Showing posts with label Jim Butcher. Show all posts
Showing posts with label Jim Butcher. Show all posts

Tuesday, March 09, 2021

Reviews 62 - Battle Ground by Jim Butcher - Dresden Files #17

Reviews 62

Battle Ground

Dresden Files #17

by

Jim Butcher 


Reviews haven't been indexed yet.

Here are a few previous posts discussing Jim Butcher's Dresden Files series and worldbuilding with theme.

https://aliendjinnromances.blogspot.com/2021/02/worldbuilding-for-multiple-alternate.html

https://aliendjinnromances.blogspot.com/2021/02/worldbuilding-for-multiple-alternate.html

https://aliendjinnromances.blogspot.com/2013/06/theme-character-integration-part-1-what.html

https://aliendjinnromances.blogspot.com/2018/09/theme-character-integration-part-14.html

Battle Ground is like part of a book, or the middle of a long book. 

It starts with a night time approach to Chicago with dread in the air, gives a quick (nice and smooth) reminder of where we are in the long-long Dresden saga, then plunges right into magical battle preparations, explosions, destruction, blood-blood-blood, David-vs-Goliath battles, squad actions, cooperative attacks and defenses, followed by more and more and more strategy, tactics, execution, collective injuries, and deaths.

It ends with several issues and affairs yet to be settled, but the initial problem is resolved (mostly).

Remember that Harry Dresden himself was dead and a ghost for a good, long, adventurous stretch of time when Jim Butcher colored in the details of how Dresden's multiverse differs from ours, or what we think ours is.  

So though some characters we remember clearly from previous books die, we're not so sure they won't be back.

There are a lot of characters, and most of them we remember from Dresden's previous adventures.  They are given introductions that remind you of them, but don't explain who they are to Dresden.

This is all very well done -- but the craftsmanship won't be apparent unless you've read the previous  books.  

I don't recommend starting to read The Dresden Files with this entry - but I do recommend the Series very highly. It is not Romance, but has Love Story and Relationship dynamics driving the plot and the character motivations, interspersed with whopping good magical combat scenes, and plenty of not-so-magical brute force combat.

Dresden is a Hero - old school style, with guts, determination driven by the love of people, and particular persons more than others. But mostly he is a Champion, a defender of humanity - which is always under attack by other-dimensional Beings and magic users from our every day reality.  Then there are the simple crooks to be thwarted. Like Sherlock Holmes, Dresden - as Chicago's only professional Wizard - is hired to solve cases for people  who desperately need help. He just can't resist a plea for help.

So now, when he needs help to save all of Chicago, those he's helped rally round, and even take over. 

Jacqueline Lichtenberg

http://jacquelinelichtenberg.com

Tuesday, February 02, 2021

Worldbuilding for Multiple Alternate Universes Part 3 - What Makes an Idea Too Crazy

Worldbuilding for Multiple Alternate Universes

Part 3

What Makes an Idea Too Crazy? 

Previous entries in the Worldbuilding for Multiple Alternate Universes Part 4 are:

https://aliendjinnromances.blogspot.com/2021/01/worldbuilding-for-multiple-alternate.html

https://aliendjinnromances.blogspot.com/2021/01/worldbuilding-for-multiple-alternate_19.html

And if your Idea is "too crazy" even for a novel crossing multiple alternate universes, how do you sell the novel to traditional publishers?  

Some people view "Love Conquers All" and "Soul Mates" to be ideas way too crazy for mass market.

But reader appetite for types of stories evolves faster than the editorial willingness to invest all that money in manufacturing books and spreading them around where readers might randomly stumble over them (Supermarket shelves, book stores even).

It costs a lot to publish a novel, and the economics demand the prospect of selling a number of units that would return the investment plus a nice profit for the company.

Long before the 1960's, a "profit for the company" was the last thing publishers wanted.  Publishing companies were owned by bigger corporations specifically to lose money, and to be a tax write-off.  This changed when the tax laws were rewritten to classify books stored in warehouses in the same tax category as hammers and tools -- so every year a book is stored, the company that owns the company pays an additional tax.

The whole economics of fiction and non-fiction was changed by a tax law.  

Now books don't get published because they "ought" to be (because of the content), but rather they get published because an acquisitions editor sees a market for them.

If the market isn't visible, the author doesn't get an offer.

So in the last couple of decades the market for what used to be called "everything and the kitchen sink" plotting has become visible.  

This is the sort of novel with worldbuilding that depicts a reality even more complex than our real world.

Classic Soap Opera ladle's onto characters one massive disaster after another - until viewer credulity is stretched almost too far.  These are the sorts of personal disasters that do happen in real life (being widowed while pregnant, being jailed for a crime you didn't commit ) but they happen once to one person, not every few months to the same person year after year.  

Classic Science Fiction depicts an ordinary individual handed an impossible task and accomplishing it by discovering or inventing something that didn't exist before, render the formerly impossible possible.

Classic Romance depicts the forming of a Relationship as a life-altering event, which just like the Science Fiction discovery, renders the formerly impossible life-achievements into possible ones.  

Classic Soap Opera leaves the Characters few free-will choices, few chances to act to change their lives for the better, and when they do have such an opportunity, they choose incorrectly (but the viewer doesn't see the error at first).  

When you combine all three Classic forms with the all-male style Action-Action plotting (fight scene, after chase scene after mortal combat scene, after dire threat scene, after unarmed combat scene, etc), you get a story that you could never have sold into the 1960's market for Science Fiction.

The current editors have been rewarded for acquiring and publishing long series of long novels blending all three Classic forms with action (the more action, the better).

I have reviewed Gini Koch's ALIEN series (16 very long books) consistently, with recommendations to read and study them carefully.

https://www.amazon.com/gp/product/B074C6WPPK

Now, contrast/compare the structure of the ALIEN series with Karen Chance's Cassie Palmer Series, book 10 published in 2020.  



Then contrast both of those with the Dresden Files by Jim Butcher (book 17, Battle Ground,  published September 2020).


FROM AMAZON PAGE:


---quote---

THINGS ARE ABOUT TO GET SERIOUS FOR HARRY DRESDEN, CHICAGO’S ONLY PROFESSIONAL WIZARD, in the next entry in the #1 New York Times bestselling Dresden Files. 

Harry has faced terrible odds before. He has a long history of fighting enemies above his weight class. The Red Court of vampires. The fallen angels of the Order of the Blackened Denarius. The Outsiders.

But this time it’s different. A being more powerful and dangerous on an order of magnitude beyond what the world has seen in a millennium is coming. And she’s bringing an army. The Last Titan has declared war on the city of Chicago, and has come to subjugate humanity, obliterating any who stand in her way. 

Harry’s mission is simple but impossible: Save the city by killing a Titan. And the attempt will change Harry’s life, Chicago, and the mortal world forever.

---end quote--

Gini Koch's character Kitty Kat has an Alien (on Earth) fall madly in love with her -- and she reciprocates vehemently -- and that changes her life, handing her (unbeknownst to her at the time) the impossible task of making peace in the galaxy.  Classic Love Conquers All because of Soul Mates meeting.

Karen Chance's character Cassie Palmer is handed the impossible task of freeing humanity from the ancient gods (Ares, Apollo,), and her love is torn between a Master Vampire and the ancient Merlin, a vigorous Incubus.  She teams up with the Incubus and kills a god, then goes on to settle things for humanity, all because of the power of love in her unique relationship with an Incubus. Classic Love Conquers All, not sure about the Soul Mate aspect.  

Jim Butcher's Dresden Files #17 (Sept 2020) I have yet to read, but I've read all the prior ones in this (absolutely magnificent) Fantasy Series about Harry Dresden, Professional Wizard (hard boiled detective crossed with Have Gun Will Travel gun-for-hire-but-the-good-guy).  Harry is driven by bone-marrow-deep affection for various people in his life, but seems more a free-radical, living a life without his Soul Mate.  Even so, his love does conquer pretty much all the problems that come at him. 

All 3 of these long series of long novels have fascinating main characters pursuing impossible goals against impossible odds and succeeding.

And although the characters are marvelous, the real star of the series is the world building.

Around every plot turn and twist lies a revelation about the true nature of the world the characters live in -- knowledge often won in the heat of battle, magical and otherwise -- and those revelations drive the plot into new vistas.

Keep in mind these series of long books all start with the very close, very tight focus on a character with one, or maybe five, problems to solve just to survive the current threat.  The reader doesn't know how vast and varied the protagonist's world actually is.  The character may have an inkling, but is off by orders of magnitude.

If the first book (or trilogy) doesn't sell well enough, the next contract won't be offered and the series dies.

Keep in mind that how well a first book in a series sells doesn't depend on its content or anything the writer has power over.  

How well a book sells has to do with promotional budget allocated by the publisher - and part of that budget is the cover art, another part precisely where it is distributed and advertised.

How well subsequent books sell has a lot to do with word of mouth (or Facebook) among readers who love that sort of novel.  

Hooking the specific market on a particular novel is the writer's first job.  

Today's market loves scrambled up, competing artistic symbolism, confusion, doubt and what appears to be winning by random thrashing rather than skilled planning.  

It may be too late to start writing a series with these traits embedded in the world building, as the market always shifts with the generations, and with the impression new generations have of the everyday world around them.  

In ten or twenty years - the time it takes to deliver a 25-novel series - tastes will have shifted.

Today, we see a world that just doesn't make sense unless there is some hidden under-layer seething with power and motion, surfacing in apparently random events and disappearing again.  So novels like the Harry Potter Series, and the three mentioned above, all postulate such a parallel or hidden reality unknown to ordinary humans.  All these lavishly built worlds seem completely plausible to today's readers.

What exactly will be next?  What will these series look like to readers 40 years from now? 

Are you writing for that far future reader?  Is your too-crazy-idea simply ahead of its time?  

Consider that in the days when my Romantic Times Award winning novel, DUSHAU, ...




Dushau, Farfetch and Outreach on Kindle:  

https://www.amazon.com/dp/B0753LLYTR

...was first published (my first novel that was distributed on supermarket shelves and such stores as Walmart, not just book stores), Science Fiction publishing absolutely rejected adding "Romance" tropes to a Science Fiction novel -- because you couldn't sell it to a defined and identifiable market.  

It was way too-crazy-an-idea.  

But just as Gene Roddenberry sold Star Trek as, "Wagon Train To The Stars," I sold DUSHAU as a galactic political adventure.  

That's what you do to sell an Idea that's just way too crazy - you repackage it as something familiar to the acquisitions department, hiding the hook you are planting to grab your intended market deep inside where only the reader will see it.  

Being too crazy to sell means being first with an idea.

If you're first with an innovation in story-telling, you may only make it to a trilogy (or as with Star Trek, 3 seasons, the minimum necessary for syndication in reruns), but subsequent authors may be able to drive the unfolding flower of a new genre to 25 novel series (or as with Star Trek, many other series and movies in that and parallel universes).

Do you want to be a pioneer, and change the world while being changed by it, or do you want to ride a wave started by previous authors?  

Do authors start these waves -- or do readers?  

In our interconnected, online world of social networking, maybe the origin point of the energies of change will continue to shift from the investing business to individual consumer (fanfic readers and writers?).

Jacqueline Lichtenberg

http://jacquelinelichtenberg.com 



Tuesday, February 05, 2019

Reviews 46 - The Private Eye Genre Progresses

Reviews 46
The Private Eye Genre Progresses 


Reviews have not been indexed, but you may find most of these posts by searching this blog for keyword Review.

In Reviews 45, we looked at the 14 book series, DESTROYERMEN by Taylor Anderson -- an exercise in the technology of weaponry and strategy and tactics of global warfare.  It has a few engrossing characters, and a couple of solidly developed Relationships -- but the plot has nothing much to do with who these people are or what they think about each other.  Romance fans will find little of interest, and a lot of boring wordage in huge blocks of exposition.

For that very reason, Romance writers need to study why Destroyermen is such a huge Best Seller in its genre.

Today, we'll look at a related problem for Science Fiction Romance writers -- the Private Eye, or Private Investigator (gumshoe) genre.

Military Science Fiction, and alternate Universes, time-travel Science Fiction is an all-time favorite of mine.  But I also thrill to a good Detective novel, Police Procedural, and anti-procedural (the rogue private eye who solves the crime but ruins the court case).

The Private Investigator novel hinges and two elements -- 1) the personality of the PI Character, 2) the intricate puzzle of the Mystery to be solved.

How-done-it; Who-done-it -- every subgenera or mystery is intimately related to Science Fiction in that Science is all about solving the mysteries of existence, how things work, and whether it makes a difference who you are.

Both mystery and Science Fiction are about learning something that will let you understand what is really going on.

Both mystery and Science Fiction are about posing the question in a way that will let you solve the problem, and understand what is happening.

Mystery is about "who-done-it" in that Mystery focuses on a criminal who made something strange happen, and forced the investigator to pose questions to answer.

The TV Series NCIS is an excellent example of detailed Characterization, with characters grouped into a cooperative team, an ensemble TV Series.  Netflix, CBS All Access

https://www.amazon.com/Destinys-Child/dp/B07GJX1VZ2/



Which Character is the lead character for you, your MC, depends on what you think is important in life in the world.  All the Characters have ever-changing love-interests (or at least sex), but each brings a different expertise to question formulation.

For science fiction romance writers, Abby, the forensics specialist (fantasy character in that she does the work of a wide-array of different specialists), or possibly Ducky, the pathologist.

Finding out what the strange, oddball, components of the clues really are is a big part of unraveling a mystery.  Then the field people have to go talk to, interrogate, and background check the people involved, and then use Emotional Intelligence (in later episodes, Ducky becomes their profiler) to formulate questions about motives.

Watching this series is painless, breezy, and pretty mindless, as they repeat the same mysteries endlessly.  From season to season, they find ways to put each member of the team in jeopardy -- even threatened with being held to account for breaking rules.

Romance Genre is about this exact same mystery-solving process but applied to the Other -- the Love At First Sight, or the Love Hidden In Improbable Person.  Sometimes love surfaces as hate-at-first-sight, and that is a great mystery to solve.

So science, and romance, are warp and woof of the same cloth.  It is all Mystery.

Today, we have the advent of the Cozy Mystery -- revolving around ongoing, intimate relationships (which may or may not be romantic or sexual), with less blood on the floors, violence, threat to life-and-limb, and more inquisitive use of Emotional Intelligence.

To solve the mystery of how a crime was pulled off, a Private Investigator has to use tools that are a) unavailable to law enforcement, and b) available to the average reader of the genre.

In other words, the PI is the MacGyver of the Mystery Genre - the amateur who repurposes everyday tools to make things happen that the reader wants to see happen.

In Romance, the reader wants to see the Couple actually resolve their conflicts and get together as a team.

In Reviews 45, we noted how the Destroyermen novels slide through the gory details of forming improbable alliances among humans and non-humans.  This is the wish-fulfillment fantasy element used "off the nose" to help deliver the payload of WINNING to the military science fiction fan.

Then there is the PI, the Private Eye, who is a loner -- like the soldier of fortune.  Not a team player.  Not facile at forming relationships.  In the TV Series, NCIS, we have our Gunny, Gibbs-the-team-leader who does not want a promotion.  He has the knack of knowing everything, and being where he is needed -- these are the Talents of the Gunnery Sergeant in Military Science Fiction.

A Sergeant is a bright, talented, well schooled enlisted officer -- not a college grad, usually. College grads are commissioned officers.

Gibbs has been married, widowed, and multiply divorced -- he has found a spot in life that suits him fine, but still takes deep interest in women.

So to make the wide, TV audience who loves Procedurals (NCIS has to make court-cases, not just fix things as a Superhero Vigilante might), find NCIS a go-to-favorite, they had to explore and develop the Characters and play each Character for all the possible Relationships in their lives.

Likewise, to create an ongoing, long-series PI Character for a Best Selling Series, you have to take the readership into account.  A TV Series is expensive and thus has to appeal to a broader audience than a book, which is pretty cheap to publish relative to any video presentation.

One wonderful example of the narrow focus, PI Series parallel to Destroyermen, is DEV HASKELL - PRIVATE INVESTIGATOR.

The Dev Haskell series is par-boiled, not hard-boiled, PI genre.  There is a lot of physical threat, a lot of fist-beatings, shootings, injuries, blood on the floor, gangsters who play for keeps, Crime Bosses to be reckoned with, and a loner PI, Dev Haskell, who shares a hole-in-the-wall office with a down-at-the-heels lawyer.

The Characterization is colorful, but just stereotyped enough to be worth studying for genre structure.

Dev Haskell is an "anthology series" -- like Darkover or Star Trek -- which can be read in any order.  But it's more fun in published order.


It is also easy to drop into the series without having read books set previously in the timeline.

So to complete the genre study of how the Private Eye genre is converging via Cozy Mystery toward the Science Fiction Romance Genre, download (or free on KindleUnlimited) the boxed set of books 8-14 of Dev Haskell - Private Investigator by Mike Faricy

https://www.amazon.com/Dev-Haskell-Box-Set-8-14-ebook/dp/B07FN3HSW6/

These are very short novels, each solving a mystery, but getting the PI embroiled in the underworld politics of his city.  In many ways, you will find similarities to Jim Butcher's Dresden Files Series (another favorite of mine!), keeping in mind it was briefly a TV Series, has graphic novels, comics, and many fans.


https://www.amazon.com/gp/product/B00O3HD47C/ref=series_rw_dp_sw

Note what dimension of reality these very best selling series leave out -- solve the mystery of why Romance is left OUT of these very best, best sellers, why the Characters bounce randomly from relationship to relationship.  It's a mystery.  Solve it.  Then write the solution as a Romance.

Do it well, find a good marketer for it, and you might found a new Genre.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Tuesday, September 25, 2018

Theme-Character Integration Part 14 The Family Man

Theme-Character Integration
Part 14
The Family Man

Previous entries in Theme-Character Integration are indexed here:

http://aliendjinnromances.blogspot.com/2014/07/index-to-theme-character-integration.html

Two long, complicated, rich and deep Urban Fantasy series which are not marketed as Paranormal Romance, but which actually showcase the seminal element of Romance (the irresistible hunk), are very popular in 2018, thus worth studying.

One is a world built by Marshall Ryan Maresca, with a wide-spread cast of characters, presented in different series set in the same huge, sprawling city.   The series is tagged Streets of Maradaine, Maradaine Constabulary, Maradaine Elite -- and I'm sure there will be more.

The other world is built by Jim Butcher, made it to TV in a brief run series, an RPG, and is so far 15 (now 16 I think) volumes about a Forensic Wizard, a classic archetype I love.  It is tagged The Dresden Files, after the lead character, Harry Dresden Wizard For Hire.

Maresca's Amazon Page:
https://www.amazon.com/Marshall-Ryan-Maresca/e/B00OWACWIW/

Dresden Series: https://www.amazon.com/gp/product/B00O3HD47C/

I've discussed both these authors and their popular worlds previously:

Maradaine is featured in these posts:

http://aliendjinnromances.blogspot.com/2018/05/reviews-34-by-jacqueline-lichtenberg.html

http://aliendjinnromances.blogspot.com/2017/06/theme-plot-integration-part-17-crafting.html

http://aliendjinnromances.blogspot.com/2016/07/depiction-part-16-reviews-26-depicting.html

http://aliendjinnromances.blogspot.com/2015/06/reviews-16-thorn-of-dentonhill-by.html

Dresden Files is featured in these posts:

http://aliendjinnromances.blogspot.com/2015/02/depiction-part-6-depicting-money-and.html

http://aliendjinnromances.blogspot.com/2013/09/theme-dialogue-integration-part-2-whats.html

http://aliendjinnromances.blogspot.com/2013/06/theme-character-integration-part-1-what.html

http://aliendjinnromances.blogspot.com/2009/07/six-kinds-of-power-in-relationship.html

http://aliendjinnromances.blogspot.com/2009/01/collateral-repairs.html

So you can see that when I'm enchanted by a novel series, I keep relating the contents and skills-sets exemplified in that series to each and every writing technique, every artistic vision, and every sort of thematic statement extant.

A single novel, or even a series, is not composed of just one thing, one technique, one theme.  To capture the attention of a wide and varied readership, a novel has to be composed of a wide and varied bundle of themes, showcased by ever increasing command of craftsmanship.

In other words, after selling that first novel in a series, the writer has to demonstrate increased mastery in novel 2, or novel 3 will lose the initial readership.

Both these writers have shown increasing skills over the years.

Now, I have 3 books that, taken together, reveal an odd, and nearly invisible commonality among all the books of both Fantasy series that can be a big discovery for writers of Paranormal Romance in all its forms.

Both series are about meeting up with a great-grand-marvelous HUNK-HERO, who is young and in the wild adventure, power-acquisition segment of a lifetime.  Both series go on long enough for the Hunk to grow into a Man, and then begin to grow into a Family Man.

Both series are written by men.

Both series are about magic-using Hero who dedicates the use of Power to protecting the "innocent" or less capable.

In other words, both very popular series are about anti-bullying, protecting instead of torturing, using strength to the advantage of others, not yourself.

Seeking Justice, and being willing to throw down and get dirty to make Justice happen - that is the hallmark of the Family Man.

Each series is being published in story-order, by the internal chronology of the world unfolding before your eyes, so the main character grows up right before your eyes.

Maresca's Maradaine novels are about a Family, and the inheriting of position and obligations from one's predecessors. One obligation in focus from one brother is the obligation to gain command of his magical powers and use them for the defense of his helpless mother, and the bringing to justice of those who rendered his mother helpless.  The other brother's focus is on gaining political power and position in the street gang their father used to run, and turning the gang's objective toward Peace rather than gang-warfare in the streets of Maradaine.

Jim Butcher's Spring 2018 release is Brief Cases, an anthology collecting stories set in the Dresden Files universe between the events of each of the main novels in the series with a NEW ORIGINAL never before published story of vast interest to those writing Science Fiction Romance with or without Magic.



The intensely fascinating feature of this Dresden Files anthology is the introductions done by Jim Butcher which explain the origin of the story and the way he built the world and the characters.  This is where you learn about Family.

The commentary reveals how the writer takes an angle on a Character that is designed to rivet the attention of a particular readership looking for a particular thing (in the case of the Dresden Files, the emphasis is on combat scenes involving magic).  But to make an "angle" (a camera angle on a Soul) work for any reader, the writer must know what that Character "looks like" from other angles.  "Who" is this guy?

Jim Butcher's commentary on these stories reveals a lot about the writer as intermediary between Character and Readership.

In both series we have young men growing up with complex family histories "gone wrong" and striving mightily to make a good life for themselves.

In Butcher's new anthology, Brief Cases, he adds the story (retold from 3 points of view - adding what the Characters were doing while apart that they didn't tell each other about) of Dresden taking his 9 year old daughter to the Zoo one fine day, with his "dog" (magical) which he rescued some novels ago.  Each of the three face down trials of conscience and character, and come out splendidly.

This shows us our favorite Wizard, Chicago's only professional Wizard, Harry Dresden, growing up into the role of father.

There is tragedy, action, pain, anguish, and above all Family.  How they mix defines the theme.  Each of these two series has a distinctive Theme -- and each book in the series explores one relavent sub-set theme.

If you set out to write a Romance Series -- be sure you have planned what to do for an encore.  Don't let the material run away with you.  Don't let your Characters be too invulnerable.  Gain the personal strength to command the material -- just as these Magic Users command their Powers.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Tuesday, February 03, 2015

Depiction Part 6 - Depicting Money and Wealth by Jacqueline Lichtenberg

Depiction Part 6
Depicting Money and Wealth
by
Jacqueline Lichtenberg

In Depiction Part 5
http://aliendjinnromances.blogspot.com/2015/01/depiction-part-5-depicting-dynastic.html
we started to look at Depicting Dynastic Wealth with an eye toward the Romance form of how to marry a millionaire, billionaire, Prince, King, Duke -- how to marry above your "station."  How to marry into the 1%.

The previous parts of the Depiction Series are:
http://aliendjinnromances.blogspot.com/2014/09/depiction-part-1-depicting-power-in.html

http://aliendjinnromances.blogspot.com/2014/09/depiction-part-2-conflict-and-resolution.html

http://aliendjinnromances.blogspot.com/2014/09/depiction-part-3-internal-conflict-by.html

http://aliendjinnromances.blogspot.com/2014/12/depiction-part-4-depicting-power-in.html

This type of novel depicting the uber-wealthy from the inside is difficult for a writer to create because most writers aren't wealthy. 

Like musicians, actors, and other performing artists, writers are generally work-a-day schmucks, more like Cinderella than like the Prince.  

Those who hit it lucky often live like suddenly discovered movie stars, or suddenly popular athletes on a winning streak, and adopt a lavish lifestyle that eventually bankrupts them.  Those who work for a living (other than Investment Bankers) usually have no reason or means to learn Wealth Management. 

It is difficult to portray real wealth, from the inside, to portray a Character who was raised to wealth and privilege.  From the outside they all seem stuck up, and that makes them plausible to your reader and easy to portray.  

We ended off Depiction Part 5 with the observation that a shift of point of view produces strange inversions. 

In Historical Times, Kings ran the government and made the decisions.  Today voters run the government and make the decisions, then hire working-stiffs to carry out those decisions, bestowing such titles as Prime Minister or President.  But voters (working stiffs) are King now, and now Kings don't run the government, voters do.  It is a point of view shift.

However, while the people we elect either are wealthy, magically become wealthy while in office, or are from dynastic wealth, the voters in general are not. 

We are hiring people to manage trillions of dollars while we have no clue what the world looks like from the point of view of a Billionaire, or what skills it takes to manage trillions. 

The voters are looking at the wealthy from the outside and seeing aloof or stuck-up people.  Is that true insight or just a perspective? 

If you are interested in writing a Science Fiction Romance with a theme centered on Dynasty, you could find some interesting material studying the family backgrounds of dynasties where transmission worked, and where it failed. 

But before you dive into that research, think about what you know about our world, today. 

What does it take to learn Wealth Management?  What does it take to learn the difference between money and capital?

http://amazon.com/Rich-Dad-Poor-Robert-Kiyosaki-ebook/dp/B004XZR63M/

RICH DAD - POOR DAD is a key work by Robert Kiyosaki that's been around for years, yet still holds a truth that is the core of depicting the ultra-wealthy, or the scion of the uber-wealthy. 

We learn our initial attitudes from our parents, most especially our attitudes toward possessions, toward power over others ("Come here this instant or you're grounded for a week!"), and toward money and wealth, ("No you may not have an advance on your allowance.") from our parents.  After that, in college, peers and teachers toss in some adjustments, and eventually with our own paychecks, we see what works and what doesn't.

Most people never figure out why the behaviors that work are effective -- or why they can't control a budget or a diet. 

Self-control, self-discipline, self-governance can't be transmitted from parent to child with words. 

It's a do-as-I-do situation. 

Parents have to "model" budgeting, saving, investing, and all the fact-gathering and decision-making processes that go into wise behavior in order to transmit these behaviors.

The children of Aristocrats who grew up to manage inherited wealth well (rather than drinking and gambling it away) were trained from pre-verbal years to view privelege as a responsibility. 

The successful ones absorbed by osmosis the assumption that power must never be used for personal gain, particularly not for the "gain" of soothing one's own emotions. 

We are now seeing some new Fantasy Romances, and Science Fiction Romances, that depict the well-raised (well-mothered) scion of a rich, or nobel family who has internalized this attitude.

Here is a must-read novel from RoC by Juliet Marillier titled DREAMER'S POOL.  It contains a magic-using "Wise Woman" (herbal healer), a Prince, an Arranged Marriage fraught with real Romance, and mistaken identity all rolled into a fast reading tale of wealth and privelege properly stewarded.



Why are these novels of historical Aristocracy such successes in today's market where everyone knows Aristocracy was an utter disaster of a governing process, where the bloody French Revolution taught us so much, where women would never let their parents choose their husbands, and where being a Billionaire is prima facie evidence of skullduggery? 

Why do we think Cindarella got a better deal than her step-sisters? 

Why do we dream of being rescued into a life of wine and privelege when in real life we throw rotten tomatoes at the limos of the 1%? 

Perhaps it is because we are convinced that, given wealth enough to wield real Power, we would do it right.  Consider the biographies of winners of the Lottery twenty years later.  Very often, they lose everything within 5 years.  Could that be because they were not raised by wealthy-powerful parents and don't know the difference between money and wealth that we discussed in Depction Part 5? 

The poor -- or merchant/craftsman/artisan middle income folks -- look at Real Wealth from the outside and see it as easy to live that way. 

When such a 1%'ers life is lived by a person who was raised to it by a woman who was raised to raise boys to wield power without bullying, that 1%er's life looks easy -- from the outside. 

In fact, that "looks easy" effect is the definition of "Mastery."  When a master of a craft does it - it looks easy.  It looks as if anyone could do it without schooling or training or practice.

Have you ever watched a master glassblower?  Then tried it yourself? 

Massive wealth is fragile and must be handled delicately -- and it is very dangerous if it shatters.

History, and historical fiction, is littered with tales of the ne'er-do-well playboy, scion of a Titled Family, who fritters away his inherited fortune, goes into monstrous debt, and either finds his Soul Mate or ends badly in a duel.

Great fiction is composed of the juxtaposition of improbables.

SAVE THE CAT! calls that story type the "Fish Out Of Water."  A person who is out of his element, coping with the resultant conflicts.  A Lottery-Winner is a fish out of water if he/she wasn't already a 1%-er raised by 1%-ers. 

A mermaid on land is story material.

A human in space is story material.

An Aristocrat without principles living in the gutter is story material.

A gutter rat with principles living in a Palace is story material. 

A cop who does a great job as a cop is not story material, unless the story is based on the conflict between the Master Cop and Master Criminal -- and that's not a fish-out-of-water story. 

A cop who gets sucked into the vortex of some Bad Cops (maybe drug running or taking mob money to look the other way), is story material, and potential hero or villain.

An Orthodox Jewish Master Detective from Los Angeles who retires to be a small town patrol cop, but busts an international art theft ring and runs afowl of a Federal government plot involving the library collection of the most respected Rabbi of modern times -- THAT is story material.

Faye Kellerman has been writing a post-Romance series (22 books and counting) called the Decker/Lazarus novels.  The 2014 entry is exactly the fish-out-of-water novel I just described.  It's titled Murder 101.



MURDER 101 gets its title from being set in a college town, where the veteran Detective has taken on a protege.

The Dynastic Transmission of his professional skills (which are a power-management skill set, just like being a King or a Billionaire) is evident in the one family-dinner scene set in a restaurant where his kids and children-in-law gather, where an engagement is announced, and the protege who comes from a rich but dysfunctional family sees a functional working-stiff family functioning.

Decker's kids are cops, or work in allied fields using similar skill sets.  They all manage Power well.  The dominant factor in that values transmission success is Rina, Decker's wife, but his daughter by his first marriage is a successful cop, too.  She gets it from Decker, though she was raised by her mother. 

As I noted in my Amazon review of MURDER 101, the portrayal of the young protege is "off" just a bit.  He goes around with Decker, and Decker gets him to look up information online using the boy's iPad.  OK, fine, a small town police department would not issue high end equipment, but the iPad is the boy's own hardware.  The boy keeps asking people they are questioning the logon code for their wi-fi networks -- NOBODY WOULD DO THAT. 

Furthermore, they are in New York, where Verizon has LTE coverage, and no way on earth would a trust-fund-kid like this one ever fail to connect his iPad to Verizon's LTE (or something faster).  It's cheap and much more secure than strange wi-fi networks.  No way would a trust-fund-kid who is RICH fail to upgrade his iPad to wi-fi capable.  That is a FAIL on the author's part in "depicting dynastic wealth" (trust-fund-kids qualify as dynastic wealth portrayals.)

I call the Lazarus/Decker novels post-Romance because the first novel in the series, RITUAL BATH, is the actual romance -- where Decker and Rina Lazarus first meet.  After a while, they get married, have kids, raise kids, have crises, get invaded by the bad-guys who Decker is chasing, defend themselves well, and get through it all to retirement. 

Meanwhile, in other novels, they also deal with Decker's parents (who adopted him) - with a boy they adopt whose father is a mobster handling Power in a different way - and with Rina's very Orthodox family.



In MURDER 101 we see the Power-handling-skill-set being passed on to another kid who is bound for Harvard Law School and inheriting a serious fortune.  We see the step-by-step progress Decker's tutelage makes on this kid who has lost his way -- and we can infer the effect Decker's teaching will have on how the kid manages the extreme power the inheritance will bring.

In Jim Butcher's new Dresden Files novel, SKIN GAME, we see MAGICAL POWER in the hands of a man who lives, financially, hand-to-mouth.

He is a cop, of the magical variety, and regards that as a responsibility for the safety of Chicago, not as power over the peasants of Chicago.  He's had some love affairs -- and is currently getting more and more involved with a mundane cop who now knows all about the covert world of magic under Chicago.

Dresden comes back from exile on an island to find his woman and his protege and some friends have been trying to keep Chicago safe in his absense.  In the process, they have grown braver, gained skills, and amassed much power as well as wisdom in using it.

His style of power-management has rubbed off on them -- or he is friends with them because they share that attitude.

Jack Cambell is writing two series in the same universe.  I like one better than the other, perhaps just because I like the Hero.  Cambell has a whopping love story holding his THE LOST STARS series together, two military leaders trying to turn themselves into politicians co-ruling a star system even though their training conditions them to distrust each other.

In the IMPERFECT SWORD, they are separated and fight two different battles, winning despite the tricks played against them.  They win by applying their new theory of governance acquired from their former enemy, BLACK JACK.

Most of these novels, in both series, are nothing but large battles told from the POV of the General in charge, or the ship's captain dealing with enemy ships.

But the story and motivations of the characters is all about Relationship.

Taking a purely Relationship driven story, fraught with political philosophy, to an audience that hates romance and won't read non-fiction, and succeeding so very well at it, makes Jack Campbell a phenomenon to behold.



I've just given you 4 very recent novels, all aimed at very different readerships, all sharing a single attribute -- transmission of power-handling-skills.

Each of these novels depicts dynastic wealth of some sort.

Remember, wealth isn't money.  Money symbolically represents wealth, but wealth is not money. 

Wealth is something else.

Many people say that if you have a loving, functional family, you are wealthy even if living hand-to-mouth.  If you have your children around you, you are wealthy -- even if squatting on a dirt floor nibbling raw moldy potatoes.

Others say the only wealth they can't take away from you is your education.

In the Middle Ages, wealth was the ability to apprentice your boys to a Master Craftsman. 

In the Dresden Files, Dresden had built a magical laboratory, spending countless hours tediously creating magical tools from scratch.  By SKIN GAME, all that wealth had been ripped away from him, and he's left with only one tool he's just built plus his training and talent.

Wealth is fragile, but the responsibilities that go with such wealth are enduring.  Long after the wealth has shattered, the responsibilities will hound you. 

Wealth is the potential energy inherent in your very existence which you have packed into the forms of material objects.  If the wealth shatters, the material objects disappear, or wander into someone else's hands.  The objects themselves are not wealth. 

The energy of your life is your wealth.

So Wealth Management is self-discipline.  Wealth management is your ability to  make friends with yourself and persuade yourself to behave well.

So what is Dynastic Wealth?

Is there such a thing as inherited wealth that you have not earned?

If you assume that the concept "Soul Mate" has a valid corrolary in our everyday reality, then you have to consider that the children of Soul Mates somehow actually 'belong' to that couple.

If Souls are Mated, then the personal potential energy that each brings to the One they are when joined manifests as their wealth.

Children are one concrete manifestation of potential energy actualized. 

Children contain some of the potential energy contained in each parent Soul.

If the wealth generated by two mated Souls is inherited by the Child of those Souls, that inherited wealth is, sum and substance, an integral part of the two Parent Souls and the Child Soul. 

You can earn money, but you can't earn Wealth.  Wealth is the substance of your Soul made manifest -- you don't "earn" it; you "are" it. 

Your Wealth (in this science fictional theory) is part of you, just as your body is.

A strong man (or woman) can exert a considerable Power -- with muscles, or clever engineering -- creating a physical blow that can change things.  Hammering a nail.  Blowing up a dam.

What prevents a strong man (or woman) from hammering everything around them to smitherines?

Self-control governs -- the stronger you are, the stronger your self-control must be. 

Laws can't control you.  Taxes (Kings stealing your wealth) can't control you.  Kings can't control you.  "You" are both body and Soul, welded into a unit. 

Historically, we are still here, but Kings are pretty much gone. 

The Kings that are still here rule a constitutional monarchy.  The despots and strong-men are on their way out. (they keep popping up, but my bet is on democracy).

Dynastic Wealth is wealth accumulated over time, over generations.  The demonstrable fact that a second, maybe a third and fourth, generation has hung onto the inherited wealth, and added to it, shows that the wealth is truly theirs - truly a part of their Soul as their Soul is part of their Parents' Souls.

The Mate chosen to marry into a massive fortune (as the Princess-to-be in DREAMER'S POOL), both acquires that fortune and contributes to it, then produces an heir.

The heir is part of the Two Souls Joined, thus part of that fortune, not separate from it. 

That statement is almost a THEME.  To make it into a theme, you need to take it apart and inject the CONFLICT. 

For example, "Only Legitimate Heirs Can Manage Dynastic Wealth And Pass It On."

That would be a theme.  The conflict is in the question so urgently begged by the thematic statement: "So what constitutes Legitimate?"  And is loss of wealth under your management proof you aren't Legitimate? 

Does the husband have to be the father of the child for the child to be Legitimate? 

Is an adopted child a Legitimate heir?

What if something was wrong with the magical component of the Marriage Ceremony?   Would the children be Legitimate?

What if the Parents aren't of the same species? (Think SPOCK!)

What sorts of Tax Laws on inherited or Dynastic Wealth would species on other planets make?  What if they didn't have Souls, but humans did --- or vice-versa? 

THEME: Dynastic Wealth Accumulation is Toxic to Civilization.

CONFLICT: The Legitimate Heir to a throne flees the clutches of those who would place that heir on the throne (and manipulate them?) because the heir believes Dynastic Wealth is bad for Civilization.  Those who want to enthrone the legitimate heir believe the only way to avoid total war is to enthrone a legitimate heir.

ROMANCE: The current occupant of the throne (who is not legitimate) falls head over heels in love with the True Heir, who wants no part of any of this.

This scenario plays out in our real world in varying degrees all the time, especially in the USA.

Today a King doesn't have to be a Billionaire, or a 1%-er.  Today, the owner of a store, a business or a farm, or even possibly just a house, is a King, or at least a Duke, and the heirs have this same tricky problem of somehow managing to hold it all together, add to it, and pass it on.

Since, historically, some of the largest Fortunes (Rockefeller, Railroad Barons, Shipping Magnates,) from the 1800's industrialization, have been inherited by people who have apparently abused that Power, the USA has soured on the entire concept of Dynastic Wealth.

We are all "self-made" successes (or failures). 

Today's 50-somethings do not expect to inherit a single cent from their parents, and expect they won't be getting social security.  It's a bleak outlook.

Those folks are part of your audience, as are their children. 

In the 1940's, Congress made a series of laws essentially oblitterating the ability of a family to build dynastic wealth.

Tax laws were used to break up budding fortunes before they could become big enough to make politicians dance to the tune of the 1%.  (OK, yeah, it didn't exactly work out that way, but we're writing fiction here.)

Here's from WIKIPEDIA (I said we're writing fiction, so this is a good authority.)

http://en.wikipedia.org/wiki/Estate_tax_in_the_United_States

---------quote--------------

The term "death tax"

The caption for section 303 of the Internal Revenue Code of 1954, enacted on August 16, 1954, refers to estate taxes, inheritance taxes, legacy taxes and succession taxes imposed because of the death of an individual as "death taxes." That wording remains in the caption of the Internal Revenue Code of 1986, as amended.[58] The term "death tax" is also a neologism used by critics to describe the U.S. federal estate tax in a way that conveys a negative connotation.

On July 1, 1862, the U.S. Congress enacted a "duty or tax" with respect to certain "legacies or distributive shares arising from personal property" passing, either by will or intestacy, from deceased persons.[59] The modern U.S. estate tax was enacted on September 8, 1916 under section 201 of the Revenue Act of 1916. Section 201 used the term "estate tax."[60][61] According to Professor Michael Graetz of Columbia Law School and professor emeritus at Yale Law School, opponents of the estate tax began calling it the "death tax" in the 1940s.[62] The term "death tax" more directly refers back to the original use of "death duties" to address the fact that death itself triggers the tax or the transfer of assets on which the tax is assessed.

Many opponents of the estate tax refer to it as the "death tax" in their public discourse partly because a death must occur before any tax on the deceased's assets can be realized and also because the tax rate is determined by the value of the deceased's persons assets rather than the amount each inheritor receives. Neither the number of inheritors nor the size of each inheritor's portion factors into the calculations for rate of the estate tax.

Proponents of the tax say the term "death tax" is imprecise, and that the term has been used since the nineteenth century to refer to all the death duties applied to transfers at death: estate, inheritance, succession and otherwise.[63]

Chye-Ching Huang and Nathaniel Frentz of the Center on Budget and Policy Priorities assert that the claim that the estate tax is best characterized as a "death tax" is a myth, and that only the richest 0.14% of estates owe the tax.[64]

Political use of "death tax" as a synonym for "estate tax" was encouraged by Jack Faris of the National Federation of Independent Business[65] during the Speakership of Newt Gingrich.

Well-known Republican pollster Frank Luntz wrote that the term "death tax" "kindled voter resentment in a way that 'inheritance tax' and 'estate tax' do not".[66]

Linguist George Lakoff states that the term "death tax" is a deliberate and carefully calculated neologism used as a propaganda tactic to aid in efforts to repeal estate taxes. The use of "death tax" rather than "estate tax" in the wording of questions in the 2002 National Election Survey increased support for estate tax repeal by only a few percentage points.[67]

--------END QUOTE----------

So now, instead of being run by Aristocrats who have inherited Dynastic Fortunes, the USA is run by self-made million&billionaires.

Many first-term electees who are elected to the Federal House of Representatives or the Senate start out so stretched financially that they camp out in their Federal offices between trips home.  They can't afford an apartment in DC. 

If they are re-elected a few times, eventually they retire with a lot more money than you or I would ever imagine.  Nobody says how this little miracle happens, but one famous Mayor became famous trying to sell Barak Obama's Senate Seat because it was "Gold."  What do they know that we don't know?

Most of these self-made 1%-ers were raised by the Poor Dad described by Richard Kiyosaki in Rich Dad: Poor Dad.

The rags-to-riches stories of these people make great reading, very inspiring.

Many, however, did not rise from rags but from comfortable middle income families where they got a fairly good start.  The Founders of Microsoft and Facebook were college students at the time they quit school because their little fledgling enterprise was taking off into a full time job.

-------

Now pull back and take the long view of our Civlization -- not just the USA, but all of Humanity worldwide.

Take a view with a deep perspective showing Civlization all the way back to 7,000 BCE and the advent of Agriculture.

It seems Civilization has always been run by Dynastic Fortunes. 

If we run into Aliens in Outer Space who function on Dynastic Wealth, we should have no trouble understanding them. 

And we've always had "The Poor" -- usually if you were born poor, you were poor all your life and died really young.  Only recently has that changed, and it has not changed everywhere on Earth. 

We've always had Poverty as a fate.  Now we have poverty as a period in a person's life when they barely have clothes and food (think modern College Students).

It's healthy for the human spirit to learn just how little material wealth we actually need.  Some Eastern Religions (and Christianity, too) advocate shucking material "stuff" and venturing out into the world to live on luck and faith.  It works.  It changes people, and they think they're better off for it later.

But people who have never been "poor" (not knowing where your next meal is coming from) -- people raised in comfort if not luxury, taught by parents who imposed strick discipline because the child would become an heir to dynastic wealth, raised by people who had Kiyosaki's RICH DAD perspective and transmitted it, make decisions using a different process.

If you are so rich you don't know that you are rich, you don't look at the world from the perspective of fear or of poverty (except the mob may storm the palace.)

You don't "spend money" -- you achieve goals with your wealth.

True, the goals you choose may not serve the best interests of the poor.

But I'm talking here about a perspective - the attitude of a Character that would color their relationship with a potential Mate.

Civilization has always been run by Kings -- so much so, that when Israel was just starting to become a Nation, they asked God for a King like other countries had.  The Prophet they asked didn't understand why they needed a King when they had God.  A people where all the individuals behave according to the Commandments doesn't need much government -- people behave well and don't hurt each other or steal, and those who have take care of the poor.  If there's a problem, there are Judges in the Gates.  What do you need a King for?  Well -- everyone else has a King, and they won't talk to us farmers and ranchers; they want to talk to our King.

So Kings were the way of the World long before the Book of Kings.

A King who doesn't gain the throne by force of arms gains it by inheritance.

Thrones are all about Dynastic Wealth.

Dynastic Wealth has always run things -- for thousands of years -- and we're still here, wealthier for it.

In the 1940's, after WWII, in the USA, the Inheritance Tax was systematically rewritten specifically, (as a matter of the theory of governance by what we now call The Progressives) to prevent Dynastic Wealth from accumulating. 

So as I said above, we are now governed by New Money.

In this blog about the 1% I pointed out a quote from ROYAL PAINS on "New Money" and referenced the Estate Tax.

http://aliendjinnromances.blogspot.com/2013/10/theme-worldbuilding-integration-part-7.html

New Money settles things with Lawyers; Old Money settles things over coctails. 

How much of the ineffectual decision-making we see in our current government is due to the decision-making processes inherent in the mind of a person of New Money? 

People raised by a Poor Dad (or no Dad) trying to handle the Power of real Wealth (and wealth that isn't their own) will grab at The Law to cure whatever problem they have.  Old Money knows how to apply dynastic power to finesse away problems and keep stability.  (If you hate the status quo, old money is the enemy!  Wow, Conflict!) 

Now go back to the 1960's and Johnson's WAR ON POVERTY initiative, and check out what progress we've made.

http://en.wikipedia.org/wiki/War_on_Poverty


http://www.heritage.org/research/reports/2014/09/the-war-on-poverty-after-50-years
----------QUOTE------------
Since that time, U.S. taxpayers have spent over $22 trillion on anti-poverty programs (in constant 2012 dollars). Adjusted for inflation, this spending (which does not include Social Security or Medicare) is three times the cost of all military wars in U.S. history since the American Revolution. Despite this mountain of spending, progress against poverty, at least as measured by the government, has been minimal.
------------END QUOTE----------

You want to write a HOT ROMANCE? 

Remember the STAR TREK episode CITY ON THE EDGE OF FOREVER by Harlan Ellison.

http://www.imdb.com/title/tt0708455/combined 

Kirk - adventure Hero Extraordinaire and crazy sexy playboy - meets up with his TRUE SOUL MATE who runs a soup kitchen during the Great Depression.

You can write that Romance, and end it with an HEA.

Worldbuild a place where Dynastic Wealth has been destroyed, and some hotshot yoyo idealist wants to get rid of all restrictions on inheritance and rebuild the Aristocracy of Extreme Wealth.

Opposing is the Soul Mate who sees any wealth in the control of a private citizen as purest Evil. 

This would work easily on an alien planet, maybe a shipwrecked human colony  living with some Natives (think about C. J. Cherryh's FOREIGNER universe).

Play that conflict out until their child comes of age with an opinion of his own -- maybe there are siblings?  Maybe one sibling is a clone of the father? 

THEME: we must rebuild the capacity to accumulate Dynastic Wealth
CONFLICT: The Couple accumulates wealth and is attacked by The Mob that greedily wants to steal or destroy it all (think French Revolution).

To make this work, you have to create a scion of a family that inherits Wealth and uses it well to keep people safe and government stable.  Opposing him/her, you need The Poor -- and you need a scion of a dynastic fortune that isn't a wastrel but is bent on gaining personal power.

Many of these novels have been published, many very well written, but there are still variations -- especially in the Science Fiction or Paranormal Romance hybrid genres -- that have to be treated.

Consider the role Romance novel has played in feminism, presenting the kick-ass heroine in a good light, showing young women what it is to be a hero and a woman at the same time. 

In the Western, we have heroic women who can keep a home together without a man to protect them and the children.  In Romance, we have women who rescue themselves and then turn around and rescue their guy. 

By looking at what it means to be a woman from every possible direction, women readers have come out of trying to dress and behave like men, to being charming and feminine in dress and manner, yet assertive and when warranted even aggressive at work, play, and local politics.

Perhaps it's time for the Romance hybrid genres to tackle the issue of what it means to be a Soul Mate, produce children, and bequeath them a Fortune.

I expect to see novels where children are tasked by their semi-wealthy parents to double their inheritance and pass it on, creating in 300 years or so, Dynastic Wealth in order to eradicate poverty as the "War on Poverty" has failed to do by destroying Dynastic Wealth? 

The four novels I've discussed here, Murder 101, Skin Game, and The Lost Stars: Imperfect Sword, and Dreamer's Pool, as well as the TV Series ROYAL PAINS, all in different genres aimed at different readerships, tiptoe around the edges of this theme of Dynastic Wealth as the prime weapon in the war against poverty. 

THEME: To command extreme wealth without destructive errors, one must be born and raised to the task.

Or:

THEME: Civilization will disintegrate without Dynastic Fortunes.

Consider, if today we decided the inheritance tax has to go -- so that we can rebuild dynastic wealth -- then what experienced people could train the next generation to wield that power in a constructive way?

Depict your King/Billionaire from the inside as understanding and acting upon the distinction between Money and Wealth, between Cash and Capital.  But when depicting such a King/Billionaire from the outside, those same actions will seem Greedy, callous, and irresponsible to the 99% who can not perceive the distinction.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Tuesday, September 10, 2013

Theme-Dialogue Integration - Part 2 - What's Eating Her by Jacqueline Lichtenberg

Theme-Dialogue Integration
Part 2 
What's Eating Her
by
Jacqueline Lichtenberg


Here is Part 1 of this Theme-Dialogue series, What's Eating Him?

http://aliendjinnromances.blogspot.com/2013/09/theme-dialogue-integration-part-1-whats.html

Last week, Loreful, the videogame company developing a Sime~Gen RPG style videogame taking Sime~Gen into the space age, pitting humanity against aliens in a galaxy spanning war, launched a Kickstarter to fund the first of the Sime~Gen episodes.

The fate of that project is now in the hands of "crowd-sourcing" -- a concept that just tickles my heart no end!  I have always been an advocate of associated groups of individuals banding together to do original work, to change the world.

I'm still, after all these years, totally dedicated to CHANGE -- we have just soooo mucked up!  We have to FIX THIS, I keep ranting.  And that means we have to change our entire idea of what the problem is, so we can solve it.

When I was about 5 years old, no actually more like 3, -- which I remember because we moved coast to coast when I was about 4 1/2, and this particular memory is from before that move -- I parsed the problems in my little world (this was during WW II when they kept preempting or interrupting THE LONE RANGER on the radio to insert war news), and I decided that all the problems in the world were caused by adults having missed one, tiny but salient point about the structure of reality.

Yes, such was my thinking before the age of 5.  Consider at that age I thought the reason the wind blew was that the trees waved their leaves.  I hadn't yet figured out the world, even when my Dad explained wind blew because of pressure differences.  I KNEW it was tree leave that did it. 

My ideas about how weather happens have changed -- markedly! 

My ideas about THE LONE RANGER have not changed, -- much.

Here's the thought that has persisted, and which is behind all my novels.

Fiction consumption is a life-function of the same level and magnitude of the 5 life signs, organization, metabolism, growth, irritability, and reproduction.  Respiration, mobility, etc. are often cited as well.   I've seen definitions that include adaptation, but I could dispute that as if it were TRUE, we would never have species die-outs. 

So as a 3 or 4 year old, I added FICTION to that list, which I hadn't yet learned.  It never occurred to me that animals and trees didn't imagine.  Boy do humans learn a lot in the first 10 years of life!

But my main fiction sources, The Lone Ranger, Superman, persisted into the TV era, and onwards, and my ideas about the vital necessity of imagination developed through my exploration of science fiction - then adult Fantasy, and I launched a career into the teeth of the prevailing winds, adding Romance to Science Fiction but hiding that so deep inside the fictional worlds I built that editors couldn't see it.  My first sale was the Sime~Gen story Operation High Time to Fred Pohl -- read some of his novels and see how anti-Fred Pohl SFR really is, and I sold him a Sime~Gen story!  It is so deeply disguised, he didn't notice.

Today, I still firmly believe fiction -- specifically The Lone Ranger, Superman, -- and yes, Sime~Gen -- is more important than war, more vital to staying alive than winning a war, because fiction of this type reaches and nourishes the parts of your spirit that make you want to live and enjoy life.

Remember the gusto and zest with which Captain Kirk on Star Trek tackled impossible odds? 

Given an incompatible First Officer who refused to acknowledge the importance of emotions, particularly hunches and "gut feelings" -- Kirk enjoyed associating with Spock so much that Spock changed his mind.

Spock watched Kirk surmount impossible odds --

The formula for a novel of any genre has 2 main plots -- which bespeak the very essence of STORY.

a) A likeable hero overcomes apparently insurmountable odds toward a worthwhile goal.

b) Johnny gets his fanny caught in a beartrap and has his adventures getting it out.

Memorize those two, (they are true for ROMANCE too!) and evaluate every story you see or read to see which one it is.  Some really great literature has both.  Look at your life, and you'll see yourself doing both, often simultaneously.

Jim Butcher's Dresden Files novels, ...



...which I've reviewed on this blog many times, is mostly a beartrap plotted series -- but the wider envelope which keeps these novels a strong series and got it onto TV as a short-run SciFi channel (before the channel name change to SyFy), is crafted from A) the Likeable Hero with a Worthwhile Goal. 

You will find that same combination in C. J. Cherryh's Foreigner novels that I rave and rave about here ...



Study this structure, it's the key to why FICTION is a life-necessity like air, water, food, shelter. 

Heroic fiction -- Westerns, Romance, Science Fiction, Fantasy -- fiction with a real HERO whose mind and heart are revealed to you in a way that you can become that character -- is a necessity of LIFE, because it gives your spirit the strength to overcome obstacles, just as food gives your body the strength to overcome disease and heal and reproduce. 

In Occult practices, this principle is applied by "donning magical robes" or a "ring" or other symbolic garb, and becoming your best self, even if you are only pretending for the moment.  Do this pretense assiduously enough, persistently and repeatedly, and you do become what you pretend to be. 

That is part of the nature of humans: you become what you emulate.

There is another principle promulgated at the heart of Kaballah, that the entirety of existence is made from pure energy.  That's a principle of the occult studies, too, and was derided and scoffed almost to death by the early Scientists.  Now we have split the atom, and are examining quarks, bosons, and other phenomena that compose space and the stars.

We are made of pure energy, and that energy (says Kaballah) is God's Love breathed into the world and shaped by Words.  God recreates the entirety of creation millisecond by millisecond.

That's a principle -- our very existence depends on being recreated by Words in increments too small to perceive.

Science now scoffs at that -- and is desperately trying to explain all of human experience in terms of biochemistry and the electrochemistry of the brain. 

That is the science that science fiction is based on.

The recent dust-up over the SFWA Bulletin Cover and a blog by another person that erupted into a discussion of how the SF community is viciously rejecting women and SFR might be parsed into an example of how society is trying to reject the existence of the HAPPILY EVER AFTER "ending" - or "worthwhile goal" that we strive toward.

The Occult Studies -- particularly Tarot -- see the feminine principle as the masculine principle's aperture to "heaven."  See THE LOVERS card -- the male looks at the female on the material plane, and the female standing on the material plane looks upward at an angel.  The female connects the male "real world" to the ineffable.

Without that connection, goes the theory (which I didn't know at age 4), men behave in very brutal ways.

I suppose by now you've all forgotten the video images (that surfaced in June 2013) of a Syrian "opposition" fighter killing an Assad regime soldier and cutting out the man's heart and liver and eating them on camera.  That pretty much sums up in symbolism the "brutality" referred to in the theory.  The philosophy advocated by most of the factions trying to re-create the Middle East as a Caliphate are intransigently anti-woman. 

You might look at the way that society insists women be wholly covered in public and NOT LOOKED AT.  Thus, in public, no man sees a woman, and therefore is free of all contact with God (even though they publicly bow down to God repeatedly during the day, they do it without contact with the feminine principle.)  Sans femininity there is no way a male can connect with God.

That's what SOUL MATE is all about -- connecting our men to God on a soul level.

In Occult Studies, sex magic involves the public displays of feminine nudity, and even public sexual acts.  This practices releases a certain type of (very dangerous) power into the world, and especially  into the hands of the men involved in this practice.

Masculinity seeks power within the material world.  That is the nature of male-ness. 

Femininity seeks power within the spiritual world.  That is the nature of female-ness.

But "within every man is a woman; within every woman is a man" -- we are all composed of both.

The balance though is not (usually) equal within a human.

Occult studies maintain that Souls reincarnate sometimes as male sometimes as female.

Kaballah maintains that Souls reincarnate (if they do at all) always as the same gender because gender is a property of the Soul, not the body alone.

Sime~Gen uses the Occult theory - and in Sime~Gen Souls sometimes incarnate as male, sometimes as female, and sometimes as Sime and sometimes as Gen -- and even more confusing, Souls reincarnate as aliens.  That is humans can reincarnate as aliens of another species, and Souls that are now human may have been non-human prior to that.

This concept is reflected in Kaballah theory as the idea that some Souls occasionally incarnate as inanimate objects or insects or other animals, for the sake of completing some task.

The Kaballah based Chassidic school of thought maintains that Joy Breaks All Boundaries.

In other words, the "apparently insurmountable obstacles" between the Hero and the Worthwhile Goal are surmounted by tackling the problem with JOY.

Zest, verve, happiness, bright-eyed optimism, -- i.e. Captain Kirk asking Spock the odds -- is the spiritual fuel that causes success.

It works on beartraps too -- the beartrap is a "boundary."  The beartrap is the consequence of not having assessed the consequences of other people's actions (the trapper sets the trap and you step in it before the bear does).  Once it's snapped shut on you, you have been placed inside BOUNDARIES.

It is zest, joy, verve, happiness, that breaks out of the beartrap.  You must pry the jaws apart, taking whatever physical damage that costs you, but you will fail without HAPPINESS (or so the Kaballah based thought goes.)

We, as SFR writers, are looking to convince a gloomy public (that sees War as a solution rather than the problem) that there exists a HAPPILY EVER AFTER, an HEA.  It's real, and it's within your reach, except for the problem of the beartrap or the "apparently" insurmountable odds.

Where does a man get that zest, verve, joy, happiness that fuels a Captain Kirk approach to problems?

Note Captain Kirk is a "womanizer" -- i.e. is driven by sexual appetite.  And woman accept his advances readily.  That acceptance is one of his character traits, too.

There is a higher truth behind that formula.  Contact with the FEMALE PRINCIPLE fuels that sense of impervious JOY that romps happily over every obstacle.

In other words, that JOY that the Kaballah theory talks about comes from God via the female principle. 

The female principle is the nurturer, the astrological sign of Cancer, the 4th House of the Zodiac, and the other water signs, Scorpio, Pisces. 

So what do women get out of men? 

What is eating her?

Could it be war? 

Last week in:

http://aliendjinnromances.blogspot.com/2013/09/theme-dialogue-integration-part-1-whats.html

We touched on the idea that Mars represents a fistfight, maybe road rage or a bar fight, but Pluto represents a War - probably a World War.

Right now, Pluto is transiting opposite the USA natal chart's Sun (energy source, sense of individuality).

The Sun rules the natural 5th House (Hollywood, and children, siblings).  Pluto stirs the unresolved conflicts of childhood (the much used defense of "I was an abused child, so I commit crimes now.").

The Nation's childhood was in the birth of the Constitution -- and I maintain that the USA has two valid natal charts because we are two countries interwoven -- based on two distinct philosophies which have traditionally been represented by the Democrat and Republican parties (what we now call "Left" and "Right" which I see as misnomers.)

The Sun rules Leo, the sign of Sovereignty. 

Note how Astrology indicates that Entertainment (fiction), children (sex for reproduction, a life function), and siblings (bonding) are the selfsame identical energy.  Opposite the 5th house is FAME, the 11th House, Aquarius ruled by Uranus, freedom.  Think about the implications of the binding and intermingling of these concepts usually treated as separate and incompatible things.

You have the same kind of situation between the 1st House (Aries, ruled by Mars) and the 7th House (Libra, ruled by Venus).  (these are the "Natural" Houses; the personal Natal chart indicate the same forces, but place them in different signs depending on the time and place of birth)

1st House is your personal, individual Identity (your sense of self that develops at puberty with a sudden, inexplicable, need for privacy, especially privacy from parents, and today privacy from the Nanny State.)

7th House is the OTHER, family, spouse, foreigners, strangers, groups, and allies, partners, even enemies!  When there is a 7th House malfunction, you get xenophobia. 

With Pluto transiting the National natal 7th, we have publicly espoused inclusive group principles, the public refusal to "discriminate" and reject people from our groups on various grounds.  We rejected the principle that we should deny people loans on the basis of their financial condition.  When Pluto finished the 7th House transit and hit the 8th House cusp of the USA Natal chart (exactly to the day) we had the financial meltdown known as the Housing Crisis, where the mortgage and thus banking industry collapsed.

Now Pluto is transiting the National 8th Capricorn, (natural 8th is Scorpio ruled by Pluto; USA natal 8th is Capricorn ruled by Saturn).  The Nation has a stellium (complicated conjunction) in the Natal Second House which is ruled by Cancer. 

Which brings us back to the feminine principle (nurturing, home building, Cancer ruled by the Moon) vs. the masculine principle, imposing human will on material reality, (career building, success, Capricorn, ruled by Saturn.)

Whatever it is that is "eating her" nationally, is very likely to erupt full blown into national consciousness over the next couple years as Pluto transits opposite the national Sun.

The National Sun is in Cancer (in both national natal charts), Mother, Home and Apple Pie. 

This eruption of complaints about how women are treated in Science Fiction communities is all connected to the national conversation about "the place of women" in the world, and in life.

There are those arguing that women should be kept inside the home and never seen in public. 

There are those arguing that women are absolutely no different from men.

What's eating her is that society is using force and coercion to KEEP HER WITHIN BOUNDARIES.

What's eating him is that society is "including" her in public life, eroding the boundaries men have created.

The solution - magically and kaballistically speaking - is JOY. 

The Kaballah maintains that there is an intrinsic difference between masculine and feminine functions in the matrix of reality.  A very deep, abstract study of this philosophy reveals that the difference that Kaballah fingers as the distinction between men and women is very,  VERY different from the difference that society (historical and modern) has tried to impose.

In other words, we have parsed the problem incorrectly, which is why we can't solve it.

It's very possible we don't understand Kaballah at all, really -- as it has traditionally been interpreted by men only.  Today many female scholars are tackling the climb up the Tree of Life into the rarified reaches of Kaballah.  So things might change drastically in the very near future.

What seems clear to me, and has always seemed clear since I can remember even thinking a thought, is that FICTION is the tool for solving this problem.

Fiction does two things:

a) it BREAKS BOUNDARIES constraining the imagination, allowing you to concieve and try out various descriptions of the problem and of the solution.

b) it INJECTS JOY into your life as you experience triumph together with your avatar in the story, and that lets you break the very real boundaries that constrain you in your everyday life

Which brings us back to Sime~Gen, and the space war that Loreful wants to present to the world.

Sime~Gen solves the problem of the way humanity has artificially imposed "boundaries" on each gender and thus created The War Between The Sexes -- which I maintained is a scam here:

http://aliendjinnromances.blogspot.com/2013/08/theme-conflict-integration-part-1.html

Sime~Gen postulates that humanity mutates into Sime and Gen.  There are male Simes and female Simes and male Gens and female Gens.  Simes Kill Gens to live, to survive. 

Thus the difference between Sime and Gen preempts, overshadows and wipes out the significance of the differences between male and female.  But it replaces it with an even bigger difference, a lethal difference.  Men and Women still find their Soul Mates, reproduce, and live Happily Ever After, and in fact it's those men and women who eventually solve the problem of half of humanity needing to Kill the other half.

Then with that problem solved, they dissolve the Territory Boundaries they created between Sime and Gen so each could survive, and they create an interstellar space drive that requires cooperation between Sime and Gen to work.

They venture into the galaxy, and run smack into an existing interstellar civilization. 

The result is War.  (that was planned into the Sime~Gen series premise, and the stories I want to write lie on the other side of that war, so I was happy to license Loreful to create me a space war, and so was Jean Lorrah, my co-author on Sime~Gen.)

Even at the age of 4, I knew that war was WRONG because it interfered with fiction imbibing.  And I still stand by that assessment.

Fiction imbibing is a necessity of life -- war is all about death. 

Remember Conflict is the Essence of Story.

Life vs. Death makes a good conflict to generate a fabulous plot. 

I actually adore World War II movies -- the Hollywood version of war, not the real thing.  Real thing is to be avoided - which is the message of all good fiction.  NO WAR!!! 

War is the result of the failure of diplomacy, which is a form of warfare. 

War conflicts with the necessities of Life, and Sime~Gen is all about LIFE - about living, not dying, about the glories and joys of life (but, yes, there are some barriers to overcome to get there).

So the Simes and Gens who have hammered their way to Unity will now hit another barrier, one that will try very hard (Pluto hard) to shatter that Unity. 

This game is going to be FUN - and it will spread much JOY into this world that is so sorely in need of JOY. 

What's eating both him and her is BARRIERS -- walls around us that keep us from communicating.

Play this game, take home some joy, target your communications with others, see if that breaks or surmounts any of the barriers in your life -- especially the barrier to getting your own fiction published!

by Jacqueline Lichtenberg
http://jacquelinelichtenberg.com