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That said, an innovative organization would have improvised a strategy to launch the book in a different way. An innovative organization might have organized an online launch for the ebook and a POD hardcopy. Some of those relationships are positive and supportive, pushing the protagonist to positive growth and helping them achieve their goals.
Many relationships hover somewhere in the middle. A balanced story will require a mix of these dynamics. This relationship is anything but simple, making it fertile ground for plot and character development.
Below are a wide range of dynamics that may accompany this relationship. Link to the rest at Writers Helping Writers. Worldbuilding gets a bad rap sometimes. But there are plenty of writers who recognize the essential nature of worldbuilding separate from the act of storytelling—for science fiction and fantasy, sure, but also for all genres. And there are a ton of amazing, detailed guides to creating worlds.
But years ago, when I was first looking to build out the world I had created for my first foray into fantasy writing, I looked up resources for worldbuilding and quickly got bogged down in the sheer number of details these guides wanted me to know. I found weeks-long online courses dedicated solely to building a world from scratch. I like to call these types of resources sandboxes. They give you lots of blank space to play around. Sandboxes are fun places for free play and for letting the mind run wild.
But once I had determined the election procedures of a specific political party in my book, which was decidedly not about election procedures or political parties, I was left no closer to a better story. What does this have to do with my story? What follows are a set of exercises that are geared mainly toward writers of fantasy who are creating secondary worlds, but hopefully applicable to all writers.
The goal of these exercises to help you build a believable world that will add depth and color to the story you want to tell—without making you spend hours writing out the dominant flora on a continent your story will never visit. To complete the following exercises, I will assume that you have at least a smidgen of a story idea in mind. This section contains a couple of exercises to get your mind thinking about how your world interacts with your story.
Set a timer for five, 10, or 30 minutes—however much time you think you need—and write out everything you already know about the world in which your story takes place, stream-of-consciousness style. Even if you list things that are contradictory or illogical, write them all down anyway. Give yourself permission to let your mind run free. Important: This is not the time to make up new things about your world.
When your time is up, read back over what you wrote. Link to the rest at Writer Unboxed. There are a lot of bad takes this week on the whys and hows of the growing firestorm of book challenges. Moms of Liberty — currently putting a bounty on teachers who talk about systemic racism — is but one of many of such groups across the United States, typically spearheaded by a failed or hopeful politician.
These groups put board members in a position of being on the defense, and in many cases board members need to be escorted to their vehicles after a meeting because their literal safety is at risk. Are there folks on the inside starting these censorship calls? The fault lies, conveniently, in mask mandates or virtual learning or any other anti-science scapegoat.
With respect to the OP, PG is of the opinion that not every decision that school boards, private schools, teachers, etc. PG speaks as the son of one public school teacher, the brother of another and the husband of a former college instructor. While civilized societies can reasonably place limits on some decisions parents may make that affect their children, the history of harmful use of force, physical or otherwise, by state state actors regulating what may be said or read or what may not be said or read is not read is a dark one.
This same pattern of behavior has included over-the-top characterizations of social or political opponents. Historically, true Censorship was imposed by government agencies on a population or group. In our time, censorship has involved prohibitions that limited the ability for social dissidents to express opposition or disagreement with the powers that exercised control over them. Instead, such objections are a protest against the imposition of ideas and values to which the protesters strongly object being imposed on their children by an organization and individuals who possess and exercise a great deal of power over the children of the protesters.
If a state requires mandatory or quasi-mandatory attendance of children in specified types of educational institutions, that qualifies as state action. For the record, PG thinks mandatory attendance of children at public schools is a generally good idea, assuming that parents who feel strongly enough about the topic to take on the responsibility of educating their children outside of the public school system.
While education outside of formal public or private schools can go badly wrong, so can education of at least some children in formal schools can also contribute to the same end for a child.
As only a slight diversion, PG is not aware of whether this is happening elsewhere or not, but over the past ten or fifteen years, homeschooling of children has been a growing phenomenon in the United States.
It interests PG that an outsized percentage of homeschooled contestant have advanced to the finals of the Scripps National Spelling Bee over the past several years. Great writers make their stories authentic by allowing us to experience what their characters hear, see, smell, taste, and touch—capturing the senses so we are fully involved. Adding sensory details about smell into your writing creates a stronger story bond for your reader. You can be in a familiar place with a blindfold on and your nose will let you know where you are.
Say your main protagonist is a child in an orphanage trying to come up with a way to run away from her situation. A fire breaks out somewhere in the building. She smells smoke, alerts whomever she can to the danger she is a good-hearted character. Recognizing her chance to leave in the chaos, she grabs her belongings and runs, thereby moving the story forward. Our brains are wired in a way that makes us hyper-alert to unfamiliar sensory information, including smells.
If you want to unsettle you characters, add in rotting, chemically, goosebump raising smells into your story. Smells can cause flashbacks to warm, wonderful times or a place of horror. The same smell can bring joy or pain dependent upon the individuals experience at the time they were exposed to that particular odor.
Some people love the smell of lilies. I cannot stand them. To me they reek of death. The smell of a grow room is the scent of transpiration, of fecund exertion. I knew what the weather was like the second I got up. I knew because I caught my mother sniffing under her arms. Link to the rest at Writers in the Storm. In , John Knox, the energetically tub-thumping Scottish reformer, railed against what would become even more true with the coronation of Elizabeth of England, the future Gloriana herself, a few months later: the unlikely and—to him—hideous rush of women into positions of supreme power in late 16th-century Europe.
The cards of the game of birthright were serially falling in a female direction. Repugnant to nature. Contumely to GOD. The subversion of good order, of all equity and justice. Although Knox tried to apologize to Elizabeth for his trollish tract after she ascended the throne—it was only Catholic queens that troubled him, he explained—she never let him travel through her realm.
He had to take to the perilous seas or stay put in Scotland. Three decades later, Mary would be brutally and inefficiently beheaded for treason the ax had to be swung three times , when she was discovered to have plotted against Elizabeth. Or does it? Quilligan, emerita professor of English at Duke University and author of books on medieval and Renaissance literature. We should pay attention to their collaborations in life rather than just their competition to the death.
When author and illustrator Ariella Elovic drafted her book proposal for Cheeky: A Head-to-Toe Memoir, she never considered that the graphic memoir about body acceptance might one day become a television series. Growing up, her biggest insecurities were her visibly hairy arms, sideburns, unibrow, and upper lip hair; as a young adult, she created an illustrated alter-ego to help her process all of the ways her body was changing.
When she signed with literary agent Meredith Kaffel Simonoff of DeFiore and Company, the agent offhandedly noted that she could see the world of Cheeky expanding on a streaming service such as Netflix or Hulu. Throughout the summer of , Elovic, 30, took the resulting one-on-one phone calls with actors, directors, and showrunners looking for a partner with whom she clicked creatively.
She hit it off with an established comedian. A few weeks ago, the author quit her day job as a project manager at Paperless Post. Cheeky was not a bestseller, celebrity book club pick, or runaway hit at launch. It received positive reviews and a decent amount of attention. Its Hollywood prospects are not noteworthy because of being extraordinary, but rather, increasingly ordinary. In alone, streamers produced new television shows. Their appetite for content is fueling a golden age of adaptations, according to Michelle Weiner, head of the books department at Creative Artists Agency CAA , which includes the book-to-film department and the publishing group.
It has a fully-fleshed-out plot, highly sophisticated characters, and, often, a very inventive world. Every year, the streaming industry becomes even hungrier for intellectual property to adapt. But increasingly, producers look to celebrity book clubs to help figure out which titles could become blockbuster streaming hits.
It sounds like a circular system because it is. Link to the rest at Marie Claire. Art has long been claimed as a final frontier for automation—a field seen as so ineluctably human that AI may never master it. But as robots paint self-portraits, machines overtake industries, and natural language processors write New York Times columns, this long-held belief could be on the way out. Computational literature or electronic literature—that is, literature that makes integral use of or is generated by digital technology—is hardly new.
Universities have had digital language arts departments since at least the 90s. One can purchase sci-fi novels composed, designed, blurbed, and priced by AI. Much of the book comprises timestamps, location data, mentions of businesses and billboards and barns—all information collected from Four Square data, a camera, GPS, and other inputs.
But the computer also generated characters: the painter, the children. There is dialogue; there are tears. Trees in the background came from the streets, and the sound of the door was falling in the distance. To say 1 the Road was entirely written by AI is a bit disingenuous. The road? The AI? AI reconfigures how we consider the role and responsibilities of the author or artist.
Prominent researchers of AI and digital narrative identity D. Might it be nonhuman and creative? Why indeed. She highlighted the ways these obscure systems could perpetuate racist and sexist biases, be environmentally harmful, and further homogenize language by privileging the text of those who already have the most power and access. Link to the rest at The Literary Hub. Britta Larson, a shift leader at Half Price Books in Roseville, Minnesota, has been with the store for nearly 12 years but only recently thought about whether she wanted to join a union.
The pandemic forced us to do some things differently and we learned from that. Labor action has surged in many industries over the past two years, including in bookselling, a business where unions had been rare. We had to organize in order to be a part of the conversation around worker safety. The publishing world has not a magnet for those seeking to get rich.
Bookselling, especially independent bookselling, has a long affinity with liberal politics and a long sense of mission that transcends the desire to make a profit. I expect that we will be voting on a new contract just after Thanksgiving fingers crossed. Half Price Books also has its roots in the anti-establishment. It was co-founded in by Ken Gjemre, a former executive at the Zale Corporation who in middle age wanted to make a living more in line with his ideals as a pacifist, environmentalist and civil libertarian.
Half Price has grown from a former laundromat in Dallas to more than locations around the country. We understand there is a movement to organize workers, and we respect the right of employees to vote. We are committed to following all procedures required by law. The company sent a different message to employees. We believe that, once you get all the facts about the union, you will decide that our future will be better without a union.
Link to the rest at Associated Press. The mystery story is two stories in one: the story of what happened and the story of what appeared to happen. No effect on competition? In the s, my books routinely went to auction, and we always got a higher price for the books than the initial offer.
By the end of the decade and into the early part of this century, there was no one to have an auction with. The book had to be a potential and obvious blockbuster. One of my editors backed out of a possible deal when she heard that another editor at a different imprint in the same gigantic merged company wanted the book.
Oh, my editor said to me, she can pay you more, and their imprint will probably take over mine in a year or so. Guess what? My editor was right. The cuts and trimming, for the sake of the stockholders, mostly hit the most experienced people in the purchased company not the one that did the buying because experienced folk are paid more. I read the complaint for the suit the day the suit was announced. What if the DOJ had been on this as the mergers started twenty years ago?
What would the traditional publishing landscape look like now? I can tell you: It would look completely different. Instead of the traditional part of the industry being dominated by five large conglomerates, the traditional part of the industry would look the same or better than it did in the early s. There would be a lot of publishing houses, a lot of working editors, a lot of imprints, and a lot of competition.
Just this morning, I discovered that a writer whose work I loved decades ago has gone indie. This happened to a worldwide bestseller who hit the top of the major lists for decades and whose work was made into three feature films.
No one at the big houses would touch horror twenty years ago, and even the smaller ones looked askance at it. If anyone had any brains, they would have seen that the genre would become as big as it is now. Right now, the people greenlighting movies and TV shows and buying books are the generation who grew up reading R. Of course, they want more horror. It was on the horizon. The multitudinous publishing houses of the s and s could have afforded to play the waiting game—at least one or two of them, or maybe even three of them.
The five large companies that exist now have no idea what they have in inventory. Forget the books, forget the product, forget the employees, forget the readers. The books literally are widgets that are, in the minds of the people running the company, interchangeable. ViacomCBS would keep it and mine the inventory for projects for various TV, streaming, and movie projects, not to mention gaming rights and other things.
A book publisher owned by a media company? Sounds like a surefire way to make even more money, right? And the suit by DOJ is as stuck in the past as that little dream of mine was. And the impact, should the merger go through, on the traditional publishing industry will be profound…although not as profound as all of the mergers that preceded it. What has changed is the rise of indie publishing. Writers do have somewhere else to go.
They can publish their own works. They can reach the same readers that these large companies can, because these companies are no longer interested in publishing books. See this large thriving market over here? Those indie writers? The traditional publishing industry, as I have written many, many, many times, is broken.
New writers can no longer anticipate having a career in the traditional publishing industry, let alone making a living at writing. And even a lot of the big guns are watching their income fade because of the policies and behaviors of these megacorporations. Sure, there are always a handful of books that make millions.
But once upon a time twenty-five years ago , there were hundreds of books that made their authors millions. Link to the rest at Kristine Kathryn Rusch.
If you like the thoughts Kris shares, you can show your appreciation by checking out her books. As a former acquisitions editor at a publishing company, I well remember the ritual wherein executives gathered in a conference room armed with their tabbed notebooks.
Once a month, department leaders—including those in editorial, marketing, and sales—and key sales representatives arrived for the pub board meeting. As a new editor, I had my spot on the schedule to present several books from my authors. Authors, retailers, librarians, and others in the publishing business never see or attend these sessions.
I could feel the tension and intensity in the room. Each person knew the high stakes built into these meetings. Every book involves cost and risk to the publisher, and the pub board is where individuals are held accountable for their choices. To get on the pub board agenda, a book passes through a number of checkpoints.
An agent or the author pitched the book to the editor me , and if I believed the proposal had merit for our house, I presented the book to our editorial team. They had to agree with my assessment before it was added to the agenda. For decades, before attending pub board, I had been writing books for various traditional publishers. Until I joined a publishing house, I had never witnessed how they made the acquisition decisions.
My experience was eye-opening and at times brutal. One to me and one to someone else. We were looking for bestsellers. My presentation for that book was finished. As I presented books at pub board meetings, there were many instances when writers missed an opportunity to get the attention of the board because of poorly written book proposals.
Some agents have proposal templates for authors to submit and refine before going to publishers. There are no unique books—every book competes. Writers need to complete this section and detail their competitive titles.
Imagine their books in bookstores. Which titles are beside them? These competitive titles need to be included. Authors should take their time in developing a proposal to ensure they make all of the points they want to make. A solid proposal typically runs 30—50 pages and can be the difference between getting a contract or losing a deal. In , I was a frustrated editor who wanted to get better submissions from authors.
The publishing world has changed a great deal over the past 17 years. At that time, publishers received and processed piles of paper submissions. Today, submissions are received electronically, but even these require care to avoid sending viruses and malware.
In my attempt to get rid of typographical errors in submissions, another secret was never to trust a spellchecker.
That lead to PG discovering that Morgan James had only 8 books listed on Amazon that showed a publication date in These ratings averaged 4.
He discovered that 11 of the top 20 had average star ratings below 4. Part One is told from the perspective of Violaine, the younger of her two daughters, who is ten when Maman—her beautiful, charismatic, and wildly excessive mother—suffers a breakdown and is hospitalized. More recently, I sat down with Violaine, who had returned briefly to New York—her home for the past years—in the midst of an extended sojourn in France, to talk about The Book of Mother.
In all our discussions about the book while I was translating it, I never asked you, how did you come to write The Book of Mother? There were two moments of genesis. It was similar to the voice that I use in the novel for her tirades and harangues—that long, digressive, angry, wild tone. Then, one year later, my mother died, and it became impossible to revise it. And then, two years after my mother died, I had my first child, and two years later, the second one.
So there was all this time of, literally, gestation. I realized that becoming a mother gave me a completely different perspective on who my mother was. I started understanding the conflict that she had faced, between her womanhood and her motherhood. So that was a huge turning point for me. Facts are only relevant when it comes to history. Life makes no sense. But fiction has the ability to create logic where there is none, to give coherence and stability to the story in a way that feels very powerful and personal.
And then, when the structure of the novel came to me—its organization in three parts—I knew even before I started writing exactly how it would be laid out. Newton, Ursula K. Le Guin, and Alice Mary Hilton. The Long Seventies is a historical period familiar to scholars of labor studies that begins with the radical political changes brought about by Title VII of the Civil Rights Act in and stretches until the early s.
During this period, Black, Brown, and Indigenous women and men were able to participate in union organization in unprecedented numbers. Matt uses this moment of increased labor activism and organization as the backdrop to investigate poetic, literary, and philosophical critiques of technology and capitalism.
In Dismantlings, he looks to a broad range of literary and political writings to find a counterlexicon that shows how Long Seventies writers opposed the idealism embedded in the language of technocapitalism.
All of these ideas, some that have been obscured over time and others that only seem familiar, lay bare to the reader a genealogy of current fears and concerns with the hegemonic role the discourse of technological innovations plays in the organization of social and political life. Across the United States this year, there was a rapid adoption of progressive, activist language by university administrators. Together, these works show us how to dismantle as well as how to reassemble a version of life that can confront and overcome the logics of technocapitalism; how to refuse the pseudoconcretization of human life and the ideologies that come with it; and, perhaps cautiously, how to imagine an alternative version of our world.
MT: To me this boils down to a critical form of utopianism. This is a strange thing to say as a person who has written one book on the void and another book on dismantling.
But pessimism is kind of a problem in left scholarship. We live in a pandemic, an ecological crisis, a housing crisis, an incarceration and policing crisis, an employment crisis, and a crisis of economy in which many people are not permitted to live at all.
Now I think a lot of people are returning to utopian thought through long-established paths. Twenty years on, we can now add that these tendencies not only have been exacerbated by despotic bad actors and by ecological and health disasters but also extend clearly through the duration of living memory. Morrison wants us, then, to imagine a life where survival and freedom, if that word is to have any meaning at all, do not require wealth. This is a version of openness to change in the here and now, in the daily revolutionary time of the world.
This is not lowered expectations. Link to the rest at Public Books. If was the year the world turned the tide against the pandemic, will be dominated by the need to adjust to new realities, both in areas reshaped by the crisis the new world of work, the future of travel and as deeper trends reassert themselves the rise of China, accelerating climate change. But they were wrong. Pirates could and did use very small boats, even canoes when nothing else was at hand. Skyrim reimagines and revolutionizes the open-world Roleplaying idea for you all: Pirate Queen turned Overprotective Mother.
The Witcher 3 and Dragon Age: Inquisition, for example, offer a split map that the player has to automatically travel between. Abandon your lasses, your ship and your gold. Velehk Sain Pirate King of the Abecean. Roleplaying idea for you all: Pirate Queen turned Overprotective Mother. Experience the world of Tamriel on your own, or together with friends, guild mates, and thousands of other players.
Instead, use a crack that wraps the steamapi. Even if you get Oldrim to install in The Pirate Bay site is a torrent site that lets people stream movies and tv shows, play games, and read books and other reading material for free. Skyrim free download - Alchemy for Skyrim, Enchanting for Skyrim, Database for Skyrim, and many more programsElder Scrolls IV: Oblivion sets gamers up to play the fourth installment in this legendary series.
The Pirate Bay is the galaxy's most resilient BitTorrent site. In English. Melee attacks. I ain't got nothin' to say to you, fancy pants. Most of them are already existing or modified creatures found in vanilla Skyrim but are nonetheless definitely worth checking out. Pirates of the Caribbean was an awesome movie. This person said : I dont know whats happening but whenever i install this mod or any mods it doesnt work.
RAM: 2 GB. Last Seed. Explore a world without limits now until August 30 and begin your Gates of Oblivion story with the Blackwood Prologue Quest. Pirate Ferret. The Empire of Tamriel Content. Each set item is bound on pickup. If the core game and official DLC downloads don't keep you busy, this list of fan made mods will leave your friends wondering where you went. About Pirate Names. Franchises:The Elder Scrolls. Oh, and buy the damn game. A mod I originally started working on as a gift for reaching followers, but ended up as a "almost followers - eh maybe just a general release" gift because I work super slowly.
In the world of Skyrim, there are many factions the player can join. There's a brand new mod taking the Skyrim community by storm, given that it bridges two things people really love: Skyrim and pirates. The game's data folder need only contain 23 files. It is an amazing activity game.
As stated, I would like to make this the first I do release. The Elder Scrolls V: Skyrim Video Game cast and crew credits, including actors, actresses, directors, writers and more. The game gives you hours and hours of fantastic gameplay, and the portals lead you straight to the dark dimension of Morrowind belongs to the Elder Scrolls series and is the third game in the popular open world fantasy RPG series.
Simply Amazing. Skyrim came out in and about squares scribbled tons of paper and gigabytes of data! Pirate is a foe in Skyrim: Dragonborn. Kersti's corner of the internet. Hunger in the North. Learn to read forum rules before posting. This is great. The mod even adds some very unique followers so you aren't Play Free. Leveled Bow. The Elder Scrolls V: Skyrim has just received a multiplayer mode, although it's not anything official from Bethesda, as an intrepid player released a special Skyrim Online mod for the PC edition Frostfall.
As the title implies, the armor is based around the stereotypical design of a pirate's armor, with a leather coat and hat with an eye patch.
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