Monday, December 07, 2009

Settings, SFR, and Spiffyness

I've been absolutely thrilled to see the responses to The Galaxy Express' SFR Holiday Blitz. I've also been absolutely slammed with computer troubles and flu/cold/bronchitis, which is why you've not seen me here in a good while (all this befalling me, yes, after a triple-deadline). Bronchitis I'm rather used it--it's something that's plagued me (pun intended) since I've been in my twenties. More than twenty years ago. Computers invaded my life at about the same time (hmmm, wonder if there's a correlation?) but those troubles have become worse with age, while the bronchitis has rolled merrily along without much change.

I sometimes wonder if the computer troubles I face aren't yet more fodder for my plots and characters. As one reviewer said about my Finders Keepers:

[T]he vast majority of this novel is classic space opera, the sort of story in which rough-hewn pilots of either gender chug along space lanes in rickety old ships held together with duct tape, and sinister galactic empires plot against all and sundry for power. Not for Linnea Sinclair the spiffy, cutting edge man-machine futures of Ken MacLeod, Greg Egan or Charles Stross.
Maybe one of the reasons I don't do spiffy is that I've yet to meet a chunk of technology that permits me to experience spiffy. I have no faith that any universe--future or otherwise--with be trouble-free when it comes to technology. Okay, I'll 'fess up. I do have things break down on board the ships in my books because it ramps up the conflict. But I also have them break down because I'm fairly confident that's an event to which most of my readers can relate. (If you've never had a computer melt-down, please tell me where you live so I can move next door to you. Which means one of two things will then happen: either my computers will work flawlessly from that point, or yours will crash with gleeful regularity.)

This latest crash (maybe the motherboard--we're still not sure) resulted in a computer that refused to function under Windows XP but is chugging along nicely (so far) under Windows 7. I can't believe it's solely because Mr. Gates needed my $300 last week.

But I digress. I wanted to touch on settings in SFR because of a blog Heather from The Galaxy Express noted a week or so back, in which several readers commented on why they did--or didn't--read SFR. One poster noted that in reading the opening chapter of my Shades of Dark, she found technology was far too evident and took up much descriptive space.

Which, of course, made me sit back with my usual WTF? I wanted to post and ask her--I didn't, for a variety of reasons, two being bronchitis and limping computer--if she would have been equally as disconcerted by the description of the castle in a medieval romance, or the scent of leather and the snuffle of horses in a western romance? If she reads chick-lit, would an opening scene listing the character's designer shoes overflowing her closet bother her? If she reads mystery, would she prefer the details of the murder scene to be left out?

In SFR, the description of a ship's bridge or command consoles are my character's closet full of Gucci and Prada products, they are the flickering torches set into the rusty metal sconces angling out from the moss-covered stone wall.

Here's the opening paragraph from the prologue in Mary Jo Putney's Silk and Secrets:

Prologue
Autumn 1840

Night was falling rapidly, and a slim crescent moon hung low in the cloudless indigo sky. In the village the muezzin called the faithful to prayers, and the haunting notes twined with the tantalizing aroma of baking bread and the more acrid scent of smoke. It was a homey, peaceful scene such as the woman had observed countless times before, yet as she paused by the window, she experienced a curious moment of dislocation, an inability to accept the strange fate that had led her to this alien land.

Now, Putney is not only one lovely and classy lady, she's one helluva fabulous and well-known author. She writes--among other genres--historical romances. If she puts in the cloudless indigo sky, the tantalizing aroma of baking bread, and the acrid scent of smoke, it's because these details are not only important, they're expected.

Why, then, the problem with:

A stream of red data on a blue-tinged screen to my left snagged my attention. We were on the outer fringes of an Imperial GA-7's signal—a data relay drone normally not accessible to renegade ships like the Karn, and definitely not at this distance. But this was the Karn, Sully's ghost ship that routinely defied government regulations and just as routinely ignored ship's specs. So I slipped into the vacant seat at communications and executed the grab filter with an ease that even Sully would have been proud of.

Captain Chasidah Bergren. One-time pride of the Sixth Fleet and staunch defender of the Empire, illegally hacking into a GA-7 beacon.
Okay, maybe you've never seen a GA-7 beacon. But I've never seen a muezzin. So therein resides my rationale behind my usual WTF when I read comments that "SFR terms are too confusing."

As I've also often noted, I still haven't a clue in a bucket how to pronounce reticule. But it doesn't stop me from reading historicals and I don't ask the author to replace it with the word pocketbook.

Someone enlighten me as to why muzzein is acceptable and GA-7 beacon isn't. Please.

~Linnea

Linnea Sinclair
// Interstellar Adventure Infused with Romance//
Available Now from Bantam: Hope's Folly, Book 3 in the Dock Five Universe
Coming March 2010: Rebels and Lovers (Book 4)
http://www.linneasinclair.com/

Sunday, December 06, 2009

Alien Romances Is Part Of The Galaxy Express's SFR Holiday Blitz

THOSE WHO WISH TO BE ENTERED IN THE SFR HOLIDAY BLITZ SHOULD ADD A COMMENT TO THIS POST.

See the sidebar for cover art of the prizes to be won in the SFR Holiday Blitz on this blog.

*****

The Galaxy Express streaked onto my radar with Heather's very first post on May 19th, 2008 which was titled "All Aboard -- We're Ready To Launch", had witty subheadings such as "It Takes A Village To Maintain A Lunar Outpost" and "A Wormhole By Any Other Name..." 

I did enjoy Heather's scholarly nod to "Romeo and Juliet"!

The Wormhole paragraph included a live link to this alien romances blog, which was very courteous and kind of Heather, and which resulted in a Google Alert.

I also rather enjoyed thinking about the village. Does anyone else remember a rock group called "The Global Village Trucking Company"?

Moreover, my favorite novel by Isaac Asimov is "The Gods Themselves" and one of the three parts involves a love story on a lunar outpost. What was yours?

How did you discover The Galaxy Express ?
Do you remember which of Heather's posts set fire to your imagination? If so, please tell the story in the comments here, below the official contest announcement which I quote:














The holiday season upon us, and that means 2010 is simmering just below the horizon. Start your New Year off right with a chance to score a free read in one of the hottest up and coming genres around—Science Fiction Romance!

Here’s the scoop: 12 bloggers have teamed up with 17 authors for your chance to win over 30 SFR books. Whether you’re new to the genre, or a fan looking to add to her collection, this event is for you.

Best of all, it’s dead simple to enter: There are no quizzes to answer, no hoops to jump.

For your chance to win all of the books listed in the sidebar by Jacqueline Lichtenberg, Linnea Sinclair, Susan Sizemore, Margaret L Carter, Susan Kearney, and Rowena Cherry all you have to do is leave a comment for this post.

Print book prizes are limited to U.S. residents unless otherwise stated.

The deadline to enter is midnight on Friday, December 11, 2009. The winner will be announced on Saturday, December 12, 2009.

But don’t stop here! Increase your chances of winning even more books by visiting all of the participating blogs.

It’s easy:  Just click on one of the links to the participating bloggers below. Make sure to leave a comment on the post titled “SFR Holiday Blitz.” From there, you can then jump to the next blog. There’s a wide variety of books to win so why miss out?

Other blogs:

The Galaxy Express (which started the phenomenon, and could entertain you for hours!)
http://www.thegalaxyexpress.net

Dirty Sexy Books
Flying Whale Productions http://maryfitz.typepad.com/my_weblog  
Lisa Paitz Spindler http://www.lisapaitzspindler.com/blog  
Love Romance Passion http://www.loveromancepassion.com  
Spacefreighters Lounge http://spacefreighters.blogspot.com 
Take It To The Stars http://takeittothestars.blogspot.com 
Queen of the Frozen North http://www.cathypegau.blogspot.com 

You are here:
Alien Romances http://aliendjinnromances.blogspot.com 

Visitors can also see almost all the books that have been donated in the "Biggest Bang" "Listmania" on Amazon... We'd really appreciate some "Helpful" votes.

Moreover, if any science-fiction-romance lovers who are signed in to their Amazon accounts click through to the book pages to read the reviews, excerpts, and what-have-you, we'd very much appreciate it if readers would either check or write in tags such as "sfr" or "science fiction romance" to help other readers find great examples of this subgenre.

Thank you for your visit, your comments, and your support of SFR.

Rowena Cherry
SPACE SNARK™ http://www.spacesnark.com/ 
on behalf of the alien romances authors

Thursday, December 03, 2009

Darkover

Over Thanksgiving weekend, Friday through Sunday, we attended the Darkover Grand Council north of Baltimore. It’s a small con, just a few hundred people, slanted heavily toward panels of interest to writers. Some topics this year included “Writing and Editing: Can (or Should) You Do Both?”, “What Do Authors Owe to Their Readers?”, and “Ultimate Evil,” as well as the usual sessions on food in fantasy, religion in fantasy, and research. The musical track has thinned somewhat in recent years, but there are still several regular performers singing throughout the weekend as well as the big Clam Chowder concert on Saturday night. Clam Chowder also leads a group sing of the Hallelujah Chorus in the hotel atrium at midnight on Saturday. We could see and hear them from our room. Sadly, competition in the costume contest has shrunk so much in recent years that it was discontinued. The Friday night substitute was a “costume optional” ball that, for the few minutes I looked in on it, didn’t draw many participants.

I participated in two sessions on vampires. With Scott MacMillan, I took part in a discussion of whether vampires can be good. Several people in the audience maintained that a vampire’s superiority over and distance from human beings, even if the vampire started out human, would inevitably lead him to think of us as mere prey animals. I tried to uphold a more optimistic viewpoint, especially in opposition to the implication that because they belong to a higher species, it’s OKAY for vampires to use us however they want. Would we consider a more advanced extraterrestrial species justified in treating us that way? Would most of us think it’s all right to eat dolphins if it’s eventually proven that dolphins have intelligence and self-awareness equal to ours?

My other panel was a group discussion on “The Twilight Phenomenon.” The panelists and most of the people in the audience agreed that there are lots better samples of vampire fiction (and vampire romance) out there but discussed reasons why this particular series has such a powerful appeal to its target readership. I’m still a bit bemused by the phenomenon; the Twilight series caught on with readers under its own power, not (originally) by way of publisher hype. Yet there are equally good (or better) YA vampire series that haven’t enjoyed such mega-popularity. L. J. Smith’s Vampire Diaries series, for instance, has been around a long time but didn’t get its well-deserved acclaim from the general public, including a prime-time TV show, until the Twilight craze paved the way.

Margaret L. Carter
Carter's Crypt

Wednesday, December 02, 2009

Rion is out in stores



Hi Everyone,
RION is out in stores now. And I'm pleased to say they are now in Targets, too. But if you can't find a copy, you can always order on line.

I'm pleased to announce that the book is getting excellent reviews. So please pick up a copy and if you missed LUCAN, it's still available, both in stores and online.

POWER IN THEIR PASSIONN
Marisa Rourke is a beautiful, fearless telepath who tames dragonshapers on Earth. Rion is a tall, dark, and sexy space explorer whose home planet is a galaxy away. The attraction between them is undeniable, but Rion is hiding a desperate secret that will change Marisa’s life forever.

DANGER IN THEIR TOUCH
Marisa’s gift is the only way Rion can communicate with his people, enslaved by a powerful enemy. He knows that kidnapping her is wrong, but saving his planet is worth sparking the fiery clairvoyant’s fury. Yet hotter—and more explosive—is the psychic bond growing between Marisa and Rion. Could their passion be the key to freeing Rion’s people? Only if he and Marisa can discover how to channel their desire . . . before a vicious enemy destroys them all.
Read more at my web site www.susankearney.com

Tuesday, December 01, 2009

Glimpse of a Reviewer's Life

On Amazon, you'll see the little VINE VOICE icon by my reviews because I'm in the program where they offer (by an email list) books and other things to reviewers, free, and in turn the reviewer has to review 75% of what they get.

So far I've been lucky and could review 100% of what I've chosen from their list.

I'm also the Science Fiction and Fantasy reviewer for a paper magazine, and do a monthly column with a New Age slant -- so some Paranormal Romances and Historicals with magic fit into the column.

Lots of paper publishers send me ARCs (advance reading copies -- a bound POD printout with typos glaring and no cover art), and Hardcovers and Mass Market paperbacks - and even Trade Paperbacks.

There's no way any reviewer can possibly read every book that's published! So we specialize.

Now I'm not complaining here. We're talking the joy of a pig in mud, a puppy scratched behind the ears, a ghost discovering a way to talk to the living!

This part of my life is currently pure ecstacy.

But -- isn't there always a but? That's what makes stories, you know.

BUT!!!

As sales volume goes down, the number of titles in each category has been going up. Worse yet, as genre walls dissolve, bits and pieces of what I specialize in (impossible Relationships that change reality) are now turning up in several genres -- where numbers of titles proliferate.

With the addition of small press, epublishers, and self-publishers, it is a total explosion of titles to read.

I try to give authors who send me copies direct, editors who send ARCs for cover quotes, and general ARCs preference, but titles I really REALLY want to read are piling up.

Here's a picture of 6 months of pile-up -- (this does not include all the stacks and stacks of books I have read, some of which are already reviewed on http://www.simegen.com/reviews/rereadablebooks/ PLUS a 3 ft. stack of to-review books I've already read not shown here)




But my "beat" also includes SF/F on TV and film.

Have you noticed how many "impossible relationship" driven TV shows there are this year?

The last few years I could watch everything (Except for Buffy and Angel, pretty much only on the scifi channel which is now gone, renamed syfy and just not the same). I only watch 6 hours of TV shows a week. That's all the time I have, and it's usually while doing something else because I really don't have six hours a week to myself.

Suddenly, I'm recording about 10 hours of TV every week, and still only watching 6, so my DVR has overflowed and started not-recording shows on my scheduled recordings.

And that's not counting FILMS.

I know there are things I'm missing, important things. I scan goodreads.com and amazon.com Communities, facebook, and twitter for a perspective on trends and look for how trends in fiction mirror trends in our real-world problems (and I find a lot I haven't space to discuss even on this blog).

Trends are my main focus, the big picture, the hidden significance of the microscopic. An obscure book here, a self-published book there, an Independent film, a story in Variety, a headline in the New York Times, a tidbit from Locus, a sudden best seller, or a prize winner that didn't sell so well being made into a TV Show (can you name 3 such shows on TV this year? Include cable channels.)

There is something going on now that needs further analysis. I believe what we're seeing in today's fiction has significance on a scale of thousands of years of human history - perhaps tens of thousands.

There are huge problems facing us, like Global Warming (is it real? Should we do anything about it? If so, what? Is anyone lying or fudging the data? What does it really mean? Who's hiding what from whom? Or "never attribute to malice what can be adequately explained by stupidity.")

There's the increasing pace of epidemics bursting across species lines.

There's the species die-off that so many heroic people are trying to slow or prevent.

Perhaps there are new species evolving that haven't made headlines yet.

There's the threat of nuclear war again.

There's the increasing UV concentrations, rainfall shifts, and infectious plant diseases, diseases of the bee populations, all limiting the tons per acre of food we can produce. There's food supply contamination. There's pesticide and fertilizer chemical contamination affecting the fertility of animals, plants and people. There's food-distribution methods leaching nutrients from warehoused food. And there's hitting the global limit on how much more farmland we can put into service, plus the problem of CO2 emissions as we increase acreage cultivated.

And then there is the ever increasing power supply requirements of our ever-increasing global population.

Back in the 1950's there was a rash of SF stories about how civilization would collapse - giving rise to the genre called "post-apocalyptic" -- of which my Sime~Gen universe is an example, though of the more optimistic variety. Sime~Gen stories generally focus on a thousand years later, and humans of good spirit and good will put together a viable civilization again. Against all odds, they succeed, overcome, thrive and prosper because of love. They do more than restore lost civilization. They advance humankind.

Star Trek, too, is post-apocalyptic and optimistic -- for in Star Trek, Earth's history includes a vicious breakdown of civilization in the 1990's called The Genetic Wars. But everything comes out OK.(except for Ricardo Mantalban ).

Today the biggest trend is Urban Fantasy (turning up in every genre from Mystery to Historical) showing contemporary culture oblivious to the magical threats seething below the surface. Our Hero has to protect us from those threats and keep us oblivious.

It's not about "rebuilding" civilization, winning against odds, advancing where No One Has Gone Before. It's about preventing catastrophe, holding the status quo.

And that may be the view of an entire generation currently growing up, that all the problems that beset our world are inherently unsolvable even by the best science there is (maybe because scientists lie; they know something important they're not telling us? Secrets. Conspiracies. Darkness.).

Holding the status quo seems to me at the moment, the single biggest trend in fiction, a trend that is so big we (who absorb fiction one novel, series, or TV show at a time) can't see it as a pattern.

If the best we can hope for is holding the status quo, then we're living in a horror film. The Horror Genre definition is "the hero can't win - a draw is the best you can expect."

The Star Trek universe conception was that humanity not only can win, but WILL.

Today our world concept seems to be "hold on tight or we'll slip backwards."

If we don't change that attitude, it could become a self-fulfilling prophecy.

Consider how the USA (yes, I know some readers of this blog aren't in the USA) is handling Iraq and Afghanistan - Israel and the Palestinians. Consider the issues fueling those controversies and parse them into the paradigm of "hold on tight or we'll slip backwards."

Which way is "forwards?" Point me at a novel or TV show that blazes a trail "forwards."

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Sunday, November 29, 2009

Science Fiction Romance and The Comedy Of Manners

Almost any plot or subgenre of literature can be reinvigorated as science fiction.

Westerns are a natural. You simply give black hats to some of your fellow Space-Ark-mates, or colonists and substitute aliens for the gentlemen in war bonnets.

Better still, make the alien equivalents of Native Americans the heroes. Or, make all of humankind walk in the shoes of all the aboriginal peoples our own colonists have wronged in the past, and present the incoming aliens as pilgrim fathers or conquistadors. Ah, but that isn't the stuff of Romance. Moreover, the natives win in "Independence Day".

You can have Quest plots (The Holy Grail in outer space... and very often, as with the Da Vinci Code, the holy grail in sfr is a fertile, pure young woman), Discovery plots, Adventure plots, Pursuit plots, Rescue plots, Mysteries (including murder mysteries), Rivalry plots, Revenge plots, Underdog plots, Transformation and/or Metamorphosis Plots, Beauty and the Beast, Coming Of Age, Who's Coming For Dinner (prejudice/forbidden love)....

The one plot that may not translate so well into an alien romance is The Comedy Of Manners... which in turn might be described as a highly entertaining, watered down Morality Play. (Erring protagonists don't die, they just end up married till death do them part.)

Yes, I watched "Sense And Sensibility" last night, and I thoroughly enjoyed it. The cast included Emma Thompson, Tim Rickman, and a rather hunched Hugh Grant. I wonder how long it will be before Emma Thompson does us (us Romantics) a huge favor and makes movies of some of the Georgette Heyer novels.

The trouble with Jane Austen and Georgette Heyer --when it comes to space travel-- is that their plots and heroines don't kick butt. They are rewarded for not kicking butts, nuts, or giving tongue lashings to anyone. Heyer heroines, actually, are more dynamic. Some of them do have violent tempers, like Leonie, and they shoot men (or want very much to do so) and fight with swords, and cross dress (like Viola and a few other Shakespearean heroines), and drive racy vehicles too fast.

A Comedy Of Manners depends on the heroine wanting to marry a gentleman, but not being able to tell him so. She is too well-mannered, and he requires more encouragement than she offers.

Usually, she has a sister (possibly multiple sisters) who is/are man magnets, often for the wrong sort of man, and who behave like the sort of woman/women a chap would take as his mistress, but would never marry. Villainy in a man could mean that he has sex with a virtuous young woman (or tries to do so, or promises to do so within marriage) and then leaves her.

Imagine! James T Kirk would be the worst of villains in a Comedy Of Manners. The continent Spock would be the hero.... which he was for most of us, anyway.

In science fiction romance, our heroines have to be in greater physical danger than losing their reputations (ie being suspected of not being quite virginal). Unless they are Queens or Empresses married to a Henry VIII type, and likely to be subjected to a show trial and executed. But that is a different sort of plot. The archetypical Sir Jasper does not cut the mustard as a sfr villain. He'd have to want her world as well as her body.

Our heroines in futuristic settings are expected to be sexually liberated, to have smashed the glass ceiling, to hold their own and often their hero's (blaster or equivalent weapon). They have to rock. And multi-task. They cannot sit around, being nice and proper.

By rights, Eleanor ought to have ended up with Colonel Brandon. We saw much more of the Colonel. He was by far the most heroic. However, he did not want Eleanor. He was doggedly determined to love Marianne... and Marianne was the stock "silly girl" whom (in my opinion) we see far too often, setting themselves up as role models for our impressionable daughters in endless sit coms, Disney movies for teens, and high school dramas.

Eleanor got the man she wanted, but only because of the perfidy of Miss Steele. Colonel Brandon's patience was rewarded... but in sfr, does any hero or heroine worth his or her salt settle for being second best?

Rowena Cherry
SPACE SNARK™ http://www.spacesnark.com/ 

Thursday, November 26, 2009

Happy Thanksgiving!

Happy Thanksgiving to all our U.S. readers. Over the weekend, as usual, we'll be going to the Darkover convention just north of Baltimore. I'll be on two panels about vampires.

Margaret L. Carter
Carter's Crypt

Wednesday, November 25, 2009

Rion-dragons




Hi Everyone,
It's that time again. My new book RION is about to hit the stores shelves. So please check out the book and the fabulous ecard my publisher created for me. You can read an excerpt on my web site www.susankearney.com

Best,
Susan Kearney

Tuesday, November 24, 2009

Harlequin Horizons & RWA, MWA, SFWA, EPIC

I have an anecdote to tell you regarding a power-lunch with the head of Harlequin that happened years ago, but seems to be finally percolating to the top where the world can see effects. Of course, there's no way to trace what we see today to my influence, and what we are seeing today would be the biggest embarrassment of my life should it turn out to be connected to anything I ever said anywhere!

If you haven't heard the Harlequin flap by now, here's the scoop. Skip to the section break if you know all this.

Harlequin publishers which has grown to own many imprints, some of which you may recognize but not know Harlequin is the company behind them, has felt the pinch all publishers are feeling.

And they have responded by partnering with a vanity publisher.

Vanity = they charge the author to "publish" the book, do no editing, do little or no "promotion" (their idea of promotion is not an author's idea of promotion) and dump some copies on the author. If the book is successful by the efforts of the lone author, they take the lion's share of the profit, or maybe all of it.

Self-publishing means you become a "publisher" doing all the steps, work of several departments, dealing with many companies to assemble components, do all the marketing, do all the publicity, do all the promotion (all different things requiring different sorts of mental acuity and intelligence, plus training and talent), but if successful you keep all the profit (except for taxes which can be complex).

E-publishers are publishers. They do all that stuff except maybe the lion's share of the publicity, and still manage to pay the author a goodly cut of any profit. They're "real" businesses, as is a self-publishing author who actually does it all (or knows who to hire -- Mass Market publishers hire lots of sub-contractors.).

Harlequin recently announced they were entering into a venture with a known vanity publisher. The few clues in their announcement all pointed toward standard vanity publisher rip-off, with the one tiny detail that they "intended" to watch for successful books and offer those authors contracts for a Harlequin colophon bearing edition.

Here's Harlequin's Press Release.
http://press.eharlequin.com/index.php?option=content&task=view&id=107&Itemid=

----------------Section Break-------------

OK, so now that Romance Writers of America, Science Fiction Writers of America, Mystery Writers of America, and even EPIC (ebook writers and publishing professionals), and many others have weighed in on this controversy, we should look at it from several different angles.

Here's the SFWA statement:
http://www.sfwa.org/2009/11/sfwa-statement-on-harlequins-self-publishing-imprint/

Here's a bit about the whole flap involving other writer's organizations.

http://www.booktrade.info/index.php/showarticle/24433

And isn't it interesting that READERS don't have an official organization to post a position white paper on this subject?

Writers and readers need to pay attention because we are in a topsy-turvey revolution in the Fiction Delivery System which is part of the revolution in industry caused by the Web and especially Web 2.0 where customers of all businesses can find and talk to each other directly.

In the pre-Web world, two people in different countries who bought the same brand of canned peaches would never be able to FIND each other, never mind talk about how good or bad those peaches were. Today the web connects users of a product and even translates (sort of - it's getting better).

I am ever so grateful to people who post their experiences with appliances, bed sheets, and other expensive things I buy seldom. User comments are what count for me these days, not advertising.

In today's world, word of toxic peaches would flash around the entire world in 15 seconds because of Twitter. The blogosphere would ignite with warnings, and facebook would be alive with URLs.

I read a blog comment yesterday where someone said, "make one mistake and you're a hashtag on twitter." (a hashtag is written like so on twitter #NewMoon -- that's the hashtag for the Twilight film New Moon, but you also see it as #newmoon and other variants)

Twitter surfaces "trending topics" by searching for keywords in the 140 character posts. If a few hundred people start relaying posts about say, Heinz Peaches, suddenly #HeinzPeaches would become a "hashtag" and within a few minutes probably surface as a trending topic.

People love to talk about the mistakes corporations make, but rarely gossip about the perfect, easy, convenient, no-hassle service they get from a corporation.

Nobody I've found yet has said "do something perfectly and become a hashtag on twitter."

With novels or films, though, it's often the other way around. People chatter incessantly about what they liked, but have little to say about what they didn't like except "it's bad."

So there's been a lot of talk on Amazon Communities and on Goodreads.com about Romances of various flavors. People like their fiction separated by flavor, aroma, mood, color -- all neatly categorized so they spend money only on what they're in the mood for.

Good books get talked about at length and in detail, the characters, backgrounds, backstories, relationships, speculation about their futures.

Books people don't like get "It was bad." "I didn't like it." "This author just doesn't deliver."

The characters don't get analyzed, the background visuals don't get discussed in terms of how they do not explicate the theme, the motivations don't get sliced and diced, the story doesn't even get retold in reviews. All a "reader" knows is that the BOOK is no good, and if they haven't studied writing, they really think the problem is inside the book, or the writer, not in themselves.

Readers who are only readers rarely comment "I just wasn't in the mood for a sappy romance." Or "I got bored by all the action scenes and skipped them - I probably missed something important and that's why the ending made no sense." "It fell flat for me because I was still bummed by being jilted by my boyfriend."

We've studied reader tastes on this blog in some detail. If you're interested in how to account for taste, you might want to read my blog entry:
http://aliendjinnromances.blogspot.com/2009/10/7-proofing-steps-for-quality-writing.html

And follow the links in there back to some of the deeper explorations of how to account for the tastes of whole generations of readers.

The more educated a reader is in the art of writing, the more able that reader is to wade into the vast volume of self-published work and pick out the books that will, for her, be superior to anything the traditional publishers can ever produce for Mass Market distribution.

After the "quality" editing run suggested in that last link above has been done by the author and others knowledgeable in the craft, all books are equal.

The only remaining point is "market" -- or whether you as a reader are in need of reading this book.

With experience, a reader may trust an author, or a colophon (because for several years at a stretch a colophon will have been "edited by" the same person) or even a whole publisher like Harlequin to produce more of whatever they liked in the previous book.

Likewise with small publishers, ebook and/or POD publishers. With a few free samples, and a little trust, readers may part with money to read a series that they don't buy in a Brick-n-Mortar store or at Wal-Mart.

This was the theory behind my first non-fiction paperback, STAR TREK LIVES! What is specifically aimed at your taste and mood-of-the-moment will seem to be of "higher quality" than anything aimed at a mass market that only includes you.

And that's why the Star Trek fanzine fiction took off in a blaze of glory that literally changed publishing forever.

Prior to Star Trek fans pouring out millions (maybe billions by now) of words of fan fiction, Science Fiction fanzines carried pretty much only non-fiction -- any fiction was just sendups, short humor, amateurishness for its own sake.

It wasn't Star Trek that changed our world so much, it was fanfic.

Star Trek fanfic started out on two levels at the same time.

Devra Langsam (a professional librarian) and some librarian friends of hers started the first Star Trek fanzine called Spockanalia - focused on the phenomenon they called Spock Shock. That's the impact of the ALIEN on women that produced ALIEN ROMANCE; or more specifically alien sex, infatuation, crushes, etc.

Spockanlia was printed mimeograph on high-acid (cheap) paper that has deteriorated. But the writing was professional level because the editors were librarians and knew from good craftsmanship, because-lines and themes, and foreshadowing and character motivation, as well as the importance of expunging typos.

Just after Spockanalia appeared, some industrious individuals began their own Star Trek fanzines with stories they wrote themselves, often published on spirit duplicator, or even just by typing a few carbon copies in a typewriter and circulating the paper copies. (really! by snailmail!)

Soon though others with wordsmith skills began producing fanzines that they invited authors to contribute to. Then the 'zines began to compete on editing. Before long, the field diversified into 'zines specializing in certain types of stories, and Star Trek 'zine genres emerged complete with names the readers understood.

There was still the occasional self-published 'zine, but even then only teenagers skipped the step of getting the work really edited before offering it for sale. Lack of editing produced scornful reviews and readers shunned the 'zine. Kids lost a lot of money as the editing standards increased.  I know one self-publisher who did novel after novel of her own and each one pristine -- because each got edited by other eyes. 

STAR TREK LIVES! blew the lid on this secret, underground publishing venue and exposed it to newspaper and TV attention, attracting thousands and thousands more writers, editors, publishers of the do-it-yourself generation. The field of 'zines exploded as the word 'zine short for fanzine (coined in SF fandom in the 1940's) became a newspaper term that didn't need explanation each time it was used.

So what has this to do with Harlequin?

Have you figured it out yet? Think hard.

SELF-PUBLISHING is fanzine publishing.

In self-publishing, editing is seen as optional.  From the outside, that is. 

Today, the online posting sites for fanfic demand beta-readers sift the stories before posting for free reading. Some beta-readers rise to the top because they actually edit (why did Stephen bite Rosemary's neck?)

People shun wasting their reading time on un-edited work.

Self-publishing is considered "un-edited" by almost all the professional organizations, so they are stomping on Harlequin for launching a vanity-press.

The new Harlequin Horizons imprint is an imprint for self-publishing authors.

A colophon is the graphic squiggle that labels an imprint. A colophon would be like a Vampire Romance and a stylized V dripping blood, the Imprint would be Stefan's Vampire Romances.

Harlequin said that Horizons won't offer professional editing by their own (rather sharp) editors. Harlequin will point authors rejected by their slush pile readers to the self-publishing operation as a "viable" alternative.

Those are the two points that have all the professional writers' organizations miffed.

Harlequin (nowadays a respected name though it hasn't always been so) is using marketing techniques to the disadvantage of beginning writers who don't know what's being done to them.

Harlequin (as any professional writer's organization knows) stands to make a hefty profit from the new writers (over and over again) because their new Harlequin Horizons imprint will not be geared up to teach these new writers why their work was rejected by Harlequin.

So new writers will continue to make the same anti-commercial "mistakes."

What's the difference between a vanity press and self-publishing?

A vanity press panders to the writer's ego and charges big bucks for the service.

Self-publishing is a job that smashes your ego down into a micro-dot.

SFWA says Harlequin's retraction of the announcement of the name on the new imprint (Harlequin Horizons) isn't enough.

The first uproar was targeted at the idea of putting the rather prestigious name Harlequin on what would be mostly a product that does not meet Harlequin's publishing standards.

So it seems it should be enough to name the venture something else.

But SFWA (rightly, I think) is still shunning the entire concept of a major publisher with known precision standards owning and operating a self-publishing operation that is marketed to their slush pile rejects on a distant promise of "if the book does well, we will consider..."

The writer's organizations discount all efforts made through self-publishing operations, vanity press or hard working self-published authors -- even most epublishers are excluded from qualifying a writer for membership because they don't pay advances against royalties.

Professional writer's organizations sift the publishing world on how the writer gets paid.

It's professional. We do it for a living. People who don't do it for a living aren't qualified to become members. It's an attitude that unites professionals in all fields, and divides them from amateurs and wannabees.

Those who have been in the publishing business since before the Internet became a publishing venue have their understanding of what is actually happening (and why Harlequin decided to launch this venture) conditioned by a vision of the industrial world that is in fact no longer exactly true -- though it may become true again, as we work through this turbulence.

I've talked a lot about the business of publishing in prior posts here. You might want to check:

http://aliendjinnromances.blogspot.com/2009/09/marketing-via-social-networking.html

Harlequin made a business decision based on an assessment of where the world is going with book publishing and what they could do to position the company to make a profit in that new world.

The people I knew at the helm of Harlequin years ago are long gone, and I expect their corporate culture legacy is long gone too.

But I see the Harlequin Horizons venture as if it were actually on the because-line of a novel that started at the power-lunch I mentioned at the beginning of this post.

Some trickle-down of the legacy of that lunch discussion, a bit of dust on a wall, a flake of paint here and there, some trace of something may have remained in the air at Harlequin and led somehow to this decision. (I can hope not, of course, because this decision is potentially very harmful to the very people I treasure most - the beginning writers.)

Here's what happened.

One day, I got a phone call from a secretary at Harlequin's Canadian HQ who said her boss (CEO) was going to be in New York (where I lived at the time) and would like to have lunch with me.

Huh? I mean REALLY!

She eventually convinced me it wasn't a hoax, and I made the appointment to meet him in New York at a very expensive, posh, hotel restaurant.

It turned into a six martini lunch for him. I talked his ear off.

Subject of his questions?

You won't believe this.

STAR TREK FANZINES.

That's what he wanted to talk about. And of course, at that time if you started probing Star Trek fan activity from any end of the spectrum, you would end up talking to me on the phone (pre-email).

It seems that the press had convinced this mover and shaker of the publishing industry that women were the market for STAR TREK fanzines and those women were into the exact kind of story that Harlequin published, except with science fiction and aliens emphasized.

You have no idea how bizarre that concept was at the time.

So I spent over 5 hours explaining self-publishing, fanzine publishing, Star Trek publishing, emerging genres, trends, economics of fanzine publishing, content of the stories, target audiences, editing quality, prices readers were willing to pay ($20 for an amount of words Harlequin sold for $2.50 ) to get those particular stories.

This "lunch" lasted so long that we were the last people in the place as they were closing and retooling for dinner.  The staff had prepared all the other tables before one very obsequious manager crept up to softly suggest we might like to leave now.  (what an experience!  I've been thrown out of places coast to coast for being too talkative past closing time.  Politeness was beyond comprehension -- I mean this was New York!)


This CEO asked questions and made comments and comparisons that convinced me he understood what I had said. That was the truly astonishing part. I was actually able to communicate these ideas to someone in a position to take the entire Star Trek fanzine phenomenon to the next level, Science Fiction Romance!!!

Not STAR TREK ROMANCE -- that was owned by Paramount -- but rather the underlying abstract concept of how sexy a smart non-human could be in a story.

I did convince him there was a future for science fiction about romantic relationships (totally insane and ridiculous concept but he believed me).

In fact, another such power lunch conversation resulted, where I was invited to Washington DC (had to take the plane shuttle and the train downtown, then back in the same day) for lunch at a really exclusive club -- the kind of place that's members only; all posh silence and exquisite service once you're through the security.  The drapes in that place cost more than my house. 

I was invited to a place like that in San Francisco, too, a Yacht club.  They don't put a bill on the table when you're done.  It's in the membership fee. 

And that DC "lunch" too became a six martini lunch (not for me; I don't drink much) that left us the only two people in the place as it closed to retool for dinner. But lunch with a CEO that lasts about 6 hours is an experience and a half, especially when the talk really is all business. Lunch with editors isn't quite in the same category as lunch with the boss of the boss of the boss of the editor.  How many writers get to bend the ear of the actual decision makers? 

But nothing ever came of all that talking, that I know of.

I do know that for a while, the person at the helm of Harlequin understood fanzines, self-publishing, fanzine editing, and most importantly how very desperate the readership was for more SFR.

I had such high hopes.

But no.

It never happened. None of the programs he was meditating on ever materialized.  He could see my vision and share it, but there was no way to make it materialize in the Mass Market Publishing world. 

So I forged ahead and wrote the DUSHAU TRILOGY for mass market paperback and it won the first Romantic Times Award for SF, and other such SFR works with the R part disguised as plot driver. (see http://jacquelinelichtenberg.com for free chapters of that and my Hardcover efforts to make this point.)

Now Harlequin Horizons appears out of nowhere.

Vanity Press!!!

Monday, Nov 23rd, one of the Agents I most respect, Agent Kristin, posted the following on her blog:

-------quote---------
Today, Thomas Nelson Publishers joins the Harlequin hoopla in a ridiculous blog post. Ashley and Carolyn Grayson posted their response—to which I whole heartedly agree. I find it laughable that Hyatt believes that agents are speaking out against the ripping off of writers via vanity publishing arms because we see “self-publishing” as a threat.

As many commenters have already noted in my blog comments section, vanity publishing and self publishing are not the same. A distinction that Hyatt does not seem to understand. I suppose he also believes that venerated writing organizations such as RWA, MWA, and SFWA, all of which have a long tradition of helping and protecting writers, are similarly trying to keep the status quo by vehemently speaking out against such blatant ripping off of writers.

I also want to make this distinction.
----------end quote-------------

And there's lots more she has to say. See Agent Kristin's post for the links inserted in the above quote:
http://pubrants.blogspot.com/2009/11/horizons-is-not-remotely-like-harper.html

I really hope there's no connection with me because this is about the opposite of what I was saying to that CEO about the potential for SFR. But this is the very first time since then that Harlequin has made a business move even remotely flavored with that conversation's content. 

I'm not sure I'm flat out against Harlequin Horizons (just against the proposed method of doing business).

If the operation is smooth and high quality ( Vanity presses are famous for not-being high quality!), it's possible Harlequin Horizons might take us the next step beyond the tizzy publishing is in right now.

What I envision is packagers. Independent editors who select and edit novels in a specific narrow category, then when the novels are at the highest quality level, though aimed at some specialty audience, the packager uses an outfit like Harlequin Horizons to publish the work with the packager's colophon (not Harlequin Horizon's colophon).  The packager's colophon would then become trusted by readers.

Readers are the key element being ignored here.

All the professional writers organizations have spoken.  Where are the readers?  

A trusted colophon could become acknowledged by writers' organizations like SFWA, RWA, MWA, EPIC, etc. It could qualify the work for award consideration and as a membership qualification, in a defined category.

But I suspect long before that could happen, we will have a series of Awards created by various organizations for works in these nooks and crannies of reader taste. We already have the very respected EPPIES (which have been renamed) which have so many categories I can't count them.

As Alvin Toffler pointed out in his book Future Shock, the computer revolution, the information age, allows for customization of products that the industrial revolution handled as Mass Market.

The days of the mass market may be numbered.

The inflection point in history where that numbering may have begun would be the 1970's explosion of Star Trek fanzines that has continued into e-publishing on the web and overflowed into the universes of every other TV show you can think of (SF TV led the way, but today it's everywhere).  

But economies of scale have not yet hit the niche markets.

It's still too expensive to self-publish, e-publishers are struggling with narrow margins, and the only solution business school graduates know is to reach a wider market.

But art aimed at a wider market leaves the various narrow markets luke-warm rather than ignited in passion for more-more-more at any price, as Star Trek Fanzines did.

We might view Harlequin's move to vanity or subsidy press as an act of desperation as their mass market readership evaporates beneath them, and they need another source of revenue so they're setting up to fleece beginning writers who don't know that they don't know what they need to know.  

Publishers have to learn that the future of the fiction delivery system lies in the micro-market not the mass-market.

Or am I wrong? What am I missing here? 

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Sunday, November 22, 2009

The Day The Earth Stood Still (yesterday, on TV, at 8pm)

I missed the first eleven minutes of this remake of "The Day The Earth Stood Still", because I was watching an absolutely gripping bit of political theatre.... and perhaps if I had seen the very beginning, I might have enjoyed the movie more.

How is a debate a "debate", if people vote from remote locations without any solemn or otherwise obligation to listen to, and weigh, the arguments for and against the motion? I hope the Jury Trial system never goes the way of the Senate!

My husband tells me that I am in for a real treat when I see the original movie.  He rates the original a 10, and this version a 3.

Reviewers are kinder here http://www.imdb.com/title/tt0970416/

I give kudos to John Cleese for his endearing and totally charming performance as a true world leader, a Nobel prizewinner who keeps a blackboard and chalk in his living room.

The other fine supporting performance was by Jaden Smith as the bigoted little boy who probably did more than his stepmother to convince the unsmiling alien that mankind was worth saving.

The blubber premise grossed me out, frankly. I won't say more even though I don't consider it a major spoiler... unlike the idea of carrying a bit of ones own blubber/placenta around with one in a little jar in case of accidents, and even smearing some of it inside an inconvenient policeman's mouth.

Major spoiler:

That the explosion-proof, diamond-bit drill-busting robot turned into bifurcating cockroaches and ants bothered me. That they flew around in a cloud reminiscent of starling flock formations (currently on display in the Artology exhibition at the Cranbrook Institute of Science) was cool. I could have wished that they'd focused on eating something more to the point than one big truck and a few roadsigns.

If mankind is going to radically modify its alleged, environmentally destructive behaviour, a few missing truckers and roadsigns won't impress an out-of-touch President in his bunker. Those metal munching cockroaches ought to have eaten all the airports, and all the ships, and all the world's nuclear reactors. And the tree cutters and earth movers and shakers, such as Caterpillar, John Deere, Hewlett Packard, Google, and Goodyear... (You can't run a mine without rubber, apparently).

How the world has changed since this movie was made, by the way.
http://news.yahoo.com/s/ibd/20091120/bs_ibd_ibd/20091120issues01

However the physics of mass confused and upset me the most. It always does. It's my pet peeve with science fiction. In fact, the cockroach size issue was my biggest hurdle... my wall-banger moment. It surely could, and should have been photographed with more care and sensitivity.

Oh, and there was another issue of mass. Keanu Reeves asked an apparently smaller man what size that man's clothes were. He then asked the man to undress. Unfortunately, we were not permitted to see this feat. Moments later, the tall Keanu left the room in a perfectly tailored, exquisitely well fitted suit.

Continuity is ok. But, what was Keanu going to wear if he did not take the man's clothes, no matter what size they were? Ask a silly question!


http://www.youtube.com/watch?v=A_bNDv0-ZrU

Bottom line, though. I'd have given The Day The Earth Stood Still (Remake) an extra two points at least if they'd shown that particular logistical detail. My philosophy when telling a fantastic story is to show everything that is --or could be-- plausible.

A Programming Note

Visitors may have wondered why we have 6 wonderful examples of alien romance cover art in our right hand sidebar.

That's because the six of us are donating those novels to one winner who visits our site in a special event in honor of sfr (science fiction romance) organized by Heather Massey of The Galaxy Express that will take place on Sunday, December 6th 2009.



-->
List of participating bloggers


List of authors

Author                              #Bks            Title                                                          

Nathalie Gray                   (4)         The complete Lycan Warriors series       Ebook                 
Leanna Renee Hieber       (1)            DARK NEST
Claire Delacroix               (2)            FALLEN & GUARDIAN
Jess Granger                     (2)            BEYOND THE RAIN
Karin Shah                        (1)            STARJACKED
Ann Somerville                 (1)            ON WINGS, RISING                            Ebook
Susan Grant                       (1)            MOONSTRUCK
Ann Aguirre                      (2)            WANDERLUST & DOUBLEBLIND
Katherine Allred                (2)            CLOSE ENCOUNTERS; CLOSE CONTACT (ARC)
Rowena Cherry                  (2)            FORCED MATE; KNIGHT’S FORK
Susan Kearney                   (1)            LUCAN
Jacqueline Lichtenberg      (1)            DUSHAU                                                           
Susan Sizemore                  (1)            DARK STRANGER            (AR)
Margaret L. Carter             (1)            FROM THE DARK PLACES (AR)
Linnea Sinclair                  (2)            GABRIEL’S GHOST & SHADES OF DARK plus HOPE’S FOLLY tote bag 
(Linnea will ship overseas)
Barbara Elsborg                (1)            LUCY IN THE SKY                   Ebook
Ella Drake                        (1)             FIRESTORM ON E’TERRA       Ebook

Total: 17                        Total: 26


TGE, Alien Romances, and Spacefreighters’ Lounge will all be giving away additional books.

Total # of books across all blogs:  30+

Thursday, November 19, 2009

Writing Output and Dumb Aliens

Here’s a very useful article on planning and productivity in the writing life, by Karen Wiesner:

Writing Productivity

My main reaction is awe at her output. She breaks down her annual schedule week by week and makes it sound so easy. Of course, she writes full time with no “day job,” but still. . . .

Since I’m a much slower writer than I’d like to be, I’m always searching for new techniques and tricks to overcome my inertia. Sort of like the way I used to accumulate books on housekeeping in hopes of finding the secret to getting the house clean with no effort. As a dedicated outliner, I’ve found Karen’s FIRST DRAFT IN 30 DAYS and FROM FIRST DRAFT TO FINISHED NOVEL to be phenomenally helpful and an excellent fit for my natural way of working.

But what I still want, ideally, is a magic word processor that would take my detailed outline and transform it into a first draft in my own style. I enjoy outlining and don’t mind polishing; unlike lucky authors such as Isaac Asimov, I don’t get much pleasure out of the actual, well, WRITING.

On an unrelated topic, I saw the alien abduction faux documentary THE FOURTH KIND last weekend. It impresses me as a good illustration of Jacqueline’s contrast between SF and horror. Despite the SF trope of extraterrestrial visitors, the movie’s mood is horror. The human characters remain helpless to do anything except investigate their terrible experiences, and even then gaps in their knowledge remain. They can’t learn much more than the aliens want them to know. The film has some scary moments, but aside from the exasperating lack of realism in the sheriff’s behavior (it’s supposed to take place in Nome, Alaska, which I’m sure operates like a real city, not a frontier outpost in the wilderness where police can do anything that strikes their whim) the aliens don’t make much sense when you think about them carefully, either. If they’ve been hanging around for thousands of years, as suggested by the dragging in of that tired “prehistoric alien visitors” notion with bas-reliefs from the ancient Middle East as evidence, shouldn’t they have learned more than enough about our species by now—too much to require the random snatching and vivisecting of ordinary human beings? More glaring, if they’re advanced enough to remove a child through a solid ceiling on a beam of light, why aren’t they smart enough to destroy the psychologist’s tape of her encounter with them? And surely cosmic beings of superhuman intelligence could figure out that if they don’t want humanity to learn about their existence, they should stay far away from the psychologist and her family, ensuring that nothing abnormal ever happens to them again—instead of kidnapping her daughter in a dazzling light show.

Margaret L. Carter
Carter's Crypt

Tuesday, November 17, 2009

Vampire Archetype Flashburned Into Memory

Before we start, look at the graph on this blog tracking the meteoric rise of Vampire Romance by number of titles per year over 10 years.

http://vampchix.blogspot.com/2009/11/rise-and-fall-of-vampire-romance-and.html

I found this via the following post on Twitter which I retweeted (I don't know who Michele Hauf retweeted here):

RT @michelehauf: RT Track the meteoric rise of vampire romance over the past decade at VampChix! http://bit.ly/ycx0r

That's a shortened URL going to the whole blog - the long URL above goes directly to the specific post with the graph that tells it all.

And if you haven't investigated my Vampire Romances, take a look at http://www.simegen.com/writers/luren/ to sample free chapters and look at what other Romance writers have said (I can still post more comments if you have any you want linked back to your own website.)

OK, now that you've done your interesting homework, come to class, sit in your chair, fold your hands and prepare to be bored out of your mind with one of my insanely long posts -- which is worse this time because I have to brag or there's no way to make this point, and the point is really, really abstract and you probably don't want to know, and maybe it really ought to be kept a deep, dark secret.

--------Skip If You Know All About Archetypes-------

We've discussed archetypes before, and I've always assumed everyone knows what they are and how they work and why. But maybe not. If you know all about archetypes you can skip this section of this post and still understand the point. Look for the dashed-line divider below that says SKIP THIS SECTION IF. to see if you need to read that section.  That would be two whole sections of this monster that you can skip and still get the point.

The thing with archetypes is that they don't look like whatever manifestation you're seeing them inside of.

They don't seem "real" and have no absolute specifics about them. It takes some practice to walk the world and spot interacting archetypes in the people around you and their biographies.

People are so different, no two alike, and the differences matter to us. The similarities, not so much.

How can you say one person is "just another version" of another person?

But that's what successful Romance Writers (and other genre writers) do to make their characters (and dialogue) Flashburn into reader's Memory.

Some really successful writers don't even know (and shouldn't know) they're doing that at all.

Learning a little (very little) bit of Astrology can help sort the world around you into archetypes, but that's the lazy woman's way of learning it.

You can't make a diagram of an archetype (though that's what Tarot cards are and that works for some people). You can't do an animated gif to show what archetypes are. They aren't tangible or visible.

Archetypes are psychological patterns of non-manifested FORCE or ENERGY. They are templates for reality, not reality itself.

Yes, an archetype is a little like a web page template. It's not the template that matters to the page visitor, it's the color, sound, motion, words, videos, links, that make this page different from that page, and that is all that matters to a visitor, "what's here that's different from what's there."

But web designers know that what makes all the content accessible and high-impact on visitors (stopping surfers mid-click), conveying the meaning that is within the content is the underlying pattern, the design, the composition, the template.

Fictional characters are just like web pages in that sense.

If the template design shows through you get a stereotype. If the template design does not show through, you get a living, breathing, psyche-penetrating, communicating, real character who seems like a real person and "lives" in the reader's memory, dreams, and even manifests in their lives (yes, I have testimonials from my readers about how my characters have affected their real life decisions and results - to the good, thankfully!)

New writers need to learn to percieve this dual level of reality (template vs. content) because what matters to people is the specific manifestation of the archetype, not the archetype itself. "Happiness" is achieving a specific manifestation of whatever archetype is operating in life (and none of the other possibilities within the archetype), and nobody cares what the archetype is as long as the specific desired manifestation appears.

People and thus characters prefer to ignore the fact that an archetype encompasses their reality. It's irrelevant. They want what they want.

For example: In Astrology, Tarot and in Archetypes, there is no distinction between "winning" and "losing" -- between succeeding and living or failing and dying. These are polar opposites to us living beings, but irrelevant distinctions on the level of archetypes.

I'll leave you with that concept for a while because it's so nonsensical to our ordinary consciousness it takes a while to sink in. But it's the main clue you will need to understand a couple of future points I hope I can make on this blog.

Archetypes exist on the astral plane, or in Kabbalah Yesod represented by The Moon in astrology.

The best show-don't-tell I've ever seen for "the astral plane" was the Star Trek: The Original Series episode SHORE LEAVE (also written by Theodore Sturgeon, one of my favorite authors and I knew him well enough to know that he understood the astral plane well enough to have encoded it in this episode deliberately, though I don't know if he did.)

Here's a reminder about the episode on Wikipedia.

http://en.wikipedia.org/wiki/Shore_Leave_%28Star_Trek:_The_Original_Series%29

What you think, wish, dream, what just crosses your mind, what you subconsciously fear or want, becomes MANIFEST on the astral plane. Your psyche is the template, and energizes your personal reality. On the Astral Plane, anything you want (or fear or don't want) will surround you.

The Kabbalistic trick is to understand that the astral plane is the foundation of our actual concrete everyday reality. And our reality actually is influenced starkly by what we think, dream, feel, and subconsciously hold dear.

Archetypes are the pattern of illusion and delusion, and they're plastic.

In addition to your personal manifestations of archetypes in your own life, archetypes have attributes defined by the human Group Mind that downloads and pours content into them, content that is displayed on that Group Mind's homepage.

Maybe all archetypes are eternal and the same ones arise wherever humans are. The Magician. The Mage. The Vampire. The Maiden. The Mother. The Crone. The King. The Queen. The Youth. The Outsider. The Alienated Hero. The Warrior. The Shaman.

Which are you living inside? Living with? Playing publically?

You can recognize archetypes manifest in something you're familiar with. A badly handled archetype becomes a stereotype, just as a badly handled "foreshadowing" becomes "telegraphing."

Last week we discussed Sharon Green's WARRIOR WITHIN starring Terrilian.

http://aliendjinnromances.blogspot.com/2009/11/astrology-just-for-writers-part-6.html (which post is mis-named, it is Astrology part 7)

Remember what we discussed and think about The Female Warrior Archetype - Amazon? - Marion Zimmer Bradley's Renunciates?

Archetypes do change how they manifest over generations. Yet the more they change the more they stay the same. Still, the available options you may choose from in your life or your novels change with the Group Mind.

You can change your options list by changing what Group Mind you belong to. Think about how a person can change when they do something drastic in their life - such as a religious conversion, joining the Army, graduating and leaving the "old neighborhood" losing touch with all the kids from class and finding new friends among co-workers. Consider a Rock Star fan who moons&moans, then cuts loose and goes Groupie, following the star around the world, associating with the Star's friends and forgetting family. Same person: different manifestation.

Today the female image has shifted markedly from where it was in, say, the 1940's before women contributed to the USA winning World War II. Now some women have become (or been brainwashed into becoming) suicide bombers, and there are more acts of violence against women in TV fiction than ever before since anyone started counting violence on TV. But at the same time, women are combat trained and gaining combat stripes in the armed forces, rising to high rank where that was prohibited before.

Something is changing in our Group Mind, and that change is accelerating.

But that's all very theoretical and abstract. Worse, that quick reprise doesn't even scratch the surface of what we can see once we are able to sort the world around us out into archetype and manifestation. But seeing doesn't accomplish much.

What can we do with this concept of the archetype?

Can we make our Group Mind change its mind about Relationships, and thus consequently about the merit of the Romance Genre in general and all its variants in particular, and possibly even the entire notion of what constitutes "peace" in this world?

----SKIP THIS NEXT SECTION IF...--------

...blatant bragging offends you or if you're already familiar with the origin of the Sime~Gen Universe novels and all the Star Trek connections underlying them, and how this all spawned Vampire Romance.

You can happily skip this section, and still probably get the point anyway. Scroll down to the next line of dashes where it says POINT.

In the Bantam paperback STAR TREK LIVES! on which I was the primary author, we discussed the then popular theory that "Spock" was actually a new Archetype - The Alienated Hero but heroic because of Intelligence not Brawn. In retrospect, it's clear that Spock actually raised the prestige profile of the Geek, the outcast Class Brain. Spock was considered sexy! The Group Mind attitude toward the Geek, The Brain, the Egghead changed in much the way we would like to see the prestige profile of the Romance Genre raised.

It's unclear whether the Archetype illustrated by Spock caused the change, or emerged because of the change sparked by Star Trek -- possibly this Group Mind/ Archetype Manifestation process is as interactive as the manifestation of Violence on TV vs. Violence in Society. Think of bootstrapping, or climbing the inside of a rock chimney. It's not either/or. It's a little this, a little that, until change manifests.

Smart men weren't considered sexy in the 1960's, any more than smart women were attractive.

The book STAR TREK LIVES! (which was published in 1975, six years after my first SF story sale and a year after House of Zeor, my first novel) blew the lid on Star Trek fandom and brought in (via the Star Trek Welcommittee) hoards of new fan writers brim full of stories to tell.

Some of those new fan writers had grown up reading Romance and though they may have watched the same TV screen with the men in the room, these women saw a different Star Trek. They saw hot romance sizzling in the background and sub-text of every scene, and that is what they wrote about in fanzines.

They literally invented from scratch what has become the genre of SFR or Science Fiction Romance.

The first Inspirational Science Fiction Romance is posted for free reading at
http://www.simegen.com/fandom/startrek/

And as published Relationship Driven HEA Trek, they lured many readers into the genre until it finally (after several sad failures) burst into the Romance genre scene with THE VAMPIRE ROMANCE.

Huh?

What has VAMPIRE ROMANCE to do with SFR? With Science Fiction?

Vampires are FANTASY. Paranormal. Aren't they?

Vampires are supernatural EVIL, so they have to be FANTASY right?
Vampires can't be Science Fiction?

Vampires are Horror. That's the vampire archetype. Right?

How many posts have I done on this blog explaining the paradigm and trope underlying genre fiction, and how a new writer breaks that trope at peril of life, limb, reputation and career?

Romance trope requires the couple find each other attractive (if not at first; eventually).  Real attraction often first manifests as repulsion, and that makes a good Romance, but ultimately it must transmute into an attraction the reader can relate to.

And how can anyone love something EVIL?

Evil isn't sexy.

Surely not?

Oh, our predecessors soooo lacked imagination!

Or did they?

When and where did SFR and romantic Vampires actually begin?

Margaret Carter, one of our staunch contributors on this blog is the expert on the history of Vampire literature, so I'll let her point you to the answers on that. It was actually longer ago than you might think.

Major classics of Great Literature aside, though, look again at that graph I pointed you to at the beginning of this post.

http://vampchix.blogspot.com/2009/11/rise-and-fall-of-vampire-romance-and.html

It only goes back to 1997 which is ancient history for most readers of this blog. But I'm discussing the manifestations of the Vampire archetype in the 1960's, 1970's, and 1980's. That graph would not be parabolic had there not been 30 years of cultivating of the Group Mind's taste before 1997.

The Romance mass paperback publishers found there was a sudden market in a certain age group for Vampire Romance.

The Vampire did, however, turn off a lot of romance readers.

It disturbs people. Even today you say "I write Vampire stories" in a full room and listen telepathically and you'll hear "Evil" and all the religious people will leave the room or try to convert you.

OK, so the Romance publishers started putting VAMPIRE ROMANCE or something similar on the spines of those certain, slightly different, romances -- romances with a supernatural dimension, edgy romances flirting with the issue of Evil -- to warn off their more sensitive readers.

Meanwhile, in Science Fiction and the budding Fantasy field (yes, before STAR TREK fanfic, there really wasn't much of an adult Fantasy field - "adult" not meaning graphic sex scenes, but fantasy that was not aimed at 10 year olds) there was a flood of Vampire novels published.

Concurrent with the Science Fiction genre was the Horror Genre, often confused with SF, and most all the Vampire novels ended up labeled Horror even those with Good Vampire Heroes. That was when I started reading a lot of "Horror" even though I dislike the Horror genre. Non-Horror genre novels were published under the "Horror" label because nobody else would have them -- they contained a VAMPIRE!

A genre example.

Star Trek was the first real SF on TV. When it was cancelled after the first 3 years, and went into syndication so successfully, producers began to search for a way to lure the Star Trek audience to a new show.
They presented Star Trek fans with SPACE 1999, thinking they had the combination. But SPACE 1999 was actually HORROR FANTASY, and SF fans just don't respond to Horror (or if they do, it's with a different part of their literary taste buds.) SF fans at that time were somewhat allergic to Fantasy as well because most of the best selling Fantasy writers were women (SF editors wouldn't buy SF from women, so women went and made their own genre. So what else is new?)

This was such a hot-button issue in the 1970's that when I was nominated for the Best Fan Writer Hugo in 1973 for my Star Trek fanzine universe Kraith (up for free reading at
http://www.simegen.com/fandom/startrek/ ) there was a big political flap in SF fandom at Worldcon, and that was before K/S emerged.

Kraith plays with telepathic bonding and all the Theodore Sturgeon elements, Vulcan culture and its being shaped by telepathy. But those who voted against Kraith did so because it was Star Trek and was nominated by Star Trek fans who happened to be Worldcon members.

The feeling was that Worldcon was being taken over by "those people" - actor groupies who'd never read an SF novel. The disdain had a similar feel to the disdain focused on Romance and Vampire Romance. Today, Fantasy out-sells SF. If you graph the stats, I'll bet you find the same parabolic curve seen in the graph we're studying here on Vampire Romance titles.

In Science Fiction, the Hero prevails. The ending (as with Romance) has to have a specific flavor -- winning; triumph; achievement; understanding; satisfaction. Romance needs the HEA, the Happily Ever After, ending, and nothing else sells quite as well as an HEA.

An HEA can't actually be generated by a heroic success -- it isn't "Happily Ever After" if one partner forces the other to love them. That makes a good middle, but not an HEA.

SF needs the success ending, whatever success is. It has to be a definitive success and it has to be brought about by the Protagonist's personal actions which must proceed from the protagonist's ability to THINK CLEARLY. And preferably in an application of the scientific method, to resolve the plot's conflict via scientific reasoning even if the problem isn't actually a science problem.

SF became "Action-Adventure" because cerebral stories don't sell well, so publishing demanded that the SF novel end with a VICTORY imposed by FORCE of some kind - i.e. action. It wasn't enough to solve an intellectual puzzle any more. There had to be a physical problem with physical action and a physical resolution.

In the Horror genre ending, the protagonist must not prevail over Evil.

Evil can never be destroyed. The most you can achieve is to cram it into a coffer, a closet, a cave, and seal it with a magical seal that will hold for centuries, or millenia with luck. You have to leave the problem to your descendants. You can't win. That's the message of Horror. And SF is all about winning definitively, and that total triumph when a definitive solution slams into reality and changes everything.

The Horror premise is that evil is a property of reality, and reality wouldn't exist without it. Good and Evil must always be at odds, always in conflict, but neither can ever win.

The premise of SF is that humanity will prevail.

And that, as Gene Roddenberry said so many times, is the premise of Star Trek. We will go where no man has gone before, and we will prevail. We will prevail by intellect, compassion, and by wisdom. (He used that word, Wisdom, a lot in everyday talking, not just in speeches before throngs -- "When humanity will be wise ..."  )

It's a philosophical difference that the producers of Space 1999, and the next TV offering to Star Trek fans (marketed specifically to Star Trek fans) Battlestar Galactica (the original), just couldn't grasp.

And so both shows failed to capture the Star Trek audience which continued to grow and grow, through an animated Saturday morning cartoon version of Trek, through books and the films, and into several TV series, with convention after convention making headlines everywhere, even on TV news. What an embarrassment.

Eventually, Ronald D. Moore succeeded in creating a Battlestar Galactica remake that grabbed Trek fans - he had the experience.

Here's his comment on my theory of Intimate Adventure:

http://www.simegen.com/jl/intimateadventurecomments.html

That link reveals that Ronald D. Moore is a Sime~Gen reader, maybe fan, and it's posted with his permission. I did send him a set of Kraith Collected at his request.

Here's Ronald D. Moore's filmography on imdb.com

http://www.imdb.com/name/nm0601822/

So after Anne Rice's first novel INTERVIEW WITH A VAMPIRE became such a runaway best seller, Horror genre re-exploded with a new wave of Vampire novels. But they were horror vampires, bent on evil, destructive killers, not to be reasoned with, and with no shred of humanity left.

Then the Romance Genre pretty much invented THE VAMPIRE AS GOOD GUY and those books flooded the market for years. Then all of a sudden (about the time I was writing Those of My Blood - 1985-ish) you couldn't sell a Vampire Romance. Editors said don't send it, we're overstocked.

Everyone thought that meant they'd never publish any more, and the genre was a failure. I finished Those of My Blood anyway, and after more than 20 submissions (the only time that ever happened to me, and my agent was adamant that it would sell) it sold to St. Martin's Press for Hardcover. St. Martin's touted it as my breakout book. It was published in 1988. The paperback came out in 2003, but the new publisher refused to label it Vampire Romance because it takes place on the moon and so nobody would buy it. The graph we're studying begins in 1997.

Those of My Blood - Amazon Page.

Anita Blake Vampire Hunter series started with Guilty Pleasures in 2002, and either rode or created a contemporary urban fantasy Vampire Romance/Horror genre mix. Look at 2002 on that graph.

Buffy the Vampire Slayer TV show was on the air as TV beginning in 1997 when this graph begins.

Archetypes keep creating this kind of chicken/egg problem. When you can't solve a problem, as every math student knows, it's because you haven't stated the problem correctly.

OK, so what happened with the archetypes from Star Trek (1966) to now (2009)?

That's over 40 years, two generations.

These kinds of Group Mind archetype changes span generations. See my post on generations and taste from October 2009 which really is Astrology Part 6 (the November 2009 one is Part 7) -- on Pluto and the generations:

http://aliendjinnromances.blogspot.com/2009/10/astrology-just-for-writers-pt-6.html

Think about that post on Pluto because there's more to say about how Pluto manifests via the Group Mind and why it's so clear that Astrology is utter nonsense. Let the notions soak in for a while.

Archetypes are always shifting and changing in the way they manifest, but there is (by definition) a core pattern to each archetype that is somehow inherent in all humanity and unchanging through millenia.

These patterns turn up in all cultures over all times that we've any record of. The Vampire myth is everywhere in one form or another. It's always been there, just not the subject of popular fiction. (of course "popular fiction" and "mass market" are new phenomena, and are now melting away under the force of the specialty niche market ebook!)

So what happened between the advent of Star Trek fan fiction (STAR TREK LIVES! was published in 1976 but it was based on 5 years of research in Star Trek fan fiction) and the explosion of Vampire Romance novels that continues today in a rapidly evolving form of Paranormal Romance, SFR, and Time Travel Romance, etc etc.

How could Science Fiction spawn the Romance Vampire?

Science Fiction readers tended to loathe the Romance field. Romance readers tended to loathe Horror. All vampires are horror genre.

What happened?

Before there is a runaway best seller in any new sub-genre, there has to be what Heather at http://www.thegalaxyexpress.net/ called in her post
http://www.thegalaxyexpress.net/2009/10/does-science-fiction-romance-need-gene.html
a "Ground Zero" where the explosion of a genre happens.

Before we get to that Ground Zero, there are usually a number of novels that do pretty well, but just don't attract any attention. Audiences build a taste for a genre slowly (actually as we're seeing here over generations), and then BOOM something hits big time. Commercialization interests notice the small following, and promote it using sly, sneaky, underhanded but effective advertising tools that cost a lot of money.

And its a generational thing. In the 1980's, there were a series of children's books for pre-teens and tweens set in High School and featuring Vampires -- evil ones, and not-so unreasonably evil ones. They conditioned an entire generation to be willing to try things with fantasy and urban fantasy - and set the stage for Harry Potter.

In 1974, my first novel, House of Zeor was published.

It's the first novel in the Sime~Gen Universe, but my first sale is a Sime~Gen story that appeared in the January 1969 issue of WORLDS OF IF Magazine edited by Fred Pohl.

House of Zeor was reviewed by Jean Lorrah with the title of the review being VAMPIRE IN MUDDY BOOTS.

The Sime~Gen Universe is built on the Good Guy Vampire with a core of pure DANGER.

As a child, I had read a number of SF works with Vampires as aliens from outer space, or otherwise built on the Vampire archetype.

But I always felt there was something wrong, something missing, something just plain out of FOCUS in these SF universes. Very often they were published as SF but would have been published as Horror if they didn't have science fiction in them.

I wrote Sime~Gen to fix what was wrong with the portrayal of Vampires. The first story, Operation High Time, is available on the Web for free reading (It's not very good, but it is short.)

http://www.simegen.com/sgfandom/rimonslibrary/oht.html

From 1970 to 1975 I was working on STAR TREK LIVES! researching Star Trek fanfic (and writing tons of it in Kraith which you can read online for free at http://www.simegen.com/fandom/startrek/ ) and meeting Marion Zimmer Bradley, and marketing HOUSE OF ZEOR.

I was also raising two kids. I don't know how I did it all.

Sime~Gen, complete with Vampire archetype to the letter, came from the mid-1950's, long before I knew anything about archetypes, but I did know Vampires from SF.

I know now that what was totally missing from those early SF Vampires that I so needed to "correct" was Relationships as the plot-driver.

So that's what I wrote into House of Zeor - Relationship as a plot driver.

It's about Vampires in a Science Fiction Universe with a framework of a Romance plot, a solid love-story in every novel, a love-story that eventually shapes the way things turn out.

Sime~Gen has a hidden Fantasy premise (ESP, Magic, and the supernatural that comes out later in the novels). Because of ESP and Magick, it is disqualified as SF.

It's mixed genre with the mixture hidden so it could be published as SF (because no other genre would allow the SF part). But House of Zeor is actually a non-Horror Vampire novel with a love-story plot driver.

House of Zeor was written during and after I did a close analysis of Star Trek, Star Trek fan fiction, and why fans wrote (and read) Star Trek fan fiction.

The lead character of House of Zeor is Spock, but he's not the POV character. He's a scientist in a non-scientific world struggling to solve a problem with scientific thinking. So the book really is SF. But he's a Vampire with all that implies - except he's not supernatural, he just has supernatural Powers (but he doesn't know that).

I sold 65 copies of House of Zeor on a money-back guarantee in the expensive hardcover edition to Star Trek fans who liked Spock, and never had one returned.

I wrote House of Zeor to prove the validity of the hypothesis I set forth in Star Trek Lives! about why fans wrote stories about Spock. That's why House of Zeor had to be published before Star Trek Lives! (to see if what I said in STL! was true.)

House of Zeor connected. It was in print continuously for over 20 years, and came back in the Omnibus SIME~GEN: THE UNITY TRILOGY.

Meanwhile, Jean Lorrah joined me collaborating on Sime~Gen novels, and writing on her own in the universe, too. Many readers prefer her touch on Sime~Gen.

Further proof of my theory about the connection between the Vampire Archetype and Star Trek -- and thus the nature of the SF genre -- was supplied when fans of Sime~Gen began writing their own stories in the Sime~Gen Universe, spawning at one point, 6 publishing fanzines of fiction and non-fiction about Sime~Gen.


Much of that fan written material is currently available online for free reading, and new material is still being added at http://www.simegen.com/sgfandom/

which is an index page full of links to huge sections of Sime~Gen fan activity. To read fiction, see Rimon's Library at the bottom of that page.

To read free chapters of the published novels and find links and background information on Sime~Gen see
http://www.simegen.net (net not com)
or
http://www.simegen.com/writers/simegen/

So just as Star Trek spawned fanzines of fiction (prior to Star Trek, SF 'zines contained NO FICTION, but only non-fiction, letters, opinion, personal updates, the kind of thing you find on blogs -- and like fanzines, blogs have evolved to carry fiction), so Sime~Gen spawned fanzines full of fiction, and a little non-fiction.

The Vampire is still my favorite archetype, but as GOOD GUY.

------------POINT-------------------

At last, to the point of it all.

On this blog, I've been discussing various philosophical nooks and crannies, plus a whole lot of intellectualized analysis of story telling techniques.

I've discussed marketing, and genres, and social networking and the changes wrought either because of ebooks or that ebooks are the result of other changes in the publishing industry (such as a major change in the tax laws that killed the mid-list).

And each of these individual points I've made are defining a universe of discourse for solving the problem of the attitude of the general public toward the Romance Genre, and SF Romance and Paranormal Romance, Vampire Romance, Alien Romance.

I've told you a lot about writing technique, simply asserting that doing it this way assures your story will be forgotten and doing it that way will assure that your story will be remembered and called a classic.

I've never offered any evidence that I know what I'm talking about.

But I stumbled upon a bit of evidence in the last few weeks. I only realized what it was evidence OF a couple days ago.

Sime~Gen keeps getting mentioned on various websites, even blogs. So? That's nothing new.

When my sifting tools turn up one of those mentions, I try to find time to drop the blogger a note.

I found a blog a couple weeks ago that mentioned Sime~Gen. It was fairly typical, though outstandingly articulate and well written.

http://freyashawk.blogspot.com/2009/11/sime-gen-authors-query.html

On that blog entry freyashawk says:

"Some time ago, I wrote an article about a series of books that impressed me deeply when I first read them. They were novels about the Sime-Gen universe, created by Jacqueline Lichtenberg who, with the collaboration of Jean Lorrah, then proceeded to weave an elaborate tapestry depicting an alternate future of the human race based on a strange mutation.

Rather to my astonishment, Jacqueline Lichtenberg read my article and responded with a comment a few days ago. She wrote:

'Thank you for the nice words about the Sime~Gen Universe novels.
Please let us know what format you'd like to see these novels in next.'"

And a bit down the page, it says:

"I re-read the entire collection of Sime-Gen novels and stories last year, after recommending them to some one else who, like most of her peers, was infatuated with the 'Twilight' series. To me, the Sime-Gen universe depicted the same sort of social conflict that occurred between vampire and human, with concepts of prey and predator being turned upside down by love."

FLASHBURNED INTO MEMORY

Do you see my point? These books, read decades ago, persist in memory and get REREAD, then recommended to a new generation because they compare with something very current, like THE TWILIGHT SERIES.

Freyashawk did a second post that answers my question where she is staunchly advocating the necessity of producing reprints ON PAPER because ebooks are too ephemeral:

http://freyashawk.blogspot.com/2009/11/ongoing-correspondence-with-jacqueline.html

"Use the internet by all means to promote the Sime-Gen series and network with other writers, but find a way to PRINT the books at a reasonable cost. If you do not wish to organise that aspect of it yourself, I would expect that there are countless writers' groups and small publishers who would be more than pleased to assist in this project if the behemoths of the book-publishing world are too short-sighted to involve themselves. The reputation of any small publishing venture would be enhanced greatly if it were to produce a new edition of these Classics as well as new novels in the series."

This response from readers happens because of the techniques I have described in previous posts here, starting with the 20 posts on Tarot, through all the Writing Craft posts on theme, structure, plotting, story, conflict, etc etc.

Remember Archetype and Template as discussed above in this post.

The techniques of writing craft are like the archetype or template, but it's the content -- the specifics of the story -- that matter to the reader. If those specifics matter too much to the writer who then mis-applies the template, the reader will never recieve the message, the imagery, the content that matters to the writer -- for the same reasons cited above in the section about archetypes.

These writing craft techniques when applied to archetypes that are currently changing in a Group Mind's manifestation of them (Vampires-are-Evil to Vampire-as-Good Guy, is still Vampire Archetype), produce ReReadable Books, books that are remembered for decades and recommended to new generations.

Sime~Gen so easily gets flashburned into the reader's memory because the universe premise asks questions using the Vampire archetype, questions about real world current issues that the readers don't usually know, consciously, are really bothering them. But as Gene Roddenberry taught me, don't answer the questions. Just ask.

When you ask those obtuse, difficult, ellusive questions at the nexus of change in an archetype's manifestation, you capture the attention of those to whom the content matters but the delivery vehicle does not.

The Vampire Archetype manifestations (not the archetype itself; the manifestations) were morphing with the culture through the 1970's, '80's and still are even today, reflecting cultural changes such as the role of women, of racial prejudice, sexuality, the toxicity of violence.

How do you get your way? How do you get satisfied? How do you survive a crumbling life situation? What right do you have? How do you get what you need? And even though you have a right, do you have the right to exercise that right over everyone else's objections?

In Astrology, it's all bound up in 1st House/ 7th House matters, obstructed by 4th House / 10th House matters. That's another essay, but there are the 4 archetypes that quarter our existence.

It could be that the entire paradigm underlying our world culture is shifting more massively than anyone now knows.

The element that could be shifting is all about how one gets one's needs met -- taking your fair share from whoever's trying to keep it from you; exploiting the labor of others (slavery was abolished but continued to evolve via underpaying wages spawning Labor Union's battles); Charity and giving your fair share to taxes as a means of ensuring that Charity is done properly.

Think sweeping meta-history -- history about history. Get an orbital perspective on it all.

Giving and Receiving, the biggest, most abstract (dry, boring) concept behind Kaballah.

Shifts are happening generation to generation on that most fundamental level of the asbsolute structure of the universe.

Is "Evil" a fundamental component of our "Reality" -- or can it be vanquished forever? If we vanquish EVIL, will it take GOOD with it?

Do a quick run through some video games to check subject matter and problem solving techniques. What constitutes the problem in the most popular games? What's the conflict? How is it resolved to the benefit (high score) of the player? Much of gaming is about Good and Evil at War. Primal. Nothing new there. Shades of gray would spoil the fun.

The video game is today what the Vampire novel was to kids growing up in the 1980's. An obsession. I knew it then. My Vampire Romance hardcovers, Those of My Blood (1988) and it's sequel Dreamspy (1989) are still available now in paperback.

The "Vampire" is a perfect amalgam of the issues disturbing the deepest levels of our culture, the issues where the underlying archetype of human nature is changing the way it manifests (not the actual core of human nature; just the way it manifests, the part that matters to us living creatures, is changing. 2009's Halloween included Vampire films with awesome FX.

The Vampire is still popular, more popular as Horror, but go back again and just stare at that graph of Vampire Romance titles.

http://vampchix.blogspot.com/2009/11/rise-and-fall-of-vampire-romance-and.html

Think about what that means and we'll dig into it more in future posts.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com