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I had one of those "leave for London at 6:30 am, get home at 10pm" work days today, so I'm too tired to say much tonight (which is a shame because I was actually there for something interesting this time!).
I will say that on the train two and from I read about half of a book called I Was a Teenage Slasher by Stephen Graham Jones and I'm enjoying it very much. It is gory, but as usual the real horrors for me are the emotional pain, which this book is describing very well. I just have to be careful about things with teenagers dying...especially in small towns.
The comic book company IDW, in conjunction with Paramount, which owns Star Trek, has come out with a limited edition comic book series called Red Shirts, which is about the security teams in the United Federation of Planets, the first issue of which came out yesterday. Clearly from the cover and the panels you can see here, the comic series will not be shying away from the essential nature of the red shirt in the Star Trek universe, which is, to die for dramatic story purposes.
As most of you know, I wrote a book 13 years ago called Redshirts, which essayed this same concept, albeit not in the Star Trek universe specifically, and it did pretty well, becoming a New York Times best seller and winning the Hugo Award for Best Novel, among others. So how do I feel about IDW/Paramount now coming in and releasing some comic books with almost exactly the same name?
I feel fine about it. One, I don’t own the trademark on “red shirt” or any variation thereof (nor did Paramount when I wrote my novel, I checked), and I wrote a novel, not a comic book series, and anyway I borrowed the concept from Star Trek’s fandom, from whence the phrase came. I can’t exactly get worked up if Paramount and IDW reappropriate a concept I appropriated in the first place. Second, the phrase and concept have been used by others in other media before – there was a card game with just about the same title a while back, as just one example. We’re all working in a same pool. Overlaps will happen.
The only real issue — one I’ve already seen online — is that some folks appear to think I have some participation in this IDW limited series. I don’t. I’m not the writer (a fellow named Christopher Cantwell is), nor did anyone involved in this comic get in touch with me. Not that they should have; from what I can tell about the story it has only the vaguest common elements with my own novel. It’s its own thing, and should be appreciated as such. I mean, I hope it’s good. I wouldn’t want something even mildly adjacent to my own work to be junk. The early reviews I’ve seen of the first installment seem to be pretty positive. So there’s that.
Anyway: Nope, not based on my thing, nope, they didn’t check in with me, nope, I’m not upset at that, and nope, I shouldn’t be upset even if I were. Give it a shot and see if you like it.
— JS
Challenge #5:
Journaling prompt: Be a carnival barker for your favorite movie, book, or show! Write a post that showcases the best your chosen title has to offer and entices passersby to check it out.
Creative prompt: Write a fic or original story about a character reluctantly doing something they are hesitant about.
Sometimes, we all need a friend. And sometimes, that friend is a robot that accompanies you to social events so you don’t have to go alone. Follow along in author Allee Mead’s Big Idea as they tell you about how real life feelings of disconnection led to their newest novella, Isaac.
ALLEE MEAD:
I began writing Isaac at a time in my life when I felt disconnected. I had friends at work but didn’t see them much outside of it. I didn’t chat with my grad school classmates. My most cherished loved ones lived a 5-hour drive away. One day, my town was putting on a free concert of a 90s band whose music I enjoyed. I texted only one person to see if she wanted to go, but she didn’t see the message until the next day.
I began imagining a woman who owned a humanoid robot (“android” is the correct term, but “robot” was the word bouncing around my head) purely for social events. She kept him in the closet and only powered him on when she wanted to go to a movie or restaurant. In this vision, the robot finally gained enough sentience to ask if she’d leave him on for the night; eventually he left the house to see the world.
I wondered what kind of character this nameless woman was: where she’d gotten the robot, whether she had enough initiative to purchase him or if she somehow stumbled upon him. The story snowballed until the woman had a name and an estranged family and the robot had a clearer purpose.
Now, despite writing a futuristic story about androids, I’m not a fan of new technologies. I got my first smartphone in 2015 at the age of 24, but I still power on my laptop anytime I want to make an online purchase. I don’t have social media and I once asked a friend if I could drive to her house and drop off cash instead of setting up Venmo. I’m at best ambivalent about technology’s ability to help people connect. I’m also someone who tends to sit on the fence instead of developing a clear opinion about something.
So as I wrote Isaac, I asked myself, “What ways will Isaac help Eleanor reconnect with the world, and what ways will he limit her?” I wrote scenes where Isaac’s presence encouraged Eleanor to go out more than she normally would: to see movies, plays, and concerts; to try new restaurants; and even to go to a bar on a crowded weekend night. I also wrote a scene in which Eleanor is all dressed up and ready to go out, only to find Isaac in the middle of a software update. She misses the play she wanted to attend, stewing in anger until Isaac enters the room. In another scene, her workplace is planning its annual picnic; Eleanor’s excited to go until she can’t think of a story to tell her coworkers about why Isaac isn’t eating.
Ultimately, I cut these last two scenes. What I potentially lost in deleting these scenes of technological limitations I gained in the juxtaposing moments of Eleanor’s fathers John and Javi. While we don’t see John wrestling with new technology, we watch him connect with Javi. Javi, who easily makes friends wherever he goes, encourages John to reach out to his therapist and join a parent support group. John learns that he doesn’t have to do everything on his own, and Javi learns to put down roots. In these moments, it’s less about the limits of technology and more about the benefits of genuine human connection in its many forms: platonic, romantic, and community.
Isaac: Amazon|Barnes & Noble|Bookshop|Space Wizard Science Fantasy
Author socials: Website
This comes via Monterey Bay Aquarium, which writes:
Congrats to our west coast neighbor, Oregon, for launching their program to manage packaging, paper, and plastic food ware! This big step will modernize Oregon's recycling system by increasing recycling rates, reducing waste, and improving access to recycling services while shifting costs to producers who create the waste in the first place. In California, SB 54 is poised to go a step further by reducing the amount of single-use plastic produced. Governor Gavin Newsom signed SB 54 into law to reduce costs for consumers by making producers pay for the waste they produce.
This Plastic Free July, we are encouraging Governor Gavin Newsom to break up with plastic and remember that robust implementation of SB 54 is the consumer and environment friendly thing to do.
“We applaud Oregon for stepping up to address single-use plastic. With SB 54, California has the chance to go even further by not just managing plastic waste, but preventing it.” – Amy Wolfrum, director of California Policy and Government Affairs, Monterey Bay Aquarium.
We can make a world without plastic that’s healthier for people and our ocean planet.