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by Amanda on October 24, 2017
Last night, I started my usual prowling through the internet, looking for a topic for today's post. Nothing resonated with me until I came across a discussion about indie authors. Even though the discussion remained civil, the disdain and condemnation was obvious. I'll admit, I had a knee-jerk reaction where I wanted to go wading into the discussion to give the indie side of the argument. I didn't because it would have gained nothing. The people taking part in the discussion are so entrenched in their beliefs, they wouldn't have listened, no matter how convincing my arguments might have been.
You see, like so many who have been traditionally published, this group simply can't fathom the speed with which a number of indie authors write. More than that, they can't accept you can write, edit and publish a book in a month or two. They can't wrap their minds around the fact that the year or more between books most authors experienced by traditionally publishing was an artificial delay in the production line. But, because this is the system they are used to, it is the only one they feel is valid.
Yes, that is a bit of an oversimplification. They understand that authors write at different paces. It is the rest of it that blows their minds. They have a hard time realizing it doesn't take months to get edits back and have them finalized. They forget that indies don't have to wait for publication slots to come open for release dates. Even so, when they start saying they fear for our industry, they point to the speed with which indie writers are putting out their product and assume the product must be inferior because it didn't go through the same process their work did.
One of the authors pointed out that they had published something like 10 books in a little more than that many years. The author's view was no one should be able to put out a quality product quicker than that. After all, there's all that research that must be done, the careful selection of words, the crafting of the story, etc. No one should be able to put out multiple books a year, much less a book every month or so. Mind you, she had no idea how long the books were the indie author who published monthly put out. She simply assumed, just like she assumed they were poorly written.
That particular author's attitude isn't new. It's something indies have had to deal with since Amazon first opened their KDP platform to us eight or so years ago. They've complained that we aren't "real" writers because we didn't go through traditional gatekeepers. They've decried the quality of our writing and editing. They do so, more often than not, without reading our work. They simply join their voices to the cries of outrage coming from the rest of the flock.
What did catch my attention in the discussion, however, was a comment that basically said that instead of focusing on the "bad writing" of indies, they needed to ask why the public is reading such crap. They pointed to 50 Shades of Grey as their examples, pointing out it had sold many more copies than the "classics".
What that comment failed to note, possibly because it wouldn't fit the narrative, was that 50 Shades did start out as an indie novel and then it was picked up by a traditional publisher. That traditional publisher put mega bucks behind the push for that book and its sequels. It even contracted for a new book in the series, this one from Christian Grey's point of view.
The answer to that person's question is simple. There are those who appreciate the classics and literary fiction but they are not the majority of the reading public. The majority of those who buy books or borrow them from the library read to be entertained. They want a story they can escape into. They want to be able to forget their worries for a few minutes or a few hours at a time. It really is that simple.
A look at this week's New York Times best seller list tells the tale. Of the combined print and e-book list, four of the first five entries on the list are genre fiction. They are written by authors like Dan Brown, Stephen King (2 entries) and Nelson DeMille. The 5th book is a book of poetry. Looking at the hard cover list, none of the titles are what you might call "literary" fiction. Considering the fact this particular best seller list is determined by push and pre-orders (not completely, but to a large extent), it is obvious even publishers understand readers want something that has entertainment value to it.
Does all this mean indie writers don't have challenges we need to meet headlong and overcome? Absolutely not. To start, we need to understand we have to put out the best product we can. That means our writing has to be good and it needs to be edited. We need to be prepared to take the slings and arrows of criticism leveled at us by those who have yet to realize there are more paths to success than traditional publishing. We need to develop a thick skin and be prepared with facts and figures when people come at us, telling us we aren't "real writers" because we didn't go through the gatekeepers. What those critics don't understand is that our gatekeepers are our readers. If we don't do our job well, readers won't buy our product.
Now go forth and read — and write. If you read a book by an indie author, do them a favor and leave a review. Those help more than you realize. I'm off to find another cup of coffee now and then it is a day of writing. I can't afford to wait a year or more between books coming out. Guess I'm not a "real writer".
Tags: indie vs traditional, misconceptions, writing speed
From: AMANDA, WRITING: CRAFT
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paladin3001	#
Write, write like the wind! It's getting to the point where I laugh at writers looking at the big name publishers. I look forward to publishing my stuff and having CONTROL over my stuff.
Amanda	#
I laugh at those who still think there is only one way to be a successful writer. Those who usually do so don't recognize the irony of what they say. They are, at best mid-listers who have been writing for years and have yet to be able to quit their day jobs. But people like Christopher Nuttall who make a living off their indie work aren't "real" writers.
Orvan Taurus	#
While I consider perl essentially a "write-only" language, the motto of "There's more than one way to do it." is worth remembering.
And as long as the money is real, who cares about the opinions of fake people?
I've been kicking myself because I only have 25K words done on the quasi-Chinese novel. But I've also gone back, gutted and re-done a different novel, and am proofing the edits on a third book. And life. When I'm in the groove, I can do 8K words a day before Life and my body complain too much. But I know other people who can't. Their minds don't work that way. And they write great stuff.
What do the traditional-path fans say about Dickens, I wonder? We have people today who release novels as serials and seem to do well (John C. Wright, plus the Amazon serials program.) People who write like the wind, or at least like Chris Nutall. People who write slowly. People who write a bunch in advance then do rapid releases of the entire series. people like me who space out releases. Whatever works for your style and genre is the One True Way. *hops off soapbox*
sam57l0	#
Burroughs: Tarzan; Pellucidar, BARSOOM.
Heh. I checked the USA Today Bestseller list, since it's far less gamed than the NYT, and it's Dan Brown, John Green, Danielle Steel, the poetry book, and Rick Riordan.
Which makes your point even more strongly.
(Although my brain hurts now. Not because an illustrated Harry Potter is at #10 on the USA Today bestseller list, but because I realized that the kids who discovered Harry Potter when it first came out are now buying Harry Potter for their kids. This is like the first time I heard Queensryche on an oldies station. The pain will pass.)
CeliaHayes	#
Hah … more years ago than I like to think, someone in my circle made a comment to the effect that a certain person was so young that they didn't know Paul McCartney had been in another pop group before "Wings". And a young baby troop listening to this conversation got very wide-eyed and incredulous, saying, "He was? I didn't know that – what was the name of that group…"
Then, ox ancient.
Joe in PNG	#
Now, you'd have to explain who "Wings" was.
thewriterinblack	#
Paul McCartney sharing a stage with Kanye West (hack, spit), with a twitterstorm that this "McCarney person", whoever he is, was about to get a big boost to his career.
I'm not particularly a Beetles fan, nor "Wings" for that matter (personally, I think "The Fab Foursome" were better songwriters than performers and most of their music was better as covers than the originals), but at least I knew who they were.
Thuh Bea(glottal stop)les.
jsolbakken	#
The "Paul McCartney was in a band before Wings" joke goes back to the late 70's if I recall correctly. It was funnier then because you had to be pretty young and dumb to have never heard of the Beatles already at that point.
Kevin J. Cheek	#
Their opinion is irrelevant. All it means is they aren't competition, and that's a win for those they despise.
suburbanbanshee	#
Trollope was a fast writer, too, and nobody says his books are light or poorly crafted.
Point of fact: Fifty Shades of Grey started as a fanfic novel called Master of the Universe. Several fanfic authors then banded together to found a small ebook press for filed-off-serial-number versions of romance fanfic; it was called "The Writers' Coffee Shop". Fifty Shades of Grey and its two sequels were first published by them. Its success for the small Australian press got it picked up by the big publishers.
So teeeeechnically, Fifty Shades of Grey was never indie. But a small press run by writers is probably close enough for jazz.
Pat Patterson	#
Poetry?
Nobody reads poetry.
Then, I researched. And quickly quickly quickly discovered why the book of poetry is on the list.
lfox328	#
OK, I'll bite – why?
I googled the author's name.
(There is no way to say this delicately, but I will try, although my mother will smack me in the head with a thimble.)
She gained notoriety for posting a picture of herself wearing all her clothes, but evidently not one of those things girls start carrying around in their purses in the fourth grade or so.
And then evidently, she fussed when the picture was removed, and posted it again.
And it was removed again.
But I guess it stayed up the third time.
Anyway, google her name and the word 'picture' if you wish to view it yourself.
greghullender	#
I started off with the impression that independent works were all trash. "Refugees from a critique group." I got that impression from the first two or three such books I attempted. You didn't have to read more than a page or two to see why these books never should have been published. And at least one of these authors had already published five or ten books the same way.
Reading the SFWA forums helped change my mind. No one makes a mid-six-figure income writing trash like I'd read. Also, there's a big difference between someone who publishes as soon as he/she types "the end" vs. someone who hires an editor, enlists beta readers, commissions a cover, etc. being a serious independent writer is serious work.
I suspect, though, that if I picked independent books from Amazon at random, most of them (maybe 99% of them) would be like the first ones I read. There's a relatively small group of serious independent writers in the middle of a sea of people who don't know what they're doing and don't even realize they don't know what they're doing.
And yet somehow enough of the public finds that small group for them to account for (I believe) essentially all the independent sales. How you go about getting attention from the public and distinguishing yourself from the rest is something I still don't completely understand, although from the accounts I've read, it seems to depend a lot on rapidly producing content.
A traditional writer, as the article says, has little choice in the timing of books. An independent can publish new books as fast as he/she can write. Someone who gets into your series will very much appreciate only waiting a month or two rather than a year. And there are all kinds of strategies for promotion and pricing. (E.g. give book #1 away for free, charge $0.99 for volume #2, and full-price for the rest. Advertising can work. Mailing lists are probably the best. Different people seem to get different results, so it probably depends on how you do it. Etc.)
A different issue is that if your goal is to make money, there's a point beyond which you quit polishing your work. If the book was good enough after 4 weeks, you won't get twice the money if you spend another 4 weeks on it, no matter how much better you make it. Likewise, making it longer is a mistake. "Anything over 100,000 words is money left on the table," I've heard said.
So are traditionally published books of higher quality than independently published ones? (Even limiting ourselves to the serious independents?) Probably. Successful independents are targeting the market sweet spot–the amount of quality that maximizes revenue. Traditional publishers, for whatever reason, are targeting a very high level of quality that costs a lot to achieve and which a great many readers (most, probably) don't insist on. On the other hand, works that good may be the only kind that justify million-dollar ad campaigns.
Likely there's a place in the world for both.
C.J. Carella	#
Even in trad publishing, there is a limit to how much attention/editing a publisher will give a book. This is especially true when the writer is behind deadline and there is a lot of pressure to get the book out without disrupting the release schedule. So the difference in quality is narrowing down quite a bit. In some cases, it's already nonexistent – frex, most indie publishers won't subject their book to a sensitivity committee that makes sure they aren't offending the protected classes du jour, watering down stories.
Now that I've fallen into the habit of spotting errors while I read, I keep finding typos and such in trad books. Trying to cut costs, some publishers are relying on freelancers (often the same ones who work on indie projects), or letting go experienced but expensive editors and replacing them with cheaper products of our education system (shudder).
I'm not seeing that. I think you may be indulging in wishful thinking. 🙂 Trad publishers have a lot to lose if they let their quality slip.
As for the sensitivity committee, I think that's way overblown. I think very few authors ever run into any such thing. For example, you hear a lot of people complaining about how much rape appears in novels, and yet those novels all got published. I'm sure there are isolated cases, of course.
Let me put it a different way: successful independent writers are not obsessed with quality. The market simply won't pay for it.
And yet, I'm spotting errors – not many, granted, and a lot more mistakes slip through in indie titles. Maybe you're not paying close enough attention 🙂
Trad publishers have a lot to lose, but their recent behavior doesn't seem to reflect that they appreciate the risks they are in. The diversity committees are still in their infancy. There are some bad signs of things to come, like Kirkus Reviews recent policies (not a publisher, but it shows a trend). If they were more aware of market realities, indies wouldn't have eaten as large a share of the market as they have.
The most successful indie writers (the ones in the high six to seven-figure range) I know of seen have a team of people (editors, proofreaders, cover designers) behind them, and they put out product that is indistinguishable from trad publishers. They manage to produce four to six books a year without quality issues.
Below them, yes, quality is often hit and miss, and some writers value output over quality. If they don't satisfy their audience, their books soon sink into the multi-million ranking on Amazon and they disappear. In the end, the market has the final say.
With, I imagine. the exception of a recently failed politician's book…
Greg, the discussions I've seen about sensitivity readers are not about sex, but about culture and race. "Is this a good representation of X cultural or ethnic group/protected minority?" seems to be the critical question, more so in literary fiction and contemporary fiction than in genre fiction. "Has a member of X cultural group/protected minority [visible minority in Canada] approved of this book? Have they recommended changes?" That sort of thing.
I've seen a little of that online (e.g. people screaming about "cultural appropriation") but authors seem to be ignoring it. However, there's a good rule that says "write what you know," so trying to write about a Navajo character when you're a white boy from Chattanooga (e.g. me) is probably not going to work very well whether there's a committee or not.
As you say, though, this likely isn't an issue for most SFF publications since characters in secondary worlds or hundreds of years in the future likely won't have much in common with anyone alive today anyway.
John Van Stry	#
I wrote about a Navajo, and so far I haven't gotten a single complaint from anybody. Sold a lot of copies too.
Greg, I suggest you spend some time of Facebook or Twitter then. At least a couple of times a week, I come across posts by traditionally published authors — and not Sad Puppy supporters — who are suffering major angst over whether or not they should include a character in their book because that character is of a culture or identity or some other something that they, the author, are not. So, yes, it is something that is impacting traditional publishing, at least the authors still tied solely to it.
This, apparently, has infected some woman's magazine, where the editors rant about "cultural appropriation" in allowing kids to dress up as characters of different race for Halloween. So, let's get this straight: the thing now is that your kids can't dress up as certain characters or you can write about certain characters because of the color of your skin. The last time I heard that was when bigots complained about "white kids" liking "n****r" music. Guess what: It doesn't matter if it came from the back of a fourth rate honky-tonk or a New Yawk editorial staff: claiming we are restricted by the color of our skin is racist.
Make that "can't write about certain characters." Honestly think I'll need to get new glasses. These are maybe about six years old, anyway.
B. Durbin	#
There was a fairly sensible article I read about it from a Polynesian woman who said, in regards to certain famous Polynesian characters, 'don't paint your skin, don't mimic the tattoos, but if your kid wants to dress in a Disney costume of Moana or Maui, go for it.'
thephantom182	#
Greghullender said: "As for the sensitivity committee, I think that's way overblown. I think very few authors ever run into any such thing."
On the contrary, Greg. Every author runs into it. It is called the submission process. Any story that offends the sensitivity du jour will not make it out of the slush pile, past the agent's process, etc.
People who have a non-PC worldview, or write from same, are non-represented in the NY/Chicago Big Pub world. That's why I have nothing to read.
"For example, you hear a lot of people complaining about how much rape appears in novels, and yet those novels all got published."
But we don't hear "a lot of people" complaining about rape. We hear the -same- people complaining a lot. They have a high noise level, but are few in number.
What we do see is publishers pushing authors to include rape in books, and then pretending to be "Feminist!!!" very loudly and publicly. See the Weinsteingate proceedings for examples of people and organizations who were utterly silent until a week after Harvey left for "rehab" who are now signalling their virtue long and loud. (You know who was the lone tall poppy standing up in front of everybody years ago? Courtney Love. She blew the whistle on Harvey on the fricking red carpet on national TV, and got dropped by her agency as punishment. In 2005. There should be statues.)
Publishers like to have rape in stories because they think it sells. Prurient detail sells too. For those of us who won't tolerate that kind of thing, there's -indy-. Because that's where the authors go who refuse to play their game. For everybody else there's Game of Throwns.
A cultured choice of typeface, thousand dollar cover and expensive spell/grammar check plus an advertising campaign are not enough to make me read Ancillary Spork or Fifth Seasoning. I prefer dorky covers and so-so spell/grammar editing. Story trumps spelling.
Speaking of NY literary critics: https://www.nytimes.com/2017/10/24/arts/leon-wieseltier-magazine-harassment.html
Leon Wieseltier is some sort of big deal at the New Republic. Yet another big Lefty who turns out to be a woman molesting perv. Must be Tuesday.
You want to know why there keeps being rape etc. in books these days, Greg? This is why. This guy. He has a lot of clones.
Pam Uphoff	#
I think what these "Indie is trash" writers mean by quality is way beyond a mere lack of typos and into the "beautifully crafted passages" and "deeply meaningful" or "stunningly brilliant ideas" territory.
Oh, I'm sure. I also saw you were involved in the thread and they weren't getting what you were trying to say.
You'd think I'd know better by now, wouldn't you?
BobtheRegisterredFool	#
Okay, so they want more Tom Kratman novels.
So do I.
Perhaps, but what I mean when I say "trash" is that the author has any or all of the following problems:
1) Doesn't know when to show and when to tell. In fact, usually narrates almost the whole story, so it reads like a Wikipedia article or an outline for a real story.
2) Doesn't control POV (and often doesn't control tense).
3) Delivers enormous infodumps on subjects that don't affect the story. Sometimes has chain infodumps where an infodump is interrupted for another infodump.
4) Produces unnatural dialogue (including the as-you-know-Bob variety).
5) There's no plot at all and possibly even no protagonist. That is, it's hard to say who the main character is, but it's really hard to say what that person is trying to accomplish. Events just happen, and the story ends when the author gets tired of writing.
6) The protagonist is Mary Sue. (Despite the name, most Mary Sues are male.) That is, he/she is perfect, the best in the universe at everything he/she does, and solves all problems within a page or two.
7) If it's an SF story, the science is howlingly bad. Gravity stops at the edge of the ionosphere, so spaceships can get trapped if they "fall into" a gravitational field. Or rockets immediately fall out of orbit if their engines stop. Ditto landing on a black hole, firing bullets at three times the speed of light, interbreeding with aliens, etc.
8) Cardboard villains, including EvilCorp (which is so evil it does things that kill its own customers) and EvilGov (which is so evil it tracks the heroes wherever they go to harass them out of pure meanness, yet is incompetent at doing anything else).
These are the sorts of things that make a story "trash." One or two of these things don't ruin a story–just like a typo or two across a 300,000-word super novel won't–but systematic problems of this sort really do earn a work that description. And such works are definitely out there.
Successful writers do not write trash! This is because not many readers will pay for it. There are plenty of successful independent writers, so anyone who says all indie writing is trash is mistaken. But almost no traditionally published works are trash, simply because they have an army of people trying to prevent that from happening. Lack of gatekeepers for independent works is both a curse and a blessing. It removed the tyranny of the slushpile by turning all the buyers into prospective slushpile readers.
Donald Campbell	#
I am currently 840 e-books on my Kindle. The number of 'trash' books in that list is about 2. (And one of those is Raptor Butthurt or whatever by Noah Award that was a protest purchase and I had no intention of reading.)
Indeed, there is a risk of trash, but I rely on sites like this to pick up recomendations. Now, I blame John Van Stry for this, but Jan Stryvant comes up in his search, and she writes Shifter Romances… with lots of explicit detail in the romance…Now, that said, if you skim over the sex scenes, there are reasonable characters and a reasonable plot. Not great, BUT, at $2.99 I can accept the risk of unknown authors and possible trash a lot easier than $12.99 for a 'traditionally published' e-book. Likewise a few more then=than typos (yes traditional novels have them too) are easy to endure with the difference in prices.
The best way to pick up new readers for your 10 volume epic, is offer the first volume for $0.99 or free! If it is any good, I will happily pay $3-4 each for the rest, and look for your other writings too.
OMG, your checklist could be applied to any number to "successful" traditionally published SF authors and they would fail. They might not have typos (or not many), but they will jump heads, they have major info dumps (Weber anyone?), their science is either non-existent or junk, etc. Sorry, but until you start applying that same checklist to your so-called successful trad published authors with the same fervor you apparently do to indies, your argument fails.
I'm a reviewer. I apply this checklist every day. Here's a list of Tor.com novellas that I've rated over the past three years. (That's all the tor novellas published in that period.)
http://www.rocketstackrank.com/search/label/Tor.com+Novella
Anything with one star means "trash" in the sense defined above. Two stars means I couldn't sustain suspension of disbelief (that's where most message fiction ends up). You'll see that I do give one star to Tor's products occasionally. It's rare, though.
I'm not shy about giving one-star reviews when I think they're merited. Here's a list of the last three-years' worth:
http://www.rocketstackrank.com/search/label/Rating%3A%201
I'd love to review more independent work, but I have no idea how to filter it. It's not much fun writing one-star reviews (much less reading one-star material) and I generally feel obliged to finish everything I start and to review everything I finish.
You filter it by what's up in the ranks, or by how many reviews the work is getting. Also, what does Amazon recommend to you? Amazon spends a huge amount of money on algorithms designed to figure out what you like and show it to you.
So, you base your conclusions about indie work on 1) a few titles you read and not on a wide selection and 2) you only review novellas and apparently don't see that your own list of "qualifiers" contain things you don't like that Tor novel authors are famous for violating. Riiiight. And we are to take your conclusions about indie writing seriously why?
I'm sorry, if you haven't figured out yet how to go out and find indie work to review, you aren't trying hard enough. John listed a couple of good ways to do so. Another way is to simply type in your search term, read the blurb, check the preview pages and then decide if you want to download or not. It's what readers have been doing for years.
No, it appears you haven't read what I've written, and you're responding to arguments I didn't make. I'll stop here then.
Let's start with my last point. You said, "I'd love to review more independent work, but I have no idea how to filter it." I made a suggestion, as did JVS. Perhaps you need to read your own comments closer.
You also said, upthread, " suspect, though, that if I picked independent books from Amazon at random, most of them (maybe 99% of them) would be like the first ones I read. " That sort of says you don't read many, if any, indie books. You have talked to people about them.
Here's the thing. You have come in here telling us all how bad most indies are and how wonderful Tor and other publishers are. You have offered nothing to prove it other than your own checklist — a checklist that I noted would throw out a number of best sellers, including Tor's own David Weber. And I still stick to my comment that you could find (and filter, to use your own term) indie books to read and review if you did the minimal research/work other readers do. Shrug.
60guilders	#
I've got to second C.J. on this one. I've seen more than a few typos, repeated words and even phrases in traditionally published works. Also, let's be real here: there were a lot of decent authors who ended up hanging out in the slush pile because there wasn't room for them in the publishing queue.
Today's trad publishers say, "We expect authors to provide publish-ready manuscripts." What they mean is that the company is too cheap to hire copy editors, so the author has to hire freelance editors before submitting.
In practice, it means you see a lot of typos in the products of Big 5 Publishing.
Yep. This, right there!
And then they scan already-published works to make them into e-books and bollix that. *SIGH*
And then tell us that creating e-books means paying for covers and editing and formatting a second time and expect us to believe them. Riiiight. Pull the other one while you're at it.
I hate to say this, but you are wrong when you say you don't think trad publishers have let quality slip. Everything from the quality of materials they use for binding to paper quality to quality of editing has declined over the years. I have a feeling that if I were to give you two books that had been stripped of author name and publishing information, you couldn't be able to tell which was an indie and which was traditionally published.
Your comments about the sensitivity committee are also misguided. Not every publisher has a "committee" called that but they are doing just that. Look at the calls for submissions that are limited to only certain segments of our society. Or look at posts written by editors (or agents who are the right hand of publishers) that basically say no "cultural appropriation" or that allude to the fact that you can't write a story if you aren't the same [insert race/creed/sex/sexual identity/whatever] as your characters.
The problem with your argument is that you are basing your premise on books already published. This is a fairly new phenomenon in publishing and is just now really starting to show its ugly head in the books making it to the shelves.
Robin Munn	#
If you kept the cover image, then I'd be willing to bet I could still tell the indies from the tradpubs. As I flip though the books that Amazon recommends for my next Kindle Unlimited borrow, I generally have a mental ticker going "tradpub cover, tradpub cover, indie cover, tradpub cover…". I would be hard-pressed to explain the difference in words, but there's a certain I-don't-know-what to tradpub cover styles, which indies rarely manage to match. It's not quality — many indie covers are excellent — but I'd bet that if someone put together a "tradpub or indie cover art?" quiz where you only see the cover art without any of the text visible (no title, no author's name, etc), it would be pretty easy to score well above 50%.
But in terms of quality of the contents — spelling, grammar, plot holes — I agree with you.
One of the things to try to do as an indie author is to see the current publishing trends for artwork in your genre (preferably midlist to the lower successful—because the very successful are playing by different rules) and mimic them. The closer you get, the better your chances.
Viktor Nehring	#
I see boatloads of typos and formatting errors in tradpub and indie ebooks. Even Harlan Ellison — who aims high for "quality" as you use it — has numerous typos in his ebooks.
Grin. I'm a short-fiction critic, so a better criticism might be that although I read about 5.5 million words of short fiction per year, I only read about 2 million words of novel-length (say one novel a month), so I may not have the breadth to know for sure.
However, I'm very attuned to typos, grammar errors, ambiguous/confusing prose, etc. and I see a good bit of it in short fiction (more in some magazines than others), but in novel-length works, it's quite rare. It probably varies by publisher, of course. The stand-alone novellas that Tor.com publishes are consistently excellent in terms of writing quality. (I'm not always so keen on the plots, though.)
TOR is still in the business? Is Sclazi still writing derivative fiction?
I don't think Trad publishers are any better than indy. Not at all. There's a lot of bad Trad pub out there. A LOT. Especially when they're using the book to push politics and a narrative.
How many Trad published books sell more than 5K copies? Apparently, not a lot.
Yes, there are a lot of bad indy books, because the bar to entry is very low, but it's not that hard to sift out the bad ones, the cover and the blurb alone get rid of most. Reading the first few pages sort out most of the rest.
Again, I don't really see a 'high level of quality' from most trad pubs. Unless we're talking about the paper.
It's early and I have an appointment I have to get ready for shortly, so I'll keep this short. I know you are giving traditionally published works too much credit and many indie works too little. If traditional publishers were doing the jobs they once did to insure quality (ie, editing, copy editing and proofreading), traditionally published authors wouldn't be hiring their own editors to edit their books before they go to the publisher. Yes, there are a number of trad. published authors who do this. Why? Because they don't get the quality of editing they used to.
As for publishers targeting a "very high level of quality that costs a lot", I'm not sure I get what you're referring to. Perhaps you'd care to give specific examples?
I'm wondering if a link to Dean Wesley Smith's sacred cows of publishing should be appropriate here. He targets all those view points and he wrote the first posts for the book years ago (well five at least I think).
Sarah A. Hoyt	#
yeah, considering advances are now 3 or 4k and that my indie book made ME 20k (Yeah, I get bigger advances than 3 or 4 k from Baen, but most authors are now getting those) I'd say he's whistling Dixie.
Trad authors can be as contemptuous as they want to be. Meanwhile, the indie path offers the best opportunities for writers who want to build an audience. When you adjust for slush pile submissions/indie published stuff that should have stayed in the slush pile, the odds greatly favor indies.
CJ, absolutely. Indie authors also offer readers something traditional publishers aren't — books they want to read. The so-called resurgence of science fiction, especially hard sf as well as military sf and space opera, show that.
Draven	#
so are they going to ask the government to regulate the output of indie authors?
Reminds me of sword production in Japan…
Underground libraries etc. Readeasies… yeah, Prohibition works so well.
snelson134	#
No, they're going to find a way to persuade Amazon, Facebook, and other so-called "private" companies such as internet hosts to do it.
Christopher M. Chupik	#
"Guess I'm not a "real writer"."
You're in good company. 🙂
Wow, so many more mythical folks than expected.
I'm a velveteen writer.
Pretty good typist, though! Commas, periods, quote marks scattered about. AND, in the right places!
amiegibbons15	#
I've found the faster I write a book, the better it usually is. If I can get into it like that, live and breathe that character so that the writing just flows, it's usually more realistic, stronger voice, better plot, etc…
From a reader's perspective, this matches my experience as well. The longer an author takes to write the next book in the series, the more likely it is to disappoint me when it finally arrives.
Although the joke is that the first book (the one everyone liked best) took ten years to write. It's the ones that had to be produced in "only a year" that suffer by comparison.
The truth is probably that not all authors are capable of producing even one book a year. Others easily produce a novel a month. People are just different.
That may be (although not in my experience; usually the authors I read get much better in their second books), but it isn't really what I'm talking about. I'm talking about the series where an author started by consistently putting out a book a year…then slowed to about two years…then three…then it took seven years to put out the latest volume, and it's the worst one yet. Stuff happens, but there's little in the way of coherent plot or pushing the story forward, the characters just seem to want to fulfill their tasks and get out of there, and the reader wonders why she ever started liking the series in the first place.
If you are writing for a series, part of the trick is creating enough tension to pull the reader through each book, then decrease it at the end. If you stop right mid 'finish the book all night' level of tension, the reader is going to get whiplash, and feel betrayed. At the same time, you want to leave them with a certain amount of uncertainty about what happens in the next book. If they aren't curious they aren't going to read it, much less wait eagerly.
Well, you have readers that want the next books, but aren't ruining their lives over it. What'll happen as they wait?
1. As time increases, they will change. At some point, they may no longer be interested because they are a sufficiently different person. 2. As time goes on, they will think about the book. They may solve whatever mystery they want to see resolved, or they may get angry at the story, or whatever. Or their theory of 'what happens next' may diverge from what you decide to go with. 3. Or you may have time to come up with a 'what happens next' that is too radical for what the readers have been prepared by the last book for. The sooner you publish again, the less room you provide for such things.
Some of the best series don't really have an all encompassing over-reaching plot. PTerry's Discworld, for instance, or John D McDonald's Travis McGee books.
Each book is pretty much a self contained story arc which referenced events in previous books, but one didn't need to read all the books in the series to jump in.
So, while "Interesting Times" did lead pretty directly into "The Lost Continent", it did end at a pretty good place. One didn't feel the pressure of waiting for the next book to find out what would happen next.
"Arc Fatigue", as the tropers call it, can be a very real thing.
"The Last Continent", not "The Lost Continent".
I watched that particular MST 3k ep last night.
wordpresskwood	#
A very good point. Discworld and other largely 'arc-less' series are beloved, I believe, because readers simply love being in that writer's worlds, and any excuse will do. These are the 'charming' authors, Douglas Adams, Neil Gaiman and so on. I rarely find the plots in their books to be riveting, but love the characters and environment, insights and details that arise from their thoughts and discussions. Could they get away with no plot at all? No, but as a reader of those books I find myself thinking less 'what happens next?' and more 'I hope this doesn't end too soon!'
Terry Sanders	#
That's one of my big problems as a writer–I'm that kind of a reader. So when I write, I have a *world* in mind.
Neither characters nor plot are of great importance to me. But you can't skimp on them. And I froquently want to…
(Cough) ASOIAF! (Cough)
That would be an obvious example (really? We waited 10 years to see Tyrion so he could get on a bunch of random boats!!!!!), but it's far from the only place I've seen the problem.
I'm definitely in the former category right now, seeing as I have kids at the age where all three of them need attention right now for varying reasons. In the latter category may be one of my friends, who has put out about fifteen books in the last five years WHILE working full time AND getting her master's degree in photography. (Plus various and sundry side projects.) She's gotten to the point where the finances line up to quit the job… and we're all a little interested to see where she ends up on the writing end.
My best selling, in terms of paying every pay period traditional book is a work for hire fictional biography of Jane Seymour, which I wrote in 3 days, for various reasons. The one on Kathryn Howard took me much longer, because it was going to come out under my name and I care more. Yeah, not nearly selling so well. I need to take a month and write all the six wives under a pen name 😉
Amie, same here. I realized over the weekend why I was struggling with the current work-in-progress. I pretty much scrapped everything I did and started over. Since then, the book is flying and it is a better book for it, imo.
Same here. Optimum time for a book is two weeks, because I'm truly immersed.
Now, if my stupid health stopped interrupting books…
Also, you're not alone and I'm not alone, with us stand people like Rex Stout, and oh, yeah, Kristine Kathryn Rusch and Kevin J. Anderson and and and….
I've just had the great good pleasure of reading a beta version of a book that was several months in the making, and a LOT of that time was devoted to researching the development, manufacture and use of multi-shot rifles, assuming gunpowder and muskets. It was a TON of research, I KNOW, because I sort of hung out at the fringe of the author's camp, sniffing, much in the way my cat stalks my lunch.
And ya wanna know how much of that made it into the book? Practically NOTHING. But the knowledge showed up, and it was necessary for her to do that in order to make the innovation (rate of fire = a win against a bigger army) work for the story.
And it will cut WAY down on the research for subsequent novels.
But I'd have to say, that if EVERY book takes 10 years to research, you REALLY need to consider sequels more seriously.
When I was looking into publishing, I was asked, "Do you want to be famous or do you want to make money?"
The person then said either path doesn't mean you'll get that one, or that you won't get both, but one is more likely than the other with the different paths.
I said I wanted to make money.
They told me to go indie then.
Jasini	#
mrsizer	#
Michael Anderle. The first three books were very rough when published. The first eight or so had ugly covers. They've since all been cleaned up. Now, he's leading a stable of authors and has a team of beta-readers and an editing team. A Kurtherian book comes out about every week. I have about 30 of them (if it makes y'all feel better, my Mad Genius Kindle collection has about 100 books in it).
<I> Sigh.
The Other Sean	#
I sigh
With my HTML eye
You missed a slash i.
I occasionally give in and join these sorts of conversations. I try to explain that just because someone is writing a book a month and publishing a book a month–it's usually not the same book. That writers tend to develop a process, where they're writing something new, have something out for editing, and doing covers, and formatting . . . And the book they published this month was probably written a minimum of 3 months earlier.
In one ear and out the other. Two posts later they're back to exclaiming about how no one could possibly write, edit, polish format and publish a book in thirty days.
So I have to walk away before I start comparing Amazon ranks with any of the darlings.
You are a better woman than I. I'm not sure I could have walked away — which is why I didn't join the discussion.
Nice lady, but thin skinned, a bit of a whiner, liberal. But it's like kicking a helpless puppy. It doesn't do any good, and you just feel bad for doing it, and making them whine twice as long.
I'm happy I don't have the time to go to where ever it is these people are. Too busy trying to get the next story done in my series. All of which are being done in less that 30 days :-p
So they can't comprehend basic concepts of industrial engineering as applied to creative writing, such as takt time? Why do they hate science? XP
How to win that argument everytime?
Invoke James Patterson.
13 books published in 2016, 16 so far in 2017. I beleive he's averaged slighly more than a book a month for several years now.
Of course you can start a new argument by saying he didn't really write all of those books, just parts of some of them, but I'd have the popcorn ready for that.
Michawl Dolbear	#
Quoting Lois McMaster Bujold
"This e-publication thing is getting frighteningly fast, in part because a lot of little things which were baffling decisions or upward learning curves first round are now set templates which only need replicated."
Margaret Ball	#
An old mantra from the time when trad publishing ruled the world: "Never let your editor find out how fast you can really write."
I cannot begin to express how refreshing it is not to bother with that any more.
Could you explain the reasoning behind concealing that?
George	#
I would say there is a difference between maximum writing speed under optimal conditions and sustainable writing output. Editor's may assume the optimal conditions always apply. Unfortunately, life happens.
No. It's because if they know you wrote it fast, they're going to go looking for problems. There are ALWAYS problems in a book. If you know how fast it was written, you look to find them. Well, if you're trad pub.
I'l fangirl here, Margaret, and say I'm thrilled you've joined the indie ranks. Now, go write more and write fast! VBG
Peter George Stewart	#
Fiction has always been genre fiction, the "classics" were simply the genre fiction that stood the test of time.
Francis W. Porretto	#
— I can't afford to wait a year or more between books coming out. Guess I'm not a "real writer". —
Amanda, while I sympathize with your argument, I think it's unwise to say you "can't afford" some particular time interval between books. It doesn't matter whether it's true. Yes, there are readers who would prefer to have a high rate of output from their favorite writers and are willing to overlook the compromises that might arise from that rate of production. However, the anti-indie forces are quite ready to jump on a "can't afford" statement with their favorite term of condemnation for us: "They're hacks."
Let's be candid: To promote speed of output over other considerations will, for most of us, result in a compromised level of quality, especially as regards low-level details. If you're one of the blessed few to whom that doesn't apply, I envy you, as I'm not favored thus. But let's not hand our enemies a weapon they can use against us — and to say baldly that you "can't afford" to take some arbitrary amount of time over a book-under-development does exactly that. Far better to point to the quality of your work, smile, and say "That took me only X weeks. Got a problem with that?"
While I understand your concern, let's be real here: the anti-indy crowd will jump on any statement that even hints at writing for anything but writing's sake as evidence of hackery, and regards not spending months or even years on a single work as evidence that one is not writing for writing's sake.
Francis, first of all, I don't hold back when it comes to the truth. I can't afford to wait that long between books. For one, the voices in my head of all those unwritten books would drive me crazy. For another, readers will forget. I write to make a living. If I don't write, I don't get paid. Finally, most folks who look at writers with high output and say they are hacks aren't the ones who are buying the books.
All that aside, at nowhere have I said anyone has to write as fast as I do or, more daunting, as fast as Christopher Nuttall does. What I have said is that no one should tell me, or anyone else, that the fact we write fast means we don't put out quality products.
That's better phrased than "I can't afford." I have no problem with people who write swiftly, or with people who need money, or with people going borderline insane from the character voices in their heads. I just want to avoid handing the anti-indie crowd any more weapons — and to reply "they'd jump on anything we say" is not a defense; it's an excuse for not saying what you really mean. "But I didn't mean it that way" is especially unfortunate from the mouth of one who writes and sells the results. Consider this snippet from The Left Hand of Darkness:
In dothe one does not worry much, and what anxiety I had was for the Envoy, who should have waked long ago from the light does of sonic I had given him….When the wheel turns under your hand, you must watch your words: and I had twice called him dead and carried him as the dead are carried. The thought would come that this was then a dead man that I had hauled across the hills, and that my luck and his life had gone to waste after all.
The "wheel turns under our hand:" the indie-fiction movement is moving ever faster, and the gatekeepers are in retreat. Let's not set our own cause back unnecessarily.
Bill Peschel	#
There's nothing new about any of this.
After Anthony Trollope's death, his autobiography was published, in which he revealed that he wrote to a clock every day. A certain number of words, according to his watch, and if he finished a novel and there was time remaining, he would start another novel.
This revelation killed the respect the reviewers had for his works, even though the words had not changed. It took a long time for his reputation to recover.
Then there's the notion that you need an MFA or other accreditation to be taken seriously as a writer. But this is a very recent development, once you look at the careers of notable writers. Hemingway never took a writing course. Nor did Fitzgerald, Faulkner, or Woolf, etc.
Readers will forgive a host of faults if you give them a compelling story. Conan Doyle was regularly slated for his inattention to facts, but it didn't hurt Sherlock Holmes.
I liken the indie writing scene with indie filmmaking of the '70s. Films made under the studio system had a certain level of quality that was consistent. You had great movies, you had duds, but the duds were not terrible on a par with the '70s films (MST3K provides a fine sample of that).
Michael W. Perry	#
Quote: Now go forth and read — and write. If you read a book by an indie author, do them a favor and leave a review.
Having done both, I will add to that. If you read and enjoy a book by any writer, do them a favor and write a review.
My kindle has an embarrassingly good amount of books on it, over 1200 now, but out of all of those….the only trad pub people on it at the moment are Weber, Gini Koch,D. Nolan Clark, A. Reynolds, F. Herbert and Jean Johnson (Her Ia series.) Everyone else is either trad pub that got their rights back and now publish indie or many titles offered thru KU. I don't have KU but I darned well put my money to what entertains me. I rented A. Justice from the library. It cured my insomnia. I also tried out 3 Body Problem from Tor's freebie newsletter. It was alright but I am getting more bang for my buck with the likes of Cole/Anspach, Fox , Nuttall, Weber, DiPietro, M.R Forbes, M.D Cooper, Schall/Green or Carella. I don't care what the writer's politics are, if you write something entertaining to me, I will throw down hard earned money for it.
I find it kinda sad that Orbit doesn't promo N. Clark's "The Silence" series much. It pretty interesting. He wrote some horror novels under another name a while back and I liked the narrative style so I got these when they hit. I only have the first book for now because it just hit 6.99, but I am patient so ill wait for the other two to hit a reasonable ebook price.
Sometimes I still read older S. King novels. Even with his loopy pov on politics some of his older stuff entertains me quite well.
PS: I don't usually mind the speed of the writer's output, esp with indies, since I have so many more authors to follow now. 😀 That's one of the things that irks me with trad publishing. Sometimes your lucky to get 1-3 books a year from someone.
On Bergdahl and writing and other things - Nocturnal Lives
Dorothy Grant on If You Give A Reader A Cookie…
kilteDave on Rules to Live By?
accordingtohoyt on If You Give A Reader A Cookie…

redpajama_set_name: RedPajamaCommonCrawl


In a small bowl, whisk together the egg, flours, milk, olive oil, baking powder and salt. Add in the herbs and cheese, if using, and stir to combine.
Pour the batter into a small microwave safe bowl or wide mug and microwave for 90 seconds.
Place the mug or bowl upside down on a cutting board or plate and let the bread slide out. Cut it crosswise making two round english muffin shaped biscuits.
To toast, place the bread rounds on a high heat skillet with a touch of butter or oil for 30-60 seconds on each side.
The combination of the coconut flour and almond flour give this biscuit just the right amount of structure and moisture. If you are using just coconut flour, I would only use 1.5 tbsps. If you are using just almond flour, you will probably need 3-4 tbsps.
This multi purpose bread can be eaten as toast or sandwich bread! It's absolutely delicious with a fried egg, a few slices of bacon, cheese and avocado piled on in between.


While it's tempting to apply the same tests for pump efficiency to wastewater pumps that apply to clean-water pumps, the nature of wastewater makes such a comparison mostly invalid. Wastewater, by nature, puts heavy wear and tear on pumps even in normal operation, and the ability to quickly repair wastewater pumps and return them to operation makes a significant difference to overall performance. Thus, while submersible pumps often appear to have higher pumping efficiencies than self-priming pumps, self-primers often produce a much better total efficiency since they are easier to return to service whenever unclogging or repair are required.


text:
Ѐдвард Я̀няк () е полски римокатолически духовник, доктор по нравствено богословие, викарен епископ на Вроцлавската архиепархия и титулярен епископ на Скилиум (1996 – 2012), епископ на Калишката епархия от 2012 година.

Биография
Едвард Яняк е роден на 14 август 1952 година в село Малчице, близо до Шрода Шльонска, в семейството на Янина (с родово име Змисловска) и Станислав Яняк. Има по-голяма сестра Халина и по-малък брат Кшищоф. Получава начално образование в родното си село, след което завършва Техникума по горско стопанство в Собешов (днес част от Йеленя Гура). През 1971 година започва да учи във Висшето селскостопанско училище в Познан, но след две години прекъсва и се записва във Висшата духовна семинария във Вроцлав. Паралелно с това, в периода 1973 – 1979 година учи в Папския богословски факултет във Вроцлав. Ръкоположен е за свещеник на 19 май 1979 година във Вроцлавската катедрала от Винценти Урбан, викарен епископ на Вроцлавската архиепархия. Специализира нравствено боголовие в университета "Свети Тома Аквински" в Рим, като на 16 ноември 1986 година защитава докторска дисертация. Следващата една година служи като енорийски свещеник при Полската католическа мисия в Дортмунд. От академичната 1987/88 година е преподавател по нравствено и пасторално богословие в Папския богословски факултет във Вроцлав. В периода 1989 – 1992 година е административен директор на факултета и на Вроцлавската духовна семинария.

На 26 октомври 1996 година папа Йоан Павел II го номинира за викарен епископ на Вроцлавската архиепархия и титулярен епископ на Скилиум. Приема епископско посвещение (хиротония) на 20 ноември във Вроцлавската катедрала от арх. кардинал Хенрик Гулбинович, арх. Юзеф Ковалчик, папски нунций в Полша и Славой Лешек Глудж, епископ на Полевия ординариат на Полската войска. На 21 юли 2012 година папа Бенедикт XVI го номинира за калишки епископ. Приема канонично епархията и влиза в Калишката катедрала като епископ на 12 септември.

Бележки

Полски богослови
Викарни епископи на Вроцлавската архиепархия
Калишки епископи
Възпитаници на Папския университет "Св. Тома Аквински"

redpajama_set_name: RedPajamaWikipedia


The best Internet site is Cyndislist for Scandinavia .
F831 Franklin, Charles,Dutch Genealogical Research , Indianapolis, IN: Ye Olde Genealogie Shoppe, 1993.
How to research ancestors from Belgium, the Netherlands and Luxembourg.
H566 Herrick, Linda,Norwegian Research Guide, Janesville, WI: Origins, 2000.
General overview of Norgwegian genealogical research.
J65 Johansson, Carl Erik,Cradled in Sweden , Logan, UT: Everton, 1995. Older editions in circulation.
How to search Swedish genealogical records.
S647 Smith, Frank,Genealogical Guidebook & Atlas of Denmark, Bountiful, UT: Thomsen's Genealogical Center, 1986.
Includes brief description of the four major sources: church records, census returns, military levying rolls and probate records. Includes topographical maps with an index of 12,000 places.
Collection. Brief description of three major sources: church records, census returns, and probate records. Also includes topographical maps with an index of 4,500 locations and a list of parishes.
T481 Thomsen, Finn,Genealogical Guidebook & Atlas of Sweden, Bountiful, UT: Thomsen's Genealogical Center, 1981.
Lists parishes of Sweden indicating which have been microfilmed by the Family History Library in Salt Lake City. Maps are included.
T481 Thomsen, Finn,Genealogical Maps & Guide to the Norwegian Parish Registers, Bountiful, UT: Thomsen's Genealogical Center, 1987.
A list of parish registers including maps in Norway showing time period covered and whether they are available on microfilm.
T481 Thomsen, Finn,Scandinavian Genealogical Research, Bountiful, UT: Thomsen's Genealogical Center, 1993.
How to translate and transcribe Scandinavian genealogical documents.
V774 Vincent, Timothy,Finnish Genealogical Research, New Brighton, MN: Finnish. Americana, 1994. Also in the Reference Collection.
Records available and how to use them.


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Karen Alschuler has spent over 35 years tackling some of the most interesting and urgent urban issues. She is known for projects that define the new generation of urban waterfronts, set design parameters for transformation of large urban districts, and provide for expanded cultural and educational facilities. Karen has embraced urban stewardship and the creation of civic places that welcome a diverse population, sought a critical balance between physical planning and fiscally responsible economic development and applied techniques to achieve true urban engagement.
Karen has been active in the Urban Land Institute for more than 30 years serving on multiple committees, authoring articles and participating in project panels and onsite review teams. She is also a fellow of the American Institute of Certified Planners and has been elected president of Commercial Real Estate Women in Boston, New York and San Francisco.
Karen is passionate about creating spaces that enable communities to live better at higher densities with a particular focus on the common ground of cities, its civic web of public places, and streets and edges at the waterfront.


text:
Newcity Film
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Review: Peace, Love, and Misunderstanding
June 6, 2012 at 4:27 pm by Ray Pride
by Ray Pride
June 6, 2012 June 7, 2012 Filed under:
"Eugene O'Neill's plays could be cut in half," a verbally characterized philistine says at a New York dinner party at the opening of "Peace, Love, and Misunderstanding," to which the host adds, "Or better yet… abandoned altogether!" Later, as the characters make their way to Woodstock to meet long-estranged grandmother of Manhattan lawyer Catherine Keener's teen children, punch-the-hippie jokes take center stage in turn. Credited director Bruce Beresford has been a capable journeyman most of his thirty-plus-film career—"Driving Miss Daisy" pleased a few viewers, and "Tender Mercies" remains a splendid acting showcase—but no one is well-served by Christina Mengert and Joseph Muszynski's glib and often shallowly patronizing screenplay. (His "Mao's Last Dancer" (2009) was splendidly marketed to an older crowd around the world.) Their central conceit, described in the press notes as "a funky and far-out septuagenarian who seems to be living in a free-spirited, pleasure-seeking 1960s past only to discover a new future in the grandchildren she's never met," comes to fluttery life in the flesh of seventy-four-year-old Jane Fonda, who still deserves a late-career equivalent to "On Golden Pond." This would not be that. "I barter! I sell my art!" is ironic and thin dialogue offered up to the former Mrs. Ted Turner. Anyone with admiring memories of "Klute" or "Coming Home" should step aside. Kind-eyed Keener provides a center for the forced goings-on. What's so funny about "Peace, Love, and Misunderstanding"? Not much beyond the Oxford comma in the title. Plus! There are extended "rustic" montages with video-camera frames around them, as well as group singing. With Rosanna Arquette, Chace Crawford, Kyle MacLachlan, Katharine McPhee, Jeffrey Dean Morgan, Elizabeth Olsen. 96m. Widescreen. (Ray Pride)
"Peace, Love, and Misunderstanding" opens Friday at Landmark Century.
Ray Pride
Ray Pride is Newcity's film critic and a contributing editor to Filmmaker magazine.
His multimedia history of Chicago "Ghost Signs" will be published in 2023.
Previews on Twitter (twitter.com/chighostsigns) as well as photography on Instagram: instagram.com/raypride.
Twitter: twitter.com/RayPride
www.instagram.com/ghostsignschicago/
Love Streams: What To Watch Now What's playing in the Great Indoors?
Love Streams: What To Watch, May 21, 2020 It's time for hypercuration.
Talking Screens, November 23-December 1, 2022: "Andor" is Engrossing | "Burning" is Narcotically Singular | "Love Streams" is a Mad Marvel Openers this week include "Glass Onion," "The Fabelmans," "Bones And All," "Strange World," "Devotion" and "The Inspection." And in shorter runs, the Music Box "Sound Of Music" Sing-a-long; "Zodiac" on 35mm; Satoshi Kon's "Perfect Blue"; Mike Leigh's "Life is Sweet"; John Cassavetes' "Love Streams"; Lucio Fulci's "The Beyond"; and 1922's silent "Robin Hood.". Plus at Siskel, Lee Chang-Dong's "Burning."
The Show Must Go On: Rebecca Fons Brings A Lifelong Love of Cinema to the Gene Siskel Film Center (Fall Arts Preview 2021) The Gene Siskel Film Center reopened in early August after nearly a year-and-a-half of dark screens with a new director of programming, Rebecca Fons, looking toward the light.
Talking Screens, July 15-21, 2022: Who Loves The Bear? | Claire Denis' "Both Sides Of The Blade" is Brilliant | Thor: Love And Thunder" is a… .Claire Denis' "Both Sides Of The Blade," "Fire of Love" and "Murina." FX has a sneak hit on Hulu, the Chicago-set chef's manic breakdown, "The Bear." Plus: Bill Stamets' twelve-minute documentary of Steve Dahl's 1979 Comiskey Park "disco demolition" and the top local repertory picks.
Talking Screens, September 30-October 6, 2022: Taiwanese Master Tsai Ming-liang is Here! | Riotsville, U.S.A. is Fragrant, Lyrical and… There's still a drought of wide theatrical releases, but there's a lot of other action on screens around the city. An awful lot of the movies and appearances listed below are on Monday, October 3: see at least one!
Driving Miss Daisy
Mao's Last Dancer
Peace Love And Misunderstanding
Previous Post Review: Pink Ribbons, Inc.
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January 2023 Issue
Hydronium Bromide for All: A Review of After.Life
Hetero-inflected Sapphism: A Review Of "Room In Rome"
Talking Screens, January 27-February 2, 2023: A Toast to Jean at Siskel | Framing Agnes & Trans Creativity | Memoria at Music Box
Review: P.S. I Love You
Film 50 2020: Chicago's Screen Gems
Film 50 2020
Newcity Custom
Chicago Film Project
Copyright Newcity Communications, Inc. © 2021


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HomeCommunity StoriesA good story is hard to come by
A good story is hard to come by
Anshul Tiwari
Impact Storyteller
Anshul is a filmmaker who finds happiness through cinema. Terrible at reading instruction manuals, he can't find his way without Google maps but loves to travel and be lost. He spends most of his waking hours figuring out how best to tell a story. With Our Better World, he feels he has found a place that he loves and loves him back; where he meets awesome people and gets to capture their beautiful stories.
Good stories don't come along often. If they do, chances are they are a bunch of platitudes.
Yet good stories are the simplest, most marvelous things in the world.
But it doesn't come easy, I've learned.
In 2017, I was in India filming a story about Suwas, a dentist in Mumbai whose charity distributes bicycles to children in a poor tribal area so they can go to school.
The night before the shoot, I was anxious and didn't sleep a wink, so much so that at 4.45am, I was already waiting for the production van and the crew to arrive.
On the way to the shoot, we encountered heavy rain. "If it rains, we look for cover and stop shooting." I told the crew. "This story is a mistake. How can you shoot in this weather?" a sneaky voice hissed in my ears.
I had weird reservations about this story from the start. At first, I dismissed it as nerves, but my heart began to pound when filming came closer. I questioned my choices, my lack of a point-of-view and my lack of imagination.
When we reached the location of our first shot, the rain suddenly stopped, miraculously.
As I stepped out, the first light of day broke and the sky became sapphire. A suburban train tore through the silence of the morning, and the air turned thick with the crisscrossing pigeons.
First day of the shoot. First shot. My mind turned blank.
No inspiration came. I told the crew to wait for my signal and went upstairs to say hello to Suwas and his wife Vidhya, who were the subjects of the story we were filming over the next five days.
They were ready to hit the road on their bikes. We began shooting, chasing one inspiration after another – with mixed results. By late evening, the day ended, leaving me profoundly dissatisfied and tired.
The next day, I decided to find some time to think. I told my crew to carry on filming the two-hour train ride with Suwas, while I hit the road with Vidhya, hoping for some time to gather my thoughts on how to tell this story. We drove to our second location, a small town called Bordi, 130km from Mumbai, where we were to reconvene with the crew and Suwas. The drive was pleasant. We hit a small country road and the scenery changed so dramatically that my eyes widened. But nothing broke through from my thoughts.
Suwas's train and our van arrived at Bordi simultaneously. Suwas looked refreshed, almost renewed. I tried to mirror his enthusiasm. Our day's schedule was packed, but I announced a break. I wasn't excited to film the next bit of action which involved unloading new bicycles from a truck. "Maybe one or two shots." I told myself and the crew.
When the truck drove into the school, the kids were waiting. They pounced on their new bicycles. We responded fast and started filming. The next hour was pure joy. I felt I got lucky and hadn't earned success. I was making ordinary choices and getting ordinary results.
We moved to our next location to meet a different character in the story – Sumitra. While I was chatting with her, another girl hovered nearby. A tall lanky girl with intense eyes, Shewanti was one of Sumitra's friends. She topped her class. Her voice was edgy and her manner frank. Suwas and I felt drawn to her.
Suwas asked Shewanti: "Do you want to be a doctor, like your friend Sumitra?" She ignored the question, her eyes tense, her mouth quivering, her confidence shaking. It was a strange shift.
"I am not going to study any further,," she said flatly. "My sister won't send me. We can't pay for my tuition."
Everyone's energy died. I have vague memories of gesturing the cameraman to keep recording.
"If I pay for your school, will you study?" Suwas asked, and waited for his words to sink in. He added: "But you have to sort it out with your sister. Will you? Because if you don't, nobody can. Not me. Not your friends. Nobody."
"One has to fight their own battle." He said it with such finality, the words still echo in my ears.
On the ride back to hotel, I felt my lack of inspiration too trivial, too selfish to worry about. Something much bigger was in motion, something fateful that throws human lives around like rag dolls. Something turned inside me. I felt the cobwebs in my brain wash away. Now, I could see the whole film run in my head. I knew something fruitful will come out of this experience.
Something like a good story.
Written by Sharon Pereira 5 Jul 2019
A Friend Who Happens to be a Refugee
Written by Nur Farhana Zolkifli 28 Jun 2019
A Friendship Written in the Books
Written by Nila Tanzil 25 Jun 2019
The three values which anchor Our Better World
Written by Rebecca Lim 14 May 2019


Every case varies in its outcome and the outcome is dependent upon case-specific circumstances. The Fields Law Office has successfully negotiated criminal charges in favor of its clients. We attempt to resolve our clients' cases in an efficient and timely manner that usually avoids the need for a lengthy trial, but our attorneys are not afraid to litigate and fight aggressively to win the case.


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Pokemon, 3D printers and race cars were big hits at 2016 Maker Faire Detroit
August 3, 2016 Jason Rzucidlo ENTERTAINMENT, Fairs and Festivals, Local News, Michigan News, National News, NEWS, Science & Technology News 0
DEARBORN, Mich. — Thousands of families descended on the Henry Ford Museum last weekend for the 2016 Maker Faire Detroit. Kids had the opportunity to design, build and take home items like model race cars, leather wristbands and other do-it-yourself projects.
"You guys should check it out, it's a really fun place to go to and I really enjoy it," said young attendee Ryan from Cleveland.
With the recent Pokémon GO craze taking over the world, I noticed several 3D printers producing Pokemon characters like Pikachu. Some might say that Pokémon took over the Maker Faire.
Pish Posh TV was one of the organizations printing Pokemon characters. Upon completion, they were given out as free gifts to attendees.
"We've printed over 400 of these over the last five days and they're all gone," said Michael Evans, senior developer and founder of Pish Posh TV. "We have another batch printing right now. They are going to be Team Mystic, which is my team. One of the projects that we're working on right now is an internet of things garden. It will send you a text message and let you know if the garden is too dry or if it's been in the sun too long and it's too hot."
Another organization called SeeMeCNC made larger-than-life Pikachu characters that guests could stand next to and pose for a picture. The machine can make objects 10 times larger than most 3D printers can build.
"This is called the PartDaddy, it's a 17-foot-tall giant 3D printer," said Steve Wygant, owner of SeeMeCNC. "It first debuted a couple of years ago. It's made to print basically 10 times scale of what a small printer prints. I saw one of the Maker media crew and they said, 'Look at my phone.' They actually caught a Pikachu right by the 3D printed Pikachu."
Attendee Kathy Olsen from Ypsilanti, Mich., added: "Our other son is into Pokémon GO. We don't have the app. We were very sad we didn't have him with us to grab those Pokémon."
Then, I visited the Maker Works tent where kids were able to design and build model race cars. Once complete, they had the opportunity to compete against their friends on the track. The goal was to beat the record time of 4 seconds and some of the kids came pretty close!
"It's very loud, right now the kids are learning traditional leather work," said Sarah Hodsdon, chief creative officer at Sarahndipitous Designs. "Basically, how to use tools of the trade to make their own leather bracelets. As you hear them pounding, what they are really learning is how to bring something two dimensional into three dimensions. It's like a low-tech, science project. It's also a skill to share, which is really, really important."
Later, I visited the Terraycle booth where kids could make paper airplanes out of used toothpaste tubes. Just clean them out and fold them into the shape of a plane. It's easy as 1-2-3 remember to reduce, reuse and recycle.
"You can have your school sign up and send in toothpaste tube waste and toothbrush handles and then we can donate money to your favorite charity for every unit of waste that you collect," said Tiffany Threadgould, chief design junkie at Terracycle.
Jaime Amrine is the lead engineer from a new company called Toggled. They are reinventing the fluorescent light bulb with LEDs. The new bulbs are available for sale right now at the Home Depot. Its parent company, Altair, also created running blades for Paralympic athletes to compete in track and field.
"First of all, you are going to save at least half of your energy," he explained. "You are going to reduce power to about 16 watts per bulb and you're going to solve some of the issues you have with fluorescent like eliminating buzz and flicker, instant start-up in the cold, just a better quality of light overall."
Inside the Shell tent, visitors were able to make their own salt water fuel cell race cars. It was a cool science fair project about alternative energy. Kids were awed by the simplicity and effectiveness of the toy.
"This is Edison, it's a fully Lego compatible, programmable robot," said Jonathan Jacobs, founder of The Robot Garage. "You get this nice little orange guy and you can put your Lego contraptions on trip and control it with a remote control. It also has programmable bar codes and you can also program it with any app. You can program it to work wherever you want."
Attendees had the opportunity to crank a wheel that created wind power which was demonstrated as a way to light up Michigan Stadium also known as "The Big House."
"It's really fantastic, we love the Maker Faire," said attendee Don Serrano of Grosse Pointe Shores, Mich. "I think my favorite part is the looks on our kids' faces. They come in here and their eyes open wide and they don't even know where to start. They just dive into the first thing that they see and move on. There's so much to do, it's wonderful. Don't miss it next year. We are already planning on doing two days. There's so much to do. It's really a two-day activity."
Fair goers also had the opportunity to purchase a Bose Build speaker cube. It offers kids the chance to make a speaker with their own hands that syncs with a Bluetooth device like an iPhone iPad or Mac computer.
The Maker Faire also allows attendees to enjoy everything inside the Henry Ford Museum at no extra charge. That includes the presidential cars, the Rosa Parks bus and the Lincoln chair, among much more.
For more information about Maker Faire Detroit, visit www.makerfairedetroit.com.
Kids were able to design and build model race cars at the Maker Works tent. (Jason Rzucidlo/AmericaJR)
A young boy leaps as his dad gives him a high five after his car comes down the race track. (Jason Rzucidlo/AmericaJR)
Children making airplanes out of used Colgate toothpaste tubes at the Terracycle table. (Jason Rzucidlo/AmericaJR)
Pish Posh TV was one of the organizations printing Pokemon characters. Upon completion, they were given out as free gifts to attendees. (Jason Rzucidlo/AmericaJR)
Wind power was demonstrated as a method of power for this miniature version of The Big House. (Jason Rzucidlo/AmericaJR)
Kids making their own leather bracelets at the 2016 Maker Faire Detroit. (Jason Rzucidlo/AmericaJR)
AmericaJR's Jason Rzucidlo sits inside the Shell fuel cell vehicle.
Chris Evans and 'Captain America: Civil War' win Choice Sci-Fi/Fantasy Actor and Movie at this year's Teen Choice Awards
Friday's New CD/Album Releases for 8/5


On the hillside above the long depression below La Pico de Fuente Soles, on a bearing of 142 degrees from Mancondiu.
A small hole in the hillside.
A tight climb down leads to a muddy crawl which soon chokes.


Karl Stern looks at what caused some of the creepiest stories to come out of the Victorian era.
On the 44th DKD, your host Karl Stern tells another tale from the isolated forest of north Alabama. This time, it's the "White Thang" from the 1930s.
But, what was the White Thang? No one knows for sure but the descriptions are bizarre. Part lion? Albino Bigfoot? Who knows? Framed around a tale of post-Civil War Alabama where Winston County refused to participate and oppression followed.
Then, Karl takes a look at other Alabama monsters, big cats, and giant apes, and the Wolf Woman of Mobile.
Host Karl Stern is back covering an assortment of topics on today's episode.


Phishers are sending out attack emails that use a rescheduled business meeting as a lure to compromise senior executives' business email accounts.
Cloud security platform Greathorn first observed this campaign on 31 January 2019. According to its analysis, an attack begins when a business executive receives a phishing email with the subject line "New message: [Company Name] February in-person Board Mtg scheduling (2/24/19 update)." The email purports to originate from the company's CEO and asks that the recipient fill out a Doodle poll for the purpose of rescheduling a board meeting.
Whenever a targeted executive clicks on the "Participate now" button included in the email, they're redirected to a fake Office 365 login page designed to steal their account credentials. That phishing site uses "web.core.windows.net" as its primary domain.
What makes this attack campaign particularly effective is that it employs direct spoofing to prey upon executives. That is to say it spoofs the same "from" email address as the recipient's "to" email address. It also uses "Meetings" as the sender's display name, a tactic which makes the email look as a legitimate meeting reschedule request generated by the CEO.
Importantly, on a mobile device, the native Outlook client overwrites the display name to say "Note to self," further complicating the attack and making it even more likely for a recipient to interact with it.
Those behind the campaign have targeted CEOs, CFOs, CTOs and other senior executives in organizations of diverse sizes and industry types. Many of the attack emails sent to Greathorn's customers ended up in recipients' junk boxes. However, the messages were still accessible to end users, meaning they could have still fallen for the scam.
Greathorn wasn't the only security company that's recently detected these types of attack emails. On 31 January, ZixProtect identified digital attackers' attempts to spear phish executives with a message about scheduling a board meeting. The scheduling link included in the emails also redirected recipients to a page designed to steal access to their business email accounts. In that particular wave, Zix's advanced threat solution blocked 100 percent of the attack attempts.
The bad actors weren't done, however.
Less than a week after the first wave, Zix analysts noticed a similar attack campaign targeting senior executives. These emails used "Zoom Meetings" as the display name for the sending email address and came with the subject line "Your meeting attendees are waiting!" along with what appeared to be a link to join the Zoom meeting.
When a recipient clicked on the "Goto Meeting" link, they similarly ended up on a site designed to steal their Outlook credentials.
ZixProtect was able to block both of these campaigns by using certain characteristics that these operations share with one another as well as other attack operations identified back in 2018. These global filters weren't the only defensive line in operation, either. ZixProtect's anti-spoofing layer also flagged the emails as suspicious.
Given digital attackers' persistence in their efforts to target senior executives, organizations have an incentive to invest in a solution that can provide multiple levels of email security. This tool should be able to analyze attack emails for known campaign patterns, for instance. It should also be able to prevent spoofing techniques that are similar in nature to those described above.
Defend against today's digital threats with a multi-layered email security platform.


ComBAR® bent bars and stirrups are produced by bending a specially made polypropylene conduit pipe filled with glass fibres and a vinyl ester epoxy resin into the desired shape. These raw bars are then thermally cured. This procedure allows for a high fibre content and a nearly parallel alignment of the fibres in the bent portion of the bars, resulting in high strength and a modulus of elasticity similar to that of straight ComBAR® bars.


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Soundtrack To Diary Of Anne Frank Temasek Junior College, Ip 1 Reading Assignment
Diary of
I want to run, I want to hide
I want to tear down the walls that hold me inside
I wanna reach out and touch the flame
I want to feel sunlight on my face
I see that dust cloud disappear without a trace
I wanna take shelter from the poison rain
Where the streets have no name, oh oh
We're still building then burning down love
Burning down love
And when I go there, I go there with you
It's all I can do
The city's a flood
And our love turns to rust
We're beaten and blown by the wind
Trampled into dust
I'll show you a place
High on the desert plain
Our love turns to rust
Blown by the wind
Oh and I see love
See our love turn to rust
Oh when I go there
I go there with you
Anne, who was a victim of the
government supported mass genocide
Holocaust, was trying to run away from
danger and harm caused by the Nazis.
This song describes the wish to escape,
as seen from the lyric "I want to run, I
want to hide". Thus, I chose this song as
it involves the theme of "escape".
Eins, zwei, drei, alle (one, two, three, four in German)
Ooh, you cannot reach me now
Ooh, no matter how you try
Goodbye, cruel world, it's over
Sitting in a bunker here behind my wall
Waiting for the worms to come
In perfect isolation here behind my wall
We're waiting to succeed and going to convene outside Brixton
Town Hall where we're going to be
Waiting to cut out the deadwood
Waiting to clean up the city
Waiting to follow the worms
Waiting to put on a black shirt
Waiting to weed out the weaklings
Waiting to smash in their windows
And kick in their doors
Waiting for the final solution
To strengthen the strain
Waiting to turn on the showers
And fire the ovens
Waiting for the queens and the coons
And the reds and the Jews
Would you like to see Britannia
Rule again, my friend?
All you have to do is follow the worms
Would you like to send our colored cousins
Home again, my friend?
All you need to do is follow the worms
The worms will convene outside Brixton Bus Station
This song is about the Holocaust. This...
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There are many benefits of yoga for older adults and senior fitness programs. Yoga instructor Jacquelyn Cotey offers custom fitness and yoga for older adults in their homes.
Participating in a balanced fitness program contributes to your well-being at every age — and regular exercise is vital for older adults. Regular exercise can help control your blood pressure, body weight, and cholesterol levels. It reduces your risk of hardened arteries, heart attack, and stroke. It also strengthens your muscles, tendons, ligaments, and bones to help fight osteoporosis and lower your risk of falling or other injury. Keeping your body strong and limber can help you maintain your independence as you age. It allows you to continue the kinds of activities you've enjoyed your entire life.
Would you like to have more energy and less pain in your day-to-day life?
Would you or someone you know benefit from one-on-one fitness & yoga training in the comfort of your own home?
Whether you are recovering from an injury, have not exercised in a while, need one-on-one assistance with a specific need, or are just ready to adopt a new fitness routine, I can create a personalized program to fit your lifestyle.
Please just complete the short private yoga contact form below or give me a call. I look forward to working with you.
If you would like more information about at-home fitness & yoga for older adults, private yoga lessons, or a customized event for your business or group, please submit this short form or call Jacquelyn Cotey at (847) 707–9577.
Please select the type of private or customized yoga event or classes you're interested in arranging.
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