earldom micawber: May 2012

Monday, May 28, 2012

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WHODUNIT ? AND HOW? Crime writer Peggy Blair hits the big time ...

A stroke of good luck led Peggy Blair to a solid agent with great connections. In the wake of her successful first foray into the world of fiction, the mystery writer offers an insider?s look at the trials and tribulations of getting a first book published? By Mark Bourrie

Peggy Blair thought she had pretty thick skin. After three decades working high-stress jobs as a prosecutor, Aboriginal rights lawyer, and trainer for mediators in the post-war Balkans, she believed she could take her knocks. But she says nothing could have prepared her for the harsh ? and sometimes downright nasty ? world of book publishing.

In mid-life, Blair decided it might be fun to write a cop thriller. It should be a breeze, she thought. After all, she had read thousands of them over the years and knew how they were structured and crafted. She had even written a previous book, albeit non-fiction, that had been published by a prestigious press (Lament for a First Nation explored an Aboriginal fishing rights dispute in southern Ontario). And so she looked forward only with anticipation as she sat down at her computer in the spring of 2009 to craft her first novel. It turned out that writing the book was the easy part.

For years, the busy lawyer had spent her time away from the office reading cop thrillers. They provided both entertainment and escape. But over time, she began to find the stories less satisfying. She felt as if she were simply reading the same story over and over. ?After reading thousands of mystery novels, I was looking for something different ? characters and settings and a story that stood apart.?

She began envisioning her own novel, imagining her own cast of interesting characters and looking to Old Havana as a setting. (The area retained a sense of mystery, she felt, because so very few English-speaking writers have used Communist Cuba as a backdrop to their fictional works. That, of course, is in large part because the U.S. embargo has meant most American writers and tourists have never had the opportunity to visit.) For some publishers, the American reading public?s unfamiliarity with Cuba would likely be a deal breaker, but Blair was confident in her setting and had no intention of rethinking her decision to use Havana as the backdrop for her debut.

?Sometimes I look back and I think Cuba picked me,? Blair says over coffee at her Westboro home. ?My daughter, Jade, was home that Easter. I wasn?t working at the time, and she asked me what I would do. I remember replying, ?I think I?ll write a novel.? And she gave that eye roll that goes with being in your early 20s. Then the words about Cuba popped into my mind.? Blair had recently spent time in Old Havana ? a far different place from the isolated all-inclusive resorts that are so familiar to most Canadian tourists. ?Everything?s old and disintegrating. Things are collapsing. It?s a big slum. That made it all much more interesting than sitting on a beach. We had this amazing chance to know the locals and get introduced to Santer?a [an Afro-Cuban religion that would come to play an important role in her book?s plot].?

In The Beggar?s Opera, Blair?s protagonist is Ricardo Ramirez, an inspector in charge of the Havana Major Crimes Unit of the Cuban National Revolutionary Police. His problem? The troubling case of a boy who is found raped and murdered in the tourist district. What?s more troubling is the suspicion that a foreigner might be the killer. Enter Mike Ellis, a vacationing Canadian cop who was seen talking to the young beggar the night before his body was found. The stage is set for battle as two strong-willed law experts are pitted against each another ? at least in the beginning.

It took Blair just a month to write the book, and in the summer of 2009, she started sending out query letters to agents. She knew that book deals tend to be made by literary agents, rather than publishers, so she crafted a pitch she hoped would catch the attention of busy agents. (A recent survey of authors by fiction writer Jim C. Hines found that a typical published fiction writer struggles for 10 years and throws away three completed manuscripts before getting that first book deal. Most fiction novels never get published at all.)

Blair says she had to adjust quickly and eventually learned to cope with the rejection. Though some agents read the manuscript, intrigued by the book?s setting, the rejections started piling up. And though she had heard that it wasn?t unusual for a debut novelist to get rejected hundreds of times, Blair says it was still hugely humbling. At first, she says, she felt that she, rather than her book, was being turned down. ?Writing is personal, so a rejection is like throwing your baby out into the traffic,? Blair explains. ?I felt like I was running naked down the street. You put in all this time and effort not knowing if it?s going to make money, get published, or just end up in a drawer somewhere.?

As a veteran of the working world, Blair tried to equate looking for a job with attempting to get published but found, to her dismay, that having her book rejected felt much more personal. ?When you go to a job interview, everyone?s trying to be bland and inoffensive. You?re dressed up. They?re dressed up. They lob soft questions. But with a book, this is you. Everything that?s in the book came from your head. If somebody hates it, they don?t like the way you think.

?You?re putting all this between the covers for someone to judge in a very intense, personal fashion. I?m not my characters. They?re a lot different from me. But they came out of my personal experiences and imagination.?

About 70 percent of agents never even acknowledged Blair?s queries. About eight percent asked to see the full manuscript, and half of those offered real feedback. One agent asked for major rewrites, then, after Blair worked for months, sloughed her off so quickly that she?s convinced he never even read the new version. She says only a very few offered useful criticism that she then used to improve the novel.

?I realized pretty quickly that the traditional route of sending query letters out to agents simply wasn?t working. After six or seven months of rejection, it occurred to me that it had become the definition of insanity, sending these letters off again and again and hoping for a better result.? That was when Blair decided it was time to stop sending out query letters and get back to the business of making a living.

Law no longer intrigued her, so she began a new career in real estate. And the novel? Though she wasn?t bothering to send it to agents anymore, she did fire it out to several literary competitions. It would be glory or death from here in. Her thriller would win a prize and possibly get picked up by a publisher or would end up in the bottom of a drawer. Her mailing list included such crime-writing competitions as the St. Martin?s Minotaur contest in the United States, Canada?s Unhanged Arthur Ellis Awards, and the British Crime Writers Association Debut Dagger Award. She heard nothing from the States, wasn?t nominated by the Canadians, and fully expected the British to turn her down too.

?The deadline for the Debut Dagger was supposed to be the end of March 2010, but it was well into May when I got the letter postmarked from England. By then, I had totally forgotten about the entry and I was thinking, Who do I know in England?? She opened the envelope with the handwritten address and read, ?I am delighted to inform you that you?ve been shortlisted for the CWA Debut Dagger Award.? Suddenly everything had changed.

Even before she left for England in July of 2010 to attend the award announcement, she was approached by UK agents who were now suddenly interested in seeing the book. But at the Debut Dagger, the overall mood remained gloomy. The recession and ebooks were mauling the publishing business, and though many agents were in attendance, few of them were looking to offer representation. Most encouraged her to pursue real estate. Blair?s book didn?t win.

She was ready to go home and give up on the idea of being an author. That?s when Blair stopped at the near-empty convention bar for one last drink and ran into Scottish crime writer Ian Rankin, he of the world-famous Inspector Rebus novels. They made some small talk, which morphed into a real conversation when Blair told Rankin she was from Ottawa. ?I had already had my glass of wine,? says Blair. ?So I wasn?t shy about asking him if I could take his picture for the Crime Writers of Canada web page. It turns out, he had been in Ottawa the week before, at Bluesfest with his son, which gave us a reason to talk.?

Rankin told Blair to call his publisher. The publisher then handed her off to Rankin?s British agent, Peter Robinson. ?It was startling how Ian Rankin?s name opened doors,? Blair says. Robinson, who was getting ready for the huge Frankfurt book fair, told Blair to send along her manuscript, though he warned that it would likely be a few months until he would have time to read it. She emailed it that Friday. Two days later Robinson called back and left a message saying he liked the book and wanted to represent her. ?It was the most compelling thing I?ve read in years,? he told Blair?s voice mail machine.

Success! The book was considered a hot title at Frankfurt, and rights were sold quickly to a German publisher even before the book fair began. Dutch and Norwegian publishers picked up the rights during Frankfurt, but there were no takers for the English rights until a month later, when Penguin offered Blair a two-book deal to publish in Canada. Less than two years after she launched her writing career, Peggy Blair was a fiction writer with a book deal.

Penguin put The Beggar?s Opera on the cover of its spring 2012 catalogue. The book was published this past February, and Blair?s Canadian agent, Anne McDermid, is now working hard to sell movie and television rights.

So what would Blair tell eager new writers looking for advice? Although perseverance and luck both played key roles in her success, Blair says her first suggestion would be to make sure their novel is as complete and polished as it can be before they start shopping it. It might be worth paying an editor to do a first go-through on the story before it?s sent out, she says.

Now that she has been published, Blair says, a number of writers have sent her manuscripts to peruse with the hope that she might help them find agents or publishers. ?I see the same mistakes over and over. I used to wonder how agents could decide whether a book worked just by reading the first few pages. Now I know.? She notes that even if a writer has great plot ideas and solid characters, an agent is not going to give them the time of day if the writing doesn?t draw them in. ?Agents don?t have time to edit. If it?s not in near-perfect condition, they?re not going to look at it.?

For her part, Blair has seen her star continue to climb in the aftermath of her fortuitous chance meeting with Ian Rankin. Solid backing certainly helps when it comes to getting heard above the general din. Even before it was published, The Beggar?s Opera was reviewed by Quill and Quire, an influential book trade publication. ?? the direct commanding tone sets the stage for the impressive police procedural that follows, one that is as much about a detective facing his own dementia-induced demons as a country in the midst of political turmoil,? the reviewer wrote.

Another positive review, this one in the National Post, described Blair?s debut novel as unfolding ?with an artless ease: the investigation and its developments are both compelling and convincing, a genuinely mysterious mystery that manages to both surprise and maintain its internal integrity.?

Not a bad send-out for a book that one agent dismissed as ?de trop.? Blair made it past that little insult the same way that she pushed her book into print: persistence. Her second book ? The King?s Indian, on bookshelves next February ? is already written, and she?s been told it?s even better than the first.

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Sunday, May 27, 2012

Google Didn't Infringe on Oracle Patents, Jury Finds

Android and Java logos Google has claimed victory in the second phase of its high-profile legal battle with Oracle.

A U.S. federal court jury ruled that the company did not infringe on Oracle patents with its use of Java components in its Android platform. The jury found against Oracle in each of the eight claims it was asked to assess.

The ruling brings an end to second phase in the two companies' ongoing battle over the use of Java code in the Android platform. Oracle had previously won a partial victory on the matter of copyright infringement, though the jury remained split on other elements of the case.

While the decision brings an end to the jury phase of the trial, the battle between Oracle and Google looks far from over. A number of issues remain to be resolved and appeals from both sides are likely.

"[The] jury verdict that Android does not infringe Oracle?s patents was a victory not just for Google but the entire Android ecosystem," Google said in a statement.

At the time of publishing Oracle had yet to respond to a request for comment.

The patent portion of the trial represented a far less important phase than the copyright matter, according to Florian Mueller, an intellectual property expert and activist who has closely followed the case.

"It would have been desirable, but less than secondary, for Oracle to prevail on its patent claims," Mueller wrote in a blog post.?"Oracle itself made this set of priorities perfectly clear when it offered in mid-January to stay, or dismiss without prejudice, all of its patent claims in favour of a near-term copyright trial."

Mueller said that the next key step in the case will likely be a decision from the judge regarding copyright eligibility in a number of Java APIs.

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Dana White: Brock Lesnar might want to come back

During the UFC all-heavyweight main card at UFC 146 on Saturday night, one of the promotion's best-known heavyweights was sitting in crowd. Brock Lesnar, who recently retired from the UFC and went back to a career in pro wrestling, was shown on camera. He was just there as a fan ... right?

Well, maybe. UFC president Dana White hinted there may have been more to Brock Lesnar's attendance than a weekend trip to Las Vegas.

"He texted me and said, 'I want to come to the fight, but keep it quiet because I don't want to tell anybody,'" White said. "He said, 'What are you doing tonight? ... I want to talk face to face.'

"You never know with him. He might want to come back. He might just want to hang out."

Lesnar's career in the UFC just had seven fights, but four of them had a title on the line. He beat Randy Couture for the belt in his fourth MMA bout, and appeared unbeatable after a title defense against Frank Mir. A bout of diverticulitis slowed Lesnar, and he lost to Cain Velasquez and Alistair Overeem in his last two MMA bouts.

After walking away from MMA in December, Lesnar returned to WWE. His most recent matches featured a loss to John Cena and then a win over Triple H using a Kimura, a Brazilian jiu-jitsu moved he learned as a fighter.

Though he did lose his last two fights, Lesnar's talent cannot be denied. He was an NCAA Division I champion, bringing wrestling skills to the cage. He was also an unrelenting striker.

Though it's been just months since he left the UFC, he would be returning to a division that is stronger than ever. Junior dos Santos defended his belt against Mir and Velasquez TKOed Antonio Silva at UFC 146. Daniel Cormier just won the Strikeforce heavyweight grand prix and emerged as a contender for the UFC belt.

If his face-to-face talk with White does lead to a return, Lesnar won't get an easy fight. He will make the already-intriguing heavyweight division more interesting.

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China detains official for rapes after online uproar

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CIA remembers those lost in covert operations

WASHINGTON (AP) ? The CIA is remembering those lost in the hidden, often dangerous world of espionage, adding a new star to the intelligence agency's memorial wall and more than a dozen names to its hallowed Book of Honor.

The new star carved into the wall is for Jeffrey Patneau, a young officer killed in a car crash in Yemen in September 2008.

"Jeff proved that he had boundless talent, courage and innovativeness to offer to our country in its fight against terrorism," said CIA Director David Petraeus at a private ceremony at CIA headquarters this past week.

Petraeus' tribute was the first public identification of Patneau. The stars on the memorial wall at headquarters in Langley, Va., bear no names.

Yemen, the ancestral homeland of al-Qaida leader Osama bin Laden, was the site of the 2000 bombing of the USS Cole, which killed 17 American sailors. Patneau was part of the fight against militants in the country in a tense year in which the U.S. Embassy in Sanaa was attacked.

With the addition of the star for Patneau, the wall now commemorates the lives of 103 Americans who died in service of the CIA, "never for acclaim, always for country," Petraeus said at the annual event attended by hundreds of employees and family members of those lost. The rememberance came just days ahead of Memorial Day, when the nation remembers its military veterans and those who died in war.

The addition of 15 names to the CIA's Book of Honor means family members can openly acknowledge where their loved ones worked when they died.

Leslianne Shedd was lost when hijackers forced down her plane over the Indian Ocean, killing more than 125 people.

"Everybody who was on the plane with her who survived said she was not at all scared," her sister, Corinne Collie, told The Associated Press on Saturday. "She was saying it's all going to be okay, holding the hand of the person sitting next to her."

Collie says the agency approached her family a year ago, saying it was now possible to acknowledge her death ? likely meaning the cases she had worked on had been wrapped up, or staff she worked with had either retired or were no longer in harm's way. Collie said being able to share what her sister did has been a relief.

"To lose a sister and not be able to talk about the full picture of who she was has been hard," said Collie of Tacoma, Wash.

"The biggest relief is my parents ... get to acknowledge and brag about her, especially my dad," she said.

Like Shedd, most of those honored were killed in the clandestine war on terrorism, the list reading like a grim roll call of terrorist acts of the last three decades. Matthew Gannon was among the victims of the December 1988 bombing of Pan Am Flight 103 over Lockerbie, Scotland. Molly Hardy was killed in the August 1998 suicide bombing of the U.S. Embassy in Nairobi. She urged others to take cover as she was hit by the blast from an al-Qaida car bomb.

Jacqueline Van Landingham was killed in a terrorist attack in Pakistan in 1995. The CIA did not disclose how she died.

CIA officers face constant threat in Pakistan, hunting and hunted by the Taliban and al-Qaida. They often play a cat-and-mouse game with Pakistan's intelligence service, sometimes able to work with them and sometimes forced to work around them to gather intelligence on al-Qaida's militant diaspora. U.S. officials say it gets support from elements of the Pakistani government.

Five of those remembered were victims of the April 1983 suicide bombing of the U.S. embassy in Beirut that killed 63 people.

Among the CIA officers lost was Phyliss Nancy Faraci, "one of the last four Americans evacuated from the Mekong Delta when Saigon fell" during the Vietnam War, according to CIA spokesman Todd Ebitz. Faraci had volunteered to work in war-torn Beirut.

Deborah Hixon, a young officer fluent in French who volunteered for a temporary posting there, also died in the attack. Frank Johnston was a 25-year agency veteran who had accepted the assignment though he was close to retirement.

Paramilitary officer James Lewis, who had joined the CIA after his military career, and his wife, Monique Lewis, also were killed. Lewis was "only hours into her first day as an Agency officer when the bomber struck," Ebitz said.

___

Dozier can be followed on Twitter (at)kimberlydozier.

___

On the web:

https://www.cia.gov/library/publications/additional-publications/cia-memorial-wall-publication/index.html

http://www.ciamemorialfoundation.org/

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Fantastic Methods If You're Looking To Buy Real Estate | Online ...

Purchasing a home is probably going to be the biggest financial decision in your life. Always make sure that you?re fully informed before you put your money down. Check out this article and find out what you?re missing about buying real estate.

Ask your realtor for information on sales from their brokerage or themselves over the last year. This can be a determining factor in whether or not you have a strong enough realtor making decisions with you. This gives you a good idea of both their experience and strengths in the real estate market.

Before you even step foot into a mortgage lender?s office, check out your credit. You do not waste your time or the time of the Realtor by applying for a loan that you cannot get because your credit is not good. You can check your credit score online or at a credit bureau office.

If you find the right real estate, do not hesitate to move forward. Many buyers spend time wondering if there might be something better or if they have made the right decisions. Not making a move on the right property can result in someone else purchasing before you can get the deal done.

Always be sure that you check the wiring in any property you buy. You will need an inspector for this most likely, but because the wires are behind the walls, damage is something you won?t be able to see with the naked eye. The last thing you need is an unexpected electrical fire in your property.

When buying real estate, make sure to investigate similar real estate properties in the area to ensure that the price being charged is in line with the neighborhood or property type. If the property is overpriced in relation to the neighborhood, it gives you some negotiating power with the seller.

When you?re buying a house, make sure you check first to find out if any unauthorized work has been done on the house. If the previous owner has added on to the house or remodeled part of it without the proper permits, you could end up being responsible for bringing the work up to code.

Finding the right neighborhood for first- time buyers can be hard. Many people struggle with this. A great way to find the perfect neighborhood for you is by doing your research online and touching base with some local real estate agents. Many websites online deal with statistics of what kind of people live in an area and how high or low a crime rate is. Calling a real estate agent in a local area can be of big help too; they can give their personal opinions of a given neighborhood. These are some tips to help you find the right place to live.

It?s important that you?re working hard to make the right decision. Take advice, but don?t let others make the decision for you. Take advantage of these tips, they will assist you in your decision-making. You can find the right property, and even save some time and money in the process.

I will advice anybody to have a look at Luxury Houses in Beverly Hills and Beverly Hills homes for lease

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Wednesday, May 23, 2012

Internet Scams Earning Millions, Report Investigators

According to the FBI?s Internet Crime Complaint Center (IC3), internet scams including identity theft, romance and advance free fraud have cost the U.S. over $450M USD in 2011, and those figures only account for reported crimes.? It is estimated 80% of such crimes go unreported.

Most common scam targeting Americans is cyber criminals approaching internet users on social networking sites and online dating sites, trying to be your ?friend? or gain your confidence.? Once they have an open line of communication, they can usually proceed to steal your identity, or money.?? The combinations and approaches used are endless, and anyone can be a victim.? In some cases the red flags are easy to spot, in other cases it may only take clicking on a link.?

Online shopping is also a main concern of internet security for the American government, the FBI and international investigators, as millions of emails are sent everyday offering victims bargains and deals that seem confusingly legit and authentic.? All it takes is a click on a bad link, or a visit to the wrong website and your computer maybe downloading a virus to take your passwords.

Overpayment fraud is a big concern now-a-days as victims get a check with instructions to deposit it in a bank account and send excess funds or a percentage of the money back to the sender. Private investigators explain that if caught, the sender (usually the victim) could also be charged in the scam, even though he was not aware of the crime he was committing when sending funds.

Most of these types of crimes come from people overseas located in the Philippines, Nigeria, Ghana, Ukraine, Russia, Malaysia and China, although there are no criminal operations from all over the world including the developed nations.? For a list of countries where private investigators actively screen for fraud and scams, click here. Before making any payment, consumers should confirm where does money comes from and who they are dealing with.

The Internet Crime Complaint Center has reported that financial losses in 2011 were over $450 M USD, and romance scams are playing a major role in crime trend.? With more people connecting on social media and online dating sites like Match.com and Facebook, there is more fraud risk in relationships and more verification needed.? Profiles are easy to fake and identities are easily taken from the internet, so verifying someone you met online is often very difficult or impossible without the help of a trained private investigator or reputable private investigation firm.

Even all the efforts to inform the internet community about the threats of internet relationships, people still want to believe they are dating someone who is decent and honest, and find hard to believe the person on the other side of the wire can be a professional criminal.

Internet scams usually result in monetary and emotional distress for victims, and the crime is more serious than more people believe.? The result is also very costly to the global economy.? So, do yourself and the world a favor and be cautious in relationships on the internet.

Best of luck,

A Hathaway
? 2012 A Hathaway

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Tuesday, May 22, 2012

Monti offers help for earthquake zone

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Video: Tuesday's Markets Start with a Bounce

The "Squawk on the Street" news team reports the latest market moves, the Nasdaq's CEO faces shareholders today and discusses the Facebook "blame game."

Google glasses gets raft of new patents, sniffs lawsuits coming from miles away

Google will find four more granted patents for Project Glass sitting on its over-sized doorstep this morning. The company can now claim rights over the design of the right half of the device, where the camera hangs over the eye and where the innards are housed within the band along the side. It's also patented the nose-pad sensor that knows when it's being worn, plus the ability to represent ambient sounds on the screen with range and direction info. Finally, it's also got rights on using each eyepiece as a separate display, with the example shown above demonstrating a map in one eye and navigation instructions in the other. The more we sift through the paperwork, the more we're reminded of the Dominion Warship headsets from Deep Space Nine -- but that could be just because we've been locked indoors for too long.

Google glasses gets raft of new patents, sniffs lawsuits coming from miles away originally appeared on Engadget on Tue, 22 May 2012 09:31:00 EDT. Please see our terms for use of feeds.

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Monday, May 21, 2012

Discussing Sci-Fi Storytelling & World Building with Writer Jon ...

by Brandon Lee Tenney
May 21, 2012

Prometheus is coming. It's merely weeks away. And to say my hopes are interstellar-ly high would still, somehow, be an understatement. Thankfully in this interim before I get to soak my brain in Ridley Scott's latest sci-fi odyssey, I've had something in my back pocket to get me by, that today, with this article, I'm going to share. It's a taste of the very beginnings of Prometheus from the man in the very engine room of the ship itself. Screenwriter Jon Spaihts speaks more clearly and deftly about writing than almost anyone I've heard. He's the credited writer of The Darkest Hour and co-credited with Damon Lindelof on Prometheus, but it's his unproduced sci-fi work for which he's most known and for which he has become so sought after.

One of his unproduced scripts, Shadow 19, is a big, bold sci-fi head-trip that toys with the basest notion of man versus self versus nature while exploring a side of teleportation that no other film has even attempted to traverse. And then there's Passengers. Passengers is one of the best scripts I've ever read. It's beautiful. It's simple and complex at once. It's the story of a man who's awoken too early from suspended animation in the middle of a 120+ year interstellar journey. He's alone. But it's his decision whether or not to awaken another for company that sets this story apart. The small, laser-focused character story, the relationship drama of that moral dilemma, set in relief against the huge, sci-fi spectacle is awe inspiring.

That's what Jon Spaihts does best. He creates worlds. Worlds we haven't seen before or have only seen in passing, but haven't yet truly explored. He builds environments for his characters to inhabit that mean just as much as the characters themselves. When we first sat down to discuss Prometheus and his science fiction work, it's that knack for world building and set-up that I was most curious about. So, to kick things off in our discussion, I asked Jon just where he starts his stories when a new story needs starting. Let's begin:

When you are ready to write something, do you look at characters first or do you look at the world you are writing in? (When you are creating a new story.)

Jon: It's a good question. And I think, for me at least, a story is never born the same way twice. But if I had to guess the form the process most often takes, it would be that I begin with a predicament. And almost instantly that predicament calls into being a character who answers that predicament appropriately.

In Shadow 19, a soldier sends essentially clones of himself on a suicide mission again and again, each clone knowing a little bit more, having trained a little bit more, armed a little bit better, until finally one of those clones completes the mission and comes home again, which was never supposed to happen. The character you need to send into that predicament must be a superlative soldier, because that's the virtue on the basis of which he's been called, and he must be arrogant and unwounded, untouched, a perfect solider so that in this crucible, this hell world to which he's sending copies of himself, he is humbled, he is broken, he is wounded, he becomes wiser and comes home a better man than he left.

So, to some extent, the predicament dictates the character. In Passengers, a colony ship is flying to another world on a 120-year voyage and 30 years in, while everyone else is sleeping in suspended animation, one man wakes up too soon. And he's got to live out his life alone on this ship and die of old age before they arrive at their destination. What kind of man should that be? That guy needs to be the fellow who struggles a little bit with his own feelings so that the experience of isolation and solitude bear on him and sort of force him to become a philosopher over time. But he can't begin a philosopher, or he wouldn't have a sufficiently difficult time.

He needs to have a yen in his heart for love so that his isolation weighs on him so that he will go and seek love, which leads to the moral crisis of the film. And he should be a guy who will try to fix his predicament technically and fail. He needs to try to get out of his problem and be unable to, which boxes him into his moral dilemma. So he's a mechanic, but not at a gifted starship-building level. He's not a nuclear physicist or a rocket scientist. He is just a mechanic. So he's got a shot of improving his lot in some ways. And maybe, if everything breaks right, at saving his life somehow. But it won't be easy. His tool set is insufficient to the task. And so he's far outside his comfort zone.

And there again, I feel like the kind of guy that hero needed to be was called for, summoned out, really, of thin air by the predicament itself.

He'd have to be someone who's willing to leave earth behind, too.

Jon: Right, exactly. He's got to be somebody who'd go get on a colony ship, leaving his entire life behind so that everyone he knows will age into old age and die before he arrives. It's a grand kind of geographical suicide. And it takes some kind of break, some kind of... more than an impulse. Some real need and a yearning to lead someone to such breaks. And yet, people have done it all the time. In older days of immigration, many people from poor families in Europe came to the United States for the first time. They came a long ship's journey that took every penny they had, with no prayer that they would ever be able to afford the journey home or that any of their relatives would follow.

They might receive a few letters, but many of those early immigrants from poor families were essentially committing suicide out of their own world to be reborn in a new world. And that impulse fascinated me. And it becomes a through line of Passengers. And that's the feedback cycle that, if you tap into it the right way, will deeply enrich your story. The predicament gives birth to a protagonist. Your protagonist character then informs a story. And if you just map the predicament without giving thought to that character, you come up with a certain scaffold. But following that character's heart, that character's bliss, that character's fear and flaws through the course of the story, you generally come up with surprising events and shapes you didn't expect when you were first outlining your technical predicaments. The two things interweave in a really beautiful way if you've got the balance right.

I think no matter how dazzling a cinematic background you lay behind a story, you are only going to invest to the extent that you connect to the characters you are watching. There are three motives of story that matter: having something that you hope for, having something that you fear, or having a burning question that you need answered. Any one of them is sufficient. If you can have more than one of them running at one time, or all three?you can be afraid of one thing and fearful of another and desperate to understand some mystery that's been dangled in front of you, then you are maximally engaged, all three motors running.

Lacking those three motors, what you've got is idle curiosity. "What's going to happen next? And now what's going to happen?" And idle curiosity is a very weak form of engagement. I guess you can sprinkle a little salt on that if you are putting a technological spectacle in front of the audience where they say, "Well, what can they do now? Now what can they do?" And you sort of see planets cracking in half and things transforming into robots, and what have you.

But you bleed for a story when you see someone striving to rescue someone they love, or someone making a horrified realization that they are not who they thought they were, or that they have to make a devastating moral choice. You get into a story when it shows you a horrible new fate that can befall someone. And suddenly, a hero you've come to know is fleeing a kind of fate you never imagined before. That's investment, where you are given things to hope for, things to fear, things to wonder at.

The other thing science fiction gives you is the emotional correlative. We all experience the daily events of life rather cataclysmically. We're fired from our jobs, we get dumped by someone we love, we chase some dream and it falls into our hands, we kiss someone we've had a crush on for a long time, something irreplaceable breaks. These experiences we have, we experience cataclysmically. It's as if one thousand-foot chasms opened up in front of us or colossal tidal waves crush us and the moon fell from the sky. We feel like that. We feel transformed into monsters.

And science fiction allows you to externalize those commonplace emotional experiences, those commonplace emotional extremes with comparatively extreme macro events; the world can reflect your internal experiences proportionally. And I think that's what science fiction does when you are doing it best.

I don't mean to jump into discussing Prometheus too early because this is such a great topic. But I asked Jon, because the way he is describing it is perfection in designing a script. But I wonder, with Prometheus, did the world come first? Did he have to say, "We exist in this Alien universe. How do we build around it?" Or did you go into it with that predicament and those motors first. And obviously, I don't want to ask what it was specifically, because we'll eventually find out...

Jon: The universe of Alien comes with rules of two kinds. It has a certain technical lure, which has become canonical and was very well known by large population of fans. So you have to play according to those rules. It also comes with narrative archetypes. You can't return to that world and do a musical comedy, or a western, or a straight detective story, because what's the point? The world contains not only trappings of science fiction, but trappings of narrative. There are archetypes, dualities.

In the universe of Alien, you look hard at the duality between humanity and the beast. You look hard at the duality between humanity and artificial man, the android. And that duality is always present in an Alien film. You look hard at the duality between humanity and the corporation. And that duality is always present, that rift. I think those forces need to be active in any story you tell in the Alien universe or you are breaking the franchise.

So without tipping my hand about the nature of the dilemmas that called the characters forth, there definitely was a landscape of narrative that was kind of binding. There was going to be a corporation. There was going to be artificial humanity. There was going to be an alien menace. And there was going to be remote interstellar travel. There are also things that I think are hallmarks of Ridley's seminal first Alien film that you want to pay homage to in any film that returns that that universe.

I think the story properly told in that universe, the menaces should be few in number but very terrible. The world should be dark and claustrophobic, and there should be many shadows and hiding places. You should be removed and isolated with no hope that help will come. You should be confronted by a sense not just of menace, but an ancient menace of stories set in motion long before your arrival that are bigger than you. I think all of those are qualities of that first film that it was very important to me to honor going forward, or in this case, going back.

So, from his answers so far we have the very seed of Spaihts' worlds: the predicament that calls forth the characters most?and, at first, least?suited to deal with that particular predicament, which then leads to the motors of placing those characters in situations where they will, if done correctly, hope for one thing while fearing another all while attempting to answer a burning, fathomless question. (Continues below.)

Michael Fassbender in Prometheus

What, then, does Spaihts look to for his inspiration? What is the world inside his head populated with so that he can then populate the worlds before our eyes? And what about the world of science fiction (and movies) in general: what has changed? How is it evolving? Will we see more "space operas" again?

Jon: Well, the stuff that is most evocative for me is the science fiction that I was reading when I was a kid, which was the postwar short fiction and Cold War short fiction that was written in a world still trembling from the aftermath of WWII and the Cold War that followed.

And in that time we saw one of the most monumental depictions ever of humanity's ability to be utterly inhuman to other human beings. The possibility of genocide at an industrial or planetary scale. We saw atomic bombs used in war, weapons of mass destruction that beggared the imagination. And then we saw even greater weapons tested. The hydrogen bomb became real and two vast super powers scrawling over the globe, arming themselves with these weapons, and the possibility of destroying our entire planet became not just believable but real.

And, at the same time, the space race began in a technological push that was inextricably tied up with the arms race between the Soviet Union and the US. We put men on the moon and looked outward at Mars and the prospect of space travel became grippingly real at the same time. And Star Trek is born in that era. So, there was this incredible tension in the psyche of every thinker in the world between the yawning abyss that had just opened up, the possibility of real destruction, real evil, civilization ending cataclysms. It put the end of the world in everybody's mind. And, at the same time, this infinitely beckoning of possibility of outward flight, new worlds, infinite future was opening up.

So we felt the pull in both directions. And I think it created vast science fiction. I think the science fiction of that era remains some of the most powerful that's ever been written. Since then, we've become less macrocosmic.

Unfortunately.

Jon: Yeah. We went through John Varley to William Gibson and Neal Stephenson; we looked inward. We looked inward at hacking the body, inward at hacking the brain. We dove into cyberspace. We got into the micro rather than the macro. We tunneled down into the code, into the dysgenic spiral, into the cells. And there are great questions there of identity, of the soul, of what's biological real, what the nature of humanity is precisely. But we lose the scale of the space opera that preceded it.

I suppose what I am striving toward is a revival of the scale of the space opera in the light of all these newer developments. So I don't want to lose cyber punk and I don't want to lose web head thinking. I don't want to lose hacking the body and all of the rich questions those things bring. But I want to bring back the macrocosmic space opera with high concept driving that story.

Is there a certain amount of hope in space opera as well?

Jon: Yes. It has that techno-optimism.

Something like Arthur C. Clarke's Rendezvous with Rama is all about that hope of new life and discovery, but the insidious nature of the unknown. And that's what space opera is, and that's what I've been missing. And it's so refreshing and wonderful to hear that want to revive it.

Jon: When you look at Rendezvous with Rama, you see a tremendous tale of hope. Here's the work of a civilization far greater than ours capable of manufacturing artificial worlds and sustaining life in one way or another for eons between the stars, and are presumably engaged in travel and colonization of new worlds.

And, at the same time, the spacecraft explored in Rendezvous with Rama is utterly alien, and unknowable, and unfamiliar, and therefore frightening. It existed on a scale that suggests terrifying things about its creators.

Just in its potency makes it plain that there is, or at least was, some race of beings out there that could swat us like fruit flies, against whom our best tricks would be the tricks of children. And that's terrifying. Even if they are benevolent, that's terrifying.

Not to get too off topic, but at the end of that book, what's so powerful is that they could swat us away like flies, but they don't even care to.

Jon: Yeah, we are literally flies.

They don't even... we think they are here for us. But we're just another blip for them. They're going somewhere else we can't even know...

Jon: And we just crawl around like bugs on their spacecraft for a pinprick of time and disappear again. We're not even a glitch in the program.

Is that more terrifying? I mean, I think so.

Jon: The great fear and great dream of science fiction is that we long to be significant. The Matrix?fantastic high concept science fiction?and the horror in The Matrix is of office-cubicle insignificance of a rat race of anonymity, of being lost in the hum of modern life somewhere in an office building, in a cubicle, facing a laptop; you are nobody. And then, of course, the great fantasy of The Matrix is rising to upmost significance, to world altering messianic significance. What if you were not just someone, but "the one"?

He's referenced some amazing works, both on the page and screen so far. But so then how does he tackle the unknown in writing sci-fi? (The unknown being such an important part of the Alien franchise, after all.) I next asked Jon specifically: "How do you display... how do you make your readers and then potentially the audience in the theater, feel the unknown if it is in fact the unknown?"

Jon: Well, in many ways I think the less said the better when you are walking in those fields. If you want to scare people, you do so more effectively with the implied than with the shown, very often, in the same way that a noise in the dark is frightening because it engages the imagination. An incomplete story or a thing incompletely shown more readily begets fear, terror, and a sense of granger.

So you use the tools of cinema and storytelling to set the scale of events. You show them a vast space. You give them a great noise. You let someone speak about terrifying ideas, colossal spans of time; things that are not necessarily big spatially or temporally, but can be big in their significance. The ability to make blasphemous alterations in the human essence, the human spirit, the human body. Those are horrific things. The ability to alter your memories, your soul, your character, your nature, to hack inside your head, to tamper with the input of your senses?those are terrifying things.

You set that stage and then you signify what's happening in a way that allows the imagination of the audiences to complete the experience. And you don't over tell, you don't over show.

So, then, how does one know what to show? And when one knows what to show, how does one avoid or build upon what others have already shown? Can science fiction avoid repetition anymore? Should it?

Jon: It's a split answer because one utterly true answer is that you can't. No one does. It's all been done before. There's nothing new under the sun. I do believe that's true. You can find some parallel to anything in some other work. But what people object to is not some fanatic resonance with another work or some literary parallel with another storybook film. What people object to is the sense in their gut and the visceral feeling that we've been here before, that this is just that place again; a kind of d?j? vu.

And that, I think, is mostly a danger when there is a confluence of cues lined up together to feel like you are looking at a scene you've looked at before. That means not just a similar chain of events in a similar rule set, but also treated with a similar style, maybe framed in a similar language, maybe even lit or colored or musically backed the same way. When a filmmaker is consciously or unconsciously leaning hard on specific material, the audience can smell that. If you're just seeing similar patterns emerge in storytelling, it's sort of mythical resonance, and that's in the nature of storytelling itself.

The trick is to be alert... I think really the unconscious quotation is really more dangerous than the conscious. The critical thing is to audit yourself always for inadvertent borrowing, because that's where you are going to get in trouble?when something comes to you naturally and you feel ownership of it because it's down in your bones, and you fail to realize that it came to you because someone gave it to you one, or five, or ten years ago, and it lives in your subconscious now. And that is a tricky process.

Everybody's heard stories of a songwriter who wrote a brilliant tune and then had a friend tell them that that was a Sinatra song, you asshole. As storytellers, we are subject to that same pitfall all the time. All you can do is be alert, try to be awake to it.

That's the delicate ground Spaihts walked on while writing Prometheus and then, later, while working with Damon Lindelof and Ridley Scott to actually see the movie to fruition. But Prometheus is not just another Alien film. It's of its own accord, called by its own name for a reason. Jon Spaihts is hyper-aware of that. And, well, after talking with him?and hopefully after reading what he said, above, you do too?I trust him explicitly. Is it?June 8th, yet? Why the hell does it even matter, then?!

We'll find out all the answers in just a few more weeks. Thanks for reading this discussion of worldbuilding, science fiction, and, really, screenwriting craft with writer Jon Spaihts. I hope you enjoyed reading this as much as I enjoyed discussing with Jon. Look out for more coverage of Prometheus and, specifically, more from our in-depth conversation with Jon Spaihts in the coming weeks. Yes, there's more! You'll want to read all about his breakdown of just what the Alien franchise means to us today, the archetype of the android throughout sci-fi film and literature, and just how this journey with Ridley Scott all got started. Then,?of course,?once you've read all that, look for Prometheus in theaters June 8th. Unless you plan on entering?hyper-sleep between now and then. But careful, I hear the process still has a few bugs to work out.

Explore tags: Editorials, Featured, Interviews, SciFi

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MLM Home Based Business - Generating Leads You Require ...

As the maestro network marketer as well as commercial operation owners which has walked the route of tears, we am sap of the lies as well as deception which pervades the.

Too most people enroll in the MLM home formed commercial operation formed on the guarantee of resources as well as happening alone. They enroll with the elementary judgment which all they need to do is ?sign up 3 who?ll get 3 who get three?. The judgment sounds so elementary they dive in, as well as after the reduced duration of time, give up since ?the system? didn?t work on their behalf.

While MLM home formed businesses have assorted remuneration plans, the customary MLM sort of ?three who get 3 who get three? is an e.g. I?m regulating here. It?s the elementary commercial operation indication which appears easy to do. Simply, it is the commercial operation template which the association implements to support the company?s member marketplace the business?s products as well as progress their business. The routine of structure the MLM work from home commercial operation requires most some-more bid as well as enterprise to attain than is seen during initial glance.

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A Key to Success

In my opinion, the pass to next in this attention is carrying the clever thought as well as passion for the classification as well as the products or services.

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The authors of sales books speak about carrying the right mental perspective ? which is, desiring, to grasp success, thought environment techniques as well as achieving them, as well as achieving the good leader. How can we find the expostulate to order these though an devotion for the MLM home formed commercial operation ? as well as the products ? we have selected to construct? For instance, how can we retain the certain mental perspective per your commercial operation though carrying the thought as well as devotion for it?

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The difficulties all of us face

When commencement the MLM work from home business, so most hurdles distortion ahead. Take the demeanour during the couple of which the latest owners might confront:
? Complacency ? most latest commercial operation owners never begin. They?re fearful they do not know sufficient or have no thought where or how to start
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? Fear of rejecting ? the ?no? for most people is unequivocally the spike towards the heart. They would rsther than nap on nails than find out ?no?.
? Fear of unwell ? nobody likes to lose. Several ?no?s?, as well as the expect thing that?s feared essentially becomes reality.
? Negative self-talk ? which middle voice saying, ?I told we this wouldn?t work. What had we been thinking, fasten this commercial operation anyway??
? Insufficient clever care ? the single some-more reason lots of people destroy inside the home-based business. No care as well as superintendence equates to attempting to do something which has never finished prior to as well as you do it right the initial time. That isn?t disposed to happen.
? Quitting ? it does not take prolonged for the latest commercial operation partner to express, ?Maybe e-commerce isn?t for me. It usually unsuccessful out.?

When the chairman starts the MLM work from home commercial operation for the wrong reasons ? essentially greed, resources as well as fortune, as well as the need to get abounding fast ? afterwards all of the aforementioned factors will have an inauspicious affect.

When enrolling due to thought inside of the company, the MLM home formed commercial operation owners mostly has unequivocally certain practice with the services as well as products offering as well as turns in to the ardent preacher for all those products as well as the company. Add to which the absolute care group which keeps the commercial operation owners continuous to the most new headlines as well as product information; teaches plain skills training; as well as consistently gives certain feedback as well as encouragement, the clever thought as well as passion solemnly will begin to develop. This can go the prolonged approach in enabling continuation for which most hurdles which distortion ahead.

Passion can have the difference

Look during so what can occur when thought as well as passion for these products as well as services would be the pass reasons for induction for the MLM work from home commercial operation opportunity:

? Because thought as well as passion have been so tall regulating the products as well as services, the association owners is constrained to speak about them with family as well as friends; thus, no longer handling usually similar to the tip agent.
? When thought as well as passion have been the pushing forces inside of the commercial operation proprietor, relief no longer exists. Likewise, problems which once were barriers to removing proposed have been essentially banished.
? Understanding which the elemental role in roughly any commercial operation is to ?show as well as tell? the business?s services as well as products, the association owners understands which everybody does not have the same feelings by what is provided; most people have been not the niche prospect. He markets accordingly, vouchsafing the possibility be the the single to confirm if the products as well as services have been right for him, as well as bargain which the ?no? to the suggest is not unequivocally the personal rejection.
? Knowning which the goal of pity the association as well as the disproportion it can have in the hold up of someone else, the commercial operation owners discovers the stress about disaster as well as disastrous self-talk vanish when heading with passion.
? No have the disproportion how delayed the start, the association owners understands which quitting is not the choice, which owning the commercial operation is the long-term goal as well as there?s no plea as well vast to overcome.

In all from the years I?ve been concerned in MLM home businesses, we have nonetheless to establish any the single stand to the tip from the towering as well as stay there for the long-term though the thought as well as passion. Oh, yes, I?ve come opposite people ? by the passion of carrying abounding fast ? stand to the top, though it?s built on fervour as well as never on receptive to advice principles. Their clients have been built usually similar to the residence of cards as well as in the reduced duration of your time, most mangle apart.

It?s needed which any the single anticipating to set up the MLM home formed commercial operation for which prolonged tenure contingency have the adore for the classification as well as the services as well as products. That passion will capture others who additionally wish to be the partial of the selling campaign. They, too, will welcome the owner?s passion, as well as this will expostulate them to success, too.

Check out the tip leaders who have been carrying the association for most years. Their passion for the things they?re you do will be evident. It is singular to find any the single during the unequivocally tip for any duration of time simply since they saw the cash.

So, it is required which the intensity home formed commercial operation owners ? prior to signing lane of any MLM work from home commercial operation ? contingency investigate the association to have certain it is all which is discussed it. It is critical to operate the services as well as products for the time duration to have certain which there is the certain believe about them. Check out the care as well as have certain they have the believe along with the complement which will protection success. And, finally, the probable MLM home formed commercial operation owners contingency ask himself if this is the association which he can have certainty in as well as might in the destiny retain the passion to construct.

It?s usually when the reply is ?yes? to these questions which induction as well as apropos compared with any MLM work from home commercial operation event should even be considered.

Too most people get in to this niche for the improper reasons as well as that?s because they fail. Joining for the most appropriate reasons can have an huge disproportion in next or failing. Passion is the pass reason at the back of successful expansion in any association ? possibly the benefaction the single or maybe the destiny one.

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