prusik: Newton fractal centered at zero (Default)
I realized something reading the latest issue of F&SF and the latest of Asimov's: my stories start very statically. Usually, for one reason or another, the main character is either watching the world go by, or musing about something. (Ok, sometimes, they wake up from sleep or unconsciousness. However, they are never confused. They always now exactly where they are and what they have to do.)

Clearly, I need to write a story where, at start, the main character is salsa dancing while simultaneously toppling the government of France and proving Goldbach's Conjecture.
prusik: Newton fractal centered at zero (Default)
I received not one, but two, rejections today. Both "Freeing the Mountain" and "Running and Falling" are back. I haven't decided where they go next yet. "Freeing the Mountain" either goes to Strange Horizons or to beta-readers. "Running and Falling" will take some research before I decide.

Tonight was the first performance of my improv class's graduation show. One more and I'm done.
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The last rehearsal for our graduation show was today. Now we just have to get the actual shows over with. I'm very much in the "grit my teeth and get it over with" stage of things. Part of it is that I wish we were doing a more ambitious show. However, that's probably a really bad idea. For most of us, our only improv experience is approximately a year's worth of class time. At least half of us had absolutely no acting experience before this. Plus, the graduation show is supposed to be a happy event. While improv is supposed to be all about taking risks and pushing ourselves, I can totally see why we're doing a very safe, easy to pull off format. (Also, there's nothing to say we can't take risks and push ourselves within this format. In fact, we ought to be...)

Perhaps it was because this was the last rehearsal, but a riff that recurred through this entire quarter finally paid off today. One student, A, very clearly wants rules and to follow them to the exclusion of everything else. If a scene doesn't work, then he wants a rule that he can apply that makes the scene work. As far as he's concerned, learning improv is the mere collection of all of these rules. Good improv is work which does not break any of these rules.

BTW, by rules, I mean rules. Not guidelines. Not suggestions. Cast in concrete, no room for exception or deviation rules. Everything must go precisely as the rules dictate. For A, it's really not about doing anything right. It's all about not doing anything wrong. This is the guy who, whenever we do an exercise, asks all sorts of very specific detailed questions about exactly what we're supposed to do. He's not trying to game the exercise. He's just trying to do nothing wrong.

If that's the way he wants to work, I'm not so bothered by it. I think it's preventing himself from sublime heights of inspiration. The inevitable outcome of this is that we get the same scenes over and over again. If you only have one way of telling a story, you have only one story. However, it's not like I will ever convince A of that. What bothers me, is when he tries to impose his rules on everyone else.

We all know and understand the principle that not only do we accept a scene partner's offer, but extend it, bringing in our own information into the scene. The student in question had a detailed proposal which specified on which line of each scene, the type of information the characters in the scene must impart. To be fair, he got this from a training exercise from the weekly open practices the studio conducts. Also, if you follow this schema, the scene will have, in fact, started with a solid base of information. However, he was proposing this as how we should do all of our scenes. On an assembly line, predictability and repeated sameness is a good thing. In an improv show, not so much.

Anyway, what typically happens when he does this is that our coach points out that rules are a crutch. What's important is that we work the skill implied by the rules. For example, in this case, we need to remember not only to react to a scene partner's offer, but bring in information of our own. (Actually, the meta-rule is probably that we need to do something to propel the scene forward.) His rule is one way of many to do that, and it's good to practice that one way. But it's good to practice all the other ways too and to allow yourself that freedom.

What happened this time is that another student, B, pointed out the pattern. (Talk about playing to the top of your intelligence!) He pointed out that A apparently really likes rules and order and is constantly proposing them, and that what would follow next would be our coach explaining why those rules are, in the long run, not useful. Because I wish I'd done that, I chimed in agreeing with him. (Heightening his offer.)

A didn't acknowledge this. (I'd like to think that if he were able to recognize the pattern, he would have broken it.) However, the coach did, in classic improv fashion. i.e., a general principle of improv is that no one is ever wrong, and nothing you do on stage is ever a mistake. This is in part because if you spent all your time trying to do things right, you'll be so paralyzed that you won't do a thing. Improv coaches tend to speak in terms of stronger and weaker choices. (To mentally map them to "right" and "wrong" is to destroy the nuance that leads to the really awesome work.)

What the coach did, then, was not say that A was wrong. He affirmed the value of what A suggested as a training exercise, but then pointed out we shouldn't be limited to just a training exercise. That is, he said what he always said, but stressing that A wasn't wrong, just that there are a wide variety of other things we could also do. No one is wrong.

Given that we've gone on this merry-go-round several times now and we're still not off of it, I doubt that this has sunk into A yet. Or at least he did nothing to make me thing that it has sunk in. That's really too bad. It'd be a serious breakthrough for him if it had. However, I think creating a cage out of rules is ingrained into who he is. (i.e., he really wants the cage.)

I noticed a few rehearsals back that the notes the coach gives us about our improv correlate with we are. The calm, mild mannered person is also the one whose improv is too middle of the road and risk averse. The wishy washy person is also the one who doesn't commit to choices. (Today, we had an interesting meta-problem when she couldn't commit to committing.) For the record, my note is that while I express emotion, I don't always establish an emotional connection to my scene partner. It's not clear to anyone what my scene partner means to me. (Pause for effect.)

So, I figure this is just part of who A is, I don't think in the course of his everyday life, his life would be significantly better if he didn't continue to build and stage in his cage of rules. This is probably good, because he doesn't act as if he's had this insight yet. (I, OTOH, have had this insight, and eventually, I'll figure out what to do about it.)

This blog entry has no point except that I'm finishing the 5th of the 5 level workshop course. I don't know where to go with improv from here. It can actually be lots of fun, so I might take another of their classes or go to the Sunday night open practices. On the other hand, I'm writing every day. I climb once a week. I game once a week. Choir is starting back up, which is at least a once a week commitment. I don't know where improv rates among all of that.

I can do anything, but I can't do everything. That's frustrating.
prusik: Newton fractal centered at zero (Default)
I haven't been writing much about improv here. Mostly, this is because anything that I'd write about, by rights, I ought to tell my improv class instead. So if it's not something where telling them would actually be useful, I just don't express it. (At least not in any fixed form.)

However, this, I actually did tell my improv class, so it's fair game. I'm not talking about people behind their backs.

Where I'm taking my improv class offers extra a la carte rehearsals on Sunday nights. One of the people in my class talked about how great those rehearsals are because "there you can take all sorts of chances you'd never take in class." Now keep in mind that we're in the midst of preparing for our graduation show. This person has basically said that she's saving her best work for these a la carte practices. We, her classmates, we who will be up on stage with her in front of a paying audience get only the work she's done before. *sigh*

Of course, I called her on this. (Otherwise, I wouldn't be writing about it. That would be passive-aggressive.) She apparently has this notion that our improv show needs to be this pre-packaged, predictable product. (Ok, since we all agree that our improv show will, in fact, be improvised, I am sticking a few words into her mouth here, but not many.) She did talk a bit about doing the stuff she knows she can do since we're rehearsing for our show. The point is that she apparently thinks that our graduation show will be "improv without risks." *sigh*

I guess I should be happy that she is taking those risks somewhere. That must eventually filter back into her work with the class.

Besides, if there is anyone in the class with an attitude problem, it's me. I just want to get the graduation performances over and done with.
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This is apparently the month where lessons I learned at VP pop in my head and suddenly make sense. (And they happen at the oddest times, never when I expect them.) Either I went to VP two years too early, or it just two years for these lessons to incubate (for me, anyway.)

So, I now have to go de-rivet a story. They're perfectly good rivets. Anyone who knows rivets will know that I used precisely the right rivets every time. But, you know, the train hurtling down the tracks towards the oscillating suspension bridge. The cable stays are snapping. Railroad ties are plummeting into the harbor. How will little Suzy ever get the Cummerbund of Righteousness to Tuxedoman now? Who knows? I'm busy showing you the ways each rivet on the train is almost but not quite circular. *headdesk*
(I've always thought the story was a bit long. Now it'll be shorter...)

On the plus side, I also wrote a short story, from start to finish, in the midst of a somewhat hectic work week. I figure if I can't do that, applying to Clarion [West] is a complete waste of time. This is, of course, not the same thing as doing this for 6 weeks in a row.

Ok, it was really 8 days. However, I figure if were, say, on a vacation or leave of absence from the day job, it might have gone faster. Of course, if I were writing furiously at every free moment, it might have also gone faster. (I definitely spun my wheels for at least a few hours. OTOH, I think I know how to avoid that now.)

The curious thing is that the story may be the best thing I've written yet. Certainly, it's in better shape than some stories that I've been working for months on. Actually, the story that needs de-riveting isn't in bad shape either. The de-riveting is the only change I currently plan to make to it. I wrote that story fairly quickly too.

Sometimes, I think I get in my own way.
prusik: Newton fractal centered at zero (Default)
What do short SF and American musical theater have in common?

They are both increasingly marginalized art forms. People have panicked about their death for decades. In the case of musical theater, I wonder if there has ever been a sustained period of time when people haven't panicked about its death. It's funny to realize that back around 1910-1920, musicals on Broadway were predominantly British. Producers only hired American composers to interpolate the occasional song. Obviously, things have changed. The modern American musical is not what you would have put on stage in 1910 (although there are still elements in common).

When writers write about the so-called death of short form SF, most of the time we're writing about the so-called impending death of the short SF digest. Their readership has declined over the years. However, they still dominate the short SF conversation. (How many awards as Asimov's been nominated for?) Also, they aren't the only outlet for short SF. The original anthology is making a come back of sorts. There are a plethora of magazines in other formats. There is a diversity, and that's a good thing.

[We're much more interesting when we talk about the state of short form SF rather than its impending death. However, Elizabeth Bear has already made the point that short SF is evolving into form by writers primarily for writers. This makes it oddly ok that no short SF magazine has a large circulation.]

This is just a really long set up to what Asimov's announces on the last page of its Oct/Nov 2008 issue: They're switching to "a new format with fewer but larger pages." I think those who know magazine publishing better than I do have predicted this for a while now. TV Guide did this a while back. Rolling Stone (not a digest, obviously) is also moving to a larger format. It's cheaper to produce. I suspect that larger pages may also give them more room for ads? I've always wondered why the digests have very few ads. (I'm not saying I want more ads. I'm just curious.)

I don't think I'll miss the digest format very much. With my previous jacket, it fit into its pocket when mass market paperbacks couldn't. (i.e., the digest folds.) However, my current jacket will deal with a larger format just fine. I guess Asimov's will lose its distinctive look. However, my experience is that people see the digest and tell me, "Hey, I used to read Asimov's when I was a kid." Never hearing that again is just fine by me.

Honestly, since I never keep issues around, my preferred format is probably electronic. (Yes, I know they do e-subscriptions.) However, I don't have anything pocket sized that does ebooks yet. Also, due to a clerical error on my part, my current subscription doesn't run out until 2013. (I lost track and accidentally renewed my subscription twice.) Unless Asimov's becomes a solely electronic publication, I don't think I'll be reading it on my iPod touch/iPhone/Kindle/OQO/Mobile Internet Device any time soon.

(For the record, I don't own any of those although tech lust demands that I buy an iPhone and an OQO. Apparently, I'm only interested in small mobile devices that do Chinese handwriting recognition. The Kindle would be more appealing it were pocket sized. The pictures don't get across how small it actually is, but I want something even smaller. Of course, the new models are supposed to be larger.)

Anyway, at least one of the big 3 will no longer be a digest. Nifty.
[This isn't so much the death of a digest as much as the transformation of one. But we all knew that was how it would go, right?]
prusik: Newton fractal centered at zero (Default)
I also need to keep better tabs on the Jim Baen's Universe slush bar.

In May, I posted "Detours on the Journey Home" there, tracked it for about a week. I then promptly forgot about it until now. As it turns out, back in June, JBU's assistant editor added a terrific reject comment to the story's discussion thread. This is the first story I've submitted to the slush bar that's gotten any attention from the JBU editorial staff. [That's why I'm counting it as a personal reject.]

Of course, if I'd kept better track, I would have also read the reject in June, as opposed to now. Oh well, on to the next market...

BTW, as rejects go, it really was terrific. "Detours" is my "non-traditional narrative" slipstream story. JBU wants more traditional narrative and more clearly SF. (I do both of those also, just not in this story.) Or in a nutshell: wrong market. He also encouraged me to send in more stories. [Obviously, not before 2009 because they're closed to submissions again.] That's always cool.
prusik: Newton fractal centered at zero (Default)
The Apple Store is down the street from the supermarket. My cell phone contract actually expires today, so why not take a look? (I decided last month that if I buy one though, it won't be until the excitement has died down some. This would like be in September. There was no danger of me actually buying the thing. Besides, since I'd be moving my phone number, I'd have needed my Verizon info which I didn't have on me.)

Anyway, the line wasn't as long as I thought it might be. Only twenty or thirty people? Fortunately, since I had no plans of actually buying an iPhone, I could go right and head for the demo models. There, I tried out the only new feature which makes iPhone worth buying: Chinese handwriting recognition. (After all, if it's important to me, it must be important to everyone else on the planet. It's inconceivable that people may have different needs, have different reasons for buy a given product, or that anyone may legitimately have a reaction to a product different from mine. In fact, I can't even understand the previous sentence I wrote. That thought simply won't stay in my head.)

Turning on Chinese handwriting recognition was pretty simple, as is switching between virtual keyboards. My first attempts at writing sentences met with mixed success. It got all the complicated characters right, but failed utterly on the simple characters. By "utterly", I mean that the correct character was none of the possible alternatives that it throws up on the right hand side of the virtual keyboard.

Now, where have I run into this before? Oh yeah, every piece of Chinese handwriting recognition software I've ever tried (except WinXP Tablet). So, I try it again, this time paying scrupulous attention to stroke order and making sure I draw my horizontal stroke from left to right. Yup, now the recognition is terrific. And, honestly, more fun than it ought to be.

There's a big area in the middle to draw the character. To the right are your first four choices of character based on what you've written. To the left are buttons to switch keyboards, and to see the next four alternatives, space and return. (Not all buttons are there at the same time, only the buttons you need.) Pretty much all the time, the character you want is one of the first four on the right hand side of the screen. It automatically displays its best guess as part of the text, however, you still need to tap one of the alternatives in order to clear the drawing area and actually enter the character. The process, for the most part, goes quickly and smoothly.

That it enforces stroke order is probably good for me. That it insists the horizontal stroke be drawn from left to right is unfortunate. If you're right handed, you do this naturally. If you're left-handed, it's awkward. It's doable, obviously. However, unlike a right handed person, you need to be trained into it. (Obviously, I should have been.) I run into the same problem with the letter "o." I draw them clockwise which English handwriting recognition software confuses with the letter "s."

What's bizarre is that despite the obvious right hand bias in the recognizer, the virtual keyboard layout is wonderful for a left handed person. It's so wonderful, that I wonder what right handed people do. Because I draw characters with my left hand, I hold the iPhone with my right hand. My right thumb is in exactly the correct place to choose one of the four alternatives. My drawing hand doesn't block me from seeing those four choices. I draw with the left, then select with the right. The process goes really quickly.

Now, I didn't try it right handed, but wouldn't a right handed person have to move his hand out of the way? Also, the right handed person won't have his thumb in place to pick one of the four alternatives. His thumb will be in place to hit the button which lets you see the next four. That's a rarer event than pick one character out of the four you see. (Remember, you have to pick one in order to write the next character.) He has to move his hand over to pick a character. The right handed person doesn't get to do the alternating hand thing that makes the text entry feel so natural to me.
(I'm not actually complaining. Usually, user interfaces screw me over. However, I never ask for user interfaces to be biased towards left handed people, but not biased against.)

It's a small thing. Just that thinking about it, I'd have expected the interface to have been mirrored so that right handed people can pick the correct character with their left thumb while their right hand is already in place to draw the next character. Obviously, I don't mind that it's the way it is.

The only real criticism is that occasionally, the ink is laggy. i.e., every once in a while, it may be several strokes behind me. It always catches up though. The unresponsiveness may be a problem with some of the really complicated characters. However, I didn't try any of those. (My vocabulary of characters I know well enough to write is smaller than my vocabulary of characters I know well enough to read.) Likewise, I didn't try the Chinese equivalent of cursive. I expect the recognition to be as good or better though, if past experience is any indication.

*sigh* If it had some sort of text editor app with cut and paste, and some way of getting arbitrary text files on and off the thing, I'd probably be all over this. (Note: cut and paste, or moral equivalent thereof doesn't have to work across applications. I'm thinking strictly in terms of editing text.) Like I said, I've been looking for something that fits in my pocket that I can write with where I don't have to then transcribe the text into a computer. But it's not quite there yet. The Chinese handwriting recognition is definitely a plus though. I know of one Chinese-English dictionary being developed for the platform. It'd almost be worth it just for that. (I'd consider an iPhone over an iPod touch only because, in the former case, I'll always have access to the internet. Of course, I'd be paying a premium for this.)

Stupid, stupid tech lust...
prusik: Newton fractal centered at zero (Default)
[I actually own every edition of the Player's Handbook published post mid-1980s. Yes, this means I bought the 2nd edition PH twice, even though the content of the second one was identical to the first. I decided it was better laid out. It was certainly prettier. I'm in an Eberron game right now. It's pretty unlikely I'll play 4E anytime soon. (i.e., we're stuck at 3.5E) but, hey, the 4E core rules boxset was ~50% off at Amazon. If you've never played D&D, you may want to stop reading. This assumes some knowledge of 3E, no more than I have. That's not a whole lot. However, the text may not make a whole lot of sense. OTOH, to compare 3E and 4E, I don't have to talk about THAC0. That's a plus.]

I've kept myself relatively spoiler-free about 4E. The only exceptions were the occasional rules which the Eberron DM would either incorporate into our Eberron game or mention in the context of "they fixed this for 4E." However, I haven't read anything about 4E at all. Pretty much all the changes in 4E are new to me. Keep in mind though that this is my reaction on a skim. Most notably, I have not played it. When it matters, I'll go back to read more carefully.

In large part, 4E is very much like 3E (and 3.5E), if you don't look too closely. The basic mechanic remains the same, and, of course, it wouldn't be D&D without the stat which start somewhere between 3 and 18. (Of course, they get converted to a modifiers and essentially never get used again, but it's tradition.) It has the player races you'd expect (although gnomes are gone). The iconic player classes are still there. It wouldn't be D&D if you couldn't put together a useful party of fighter, wizard, cleric, and rogue. Likewise, the skills system and the feats system look like their counterparts in 3E, but they aren't. The former has a fewer number of better organized skills, but skill points are gone. The latter has a different set of feats. For example, the armor proficiencies are organized differently. Also, you get feats more often (yay!).

This isn't to say that 4E plays like 3E. Like I said, I haven't played it yet. However, I suspect it plays quite differently. In particular, I bet it's more video game-like. (e.g., each attack you make is the invocation of one of your powers.) Whether this is good or bad depends on what you're looking for in a roleplaying game. If your favorite RPG is Polaris, this is probably not an improvement. However, in that case, why are you even looking at D&D? I haven't played any of the electronic games based on the D&D mechanism. But based on what I've heard and read, I think 4E shows their influence.

In general, characters are consistently hardier, more capable and more powerful in 4E. Character stats advance more quickly (+1 to two stats every 4 levels, +1 to all status every 11 levels). Characters acquire feats more quickly (a new feat every two levels). The skill system is simpler, and less flexible. It's harder to acquire new skills. You have to use up one of the feats which you now get more often. However, it's easier to be highly competent in the skills you have. Being trained is an automatic +5 bonus. Since you add half your level to your skill check, all your skills modifiers automatically improve by one every two levels. (Actually, you seem to add half your level to practically every roll.) Racial modifiers to ability scores are no longer occasionally negative. Each class now has a set of powers. For spellcasters, these are spells castable within 6 seconds. (The other ones are now rituals.) For everyone else, these are like additional class features or bonus feats from 3E. This means though, for example, a 1st level wizard can cast Magic Missile as often as she wants. (However, she now needs to make an attack roll.)

Most significantly, it's just plain harder to die. All classes can now heal themselves. Each character gets a certain number of healing surges a day. Each healing surge recovers a quarter of your total hit points. The second wind combat action lets you use a healing surge once per encounter. After 6 hours of rest, you recover all your hit points. If your hit points fall below zero, the act of healing resets them to zero before you receive the hit points from the healing effect. You don't die until you fall below the negative of your maximum hit points. If you are dying, you have to fail your saving throw three times before you die.

I like these changes. Keep in mind that I play in a game where, this time, the DM started us at 2nd level. We went through a series of campaigns where each campaign lasted at most a couple of months because we kept dying. No one wants to play The Cleric because he or she always ended up playing the Hit Point Machine. This meant, despite having spells prepared, you were constantly eliminating them to spontaneously cast heal. (The last time I played The Cleric, he died because as the Hit Point Machine, he needed to cast a heal spell in combat and incurred an attack of opportunity.) i.e., we are already playing these rather epic, combat-intense games where, if this were a movie, the characters either shrug off the damage or are inexplicably unimpaired the next day. We might as well have a rule set that reflects this.

In general, 4E feels simpler than 3E. All classes have the same what they called Base Attack Bonus in 3E. (Yes, it's half your class level.) All saving throws have a target of 10. Hit point advancement is deterministic (yay!). Spell and ritual level now match player level. With very little work, someone could rig up a simple, context sensitive menu which presents all your possible actions. (For all I know, this may be true of 3E. I may just be reflecting the manner of presentation. 4E reads better organized to me.)

They've added new player races and new classes (as well as removed some of each.) However, no one feels particularly different from anyone else. Each player race and class has its own specific features, but it reads like there are fewer options in character advancement and everyone has essentially the same options. (I should point out that you now have these very prestige class like Paragon Paths and Epic Destinies.) Of course, your character is an individual not because of the stat on your character sheet, but how you role play him or her. It feel like there's less to fiddle with though. (Not that I enjoy keeping track of skill points...) On first glance, everything looks very cut and dried.

On the other hand, the 4E PH is much better organized and designed than the 3(.5)E PH. Pages have a solid white background. This means you can read the text. The font is slightly larger and there is a bit more space between lines. The PH makes good, and spare, use of color and font effects to draw your eye to important information. The Combat chapter is terrific in this respect. Part of me wishes we were playing 4E just so I could use this PH rather than the 3.5E PH. (It gives me a headache.)

(It wouldn't be D&D though if it didn't use terms before defining them. Like I said, I was skimming. I may have simply missed the first, defining, reference. This edition does a much better job of putting definitions where I'm likely to look for them though, and they've highlighted the terms.)

The upside of cut and dried is that the system as a whole is more organized, consistent and predictable. It may be easier to find stuff because this system spells out everything more exactly. I'm not a big fan of complicated rule systems. I'm also not a big fan of rigid rule systems. These rules are probably ok. (Like I said, I haven't played it. However, they look very much like the 3E rules, albeit spelled out more precisely. Well, they've changed critical hits again. An "attack of opportunity" is now an "opportunity attack." The five foot step, aka shift, is the only way I could find to move without provoking an opportunity attack. (3E had a "withdraw" move.)

Anyway, 4E is like 3E, but different. Everything looks like 3E until you get into the details. At that point there are subtle, or not so subtle differences all over the place. e.g. rangers no longer get spells (although like other fighting classes, they get exploits. Paladins no longer lose their abilities if they act out of alignment (although others of their faith are expected to put the smack down on him). I suspect, in play, it will be like a video game in much the way that watching the battles in LotR was like watching a video game. For D&D, this isn't a bad thing.

(Oh, almost forgot. It wouldn't be a new edition of D&D if they didn't tinker with the alignment system again. Unfortunately, the whole notion of Good vs. Evil is baked into D&D. You can't just get rid of the alignment system. It does get simpler and less important with each edition though.)
prusik: Newton fractal centered at zero (Default)
The improv audition actually didn't go badly. I'm sure they will have seen many, far better people by the time they're done. However, I didn't embarrass myself. I probably played it way too safe. However, given that it's the first time I've ever done improv in front of an audience, I'll settle for making it through the audition with uninspired competence. (Hey, at least I didn't pimp out my cast mates. e.g., "Hey, why don't you dance the salsa?")

As it turns out, knowing that you have absolutely no chance of making it to call-backs, much less into the troupe doesn't actually make you any less panicky. Audition seemed like a good idea when I signed up. It steadily seemed less so as I approached the actual time. I arrived early to fill out paperwork like I was supposed to. The theme to Hockey Night in Canada would not leave my head. A story ostensibly set after 2035 but really during the Cold War failed to hold my interest. I knew I was in good hands when several of my co-auditioners started warming up with an invisible ball in the lobby before the audition. Oddly, this doesn't make you any less panicky either.

In the story I'm currently working on, my main character is at varying levels of fear and panic for about the first half of the story. (I figured out very quickly that full bore panic gets old very quickly.) I ended up spending the wait time before my audition detailing into my Moleskine my physical reactions to being scared out of my skull. If nothing else, at least I now have a better handle on how my main character might react until he finally gets to calm down.

I have the attention span of a ham sandwich. Spacing out during warm ups was probably inevitable, but not my best move. Our ten minute improv set went by way too quickly. I suspect I might have been better during our second ten minutes if we could have had that. This probably means that ten minutes is about the audition length. You really don't want the audience to wait so long before you're finally interesting to watch.

I managed to manifest all the problems that I know I have. e.g. I. Would. Not. Look. At. The. Audience. I'm not very aggressive in jumping in at edit points, so I never edited anything and spent most of the set accepting and embracing offers rather than making them. (There are more problems, but life is too short to recount all of them.) I've done better work, but I've also done scenes that died horrific deaths. This was somewhere in the middle. It's probably an accurate representation of where I am as an improv player. I figure, at worst, they got to see that I know how to support my cast mates.

No, it was not 10 minutes of sheer genius. Honestly, I don't remember if I was even funny. (Probably not.) But it's better than I might have done last year. All in all, the whole process was painless, and I've gotten over the hump that I needed to get over. So that's over and done with.

Except that it isn't. I signed up for Improv Workshop Level 5, aka "Show Time!" last month. I have four 45 minute shows in my future regardless of what happens with this audition. (I find this vaguely unfair, BTW. Normally, there are two Level 5 sections. Each section gets two shows. This time around, there's only one section. We get all four.) I'll be fine once I'm doing the shows. Like I said, the ten minutes went ridiculously quickly. However, the days of the shows will be distinctly unfun.
prusik: Newton fractal centered at zero (Default)
I've been searching forever for something that fits in my pocket that I can take notes and write with. The best I've come up with so far is a Moleskine notebook. (I made a lot of progress on the story of moment writing in it while waiting at Motor Vehicles to renew my driver's license.) However, it's hard to search through, my handwriting is awful, and whatever I write I have to transcribe into a computer. (The latter bit may be an advantage in disguise. However, it feels like enforced rewrites.)

Pretty much everything I've looked at is almost what I want, but not quite. In most cases, it's something that wasn't designed to be an electronic pocket notebook, but might serve as one. Of course, there's also some mission creep. e.g., gee, everything can play audio and get on the internet these days. It'd be great if this device also did the few things I use a laptop for when I travel. Then I wouldn't have to take the laptop. Never mind that I don't travel a whole lot.

The Moleskine solution isn't great, but it's cheap and it works (as long as I can read my handwriting). I figure I can just keep this up until either I find I'm diligent enough to actually copy text out of my Moleskine onto my computer or I find what I'm looking for.

That was fine until I realized that my current cell phone contract would expire at about the same time the new iPhone would become available. (As it turns out, by near coincidence, my contract expires the day after the new iPhone becomes available.) Now the sane thing to do is to go month to month, Or given how little I currently use my cell phone, see if I can find a pay as you go plan which lets me use my current cell phone.

However, the iPhone is almost, but not quite, what I'm looking for. If it doesn't work out, then I've bought a moderately expensive cell phone (and increased my monthly cell phone bill by $30, including internet access which I don't currently have via cell phone). If it does work out, I have my pocket sized electronic device which lets me take notes and write. At $200, the price isn't not cheap, but it's not horrific. An additional $30 a month for internet access might actually be worth it.

Of course, this is techno lust talking.

The stuff I need to know about the new iPhone is unsexy stuff that no one would ever mention in a keynote. e.g., will it have cut/copy/paste or the moral equivalent? Will I be able to sync text between my phone and my computer in both directions? (Or am I stuck either email to myself or using Google Docs? Is that good enough?) Is there some way to read PDFs besides mailing them to myself? (This whole "filesystem? what filesystem?" thing can get old quickly.)

I'll find out in a month. Ultimately, nothing has changed. Whether I get a new cell phone or not, I'm using my Moleskine notebook for the next month. For some reason though, the indefinite wait was much more bearable than the short term wait to see how close iPhone is what I want. (Using a cellphone as my pocket-sized note taking, story writing device seems like kind of a long shot. I'm pretty sure this is not what Apple had in mind.)
prusik: Newton fractal centered at zero (Default)
I just finished the last class of Level IV of the improv workshop that I've been taking for the past year. Level V, ominously titled "Showtime!", is exactly what it sounds like. We have eight weeks to put together the structure for a 45 minute show which (heaven help us!) we perform 4 times. Perhaps against my better judgment, I've committed (as in they've charged my credit card). I almost titled this entry "So be it, and God have mercy upon me" but that's a bit hyperbolic.

I guess the sign we're ready for this is that we've just gotten the "there are no rules!" speech. That is, yes, for the past year, they've been teaching us the essential concepts of improv. Scene work much better if you have an established character relationship with your scene partner. Scene work much better if you accept each others offers. If we establish that something is true about the world, then work out what else is true about the world. There are a variety of time tested techniques for scene editing. And so on. However, this isn't physics. These are hardly inviolate laws which describe the fundamental workings of the universe. These are experiential guidelines which may not hold in all situations.

Ok, he didn't put it like that. Nor did he say throw away all the rules. But I was so ready to hear what he did say. Great improv does not come from following a recipe. It's not as straightforward as merely cranking out product which follows all the rules. There's no industrial process that leads to good scenes. (As it turns out, the best bits of advice tell you what to do, but not a clue as to how.)

I'm reminded of something Teresa Nielsen Hayden said. (I paraphrase:) "If a story works, no amount complaint about how it breaks the rules will make it not work. If a story doesn't work, no amount of recourse to how it follows the rules will make it work." Lots of people have said similar things. Barry Longyear, at ReaderCon last year, point out that people aren't drawn to work which does nothing wrong. People are drawn to work which does something right. (He cautioned that the workshop process was apt to produce the former more than the latter.)

The trick is that religiously following the rules doesn't automatically lead you to doing something right. They're very good at steering you away from doing something wrong. However, they constrain. They don't open up possibilities for you. They don't take you places that you've never gone to.

It shouldn't be surprising that I'm constantly finding analogies between writing and improv. Obviously, they're not the same thing. Writing is ultimately a thought out process. Improv is much more seat of one's pants. Gambits which work in one situation may not work so well in another. (e.g., say "Leave me alone!" to your scene partner, and she may accept your offer by exiting the stage! That's only a good thing if you wanted to be alone on stage.) However, they both deal with the transmission of story from one party to another.

Anyway, as I struggle through yet another opening to the story I'm currently writing, I take heart in that there are no real rules, no sure fire recipe. I just need to go do something right. (Actually, I'm thinking I may put this story back into the drawer again and write something else instead. This is my "intimidated by story potential" story. It could be so awesome in its scope and sweep if I didn't keep screwing it up. But like I said, not improv. I get to try it again... and again.)

BTW, along the lines of "let's put on a show", the improv group which runs the workshops does one mass audition a year and it's coming up in two weeks. I think I'm going to audition. There's no pressure. I have no chance of getting in. I'll be happy if I don't take my scene partners down with me. (No, they didn't say I have no chance to getting in. This is strictly a personal assessment.) But I think it'll be lots of fun. And, hey, it's improv. I don't have to prepare anything for it. I just show up and wing it.

The week after that, I have to re-audition for my choir. This will not be lots of fun. The audition piece though, I hope will be. It might be ready in three weeks, I hope. (Finzi had chosen to set each verse of "It was a lover and his lass" slightly differently from each other verse. I'm sure he had only the greatest reasons for this. The piece goes at a breakneck pace though. There's a certain amount of performance stress here as I keep track of each verse goes.) It'll be really cool if I can make it work.
prusik: Newton fractal centered at zero (Default)
As a side effect of the cable guy coming over, I cleaned my office last night. (I decided it would be nice if he could approach the cable modem without having to navigate an obstacle course first.) Of course, he spent all of about a minute in my office. He looked at the cable modem to see that the cable light was off. (i.e., when I said that the cable modem wasn't making a connection to the network, I meant it literally.)

However, in the process, I found my copy of Glorifying Terrorism. I'd misplaced it before I had had a chance to read it. So, woo hoo, another book for my TBR pile. BTW, this is literally a pile. I really need to go get bookshelves.

Anyway, along with bookshelves, I've decided that what I really need is iTunes for books. (What I really want is a slot in my computer where I can put in a book, wait a few minutes, then end up with perfect ebook replica on my hard drive.) This way, I can keep track of all my books, which ones I've read and which ones I haven't. My TBR pile may be growing faster than I'm reading, especially since I keep jumping the queue. (I'm reading Little Brother right now. That is clearly not the oldest book in my TBR pile. Incidentally, if you're not reading Little Brother, and you haven't already read it, go read it now! I'm halfway through. It may be the best thing he's ever written.)

Since I use a Mac, the obvious choice is Delicious Library. If I buy now, I'll get version 2 for free. (Version 2 only runs on Leopard. I can't upgrade to Leopard until I have a new A/V solution for my Mac. My current video capture card doesn't have a Leopard driver.) I still have to figure out what to do about a barcode scanner. I'm not entering all that data by hand, thank you. Borrowing one is an option, but it's not like I'm going to stop buying books. I'd like a barcode scanner of my own. This, of course, suddenly makes things more expensive.

Then again, I decided that I wanted to revamp my backup strategy in shape before I upgrade to Leopard. (Right now, only what is absolutely irreplaceable is backed up. I ought to back up everything with, say, a Drobo.) That way, I can blow everything away, do a fresh Leopard install, then restore what I need. Between this and a new A/V solution, this makes upgrading to Leopard an exercise in money hemorrhaging.

Right now, I'm wondering how everything ended up interlinked like this. (Upgrading to Leopard is inevitable, of course. I should decide an on A/V solution now...)
prusik: Newton fractal centered at zero (Default)
Spent much of today waiting for the cable guy. I have to say, this may be the best experience I've ever had with repair work. The guy showed up within the four hour window. He very quickly figured out that the problem was that I was getting crappy signal into my unit. i.e., not me. (I decided not to suggest crappy input signal because I figure everyone suggests this. I'd spent an hour or two Monday experimenting to eliminate all the other possibilities, but there's no way he's going to believe I did that.) He did the complete visit in under 20 minutes.

Anyway, they need to replace the line which goes into my house. The good news: I don't need to be home for this. They'll just do it. (I was seriously hoping I'd get to see someone climb the pole just outside my 2 unit condo, but oh well.) The bad news: He attached a splitter to my upstairs neighbor's line for the duration. (This is how I'm able to write this blog post.) When they find out, I'm sure they won't be thrilled. (OTOH, they're replacing both lines. When it's done, they'll have a new line too.)

The digital cable is still wacky due to poor signal. It'd slipped my mind to check before telling the cable guy everything was now ok. (I'm not totally surprised by the digital cable wackiness though. Once the signal gets into my unit, it goes through a three way splitter. Apparently, all three way splitters are really two two way splitters cascaded. So, there's a 3.5dB loss output port and two 7dB loss output ports. The cable modem is on the 3.5dB loss port.) I'm going to wait until they've replaced the line before doing anything serious about this. However, for now, I may replace the three way splitter with a two way. I have three cable drops in my unit, but I only use two of them. I might as well recover 3.5dB of loss for the duration for the TV.

I can finally get podcasts again which means I now have, in convenient audio form, The Osteomancer's Son. I loved this story when I read it in Asimov's. I can't wait to hear it.
prusik: Newton fractal centered at zero (Default)
I'd decided to switch from Norton Anti-Virus to Kaspersky Anti-Virus because the latter is supposed to be less computationally intensive. (My laptop dates from 2004. It wasn't state of the art then either. Resource friendly is good.)

Anyway, the internet is all awash with how difficult it is to uninstall Norton A-V without screwing up your Windows install. So, I actually wasn't surprised when my laptop stopped recognizing the internal 802.11b/g hardware, or anything plugged into the USB port. I wasn't surprised when it froze whenever it tried to shut down.

I suppose I could have testing exhaustively to see what got corrupted when I uninstalled Norton A-V. (The wireless driver is a good suspect. Windows keep freezing whenever I tried to uninstall and reinstall it.) However, I don't keep any irreplaceable data on my laptop. Everything is either backed up to a thumb drive, my desktop or both. So I wiped my hard drive and reinstalled Windows, just in time to update to XP SP3.

Of course, now I have to reinstall applications. It should be interesting to see which applications I actually use.

(Amusingly, I may do this intentionally with my Mac when I upgrade to Leopard. However, I need to get my backup strategy straightened out first.)
prusik: Newton fractal centered at zero (Default)
I just heard back from IGMS, more or less on schedule. However, what they told me was that when I emailed them my submission, I'd attached a copy of the RTF of their submissions guidelines rather than a copy of the RTF of my story. Odd...

Now, I don't doubt that when they opened up my email, and looked at the attachment, they saw a copy of their submissions guidelines rather than my story. However, sitting in my Sent mail folder is the e-mail I had sent them three months ago. When I open that email, I see an RTF of my story. Considering that I've never even seen an RTF of their submission guidelines (only the plain text), I have absolutely no idea what happened there. I certainly couldn't have sent what I don't have. Obviously, strange events are afoot.

They said that I'm not the only person to do this. I'm interpreting this as "I'm not the only person this has happened to." So, something weird is happening to a bunch of submissions. (I hope they don't think I'm one of those people who don't follow submissions guidelines.)

Anyway, they suggested putting the story, as plain text, in the body of the email, just in case. So, if anyone is submitting to Intergalactic Medicine show, consider putting in your story as plain text along with attaching your RTF, Word or WordPerfect file.
prusik: Newton fractal centered at zero (Default)
I finally went climbing last night. My climbing partner and I have both been really busy this past month. I had some free time this week. He didn't. I've been really itching to climb though, so I went bouldering. Yesterday was apparently not the right day to go to the rock gym. It was dollar night for women, plus various companies were showing rock shoes. The place was packed, even the boulderimg space.

Still, climbing, even bad climbing, beats not climbing at all. And the climbing wasn't even remotely bad. For whatever reason, I boulder better now than I did last year, the last time I bouldered. I've top roped since then but no bouldering. I'm not saying that I'm good. The hardest route I tried was a V2- which I did in pieces. I couldn't get enough crash pads together for the entire route and I had no one to spot me. I have the social skills of a jelly donut, so despite being in a room filled with boulderers, I never asked anyone.

It was an interesting mix of people actually. More newbies climbed in the building room than I had expected. Of course the twenty something hard bodies doing only the hardest routes were there. Also, the kids training for competition ran their circuit of routes. but more than a few climber were, like me, hitting the easy routes. I didn't see many people in the middle.I hadn't expected so much competition for the easy routes.

I'd really missed climbing. There's a visceral thrill in being on a wall and moving on it that l can't get anywhere else. Bouldering is scary because it is literally unaided climbing. No ropes. No protection. I've had the pleasure of knowing that hard I been free soloing, I'd be dead. (There are crash mats.) Still, I'm going to be there every week, with or without my climbing partner But maybe a sparser night.

The other thing I'm doing this week is trying out a new mobile writing solution. It's a very expensive handheld PC that I have on loan for the week. It's not bad. The thumbboard is a bit tiring to use for long periods of time. The handwriting recognition is not bad though, and much less tiring. I wrote this entry using a combination of the two. I'm seriously thinking about buying this.
prusik: Newton fractal centered at zero (Default)
Ever notice that whenever Obama wins, the narrative is about the importance of garnering as many wins as possible. (I am so sick of hearing about 11 wins in a row. The pattern of wins and losses is not how we determine a presidential candidate.) However, whenever Clinton wins, the narrative is about the importance of the delegate count? (The media makes Obama's edge in the delegate count sound simultaneously slim and practically unsurrmountable. Neat trick. However, like Team Obama, I also think the delegate count is what is most important.)

Obviously, both candidates poll well enough to receive delegates without having to win a state. But a weird side effect of this media coverage is that unless Hillary wins, we never hear that she's received any delegates. The race sounds like a blow out every time Obama wins, and it sounds like a tight horse race every time Clinton wins. The Boston Globe estimates Obama's lead to be "more than 100." I read this as "between 100 and 200." Given all the talk of the string of wins, that barely got a mention... until it was Clinton's turn to win a state. (When the press had mentioned it before, it was in the context of "should Clinton win Texas, and Ohio...")

I don't think it's intentional skewing. It is odd though.

Of course, the narrative now is about how Clinton will capitulate on states between now and PA. So, we should expect to hear about Obama's impressive string of victories until about mid-April. Then, the press will focus on how many delegates separate Clinton and Obama again. As long as they both poll as they have, it's hard for Hillary to narrow the gap, but it's just as hard for Obama to put her away.

(In any case, as long as we're talking about the delegates, I worry that it's going to come down to FL and MI. It's a tricky situation. On one hand, you can talk about following the rules and how the Democratic political organizations in those states ought to be punished for not following the rules. On the other hand, you can talk about disenfranchising the voters in those states. It's unfortunate that it seems the only way to punish those political organizations is to disenfranchise the voters.

I take the vaguely heretical position that the FL poll may actually represent the will of the Florida voters. All the viable candidates of the time were on the ballot. They all made "fund raising", not campaign, stops in Florida. They all bought air time on stations that, while not physically in Florida, air in Florida.

Michigan is more troubling. Clinton was the only candidate on the ballot. (I note that CNN gives MI results for Clinton, uncommitted, Kucinich, Dodd, and Gravel though.) However, plenty of people voted for uncommitted. 55% vs 40% IIRC, Obama and others were encouraging people to do so. But would 55% of Michigan voters have voted for Clinton if Obama et al. were on the ballot? I don't know. On one hand, 55% seems to be about as much as Clinton polls whenever she does win. On the other hand, had there been another candidate, that poll wouldn't have had that air of inevitability. On the third hand, you must really care about voting if you vote freely and you think your best choice is uncommited. Over 200000 people went to the polls to vote uncommitted.

How ever they resolve this, they need to find some way of punishing the political organizations without disenfranchising the voters at the same time. Those political organizations ought to suffer some consequences. The voters in those states shouldn't though. All they did was show up to vote.)
prusik: Newton fractal centered at zero (Default)
I've been extremely frustrated of late by the story I'm currently working on. At first glance, there are so many things I need to in-clue before anyone has the first clue as to what's happening. On the other hand, the text can't actually hold all that in-cluing without sounding desperate (or worse, like exposition). Of course, I don't feel like I can do any of this until I know exactly what's happening down the movement of each molecule of air. Not to mention, every time I think about this story, I get the strange sense that I'm never going to hit an ending. (Most of you are probably ahead of me at this point. Yes, I was seriously over-thinking this.) The result was that either I stare frozen at the screen, or a write a lot of very desperate prose which fortunately no one will ever get to see.

Anyway, today was my last improv class of the term. (The penultimate class was the weekend of Boskone. We had a week off in between.) It was review, work on heightening emotion, and a preview of what we're in for next term. (We're going into long form. Our ten scenes all of the theme of travel worked surprisingly well.)

The thing about improv is that you get on stage without even the first clue as to what's happening. Then you're expected to construct a scene with your partner that, ideally, people will want to watch. (e.g., "You and Ian are eating at a restaurant. Go!") Personally, just the notion of improv scares me to death. For me, doing it is definitely an act of risk and commitment.

After several weeks of being skittish and unwilling to commit in my writing, today, I had probably the best improv session ever. (It's all relative, of course. The pros have nothing to worry about.) The instructor used me as an example of how much we've all improved this term. Even I thought my scenes worked. (I had several "Where the hell did that come from?" moments, in good ways.)

Of course, those scenes worked because I made choices, committed to them and just went for broke without worrying about whether they were any good or not. Sound familiar?

So, lesson learned.

I had to do some shopping after class. But after that, I didn't worry about in-cluing, what the long term structure was, or where the story would end up. I just sat down and wrote what had to happen at the start of the story. And look at that, it's coherent, and tells you unobtrusively what you need to know right now, and sets up the rest of the story. I don't know if I'll keep this opening. (Unlike improv, I'm not ultimately forced to keep my choices.) But it'll get me going to the next scene.

Trust the beast. Always trust the beast.
prusik: Newton fractal centered at zero (Default)
I'm in the midst of this very weird exchange in the "Learn Writing With Uncle Jim" thread at Absolute Write right now. (Actually, that should be past tense. Regardless of the response, I'm done. I have nothing left to say.)

The details aren't important. The gist is that someone doesn't get that "SciFi" has negative connotations. My attempts to inform him/her aren't going well. This is a person who may not know what Boskone is, or anything about the "Trekkie"/"Trekker" distinction. That's fine. Not everyone has even the tenuous connections to fandom that I do. That s/he keeps referring to having read SF for pleasure since the age of eight is a bit annoying. How is reading SF supposed to inform you of the culture of fan interaction? S/he also pointed to the "SciFi Channel" as evidence. However, agents at the "How Not To Publish" panel at Boskone suggested one not use the term "SciFi" in a query letter. Why is that hard to understand?

I get the impression that the only reason there is an argument is because I made him/her feel bad. I don't think the argument is really about the negative connotations of "SciFi." (I think I was snarky at some point. D'oh... Totally inadvertent. Maybe I should apologize.)

Anyway, this reminds me of a Making Light argument that I was involved in. Someone was making the claim that there is absolutely nothing wrong with calling an Asian person an "Oriental," despite the fact that all the Asians on Making Light were telling her otherwise. (Granted, that would be, like, all three of us. Not exactly a groundswell.) She claimed that picking the current correct word for a given ethnicity was just a game of gotcha, and she was refusing to play. (I note with interest that, in the course of this conversation, she referenced the N-word, but never used it where it would have been logical.)

This is all a reinforcement of the idea that when it comes to determining how I wished to be referenced, what I think doesn't matter. As far as this person was concerned, the question of how I should be referenced wasn't about me at all. It was really all about her. [Incidentally, I don't remember this person's gender. I picked female arbitrarily. Feel free to substitute male pronouns.)

Of course, it's not limited to names. Every once in a while, someone lacerates me in public. S/he tells me to "to back where I came from" and, in general, blames me for all the ills of society. (After the first couple, I stopped listening. It's a shame, really. I could probably use the diatribe in some story.) It's not so uncommon that I'm surprised when it happens. It's uncommon enough that, in the time between lacerations, I gull myself into thinking that it's happened for the last time. However, it's not about me. It's about someone else making himself comfortable. He sees me as a generic instance of the Other. I don't really come into it.

The Absolute Write thing is only interesting in that it's a self-professed SF fan not caring about other SF fans. I don't think I've seen that before.
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