#Mystery novel critique

[esonetwork]

'The Scorpion's Tail' Book Review By Ron Fortier

New Post has been published on https://esonetwork.com/the-scorpions-tail-book-review-by-ron-fortier/

'The Scorpion's Tail' Book Review By Ron Fortier

THE SCORPION’S TAIL By Preston & Child Grand Central Publishing 401 pgs

This is the second thriller in the Special Agent Pendergast spin-off series starring two of his best supporting characters. The first being Archeologist Nora Kelly who was around from the first Pendergast adventure teaming up with his young protégé, newly minted FBI Agent Corrie Swanson. Though why the publisher opts to label this the “Nora Kelly” series is beyond my logic. It really should be the “Kelly – Swanson” series. Oh well, the eccentricities of publishers.

Like the first, this one also focuses on historical mysteries with these set in the western state of New Mexico. A young, extremely likeable town Sheriff named Homer Watts encounters a would-be looter at work in a high mountain ghost town. When he confronts the fellow, the perp tries to shoot him. Much to his dismay as Watts is a fast draw crack shot and wounds the varmint. But that isn’t what sets alarms off. Rather it is the fact that the two-bit artifact thief was in process of uncovering a dead body; a dead body buried on government land. Enter the FBI and Agent Corrine Swanson.

Realizing the excavation of a body is beyond her considerable expertise, Corrie recruits Nora Kelly to assist her and pretty soon the trained archeologist finds herself pulled into the mystery. Not only is the corpse weirdly mummified, but in his possession is an ornate, bejeweled cross that dates back to the days of the Spanish conquistadores. Could the dead man have been hunting lost Spanish gold mines rumored to be hidden in those mountains? And what connection does the dead man have to the White Plains Desert Military base; home to the first atom bomb test?

Once again, Preston and Child weave an intricate, pretzel-twisty plot that mushrooms multiple new questions whenever one is answered. Enough to keep both Nora and Corrie hopping back and forth from one end of the state to the other looking to solve not one, but several historical puzzles all seemingly intertwined. Along the way, they encounter some truly colorful Western characters ala Sheriff Watts and a descendant of Geronimo. In the end, “The Scorpion’s Tale” is another grand Preston & Child outing and one we heartily recommend. Kelly and Swanson may not be Pendergast, but they sure are the next best thing

[lucaonthropy]

Holy shit

[rappaccini]

do we need to like. talk. about how grrm taking so long to complete asoiaf means the original subversion of daenerys targaryen's character has been basically lost.

because aside from the show massively fucking the ending up, you also have to consider the seismic shift of the perception of fantasy as a whole since asoiaf hit the mainstream and since more intersectional perspectives and deconstructions of white saviorism have risen in prominence.

like it's a good thing that we're collectively critiquing and sideeying dany's storyline for the questionable, orientalist and often outright racist elements, and that the girlboss dany idea is being challenged. but uh guys. take a look at grrm. do you really think he was setting out to write a paul atreides style deconstruction of white saviorism with dany. or is it not more likely that he put those things into his story by mistake and didn't realize those problematic elements were there until decades later-- especially since girlboss feminism didn't fucking exist when he started writing asoiaf. is it not more likely that he missed the points he was trying to make about dany being a foreigner interfering in eastern politics and the white savior vibe her story sometimes puts off is completely accidental.

people do not seem to realize what the climate of fantasy was when grrm was writing asoiaf in the 90s-00s. the moral grays and grimdark elements of modern fantasy were in part popularized by asoiaf. grrm wasn't subverting the idea of dany being a good ruler. dany being a good ruler was the subversion.

daenerys targaryen is a deconstruction and subversion of the almost comically evil sorceress-queen antagonist of a fantasy novel that would never be written today.

think through what dany looks like from the outside:

she's the daughter of the mad incestuous king who terrorized westeros only a generation ago, and she's back to get his throne for herself.

she's going to make her arrival by invading from the Savage East and killing the one true lost heir, the son of the prince everyone loves and wishes were king, who was raised among the people, who's a boy, who practices the faith of the seven and will marry a westerosi lady. and she's going to destroy the shining city that he's going to rule from.

she rides a black and red dragon that spits black and red fire. she has two other dragons with her and used blood magic to hatch them. she killed a house full of warlocks, has prophetic dreams, talks to mysterious sorcerers and witches and is linked with magic.

she comes from a family of incestuous, weird-looking, magic-using, dragon-riding conquerors who are the last survivors of an empire that conquered half the world and decimated and enslaved an entire continent by using dark magic, dragons and horrifying experiments. and her family in particular is infamous for having a tendency to go insane.

she's so beautiful men are throwing themselves at her. she dominated one husband and killed another. her dragon set poor sweet quentyn martell on fire when all he was doing was trying to honor a betrothal agreement. she has sex with both men and women where she's in control of the encounters. she had a sexual relationship with her brother. she 'bewitched' the most powerful warlord in essos with her sexuality, convinced him to kill her brother for her, took over his following, and will come to westeros with control of the most deadly cavalry in the world who are already considered to be 'savages' -- and her association with them has already started rumors that she fucks horses because she's so insatiable.

she's infertile and sacrificed her one pregnancy (gasp, the Firstborn Son!) to hatch her dragons.

kinslayer allegations: her brother, her son, and her (fake) nephew. even her mother, to an extent.

she has very tanned skin, spooky silver hair (that's very short) and purple eyes, a tyroshi accent and wears revealing clothing that would scandalize westerosis.

she's the savior figure for a Foreign Religion that's spreading in westeros and competing with the faith of the seven.

she's either the savior figure for the 'barbarian' nomadic raiders, or the mother of their prophesized savior.

she's leading an army of foreign (brown) slave soldiers, sellswords and 'barbarians.' she's being advised by foreigners. her handmaids aren't Nice Noble Girls-- they're nomadic horsewomen who are stereotyped as unmannered and promiscuous.

and the westerosis in her camp are the ones westeros hates: pirates that just destroyed oldtown, westeros's beloved center of trade, faith and knowledge. specifically euron, who wants to marry her. the dwarf that killed king joffrey and escaped and is now back because he wants to burn down king's landing. an ugly westerosi lord from backwater bear isle who was banished for selling slaves. a westerosi knight who refused to accept the king's wishes for him to retire and ran off to serve the opposition... and probably marwyn, a controversial maester.

she destroyed the essosi economy, has sacked multiple cities, turned the ruling class out of their homes, crucified a bunch of nobles, and will probably burn the volantene tower full of nobles on her way west.

she's a woman, specifically a teenage girl, who has power in her own right, who wants to claim more of it. and who has no more powerful man to answer to.

daenerys is the embodiment of everything westeros hates and fears to such an extent that even if she does everything right, or doesn't do anything at all, westeros will never accept her.

we spent five books following dany off on her own in essos because that plotline's all about giving you context before she arrives: here's the Evil Queen's backstory, so by the time she does what she does, the reader completely understands and empathizes with her, even if they disagree with her actions. and when all our heroes hate her, and she decides to strip them of their power like she did in essos with the slavers, we don't know what to do.

the subversion is: what if our view of this evil antagonist is xenophobic and sexist, and all the things we're scared of her for were taken out of context or twisted to villainize her. what if the foreign culture she's from isn't evil, and what if her slave army is actually freedmen who chose to follow her, and she opposes the legacy of slavery her family sources their power from. what if she's 'mad' because she's understandably angry and upset, and not ~craaazy~. what if the nobles she was killing deserved it, what if the system they depend on was evil and deserved to be destroyed. what if our system that we've been fighting to preserve isn't much better and needs to go too, even if People We Like are in charge of it. what if she's a teenager who doesn't always make the right decisions, especially when much older adults with their own motives are manipulating her.

the subversion is: what if the evil sorceress-queen who's going to invade our wonderful fantasy realm and bring all her big bad scary changes with it is a complex person with good intentions who actually has a completely legitimate reason to burn it all down.

so if dany genuinely does go evil when she gets to westeros... there's no subversion anymore because the trope is played straight. therefore, she won't. but it won't even matter. we'll know that dany isn't a monster, but nobody else will see her that way.

[horizon-verizon]

On this here day, GRRM wrote an entry clarifying several things about the dragon lore in his novels, and it vindicates so many Dany stans/Daenerys as the Azor Ahai:

Saying dragon "mysteries", in-world, will be revealed in the last two books AND Septon Barth got a lot right. I'm taking that to mean that dragons change sex (Viserion, here you come, baby!), like two particular Twitter mutes I have (danylanzhou and Branwynwitch). It also seems like he's confirming that dragons and the first 40 Valyrian families (which include the Targs, then and now) mixed dragon blood with their own in some long past ancient event AND that only these families, therefore, can bond with dragons to rides them safely or befriend them.

Which means Nettles is definitely of Valyrian/Targ-descent, which really should have been obvious. One of my mutuals also asserted that this makes the idea of Nettles-Sheepstealer/Rhaena-Morning being interchangeable for their supposed HotD merging GRRM-disapproved bc he makes a point to say that dragons don't tend to move far from their lairs that are usually very high up in mountains and volcanos. Sheepstealer can't be going to the Vale while having a lair in Dragonstone:

As for the thought of Sunfyre flying miles to get to Dragonstone...this is where he/they were born and where the real magic that sustains dragons is coalesced from hundred of years. It makes sense for him/them to fly to this castle even if Aegon weren't there after he had been bodied by Meleys/Meleys & Vhagar, looking for recovery. This is where the Targs get most of their eggs/dragons and it is near where most dragons in Westeros make their lairs.

Note that he says, in the very last paragraph, how:

Fantasy needs to be grounded.  It is not simply a license to do anything you like. Smaug and Toothless may both be dragons, but they should never be confused. Ignore canon, and the world you’ve created comes apart like tissue paper.

It appears he is VERY not happy about something to do with dragons in the show's second season, how they bond in the show, how a certain dragon is "explained" to have traveled a too-long distance for a certain pale-locked young girl who has been trying to hatch her own dragon for years...I see you GRRM, fighting for Nettles AND Rhaena I see.

Oh, and just bc he said he liked epi 2, doesn't mean that he cannot critique anything about HotD ever again...he is the writer and creator of this universe that they are capitalizing on. As long as a writer of any genre stays logically consistent and relatively undiscriminatory in their original writing, they definitely can tell any of us readers what is real and not real or possible in their own creations! That this is even up for debate is a travesty to logic.

Mind you, this is the same man who said the show and the book are two separate canons AND that adaptations "nowadays" tend to fail bc the adapters think they can make the story "better" and ignore critical lore details. And in his latest commentary on HotD's S2 first two episodes, he says, and I quote:

“Rhaenyra the Cruel” has been getting great reviews, for the most part.   A lot of the fans are proclaiming it the best episode of HotD, and some are even ranking it higher than the best episodes of GAME OF THRONES.   I can hardly be objective about these things, but I would certainly say it deserves to be in contention.   The only part of the show that is drawing criticism is the conclusion of the Blood and Cheese storyline.   Which ending was powerful, I thought… a gut punch, especially for viewers who had never read FIRE & BLOOD.   For those who had read the book, however… Well, there’s  a lot of be said about that, but this is not the place for me to say it.   The issues are too complicated.   Somewhere down the line, I will do a separate post about all the issues raised by Blood and Cheese… and Maelor the Missing.  There’s a lot to say.

Note that the latest post was about epi4 and this one I just linked is only abt epi 1 &2....so where are his thoughts for the hated/comedic epi3?! (we see each other, George). (BTW, I gave my thoughts on his thoughts about 1 & 2, HERE.)

I'll say it once again: though GRRM praised the portrayal of grief, defended Cheese being lost, and loved the dog (the last I don't fault anyone for, I also loved them) in the Blood & Cheese episode, he also expressly talks AROUND how Blood & Cheese and Helaena actually interacted and comments on the Maelor-lessness (therefore the lack of Sophie's Choice) that many people--inclu myself--have been saying was a huge problem.

Now we have two different sources that seem to support the ideas of:

GRRM both not being as "involved" with the actual writing of this show for a bit AND not approving of a lot of critical changes

HotD's writers cannot create anything truly "canon" or "real/true" for this universe, it only can make any sort of "sense" if it also retrieves information from the original tale, which is not really just F&B but THE ENTIRE SET OF AVAILABLE BOOKS!

[kanerallels]

I am in search of an artist to commission for my book cover! It's a middle grade-ish fantasy fairy tale retelling, and I've posted on here about it on and off. A semi comprehensive post about it can be found here, feel free to send an ask with any other questions! I shall put a summary under the cut just to make life easier, though

There are a few qualifiers for who I'd like to choose to design the cover:

I do not under any circumstances want a cover that's literally just a person standing there like every other YA novel out there. What I'm looking for is something artistic and unique (I'll post some of my favorite book covers under the cut as well!) and very colorful!

Whoever designs the cover should be willing to read the book first, and be open to the fact that there will probably be some Christian elements and themes

This is less a qualifier and more just a warning: I'm gonna be kinda picky about this, because it's something I really, really want to get right. So if I don't go with you as an artist, it's not because of you or your skill, but just because it's not a right fit, and if I have comments or critiques, we're gonna have to do our best to work together to find something we both like

I think that covers (pun intended hehehe) everything! Thanks for y'all's time, let me know if you have any questions about this!

Book summary:

Rebecca Wood has never known who her real family was. So when a boy named Liam finds her and tells her that he knows where her real family is, it seems like it could be too good to be true

Oddly enough, that's far from the strangest part. It turns out, Rebecca is from the land of fairy tales, though it's not exactly the same as the stories—Snow White and Cinderella are notorious assassins, and the land is ruled by the Evil Empress Goldilocks, who seems to have a special interest of her own in Rebecca.

None of this makes Rebecca's journey any less fascinating as she travels through a perilous and beautiful land full of magic and mystery, looking for the one thing she's always wanted

Book covers I like:

[mostlysignssomeportents]

Austin Grossman’s ‘Fight Me’

On July 14, I'm giving the closing keynote for the fifteenth HACKERS ON PLANET EARTH, in QUEENS, NY. Happy Bastille Day! On July 20, I'm appearing in CHICAGO at Exile in Bookville.

In Fight Me, the novelist and game developer Austin Grossman uses aging ex-teen superheroes to weigh the legacy of Generation X, in a work that enrobes its savage critique with sweet melancholia, all under a coating of delicious snark:

http://www.austingrossman.com/fight-me

It is, in other words, a very Gen X kinda novel. Prodigy (AKA Alex Beekman) is a washed-up superhero. As a nerdy high-schooler, he was given super powers by a mysterious wizard (posing as a mediocre teacher), who gave him an amulet and a duty. Whenever Alex touches the amulet and speaks the word of power, reaclun (which he insists is not "nuclear" backwards) he transforms into Prodigy, a nigh-invulnerable, outrageously handsome living god who is impervious to bullets, runs a one-minute mile, and fights like a champ. Prodigy, he is told, has a destiny: to fight the ultimate evil when it emerges and save the world.

Now, Alex is 40, and it's been a decade since he retired both Prodigy and his Alex identity, moving into a kind of witness protection program the federal government set up for him. He poses as a mediocre university professor, living a lonely and unexceptional life.

But then, Alex is summoned back to the superhero lair he shared with his old squad, "The Newcomers," a long-vacant building that is one quarter Eero Saarinen, three quarters Mussolini. There, he is reunited with his estranged fellow ex-Newcomers, and sent on a new quest: to solve the riddle of the murder of the mysterious wizard who gave him his powers, so long ago.

The Newcomers – an amped-up ninja warrior, a supergenius whose future self keeps sending him encouragement and technical schematics backwards through time, and an exiled magical princess turned preppie supermodel – have spent more than a decade scattered to the winds. While some have fared better than Alex/Prodigy, none of them have lived up to their potential or realized the dreams that seemed so inevitable when they were world famous supers with an entourage of fellow powered teens who worshipped them as the planet's greatest heroes.

As they set out to solve the mystery, they are reunited and must take stock of who they are and how they got there (cue Talking Heads' "Once In a Lifetime"). With flashbacks, flashforwards, and often hilarious asides, Prodigy brings us up to speed on how supers fail, and what it's like to live as a failed super.

The publisher's strapline for this book is "The Avengers Meets the Breakfast Club," which is clever, but extremely wrong. The real comp for this book isn't "The Breakfast Club," it's "The Big Chill."

When I realized this, I got briefly mad, because I've only had two good movie high concept pitches in my life and one of them was "Gen X Big Chill." Rather than veterans of the Summer of 68 confronting the Reagan years, you could have veterans of the Battle of Seattle living through the Trump years. One would be on PeEP, one would be an insufferable Andrew Tate-quoting bitcoiner, one would be a redpilled reactionary with a genderqueer teen, one would be a squishy lib, one a firebreathing leftist, etc. The soundtrack would just be top 40 tracks from artists who have songs on "Schoolhouse Rock Rocks":

https://en.wikipedia.org/wiki/Schoolhouse_Rock!_Rocks

Every generation has some way in which they seek to overthrow the status quo and build a new, allegedly better one, after all. "Big Chill"'s impact comes from its postmortem on a generation where it was easy to feel like you were riding destiny's rails to greatness thanks to the sheer size of the Boomer cohort and the postwar prosperity they lived through. A Gen X Big Chill would be a stocktaking of a generation that defined itself as a lost generation reared in the Boomers' shadows, armored against the looming corpo-climate apocalypse with the sword of irony and the shield of sincerity.

Which is basically what Grossman is doing here. What's more, doing this as a superhero story is a genius move – what could be a better metaphor for a teen's unrealistic certainty of destined greatness than a superhero? Superhero fantasies are irreducibly grandiose and unrealistic, but all the more beautiful and brave and compelling for it.

You know, like teens.

At 52, I'm a middle-aged Gen Xer. I've got two artificial hips and I just scheduled a double cataract surgery. My hairline is receding. I'm an alta kaker. But I wasn't always: I was a bright and promising kid, usually the youngest person in the room where we were planning big protests, ambitious digital art projects, or the future of science fiction. I had amazing friends: creative and funny and sweet, loyal and talented and just fun.

We're mostly doing okay (the ones that lived; fuck cancer and fuck heroin and fuck fentanyl). Some of us are doing pretty good. On a good day, I think I'm doing pretty good. I had a night in 2018 where I got to hang out, as a peer, with my favorite musician and my favorite novelist, both in the same evening. These were artists I'd all but worshipped as a teen. I remember looking at the two selfies I took than night and thinking, Man, if 15 year old me could see these, he'd say that it all worked out.

But you don't get to be 52 without having a long list of regrets and failures that your stupid brain is only too eager to show you a highlight reel from. No one gets to middle age without a haunting loss that is always trying to push its way to the fore in order to incinerate every triumph great and small and leave ashes behind.

That's why there's a "Big Chill" for every generation. Each one has its own specific character and meaning situated in history, but each one has to grapple with the double-edged sword of nostalgia. Not for nothing, John Hodgman (a bona fide Gen X icon) calls nostalgia "a toxic impulse."

Grossman really makes Fight Me work as a Gen X Big Chill. He's a great Gen X writer; his first novel, Soon I Will Be Invincible, was a knockout debut about superheroes and supervillains that had a very "The Boys" vibe, you know, that neat little move where you contend with the banal parts of a super's life and show how super powers don't make you a good person, or even a competent one.

His followup to Invincible came six years later. YOU is a coming-of-age story about the games industry with a second-person narrator (think "Zork"). Grossman is an accomplished game dev (Tomb Raider Legend, Deus X, Dishonored, etc), and he uses YOU to really plumb the depths of what games mean, what fun is, and how working on games isn't just work, it's often really shitty work, the opposite of fun:

https://memex.craphound.com/2013/04/16/austin-grossmans-you-brilliant-novel-plumbs-the-heroic-and-mystical-depths-of-gaming-and-simulation/

Grossman's last novel was Crooked, a very daffy alternate history in which Richard Nixon is a Cthulhoid sorcerer locked in a Lovecraftian battle of good and evil. This is a purely hilarious romp, wildly imaginative and deliciously certain to offend reactionary jerks:

https://memex.craphound.com/2015/08/26/austin-grossmans-crooked-the-awful-cthulhoid-truth-about-richard-nixon/

All those chops are on display in Fight Me: a book that covers its brooding with wisecracks, that spits out ten great gags per page even as it drives a knife into your heart. It's a great novel.

Fight Me doesn't come out in the US and Canada until tomorrow (it's been out in the UK, Australia, NZ, etc for more than a month). Normally, I would hold off on reviewing this until the on-sale date, but this is my last day on the blog for two weeks – I'm leaving on a family vacation early tomorrow morning. I'll see you on July 14!

Support me this summer on the Clarion Write-A-Thon and help raise money for the Clarion Science Fiction and Fantasy Writers' Workshop!

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/07/01/the-big-genx-chill/#im-super-thanks-for-asking

[ianthe-is-a-bitch-and-i-love-her]

Sapphic vampire fiction mini reviews, ranked from least favorite to most:

House of Hunger: Bland characters, a story that barely scratches the surface of the implications of its premise, and a central relationship with nothing underpinning it make for an aimless story with a climax that hits like a limp noodle. If the dynamic between a vampire and her indentured maid appeals to you, try The Wicked and the Willing instead.

An Education in Malice: For a Carmilla retelling, the titular character really lacks bite. Laura at least has some interesting contradictions in her, and De Lafontaine could be quite compelling if we saw things through her eyes, but the central relationship isn't built on a lot, and Carmilla herself is really disappointingly bland. The prose comes off as overwrought and melodramatic in the first act, and the constant leaning on poetry feels gratuitous, but it picks up steam and becomes appropriately gripping by the one-third mark, and it carries the book enough that I had an enjoyable but rather shallow experience. I struggle to think of a reason to recommend this over In the Roses of Pieria, which plays with similar thematic and aesthetic elements much more adeptly. Also, it's a pet peeve of mine when a story makes a point to establish a specific historical era for its setting but has characters that feel utterly modern.

The Deathless Girls: This book does a much better job with its sense of time and place, and the characters and their motivations are quite strong. I only rate this one low on this list because the main characters don't actually deal with vampirism as a condition until the very end of the book. On its surface, the premise might seem quite similar to A Dowry of Blood, but there's actually very little thematic or narrative overlap.

Ex-Wives of Dracula: An excellent exploration of the queer teenage experience in conservative small town ~2015 USA along with some pretty novel twists on vampire and horror movie tropes. Strong, vibrant characters with a rich, messy, and compelling relationship carry a solid mystery plot and some pretty pointed critiques of its setting, but the actual climax and resolution don't quite hold up to the quality of the rest. Also I simply must warn anyone who didn't grow up in the time and place this book explores about the profound and casual bigotry and nastiness of that setting, which this book replicates to a T.

The Wicked and the Willing: A thrilling and compelling dark romantic drama centered on a British vampire in 1920s Singapore, her newly hired and desperate to escape poverty personal maid, and her majordomo who is struggling to keep her conscience under control after years of aiding and abetting her mistress's dark appetites. Extremely strong character writing pairs with deft exploration of themes of colonialism, entitlement, class divisions, sexism, and the ways in which certain types of status can and cannot afford one leeway to be nonconforming in other ways. Intermixes diagetic and non-diagetic BDSM very organically also, if that's your thing.

In the Roses of Pieria: Rich prose dripping with atmosphere follows an obscure academic as she digs into a series of ancient correspondences and discovers a millenia spanning love story between two vampires. The character writing is solid, if not quite as impressive as some other entries on this list, but the quality of the prose more than elevates it. The text makes elegant and powerful references to Sappho throughout, and the whole experience is heady and compelling in ways that I struggle to describe in greater detail. Funnily enough, the vampires are the least interesting part of the world building. This one has a sequel coming, and I can't wait.

A Dowry of Blood: A darkly enchanting epistolary novel that takes the form of letters written by the first of Dracula's wives to him as she attempts to make peace with killing him. She unpicks a delicious and horrifying knot of feeling and history as she revisits their millenia together, recounting and reckoning with the manipulations and abuses that defined the good times and the bad. The characters are evocative and rich, the narrative voice by turns sparse, longing, furious, contemplative, and mournful, and the story simply springs to life. It accomplishes an incredible amount in approximately 200 pages, and I absolutely cannot recommend this one enough.

[ouidamforeman]

R.e. discussions abt the new Good Omens season being polarizing on whether it’s good or bad writing, I think just saying it’s bad writing is weird and dismissive of what actual problems someone would have with it, and is just dismissing what it’s trying to do because it wasn’t to your taste. I think it more or less succeeded in doing what it wanted to do, which is an entirely different metric of judgment than whether or not you LIKED the effect of what it was doing. Regardless of what issues I personally have with it, I still think overall it effectively did what it set out to.

The thing is, it reads less like a traditional season of television and more like half of a novel. It’s weird. It’s directionless and meandering not because it’s poor storytelling but because I genuinely think it’s doing those things on purpose for other reasons. This is a single chunk of a larger story and I believe the overall purpose of season 2 isn’t to like, actually have a big plot or complete character arcs? If I look at it solely from where it is and what it’s presenting to me and let go of my preconceptions and expectations it appears that this season is just trying to put a few plot set pieces in place for the continuing story, and to nestle those plot pieces in a nonlinear narrative solely focused not on character Development but on character exploration and revelation. I feel like that’s why the actual moving plot this season was a very basic mystery, because it isn’t really the point? The actual story events are just backdrop for revelatory character vignettes, and I think that if this piece of storytelling was part of a novel that included whatever season 3/the actual story conclusion is going to be then people wouldn’t have nearly as many criticisms about the writing as they do when it’s presented as a season of tv. That’s also why it reads so fanfiction-y imo. My honest opinion is that s2’s biggest flaw that isn’t something incredibly subjective is that it’s let down by the fact that it got trapped in needing to present itself as a television season with all the baggage that medium has and not something more unconventional that would be kinder to its weird beginning-of-a-novel-ish meandering. Is this something a season of tv SHOULD do? I don’t know. Is this a fucking weird piece of television story wise? Yeah. Is it now officially a different story from the original novel? Absolutely. Does it have flaws, maybe even flaws that amplify the issues already present in season 1? Yeah. Does it accomplish what it sets out to do though? More or less yeah, I genuinely think so. Now if any of that translates into “badness” for you that’s fine. I think it was an immense risk to do this kind of thing for a tv season and it’s not going to click for everyone. But that’s fine. This is a bizarre and novel-y piece of tv media that’s just sort of doing its own thing, and whether you think that’s bad or not is secondary to how interesting that is I think. I just wish the criticism was more engaging with it instead of judging it, because I think what’s happening here is both much more simple and much more complex than most people are implying with their critiques. It’s much more interesting to meet it where it is imho, even though I do strongly wish it didn’t have to be released in this technically incomplete form.

TLDR I think ppl pointing at this season and calling it bad writing are partially not actually engaging with it on its level and partly confusing objective badness with personal taste. Regardless of whether you LIKED what it tried to do or not it was at least trying to do something, something that it mostly succeeded at, and that’s all i can really comfortably judge a piece of art on

[writingquestionsanswered]

How many words is too many? I have written over 80,000 words already and don't have a computer to edit properly. I've already decided to split the story among multiple books. But how many should each be? I am aiming for a basic novel to a little bit longer, but as a first-time author, I don't want to write something too long and not get anyone to read it.

Finding Your Story's Target Word Count

"How many words is too many" depends on what you're writing. Every type of story and every genre has a different word count range, and the specific ranges vary depending on who you ask. Here are some general ranges you can target...

Story Type:

Short Stories - 1,000 - 5,000 words Novellas - 20,000 to 50,000 words Novels - 50,000 - 110,000 words Epic Novel - 110,000 words and up (though these are rare)

Age Category:

Middle Grade novels - 25,000 - 40,000 words Young Adult novels - 45,000 - 80,000 words New Adult novels - 60,000 - 85,000 words Adult novels - 65,000 - 110,000

Genre:

Literary novels - 80,000 to 110,000 words Romance novels - 50,000 to 80,000 words Fantasy novels - 90,000 to 110,000 words Mystery novels - 70,000 to 90,000 words

It's important to remember that a book series isn't one long novel chopped up into smaller books. Each book in a series needs to have its own story arc. In other words, a beginning/inciting incident, middle/rising action, and end/climax and denouement. That said, you will need to look at the completed story and identify the natural story arcs that exist within it to figure out where each book should end and the next book should begin.

Something else to consider is your publishing goal. If you plan on pursuing traditional publishing, you might look into writing an in-depth summary of the entire story and working with a developmental editor or book coach to figure out how to best divvy up the story between books. That way, you'll ensure that book one is as strong as it can be, which will increase the likelihood of getting a book deal. After that, if your book sells well enough to warrant the publishing of the next book, you will have some guidance on where to go from there.

If you're planning to self-publish, you can still look into working with an editor or book coach, or even a critique partner, or you can just make the best decision you're able to about how to divide each book. Again, what matters is that each part of the story centers on its own individual story arc.

Something else to consider: if you have a really long story that you want to chop up into pieces rather than individual books, you might look into posting it as a serial on a site like Wattpad, Kindle Vella, Ream, or similar services. Serialization allows you to take a long story and chop it up into sizeable pieces, such as "episodes," and then you don't have to worry so much about dividing it up into books with their own individual story arcs.

One final consideration: Not having the ability to edit properly is not an excuse to publish an unedited work of fiction. No one wants to read an unedited story, even if it's chopped up into pieces. If you want to publish this story, whether online, traditionally, or self-published, you need to find a way to edit it properly and make sure you're putting a tight and polished version of the story out into the world.

Here are some additional links:

Self-Editing Tips Editing Tips Ten Ways to Cut Your Word Count

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[warrior-messiah]

“It’s coming. I see a holy war spreading across the universe like unquenchable fire. A warrior religion that waves the Atreides banner in my father’s name. Fanatical legions worshiping at the shrine of my father’s skull. A war in my name. Everyone is shouting my name.”

⤷ Paul Muad’Dib Atreides. Duke of Arrakis. Lisan al-Gaib.

Paul Atreides was born with two formidable birthrights: the noble lineage of his father, the Duke, and the occultist legacy of the Bene Gesserit, a fanatical religious sisterhood, through his mother. From his early childhood, he was groomed to wield power and was trained not just as a Mentat for his analytical intellect and intuition, but also in the mysterious ways of the Bene Gesserit, whose bloodline manipulation and intense training granted him extraordinary abilities. He not only possesses the art of prescience, which grants him glimpses into the future—a power that both empowers and burdens him—but also wields The Voice, the ability to persuade and command someone with an order.

Now, on the desert planet Arrakis, he seeks vengeance for the brutal massacre on his family and uses the Fremen, the planet’s indigenous people who believe him to be their prophesied messiah, to wage his war against the Imperium. As the prophet Lisan al-Gaib, he leads the Fremen with an iron fist and leaves the rest of the known universe in fear and terror of him and his millions of fundamentalist followers.

“He was warrior and mystic, ogre and saint, the fox and the innocent, chivalrous, truthless, less than a god, more than a man.”

(OOC: Paul’s portrayal is primarily based on the two latest movie adaptations by Denis Villeneuve, but also on Frank Herbert’s novels Dune & Dune Messiah. // 21+, mdni, english preferred, muse =/= mun ‼️ I do not support or celebrate Paul as a white savior. Dune works as a critique toward western exploitation, colonialism and white saviorism, which will be reflected through my portrayal of Paul as well)

[marzipanandminutiae]

several people I now have summed up my issues with House of Hunger by Alexis Henderson as "she had post-nut clarity halfway through writing the book" and that's such a great way to describe it

like

it's okay the Hot Evil Vampire Lady can be Morally Gray with Big Pretty Eyes and a Sad Backstory That Doesn't Like EXCUSE Everything But You Still Feel BAD For Her. nobody's going to judge you if you don't make her Actually Super-Unsexy-REALLY-Evil All Along

you don't have to hard pivot into guilt-tripping everyone reading for getting involved in the twisted love story you wrote, in the last act of your novel

because that's really what the twist of the book felt like to me after the buildup that seemed to be genuinely suggesting affection between Marion and Lisavet- "oh, you were invested in this? you thought it was an actual dark romance? THINK AGAIN SHE NEVER LOVED HER OR ANYONE AND SHE DOES THIS ALL THE TIME TO LOTS OF WOMEN (WHO SHE ALSO DOES NOT LOVE) AND ACTUALLY SHE'S MEGABAD IN EVERY WAY. NO NUANCE NO SYMPATHY WHATSOEVER"

(it also didn't really function as a critique of the society she'd set up, IMO. because it's not an issue common to ALL the Northern houses- we see and hear about bloodmaids who did things normally, who served their- admittedly fucked-up but not lethal -terms and got pensioned off in the usual way. so this society that claims to be lifting young women out of poverty and richly compensating them for giving of their literal physical being to keep the ultra-rich young, is actually...doing that. with no apparent lasting downsides for former bloodmaids that we ever see. except this one Really Messed-Up Household)

(there wasn't even mention made of like...pensioned-off bloodmaids being particularly rare in comparison with the numbers of the ones who enter service. I literally don't recall any implication that mysterious bloodmaid deaths or vanishings were at all common outside the House of Hunger. I'm sure there are psychological effects that linger for the rest of these women's lives, and there could have been some cool Hunger Games-style commentary on that. but since that's not what the book focuses on, you're kind of left with the impression that this sucks for HoH bloodmaids and is generally a pretty sweet deal for all the others)

[bandaiddd]

I have seen many people critique how Donna Tartt ends novels, particularly The Secret History and The Goldfinch.

But the thing is, you’re being told snippets, moments and memories of a person’s life - it’s not a story that can end fully resolved or mysteriously. Tartt writes about someone who might exist, a character so realistic that it’s unbelievable how complex they are.

That isn’t a story you can end, not in any satisfying way, it only ends when there isn’t much left to say.

[nanowrimo]

5 Tips for NaNoWriMo First-Timers

Feeling nervous as a new Wrimo? NaNo Guest Demi Michelle Schwartz has advice for you! Read on for tips on how to make sure your first attempt at Camp NaNoWriMo is a great one.

Have you heard about the NaNoWriMo or Camp NaNoWriMo buzz? Are you on the fence about taking the challenge for the first time? If yes, I’ve been in your shoes.

Last year, I got a new novel idea I was eager to write. I love challenges, and NaNoWriMo looked like the perfect time to draft my story. Still, being a first-timer gave me nervous butterflies. Little did I know I’d win my first NaNoWriMo with a finished draft at 73,000 words.

Whether you’re planning on participating in Camp or thinking ahead to November, I have five tips for you.

1. Plot and Research in Advance

First, I can confidently say I wouldn’t have been successful if I didn’t plot and research. Having a solid story idea from the start gave my writing direction each day.

If you’re a pantser, this may contrast with your process. Rather than completely plotting the novel, see if you can at least plan major beats or turning point scenes. That way, you’ll have plot points to write towards.

Also, doing research in advance reduces the amount of times you’ll have to pause to look something up. You may have to google information here and there, but a head start will make these internet-surfing adventures minimal.

2. Plan a Writing Schedule

Planning a writing schedule is key. For me, I’m most productive when I first wake up before I’m swamped by the day’s tasks. Also, I write well before bed, as long as I’m not too tired. Knowing when you write best will allow you to plug in time to work on your story.

Also, look at your calendar and plan accordingly. Part of my NaNoWriMo goal was writing every day, but I had to work around other commitments. Last November was a busy month for me in my songwriting career. So, I had to adjust my writing schedule during busy release and press days.

Having a plan for when you’d like to write and being aware of days you can fit in more time with your story will give your journey structure.

3. Remain Flexible

I can’t stress enough how important it is to remain flexible. No amount of planning can prepare you for curve balls or days you’re not in a creative mood.

If you go into NaNoWriMo thinking all your plans are set in stone, you may find yourself feeling anxious when something veers off course. Remaining flexible gives you room to adapt while staying on track.

4. Interact with the Community

NaNoWriMo has a special community. Whether you’re connecting with other writers on the website or on social media, everyone is so supportive.

There’s nothing better than participating in an event where writers are cheering each other on and sharing experiences. You may make friends and connect with critique partners and beta readers. Most of all, you’ll realize you’re not alone as you take the NaNoWriMo challenge.

5. Celebrate All Your Wins

Finally, celebrate all your wins. Recognize when you draft your first chapter. Give yourself a pat on the back when you hit a certain word count. If you’re doing a streak, feel proud for writing several days in a row.

Sometimes, as writers, we only focus on our end goal. It’s important to remember the small wins along the way play a role in reaching the desired result.

There you have it. Those tips allowed me to succeed during my first NaNoWriMo. There’s an international community of writers ready to welcome you, so get out there and become a Wrimo!

Demi Michelle Schwartz is an author from Pittsburgh, PA. She writes young adult fiction and enjoys the mystery, thriller, and fantasy genres. After earning BAs in Creative Writing and Music from Seton Hill University, she went on to pursue her MFA in Writing Popular Fiction at Seton Hill and graduated with her degree in June of 2022. When Demi isn’t working on her manuscripts, she’s busy chasing her other dream as an award-nominated songwriter and recording artist. Check out her website, Twitter, and Instagram! Photo by cottonbro studio from Pexels

[boybff]

wait hiiiii hi hello bestie i didn’t know u like video essays!! i’ve been trying to find more to watch recently, do u have any other recs? about any topic 👀

HIIIIII bestie Robin, are you ready?? After harvesting my Youtube subscription and liked video lists here is what I have compiled. I'm gonna put my current top 5 video recommendations and then the rest of the list, under the cut, is organized by creator.

Why Are There So Many Confederate Vampires

The art of religious interpretation (midnight mass vs god’s not dead)

Defunctland: Walt Disney's City of the Future, E.P.C.O.T.

Hogwarts Legacy, JK Rowling, and Trans Advocacy

Cultural Inspirations in Avatar: The Last Airbender Book 1 - Water 

CHANNELS

biz barclay - hilarious, brilliant, my best friend who drinks wine and weaves me long insightful stories while sitting on the dresser or in the bathtub. The vast amount of knowledge, historical 

understanding snapewives: religion, fandom, sociology, & erotica

Goncharov (1973) video essay

The art of religious interpretation (midnight mass vs god’s not dead)

Xiran Jay Zhao - Author of one of my FAVE YA novels, “Iron Widow” (which is a MUST read). I always want more avatar content that focuses on cultural inspirations from trusted sources. Xiran taught me so much about the avatar universe I already loved as well as valuable critiques. They also do retellings of historical events such as- Bisexual Han Dynasty Emperors and Forgotten Warrior Queen - Fu Hao.

Cultural Inspirations in Avatar: The Last Airbender Book 1 - Water 

Cultural Inspirations in Avatar: The Last Airbender Book 2 - Earth 

Cultural Inspirations in Avatar: The Last Airbender Book 3 - Fire 

Fundie Fridays - Jen, a leftist queer feminist, and her husband James examine different aspects of Christian fundamentalism, American conservative politics and pop culture. She has remade a lot of her older videos so make sure to watch the updated versions! She was also featured in the Amazon docuseries “Shiny Happy People” which I would HIGHLY recommend. 

Vacation Bible School of Rock (3 part video series History of Contemporary Christian Music)

Ken Ham’s Creation Museum & Ark Encounter

Ask a Mortician - Caitlin Doughty!!! The adult Wednesday Addams we should have got. So compassionate, informed, and moving!! I love her work and she has taught me so much about what it means to have a relationship with death and grief. Her work deals with heavy topics and you can tell she does this work from a deeply respectful, informed place. 

The Lake That Never Gives Up Her Dead

Let’s Visit the Churches Made of Human Skulls

Why are Black and White Funeral Homes STILL Separate? With Dr. Kami Fletcher

Iconic Corpse Series

Princess Weekes -  Nuanced video essays on pop culture, race, feminism, and other social issues. Takes time to break down complex concepts, their origins and material consequences. The essay on confederate vampires and the connection later made to sci-fi media like Firefly were so paradigm shifting to me!

Why Are There So Many Confederate Vampires

The Magical Negroes of Stephen King

Ro Ramdin - Poetic, biting, and introspective essays on pop culture. 

Do Celebrities Hate Their Fans? (Doja Cat, Frank Ocean)

Hogwarts Legacy, JK Rowling, and Trans Advocacy

DefunctLand- History of extinct theme parks and themed entertainment experiences. 

Defunctland: Walt Disney's City of the Future, E.P.C.O.T.

Disney Channel’s Theme: A History Mystery

Mina Le - Fashion, movies and pop culture

WHY IS EVERYTHING SO UGLY: The Curse of Modernism

FAIRYTALE COSTUMES: it’s giving renfaire but why?

Quinton Reviews - Extensive videos covering niche topics, most popular for Nickelodeon deep dive retrospectives.

How Documentaries Lie to You

The ICarly/Victorious Saga Playlist

TheEpicNate315 - yea i fucking love endless hours of useless skyrim lore because the conspiracies are so deep and I have to do 0 of the research to get all of the information years of scouts worked to piece together! 

The Skyrim Mysteries Iceberg (Part 1 of 4)

The Fallout Mysteries Iceberg (Part 1 of 2, incomplete series)

Mike’s Mic - Silly, goofy, and thorough breakdowns of nostalgic TV shows

Any of his unhinged recaps - LOST, Pretty Little Liars, Glee

Tiffanyferg - Media criticism and commentary

Internet Analysis Series 

Zoë Ligon - sex educator, artist, and writer, who also owns SpectrumBoutique.com, a health and education oriented sex toy store. Such a special place in my heart for her!! Her bondage mini-documentary with Midori was so touching. 

Sex Stuff | Japanese Rope Bondage with Midori

Channels Newer to Me

Broey Deschanel - a mixture of film analyses, retrospectives, politics and just absolutely overthinking anything to do with pop culture

Elvis (2022) and the Utter Mediocrity of Biopics 

Meeptop - rambling about movies and stuff

Who is Dahmer Even Made For?

LadyJenevia - discussing entertainment media content including films, television series, etc. Expect to find reviews of recent cinematic releases, video essays on older releases, and interviews with talent from the film/television industry

Glass Onion: A Knives Out Mystery and The Art of Hiding in Plain Sight (Netflix Review/Video Essay)

As a disclaimer, I am not endorsing any creator fully and if you see someone you think I should not promote please reach out to me so I can edit this list. As a general rule of thumb the more I had to write about someone, the more informed the recommendation.

[hojiteaversion]

Why I Think RC Has Trouble Sticking Their Landings

(Or, a pantser talks about structure and DLS for like 8 paragraphs)

My short answer: Because these stories are first drafts

Longer answer: ⬇️

1) (Lack of) Developmental editing

RC's model has its authors write long stories 2-4 chapters at a time. As much as the authors might perfect these chapters, they have no way to change something later on if they realize a scene no longer matches the big picture. An author may revise and make a batch of 4 flawless chapters, but it still doesn't mean they will fit the story seamlessly.

Developmental editing, according to this article, "involves feedback on the big picture of a […] writing piece. A developmental editor will critique structural elements like the plot, characters, theme, and organization of ideas." They also say that this kind of editing is recommended after the first or second draft.

So this type of revision would help an author make sure every character has its place (too many LIs and uneven LI screentime could be fixed), that characterization is consistent, that the plot is clear and moving at a good pacing, etc.

In DLS, for example, things that might be revised after a developmental editing: Leo's introduction scenes not matching his characterization later on, the Leo/Vlad rivalry that seems a bit strange in hindsight, more prominent role and scenes for Sandra, a more consistent progression in Noe/Laia and Ezel/Laia routes, fairer distribution of LI scenes (🫠), Laia's character motivations, the plot mysteries might be revealed to the reader a bit earlier, etc.

But these stories are arguably first drafts that will never be revised holistically (like Choices stories are/used to be, as far as I'm aware), so problems that only become clear once you're further along might not be fixed satisfactorily (or at all).

What sort of problems? Well...

2) Structure, part I

So the visual novel medium is fairly recent, right? Choose Your Own Adventure stories have existed for a while, but, I'm pretty sure, not in the scale of RC stories. 3 seasons demand a lot of story. And the thing is, I'm not sure there is a lot of guidance out there regarding story structure for interactive stories? Not that I've found, at least.

This is a problem, I think, because even if these authors follow the existing material on story structure (Save the Cat, Hero's Journey, Classic 3 Act, Seven-Point Structure, etc.), they will have to do the work of adapting it for a visual novel that A) has 3 seasons as a default, and B) 3 seasons of more or less equal length.

Look, it absolutely can be done! But my point is, I think it's generally uncharted territory and requires a lot of problem-solving. It's not just figuring what must happen in this story for it to be satisfying, it's also deciding when each thing must happen in a way that fits the requirements of three seasons and their finales, which must all fit together, but also be individually exciting and balance setup and payoff. And there is no way to go back and fix it if you realize you messed up the pacing somewhere! Not to mention…

3) Structure, part II: Routes

Not only do they have to figure out plot and structure (without being able to revise the finished story as a whole), but they also need to figure out and balance at least 4 different dynamics. As in, when it gets established, how to keep those dynamics fresh even after they get together, and how to synchronize MC's development with that relationship and its milestones. And again, it's not like there is a manual or a right answer. You have to write and fix afterwards — except they can't 😀. So if an author realizes later on that x couple needed a scene earlier on, or that they rushed things, or any other problem, there is nothing to be done except maybe add more scenes that might stand out from whatever they're trying to correct.

A tiny example of this problem in DLS would be Leo and Laia telling Derya that they're dating, which is clearly a correction of the scene in 4x02 where Laia called him "a friend" because "[she] thought it went against local customs to make a show of pre-marital relationships". In 2019 Istanbul. It would just make more sense if she had just called him her boyfriend in the first place.

4) Authors

I'll admit I'm least informed about this one, but based on a few interviews I've read with the authors, it seems some of them have never written fiction or visual novels before…? I could be wrong! But! Imagine being new to this medium and having to figure all of that ⬆️ out, with the limitations that RC's model brings. I'm not sure how much training and/or assistance they get in this entire process. It just seems a lot for one person.

And I have no answers for any of this, by the way! I don't work there, I don't know how the company works or how it doesn't. This is just my tentative opinion based on my limited experience with writing. It's extremely hard, and I genuinely cannot imagine trying to do any of that ⬆️ in the first place, but especially if I had to get it right on the first try.

Every writing advice on Earth recommends multiple drafts on longform writing because it's impossible to make your story the best it can be on the first attempt. So I think the RC endings often being unsatisfying might be, mainly, a consequence of that.

[mostlysignssomeportents]

Pluralistic is four

I'm on tour with my new novel The Bezzle! Catch me TOMORROW in SALT LAKE CITY (Feb 21, Weller Book Works) and then SAN DIEGO (Feb 22, Mysterious Galaxy). After that, it's LA, Seattle, Portland, Phoenix and more!

Four years ago, I started pluralistic.net, my post-Boing Boing, solo blog project: an ad-free, tracker-free site that anyone can republish, commercially or noncommercially. It's been a wild four years, featuring over 1,150 editions, many consisting of multiple articles:

https://pluralistic.net/2020/02/19/pluralist-19-feb-2020/

As a project, Pluralistic has been a roaring success. I've published multiple, significant "breakout" articles that popularized obscure, important, highly technical ideas, most notably "adversarial interoperability":

http://pluralistic.net/tag/adversarial-interoperability

"End-to-end" as a remedy for multiple internet ripoffs, including as a superior alternative to link-taxes as a means of saving the news industry from Big Tech predation:

https://pluralistic.net/tag/e2e/

and, of course, "enshittification":

https://pluralistic.net/tag/enshittification/

These are emblematic of the sorts of ideas that I've spent the past 20+ years trying to popularize in tech-policy debates dominated by technologically illiterate policy ideas ("abolish Section 230!") and politically illiterate technical ideas (so many to choose from, but let's just say "cryptocurrency"). They require that the reader come along for a lot of cross-disciplinary analysis that often gets deep into the weeds. These are some of the hardest ideas to convey, but nuanced proposals and critiques that work on both political and technical axes are the best hope we have of successfully weathering the polycrisis.

Blogging has always been a part of this project. For nearly 20 years, I posted nearly every day on Boing Boing – 53,906 posts in all! – taking note of everything that seemed important. Keeping a "writer's notebook" in public imposes an unbeatable rigor, since you can't slack off and leave notes so brief and cryptic that they neither lodge in your subconscious nor form a record clear enough to refer to in future. By contrast, keeping public notes produces both a subconscious, supersaturated solution of fragmentary ideas that rattle around, periodically cohering into nucleii that crystallize into full-blown ideas for stories, novels, essays, speeches and nonfiction books. What's more, those ripened ideas are supported by a searchable database of everything I've thought about the subject, often annotated by readers and other writers who've commented on the posts. I call this "The Memex Method":

https://pluralistic.net/2021/05/09/the-memex-method/

Pluralistic marks a new phase in my deployment of the Memex Method. With 50K+ notes in a database, I've gradually turned Pluralistic into a forum for far more synthetic, longer-form work that pulls on threads from decades of research into nothing in particular and everything that seemed important.

Pluralistic is also an experiment in retaining control over my destiny – but not my work. Rather than hitching my ability to reach an audience through a platform that can be enshittified at the whim of a mercurial, infantile billionaire or their venal, callous shareholders, Pluralistic is published web-first, on a site I control, and then syndicated to every platform that matters to me. It's a process called POSSE (Post Own Site, Syndicate Everywhere):

https://pluralistic.net/2021/01/13/two-decades/#hfbd

I want to spread the ideas I fight for, so I post them everywhere, and license them Creative Commons Attribution-Only, encouraging others to repost them. Lots of small sites do this, but so do large ones. Notably, Wired picked up my first breakout piece on enshittification and republished it under the CC terms:

https://www.wired.com/story/tiktok-platforms-cory-doctorow/

This was a really interesting process. On the one hand, I didn't get paid for this feature, which did really well for Wired. On the other hand, nearly 30 years of writing for Wired makes me doubtful that I could have gotten this piece out in the form it emerged, without substantially toning down (or, if you prefer, neutering) the rhetoric that made that piece more persuasive. A commissioning editor from one of the largest newspapers in the world got in touch with me after it came out and said they wished they'd published it – but also that they knew they couldn't possibly have done so. By publishing the story first on my blog, proving its audience, and establishing its canonical form, I was able to get it amplified by a service with a much bigger platform than me, without having to compromise on the form.

That republication gave me the much-maligned "exposure" – but it also carried the message to places it wouldn't have reached on its own. I don't write – have never written – solely as an income source. As both an artist and an activist, connecting with audiences has always been co-equal in my mind with earning my living. That's why I don't do a lot of film-writing: it pays well, but most of it never sees the light of day. It's also why I stopped writing for ad agencies: it paid well, but it didn't matter to me or my audience. To mangle Dr Johnson: "No man but a blockhead ever wrote solely for money."

The open nature of this blog, with its many open syndication channels, creates multidirectional pathways for evaluating and refining my attempts at making my ideas understood and my art land. My posts often circle back to points I made earlier, incorporating useful feedback from readers and colleagues, sure, but also anticipating and rebutting those areas where critics have convinced others in various forums. Vanity searching is unjustly maligned: I learn a ton about how to make by work better by lurking in Reddit comments, Hacker News, Twitter, Slashdot, Metafilter and other forums. I also take a sneaky pleasure in knowing that the persistent trolls who reliably pop up to grind their weird axes about me (sometimes referencing blog posts I made decades ago) have taught me how to neutralize them in advance, and it's delightful to see them try their same old lines, only to have other commentators point out that my latest piece makes it absolutely undeniable how wrong they are. Living well is the best revenge, indeed.

Four years. I've been writing Pluralistic for four years. During that time, I've published eight books – and beyond any doubt, Pluralistic helped me get those books into readers' hands. But far more importantly, during that time, I've written nine books – and contracted for a tenth – as the Memex Method paid off again and again.

I don't know how long I'll do Pluralistic for, but I don't foresee stopping any time soon. What's more, no matter what happens to Pluralistic, I can't ever see giving up on the Memex Method, keeping notes in public and making them work for me.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/02/20/fore/#synthesis