There are many, many problems with the argument (not the least of which is that humans have been having children both in and out of wedlock for as long as marriage has existed, and unmarried parents are perfectly capable of being responsible child-rearers, while married parents are just as capable of being irresponsible). The only way their argument could even begin to make sense was if the laws were changed so that any time unmarried humans get pregnant that they are forced to marry, and if divorce became completely unavailable. But even then it would have big logical holes. One of those being that allowing non-straight people to marry didn’t take marriage away from straights.
This is hardly the only time that fundamentalist religionists have argued that some people must be oppressed because other people are terrible and incapable of self-control. This is why in some countries it is illegal for women to go out in public without clothing that conceals their faces, et cetera. Men, the reasoning goes, are incapable of refraining from randomly raping women if they happen to get a glimpse of a woman’s cheeks or hair, apparently. Similarly, dress codes in schools and the like are are built around restricting girls (seriously, go look at them: the codes for girls are complicated and specific about concealing this and that body part with notes about how far above or below the knee skirts must reach and so forth, while the boys’ rules almost always boil down to: wear clean, mostly untorn clothes) because boys are deemed incapable of refraining from sexually assaulting a girl if they happen to get a glimpse of a girl’s shoulder or knee.
In other words, women and girls must be tightly controlled and restricted because men and boys are terrible people. This is also the source of a lot of the victim-blaming that happens around rape: it’s not the rapist’s fault if the woman was out in public alone, or dressed “that way,” or drunk somewhere, et cetera, et cetera.
This logic shows up in a lot of other policies and practices, and has come to light this week because (among other rightwingers) our Vice President believes it would be immoral to have any female friends, which is also why there are virtually never any women in any significant staff positions under the veep now, nor in any appointed state positions when he was governor and so on. Having women as managers and directors and so forth would necessitate occasionally having one-on-one meetings. There’s also the fact that governors and similar executives are most likely to appoint and promote people they develop friendly relationships with. If a boss believes it’s immoral to be friends with a women, guess what that means about women’s chances for advancement?
This assumption that people who might potentially be attracted to each other can never be in close proximity without supervision is why the churches I was raised in insisted on separating Sunday School classes and Bible studies and similar activities by gender. And it’s the reason that people from such churches get so freaked out about being around gay people, particularly in locker rooms and bathrooms. That meme that defines homophobia as “being afraid gay men will treat you the way you treat women” isn’t a joke.
It’s why fundamentalist communities that claim to be accepting while “disagreeing with the lifestyle” discourage friendships between straight guys and gay men and straight women and lesbians. When you combine that with the fundamentalist belief that sexual orientation isn’t an inherent trait, that means that such communities also discourage friendships between opposite sex straight people and queers. And it’s all subtle and usually not even talked about. But it manifests in lots of ways. In my 20s, for instance (when I still hadn’t come out), I learned that throughout my teen years I had been excluded from some activities and some positions within my church and the evangelical teen choir I was in for all that time because everyone suspected I was gay. These were adults making this decision about a kid without ever talking to me about it. And that’s on top of the bullying and related activities from the kids my own age.
It’s another layer of cruelty. Just like the religious people who claim that they welcome queer people into their church so long as they are celibate, never date, et cetera. You’re welcome as long as you’re lonely with no love in your life.
But all of it comes back to that idea: the reason rightwing leaders (who are always men for supposedly theological reasons) assume that gay men can’t refrain from assaulting other men is because they believe that they, themselves, are incapable of refraining from jumping the bones of anyone they are sexually attracted to if given half a chance. So we can’t use public bathrooms and have to stay out of locker rooms and not work in jobs where we might be around people unsupervised, can’t live in their neighborhoods, et cetera, et cetera, et cetera because they are terrible.
It is beyond stupid. If they’re so bad, they are the ones who should resign and go live like hermits, right?
Most advice I’ve read about using feedback as a guide for revision assumes that every writer feels compelled to immediately change their story to comply with every suggestion, and that most of us need pep talks to remember the story is ours. There’s nothing wrong with such pep talks, but my experience has been that many writers (myself included) are more inclined to dismiss most advice, critique, and suggestions unless such feedback comes from someone we know and trust.
Be open. Don’t dismiss feedback out of hand, and resist the urge to argue or explain.
Yes, if you are attending a writing workshop taught by an author you have long admired, and bonding with your fellow students, you’re likely to take every single piece of advice to heart, even the contradictory ones, and tie yourself in knots trying to rewrite your story to address every issue. Similarly, if you have a critique group you trust, you may find yourself in a similar situation after they go over a story. In that circumstance it is important to remember the Neil Gaiman quote: “Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong.”
People are making suggestions because the story isn’t working for them. Some of the suggestions are contradictory because the people offering them are misidentifying the root cause. Before discarding contradictory advice, see if you can find an intersection. For instance, one time I received feedback on a draft novel from three people whose opinion I trust. One was quite insistent that I needed to add some dream sequences or some other sort of mystical experience to more explicitly explain why the reclusive shrine-guardian was compelled to undertake a quest to save the world. Another thought I should remove several characters (including the shrine guardian) that (in their opinion) weren’t contributing to the main plot, because there were just too many things going on, and clearly the center of the action was the cursed thief. The third person wanted me to split off the shape-shifting fortuneteller (and a few other characters) into their own book.
The intersection of those comments was a fundamental issue all three readers were missing: the novel doesn’t have one protagonist, it has three protagonists whose fates are intertwined and that all come together in the end. Now the reason these readers were missing that detail was not because they were dense or didn’t appreciate the story; they were missing it because I as the author hadn’t made it clear. It was not working in the story. I needed to fix it, but the fix did not involve removing characters, or adding dream sequences, or splitting the book in two. The fix also didn’t require massive rewrites. The fix required dropping a few scenes that weren’t carrying their weight, replacing them with some that did more, and making tweaks to several others.
Look for the unobvious connection. Just because advice seems contradictory doesn’t mean it is wrong.
Sometimes the feedback you get appears to come from a different planet. I’ve mentioned before the reader who complained about my happy endings. The story that was the straw that broke the camel’s back for that reader was a tale which ends with two of the main characters saying good-bye as one is going to escort the corpses of several murder victims on their journey to their families. The story had featured some graphic violence long before getting to that scene. While the killer had been caught and was going to be facing justice, and some of the characters had survived, given how many didn’t and where I set the final scene (literally next to some coffins) I had trouble thinking of it as a happy ending.
I’m a person who fundamentally believes in hope. I’m never going to write stories that will appeal to the sort of reader who insists that happy endings never happen for anyone. That particular story had already been published, so it was a bit late to revise it. But I still found the feedback worthwhile. It was worth asking myself if I had written something earlier in the story that had led this reader—who was really looking to read something grim and dark—to think that that’s what this one was going to be. Did I raise an expectation that I failed to deliver?
Maybe I did. A lesson I took away from that was to remember to look for those unintended expectations. Everyone has heard the famous advice about the gun on the mantlepiece: if you show the reader a gun on the scene, the gun needs to figure in the plot before the story is over. The advice doesn’t just refer to guns, it means that when you draw the reader’s attention to things, people, or events that seem to signify certain dramatic possibilities, that something needs to come of it. That isn’t to say that I must write stories that meet the reader’s expectations, just to make certain that I don’t mislead the reader midway through the story. Yeah, misdirection is okay as long as you play fair (that’s a topic for an entire blog post on its own), and you don’t want to telegraph the ending to the reader, but don’t play bait-and-switch.
Don’t blame the messenger. Maybe the person giving you the weird sounding feedback is absolutely the only being in the universe who will misread your story this way, but don’t forget that where there’s smoke, there’s usually fire.
I’ve gotten feedback that left me feeling confused and conflicted about whether my story is worth telling. That might be a good time to follow the advice I read in a magazine article decades ago (and have long forgotten who wrote): sit down and write out an explanation of what is wrong with each part of the critique to don’t like. Do not ever send this to the person, repeat any of it to the person, or post it. Instead, set your reply and this story aside and go work on something else. Later, when you can look at this story objectively, pull out your explanation and go through your story. Is everything you say in the explanation in the story? Is it clear in the story? Chances are that some things you have assumed the reader will infer aren’t as obvious as you though. Sometimes you’ll discover that you never actually mentioned one very important fact for your plot. You thought you did, but it isn’t actually there. Now destroy that explanation/argument you wrote, and rewrite your story.
Argue with yourself, not the reader. Figure out what is missing, and add it in.
Many times I’ve written scenes that never wind up in the story. Sometimes I write them because I’m not certain what to do next, then later I realize that scene isn’t necessary. Sometimes I write them because I’m trying to figure out something that I plan to have happened in the past or off screen, but I need to be able to have characters who lived through the events react accordingly later. And sometimes I write a scene because I received suggestions or critiques that I either wasn’t certain I agreed with, or was quite certain I disagreed with but it kept coming up from multiple people. So I tried writing the scene that followed the suggestion. Usually what happened is not that the new scene went into my story and replaced a bunch of other stuff, but rather, in the course of writing the scene, I figured out something else about the story. Just trying to write it the way other people wanted it to go clarified where the story actually needed to go.
Give it a try. Every writer writes stuff that eventually we decide not to use or to change significantly. Don’t be afraid to spend some time giving alternatives a go.
Trust the story. Recognize that you will stumble and sometimes fall. It doesn’t matter how many times you do that, if you keep getting back up and get moving. So stop thinking about the story, and go write it!
It’s the most natural thing to do, because you know you don’t have a bigoted bone in your body, so of course you aren’t racist/sexist/homophobic/anti-semetic or whatever the person has just said. So of course you feel the need to defend yourself. But you’re wrong. That’s because what you think they mean is that you are a horrible bigot, but that isn’t what’s going on here. What the person is actually trying to communicate is this: “I felt devalued or erased by some of the content of your story.” Nothing you say can change the feelings they had when they read your book. So the first sense in which it is wrong to argue is that you see this as an attack on you, whereas they are explaining how attacks on them that society has been subjecting them to their entire lives are being unintentionally aided and abetted by your story.
The other sense in which you are wrong is the belief that you don’t have any bigotry at all. Because all of us do. It is impossible to grow up in human society without absorbing a lot of prejudice. Including prejudice aimed at ourselves. Queer people have to overcome a lot of internalized homophobia just to come out of the closet. Women learn and internalize misogyny and sexism. Ethnic minorities learn and internal racial prejudice, and so forth. So it doesn’t matter how much you feel you aren’t bigoted, there is going to be some unconscious prejudices boiling around inside. And problematic content isn’t usually about overt bigotry, but is often more subtle.
So, when someone confronts you about any unintentional bigotry in your work, you need to do three things:
It is tempting, even if you stop yourself from getting defensive, to respond to this sort of criticism as just another kind of negative review and say, “I’m sorry you didn’t enjoy it” then try to change the subject. But this is a different category of discourse entirely. And quite often the people who bring this criticism to you did enjoy most of your story. That’s why they’re taking the time to tell you about this problem. So a better response would be, “I’m sorry the book disappointed you in this way.” If you can say that sincerely, you might also say that you didn’t intend to do that, but don’t let it become an attempt to prove they’re wrong. Better to say, “I’ll try to do better.”
If the person wants to explain to you what it was in your work that made them feel this way, listen. Don’t argue, listen. If the person doesn’t want to talk in more detail about it, that’s all right. It doesn’t mean that they’re wrong or that you’ve someone won the argument. As uncomfortable as it is for you to hear that something you wrote made someone feel de-valued, it is just as uncomfortable (and riskier) for them to bring it up. Dealing with every day discrimination and microagressions means that members of marginalized communities have already had to defend themselves and explain how they are hurt by discrimination thousands of times. And they don’t have the energy to try to educate you in depth on the issue.
Which is where we get to the learning. Once it has been brought to your attention that some readers feel this way (which you never intended) while reading your work, it’s your job to decide how to do better. I love quoting the advice “Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right.” That’s part of a Neil Gaiman quote. One of the truths Gaiman is getting at is that if one reader feels a particular way about your work, many other readers will, too. The rest of Neil’s quote talks about fixing problems, and fixing it is the writer’s responsibility, not the reader’s. They’ve told you how it made them feel. If you don’t want some of your audience feeling that way, you have to decide how you’re going to fix that going forward.
I want to emphasize that I know this process isn’t easy. The first time someone told me a story I wrote had sexist bits in it I became extremely defensive and reacted like a complete jerk. I was wrong to do that. Fortunately, I also spent some time, after I acted like a jerk, re-reading the story and trying to see it from the reader’s point of view.
And she was right. There were several little things I had done just because that’s what women characters do in that situation in millions of books and television episodes and movies that we’ve all watched. And it was a simple matter to make some very minor changes to get rid of them. I didn’t become suddenly a sexism-free writer after that. I found myself a couple years later being asked by someone why after six chapters into a book I was writing, not one single female character had appeared or had a line of dialog—in a story that was set in a ordinary public school in a small modern American city. There were a number of women and girls in my imaginary world, some of whom were going to figure in the plot later, but for whatever reason, I had omitted them in the opening chapters. This, by the way, was the incident I’ve mentioned before that prompted me to re-read a whole bunch of my work applying the Bechdel–Wallace test1, and finding myself very embarrassed at how many of my stories failed it.
And even though since then, I have tried to educate myself on it, and made several changes to the way I tell some stories, I still find problems. I was editing a scene in one of my currently still-in-progress novels not that long ago when I happened upon a line of dialog that I barely remembered writing, and it was a very clichéd and sexist line. I changed it. Now not only is it not sexist, I think it’s funnier.
Again, not every such criticism is going to be spot-on. A few years ago I got a long angry letter about how a story I wrote perpetrated hate against religious people. The rant included accusations that I had been “brainwashed by the femi-nazis” so I wasn’t inclined to take it completely to heart. I asked some religious acquaintances to read the story (without mentioning the negative review) to give me feedback on the portrayal of religion and the various religious people in the story. Not that if they disagreed that proved the reviewer wrong, it was just two more perspectives from people who I trusted.
I ultimately had to make the decision about whether the story perpetuated anti-religious bigotry.
That’s all we can do: try to learn, try to see things from other perspectives, and find people we trust to check our conclusions from time to time. Members of particular marginalized groups can disagree. A few years back I and another gay male sci fi fan and writer got into a really long discussion about whether something I had written perpetuated negative stereotypes about gay men3. We never came to a complete meeting of minds on the topic.
There’s an excellent post over at Patheo by Libby Anne which makes really good reading on this topic: What to Do If Someone Calls You Sexist: A Short Primer. And it doesn’t just apply to sexism.
1. Based on a 1985 comic strip from the series Dykes to Watch For by Allison Bechdel, in which one woman asks another if she wants to go to the movie, and the second woman explains that she has a rule, she will only go to a movie if “…one, it has at least two women in it who, two, talk to each other about something other than a man.” Then she confesses that the last movie she’d been able to go to was Alien, because there is one scene where the two women on the spaceship crew talk about the monster. But only the one. Bechdel herself expressed some discomfort with people naming the test after her, since she said she got the idea for the rule from a friend, Liz Wallace, and to the writings of Virginia Woolf.2
2. If a movie or book passes the test, that doesn’t prove that said work isn’t sexist. All the Bechdel-Wallace test is assess whether women appear in the work to specific degree. That fact that so many works fail to achieve even this level of inclusion is just sad.
3. Remember, it is not a valid defense against an observation of bigotry to be a member of the marginalized group in question, any more than claiming to have a friend in the group absolves you of all culpability. Internalized homophobia can manifest in even the most woke queer person.
Everything I need to know about responding to reviews of my books I learned from my choral directors
There have been a few really notorious cases of this type. There’s the author who seemed to become obsessed by one person who had given lots of negative reviews online to a lot of books. The author tracked down the reader in real life, going to rather absurd lengths to document all the things the reader had said in her various personal profiles on different social which appeared to be false or exaggerations. It culminated in the author going to the reader’s home and confronting her. That’s not only not cool, it’s stalking under the legal definition in most states in the U.S., and could be prosecutable.
Another author tried to sue Amazon and a reviewer for libel.
Then there’s the various Anne Rice incidents: posting a link to a bad review on a book blog on her Facebook page and encouraging 740,000 plus fans to harass the reviewer in 2013; writing a scathing 1100 reply to a reader review on Amazon in 2004; issuing a petition to try to force Amazon to reveal the real names (and contact information) of customer reviewers; trying to get bad reviews reclassifyed as cyberbulling in 2015; et cetera.
I’ve seen some really good articles and at least one of those humorous flow charts about how to respond to negative reviews. And those are great. But negative reviews are only a subset of the problem. And I realized that when I shared and commented on one of the recent posts about this, that I was repeating advice that I’d received from some of my music directors back in the day. I was in orchestra, band, choir, and a small men’s ensemble in school, and then choir and small ensemble in college, and later sang in a gay & lesbian community chorus. I’ve had a lot of music directors, but it was always the choral directors who gave advice about responding to negative comments and other sorts of reviews one might receive to a concert. And what they said can apply to any creative work, so here we go:
When someone tells you they disliked your performance/your story/et cetera: Your response should always be limited to a simple and sincere, “I’m sorry you didn’t enjoy it.” As one choral director said, “Don’t give in to the temptation to try to convince the person that the concert was great. Don’t try to educate them about the significance of the piece, the history of the composer, and especially about how much hard work you put in. Just say, ‘I’m sorry you didn’t enjoy it’ and move on.” Doing anything else just makes people feel angry and defensive.
Personally, I think this response is best deployed with someone contacts you directly or tells you in person that they didn’t like your story/book/painting/what-have-you. In the case of published reviews or reviews posted online, the best response to negative reviews is to pretend you didn’t see them. Maybe talk to a close friend about any particularly badly phrased review, if you need to vent a bit, but don’t respond online or publicly in any way. Don’t send the reviewer private messages. Don’t post links to the negative review.
Arguing with someone is not going to change how they feel about it. And it may well convert them from someone who merely didn’t like this story, to someone who has a grudge and goes out of their way to bad mouth all of your other work.
Negative reviews aren’t the only kind that can be problematic:
When someone tells you they really liked it: Say, “Thank you. I’m so happy you enjoyed it.” This may really seem like a no-brainer, but I can’t count the number of times that a musician, artist, or writer I’ve known has responded to positive comments by saying something like, “But we did it wrong!” or “I hated it! Look at all of these mistakes I made!”
One choral director put it really well: “What you just said to that person is, ‘You have really bad taste in music or are really clueless because you didn’t notice the mistake.’ It’s an insult. Even if you are convinced that they are merely being polite, just say ‘Thank you. I’m glad you liked it.’”
It’s really easy when I look a something I wrote to see all the flaws. Particularly if it is something I wrote a while ago. Even if the story has prompted more than one reader to contact me to tell me they were so enthralled by my tale that they missed their train stop or their cue or stayed up way too late reading it. When I look at the story, I just think how the characterization of one of the supporting characters was inconsistent, or that I could have done a more subtle job revealing that clue, or why did I include the lyrics of the song one of my suspects was performing in that pivotal scene?
But those readers enjoyed it. They didn’t have to send me a comment. I might have never known they had even seen that story if they hadn’t gone out of their way to do so. They liked it. And that’s why I wrote it! I wanted someone to read it and like it! I shouldn’t try to talk a fan of my work into hating.
We’re socialized to be self-effacing. We’re taught that being overly proud of our work means we’re an arrogant jerk. Some of us have self-esteem issues and sincerely have trouble believing that people actually like our work. Don’t give in to either of those tendencies. Just say, ‘Thank you.’ Bank the compliment, and remember it the next time you read a negative review.
When someone asks questions about it: This one is tricky. We’re all socialized to answer questions when asked. Some of us are a bit too happy to expound at length if someone shows the slightest interest it our work.
It’s okay to answer questions. As one director put it, “It’s understandable that someone might ask why we performed a classical piece in German for an English-speaking audience, for instance. It’s perfectly reasonable to answer the question. Just make sure you simply answer it, and don’t try to pick a fight. Don’t assume that they are trying to start an argument. Tell them that the piece was originally written in German, and that you think music is beautiful in any language.” Questions about minor things in the plot of your book or character motivations which seem to be genuine confusion on the part of the reader can be answered in person or direct conversations as long as you don’t get defensive. Similarly to factual question about the publishing process—but keep it as simple as possible.
When it comes to published/online reviews as opposed to someone contacting you directly, don’t get drawn into an argument. Straightforward questions with a simple, factual answer are fine. For instance, I once saw in a review of a story that was part of a continuing series but had been picked up for reprint in another publication the comment: “I liked the story well enough, but wish I knew more about these characters.” It was simple to post a comment: “For more stories set in this universe using these characters, check out [Link to a place to buy them].” I said absolutely nothing else. Just an answer to the one question that had a simple answer.
Sometimes a person asking a question is looking to start an argument. And sometimes it’s quite obvious that they’re doing it. I once got a question about one story along the lines of, “Why did you have to give us a happy ending, again? Your stories really draw me in and get me interested in all the characters, but then you have yet another unrealistic ending. In real life things never work out like that!” If someone is doing this sort of back-handed compliment disguised as a question, you need to treat it as a negative review. “I told the story as I saw it. I’m sorry you didn’t enjoy it.”
Other questions may be less obviously a back-handed compliment, but still not have a simple factual answer, such as, “I don’t understand why the author made such an unlikeable character the hero of this story” or “Why are there so many sub-plots in this book? Why can’t we just stick to one character?” or “Why did the main character spend all that time moping and talking? He should have kicked some butt and showed them who’s boss!” There is no answer you can give to this person that will make them happy. You had your reasons for writing the story, they wanted to be reading a different story. Again, you need to treat these sorts of questions the same as a negative review. If it’s in a published or on-line review, don’t respond. If a reader is asking you directly, say as simply and sincerely as possible, “I’m sorry you didn’t enjoy it.”
You can elaborate a little bit. “That isn’t the story I was telling” or “This was the best way I could think of to tell this particular story with these characters” or something like that. It is so tempting to try to convince the person that what you did was the right thingFinally, remember that sometimes the reason you got a bad review has nothing to do with you or your story. Mark Kloos recently shared on twitter: “Don’t fret about your Amazon reviews. I just got a three-star review because my novel isn’t a 36-count package of Jimmy Dean sausages.” And he included a screen capture of the review. While technically this violates the negative review advice above, it’s clear that the reviewer wasn’t actually reviewing the book, and Kloos didn’t ask people to go harass the reviewer.
That example leads to the final piece of advice from several of my choral directors: “Once the concert is sung the only thing you can do is be proud of the parts that went well, laugh about the parts that didn’t, and start practicing for the next performance.”
Another in my series of posts recommending web comics that I think more people should read:Piled Higher and Deeper (PhD) by Jorge Cham is a comic about trying to survive the world of academia. Cham has a Ph.D. in Mechanical Engineering and has been a professor. In addition to the comic which follows the adventures of several grad students, their families, instructors, and so on, Cham is one of the co-founders od PHDtv which is a cooperative education and science outreach video project. This is another of those comics that I found by people sharing specific strips on various social media, and I go read the strips that have come out since last one was shared and then I forget to check it again until someone posts another. It funny, occasionally educational, and always geeky!
If you like his work and want to support him, he’s got several books collecting earlier strips, mugs, and other fun things for sale!
Some of the comics I’ve previously recommended: Some of these have stopped publishing new episodes. Some have been on hiatus for a while. I’ve culled from the list those that have gone away entirely.
“Deer Me,” by Sheryl Schopfer tells the tales from the lives of three friends (and former roommates) who couldn’t be more dissimilar while being surprisingly compatible. If you enjoy Deer Me, you can support the artist by going to her Patreon Page!
Scurry by Mac Smith is the story of a colony of mice trying to survive a long, strange winter in a world where humans have mysteriously vanished, and food is becoming ever more scarce.
And I love this impish girl thief with a tail and her reluctant undead sorcerer/bodyguard: “Unsounded,” by Ashley Cope.
Check, Please! by Ngozi Ukazu is the story of Eric “Bitty” Bittle, a former junior figure skating champion from a southern state who is attending fictitious Samwell College in Massachusetts, where he plays on the men’s hockey team. Bitty is the smallest guy on the team, and in the early comics is dealing with a phobia of being body-checked in the games. He’s an enthusiastic baker, and a die hard Beyoncé fan.
Muddler’s Beat by Tony Breed is the fun, expanded cast sequel to Finn and Charlie Are Hitched.
The Young Protectors by Alex Wolfson begins when a young, closeted teen-age superhero who has just snuck into a gay bar for the first time is seen exiting said bar by a not-so-young, very experienced, very powerful, super-villain. Trouble, of course, ensues.
Fowl Language by Brian Gordon is a fun strip about parenting, tech, science, and other geeky things. The strips are funny, and he also has a bonus panel link to click on under the day’s strip.
Tripping Over You by Suzana Harcum and Owen White is a strip about a pair of friends in school who just happen to fall in love… which eventually necessitates one of them coming out of the closet. Tripping Over You has several books, comics, and prints available for purchase.
The Junior Science Power Hour by Abby Howard. is frequently autobiographical take on the artist’s journey to creating the crazy strip about science, science nerds, why girls are just as good at being science nerds as boys, and so much more. It will definitely appeal to dinosaur nerds, anyone who has ever been enthusiastic about any science topic, and especially to people who has ever felt like a square peg being forced into round holes by society.
The Last Halloween by Abby Howard is the creepy story of 10-year-old Mona who is reluctantly drafted to save the world on Halloween night. This is by the same artist who does the Junior Science Power Hour. She created this strip as her pitch in the final round of Penny Arcade’s Strip Search, which was a reality game show where web cartoonists competed for a cash prize and other assistance to get their strip launched. Though Abby didn’t win, she started writing the strip anyway. If you like the comic, you can support Abby in a couple of ways: she has some cool stuff related to both of her strips in her store, and she also has a Patreon.
If you want to read a nice, long graphic-novel style story which recently published its conclusion, check-out the not quite accurately named, The Less Than Epic Adventures of T.J. and Amal by E.K. Weaver. I say inaccurate because I found their story quite epic (not to mention engaging, moving, surprising, fulfilling… I could go on). Some sections of the tale are Not Safe For Work, as they say, though she marks them clearly. The complete graphic novels are available for sale in both ebook and paper versions, by the way.
Oglaf, by Trudy Cooper and Doug Bayne is a Not Safe For Work web comic about… well, it’s sort a generic “medieval” high fantasy universe, but with adult themes, often sexual. Jokes are based on fantasy story and movie clichés, gaming tropes, and the like. And let me repeat, since I got a startled message from someone in response to a previous posting of this recommendation: Oglaf is Not Safe For Work (NSFW)!
“Mr. Cow,” by Chuck Melville tells the tale of a clueless cow with Walter Cronkite dreams. If the twice-weekly gags about a barnyard of a newsroom aren’t enough excitement for you the same artist also writes and draws (and colors!) some awesome fantasy series: Champions of Katara and Felicia, Sorceress of Katara. If you like Mr. Cow, Felicia, or Flagstaff (the hero of Champions of Katara) you can support the artist by going to his Patreon Page. Also, can I interest you in a Mr. Cow Mug?
But I really love this local news site’s take: Congresswoman Pramila Jayapal on Trumpcare Fail: “It Was Such a Sweet Moment To See”.
President Trump today blamed Democrats for
bungling internal party negotiations on a piece of legislation that they’ve been campaigning on for over seven yearsthe bill’s demise, to which Jayapal replied, “Hahahahahahah.”
They have a majority of both houses. They don’t need a single Democratic vote to pass anything. And we didn’t even get to the Senate and any attempt to filibuster, so there isn’t any way to put this on Democrats. Except that they will, and a certain number of their voters will believe it. Of course, they had a majority in both houses for most of Obama’s presidency, and they never managed to repeal Obamacare then, either. The ugly truth that they were keeping from themselves is that they only reason any of the votes to repeal passed in the house was because several factions within the Republican ranks knew it was a meaningless vote. Complete repeal wouldn’t pass in the Senate, and President Obama was ready to veto it if they did.Even pro-Republican news sites were reporting earlier in the week Only 17% of Americans support ‘Trumpcare’, yet just hours before the rescheduled vote, folks like Newt Gingrich were tweeting and bragging about how Obamacare was going down. I mention Newt because just 7 hours later, Newt had changed his tune to “Why would you even schedule a vote?”
One reason it failed is that, yes, thousands of constituents called their Republican congresspeople and urged them to vote no. But don’t forget that another reason it failed was because there exists a group in Congress who want the replacement to hurt even more poor people: TrumpCare Postponed: Too Horrible for Moderate Republicans, Not Horrible Enough for Freedom Caucus. Even when Donald tried to negotiate directly with this small group, they couldn’t get them. And each concession Donald and the Speaker of the House offered the Freedom Caucus drove more of the moderate Republicans into the no camp. Obamacare is seen favorably by 57% of voters, making it far more popular than the replacement, our so-called president, or congress itself. And the provisions that the Freedom Caucus want to remove enjoy a walloping 90% approval from voters (as mentioned in that article), which makes if really hard for me to see how, even if they got this thing through the House, how it would have passed in the Senate.
But that doesn’t mean we should relax!
So in the old days I would have piles of books around my typewriter, some with note paper stuck in them to hold a place2, others with multiple bookmarks7 stuck in them so I could find multiple facts scattered over multiple pages, and so forth. The internet has only changed the amount of physical exercise that is necessary to run down rabbit holes on the research front, at least for me.
Tools and implements is another class of thing8 that can be either a help or a procrastination trap. But tools are important. So while it is possible for procrastination to latch onto the exploration of new tools as a means to keep you from writing, talking about good tools can also be a help in the writing process. Therefore, here is a list of my current favorites:
- Scrivener 2 – the absolute best writing project managing tool/word processor available for Windows, macOS, or iOS, bar none. For all the features it packs, it’s also incredibly affordable! It’s multi-platform. I use it on both of my Macs and my iPad, and they make it easy to move back and forth. If you don’t have an iPad but do need to work on other platforms, you can use the Sync to External Folder feature in conjunction with Dropbox or Copy or Box to edit files in application that can open Rich Text Files when you’re on the go, then sync back to Scrivener on your Windows or macOS box later. I’ve used this latter feature before the iOS version was available, and it worked well. Not as cool as having all of the features of the full product on my iPad or iPhone works now, but… .
- Scapple – by the same people who make Scrivener, this is a brainstorming/outlining tool. I’ve used it for charting plots and subplots that had gotten out of hand. It’s also really good at family trees and charting out character relationships.
- iA Writer – a full featured word processor available for macOS and iOS. I use it when I need to format something I made in Scrivener, or just to type out notes for later. I’m particularly enamored with the iOS version’s built-in “share as PDF” because I’m often working on large projects in Scrivener on the iPad, and just need to send a single chapter or some other small bit to someone for comments, et cetera.
- Honorable Mentions: There are some products that I used to use a lot more than I do. Particularly before the advent of Scrivener of iOS.
- Textilus – iPad text/rtf editor. This is a good word processor for working from iPads and integrating with Dropbox and similar cloud sharing services.
- SimpleNote – this is a good multiplatform Note taking program that is useful for getting down something quickly, that will automatically be available on all of your devices so you can copy into a main writing program later.
- Pages – Apple’s free word processor that works on macOS, iOS, and iCloud. I liked the mac version of the program a lot before they decided to unify the features in all versions. It’s still a good program and they keep updating it. Just not quite as good as it used to be.
- Scrivo Pro – A Scrivener-like word processor for iOS when Scrivener’s official word processor that could read Scrivener projects in their native format if you saved them to Dropbox. It was pretty good. I used if for several months until Scrivener for iOS became available.
- WriteRoom – If you need a good, simple distraction-free writing program on the Mac, I highly recommend WriteRoom for macOS. I originally bought the iOS version to write on the bus and other places when I was away from my computer back in the days before I had an iPhone or iPad (it ran on my iPod Touch just fine). The software maker has stopped supporting the iOS version, as it wasn’t generating enough income to justify the work. Since it hasn’t been updated for a long time, it will still work if you already have it installed on your phone, but it’s clear that iOS is going to stop supporting it, so I finally have stopped using it on the phone.
- RhymeGenie – I use this for poems and song writing… and for composing prophecies14.
- AffinityDesigner – has become my replacement for Adobe Illustrator for many illustration tasks, including drawning maps for my fantasy stories.
- iTunes – I often listen to music while I’m writing. Not just random music; I make special playlists for certain characters or projects. My oldest playlist, called uncreatively enough “Writing”15 was created in 2003, when iTunes first became available for Windows18. That’s right, I used iTunes for three years before I owned my first iPod.
- Leuchtturm 1917 – These notebooks are awesome and are available in a lot of cool colors. Occasionally I like to write on paper. Certain types of thinking process just work better for me that way. But I know it doesn’t work for everyone.
- Goulet Pens – I love a good medium- or broad-tip fountain pen for fun colored inks. Again, when I’m in one of those moods where I need to write it needs to be a good pen or…
- a 0.9mm or 2mm mechanical pencil – my very favorite pencil is a tigerwood mechanical pencil that was handmade by Pandora House Crafts. If I don’t happen to have that specific pencil with me, any mechanical pencil with at least a 0.9mm lead will do.
- And of course, 20+ paper dictionaries at home – I use the paper dictionaries often, because they tend to have more information than the affordable software versions. But the software ones don’t usually require me to stand up, so I often go to them first:
- Shorter Oxford – I have this version of the Oxford English Dictionary20 installed on my Mac, iPad, and iPhone.
- Merriam-Webster Dictionary & Thesaurus21 – I have more than one electronic version of this dictionary on all my devices.
- The Chambers Dictionary22 – I keep this on my Mac, iPad, and iPhone.
- Chambers Thesaurus – Companion to the Chambers Dictionary.
- WordBook Universal English Dictionary and Thesaurus – another one that I’m not sure why I have it on iPad and Mac, but not the phone.
- SPQR – a Latin dictionary app on my iPad and iPhone, very useful when I need to make up incantations for one of my wizards or sorceresses.
- American Heritage Dictionary23 – I have this one on the iPad only.
Anyway, so that’s my current set of favorite tools. Though the truth is that my real tools are sentences. I can compose those with word processors, typewriters, pen & paper, or pencil, or technically anything I can scratch symbols into a medium with. The important thing is to start writing.
Neil Gaiman24 is fond of saying that the only secret of writing is to just keep putting one word after the other. That advice is true and succinct. It is also extremely difficult to do, while sounding quite simple. We have to make ourselves sit down and write. That’s what makes a writer.
1. This might be less true for people who didn’t have multiple encylopedia sets in their houses.
2. And with notes written3 on said pages related to things I wanted to do with the information in said book.
3. Well, most often scribbled. Have I mentioned that my handwriting is atrocious4?
4. Part of the problem is that I learned how to type on a mechanical typewriter when I was ten, for reasons. And so I stopped doing the work at school where they were taught us cursive writing. So I only ever formally learned how to print5
5. If pressed, I can produce by hat writing in cursive, but I have to visualize what the letters look like, and then draw them individually. I just don’t have the muscle memory to write. It’s is painstakingly slow and frustrating6.
6. But I still consider learning to write that way as an archaic and obsolete waste of time. Learning how to read it is much, much easier than writing it.
7. Another thing that has changed a lot in my life the last decade or so: I no longer go to great lengths to save and collect bookmarks. It used to be extremely important to have physical bookmarks I could stick in books. I still am usually reading multiple books at the same time, but more than half of them are e-books, so I don’t need physical bookmarks any longer. And it’s kind of sad.
8. thing Old English, noun 7. That which exists individually; that which is or may be an abstract object of perception, knowledge, or thought; a being, an impersonal entity of any kind; a specimen or type of something. Also, an attribute or property of a being or entityThat which exists individually; that which is or may be an abstract object of perception, knowledge, or thought; a being, an impersonal entity of any kind; a specimen or type of something. Also, an attribute or property of a being or entity9.
9. Please note that this is the seventh sense of the word to be defined in the Oxford dictionary, while it is closest to what I think most people would say is the primary definition. The first definition in Oxford is “A meeting, an assembly; a court, a council.” which happens to be the oldest known meaning of the word, but only seems to be known among most modern speakers of English who are also into the history of England and Northern Europe. I used this particular meaning in a draft scene in my fantasy novel series without thinking, and of the people in my Writers’ group, only my husband10 understood the meaning I was going from when I used it. So I switched to on Old Norse derived word instead, folkmoot.
10. My husband who has been described by more than one of our friends as “the most capable man I know” and his areas of expertise include computers, repairing computers and other electronics, bartending, history, obscure languages, science fiction and fantasy, science, electrical engineering, farm equipment repair and maintenance, quantum mechanics, chemistry, and cooking11
11. The latter is an understatement. The state he lived in at the time allowed children as young as 14 to work as prep cooks12, and that’s one of the two jobs he held down at that age. I have commented many times that if you want to be amazed just hand my husband and nice sharp knife and a box of vegetables and ask him to assemble a veggie tray. He will chop up all of the veggies you give him, no matter what they are, into exactly uniform slices, in a time frame that will make you suspect that he is actually super powered. I am not exaggerating in the least13.
12. Most state in the U.S. don’t allow children under the ages of 15 or 16 to work around commercial kitchen equipment, because limbs can be chopped off, basically. Although the are often exceptions carved out for children working in family businesses, which is how my Great-grandmother and a Great-uncle got away with teaching me how to drive a truck when I was about 12 years old.
13. When people who have only interacted with him in certain social situations have scoffed at this, I have smirked, because I’ve seen his school records, which include IQ tests, and most of the scoffers are nowhere near as smart as he is13.
13. No, I really don’t know why he settles for such a jerk as me. I really don’t.
14. I have a lot of characters in my fantasy universe who can see the future: the Oracle, Madame Valentina, Brother Ishmael…
15. Followed by “Writing II,” then “Laying Out an Issue of the Fanzine” then “Writing Faust and “Writing III.”16
16. I have since become slightly more creative with playlist names17. The playlists I’ve been using while working on my latest novel have names such as “Dead Witch,” “Ballad of a Lost Soul,” “Only the Wicked,” “Ballad of a Would Be Dark Lord,” “Zombie vs Dragon,” “Ballad of the Unrepentant,” “Night of the Monkey’s Uncle,” or “Ballad of Dueling Masterminds.”
17. I previously thought that I had hundreds of playlists, but since I recently merged together two previously separate iTunes libraries18, I now really I have nearly 4000 playlists.
18. Remember that I started using iTunes many years before owning on iPod (and later an iPhone). So my main iTunes library started on my old Windows 98/Windows 2000 machine, was imported to my early 2009 model Mac Pro Tower, and was updated over the years as I bought music and finished importing the rest of my old physical CD library. Meanwhile, the machine that slowly took over my day-to-day computer was on old white plastic Macbook, which was built from an import of one of on old Windows laptop that only had a subset of the Windows desktop, and then was augmented and updated to a Macbook Pro, then updated to a newer Macbook Pro, and then for a bit over five years I tried to maintain two similar libraries: one on the old Mac Tower which contained six-and-a-half terrabytes of internal storage, and my Macbook Pro laptop that only had a a 512 gigabyte drive, and therefore not enough room for my entire music, video, and film library plus all my story files and so forth.
19: I have a lot of characters in my primary fantasy series who can see the future in various ways: the Oracle of the Church of the Great Shepherdess, Madame Valentina (a.k.a. Alicia), Brother Jude, the Zombie Lord, Brother Ishmael, Mother Sirena, Brother Theodore, Mother Bedlam…
20. The platinum standard of English language dictionaries. In hard copy I have the Oxford American Dictionary and Thesaurus, a pocket version, as well as the single volume version of the unabridged that you need to have a good magnifying glass in order to read.
21. Genuine Merriam-Webster dictionary is the gold standard of U.S. desk dictionaries. I have a couple different editions of the Collegiate version in hard cover, a pocket version, and a hard cover of the giant unabridged Third International.
22. Chambers was the dictionary most commonly found on bookshelves and desks in the U.K. for years, much as the original Merriam-Webster was in the U.S.
23. The American Heritage Dictionary has a very interesting history. A publisher and dictionary enthusiast was angry when the Merriam-Webster Third Edition shifted to a more descriptive philosophy, and so set out to make a competing dictionary. Then he hit on an interesting marketing scheme. They published a huge unabridged version which they offered for sale at less than cost to public libraries and schools, along with a discounted pedestal or lectern that ensured the dictionaries were prominently displayed in libraries. Then after getting these dictionaries in hundreds of libraries and school for a few years, they released a subset of the dictionary as a desk edition, which made the desk edition an immediate best seller.
24. Winner of the Newberry Medal, numerous Hugo Awards, Locus Awards, Nebula Awards, the Bram Stoker Awards, the Carnegie Medal, Eisner Awards, British Fantasy Awards, Shirley Jackson Awards, a World Fantasy Award, a Harvey Award… I could go on and on.