My wonderful day job employer has moved me to the Chicago area, specifically near Naperville, which is yet another in a long string of cosmic coincidences in connection to my good friend Tim from Stockton — because he lives here too.  We run into each other on airlines, we move to the same city at random, it’s just weird.

Good weird, though — not bad weird.

So now here I am in my new little cottage, my back yard literally right up against a forest preserve full of wild animals, with uber high speed Internet and affordable rent.

And now it’s time for me to hunker down and start working on the second draft of my novel.

So that is what I’m doing.

Also, any writers out there in the Naperville, Lisle, Wheaton, Warrenville, Winfield, Glen Ellyn area … a shout out to you.  Let’s either form a writer’s group, or let me know if there’s an opening in an established one.

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The RIAA and big media are spreading mis-information about copyright law to kids. The below linked site is funded and maintained by the EFF to teach kids the actual facts about copyright and fair use. This is important information to spread because big media is trying to squelch it.

Pass it on!

Welcome | Teaching Copyright

Source: www.teachingcopyright.org

This is especially disconcerting when it comes to information being shared with youth. Kids and teens are bombarded with messages from a myriad of sources that using new technology is high-risk behavior.

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My mom visited me today, in spirit at least.

She wanted to know how I was doing.  I told her that all things considered, everything was fine.  Life is good at the moment.  I’m enjoying this time on Earth.

Toward the end of her life I used to call her on my birthday and thank her for bringing me into this world.  She got a kick out of that.  Now that she’s … well, where ever she is … I’m sure she’s still happy that I’m enjoying the life that she gave me.  That I’m making the best of it, and not wasting it.

I miss her.  I hope she’s enjoying the ever-after.  Out enjoying the drifting beauty of the ether, having a Scotch & soda on a infinite veranda overlooking the rivers of Paradise. 

I got my positive nature and cheery disposition directly from her.

Thank you mom.  Turns out to be the best thing anyone has ever given me.

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I’ve worked as a professional journalist, and I make my living as a professional writer.  But this, below… this quote so irks me that I just have to share it:

“Citizen journalism is no substitute for the work of trained and experienced reporters,” said David Simon, a former Baltimore Sun writer and the creator of the HBO series “The Wire.” “High-end journalism is a profession,” he testified. “I am offended to think that anyone, anywhere believes that American institutions as insulated, self-preserving, and self-justifying as police departments, school systems, legislatures, and chief executives can be held to [account] …by amateurs, pursuing the task without compensation, training, or for that matter, sufficient standing to make public officials even care to whom it is they are lying or from whom they are withholding information.”  – from Good Morning Silicon Valley

  1. Police departments, school systems, legislatures, and chief executives are held accountable by the citizens of this country, not to the press!  This is the most pompous statement I have heard in years, and sums up exactly why “citizens journalism” is needed now more than ever.  Back in 1776 newspapers were run by anyone who bought and operated a press, and that is the “press” that is protected by the US Constitution!  They were “citizen journalists.”  When, tell me, did “the press” become a church with only anointed ones granted this elevated status?
  2. This elitist attitude by so-called professional journalists alienates the readers, many of whom are the “citizen journalists” they so despise.  Know Thy Audience, idiots! You don’t keep your readership by insulting them.  All you get is a big fat “F-U” and the loss of readers.
  3. Newspapers are not dying because of Google.  Newspapers would be in even worse shape if Google wasn’t sending so much traffic their way!
  4. Newspapers are dying because readership is changing and the newspapers are in denial.  Google is handing them business on a silver platter and they’re ignoring it and instead, actually biting the hand that is trying to feed them.
  5. If printed journalism is to survive, and it will, it must adapt to the way their readers are coming to them.

Dinosaurs died because the environment changed and they did not.

Those who own the printed news medias need to learn from the dinosaurs, or they will join them.

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Jerry J. DavisUPDATE: You know, I got so caught up in all my various busy-work projects that I completely forgot to announce that I have actually, finally, finished the first draft on this novel!  I’m going to let it sit for a while and then start in the rewrite after I move to Chicagoland in May, being that I will probably have a lot of alone-time on my hands.

My new novel is a fantasy about surreality and beer.

A big part of this novel is the main character’s contention that it was beer, not wine, that Jesus drank, and later in the novel it turns out the wine industry has been suppressing this fact for nearly 2000 years.

I love the surreal. Obviously. And I have always had a passion for beer. I’m not an expert at it, but I make up for the lack of expertise with enthusiasm. So as part of my research of beer for this book, I started a website called GroovyBrew Beer, where I tell beer stories (I have plenty!) and do beer reviews. In the beer reviews I’m searching for the taste of the beer that was in the Holy Grail.

Now, I’m going to do something a bit unorthodox and risky, but I’d doing it to both stir up interest in the book as well as motivate myself to keep working on it… I’m going to post a few short excerpts of what I’ve written so far.

Keep in mind this is a first draft and by the time I’m actually done with the novel things may be quite different.

Without further ado, I bring you excerpts of Eleven Days on Earth

The trouble with beer is that it makes you want more beer.

Jon August tried to remember the taste. He couldn’t, not really. Somewhat bitter? A bit like bread? A metallic tang? They were just words to him now, not actual sensations. He couldn’t remember, and neither did anyone else.

If enough people gathered in one place and shared their memories, then there would be beer. That’s how it worked here. But it was just his luck to land in a dead zone where everyone preferred, instead, their memories of vodka.

Some people called the place Purgatory. Some said it was Hell. To Jon it was the place after death with no beer. He’d arrived some time ago — he didn’t know how long, because time didn’t work the same way in this place — and found everything hauntingly familiar. Yeah, said others, because surrealist painters had been there in visions, and painted what they saw.

That was it. The barren red vistas, the ugly sky, the fuzzy amorphous blob of a sun … Jon had seen it in paintings. It wasn’t Purgatory, Hell, or even Heaven. It was surreality. The merged, shared hallucination of souls of the dead.

With no beer.

“They have beer in the town on the other side of Clint’s Plateau,” said the soul of Rasputin. He spoke in Russian but Jon understood — languages weren’t a barrier in surreality — but others edged away from him, like they always did. “There’s a ghost town over there, like out of your West, and cowboys drive rusty half-remembered pickup trucks and drink beer and whisky at a saloon.”

Unlike the others, Jon enjoyed Rasputin’s company. It felt natural and normal for someone to be so deeply weird in such a bizarre place. They sat together in the shared hallucination of a European tavern, though when Rasputin was around, it was a lot colder in the room, and there was straw on the floor and rats scurrying along the walls. The bedraggled, wild-eyed man sat sipping a tumbler of vodka, which had a tiny frog swimming in it.

Jon sat upright in his chair, gathering his focus. Colors deepened, edges hardened. “Pickup trucks and beer,” he said. “Why didn’t anyone tell me Heaven was just on the other side of Clint’s Plateau?”

“Heaven? You call it that?”

“Some might, especially if there’s mud-wrestling women in the saloon.”

“Ah,” Rasputin said, “it’s been so long since I’ve seen mud.” He sipped his vodka, and the tiny frog jumped up and clung to his nose. He brushed it back into the tumbler.

“You’re serious, though? They have beer?”

“Yes my friend. I have no reason to lie.”

“Where is it, exactly? Can you draw me a map?”

Rasputin’s face twisted into a lopsided frown, an expression that looked like he realized he’d just made a mistake. “Maps are of little use here, you should know that.”

“You can point in a direction. You can give me landmarks.”

“The town sits on the shores of the sands of time, right under the bridge of eternity.” Rasputin tilted his head to the side, twisting his jaw in an unreadable expression. “A very dangerous place, if the winds of the ether shift.”

“Dangerous?”

“Have you been under the bridge of eternity, my friend? It rains bricks!”

“Oh so what?” Jon said. “I’ll risk a brick to the head. It’s not like it’ll kill me.” He threw his hands into the air, a mock expression of shock on his face. “Too late!”

“Ah, well,” Rasputin said, “as there are many lives, there are many deaths. What if the next place is worse than this one?”

Jon sighed. “I just want a beer.”

Rasputin appeared to think it over. Finally he tossed down the rest of his vodka and crunched on the frog. “Outside,” he said, “I will point the way for you.”

And then later…

They walked on. The bump on the horizon grew larger. The shape suggested something like a bell on its side, partially buried, but it was the size of a large hill. A giant rock perhaps? Like the Ayers Rock he’d seen in Australia? Or maybe a building?

Off to their left he spotted a chair. It stood out not because it was an odd thing to see — everything out here was an odd thing to see — but because it seemed to be in pristine condition. Jon changed direction and walked over to it with Rasputin dragging behind him.

His eyes flowed over the dark, rich wood, the shine of it, the delicate features. Sitting on four thin legs, it appeared to have just come from someone’s shop, not even a speck of dust on it.

“Ah,” Rasputin said, “something to sit on.”

“It’s beautiful,” Jon said. “Look at the color. Like a rich dark Munich lager.”

Rasputin sat. “Comfortable, too.” He shifted his rumpled, robed frame. “And solid.”

“I wonder who it belongs to?”

“Belongs to?” Rasputin said. “Jon, you are such an American. It doesn’t belong to anyone.”

“Why do you say that?”

“The only thing that truly belongs to anyone is their memories. Nothing else.”

“Let’s take it with us, then.”

“Okay.” Rasputin stood up, and moved aside so Jon could pick it up.

It felt so light it surprised him, like it were made from balsa wood. He slung it over his shoulder, focused his energy on the horizon, and resumed walking.

They passed dogs and horses fashioned out of dry sticks, some standing, some lying on their sides. Once he nearly stepped on a black and white striped snake — not quite a snake, it had no head, just a tail on each side. It wriggled its way quickly into a hole. The chair grew heavy and then light again, depending on where they were. As they neared the giant rock, building, whatever it was, the sun began to sink for the first time since they started the journey.

“How did you know it would be night by the time we got there?” he asked.

“It is always night there,” Rasputin said.

The bloated glowing blob of fire sank to the edge of the plateau, gleaming off the top of their goal. The surface of the object was dull but smooth, and it now loomed before them like a 50 story building. It still looked like a bell, and Jon realized it looked like that because that’s what it was. An enormous, colossal bell lying on its side. When they were nearly up to it, and the sun was almost gone, Jon had to stop and sit in the chair and simply contemplate the sight.

Rasputin stood beside him. “It is unfortunate that we only found one chair.”

“Look at that,” he said.

“Yes.”

“I mean, look at it.”

“Yes.”

“That must be something that God dropped. Something belonging to Him.”

“Of course.”

“Did He lose it, you suppose, or did He throw it away?”

“Garbage of God. Yes.” Rasputin nodded. “Can I sit?”

“You feeling dizzy too?”

“No, my legs are weary.”

“Oh.” Jon slapped his hands to his knees, then stood. He took a few steps toward the bell and stopped, oblivious to his companion and the chair. “Could it be that this isn’t really big? That instead, here in the afterlife, we’re just very, very small?”

“Sometimes it feels that way. Sometimes it felt that way in life.”

“Can you imagine the sound it made?”

“Sound?”

“Yes, sound. It must have vibrated to the core of everything in the Universe.”

“I should imagine it was quite loud,” Rasputin said. “The slurping of God.”

Jon nodded, then realized what Rasputin had said. “Slurping?”

“Yes, I imagine.”

He turned and frowned at Rasputin, then looked back at the sight. His perception shifted, and Joe realized he was not looking at a giant bell half buried in the red dirt, but a chalice. Now that he knew what he was seeing, far to his right he could make out the base just barely protruding from the ground. “My God, could this be the Holy Grail?”

“I doubt that Jesus could use such a cup at the last supper, my friend. It is but a big goblet, nothing more. They call it the ‘Cup of Night.’”

“I’d call it the Cup of Wonder.”

“It’s a cup of a lot of nothing,” Rasputin said, “but it is a good place to rest.” He stood, then picked up the chair. “Oh, this isn’t heavy!” He slung it over his shoulder, as Jon had.

Jon couldn’t take his eyes off the chalice, and as they resumed their walk toward it he kept stumbling because he wasn’t watching out for obstacles. He kept wondering, who had put it there? How did it get knocked over? How long did it take for it to be buried so far into the ground? The Universe was old, very old, and this place seemed to be far older than Earth. What wonders abounded here while the Earth was still a ring of dust around a young star? What giants walked this place?

So, have I piqued your interest? Want to know what happens next? Jon ends up going through the sands of time and returns to the land of the living, himself a sort of half-ghost half-living mortal, and ends up searching for the Holy Beer, which has become his own personal Grail quest.

Why?

So that he can save the Universe, of course.

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Donnie Darko

I knew there was a reason I really liked the enigmatic film “Donnie Darko.”  It turns out writer/director Richard Kelly is a fellow Philip K. Dick fan.  I stumbled across this today in a serendipitous moment whilst searching for something completely unrelated:

First-time writer/director Richard Kelly purposefully wanted “Donnie Darko” to be a genre-busting tale that would mean vastly different things to different people. Kelly offers this explanation of the film, “Maybe it’s the story of Holden Caulfield, resurrected in 1988 by the spirit of Philip K. Dick, who was always spinning yarns about schizophrenia and drug abuse breaking the barriers of space and time. Or it’s a black comedy foreshadowing the impact of the 1988 Presidential election, which is really the best way to explain it. But first and foremost, I wanted the film to be a piece of social satire that needs to be experienced and digested several times.”

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You would think that being a natural night owl would help someone who finds himself in a time zone where his night is suddenly day.

This turns out not to be the case. My sleep pattern is totally screwed up.

Oddly, I find the pictures I’m taking here in Helsinki are as distorted as I feel. I figured out why it’s happening, but still, it’s odd.

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Ever wonder what it feels like to sell a novel? I wrote this article in 2001 right after I sold Travels to Time-Warner, and I don’t think I ever did anything with it. Digging through my archives this afternoon I stumbled upon it and thought, hey, this should be up on my blog. And so…

I was sitting at my desk, plodding though another work day – and jotting down an occasional story idea – when I got the phone call I’ve been waiting for all my life. It was the science fiction editor at a Time-Warner publishing house. He introduced himself, said he’d read the novel I’d submitted, and said he loved it and wanted to publish it. He went on to explain that my novel hadn’t gone through the final approval process just yet, but he was giving it his strongest recommendation.

I was stunned.

You ever get that feeling that you must be dreaming? That this can’t be real – and I mean, in a good way? That’s what was happening to me. It reduced my vocabulary to about a dozen words. I could barely respond with a coherent sentence. All I could say was, “Thanks!” and “That’s great!” I remember thinking that I was under reacting. I should have been doing the victory dance around the office, shouting out incoherent words of glee.

I mean, after all these years of rejection, it seemed like there should have been this huge release. Instead, I felt cautious. I didn’t want to believe it. I felt sure that if I got excited, I would be let down.

I got a call a few years back about this same novel. I’d sent it off to a friendly sounding publisher that I’d found in the Writer’s Market. It had these key words: “Likes working with new/unpublished writers.” What it didn’t mention in the listings was the fact that it was a vanity press. So this guy pumped me up about how much he loved the novel, then shifted gears, and explained that in the modern publishing model, the publisher offset costs of printing unknown authors by asking for them to pay part of the printing costs… It was like soaring with eagles and then smashing into a wall. I felt this slow burn anger deep in my chest, and I started asking what exactly he liked about my novel – which parts in particular sold him on it. He couldn’t name any, because – as I suspected – he hadn’t actually read it.

So this negative experience sat in the back of my mind while I was talking to the Time-Warner editor. I held back my excitement, waiting for the catch. The sales pitch. But it never came – this was a major publishing house, after all. It was not a fly-by-night vanity press somewhere in Utah. This was the real deal, the Big Break.

Ah, I thought. That’s the catch, though. He didn’t say it was accepted, he said it’s “being considered.” Not quite the same. Paul, the editor, was being up front with me, but I was sure fate was not. Something would happen. It would fall through.

I’m normally an optimistic person. I’m optimistic by choice – because I got tired of being so damn pessimistic. Here, however, my old pessimism broke out, took control. If I hoped too much, I knew, I would end up hurting a whole lot more.

Paul, however, was very optimistic. He talked about contract terms. I voiced a few concerns, which he assured me would be addressed (and they were). Then he started testing the waters with me about possible revisions. He would be happy publishing it as it stood, he said, but he’d noticed a few things that could be improved. I told him that I would consider anything that would improve the story. He liked what he heard, and told me he would get back to me with suggestions.

I could barely think for about three days. It was like being in some weird limbo, where all things were suspended, put on hold. I could barely do my job.

It was when I was on vacation out in California that I got the final word. The novel was a go! They had officially accepted it for publication. We hashed out the contract details and he sent me his suggestions for changes. They were slight, really, and made a lot of sense. So on and off during my vacation I was banging away on the laptop, making revisions. I finished them up just before Disneyland.

Back before this happened, I had always wondered what it was like to have a novel published. I’d imagined I’d get a registered letter with a check in it. I’d throw a big party, and then a few months later the book would be down at the local bookstore. And from then on, anything I submitted would be accepted for publication.

That’s not quite how it works, I found. The revision I did was not last time I would be working on the manuscript. You see, after the publishing editor goes through the book, then a professional copyeditor gets a go at it.

Where my editor helped improve my story, the copyeditor helped improve my writing. This time instead of emailing it to me, it arrived as an overnight package in printed form. Also, there were all sorts of forms and questionnaires to fill out, and they wanted my input on the cover, and I needed to come up with an author’s photo.

My first wife, Becky, took the photo of me while we were at Disneyland. I’m sitting in one of the rides, and it looks like I’m in a cage. I’ve got my normal goofy smile and I’m sitting like someone welded a stick to my spine. The pages of questionnaires were to help my publicist (did you catch that? “My Publicist?”) write up promotional blurbs about me. The copyedited text, which I went over very carefully, was chock full of improvements and let me know how little I really understand English grammar. I had the power to cancel any of the changes, but I only did it to a few. For the most part, I was humbled.

A little later I got a glimpse of the cover art. They’d used some of my suggestions, but not all. There’s a character in the novel, named Sheila, who is naked through a large part of the story, so it was my idea to have her sprawled tastefully au natural in front of a huge television screen depicting the “Travels” sphere, which is this multicolored ball that bounces through landscapes in a future TV program. I don’t know why, but they didn’t go with the nude Sheila. They did go with the multicolored sphere.

Then again, they didn’t get Boris Vallejo to do the art, either.

So I filled out all the questionnaires, submitted the photo, approved the changes, and signed the contract. Then came months of waiting.

I was told to expect a publicity blitz. As it turned out, this “blitz” consisted solely of a telephone interview with a New York Times reporter. We talked for about 45 minutes, and when I finally saw the article, he barely even mentioned my name. He didn’t say a thing about my book – they didn’t even mention the title. So much for fame and glory.

But, I now have a novel I can tout. I get invited as a guest at Sci-Fi conventions and I occasionally get to sign autographs. When I finally finish a second novel and start sending it out, the fact that I’ve been published before will get my manuscript a more serious reading.

And, I can say, “Yes, I’m a published author.”

For all you aspiring fiction writers out there, take my story to heart. The one thing I can accredit this small success to is persistence. As Tim Allen said in Galaxy Quest: “Never give up! Never surrender!”

It will happen. Take those rejection slips in stride. They pave your path to publication.

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You are a science fiction writer. Your finger is on the pulse of technology and society’s trends. Closing your eyes, you can see the world of tomorrow, and with your talent you craft a great work of fiction set in this world you envision.

It takes time to craft a novel. Even after you’ve finished the first draft, there are successive rewrites, and publication woes, and printing and distributions lag times. When your readers finally get a hold of it, there’s a problem. The acceleration of technological advancement has overtaken your vision of the future. A good portion of the science fiction in your story has become reality, or worse, invalidated.

How do you avoid it? Plan for it. Deliberately.

Many of the classics have a timeless quality about them. There’s something about these works which sets them out of time’s reach, so that they’re as fresh now as when they were first printed. While there’s no sure way to write something that will become a “classic,” there is a way to make sure your writing is timeless.

One way is to write your story as a period piece. This works with SF stories where the events don’t change history as we know it. Think “thwarted hidden agenda.” (Author Tim Powers is especially good at this.) Choose a setting either right now or some date in the past. State the date, the place, and incorporate real historic events – this helps build solid suspension of disbelief, and adds an air of authenticity. By it’s very nature this type of story can’t become outdated. It exists in time, as history.

Another method is to use a break in reality. Create a future event, without a date, that resets expectations of what comes afterwards. It could be nuclear war, or plague, or maybe an alien invasion. It could also reset the year counter, so that even the date is removed from reality. So if your story takes place a hundred years after this event, instead of being year 2101, it could be year 100. That puts your story completely outside of time.

Of course, you could also set your story in a place entirely removed from our reality. This could be another world, or an alternate reality, or so far in the future or past that there’s not even a remote connection to the here and now. Remember the phrase: “A long time ago, in a galaxy far, far away…”

There are always stories that, by their very nature, need to be set in a specific point in the future. Even if time passes them by, the strength of the story itself pulls the reader past the fact that it’s outdated. Look at “2001: A Space Odyssey.” Personally, I don’t care that time has caught up to this classic. So don’t feel you have to try for timelessness in everything you write, but keep it in mind when you feel you’ve come up with your magnum opus.

Not many things suck as much as finishing that big, wonderful, complex story only to have something happen in reality to make what you’ve written completely implausible.

Trust me, I’ve learned this the hard way.

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Another writer gone. I remember first reading Philip’s story “Riders of the Purple Wage” in Harlan Ellison’s “Dangerous Visions” anthology. His works have always been a wild ride.

RIP Philip.

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