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Author: Pab

“On My Phone”

Parody lyrics for the classic song from Les Miserables to discourage the use of cell phones in entertainment venues.

(Enter Eponine, texting furiously)

EPONINE

On my phone
Pretending I’m important.
On my phone
Pretending that I’ve got friends.

Even though
I ought to watch the actors
I find Twitter so compelling that I
C
annot look away.

On my phone
And missing all the plot points.
On my phone
Ignoring the reprises.

For these seats
I paid two hundred dollars
But Facebook calls my name and I give
It all my attention.

And I know
I ought to shut it off
That I’m wasting this real life experience.
And although I’m acting like a jerk
Still I play Angry Birds non-stop.

(The rest of the company enters, pleading)

COMPANY

Please watch us
For when the play is over
We’ll be gone
You’ll miss all our hard work.
Without us
The world seems two dimensional
Those tiny screens are just a sorry
Substitute for drama.

EPONINE

I love it,
But every day I’m learning
That real life
Is better than a login.
Without it,
The world is more compelling
And full of real expriences
I have never known!

COMPANY

Please watch us.
Please watch us.
Please watch us.
And please turn off your phone.

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On Puppies, Sad and Otherwise.

PuppyAs an author of what could be construed as science or speculative fiction, it’s been difficult to watch what’s been going on with the Hugo Awards and their hijacking by a group calling themselves the Sad Puppies.

The weeks following the Puppies’ attacks on the Hugos have led to a lot of interesting reactions. There have been criticisms, counter-criticisms, backlash, and some ingenious satire brought about by the whole controversy. And while it might have had the beneficial effect of drawing attention to the Hugo Awards nominating and voting process, that’s probably the only real benefit we writers have felt from the whole thing.

Now I have no real personal objections to any of the Sad Puppies or their anointed nominees, (except for John C. Wright, who is a notorious homophobic dick) and think that they should be allowed their opinions. As well as the freedom to express those opinions. (Even when, like famous homophobic dick John C. Wright, they try unsuccessfully to remove their dickery from the internet.) I question their tactic, however, of hijacking the most prominent awards given to writers of SF in order to advance their agenda.

But the real questions that should be raised by this whole mess have gotten lost in the accompanying shitstorm. The Puppies have concerns. Are they wrong?

Not entirely, but their arguments have sadly lost legitimacy.

The Future Has a Liberal Bias.

Yes, most SF leans toward what those on the right would construe as “liberal” beliefs. And it’s that way for a reason.

Without liberalism and progress, there wouldn’t be a “future.”

Consider the very nature of conservatism. By definition, conservatism prefers a lack of change in society. It thinks things are just fine as they are and that change for change’s sake is a risky thing. That’s a valid argument on their part, but it doesn’t make for good SF. Once again, by definition, science fiction requires major advancements in society and technology in the fictional worlds created by its authors. Using the other popular term for this genre, speculative fiction, you still require a world very unlike the present world which conservatives want to conserve. You need futuristic, fantastical, or supernatural elements that just don’t exist in today’s world.

If you fast forward, say, 300 years for a story and society is essentially the same as it is today (which, to grant them their due, is how conservatives would have it), the story is going to be fairly boring. Yeah, they might have rocket ships and laser guns and that sort of thing, but the most interesting things about future worlds are the way their societies differ from ours today.

Never mind that in just about any sci-fi world worth its salt you’re going to have an alien culture of some kind in it. How does society react to the aliens? How do we perceive their cultures, values, and mores? The only half-decent “right wing” sci-fi I’ve seen with an alien culture is Heinlein’s Starship Troopers, and when you get down to it, that novel is really about how humanity is xenophobic by nature, and we tend to react violently toward the not-we. And xenophobia is one of the driving forces of the extreme right wing.

George R.R. Martin put it best in his blog entry criticizing the puppies linked above: “we love to read about aliens and vampires and elves, are we really going to freak out about Asians and Native Americans?”

So sci-fi and spec-fi really can’t exist in a proper conservative sphere. To have a story, you have to have change. Otherwise you might as well set your stories in the here and now and save yourself the world-building.

While we’re on the subject, let me say a few things about dystopian sci-fi. The rise in popularity of dys over the past decade has rankled some on the right because of the perception that since the granddaddy of the genre (Orwell’s 1984 of course) was an anti-right wing screed that all dys has to be anti-right. Not so. The best dystopian novel of all time actually look place in a liberal utopia which was shown to be crushing the human spirit. Don’t know which one I’m talking about? Go read it for yourself.

But let’s move away from the big picture and zoom in a bit. The Puppies believe that in addition to the genre’s left leaning tendencies there is an active bias against white males in publishing today.

Scratch out the “white” part, and you’re closer to the truth.

No Boys Allowed

In my particular market (again, I don’t consider Young Adult to be a genre; it’s a market) there really is an active bias against males. Not so much male writers, however, but male readers.

Look at the Young Adult bookshelf in any bookstore. What do you see? Plucky heroines. Girls coming of age. Strong women fighting misogynistic dystopias. Plucky heroines coming of age in misogynistic dystopias.

Where are the books for boys?

There are plenty of writers (like myself) who are churning out books aimed at teen boys. There are brave publishers out there who are taking a chance on books aimed at teen boys. But you just can’t find them. It comes from a misguided belief that boys don’t read. Perhaps because boys buy fewer books than girls do. But a large part of that is because there are fewer books for boys to buy than there are aimed at girls. So it becomes a self-fulfilling prophecy.

So when it comes time for buyers for bookstores to order books, they have a subconscious bias against stocking books for boys. Books written for boys are either passed over, buried, or mis-stocked. Publicity people who are used to marketing books towards teen girls have no clue how to target boys and launch less-than-successful campaigns to sell books for boys.

The bias exists. It isn’t a deliberate one, but it’s there nonetheless. And it will be hard to overcome.

But the way writers like I are going to overcome it isn’t to stuff the ballot boxes for YA book awards, or demand that books aimed at girls be removed from preferential spaces and books for boys inserted. The way we are going to overcome it is by writing fiction for boys that is so compelling that it demands to be bought, shelved, and read.

That’s what the Puppies have to do. If you want to sell Boys’ Own, Action-packed, Right-Wing Oriented Sci-Fi, then you have to write BOAPRWOSF that is so good and so compelling that it demands to be read and can stand on its own in a crowded field.

It All Comes Back to Heinlein

Robert Heinlein was a racist, sexist, homophobic, fascist dick. His writing reflects that point of view.

And he won the “Best Novel” Hugo four times.

Four. Times. He holds the record. No one has yet surpassed him.

I hate everything Heinlein stood for, and yet Stranger In a Strange Land* is one of my all-time favorite novels. As is Job: A Comedy of Justice. He’s written some other stuff I like, too. He was a terrible human being but he was a great writer. And he still gets props for it.

The people who are doing most of the whining that “Heinlein couldn’t win a Hugo today” (never mind that the main reason that he couldn’t is because he is dead) because they can’t get their stuff nominated for awards overlook the fact that their writing is nowhere near as good as Heinlein’s. Nor is mine, but I admit it. I aspire to be that good but I am not there yet. But that’s not the fault of people who don’t nominate me for awards; it’s my own fault for not being good enough to compete with much better work.

And if you look at your own work objectively, maybe you’ll come to the same realization.

In Conclusion

Probably the worst thing about the whole Sad Puppies debacle is that in order to fight against the Social Justice Warriors (“SJW’s”) they so rightly despise is that they have adopted the exact same tactics as these SJW’s! They have resorted to blacklisting, ballot box stuffing, bullying, and threats. Rather than embracing the conservative belief in the free market, they have created a Stalinist situation where voters are allowed to vote for anyone they want, as long as it’s candidates approved by the oligarchy. Instead of producing work that is capable of winning awards on its own merits they have perverted the process to bestow now meaningless awards on substandard product.

Worse, they are pushing good writers who deserve the recognition to pull themselves out of contention because the tactics of the Puppies has forever tainted their nominations. And they may have just robbed the most prestigious awards for SF of all legitimacy in the future.

That, Puppies, is sad.


* By the way, if you ever want to see how Progressive Capitalism can work in sci-fi, and how rightist theories can lead to technological advancement, the world of Stranger is one to look at for a model.

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Spamazon

One great thing about Amazon’s Kindle Direct Publishing and Createspace services: they will let you publish anything.

One terrible thing about Amazon’s Kindle Direct Publishing and Createspace services: they will let you publish anything.

It’s called (among other things) Spamazon – when something hits it big, the me-too crowd comes along and puts out cheap knockoffs with deceptive titles to con the shopper into perhaps buying the knockoff instead of the original.

Fifty Shades of Grey is a great example. Until enough people complained and enough cease and desist letters went out, you could find “50 Shades of Grey,” “Fifty Shades of Gray,” “50 Shades of Gray,” “Fifty Grey Shades,” and even “Thirty-Five Shades of Grey” on Amazon.

This isn’t a question of parody (witness Fifty Shades of Grey Matter and Fifty Shades of Beige) but a slightly gentler form of plagiarism. Someone tries to capitalize on another author’s success by putting out something quickly with a similar title. Someone searching Amazon quickly might get confused and click on the wrong book.

So how widespread is this problem? So widespread that it’s touched upon my circle of friends.

Exhibit A

In 2011, my friend Alice Ozma put out a memoir entitled The Reading Promise. It carried two different subtitles depending upon the edition, either “3,218 Nights of Reading with My Father” or more commonly “My Father and the Books we Shared.” It’s the true story about a single father who promises to read to his daughter every night for 100 nights. And after those hundred nights are over, they keep going until she leaves for college.

Response to her book was immediate and amazing, the kind of acclaim that most of us authors dream about. It got rave reviews, was shortlisted for prizes, and spawned a whole movement of getting parents to read with their children. It’s even being made into a motion picture.

So what reward comes from all this success?

Last month, a 38 page book quietly slipped into the “stacks” at Amazon. It’s a fictional story about a mother who reads to her son every night.

Sound familiar? Guess what the title was.

Aw, you guessed it. Probably even before you looked at the picture didn’t you.

After three years of notoriety, acclaim, and time spent on the best seller charts, a writer stumbles upon the same exact concept (just gender reversed) and the same exact title and quickly rushes out a book. As people hear about this charming book about a father and daughter reading every night, they will go search on Amazon. Maybe one out of a hundred might click on the knockoff instead of the original. That is enough of a response to make some real money when you consider how many people might be looking for the original. Especially once the film comes out.

The tactic seems to be working, too. As of this morning, the knockoff is at #281,749 on the Kindle charts while the original is at #100,382.

Stuck Pig Syndrome

Like any legitimate author, I am opposed to Spamazon knockoffs. Even when the author being robbed from isn’t someone I know. So I did what any conscientious Amazon shopper would do: I wrote a review to help dispel the confusion.

review

This book is a direct ripoff (down to the title) of “The Reading Promise: My Father and the Books We Shared” by Alice Ozma and Jim Brozina. Don’t reward plagiarism; go buy the original instead.

Yep, I went there. I used the “P” word. And I stand by it. You put out a book with an identical premise and identical title to a best seller, you are a plagiarist. You are trying to make money off of another person’s hard work.

The writer in question posted a response to my review on Amazon, as is his right. I could tell right away that I had hit home.

“When I wrote my children’s picture book, I did not know about Alice Ozma’s book of a similar title.”

Uh, huh. First off, when you have an idea it’s good practice to go make sure it hasn’t been done. I’ve had lots of concepts that I didn’t develop because someone got there before me. It’s common.

And not “similar” title. The same title. Alice Ozma’s book is entitled The Reading Promise. The knockoff is entitled The Reading Promise. That is not “similar.”

Continuing: “There are several (many) books/collections of poetry, etc. titled ‘The Promise.’ Because all of the titles share a similarity, should they all be considered plagiarized works?”

Uh, huh. Yes, there are many books called The Promise. But there are only two entitled The Reading Promise. And those books carry identical concepts, with only the gender of the characters reversed.

But the writer in question did not think that a public response to my review was sufficient. He had to send me a threatening E-mail this morning:

 

Subject: Defamatory Comments

Pab,

I’m sure you are aware of the fact that I’ve read your defamatory comments about my book online. I take defamatory comments very seriously, so I respectfully ask that you please take them down.

I’m not sure if you actually read my book, but if you have you certainly know that the content (right down to the genre) is not like your friend’s book in any way; is she aware of what you are doing?

As you likely know, book titles are not copyrighted. Take a look at your book “Norton Hears a Who,” which only changed one letter from Giesel’s title. The fact that I happened to use three of the words from her ten-word title, one of which was “the,” certainly does not constitute plagiarism.

When I titled my book, I did not know that her book existed.

Thank you very much.

 

To which I say….

 

You released a book with identical concept and identical title (the title of Ms. Ozma’s book is “The Reading Promise,” and had two separate subtitles during its publication history) to a book published three years prior. A book which was not only widely reviewed and received extensive publicity, but is currently being developed into a motion picture.

It’s safe to assume that a book released three years after another with the same title and the same concept (only gender reversed) is purely intended to deceive the customer into purchasing the new book instead of the original.

No, titles are not copyrighted. But concepts connected to titles are. Ozma’s The Reading Promise is a story about a parent reading to a child. Your The Reading Promise is about a parent reading to a child. Published three years after the first, after the former had entered development for a motion picture.

Were I to put out a 30 page murder mystery entitled Stinky Blinky: The Mysterious Case of the Gas We Pass about a detective on the trail of a strangely flatulent child, you would have a case against me. And would have a right to point out the similarity in a review on a bookseller’s website. As I did with your knockoff of Ozma’s book. Although a good case might be made that my work would be a parody, something that can hardly be used as a defense of your work.

One of the first things an author should do when writing is to use Google. Any search at all for your title over the past three years would have returned dozens to hundreds of hits about Ozma’s book, which should have prompted you to pick another title. That you did not suggests an intent to deceive, either on your part or your publisher.

As for your comments about Norton Hears a Who and Other Stories, you might want to consult a dictionary for the word “homage.” No one in their right mind would mistake a collection of a daily comic strip for a Dr. Seuss book. I made no effort to pass it off as such. And the concept of the six strips within the collection that lent the book its title (namely an insane historical figure thinking a flower is talking to him) is not an attempt to deceive book shoppers but a homage bordering on a parody of the original. On the other hand, you released a book with an identical title and identical concept, not a parody nor an homage.

I stand by my review.

Oh, and by the way….

For future reference, sir, this is how you handle a one-star review on Amazon.

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