text:
College of Health and Human Sciences' Executive Leadership Council celebrates a decade of service, impact, and evolution
By Tracy Kile Schwartz
Lise Youngblade, Dean
Colorado State University's College of Health and Human Sciences benefits from leadership with a group of dedicated volunteers who serve on the Executive Leadership Council. Now in its tenth year, the council advises Dean Lise Youngblade and her team with their perspectives as alumni, parents, retirees, community partners, and donors. Each member has a connection to one or more of the college's eight academic units, and a passion for the overall success of the students, faculty, research, and outreach programs.
"The CHHS Executive Leadership Council members share a wealth of experience, guide our strategy, and elevate our programs," said Youngblade. "Their individual and collective influence through philanthropy, advocacy, and personal involvement are truly exceptional. We are so fortunate to have such dedicated volunteers committed to our college.
Dean Emeritus Jeff McCubbin and Dean Lise Youngblade
Spearheaded by then-CHHS Dean Jeff McCubbin in 2012, the Executive Leadership Council convened champions for the college. The goal was to gather experts in the college's diverse disciplines and industries who could serve as a sounding board for new directions, a launchpad for strategic initiatives, and advocates who could share the college's priorities in their circles of influence. "Engaging volunteers to form the Executive Leadership Council was the first step in dreaming big for the college," said McCubbin. "They helped us advance our vision, communications, alumni connections, and philanthropic partnerships, and continue to help the college evolve to meet emerging industry and community needs."
Beginning with eleven members, the Executive Leadership Council has grown to include a total of 35 individuals over the years. Since 2012, the volunteer members have spent countless hours dedicated to the advancement of the college, shaping its evolution, and forging impressive change through philanthropy, leadership, and vocal advocacy. Members travel to campus twice a year to connect with Youngblade and faculty, tour campus facilities, visit programs, and engage with students.
One of the council's first priorities was to provide ideas around the renaming of the college from Applied Human Sciences to Health and Human Sciences, with the goals of clarifying the overarching connections among its diverse academic units and attracting foundation and research funding. The name change was made official on July 1, 2013. This rebranding launched strategic planning and the college's priorities for CSU's $1 billion State Your Purpose comprehensive fundraising campaign. The council's feedback, along with personal and corporate gifts to the campaign, formed the foundation of the College of Health and Human Sciences' campaign goals.
Through individual gifts and corporate contributions, members of the Executive Leadership Council have given more than $10 million to CSU. Nine have committed planned gifts through their estates. In addition, 27 have given to scholarships, resulting in 130 student recipients.
Executive Leadership Council Members
Anne Abbott, '88
Teresa Boynton, '73, '89
Anne Broholm, '86
Cliff Buchholz*
Karen DeLine
Carla Dore, '83
William S. "Duffer" Duff, Jr., '94
Darrell Eastwood*, '74
Jessica Farrell Wright, '04
Rich Feller*
Catherine Finch
Lisa Ford*, '82
Tricia Ford*, '85
Bob Fornaro*
John Haefeli, '80
Gwen Hatchette, '94
Ray Jackson, '95
Pat Kendall*, '83
Jon Kinning ,'94
Susan Kreul-Froseth*, '74, '78
Wayne Lindholm*, '75
Linda Lindholm*, '73
Pat McKlem*, '70
Karen Morris-Fine*, '67, '70, '78
Yvonne Myers, '82
Melissa Pappas, '85
Danette Reagan*, '87
Miriam Sakurada Cake*
Marilyn Schock, '85, '01
Rayno Seaser
Susan Stefanich Stevens, '90
Jessica Teal, '16
Kevin Unger*, '92, '13
Daniel Ward, '03
Tiffany Weber, '99
*Sustaining member
During the first year of the COVID-19 pandemic, Executive Leadership Council rallied around the Lighten the Load Fund, which was established to support students experiencing financial hardship as a result of an unanticipated crisis, with the goal of helping them stay in school. As a result of their collective giving, along with other donors, 286 students have received emergency grants totaling $56,948.
Expanding programs and facilities
Council members have been at the heart of strategic program and facility growth. From CSU's Health and Medical Center, which includes the Columbine Health Systems Center for Healthy Aging and Kendall Reagan Nutrition Center expansion, to the Nancy Richardson Design Center, Early Childhood Center, and Pat McKlem Medical Nutrition Therapy Lab, the leaders have regularly embraced interdisciplinary learning, cross-campus collaboration, and community partnerships that are at the heart of CSU's land-grant mission.
One example is the Campus Connections therapeutic mentoring program in the Department of Human Development and Family Studies. During a 2014 council event, the members met faculty, master's and undergraduate student mentors, and their community mentees. They were so inspired by the novel approach of the program that they encouraged its expansion beyond CSU. Campus Connections has now been replicated nationally and internationally, with research on mentorship efficacy shaping non-profits and other higher education institutions.
Establishing CHHS Alumni Awards
To elevate recognition of alumni success, advance relationships with alumni, and ensure the College of Health and Human Sciences has strong representation among the CSU Alumni Association's Distinguished Alumni Awards, in 2014 the Council established and sponsored two college awards: the CHHS Outstanding Alumna/us Award and CHHS Emerging Leader Award, which continue to be awarded annually.
Like all donors, council members' gifts are driven by their own priorities, motivated by their personal or career experience, family members, or other inspirations. Their gifts span all areas of CSU and the college, and have driven success in areas including:
Diversity programs and scholarships
In-kind contributions
Ambassadors, mentors, and hosts
Pappas and CSU System Chancellor Tony Frank cheer on the Rams
Members have opened their homes and businesses to extend their goodwill for the college to their circles. For example, Sue Kreul-Froseth hosted a fundraising event for Campus Connections in 2014. Carla Dore and her business, Workplace Resource, hosted a celebratory event in Denver to raise awareness and support for the Nancy Richardson Design Center as the building was under construction in 2017. In the summer of 2022, Melissa Pappas, who is the parent of two recent CSU graduates, welcomed incoming CSU students and their families to a send-off event in her Chesapeake Bay home. The event helped Washington, D.C.-based families build their Ram community on the east coast. The 40+ attendees elected to stay in touch so they could all support their students' success from afar. Other members have hired CHHS graduates, hosted interns, mentored students, provided guest lectures, and more.
Rich Feller addresses graduates at commencement
"Our Executive Leadership Council members roll up their sleeves in all sorts of ways to work directly with college leaders on specific initiatives," said Kim Winger, executive director of development. "Members have participated in strategy meetings around new facilities, academic partnerships, search committees, and idea sharing with faculty leaders. They have participated in networking dinners with student clubs, volunteered with the HES Homecoming Race, attended industry appreciation events, served as judges for the college's Research Day, and inspired graduates at commencement ceremonies."
Evolving membership
Volunteers on the council commit to serving three years, for a maximum of three terms. At the end of their service, members maintain their ties to the college as sustaining members. This year, seven members–including four founding members–are transitioning to sustainers: Rich Feller, Lisa Ford, Tricia Ford, Bob Fornaro, Pat McKlem, Karen Morris-Fine, and Kevin Unger, along with prior members.
Carla Dore and Lise Youngblade
Melissa Pappas serves as the active membership liaison, and Carla Dore will remain an active council member serving as a primary liaison to all sustaining members. Seven new members joining the council in '22-'23 include: Karen DeLine (human development and family studies '88), ranch owner and entrepreneur; Catherine Finch (housing and interior environment, '88), interior designer; John Haefeli (history, '80), retired educator and long-time school board member; Ray Jackson (social work, '95), Vice President for Player Development with the Denver Broncos; Marilyn Schock (occupational therapy, '85; MBA, '01), President of UCHealth Greeley Hospital; Daniel Ward, (health and exercise science, '03), founder and owner of Inward Fitness; and Tiffany Weber (health and exercise science, '99) owner of Hillside Vineyard.
Youngblade is excited about the ways the Executive Leadership Council will support emerging priorities for the College in the future. "As we work to improve the health and well-being of people, communities, and the environments in which we live, the College will rely on the fresh perspectives and community pulse provided by our volunteer leaders," she said. "I am always eager to listen and most honored to learn from them."
Learn more about the CHHS Executive Leadership Council. View more photos of the Executive Leadership Council through the years.
AlumniAwardsCollege of Health and Human SciencesDepartment of Design and MerchandisingDepartment of Food Science and Human NutritionDepartment of Health and Exercise ScienceDepartment of Human Development and Family StudiesDepartment of Occupational TherapyEngagementGivingHDFS EngagementInvolvementOutreachSchool of EducationSchool of Social Work
Tracy Kile Schwartz
More posts by Tracy Kile Schwartz


Asian Carp vary greatly in size. They can be as small as goldfish or grow to be as large as a man! Adult Asian Carps consume up to 20% of their body weight every day in plankton and can grow to over 100 pounds! These fish have no natural predators in North America, and females lay approximately half a million eggs each time they spawn.
Species of Asian Carps are known to be very harmful to the ecosystems in parts of the United States, particularly the Great Lakes. The two species of Asian Carp that are of most concern for an invasion of the Great Lakes are the silver carp and the bighead carp, both of which originate from Southeast Asia.
Where did asian carp come from?
Asian Carp were imported into the southern United States in the 1970s to manage aquaculture farms. Due to massive flooding of the Mississippi River, Asian carp escaped from these fish farms and made their way northward into the Illinois River.
Today, bighead carp can be found in the waters of 23 states and silver carp in 17 states. The Chicago Area Waterways System is possibly how the Asian Carp will enter the Great Lakes.
what is being done to prevent the spread of asian carp?
There are currently electric barriers built by the U.S. Army Corps of Engineers in the Chicago Sanitary and Ship Canal, a man-made canal that connects the Great Lakes to the Mississippi River by the Illinois and Des Plaines Rivers.
These electric barriers are being used to keep the Asian Carp from entering the Great Lakes Basin.
A fence divides Eagle Marsh, a flood plain that joins the upper reaches of the Wabash and Maumee Rivers.


Exactly the kind of dad I'd like to be.
man, always go with the celebrity.
New keyboard and mouse. Computer feels now completely alien and new.
It's been an okay year. Thanks for not unfriending. I guess. jk! Love you all, you dumb social media eff-ers!
Ha ha it's funny because dying alone is the worst.
Not gonna lie, re-watching LOST, and I lost it watching Vincent try to swim out to the raft when Walt was sailing away. I don't think they ever saw each other again.
Time to switch to an entirely Apple based economy.
Selling Apple and buying gold was not a great idea.
It's actually tomorrow, but close enough.
This is an amazingly high quality joke that I can't believe hasn't been made before.
No also means no. But vomit, that means NO.
What's worse than realizing that crazy coot you saw having a conversation with an invisible friend is on the phone? Being jealous of their cool Bluetooth headset.
How would Edgar Rice Burroughs handle iPhones? Now we know.
Yeah, I like the "blue." That sweet, sweet "blue."
My mom's favorite joke, made into a horror movie.
This is my mom's favorite joke, taken to the horror movie extreme.
Always get a logo before the murder spree.
You're supposed to pick up after your dog. You know this. Everybody does. But it's late and you're tired and Fido just left a particularly nasty looking pile. Nobody's looking. Just leave it there. What's the worst that can happen?
Congratulations to Paul Griffith--the new Chief of the Alfred Police Department!
Polly and Daniel, I wrote this for you.
If you've never had a smartphone before, but just picked up an iPhone, here are all the little things you need to know.
A thing I said today: "Cornell has an endowment of like 2 billion dollars--" (It's actually $5.2 bil) "--You know what Ithaca College's endowment is? A box of used Happy Meal Toys."
Yeah, I hate when there's a window open.


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Testing Theories of Discrimination: Evidence from "Weakest Link"
Issued in January 2003
NBER Program(s):Law and Economics Program, Labor Studies Program
In most settings, it is difficult to measure discrimination, and even more challenging to distinguish between competing theories of discrimination (taste-based versus information-based). Using contestant voting behavior on the television game show Weakest Link, one can in principle empirically address both of these questions. On the show, contestants answer questions and vote off other players, competing for a winner-take-all prize. In early rounds, strategic incentives encourage voting for the weakest competitors. In later rounds, the incentives reverse, and the strongest competitors become the logical target. Controlling for other observable characteristics including the number of correct answers thus far, both theories of discrimination predict that in early rounds, excess votes will be made against groups targeted for discrimination. In later rounds, however, taste-based models predict continued excess votes, whereas statistical discrimination predicts fewer votes against the target group. Empirically, I find some evidence of information-based discrimination towards Hispanics (i.e., other players perceive them as having low ability) and taste-based discrimination against older players (i.e., other players treat them with animus). There is little in the data to suggest discrimination against women and Blacks.
Published: Levitt, Steven D. "Testing Theories Of Discrimination: Evidence From Weakest Link," Journal of Law and Economics, 2004, v47(2,Oct), 431-452. citation courtesy of
Bertrand and Mullainathan w9873 Are Emily and Greg More Employable than Lakisha and Jamal? A Field Experiment on Labor Market Discrimination
Charles and Guryan w13661 Prejudice and The Economics of Discrimination
Lang and Lehmann w17450 Racial Discrimination in the Labor Market: Theory and Empirics
Levitt and Syverson w11053 Market Distortions when Agents are Better Informed: The Value of Information in Real Estate Transactions
Fang and Moro w15860 Theories of Statistical Discrimination and Affirmative Action: A Survey

redpajama_set_name: RedPajamaCommonCrawl


A remote support tool built for one man helpdesks to the world's largest support organizations and everyone in between. Helping you provide technical support to your employees, your customers, or both, with a solution which is fast, reliable, flexible, and easy to use.
Rescue gives you a tool to seamlessly support customer request - not matter what they are or where the originate from without needing to use pre-installed software or being on the same network. LogMeIn Rescue solves problems more quickly, accurately and conveniently for a better customer and agent experience.
I've used this product for many years since LogMeIn introduced it. First time I tried it I was really blown away with its ease of use and deployment. While it offers a wide spectrum of additional features, I mostly use it to remotely support my employees, who can't be visited at the given moment. It really is so seamless, that my users feel like I'm right in front of them, assisting them with the IT issues. Web-based interface for day-to-day support makes it really easy to initiate a remote assistance call. I also use it on the servers for remote support, as they are spread out around multiple locations. Very fair ROI on this product. I am looking to evaluate other LMI products in the nearest future.
Every so often I run into certain issues with LMI client application installed on my Apple computers. Usually, I'd have to reinstall the client to solve the problem. This never happens to the Windows LMI client application.
The software allows us to easily take control and manage our remote referring physicians with a pretty simple secured connection to their office.
Allows you to easily take control of the remote pc even with multiple monitor setups. I actually prefer some things over the logmein central product but not all. Central has more features but this is preferred for external remote access for us over Central.
Freezes up sometimes with win 10 computers. I just lose remote functions like mouse control . Also if the remote computer has windows UAC user access control on any popups you will not see remotely which will hinder your access until the user clicks yes or no on their end. Users get popups and do not click all the time to start the remote session or even where to look. I would give it another start if these issues were resolved.
As a daily IT support analyst, I am constantly supporting remote users in our sales field and across the country in various offices. The ability to remote in with a simple click of a link on the user's part is essential for me being able to complete tickets and solve issues for our users quickly without the need for them to ship in equipment.
I really don't have many cons to list honestly. But I guess a little bit clearer understanding of all the features available would be nice. Also, for very very un-tech savvy people, even having to click a link and run the download can be difficult. Just clicking a link only would be easier.
Logmein Rescue is an easy to use remote software with multiple platforms.
The ease of knowing that at a moments notice, I can jump onto my device of choice and provide full remote support to my users is a great benefit. The performance across the different platforms is pretty seamless and very responsive.
Logmein Rescue is an easy to use remote software with multiple platforms. I've had this software get me out of bind when my boss called for support and all I had was my Android Tablet. I like that it is flexible enough to on multiple platforms and easy for the customer side to use.
Its a great tool, but it does come with a hefty price tag, if your organization can afford it on their per technician basis.
Simple direct tool for clients to connect with.
We were able to create a custom domain that links to our clients and initiates a session. The only issue that we run into is when the user does not accept the access prompts that appear. Outside of the connection issue at times this is a great product. They are regularly adding features that are needed and improving on the ones that are already there.
I like that it's simple for a user to connect to us from an e-mailed link. They open the page follow the directions and then we are connected.
When the app doesn't connect, it doesn't connect. The support team is slow to respond to these types of requests, and the fix is usually something unrelated that doesn't help.
Multi-Platform Remote Support - Resolve simple to complex issues on PCs, Macs, mobile device, and, with our interactive video tool, even unconnected devices with just one tool.
Simple to Use - Solve problems faster and easier by having every tool a technician needs at the forefront – run diagnostics, take control, transfer files, reboot and reconnect, or run scripts with one click.
Customizable - Rescue is flexible enough to meet the needs of your support organization now and in the future with the ability to build customized workflows, configure agent permissions individually or at a group level, and add your company's branding to customer facing interfaces.
Built Secure - Rescue is committed to annual security audits and integrated with optimized security features including AES-256-bit encrypted connections and permission-based functionality.
Reliable - Rescue has continuously delivered industry leading 99.9+% uptime, providing the reliability professionals require.
Below are some frequently asked questions for LogMeIn Rescue.
Q. What type of pricing plans does LogMeIn Rescue offer?
Q. What are the main features of LogMeIn Rescue?
Q. Who are the typical users of LogMeIn Rescue?
Q. What languages does LogMeIn Rescue support?
Q. Does LogMeIn Rescue support mobile devices?
Q. What other apps does LogMeIn Rescue integrate with?
Q. What level of support does LogMeIn Rescue offer?


text:
MAGGIE JAMES FICTION
Heart of Bone
She'll Never Tell
Silent Winter
Deception Wears Many Faces
After She's Gone
The Second Captive
Guilty Innocence
Sister, Psychopath
His Kidnapper's Shoes
Blackwater Lake - a novella
Shadows of the Mind Box Set 1
Prologues - do you love or hate them?
During my writing career I've come across readers who say they hate prologues. This baffles me, because they're part of the story - why dislike them, if the novel is a good read? As an author, I believe prologues fulfil several useful roles, and I've used them in my books when appropriate. Let's examine why prologues can enhance a novel.
Uses of prologues:
The prologue from my novel 'Deception Wears Many Faces'.
To foreshadow future action in the book. They can set the scene and make the reader want more.
To provide tension from the outset if the prologue is heavy on action/drama. This can suit readers who dislike novels with a slow burn.
To introduce themes, characters, setting, etc. Some would say this can (and maybe should) be done in the first chapter, and I think there's some truth in that.
To sow the seeds for the resolution, so that the book's ending ties in nicely with its beginnings. I love it when a book's story comes full circle!
To give background information. For example, it can be useful in fantasy and science-fiction to describe the alien universe/world so readers aren't confused by unfamiliar words, items, etc.
To give information from a different point of view or time. An example would be a novel that tells the life story of a protagonist who's dying. The prologue would be written from their current viewpoint, whereas chapter one starts in their childhood.
So why do people dislike prologues?
I did notice, in the online debates I've read, that those people who said they hate prologues rarely gave a reason, in contrast to fans of them. This made it difficult to fathom the haters' antipathy! After some digging, I uncovered some explanations. Here are the reasons people cite:
They dislike an action scene containing characters without context, ones they haven't had a chance to care about yet. This doesn't resonate with me. Surely the prologue provide this chance, especially if the character is in a sticky situation?
Some people say prologues are old hat. I disagree. If they work for a novel, for any of the reasons I've already mentioned, why not use them? This argument smacks to me of writing snobbery, something I loathe.
Another argument against prologues is that, all too often, they're information dumps. This hasn't been my experience, but I agree that no part of a novel, prologue or otherwise, should shovel a load of facts the reader's way. Instead they should be woven into the narrative or dialogue in a way that's not obtrusive.
One person said they dislike the change of pace between a dramatic prologue and a slower first chapter. Me? I love that! A tense, action-packed prologue whets my appetite to read on, then a gentler first chapter gives me a breathing space to allow me to relax into the book.
There is no right or wrong here...
No doubt the debate over prologues will continue for a while yet! I'll continue to use them in my novels if I believe they're warranted. Many other novelists love them too. Some say they use them, but retitle them 'chapter 1' so they don't antagonise prologue-hating readers!
If you're a reader, do you love or hate prologues? Give me your reasons! Or maybe you don't care either way? Perhaps you're a novelist. If so, do you use prologues? If not, why not? Leave a comment and let me know!
Are introverts better suited to being novelists?
Now there's a question!
Being an author is one of the most solitary professions there is, as I know from experience. I work from home, keeping normal office hours, and unless I venture out at lunchtime, I don't see or talk to anyone until the evening. I'm not complaining. As a dyed-in-the-wool introvert, I've always needed plenty of solitude, and can get a bit stir-crazy if I'm surrounded by people for too long. Before I carry on, let me explode the most persistent myth about introverts: that we're shy people who dislike socialising. Not so! No way do I consider myself shy, because I'm not. Despite my strong need for solitude, I love spending time with my friends and meeting new people. Like other introverts, though, I prefer smaller social gatherings, and not to spend too long at them. Furthermore, loud noisy events or people don't sit well with me. Live music is my idea of torture and I prefer to socialise with fellow introverts.
So how does one define an introvert? The word itself provides the clue; it originates from the Latin 'intro' (inwards) and 'vertere' (to turn). A great definition is this one from Psychology Today: 'Introverts are drained by social encounters and energised by solitary, often creative pursuits. Their disposition is frequently misconstrued as shyness, social phobia, or even avoidant personality disorder, but many introverts socialise easily; they just strongly prefer not to.' Part of this makes me cringe. For anyone to label introverts as having a personality disorder because they're not raving party animals is ridiculous. The perception persists, though, with some dictionaries defining the word as meaning 'shy person,' which neither tallies with its Latin roots nor with reality. As Psychology Today points out, introversion or extroversion has nothing to do with levels of confidence, shyness or social skills. Instead, it relates to how individuals respond to stimuli and replenish their energy. Extroverts thrive on hustle, bustle and social connections, whereas introverts find such situations draining. In contrast, we derive energy from within and by being alone.
We're frequently misunderstood, though. Partly, I suspect, because we're in the minority. Estimates vary, but it seems between 25 - 33% of people fall in the introvert camp. As part of this misunderstanding, introverts can suffer pressure to socialise more by well-meaning friends, which can be very wearing. Some people have postulated that there's a distinct global bias towards extroverts; their traits are perceived as desirable, with job adverts requesting 'bright and bubbly' or 'outgoing' candidates. I think famous introverts such as Steve Wozniak, Bill Gates and Mark Zuckerberg prove we have much to contribute to the workplace!
Other well-known introverts? How about Albert Einstein, Barack Obama, Stephen Spielberg, Isaac Newton, Abraham Lincoln, Warren Buffett or Frederick Chopin?
One of the few professions that's carried out alone
Novelist J K Rowling
Let's examine how this relates to writing fiction. Whether novelists tend more towards introversion, I can't say, but a Google search on 'famous extrovert novelists' reveals nothing, with most of the search results concentrating on introverted writers instead. Many of my author friends regard themselves as introverts. Given that we need solitude, and creating novels being one of the few professions that's carried out alone, it does seem we may have an advantage. I imagine it would be torture for an extrovert to spend hours at a computer, cut off from human contact, whereas it's entirely natural for introverts. Any extrovert drawn to writing would probably thrive better as a journalist, perhaps. Or maybe they'd be attracted to other forms of creative expression instead, such as acting or the music business.
Not all writers need solitude, of course. I know authors who write in coffee shops, libraries and pubs, places where the hum and bustle of daily life surrounds them. They're probably further along the scale towards extroversion than I am, that's all. Or perhaps they just get cabin fever more easily than I do. One consideration that acts in favour of introverts becoming novelists is the fact that, as Psychology Today says, we're often drawn to creative pursuits during our alone time. Famous introverted writers are plentiful; J K Rowling is said to be one, along with Emily Dickinson, Virginia Woolf, J D Salinger and the entire Brontë family. I'm in good company!
Vive la différence! Each to their own...
Both introverts and extroverts have their strengths and weaknesses, of course, and those strengths can be brought to the writing table. Introverts are often better listeners, and this skill enables them to find great true-life stories that provide great fodder for book ideas. Hand in hand with that goes an increased ability to understand human foibles and behaviour. I've often said on this blog how I'm fascinated by what drives our behaviour, especially when it encroaches into weird and wacky territory. All the time we spend alone gives us time to reflect, explore ourselves, skills we can use when creating our characters. Lastly, of course, we're better able to deal with long periods of solitude, a prerequisite of the writing life.
But we don't hold all the cards. Extroverts meet a wider variety of people and engage more with them, thus providing material for characters and stories from a different angle, as well as from more plentiful sources. I suspect they're also far better at promoting themselves on social media. I love Facebook and Twitter as much as anyone, but don't post that often - it's simply not my style. Neither is better or worse, of course - people are what they are and a mix of extroverts and introverts makes for a more interesting world. I'd prefer the split to be more evenly balanced, but vive la différence, as they say!
Over to you - what do you think?
Do you think introverts are more suited than extroverts to the writing life? Are you an author yourself, and if so, in which camp do you consider yourself, or are you somewhere in between? If you're an introvert, have you experienced misunderstandings about what the word means? Extrovert authors, do you need to write somewhere public, so you get the stimulation you need? Leave a comment and let me know!
Do You Read Novels More Than Once?
So many books, so little time!
Once I used to reread favourite novels, happy to revisit those I'd enjoyed before. Sometimes I'm nostalgic for the times when I'd curl up with a treasured book to savour its magic again. Even though the story was no longer a mystery, I'd always catch nuances I'd missed before, making each reread a new take on the familiar. A long time has passed since I read the same title more than once, though. It's a trend that's set to continue.
Why? Well, thanks to changes in the publishing industry, we're spoiled for choice when it comes to fiction. Thousands of new novels are uploaded to Amazon every day. In addition, the new wave of self-publishing is creating new genres by merging existing ones. Which makes for fascinating choices! Fancy a science fiction romance? No problem. Want to add Vikings to the mix? Your wish is granted. There are novels about dragons in space, unicorns in ancient history, you name it. In addition, self-publishing has revitalised more than genres. Short stories and novellas are making a comeback, providing even more reading options. With such a cornucopia of material available, not to mention classic novels I've yet to read, I don't have time to pick up the same book twice. Not that I'm complaining, you understand!
I don't want old favourites to disappoint
Besides the plethora of new titles available, there's another reason I don't revisit past fictional adventures. A strong possibility exists that, after a gap of several decades, they'll disappoint. Take Iris Murdoch's 'The Sea, The Sea'. I first read this novel in my twenties, and I loved it. The character of Charles Arrowby, his selfishness, the way he blinds himself to the obvious, mesmerised me. The novel charts his reunion with his first love, Mary Hartley Fitch, whom he has not seen since his youth. Thanks to his reclusive life, he develops an obsession with her, despite the fact she now sports an old-lady moustache and doesn't return his interest. I've always been fascinated by human behaviour and foibles, and Charles's egotistic pursuit of the unfortunate Hartley, which involves her kidnap, makes wonderful reading.
Years ago, a friend and I discussed the novel, with her being as taken with 'The Sea, The Sea' as I was. Recently, however, Doran told me she'd reread the book. Had it reprised its magic for her? The answer is no. 'I've no idea why I liked it so much in the first place,' she said. Which makes me wary about rereading my old favourite. Disillusion can be a bitter pill. Isn't it better for 'The Sea, The Sea' to retain its place in my affections, rather than me risk tarnishing its memory?
Tastes and priorities change...
Perhaps this reflects the changes we all experience in life. Tastes and priorities alter. In my fifties, I'm very different to the woman I was in my twenties. Who wouldn't be? There's a good chance that Iris Murdoch's iconic book may not enchant me second time around. Take Thomas Hardy's wonderful novels, for example. As a teenager, I read every single title, relishing Hardy's biting examination of social injustices. I loathed the hypocritical Angel Clare in 'Tess of the D'Urbervilles'; Michael Henchard's character in 'The Mayor of Casterbridge' appalled me. A man who scorned his bride-to-be for not being a virgin? A rogue who sells his wife at a country fair? Shame on both of them!
I also loved Hardy's lyrical descriptions of the Dorset countryside, for which his books are justly famous. An example: 'Here in the valley, the world seems to be constructed upon a smaller and more delicate scale; the fields are mere paddocks, so reduced that from this height their hedgerows appear a network of dark green threads overspreading the paler green of the grass. The atmosphere below is languorous, and is so tinged with azure that what artists call the middle distance partakes of that hue, whilst the horizon beyond is of deepest ultramarine.' (From 'Tess of the D'Urbervilles').
Nowadays I feel little desire to read any of his books again. For one thing, I'm less concerned with social commentary than I was. And whilst not denying the beauty of Hardy's prose, I'm now impatient with long-winded descriptive paragraphs. I prefer brisk action rather than eulogies about hedgerows. So I'll leave off revisiting Hardy, or any of the novelists who enchanted me as a younger woman. Time's a wastin', as they say. Instead, I'll choose something new to read.
Do you like revisiting fictional favourites? Are there books that are timeless for you, providing enjoyment every time you read them? Or do you prefer to discover fresh treasures? Leave a comment and let me know!
Should a novel's protagonist be likeable?
'I have to like the main character in a novel in order to enjoy reading it,' a friend once told me. 'If I can't like them, then I need to empathise with them, at the very least.'
A while back, I read Peter Høeg's novel 'Miss Smilla's Feeling for Snow,' and it got me thinking about whether a protagonist should be likeable. You see, Smilla Jaspersen, the main character in Høeg's novel, isn't. Not to me, anyway. She describes herself as a bitter shrew; her personality's as cold as the Greenland ice on which she was raised. She professes to love her neighbour's son, six-year-old Isaiah, but she's not above hitting him. Her feelings for the man she refers to as 'the mechanic' rarely rise about the carnal, despite her alleged tenderness for him. And yet Smilla is a mesmerising character. She's possessed of an acerbic tongue, she's mistress of the quick riposte, and she'll fight dirty with screwdrivers or whatever implement comes to hand. I neither liked nor empathised with her, but she made a fascinating character to lead me through the book.
Let's look at other fictional nasties...
Unpleasant characters abound in novels, of course, but they're often cast as the antagonist, with a thorough comeuppance served up at the end. Let's look at some novels where the lead character, as opposed to the antagonist, is very definitely someone with a nasty streak. Patricia Highsmith's Tom Ripley springs to mind. Charming, amoral and ruthless, surely he's far most interesting to the reader than the dull Dickie Greenleaf? Or what about Scarlett O'Hara? She's vain, she's selfish and yet isn't she compelling, especially when compared with the vapid Melanie Wilkes?
Moving to historical fiction, Mary Saunders from Emma Donoghue's novel 'Slammerkin' is shallow, self-serving and impulsive. She trades her virginity for a ribbon and uses the infatuated Daffy Cadwallader without compunction for her own ends. Tom, Scarlett, Mary; we may not like them but we can't ignore them, and all three fascinate and compel in equal measures.
The lure of the antagonist
Some books have the reader rooting for the villain simply because their counterparts aren't likable either. As a teenager, reading Thomas Hardy's 'Tess of the D'Urbervilles' for school, I loathed Angel Clare with a passion. He's supposed to be a moral man, with Christian values, but his behaviour stinks. Sure, he's a product of Victorian England, but could he be any more hypocritical? Rejecting Tess for not being a virgin immediately after informing her he's not one either? Alec D'Urberville may be the villain of the book but at least he doesn't pretend to be the good guy. In that, if nothing else, he's far more honest than Angel Clare ever is. I know which one I prefer.
Why is it the bad guys are often more interesting? Take Mrs Danvers in Daphne Du Maurier's 'Rebecca', as well as Rebecca herself. Don't these two women possess more fire, more spirit, than the second Mrs De Winter? What about 'Dr Jekyll and Mr Hyde'? Doesn't Hyde draw us in far deeper into Robert Louis Stevenson's novel than Jekyll ever does?
What's behind all this?
I believe many of us harbour a dark side. Most of us lead law-abiding lives and are decent enough people, but I suspect we like to examine life's grittier side occasionally. From a safe perspective, of course. Why else would crime and horror novels be so popular? We're like children, scared yet thrilled by tales of witches and warlocks; there's something compelling about the seamier side of life. For me, that explains why often it's the bad guys in novels who grab the limelight.
What about my friend, though, who prefers her characters to be the good guys? For me, fascination can replace empathy, but for her it's clearly different. I suspect the reason here is because many people choose to identify with the lead characters in a book, to walk in their shoes, experience life through their eyes. So it makes sense that we'd want to like them, because for the duration of the book, we become them.
What's your take on this? Do you root for the good guys or do you prefer your fictional characters more flawed? Leave a comment and let me know!
E-reader or tablet for digital books?
I'm delighted to welcome my friend Ellis Shuman to my blog today. Ellis is the author of the gripping suspense novel 'Valley of Thracians' as well as a collection of short stories entitled 'The Virtual Kibbutz'. He also writes a popular blog, where he posts book reviews, articles about Israel, Bulgaria, and anything else he fancies. You can find it here. https://ellisshuman.blogspot.com/
Reading one of Ellis's posts got me thinking. Which is the better medium for e-books, a dedicated e-reader or a tablet? Me, I love my basic Kindle. The battery life is amazing; I can go weeks between recharges, despite using the device most days. I also love e-ink; I can read my Kindle in bright sunshine, whereas the shiny screens on tablets render that difficult. Kindle Paperwhites also have a backlight facility, which enables readers to use their devices in the dark, and are also waterproof. Once my basic model stops working, I'll upgrade to a Paperwhite.
I also like the fact that I can't access the Internet. Sure, my Kindle is wi-fi enabled, allowing me to browse Amazon for new books, but that's as far as it goes. For me, the fact I can't access Facebook, Twitter, Goodreads or any other of my favourite websites, is great. I can lose myself for hours in social media!
Ellis prefers to read via a tablet
Ellis has a different take on the subject. 'I don't own a Kindle,' he says. 'I am a late adapter, if I adapt to a new technology at all. I have recently considered purchasing a Kindle, but feared that I would be falling behind the times with a single purpose device. In the end, I've elected to buy a tablet, giving me a handheld unit that will enable me to read digital books comfortably, as well as interact with the Internet when I see fit to do so.'
I mentioned above how my Nook allows me to read in the dark. Ellis, of course, can do that as well with his tablet. The rest of this post is given over to him; he's written an article about why he enjoys reading digital books in bed at night. Seems his wife prefers the more traditional paperback, though! Over to you, Ellis.
Reading in the dark - 'Lights out!'
When I was a young boy, this parental request meant an end to my nightly reading adventures, whether they be solving mysteries with the Hardy Boys or traveling 20,000 leagues under the sea with Jules Verne. In those days, I was obedient to a fault. The lights in my bedroom invariably went out at chapter's end. I never read books by flashlight because I could barely breathe under the covers. Four decades later and my reading preferences and habits have changed. Now, the words "Lights out" declared in my conjugal bedroom signal a start to the night's literary activities. My wife and I fire up our tablets, turn off the lights, and start reading in the dark. While my wife reads a family drama set against the Congo's fight for independence from Belgium, I read fiction as well as non-fiction, having selected recently published titles that will not only give me pleasure but which I will also review for my blog.
Books delivered seamlessly and instantly
I was the first in our household to purchase a tablet, not for its Internet connectivity or for the ability to play games and watch videos on a handheld screen, but purely for the joy of reading digital books. While I appreciate the look and feel of flipping through the physical pages of a paperback, I also find pleasure in selecting a title to read, clicking a button, and having that book delivered seamlessly and instantly to my tablet. As a book reviewer, I frequently bookmark passages that I will consider quoting or paraphrasing in my reviews. This function is not available when I'm reading an advance reader copy (ARC) of a new book received in PDF format. Just the other day, my wife asked me how I keep track of passages to include in my reviews when reading a hard copy of a book. I realized that reviews of those books rely on my often faulty memory, rather than my leaving paper notes between the pages.
Some of the books I've recently reviewed have been quite good and I gladly recommended them to my wife. This was a bit difficult when we were a one-tablet family and I was the only one reading in the dark. My wife purchased her own tablet and some of the ebooks I received made their virtual way into her hands as well. My wife hasn't totally warmed to reading digital copies of books. "What percentage are you up to?" I sometimes ask her, comparing how far each of us are in our respective reads at the end of the night. My wife doesn't see any benefit in a note informing her that she is three minutes away from the end of the chapter. She would much prefer to skim ahead through physical pages to determine when she plans to put down her book for the night.
Time to go to sleep
There are other things you just have to get used to when reading via tablet, whether it's the size of the font, the way you hold the device, and how to swish your finger to turn the pages. It's not the same experience as reading a paperback, that's for sure. But, there is one thing that my wife and I both experience at the end of the night, and it doesn't matter if we're reading a physical book, or a digital one on our tablet. When our eyes become tired, we end up reading the same sentence over and over, not comprehending the text or remembering what we've just read. It's time to shut down the tablet for the night, extinguishing the small light of its screen. At that point, the words "Lights out!" signal, just like they did in childhood, that it's time to stop reading and go to sleep.
More about Ellis Shuman
Ellis Shuman was born in the United States but moved to Israel as a teenager. He served in the Israeli army, was a founding member of a kibbutz, and now lives outside Jerusalem. For two years, 2009-2010, Ellis and his wife lived in Sofia, Bulgaria. Ellis writes frequently about Bulgaria, Israel, books, travel, and other interesting things on his blog, which you can find at https://ellisshuman.blogspot.com/
And about his books, starting with The Burgas Affair
She's an Israeli data analyst. He's a headstrong Bulgarian detective. Together they must track down those responsible for a horrific bombing.
In the wake of a deadly terrorist attack at Burgas Airport in Bulgaria, Israeli and Bulgarian intelligence agencies launch a joint investigation. Detective Boyko Stanchev on the police task force teams up with Ayala Navon, a young Israeli intelligence analyst on her first overseas assignment.
The two must establish whether the terrorists were assisted by a Bulgarian crime organization in laying the groundwork for the attack.
It should be a routine investigation, but shadows of the past keep interfering.
Boyko's interactions with a crime boss pursuing a vendetta against him threaten to throw him off track. Ayala's pursuit of the terrorists and their accomplices brings up painful memories of a family tragedy.
Boyko and Ayala form a shaky alliance, one that evolves into growing cooperation and affection as they desperately race against time to uncover who was behind the Burgas bombing.
The Burgas Affair is a fictional account of the aftermath of a very real terrorist attack. On July 18, 2012, a deadly explosive rocked a tourist bus at Burgas Airport, killing five Israelis and their Bulgarian bus driver. The terrorists responsible for this murderous attack have never been brought to justice.
Valley of Thracians
A Peace Corps volunteer has gone missing in Bulgaria and everyone assumes he is dead, everyone except his grandfather, who refuses to give up hope. Retired literature professor Simon Matthews launches a desperate search only to be lured into a bizarre quest to retrieve a stolen Thracian artefact—a unique object of immense value others will stop at nothing to recover. Matthews travels through a Balkan landscape dotted with ancient tombs and fortresses, unaware that his grandson has been confined to an isolated mountain cabin, slowly recovering from a severe head injury. Nothing can be taken at face value, as the woman assisting Matthews in his quest and the nurse caring for his injured grandson may have ulterior motives in helping the two reunite. Even when Matthews succeeds in joining up with his grandson, departure from Bulgaria is only possible if the missing relic can be found.
The Virtual Kibbutz
In this debut collection of stories, the author introduces you to kibbutz residents challenged with adapting to new realities. Along the way you'll see how kibbutzniks face up to the violence of the Intifada, cope with the Internet, and struggle to have more control over their lives.
Does the Author's Gender Influence You When Choosing a Novel?
Today's post is a collaboration between myself and my novelist friend Jerry Byrum. Welcome to my blog, Jerry! Together we're going to examine how author gender affects reader perception.
Personally, I don't care whether men or women write the novels I read. What does it matter, so long as they provide great content? To me, gender, when it comes to authors, is as relevant as hair colour or shoe size; it simply doesn't matter. I've never agreed with the Mars/Venus approach, preferring a philosophy of life that emphasises similarities instead of differences. I'm betting, however, that if you're someone who views the world in terms of male/female dichotomies, you're likely to have a strong preference for either male or female writers. Fair enough if you choose male authors because you enjoy spy thrillers, or female ones because romance is your thing. There's no denying men and women dominate certain genres. What's more suspect is when people won't read espionage novels if they're written by a woman, such as Gale Lynds, or romances when penned by male authors, such as my friend Jerry Byrum.
Stereotyped gender attitudes definitely exist towards novelists. When I told a friend I'd completed my first novel, his first question was 'Is it a romance?' Then there's the time I told somebody I intended to write novels. 'What sort?' she enquired. 'Children's books?' This person knew children don't feature in my life. So why the presumption I'd write fiction for them?
I find it a shame that in 2019, there's still such strong gender stereotyping. Women are clearly supposed to write soft, fluffy material, whilst men stick to hard action topics. Shouldn't we be past this nonsense by now? Fair enough if the Bronte sisters had to write under male pseudonyms in Victorian England, but for gender still to matter in 2019? I don't get it.
Initials have no gender bias
Other writers report similar issues. Author Joanna Penn writes thrillers using her initials J F Penn because she doesn't want buyers to judge her work based on her gender. She writes in the Action Adventure category, one dominated by male writers. Her books contain violent scenes; one features a psychiatric patient being disembowelled. She's received comments about how the reader thought a man must have written the book, or that they expected something more 'delicate'. Joanna says on her blog: 'The author's gender shouldn't impact the way the story is read so it's best to make it a non-issue. Initials are neutral. They have no gender bias and I like that approach.' So how do these prejudices operate when it comes to men?
Here's where I step aside and let Jerry Byrum take the floor. I asked Jerry, as a male romance writer, to give us his take on the subject. Here's what he had to say.
There is no sacred ground or ownership
The notion that women or men writers/authors are better at particular genres is almost as mythical as saying short people should only write about short people and the same for tall people. Or that only doctors who've had a dreaded disease are permitted to treat it. Men and women have successfully broken through all kinds of areas or endeavors traditionally reserved for the respective genders. In my view, neither has a monopoly on a particular genre. There is no sacred ground or ownership. Creativity, such as writing, takes place on a broad playing field, and it's okay to break the rigid rules and color outside the lines, or write in the margins and off the page. But what about writing romance? That shouldn't make a whit of difference. Even though real-time hetero romance fiction is composed of 50/50 male/female, the bias exists that only the female 50% can write better romance stories. That's hard for me to buy into. However, a piece of information that shows up regularly across the internet is that women writers write approximately 95-98% of all romances, leaving a single-digit percentage to male writers. That high percentage alone, though, does not confirm that women are better at writing romance than men.
So why don't more men write romance?
I believe that question takes us back to how we raise boys and girls in the home and culture/society. Boys and girls are usually directed into certain activities, and heavy emphasis is placed on "behaving" like a male or female. One of the criticisms often leveled at men who have written in the romance/erotic romance/erotica genres is that men writers tend to be rough-edged, abrasive, abrupt, or a combination in their writing of romance. Nicholas Sparks puts that argument to rest, and so does James Waller, of 'The Bridges of Madison County' fame. Both capture the "softer" edges of romance, and reflect well the female perspectives of their characters. Their works are immensely popular among women.
On the other hand, you've got Sandra Brown who writes edgy romance-suspense with a strong storyline, but with an impulsive romance angle. As well as a good dash of explicit description when things get intimate. Very popular with women.
The process of writing is gender neutral
Then we've got the current BDSM/"billionaire-bad-boy" trend now popular. Both sub-genres have received criticism that they foster a "harsher" portrayal of romance, and rough treatment of women. However, those bestsellers that have hit the New York Times and USA Today hallowed lists are authored not by men, but by women, and women readers drove those authors to the top of the lists. (There are deeper currents as to why the popularity exists, but I digress.)
So who writes better romance, men or women? I say both can write excellent romance, and have. If we as writers, male and female, take our craft seriously, we'll quickly realize the process of writing has no gender; it is gender neutral. Men and women writers are equally capable of learning how to be flexible with words as they capture the full dimension of their characters. I think it's fair to expect all writers to get inside the head of each of their characters, male and female. I don't think writers can hide behind the solitary advice of writing "what you know," but we should also feel free to write what we don't know, and with a bit of research and imagination no telling what wonderful stories we can share with readers. Fiction is our invitation to do that.
Thank you, Jerry!
It's been a pleasure having you on my blog. So what do readers think? Does the gender of a novelist influence you over whether to read their work? Do you expect women writers to be more 'delicate', as was said to Joanna Penn, and men more aggressive? Do you have a strong preference for either male or female writers, and if so, why? In which genres?
Or perhaps you're a writer who's encountered gender stereotypes when it comes to your work. Are you a male romance writer who find people expect guns and not roses from your fiction? Or are you like Joanna and me, surprising others with our choice of disembowelment and psychopaths as subject material? What do you think about novelists concealing their genders behind initials or pseudonyms? Leave a comment and let me know! Meanwhile, thanks for reading!
More about Jerry Byrum
Jerry Byrum is a native of North Carolina who now lives near Washington DC. He is a graduate of High Point University, and East Carolina University. After service in the U.S. Army, Jerry taught public school science six years, and served as science consultant four years. He enjoyed a 25-year career as a National Representative of the American Federation of Teachers, with assignments in more than 30 states. He is a member of the Romance Writers of America, and enjoys writing edgy contemporary romance, with strong female protagonists and other runaway characters usually on a mission to satisfy their passions.
Do You Prefer Novels With Happy Endings?
How do you define a happy ending?
''I won't read a book with an unhappy ending,' a friend once told me.
'So how do you define a happy ending?' I asked.
'Well,' she replied, 'I guess it's a broader issue than everyone living happily ever after, like in a romance novel. For me, in order to have a happy ending, good has to triumph over evil.'
This got me thinking. Is it really necessary for every novel to serve up a morally nutritious dessert at the end of the fictional feast? Must good always emerge the victor? Real life, as we're all painfully aware, isn't like that. So why should we expect fiction to paint an unrealistic picture of the world we live in?
A place for unhappy endings
Genre is important here, of course. I'd bet that most romance readers prefer happy endings for their novels. After all, isn't that the point? Character A meets Character B, they're attracted, but obstacles abound along the path of true love. Eventually A and B conquer their issues, declare their love and live happily ever after. Death, unpleasant divorce statistics and marital disharmony would be unwelcome guests in the soft-edged and fluffy world of romantic fiction.
'I remember reading a romance book back when I was a teenager and it had the heroine dying at the end in childbirth and the hero being sad and never finding someone again. What the hell kinda ending is that!?' A comment made in response to me posing the question about happy endings in a Goodreads group. Hard not to see her point, really! In the same group, someone mentioned a romance in which the hero gets shot two chapters from the end, totally ruining the reading experience. For romance novels, a stereotypical 'happy ever after' ending is almost implicit.
Not always, of course. Shakespeare's 'Romeo and Juliet' is the obvious example of a doomed romance, but there are plenty more. Take 'The Fault in Our Stars', a novel by John Green. No happy endings here, not given the death of Augustus Waters from cancer. But then, with this novel, the reader is primed from the start to wonder whether a feel-good conclusion is in the stars. After all, the protagonists meet at a support group for cancer patients. And let's not forget many readers enjoy a good weepie. There's definitely a place for unhappy endings, even within the romance genre, provided they're done sensitively and don't come as a shock to the reader.
A world without hope, an unthinkable future
Let's stick with the issue of genre. If happy endings are the norm for romance novels. the opposite is often true for dystopian ones. Dystopian novels are, by their definition, about unhappiness, with the protagonist primed to fail in a world without hope. The point of such a novel is to portray a an unthinkable future, one that can serve as a warning.
In his dystopian epic 'Nineteen Eighty-Four', George Orwell allows us to glimpse the horrors of a totalitarian world. I've written in a previous blog post about how affected I was by reading the novel with the expectation that good would triumph and that Winston would eventually defeat Big Brother and the Party. I was a teenager at the time and the final chapter came as a huge shock to me, destroying my adolescent expectations for a different, less bleak, ending. I've sometimes wondered what kind of novel it would have been had Orwell delivered the ending my teenage self expected. Personally, I found the long, boring passages about Ingsoc a chore to read. What if they had been replaced by Winston and Julia fighting the good fight and overthrowing the Party? In the hands of a master like Orwell, the reader would still have been assured of a great read. Would it have been a better novel? Impossible to say, of course.
Life isn't all roses and honey
Reader requirements are important too, of course. In a world where there's hunger, poverty and cruelty, many people employ fiction as an escape mechanism. For a few short hours, they can forget the awfulness portrayed on the nightly news as they lose themselves in a happier world between the covers of a book.
Other readers may disagree. After all, real life isn't all roses and honey. Not everyone wants to read books that deliver a moral message, preferring to escape the pervading political correctness of our times with a book that doesn't attempt to sugar-coat life. Novels that reflect the myriad problems affecting our world can reach out to readers more authentically, because they enable them to identify more strongly with the plot-line.
An unhappy ending also avoids clichés. We're almost conditioned to expect a neat, happy wrap-up at the conclusion of a novel, so when the author delivers something quite different, it can come as a refreshing change.
Unexpected endings can jar the reader
Not always, though. Sometimes endings can jar the reader. I suspect this is often because they don't deliver what my friend requires - the triumph of good over bad. Perhaps that's why the end of Gillian Flynn's novel 'Gone Girl' (review here) has attracted so much criticism, with many readers hating it. Without wishing to give spoilers, Flynn doesn't provide a neat wrap-up in which the novel's resident psychopath meets a well-deserved comeuppance. Her finale is refreshing for that very reason, although I confess I also found it somewhat unsatisfying.
Let's look at another example. Take how Thomas Harris concludes 'Hannibal'. OK, so the final chapters of this book have been derided as being totally unrealistic - 'that would NEVER happen!' is a typical response - but like with 'Gone Girl', I suspect some of this is because the ending offends many people's sense of morality. Where is Lecter's punishment for his terrible crimes? What's more, not only does evil come out on top, the closing events portray the corruption of Clarice Starling, a former federal agent, someone supposed to defend right versus wrong. Lecter perverts whatever's decent in Clarice by leading her to share his cannibalistic depravity as well as making her his lover. End result - evil triumphs over good. Unacceptable to many people, I suspect; hence the criticism.
The fun that a good villain provides
For some readers, it's easy to set aside questions of good versus evil, of course. Many people adore a villain. There's something about the bad guys and girls of fiction that's oddly compelling. Take the popularity of Patricia Highsmith's series of Ripley novels. Tom Ripley is a psychopath who kills as and when it suits him, but he's also a charming and engaging individual. Polite, cultured, moving in a glamorous world of travel and luxury, he delights the reader with his total lack of a moral compass. When he fails to get his due desserts at the end of Highsmith's novels, we don't mind, because Ripley has entertained us so much along the way.
Perhaps that's why we also love Hannibal Lecter. He's a depraved cannibal, sure, but he's also intelligent, witty and cultured, a dichotomy that intrigues us and draws us in, as we endeavour to understand what drives such a man. We're revolted by the idea of him eating Krendler's brain, but also filled with admiration for his brilliant mind and ruthless cunning. Ah, the contradictions of human nature! Aren't they fascinating?
Do you prefer a happy ending?
Let's hear from you! What do you require in order to be satisfied with a novel's ending? If you're a romance reader, do you need A and B to live happily ever after, or are lots of tears and a death or two OK? If you're into dystopia, do you believe a happy ending runs contrary to what the genre should deliver?
Are there any novels that ended in a totally different way to what you'd expected, and if so, were you pleased or disgruntled? Do you read to escape real life, or are you somebody who prefers novels to deliver a social commentary in line with the world's issues? Leave a reply and let me know!
I'd like to give a warm welcome to Amy Morse, author of the Sheridan and Blake four-book thriller series. who has written this blog post about why you shouldn't judge a book by its movie. Take it away, Amy!
A book is more intimate...
It has often been said that the book is always better than the movie - I saw a quote recently that said 'don't judge a book by its movie'. But why is that? A book is more intimate. When you read a book you are experiencing your own private screening of a movie being beamed directly into your brain.
A unique experience for every reader...
Everyone experiences a book differently. We build up a picture in our heads of the characters based on the information the author gives us and on our own experiences and perceptions - it's a unique experience for every reader. The average book would take the average reader 9-12 hours to read cover to cover non-stop. The average movie is between 2 and 3 hours long. That's a big difference. When a book is adapted for the screen it goes through a major rewrite. A skilled screenwriter can do a reasonable job of keeping the essence of the book, but it'll never be quite the same. At worse, the book is changed so radically for the screen that it becomes unrecognisable.
Movies are a visual feast...
The actors cast in the roles of the characters can also alter the feel of the story. Take 'Interview with a Vampire', for example. I must admit, I did love the film, but predictably I enjoyed the book more and was a big Anne Rice fan as a consequence. Never in a million years did I picture Brad Pitt and Tom Cruise as Louis and Lestat. Both actors were brilliant, but it tarnished the sheen the book had left me with and altered my perception of the original story. Movies are a visual and auditory feast and a shared experience. You can talk about a movie and adopt catch phases with your peers in a way that you rarely can with books. After a few of us at work went to see 'American Hustle', the office microwave is now forever known as the science oven!
Imitation is the highest form of flattery
My ultimate dream is to have the Sheridan and Blake series made into movies, and in my head my hero Tom Sheridan would be played by Clive Owen and my heroine, Sasha Blake, by Kate Winslet. Imitation is the highest form of flattery. I love movies, I really do. It's difficult to eat popcorn when you're reading a book! My advice? Read the book first, and when the movie comes out, try to think of them as two different stories that happen to have the same title.
More about Amy Morse
Amy Morse, writing as Amy C. Fitzjohn, is a writer, enterprise coach and entrepreneur. She is a business trainer by day and performer of random acts of creativity by night. She describes herself as 'finding inspiration in the everyday, creating something from nothing and enabling others to do the same'.
Amy has always had a passion for stories. She is the author of the Sheridan and Blake series, and you can find out more via Amy's website, which is www.amycfitzjohn.co.uk, or via the image links below.
More about the Sheridan and Blake Series
Bristol-based archaeologist, Dr Sasha Blake, is recruited by a covert organisation specialising in the repatriation of stolen antiquities from the black market - The Agency.
Partnered with Tom Sheridan, a man from her past, they must deal with their tumultuous relationship and learn to trust each other.
Together, Sheridan and Blake embark on an increasingly hostile mission to locate a stolen artefact - a mysterious bronze box, the keys to the box and an ancient manuscript needed to open it.
In this international conspiracy that spans the ages, told over four books, they must find the artefacts before a ruthless criminal, known only as The Libyan. Click or tap the images for more information (affiliate links):
Thank you, Amy!
Thank you, Amy! I couldn't agree more that a miscast actor can ruin a film. There can be exceptions, though. For instance, I found it hard to believe that Tom Cruise, not the tallest actor around, was cast as 6' 5" Jack Reacher in the film of the same title. Somehow, it worked for me, but I suspect only because at the time when I saw the film, I'd not yet read any of Lee Child's Reacher novels. And Tom Cruise is a good actor, in my opinion.
Have there been any books that have been spoiled for you by the movie version? Or vice versa? Leave a comment and let me know!
Digital or Physical Books - Which Do You Prefer?
For some, there's nothing like a real book
Ah, the pleasures of reading...
'I get how convenient e-books are,' a friend told me recently. 'But there's nothing quite like snuggling up with a real book, is there?' She's not alone. Since I started publishing novels, I've lost count of the number of people who have told me they prefer to hold an actual book in their hands as opposed to a tablet or e-reader.
Personally, I'm happy to use both. I have a Kindle as my chosen e-reader device. I love it, but I also read hardbacks and paperbacks borrowed from my local library. I believe our free book borrowing system is amazing, so I'm keen to support it, and there's also an ever-growing range of e-books available from them as well.
Ebooks, defend your corner!
So why are e-books so popular? Let's look at the advantages.
1. Immediate gratification. In a world where change is occurring at an increasingly fast pace, e-books provide near-instant enjoyment. With Amazon's 'one click' facility, it's a matter of seconds to get the latest blockbuster on your Kindle.
2. Portability. E-readers and tablets can hold thousands of books, great for travelling. It takes seconds to add or delete books, and it's a doddle to move them between devices.
3. E-readers are customisable. Need to read in a larger font? Simple. Like to make notes you can erase later? Easy-peasy. Want to read in bed at night but your partner is asleep beside you? No problem - simply activate the built-in light on your Kindle or Nook.
4. Price. The price of most full-length novels on Amazon UK is around the £3 mark. Paperback novels tend to retail at £8 or £9. E-books have made reading far cheaper and often free. The advent of Amazon's Kindle Unlimited programme has helped boost ebook reading.
Let's hear it for physical books!
Aren't books beautiful?
It's reassuring to note there's still a gratifying rise in the sales of actual books as well. So what makes so many people love snuggling up with a physical version of their chosen read?
1. Ah, the pleasure of a brand-new book! Many people give this as a reason for preferring paperbacks and hardbacks to e-books. There's something incredibly sensual about holding a new book purchase, smelling its pages and feeling the smoothness of the cover beneath one's fingers. How can an electronic version compete? Straight answer - it can't. Set beside their physical counterparts, e-books appear somewhat homely at best. And doesn't a well-stocked bookcase add something wonderful to a room?
2. Whilst textbooks are becoming increasingly digital, there are some books that undoubtedly do better in physical format. Cookery books, for one, with their glossy pages full of photos of wonderful culinary delights, look much better in a physical format. So do the types of books destined for life on the coffee table - exotic travel tomes, photographic books and the like - against which digital versions can't as yet compare.
3. For me, it's easier to flip backwards and forwards in a physical book. I can skim through the pages of one really quickly with my fingers. Not so with an e-book using the content/search facilities on my Kindle - sure, I can do it, but it takes longer.
4. Finally, plenty of people are technophobes. I'm not, but I do know a few! They're simply not comfortable with using electronic devices for reading.
What's your preference? Ebook or actual?
So what's your stance on the e-book versus actual book debate? Are you one of the many people who savour the feel and smell of a real book in their hands, something which will grace their bookshelves and hallmark them as a bookworm? Or do you love the convenience and cheapness of e-books, loading your e-reader or tablet up with the latest bargains as they hit the digital shelves? Maybe you're like me, mixing the tangible with the digital as it suits. Leave a comment and let me know!
Let's Discuss!
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One of Sound Transit's Light Rail cars. Courtesy photo
King, Pierce county officials want answers on Sound Transit fare enforcement disparities
The transit agency reported in October that black riders were more likely than others to get fined.
by Aaron Kunkler
Monday, December 16, 2019 12:29pm
NewsNorthwest
Officials from King and Pierce counties have asked Sound Transit to provide information about how fare enforcement is conducted following an October report that raised equity concerns.
The letter was addressed to Sound Transit's CEO Peter Rogoff and asked questions they hope the Board of Directors will answer during its February meeting. The questions focus on a report from this fall that showed Sound Transit's enforcement officers were disproportionately issuing citations to black riders. The report found that black riders made up 9% of all Light Rail riders in 2018, but accounted for 21% of all fare warnings and citations.
The letter was sent from eight officials, including King County Executive Dow Constantine, King County Council members and the mayors of Seattle and Tacoma. It stated that in 2016, King County District Court processed 3,515 citations, but only 94 were paid outright.
"This makes us question whether fare enforcement is actually a security issue, or if this is a customer accessibility issue that needs a different approach," the letter said.
The eight signing members asked the board to explain how transit enforcement officers decide which cars to check, and what stations that the checks originate from. It also requested information on informal warnings, how they're used and why data is showing a disparate impact on black riders. The group requested that fines be lowered from $124 to no more than $50, and that the fines be handled outside of the court system so people wouldn't end up with criminal misdemeanor charges.
King County Council member Joe McDermott said he hopes people can access transit, especially lower-income and homeless residents and communities affected by racism.
"We shouldn't be punishing people for trying to use transit, and we certainly need to fund our transit, but we should be compassionately trying to help people ride correctly," McDermott said. "That's the real underlying intent of the letter and the work that Sound Transit has undertaken."
Sound Transit completed an online survey last week, said spokesperson Rachelle Cunningham. The transit authority has also finished listening sessions in local communities that will be used to inform transit fare decisions. Cunningham said the effort was looking into whether citations were an effective way to recover fares.
"Whether these citations are too high, whether they present an equity issue, that's definitely one area the work group is looking at to find out how to sort of work with fare enforcement so it doesn't unfairly penalize people who can't necessarily pay these citations," Cunningham said.
Court referrals for citations have been suspended while Sound Transit figures out what to do, Cunningham said. The courts decide whether to send people to collection agencies, so collections have also been suspended. Fare enforcement officers are assigned to zones in the service area, and the selection of cars and trains that they inspect is random, she said.
McDermott said he hopes Sound Transit will move to a model similar to King County Metro, where citations are handled in-house. Metro fines are $50, but are reduced to $25 if paid within a month.
"I really believe that this is an equity issue, and that people aren't evading fares because they have the money and just don't want to pay," he said. "We find that there's disproportional impact on low-income people, people experiencing homelessness, people who have experienced historical racial discrimination."
Katie Wilson of the Transit Riders Union said Sound Transit could consider a program like one Metro will be rolling out next year that provides free transit passes for the lowest-income riders. But if it only applies to Metro buses, it could be challenging for riders, she said. Even though Sound Transit has suspended misdemeanor charges for citations, challenging them in person can be difficult for people who rely on transit.
"What we really want to see, and this is a very important point, we want to see the whole fare enforcement program taken out of the court system as Metro did," Wilson said.
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