W. E. Pete Peterson has written an account of his time at WordPerfect Corporation, called Almost Perfect.
Apparently it was first published in 1994, but he has now released it free on the web.
The prose itself is simple - it feels like a student's writing. The story itself, however, is incredibly engaging. Because Mr. Peterson began at WordPerfect with no knowledge of computers, we learn as he learns, and you finish the book feeling like you know a lot about how the business worked.
Beyond that, the book is a very good read for anyone going into business for themselves or with a young startup company. Their inadvertent success is a lesson for the rest of us - especially anyone looking at a very young field.
I advise clicking over to Almost Perfect and giving it a read.
Showing posts with label prose. Show all posts
Showing posts with label prose. Show all posts
Wednesday, April 8, 2009
Sunday, January 13, 2008
Zombie Love
Maintaining the morbid theme developed in my last entry, I present to you some good ol' zombie lovin' by Isaac Marion
I find it difficult to admit that I liked reading a touching story about zombies, but I did. I'm not really sure why the author chose the subject, but he made it work - and I do mean made it work. It almost feels as though the topic was a creative writing prompt, and Marion just ran with it.
Perhaps I will continue this theme by reviewing Thirteen Bullets in my next post - or maybe I'll review The Prestige. We shall see.
I find it difficult to admit that I liked reading a touching story about zombies, but I did. I'm not really sure why the author chose the subject, but he made it work - and I do mean made it work. It almost feels as though the topic was a creative writing prompt, and Marion just ran with it.
Perhaps I will continue this theme by reviewing Thirteen Bullets in my next post - or maybe I'll review The Prestige. We shall see.
Thursday, January 10, 2008
Cthulhu and Gaiman, sitting in a tree
Arr apostraphe ell why eee aych.... yeah...
So Neil Gaiman has posted some Lovecraftian fiction here.
Or, at least, I wanted to call it "lovecraftian" at first. Unfortunately, the more I think about it, the less I am able to differentiate between what Gaiman has done and fanfiction. Perhaps that's why it is posted on his blog?
So tell me - is this truly fanfic, or is my head unable to catch something that my gut does? Perhaps it is merely that I generally dislike the fanfic I come across and tend to think of it as intellectually lazy that I fail to acknowledge the potential for genuinely innovative, clever, and appealing fiction within the... genre?
Go read the story and tell me what you think.
So Neil Gaiman has posted some Lovecraftian fiction here.
Or, at least, I wanted to call it "lovecraftian" at first. Unfortunately, the more I think about it, the less I am able to differentiate between what Gaiman has done and fanfiction. Perhaps that's why it is posted on his blog?
So tell me - is this truly fanfic, or is my head unable to catch something that my gut does? Perhaps it is merely that I generally dislike the fanfic I come across and tend to think of it as intellectually lazy that I fail to acknowledge the potential for genuinely innovative, clever, and appealing fiction within the... genre?
Go read the story and tell me what you think.
Friday, December 21, 2007
Ten Car Train: E. B. Satt
Update: Perhaps as a result of my good-natured (I hope) needling, "E. B. Satt" has abandoned said pseudonym in favor of good old Jason, over on Ten Car Train. I'm going to let the title of this post stand, but I figured I'd clear up any potential confusion now.
If you head over to Ten Car Train, you'll find some pretty cool stuff. You'll also find E. B. Satt - or Jason Sattler, or whatever else he's calling himself. I can't figure it out, but hey, I go by a handle too, so who am I to talk.
Anyway, Satt's stuff isn't just cool - it's excellent. OK, I lied, it's actually somewhat hit-or-miss, but some of it is really excellent.
Like his story A Single Drop of Water Helps to Swell the Ocean, or How I Need a Hand in Mine to Feel, which may be his best piece on the site (I'm not 100%, because I'm not entirely certain that I've read every one of them).
The stories are somewhat reminiscent of Jeffery Harrell's - over at Lies that are true (He's currently selling his book, so buy it, but he says the stories will be back up for free sometime at the start of 08).
The prose is soft, and somewhat conversational. That's not to say that it feels like dialogue, but neither does it feel like a diary. Still, you get the feeling that the narrator is talking to you, and that they're real.
I know I'm not the only person to be uncertain whether these were stories, or real life tales like those of Sedaris.
That's what they're like.
I'm not doing a good job articulating this, and I haven't even mentioned the tragic-but-commonplace themes of the stories. You should go read the stories and come back to me with your thoughts.
Oh, and if you like them, you might also check out A Softer World.
If you head over to Ten Car Train, you'll find some pretty cool stuff. You'll also find E. B. Satt - or Jason Sattler, or whatever else he's calling himself. I can't figure it out, but hey, I go by a handle too, so who am I to talk.
Anyway, Satt's stuff isn't just cool - it's excellent. OK, I lied, it's actually somewhat hit-or-miss, but some of it is really excellent.
Like his story A Single Drop of Water Helps to Swell the Ocean, or How I Need a Hand in Mine to Feel, which may be his best piece on the site (I'm not 100%, because I'm not entirely certain that I've read every one of them).
The stories are somewhat reminiscent of Jeffery Harrell's - over at Lies that are true (He's currently selling his book, so buy it, but he says the stories will be back up for free sometime at the start of 08).
The prose is soft, and somewhat conversational. That's not to say that it feels like dialogue, but neither does it feel like a diary. Still, you get the feeling that the narrator is talking to you, and that they're real.
I know I'm not the only person to be uncertain whether these were stories, or real life tales like those of Sedaris.
That's what they're like.
I'm not doing a good job articulating this, and I haven't even mentioned the tragic-but-commonplace themes of the stories. You should go read the stories and come back to me with your thoughts.
Oh, and if you like them, you might also check out A Softer World.
Thursday, December 13, 2007
Pages Unbound
Pages Unbound intends to be a central hub for readers of online serial fiction.
And it's well on its way, as far as I'm concerned.
Lexy says that a user rating system is in the works. Good. That's the one thing it needs but still lacks. I fully expect Pages Unbound to become the buzzComix of the web fiction world.
It seems, however, that I hold the minority opinion.
There has been lots of criticism leveled at PU (Isn't that a horrible acronym? Too bad - I'm using it anyhow) lately.
Essentially, the complaint is that PU, by allowing anybody to submit a story, forces the potential readers to wade through a bunch of drivel in order to even have a chance at finding something worthwhile. Therefore, PU should have an editorial process (which, incidentally, would just make it more closely resemble the traditional publishing industry, rather than the blogs from which this new medium has drawn its inspiration). Such an editorial process would help readers find the "good stuff," amongst the flak.
Hearing this made me very happy. Because that is the function this blog serves. One of them, anyway. I wade through the piles of amateurish, lowercase "i" prose, find the gems hiding inside, and present them to you, my loyal readers.
I even said as much here.
Oh, and a side note. I have changed my handle here to Sebatinsky. My linked comment above is written under the same name.
And it's well on its way, as far as I'm concerned.
Lexy says that a user rating system is in the works. Good. That's the one thing it needs but still lacks. I fully expect Pages Unbound to become the buzzComix of the web fiction world.
It seems, however, that I hold the minority opinion.
There has been lots of criticism leveled at PU (Isn't that a horrible acronym? Too bad - I'm using it anyhow) lately.
Essentially, the complaint is that PU, by allowing anybody to submit a story, forces the potential readers to wade through a bunch of drivel in order to even have a chance at finding something worthwhile. Therefore, PU should have an editorial process (which, incidentally, would just make it more closely resemble the traditional publishing industry, rather than the blogs from which this new medium has drawn its inspiration). Such an editorial process would help readers find the "good stuff," amongst the flak.
Hearing this made me very happy. Because that is the function this blog serves. One of them, anyway. I wade through the piles of amateurish, lowercase "i" prose, find the gems hiding inside, and present them to you, my loyal readers.
I even said as much here.
Oh, and a side note. I have changed my handle here to Sebatinsky. My linked comment above is written under the same name.
Tuesday, December 11, 2007
Dirty Red Kiss
A Salinger for our generation, Dirty Red Kiss's Caulfield-esque narrator opens a window through which we can see humanity in a way that is beyond the capabilities of a more articulate, self-aware narrator.
Caulfield isn't the only protagonist that Derek Henkel's narrator reminds me of - he also bears a resemblance to Titus, of Feed, and Arel Ashe of Scorch.
What, you ask, could these four possibly have in common? Each book is set in a different moment in time, the protagonists are different ages and different genders. Feed and Scorch are both clear indictments of the consumerist west, while Catcher in the Rye and Dirty Red Kiss are both a bit more open ended. It seems as if there is nothing real or significant to tie these books and characters together.
I'm sure you'll not be surprised to find that I believe there is something they share. I would even go so far as to class them all as examples of an archetype, albeit one that I am proposing right now, for the first time: "everyman with the potential to rise above."
This is a fundamentally hopeful archetype, but one whose characters are usually tinged by sadness and uncertainty. They are normal, near average, and surrounded by friends and peers who are decidedly mainstream. Unlike their peers, they contain within them seeds of insight of creativity - seeds that we can only see because of our privileged position as readers. Perhaps, then, we are too rash to assume that they are alone among their peers? As much as our narrator may appear to be the only character with the potential to grow, it is mainly by their thoughts that we determine their potential.
It's for this reason that the "everyman with the potential to rise above" is fundamentally hopeful. No matter how poorly the protagonist's journey may go, their hidden seed of insight gives the reader hope that the most abject of us may yet go on to blossom.
So. Read it.
Caulfield isn't the only protagonist that Derek Henkel's narrator reminds me of - he also bears a resemblance to Titus, of Feed, and Arel Ashe of Scorch.
What, you ask, could these four possibly have in common? Each book is set in a different moment in time, the protagonists are different ages and different genders. Feed and Scorch are both clear indictments of the consumerist west, while Catcher in the Rye and Dirty Red Kiss are both a bit more open ended. It seems as if there is nothing real or significant to tie these books and characters together.
I'm sure you'll not be surprised to find that I believe there is something they share. I would even go so far as to class them all as examples of an archetype, albeit one that I am proposing right now, for the first time: "everyman with the potential to rise above."
This is a fundamentally hopeful archetype, but one whose characters are usually tinged by sadness and uncertainty. They are normal, near average, and surrounded by friends and peers who are decidedly mainstream. Unlike their peers, they contain within them seeds of insight of creativity - seeds that we can only see because of our privileged position as readers. Perhaps, then, we are too rash to assume that they are alone among their peers? As much as our narrator may appear to be the only character with the potential to grow, it is mainly by their thoughts that we determine their potential.
It's for this reason that the "everyman with the potential to rise above" is fundamentally hopeful. No matter how poorly the protagonist's journey may go, their hidden seed of insight gives the reader hope that the most abject of us may yet go on to blossom.
So. Read it.
Saturday, December 8, 2007
Metamorphosis of Prime Intellect
The Metamorphosis of Prime Intellect (or MoPI) is a novella length work of fiction by Roger Williams, available free on the net. Many of you who read this blog may already be familiar with MoPI, but I'll address this post to those of you who aren't.
MoPI is a work of singularity fiction, that is, fiction that deals with the world after an intelligent agent (named Prime Intellect in MoPI) has taken more or less total control over the earth and/or universe. In such a world, humans would have essentially unlimited lifespans, no ability to harm one another, and no desire left unfulfilled.
This brings us to Williams' first chapter. He makes the reasonable argument that with nothing left to achieve, and no meaningful goals to strive toward, many people will turn to pain and death as the only worthwhile things left to them. In his world these people are called "Death Jockeys," to the ranks of which our first protagonist, Caroline, belongs. I need not go into details, since Williams certainly does, but, essentially, Death Jockeys attempt to get themselves killed in new, innovative, and particularly painful ways.
That's the first chapter.
It is incredibly gory, grotesque, violent, and perverted. I am not an easily flustered person, and I felt queasy at various points. In fact, I almost did not continue reading past the first chapter, which, apparently, is a fairly common sentiment.
The rest of the eight chapter novel is very different. We get to see the creation/childhood of Prime Intellect, which is exciting, and we explore the backstory of Caroline, as well as that of Lawrence, our second protagonist and genius programmer. There are a few points of physical and sexual perversity in the remaining eight chapters, but if you made it through the first chapter, you shouldn't have any problem. Which is good. Because I don't know if I could have handled eight chapters of that level of violence.
Overall, I like the story quite a bit more than Wax Banks, who feels that the ideas of MoPI are "not original and have likely been presented more beautifully elsewhere." I, on the other hand, have not encountered anything quite like MoPI before, and while the potential beauty of the story is definitely marred by a certain roughness of narrative, it is full of worthwhile and relatively original ideas (that is to say, they are certainly not derivative).
That being said, I have two main reservations with the story:
1.) Is all that violence and nauseating sexual activity in chapter one really necessary?
Wellllll, yes and no. That is, I do think that I developed a greater appreciation for the gravity of the situation from our author's and protagonists' viewpoints. However, it also made the story feel disjointed, and, in a way "lied" to the reader by misrepresenting what the novella was about. In my opinion, it was a good lie, since I thought the actual subject of the story was far more interesting, engaging, and worthwhile than the first chapter would have you believe. But, by that same token, it was a bad lie, since it could (and, I'm sure, does) turn off readers who might actually enjoy the contents of the other seven chapters.
2.) Where is the competitive instinct?
When I first read the term "Death Jockey," in the context of this singularity story, I assumed we were talking about some kind of thrilling mortal combat, or potentially fatal race. That's because something of that kind provides the participants the chance to illicitly experience the same pain and death, but also a chance to prove themselves better than their opponents, and we all know that there aren't many things that people like more than feeling superior to other people (Think religion, clubs, arrogance, false humility, patriotism, fandom, etc).
While I think the second qualm is the more picky, it also seems to be the more legitimate. My issue with the violence could just be a difference of opinion with the author - he thinks it's necessary, I'm not so sure. The second point, however, seems less debatable. The absence of combat or competitive games of any type is difficult to ascribe to a conscious decision on the part of the author. They would seem to be more common and more popular than Death Jockeys, and yet there isn't a single mention of them (The same author does mention combat to the death, briefly, in another story set in the MoPI universe.).
I just can't bring myself to believe that we'd have more masochists than Jocks, more sadists than patriots, more... I'm out of synonyms, but you get the idea.
Overall, a very worthwhile story - you know your own ability to handle gore, so use your judgment. If all else fails, just stop reading Ch. 1 and skip to chapter two. You won't miss much.
MoPI is a work of singularity fiction, that is, fiction that deals with the world after an intelligent agent (named Prime Intellect in MoPI) has taken more or less total control over the earth and/or universe. In such a world, humans would have essentially unlimited lifespans, no ability to harm one another, and no desire left unfulfilled.
This brings us to Williams' first chapter. He makes the reasonable argument that with nothing left to achieve, and no meaningful goals to strive toward, many people will turn to pain and death as the only worthwhile things left to them. In his world these people are called "Death Jockeys," to the ranks of which our first protagonist, Caroline, belongs. I need not go into details, since Williams certainly does, but, essentially, Death Jockeys attempt to get themselves killed in new, innovative, and particularly painful ways.
That's the first chapter.
It is incredibly gory, grotesque, violent, and perverted. I am not an easily flustered person, and I felt queasy at various points. In fact, I almost did not continue reading past the first chapter, which, apparently, is a fairly common sentiment.
The rest of the eight chapter novel is very different. We get to see the creation/childhood of Prime Intellect, which is exciting, and we explore the backstory of Caroline, as well as that of Lawrence, our second protagonist and genius programmer. There are a few points of physical and sexual perversity in the remaining eight chapters, but if you made it through the first chapter, you shouldn't have any problem. Which is good. Because I don't know if I could have handled eight chapters of that level of violence.
Overall, I like the story quite a bit more than Wax Banks, who feels that the ideas of MoPI are "not original and have likely been presented more beautifully elsewhere." I, on the other hand, have not encountered anything quite like MoPI before, and while the potential beauty of the story is definitely marred by a certain roughness of narrative, it is full of worthwhile and relatively original ideas (that is to say, they are certainly not derivative).
That being said, I have two main reservations with the story:
1.) Is all that violence and nauseating sexual activity in chapter one really necessary?
Wellllll, yes and no. That is, I do think that I developed a greater appreciation for the gravity of the situation from our author's and protagonists' viewpoints. However, it also made the story feel disjointed, and, in a way "lied" to the reader by misrepresenting what the novella was about. In my opinion, it was a good lie, since I thought the actual subject of the story was far more interesting, engaging, and worthwhile than the first chapter would have you believe. But, by that same token, it was a bad lie, since it could (and, I'm sure, does) turn off readers who might actually enjoy the contents of the other seven chapters.
2.) Where is the competitive instinct?
When I first read the term "Death Jockey," in the context of this singularity story, I assumed we were talking about some kind of thrilling mortal combat, or potentially fatal race. That's because something of that kind provides the participants the chance to illicitly experience the same pain and death, but also a chance to prove themselves better than their opponents, and we all know that there aren't many things that people like more than feeling superior to other people (Think religion, clubs, arrogance, false humility, patriotism, fandom, etc).
While I think the second qualm is the more picky, it also seems to be the more legitimate. My issue with the violence could just be a difference of opinion with the author - he thinks it's necessary, I'm not so sure. The second point, however, seems less debatable. The absence of combat or competitive games of any type is difficult to ascribe to a conscious decision on the part of the author. They would seem to be more common and more popular than Death Jockeys, and yet there isn't a single mention of them (The same author does mention combat to the death, briefly, in another story set in the MoPI universe.).
I just can't bring myself to believe that we'd have more masochists than Jocks, more sadists than patriots, more... I'm out of synonyms, but you get the idea.
Overall, a very worthwhile story - you know your own ability to handle gore, so use your judgment. If all else fails, just stop reading Ch. 1 and skip to chapter two. You won't miss much.
Tuesday, December 4, 2007
Blooks
I can't help but feel silly when I write the word, but "blook" is a term that appears to be gaining legitimacy: there's even a blooker prize.
A blook, apparently, is a book whose contents were based on a blog. At least, that's how the Lulu blooker prize defines them. It seems to me that a serial novel published in a blog would be a great definition. The above-linked blook, Plague Zone, is by David Wellington, who seems to be after print publication, so he fits the Lulu blook definition pretty well.
There are, however, plenty of examples of web serials that might be called blooks - and often so call themselves.
On the other hand, maybe we need a better word (or words) for all of these things. Any suggestions?
A blook, apparently, is a book whose contents were based on a blog. At least, that's how the Lulu blooker prize defines them. It seems to me that a serial novel published in a blog would be a great definition. The above-linked blook, Plague Zone, is by David Wellington, who seems to be after print publication, so he fits the Lulu blook definition pretty well.
There are, however, plenty of examples of web serials that might be called blooks - and often so call themselves.
On the other hand, maybe we need a better word (or words) for all of these things. Any suggestions?
Wednesday, October 17, 2007
Book-A-Minute
So, I swear I was just about to go to bed when I stumbled across (yes, using the Stumble Upon toolbar for firefox, which is evil and devours all your time in witty goodness).... where was I?
Ah, yes: I stumbled upon "Book-A-Minute," in original classic flavor, and brand new Sci-fi/Fantasy flavor (someday I shall rant on the subject of the combined genre of Science Fiction and Fantasy).
Most of the condensations take significantly less than a minute to read, but they are hilarious. However, you really have to have read the books to find the jokes funny. I don't think that will be a problem for any readers of this blog (what is this, a compliment?!? No. It's not possible.), and the site has a large enough list of books to laugh at that you should be able to find quite a few to laugh at.
My favorites are probably The Xanth Series by Piers Anthony, and Interview With the Vampire by Anne Rice.
Ah, yes: I stumbled upon "Book-A-Minute," in original classic flavor, and brand new Sci-fi/Fantasy flavor (someday I shall rant on the subject of the combined genre of Science Fiction and Fantasy).
Most of the condensations take significantly less than a minute to read, but they are hilarious. However, you really have to have read the books to find the jokes funny. I don't think that will be a problem for any readers of this blog (what is this, a compliment?!? No. It's not possible.), and the site has a large enough list of books to laugh at that you should be able to find quite a few to laugh at.
My favorites are probably The Xanth Series by Piers Anthony, and Interview With the Vampire by Anne Rice.
Friday, October 5, 2007
Fiction on the Net
I had intended for this blog to focus on books I've read, but I am coming to realize that there is an abundance of material on the net for me to comment on.
In fact, I am only now starting to see the web really begin to display the sort of revolutionary fiction you'd expect out of such a revolutionary medium. Keep in mind that the internet is the first medium for communication that is both a true mass medium and genuinely interactive. We're seeing a rise in egalitarianism as a result (the very fact that you are reading a blog is evidence of this.)
I see two main innovations in fiction on the net (so far). The first is that writers who appeal to a quirky, small, or otherwise non-mainstream audience are able to reach readers on a wide scale, and in a way that is not possible with the traditional print media. This is true of any successful writer with prose (or poetry, though I have less interest) on the net. However, someone who has caught my eye is Jeff Harrell, who, in a Vonnegut-esque fashion has titled his collection of stories "Lies that are true". His stories are here. I particularly suggest "When Alone Was Forgotten," "Cheshire Smile," and "The Slow Ones."
The other innovation I see is very similar to what many webcomics have been doing for a while - that is, using lengths and formats that would be inappropriate for print. A prime example of this is Lexy Erin's writing, particularly her superhero serial Star Harbor Nights, as well as the superior (and currently updating) Tales Of MU. Lexy's writing is certainly an example of an author reaching a readership largely unavailable through print, but she is also writing serials. Each "chapter" is roughly the length of a short novel chapter, but she is in the third book of "MU," and, while the writing would occupy three volumes, the pacing is quite different from that of your average novel. The day to day narratives that get lost in a novel are fully explored here, and, while I have no inside knowledge, I can easily imagine the entire arc of a novel-length plot, but with each smaller sidestory fully developed. I think the format lends itself to empathy with the characters, because it is easy to feel like you are living their lives alongside them.
Again, check out Lies that are true and Tales Of MU.
PS - Tales of MU can be a bit... involved, particularly in the more recent chapters - to the point that they're nsfw. I would say that if you're easily offend you should avoid it, but, frankly, if you're easily offended, I'm not sure why you're reading this blog.
In fact, I am only now starting to see the web really begin to display the sort of revolutionary fiction you'd expect out of such a revolutionary medium. Keep in mind that the internet is the first medium for communication that is both a true mass medium and genuinely interactive. We're seeing a rise in egalitarianism as a result (the very fact that you are reading a blog is evidence of this.)
I see two main innovations in fiction on the net (so far). The first is that writers who appeal to a quirky, small, or otherwise non-mainstream audience are able to reach readers on a wide scale, and in a way that is not possible with the traditional print media. This is true of any successful writer with prose (or poetry, though I have less interest) on the net. However, someone who has caught my eye is Jeff Harrell, who, in a Vonnegut-esque fashion has titled his collection of stories "Lies that are true". His stories are here. I particularly suggest "When Alone Was Forgotten," "Cheshire Smile," and "The Slow Ones."
The other innovation I see is very similar to what many webcomics have been doing for a while - that is, using lengths and formats that would be inappropriate for print. A prime example of this is Lexy Erin's writing, particularly her superhero serial Star Harbor Nights, as well as the superior (and currently updating) Tales Of MU. Lexy's writing is certainly an example of an author reaching a readership largely unavailable through print, but she is also writing serials. Each "chapter" is roughly the length of a short novel chapter, but she is in the third book of "MU," and, while the writing would occupy three volumes, the pacing is quite different from that of your average novel. The day to day narratives that get lost in a novel are fully explored here, and, while I have no inside knowledge, I can easily imagine the entire arc of a novel-length plot, but with each smaller sidestory fully developed. I think the format lends itself to empathy with the characters, because it is easy to feel like you are living their lives alongside them.
Again, check out Lies that are true and Tales Of MU.
PS - Tales of MU can be a bit... involved, particularly in the more recent chapters - to the point that they're nsfw. I would say that if you're easily offend you should avoid it, but, frankly, if you're easily offended, I'm not sure why you're reading this blog.
Subscribe to:
Posts (Atom)
