Friday, March 24, 2023
Waxing Moon
Cloudy and chilly
Meditation was good yesterday (it always is) and gave the day a cheerful start, in spite of the weather.
My Llewellyn editor got in touch yesterday morning and offered me a slot in the 2025 SPELL-A-DAY. Yay! I’m happy to be a part of any of their almanacs, but that one is my favorite. I’m in this year’s (under the Cerridwen Iris Shea byline), and they like to give different authors on their roster a chance to participate, so I didn’t think I could do it again for a few years. I’m so happy. I’ll get the contract and the assigned dates in a month or so. And I don’t have to worry about saying anything before signing the contract, because they’re good about this stuff. I mean, I’ve been writing for them since 1994!
That means I’ll get started writing/working on material toward the end of April/beginning of May, just as I’m finishing up Dramatists’ Guild End of Play and finalizing the contest entries/winners. So that dovetails well.
I drafted an episode of Legerdemain. I did a revision on “Plot Bunnies” which included updating technology, along with general tightening up and making it read better. I created the Series Bible for the Twinkle Tavern stories and entered in the information from this tale. It’s a novelette, just over 7K. I found the opening of “Labor Intensive” – the second TT story — I’d written a few years back, and can tweak that. I have to decide which other teasers to put in. Definitely something from “Just Jump in and Fly” and probably something from SAVASANA AT SEA, since they are both under the Ava Dunne name. I might put in blurbs for Legerdemain and Angel Hunt.
Wrote and submitted my book review; got my next two books for review. Did the social media rounds to promote yesterday’s episode of Legerdemain.
The last expected box of office supplies arrived, and also the kitty litter. Nothing like hauling 45 pounds of cat litter up the stairs to make one feel old.
There was a 4000-word hit piece on author Brad Sanderson in WIRED magazine that made the rounds. It said more about the so-called “journalist” than it did about its subject, and was nothing more than a badly-written, bitter word salad. The guy spent five months visiting the author, talking with him, meeting his friends and family, attending conferences – and all he could say was the guy is boring, makes a lot of money and he’s Mormon? First of all, it’s not the interview subject’s job to entertain the journalist (although many subjects, especially performers, feel that need). It’s the journalist’s job to come up with interesting, engaging questions to make the subject think, and then take whatever comes out of it and use the writing craft to MAKE it interesting. The “journalist” came in already disliking Sanderson’s work (so why accept the assignment?), resenting the money the VERY POLIFIC AND DEDICATED writer EARNS (nothing is handed to Sanderson, he puts butt in chair and does the work), hating the guy’s religion, and says the guy and his fans are “boring.”
First of all, in my years of doing this (and I’ve probably been interviewing subjects since before Bitter Boo was born), almost everyone has something interesting about them if you just give them a chance. That’s why interviewing is so much fun. You find the key and unlock what they’re passionate about. And then you get out of the way and let them shine.
In addition to just being a mean piece, it meandered, it whined for 4000 words (4000 repetitive, whiny, BORING words that were about the author instead of the subject, not a feature piece), and it was simply badly written, which is one of the most unforgiveable things about it (along with many of the other unforgiveable things about it). Any self-respecting editor would have killed the piece, or reassigned it, or demanded massive rewrites. And the editor should have handed Bitter Boo a stack of NEW YORKER magazines so he could see how a good profile is put together.
That’s the best you can do after FIVE MONTHS with your subject? Says a lot about the lack of skills and craft on the part of Bitter Boo.
It also dunks on the SFF fan community, which is ridiculous and uncalled for. Stop ridiculing people for finding joy in their lives, because they like something you don’t.
Now, I’ve been doing the conference circuit for more years than I like to admit, at least I was, pre-plague. There’s plenty of inappropriate and/or predatory behavior, no matter what the genre. There’s also a lot of kindness, laughter, and people finding joy. You learn to set boundaries, you learn to mash down those who won’t respect your boundaries, and you gravitate toward the joy.
Sanderson posted a gracious, kind, and classy response over on Reddit. I’m not a Reddit user, but writer Garth Powell was kind enough to post the link for us to follow. Sanderson defended Bitter Boo, calling him a “colleague” and “sincere.” I disagree with that – the only thing Bitter Boo was sincere about was his jealousy. Sanderson was as bewildered as many of the readers of the article as why loving one’s work and one’s friends and family is boring. Bitter Boo probably wanted dysfunctional family drama, with screaming and thrown drinks; in other words, the way Bitter Boo would behave if he had money. It was a very smart move on Sanderson’s part, because it made Bitter Boo look even worse by using kindness as a weapon. AND it was well-written, which showed the lack of skill in Bitter Boo’s writing in even sharper contrast.
There’s a reason Sanderson makes a fuckton of money. He’s smart, as well as prolific.
Good for him.
By the time I finished reading the response, I was laughing my ass off, because he was so darn clever about it.
With all of that going on, I only got about half a coverage done yesterday, which means I have a script and a half’s worth of coverage to turn around today.
I continued reading the biography of Katharine Cornell, and got so frustrated. Why weren’t we given information on Jessie Bonstelle, Rachel Crothers, Clemence Dane, et al, as part of our history? When we work shows, the history of what the theatre held before us is part of our story, and we become part of the theatre’s story. So why didn’t I know about these women?
Well, I know now, and will make up for lost time.
When I started reading Susanna Centlivre’s plays (as one of the most popular and produced 18th Century playwrights) in order to write “By Her Pointed Quill” I was delighted with her skill and humor and angry that I hadn’t come across her before.
Too much of mediore white men’s work is passed down and celebrated through history, while more talented women and POC are pushed to the side. I’m sick of it. Imagine how much richer our arts and humanities would be if that wasn’t the case? I have no problem with good work living on, and even lesser work remembered and enjoyed. But I do have a problem with work being shoved aside and buried under the mediocre because it wasn’t created by a white dude.
I’m going to work on Legerdemain this morning, and then give “Plot Bunnies” a final polish. I’ll upload, then give it a proof in the correct format probably tomorrow, before scheduling it. I’ll add “Labor Intensive” to May’s writing schedule, so I can draft it in May/June, let it sit in June/July, then revise, upload, and schedule in August. While percolating the third story, which will be built around President’s Day and need to release next February and be written this autumn.
I also have to do a library run. Nothing to drop off, but plenty to pick up. Grocery run, too, and then it’s back to script coverage.
Episode 18 of Angel Hunt drops today. I hope you enjoy it.
I have a busy weekend of serial work, “Plot Bunnies” polish, and, sadly, taxes. Urgh.
Have a good one!