this fear-conditioning is that as a society we have also been trained to expect someone to come to the rescue at the last minute and save us.

If our ancestors had that same expectation during the Great Depression we might never have recovered as a nation.

In children’s literature, more so in middle grade that YA books, there is a fervent cry for realistic stories with hopeful endings. The idea is to give kids something they can relate to and then let them know they can rise above whatever crisis or turmoil is at stake. The problem is that the world around them, around all of us, isn’t interested in making the hopeful happen. We aren’t interested in the same gas or food rationing that was the result of the last Depression because it wouldn’t produce the “right” kind of fear; the fear of imaginary assault on our protected freedoms as opposed to the real fear that would cause us to rise up against the banking, corporate, and political entities that do well by courting our collective fear.

While I certainly agree that the traumas of our past make great fodder for the stories we tel,l I think writers owe it to kids to tell them the truth, the whole truth, and without the sugar-coating of a false hope tacked on. Perhaps this is what makes realistic fiction difficult for all but the best writers, and why fantasy gluts the shelves, because when you control the world you can control the outcomes better. But writing about the fears or growing up, the pains of adolescence, the anxieties of the world requires endings equally bold. If you want young readers to remember what they have just read you need to leave them hanging with all the suspense that the world has to offer. When it comes to endings writers might do well to remember:

If you’re not scared, you’re doing it wrong.

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compelling wants vs. compelling needs

Every couple months or so I get the urge to tinker with writing a musical. Theatre isn’t in my background, though storytelling is, and this urge isn’t so strong that I feel this is what I was truly meant to do. I would be happy to realize this one story idea as a musical (and hopefully have it be mildly successful) and leave it at that.

It’s most likely a certain lack of “true” conviction that prevents me from realizing this project. In short, the need to do isn’t as compelling as my other writing projects.

This idea of the compelling need is fairly crucial to the idea of modern Western narratives. We want to read about and follow main characters with a compelling need that will, ultimately, drive the story and the character’s development though the story in a way that we cannot put it down. In short, the reader must be equally compelled to want to find out how it ends.

It was while I was tinkering with this compelling need for the main character in my musical – sometimes also called a controlling desire – that I realized how important it was to instill this sense of compulsion within the reader/audience. This idea of building a character whose desire lines are strongly etched that in turn cause the reader to become invested in that character’s needs that the, the reader/audience, adopts those desires themselves. It isn’t simply a question of manipulation, it’s a form of narrative alchemy that (when done correctly) subtly eases the reader into a position where they care about how and whether a character realizes their desires.

But then I thought: whose desires are really being actualized here, whose wants and needs?

Like a Möbius strip my thoughts circle around and I find myself wondering about the artist, the writer, the musician who feels compelled to create. We talk about the creative act as something the creative person cannot help but chase down. Like mountain climbers, creative people do what they do because they must. It is their controlling desire, their compelling need.

Or is it a want?

No one can be said to actually need to create. We need to eat, and breathe, and fulfill social and moral obligations, but the act of creation… can that really be something the individual needs? And this want (or need) in the writer, its to create a character with desires of their own, designed to compel a reader to care about those fictitious needs to the point where all three – writer, character, reader – come to a satisfactory meeting place where all needs are fulfilled.

Suddenly I understand what is wrong with a lot of the fiction that I find wanting. It is easy to say that the story didn’t interest, or that the plot was unbelievable, or that the characters were simply flat and two-dimensional, but the real problem is that I simply didn’t feel the writer’s compelling need to tell the story at hand. It may have lacked conviction, or somehow been muddled, but in the end no matter how sincerely the author may believe in their story and characters, they have failed in the same way a person fails to be funny at a party when they cannot retell a joke correctly. The parts may all be there, and in the correct order, but without the conviction to deliver the lines with care and precision – what is sometimes called comic timing – the punchline comes with tepid and polite laughter. Worse if the joke has to be explained.

I have been reading graphic novels lately, and though I am not ready to discuss them by name – they aren’t released for a few months yet, and I’d like to digest them a bit more – I am finding the ones that have been falling flat for me fail to convince me of their authorial need to tell the story. Naturally, those that I enjoy deliver so completely that I don’t even notice at first how well they are conveying their author’s urgency.

In the end what I’ve finally understood (because I can’t believe I haven’t been taught this in dozens of ways) is that the difference between “good” and “bad” writing is the difference between the way a small child wants and needs. The want is cloying, whining, and churlish while the need is essential, enthusiastic, and inclusive.

So my question to all my writer friends, real and virtual, is this: Are your stories telegraphing your wants or your needs?

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the disconnect between writer’s & publisher’s motivations

It’s a very simple equation, one I’m sure others have come across elsewhere, but it struck me with an arrow of truth last week. If there is a problem with the publishing industry as it stands it comes down to the disconnect between the motivations of the writer and the publisher.

I came about this a roundabout way. I happened onto a marketer’s blog post discussing what made Steve Jobs, and by extension Apple, so successful. The crux came from a quote from Jobs at the end of his recent biography:

“My passion has been to build an enduring company where people were motivated to make great products. Everything else was secondary. Sure, it was great to make a profit, because that was what allowed you to make great products. But the products, not the profits, were the motivation.”

Many companies have this upside down, or if they start as innovators they quickly switch over to a profit-first mentality to maintain their position. The idea is that if you innovate, people will come, and profits will grow, allowing you to innovate further. This lead me reconsider what I felt about Steve Jobs last year when he died, how I had come to think of him as the Edison of this century. But that’s not exactly a good analogy, because where Edison may have refined existing patents he is credited with creating the technology that is still with us. Jobs did not invent nor is he credited with inventing the computer, the phone, the television, or the music playback device. He didn’t even invent the MP3 file technology that the iPod uses to store and playback music. What he did was take what was familiar and ask the question: How can I make this consumer product more friendly, inviting, fun, and turn it into a brand people can trust?

Essentially, Jobs is the Disney of our age, not the Edison.

Walt Disney did not invent movies, animation, or the amusement park. Hell, he didn’t even create new characters or stories to tell in his animation once he started making feature films. What he did was insist on instilling passion into great products that people would enjoy. He may have been a tyrant to his employees, as has been reported, but he was no petty dictator. He pushed his people to innovate and his legacy of creation continues nearly fifty years after his death. People don’t often remember (or know these days) that he mortgaged his personal property and his entire company to create Disneyland. Had that gamble failed it’s difficult to imagine what would have happened, but Disney was passionate and he was certain that if his people were motivated to make something great, then success was assured.

In reading about the history of publishing in America over the years I have come to believe there may have been a time when publishers were more in line with Jobs and Disney than the corporate entities they have become. There was a time when author and editor were both striving for something great, that profit was not the determining factor. Editors built stables of authors and nurtured talent because they believed in them, and in return that quality generated profits. Today, the profit-first model prevails, and a movie-tie-in complete with residual merchandising trumps the notion that quality is a motivating factor.

Are writers similarly motivated by profit in creating a work, or are they more interested in the quality of storytelling first? This gets tricky, as writers are now expected to market their works and to nail that sales pitch before anyone will bother to look at it. In many craft books there are instructions for plotting a narrative arc only after the summary has been honed as a guide stone. Lord help the writer who can’t rattle off their elevator speech at a convention even before they’ve finished their first draft!

It’s reductionist to insist that all writers, publishers, and editors behave as a unified front, but its hard not to wonder if all parties have lost their way.

“Traditional” publishing (or “Legacy” publishers, if you buy into Amazon’s propaganda machine) will most likely need to revert back to their old ways in order to survive. Editors will need to operate free from the chains of corporate acquisitions and, more importantly, spend more time personally guiding talented people toward great ideas. The motivation to publish books will then fall back in line with the writer’s motivation.

Great books will be written and published when both parties can’t imagine doing anything less; the profits will sort themselves by-the-by.

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dystopia & the disco revival

Yeah, that’s right, get ready for it. Spandex and roller boogie and perhaps even leg warmers and headbands!

Okay, maybe not, but it’s just as plausible as most dystopic fiction out there. And for proof, I now draw your attention to one of my favorite topics in the history of late 20th century American cinema, science fiction films of the 1970s.

What the heck was in the water back then?

There were movies about killer robots (Westword, Futureworld), movies about population control (Logan’s Run), movies about what was called “the greenhouse effect” back then (Soylent Green, which was also about population control), and of course, the reign of Charlton Heston as king of all things dystopian-to-come (Planet of the Apes, Omega Man, uh, Earthquake). In a decade that started with A Clockwork Orange (Cold War dystopia!) and The Andromeda Strain (killer viruses!) then ended with a remake of Invasion of the Body Snatchers (virus from space!) and Mad Max (Cold War dystopia!) there had to be something that would pull us out of the doldrums.

And then along came disco.

Okay, so disco was a simultaneous response to the world, a response that also begat punk rock, but there was huge crossover. So much of the idealistic imagery of the future in 70s sci-fi movies looked like disco outfits — lots of white polyester and feathered hair — while the darker stuff looked like a fashion template for crusty punk squatters. But in the end, wherever there was a dark movie about sanctioned cannibalism there was a new Donna Summer dance tune or a Bee Gees hit!

If YA had been around back in the 70s — and I mean, as huge a market as it is today — I have no doubts teens would have gobbled up books like much of the dystopic sci-fi movies out there. I know, because I was there, and we were hungry for it. I also have no doubt those imaginary books would have been made into movies not unlike the ones that were made that all the teens saw anyway.

So to those adults wringing their hands about how “dark” YA has become, or worried about the boom in dystopic fiction I say fear not. This too shall pass, and in its wake we can expect there to be a rise in mindless pop confections to counter-balance all the darkness. Pastels and fern bars and a return to campy decor is just around the corner. Heck, for good measure, let’s have Woody Allen team up with Dianne Keaton one last time for Annie Hall 2: Electric Boogaloo where the two senior citizens kvetch about New York like nothing has changed in the last 35 years. Maybe Jeff Lynne can collaborate with Olivia Neutron Bomb* for a return trip to Xanadu.** Perhaps the old guard major networks can revive the oldest reality shows they ever created, Battle of the Network Stars, just in time for the Olympics.

Because maybe nothing has changed.

Mostly.

.

.

edited:

* This was a nickname that combined two of the greatest threats to our well-being in the late 70s, the omnipresence of Olivia Newton John and the threat of a neutron bomb which we were told would destroy populations by leave the buildings in tact – as if that were a reassurance!

** Shortly after I wrote this post, but before I updated it to the interwebs, Donna Summer died. The original line here was “Giorgio Morodor and Donna Summer need to get back into the studio STAT and show these girls what it means to work hard for the money.” As much as I mocked Donna Summer as a teen she did, indeed, work harder for the money than many singers these days. 

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the reality of stereotypes… and the stereotypes of reality

A Hippie and an Anarchist walk into a Starbucks and ask the Barista…

Can you picture it? Birkenstocks and tie-dye, piercings and tattoos, a bored look and a smart phone. Counter-culture meets coffee-counter culture. The attitude and the edge, the anger and the disaffection. The sheer conflict of images.

Writers think about stereotypes more than any other people I know. In an effort to communicate with words it becomes necessary to show a reader who, what, and where these people are, and these descriptions require a writer to consider how many strokes of the brush it will take to render the image.

Factually, a reporter has no reason to point out details that have no bearing on a story — we may be told a fire victim’s age but not their weight or race, because these details tell us nothing about the scene. In news reporting we aren’t given extraneous details partially because we can see details that aren’t described and partially because the story itself must be believed because it is simply true, it actually happened. So if we are told a famous and wealthy business tycoon was found dead in an alley behind a homeless shelter we believe it, and begin to fill in unspoken details and questions that allow us to create a narrative in our mind about what we thought happened.

We do this because we have deeply embedded stereotypes that inform our ability to construct an image that is true to us.

That tycoon in the alley, he doesn’t belong there, because that’s not where tycoons should be found. We picture him in a suit, crumpled near a dumpster, face down maybe, pockets turned out where he has been robbed, shoes missing. The location, behind a homeless shelter, sets us thinking who might have done this to him.

Him? When did I decide our tycoon was male? Is male my stereotype default for a tycoon? Are my assumptions based on stereotypes or the preponderance of examples? Does placing a tycoon dead in an alley behind a homeless shelter automatically trip the default that assumes foul play is involved? These images that we construct are a function of our individual experience, but I doubt that from the short description above that a reader would draw the same conclusion further details would provide.

Sally Hemmings, noted real estate tycoon, was found in the alley behind the homeless shelter she founded, dead from a ruptured appendix.

Details, in this case, help us not only see the scene more clearly but also counter any stereotypes we otherwise would have affixed to the story without them. In short, in the absence of the concrete, our thinking would tend toward the stereotype.

In fiction the writer treads delicately between being “true” and giving the reader a chance to properly visualize the characters and settings. News images from South Central LA during the Rodney King Riots would have us imagine a rundown neighborhood full of poverty and crime, and yet one of the wealthiest universities, USC, was mere blocks away to the north. This contradiction in expectations actually provides an opportunity for context and comparison, just as it can with character stereotypes. The problem, in fact and fiction, is that we rely on the stereotypes to become rather than inform the reality.

Far too often in fiction for middle grade and young adults I find that stereotypes, or behavior that has become stereotypical, is nothing more than a cynical way to either deliver on a reader’s expectations or a guarantee to fulfill a marketing category. A middle grade mystery, with a well-intentioned boy detective and a hiding-her-light-under-a-bushel girl sidekick, always reads flat to me. It trades on the stereotypes of a boy with grandiose ideas and the smart girl who helps the boy achieve those goals with a wink to the reader that the boy would be nowhere without her aid. One could argue this being the flip side to the helpless girl who requires a boy savior but neither is revolutionary. Is it possible to have the boy and girl be equal partners? And without an undertone of romance? And for them both to be true to their nature, a boyish boy and a girly girl?

No.

Because our expectations about the characters requires that they correspond to something we recognize in real life, or at the very least within our experiences. And beyond that, the characters themselves must have stereotypical expectations in order for there to be resonance. There is nothing more unrealistic in American fiction (with few exceptions) than a story with 100% caucasian characters, just as there is nothing realistic about a collection of mixed race characters where those differences aren’t noted by the characters themselves. Kids especially are keen on making these distinctions as they are still forming their own thoughts about what behaviors are of a particular character and which are stereotypical.

Every writer who doesn’t feel that writing for children and teens should include a political or social agenda is missing the truth: all writing includes the writer’s agenda. They either rely on and perpetrate stereotypes, for better or worse, or they fight stereotypes in an attempt to get readers to think beyond their own prejudices and expectations. Every detail about character and setting becomes a deliberate choice to either expose or support a stereotype.

What, exactly, is a stereotype is a question for another time.

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the long-play

It’s a full two months following The Great Hard Drive Meltdown of 2011 and the lingering reminders still pop up at least a couple times a week. Most of what I’m missing comes in the way of music, through some glitch in my iTunes folders, as even having an external hard drive failed to prevent the loss of nearly 4000 songs. Rebuilding the library has been a slow process, not helped by the fact that a good chunk of the source discs I no longer (or never) physically possess. As I flip through the master lists and playlists that were saved I am taunted that iTunes has kept file information and cover art for all these songs but not the actual song files themselves. It’s like paging through an album of lost relatives whose voices you can no longer hear.

Despite the initial shock and frustration, I’m not angry. Not anymore. Among other things, the loss and rebuilding has given me a chance to step back and reassess what my music is and means to me. It’s forced me to listen to songs that have long been overlooked in the grand shuffle, forced me to reconsider random shuffling of music in general, to rethink radio and my history of and with music, and made me a little sad over the loss of the vinyl album format.

The LP, the long-player. Such a strange evolution, both in format and in experience.

Early recordings began as cylinders of wax and then plastic holding between two and four minutes of sound. Leading up to World War I cylinders and early flat disk recordings were equal but the format that dominated a good chunk of the 20th century became the phonograph record. Originally 10 inches, then 12, the early disks ran at 78 RPM and would hold one song per side up of up to 3 minutes per side. This constraint established the 3-minute song as a standard that still rules pop music today, to some extent. Collections of 78s were sold in massive books with pages consisting of heavy paper sleeves that held three or four or even five of these two-sided records – up to ten songs in all! – and these were called albums. By the 1930s microgroove technology made it possible for disks to play at 33 1/3 RPM and allowed for up to four songs per side of a 10-inch record, an entire album’s worth of music on a single disk. The two-song, two-sided 78 became the 45 “singles” that filled jukeboxes and sold to a hungry post-war teen audience in the 50s while the 12-inch album collections of 8 to 10 songs became the standard for popular artists. Jazz and classical recordings were the first to utilize the expanded spaces on albums though rock and roll in the late 60s and early 70s would fully test the limits of continuous play. The Beatles with Sgt. Pepper’s Lonely Hearts Club Band (or The Beach Boys with Pet Sounds, depending on preferences) first exposed listeners to the idea of the album as a conceptual whole instead of a mere collection of recent songs. The songs could stand on their own, but the albums were programmed with flow and progression and a grander sense of concept. Soon there were true concept albums, music with a theme or a mood intended for a specific effect.

I’m pausing here because it was at this point in the 1970s when music first entered my pubescent consciousness. It’s when I first heard many of what are now classic albums enter the world as new music, and perhaps why I find myself in recent circumstances mourning the loss of this sort of sonic development. Mind, this is not a nostalgia, but a sense of something lost as a result of our growing digital technology.

Leaving aside the actual genres (many of which will divide diehard fans on all sides) when music went digital we made two very large leaps that changed the way we used to listen. First, compact discs gave us seamless collections of songs for an expanded length of 80 minutes which doubled the space available on a single LP record. Second, digital players quickly gave the listener the option of programmability, to not play certain tracks or to rearrange their order so that they would always sound fresh. The carefully, sometimes artfully, artist-programmed album was now simply raw material for the listener. It falsely empowered the music lover to believe they knew better than the musicians which songs were best and which order they should be heard in. Digital programming encouraged impatience, encouraged intolerance, encouraged the entitlement of ownership. All of this control at the simple touch of a button promised to make every listener a DJ of their own custom music collections but instead it enslaved us to the idea of the infinite shuffle.

Shuffle is what we do, it is the current cultural default. It was so subtle a shift, but a sizable one. We got our MP3 players and loaded them up with only the songs we really wanted, mostly due to space constraints but also because the individual songs were more important than their original organic sonic environments. We put our player in shuffle mode and thrilled at the effect of always being able to hear our favorite songs, and in an unpredictable but not unpleasant order. Our iPods grew in memory, the diversity of our libraries grew, and we entered the era of the perfect and personalized portable commercial-free radio station. And when it came time to add new music, iTunes and Amazon made it easy for us to download only the songs we wanted. Musicians and bands still release “albums” of new material, and people do download entire albums, but the majority experience is still filtered through our library in shuffle mode.

Now here’s a nostalgic image, the kind you can see in movies from the 50s and 60s mostly. A person comes home after a hectic day, perhaps after work or some other activity, and they are transitioning between the day and the evening. They may be planning a quiet evening in, or may be getting ready to go out on the town – no internet addiction, no instant movie downloads, or any other digital distractions. They maybe kick off their shoes, make themselves a lovely adult beverage, and then go to the stereo and put a record on to play. Could be jazz, or some breezy lounge music, something cool and soothing to the soul. It could even be a lazy way for the filmmaker to get some music in the soundtrack to keep things feel like they’re moving along when little is happening. Then, as the album side ends, they either get up and change for the night out, or flip the record over, or put on a different one. Rarely do we ever get to see or hear the entire album side played, the idea is implied as a shorthand for what people watching the movie would recognize as a commonplace ritual: the conscious listening of music.

This is what I thought of as I internalized the loss of the LP.

Though technology has always defined and driven the restrictions and formatting of recorded music, up until the digital age I had this sense that there was a certain level of respect paid to the music. The reasons and the uses of the end product varied – dance music versus contemplative classical for example  – but from the listener perspective the music was given its own space. It’s that space that’s missing, that conscious decision to settle in and let the music deliberately fill our heads, our rooms, our lives with whatever joy music gives us. We program our phones with playlists for the gym, we run Pandora or Spotify stations to play in the background at work, we play plenty of music as a wallpaper soundtrack to our lives but we scarcely give it the attention we once did.

Another image. I’m in ninth grade, I’ve got a pair of headphones as a birthday gift (mostly so I can listen without disturbing my brothers in our shared bedroom) and I’ve gathered enough allowance to buy a new record. I didn’t have a big collection, nor the means to build one, so any purchase had to be carefully considered. I won’t go into specifics, but there was this band (Pink Floyd) who had a new album coming out (Animals) and it would be the first new album they released since I discovered them. I had to decide whether I wanted to spend my hard-earned lawn-mowing dollars on an unknown album of music or purchase an earlier disk that was chock full of songs I knew I liked. I decided to take the plunge, bought the new album, and took it home. I listened to it intensely that first time, just listened. I played both sides then flipped back to side one and played it again, reading along with the lyrics. After the second listening I had to take a break because plastic-covered foam “cans” on my headphones had matted down my hair with sweat. I listened one more time that evening and then went to sleep planning when I would next have the house to myself in order to play the music loud, to hear what it sounded like when it filled a room and could pound against my chest and rattle the windows.

When was the last time I did that? When was the last time a new album of music came out and I just sat with it? When was the last time I listened to any album of music from beginning to end, doing nothing more but listen?

You hear things in music, your head fills with images and races with ideas. I feel like there is something in that noisy meditation, something that has been lost. Though we still have the freedom to listen to the music as it was presented that very freedom has managed to abandon the long-play in exchange for the short-gratification.

As I rebuild my digital library I am taking note of albums I haven’t heard in a long time. I have a mental list growing that I may need to write down soon. One by one I intend to call up those albums when I have the time and simply listen to them as I once did. Perhaps I’ll grow impatient, or my attention span will wander out of a recently acquired habit and I’ll divert myself with some chore or task. But I want to give it a try.

I owe the music that much.

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fake news flash! YA books popular with regular adults!

Okay, so, this might have been a rising trend, what, ten years ago? This might have been newsworthy a couple of times maybe five years ago? Now it seem like every five or six weeks (around the same sales cycles that Barnes & Nobles shuffles its stock) some newspaper runs a feature about this “crazy” new trend where adults are reading YA books. Wacky, right?

Today’s article of note comes from the Boston Globe, and the hook this time is that the poor adults can’t find Twilight at the local book store because it’s not with regular fiction but “in the back” with the YA novels. Which is cute, and quaint, and a little ridiculous. Ridiculous because literally ten years ago I was filing Phillip Pullman’s His Dark Materials books in both YA and Sci-fi/Fantasy. Ender’s Game as well. And we had The Curious Incident of the Dog in the Night-Time in fiction and YA. Maguire’s Wicked took it’s time leaving the adult fiction shelves but eventually was also shelved in YA.

The point, and the reason this is not news, is that savvy booksellers and retail merchandisers put books where people expect to find them. If you have a crossover book that straddles a couple of sections – Stephen King has been doing this for years – you put copies of the book in multiple places for the simple reason that for every person who asks for help finding a title there are three who don’t find it and assume it’s out of stock. You don’t give your retail customers a chance to walk away empty-handed, you figure out that there might be some customers who would expect a book to be in one place and don’t necessarily want to feel insulted that they didn’t realize there were strict marketing rules involved. Seriously, do retail booksellers want to drive people to Amazon, where they aren’t forced to guess a genre in order to find what they’re looking for?

Naturally, that’s not the whole story here, because once you start talking about YA book trends you simply must mention the most recent movie based on a YA series coming out, and perhaps ride the coattails of a couple other titles people have already heard of, and then interview a few local writers for their perspective, and call it a day.

I really shouldn’t complain that any books are getting media attention and perhaps boosting sales, but could we maybe stop with the blatant attempt to tell this same story as a means of selling news? YA, hot topic, braced by a very vocal, buzz-generating community, I get it. But how about instead of talking about the same books, or giving more publicity to established adult authors who have made the leap into the money pit of YA, why not do something radical: create a YA beat. Give some column space to talk about books and trends that haven’t been reported to death. Maybe an old-fashioned three-dot column with smaller news snippets, brief reviews, and the occasional interview.

Damn it, I want that job.

Dear Boston Globe,

It has come to my attention that you like publishing features about the books and trends in children’s publishing, but you tend to write only the most obvious stories. You may have had critics who would occasionally review a few titles here and there, but in an industry that is losing sales in every other area, children’s books is the one place where sales have steadily increased during the current we’re-not-calling-it-a-depression recession. And once full-function tablets and e-readers become cheaper than cell phones, it will be a youth-driven market that will fully define the future of publishing. Will you be positioned to break that news as it happens, or will you ride in the way-back of the family station wagon and give updates on the industry’s exhaust?

What you need is a children’s and young adult beat. Regular installments – weekly at least, not monthly or whenever someone decides to pitch a story – where people can go to find news and reviews of the literature that is shaping and entertaining the minds of the rising generations. You need someone who reads these books regularly, constantly, and talks about them openly via social media. You could become a valuable community asset that would lead the way in providing a resource for parents and young adults (they read the news too, you know, and they smirk at your current attempts to speak to them) to discover what is out there in the world of books. Think of the children!

Should this idea interest you, I am available to discuss it further. I have a varied background that I feel makes me uniquely qualified, and more importantly I possess the desire to see a real change in how books for children and young adults are discussed in the media.

What do you say?

I’m sure there are better, less back-handed ways to do this, but what can I say.

 

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