Editor Nick Harrison talks about the writing advice he dislikes, such as writing what you know and never using passive voice.
“Write even if you know you’ll never be published.” Apparently the idea is that a writer writes because he has to (which I agree with) and that writing is somehow its own reward (which I disagree with). I don’t know about you, but I’m writing to be published. I’m glad I don’t know whether or not I will have more books published in the future because if I knew my writing would never see the light of day, I’d probably be tempted to quit.
Some argue that anonymity promotes transparency, but it does not. Humility and love promote transparency. In a place where no one knows who you are, you can say anything for the attention you want. All the alcoholics in A.A. actually anonymous to each other? No. They are well-known to each other and anonymous to most people outside the group. The outsiders have proven themselves to be unsafe, prideful, and even hateful. The insiders prove themselves to be honest, humble, and loving.
Pressure to perform is one of the few constants of online conversation. We talk all the time, says sociologist Sherry Turkle in a recent interview, but “all of this talk can come at the expense of conversation.” Web communication “favor[s] showmanship over exchange, flows over ebbs. The Internet is always on. And it’s always judging you, watching you, goading you.”
It’s provoking you to market something, mostly yourself, and to talk at others instead of talking with them.
I have been thinking much of skeletons lately, specifically my own skeleton (I remember C. S. Lewis mentioning, somewhere, that he found it hard to believe he even had a skeleton. I used to feel the same way). If you missed my previous announcement, I’ve been diagnosed with avascular osteonecrosis (bone death), and I will be going in to have my right hip replaced tomorrow morning.
An unpleasant experience generally, but salutary, I think. I am now the old codger with crutches who blocks supermarket aisles, a character who’s always irritated me. Though no macho guy, I’ve always had strong legs, and it’s a shock to be unable to get around easily on my own power. Thus does God humble us.
If the worst should happen, which is always a possibility, what would I want my readers to remember as my final message?
I think it would be, “Don’t try too hard to be loved.” Love is important; love is central to everything (God is love). But real love comes as a byproduct of virtue. Seeking love for its own sake, out of a fear of being left alone, is not only wrong but generally counterproductive. Do what’s right, and you’ll attract the love of people whose love will enrich you.
This is what is wrong with the church today, I believe. It values being loved (by people) over being faithful. Remember, “Seek ye first the kingdom of God and His righteousness, and all these things will be added unto you.” First things first.
But assuming this isn’t my swan song, I’ll probably be posting again sometime next week.
Q. Why are tennis balls fuzzy? Aerodynamics, baby.
Photo by cottonbro studio/Pexels
The fuzzy felt that covers a tennis ball helps you control it when you bat it over the net. The bounce and spin you get with a fuzzy ball is lessened by the fuzz. You would notice a difference if you hit around a bald ball after practicing with a new, fuzzy ball. The bald ball would be a little wilder on the court.
Q. If blood is red, why do veins look blue?
This gets at the reason why anything has color. The light that reflects off an object gives it the color we see. Good light has all colors in it, even colors we don’t see (e.g. infrared and ultraviolet). For the blood in your veins, light must soak into your skin before coming back to your eye. Apparently, the light in the blue spectrum is most successful at this, so that’s what we see.
The label “blue blood” to refer to aristocrats comes from fair-skinned Spainish families who lived in the Land of Castles, Castile. They argued that they had the purest breeding in their country, which could be clearly seen from the blue veins on their skin. The truth is that their skin color made their veins more visible, not that their blood was bluer than the Moors or anyone else.
Q. Why are hot dogs sold in packs of 10 and buns in packs of 8?
Businessmen do this to strong-arm you into buying 5 bun packs and 4 dog packs in order to have an even amount at your house. Just this week, President Obama has drafted an executive order to require dogs and buns to be packaged together in even quantities of 8, 12, and 33.
(Photo by alleksana/Pexels)
Actually, the packaging incongruity happened for practical reasons, which we have since overcome. Buns were baked in sets of four, because that’s how large the pans were. See? Practical. And buns are not for hot dog use alone. You could cradle any sausage in a warm, whole-grain bun and shovel chili over it, so the question loses its power when the two aren’t connected.
As for why hot dogs came ten to a pack for so long, it’s because that’s the way they are found in the wild. Obviously. Berk Foods claims, “Americans enjoy seven billion hot dogs between Memorial Day and Labor Day,” which is the reason so many school children are marked “obese” on their school papers, which is important for school funding because larger kids get more federal dollars because it’s easier to leave large kids behind than small, non-hot-dog-eating kids, and as you know, no child will be left behind in American schools.
N.D. Wilson writes about “dark-tinted, truth-filled reading” for children: “I would understand if hard-bitten secularists were the ones feeding narrative meringue to their children with false enthusiasm. They believe their kids will eventually grow up and realize how terrible, grinding, and meaningless reality really is. Oh, well—might as well swaddle children in Santa Clausian delusions while they’re still dumb enough to believe them. But a Christian parent should always be looking to serve up truth. The question is one of dosage.”
He says Christians should be protecting their children, but not over-sheltering them from the real painful world. Christian kids need “stories in which murderers are blinded on donkeys and become heroes. Stories with dens of lions and fiery furnaces and lone prophets laughing at kings and priests and demons. Stories with heads on platters. Stories with courage and crosses and redemption. Stories with resurrections. And resurrections require deaths.”
I had been reading for some time of Olen Steinhauer as a superior writer of espionage novels. So I bought a copy of The Tourist, one of his Milo Weaver trilogy.
My perception is that there are two major strains of spy novel. One is the rah-rah thriller, in the tradition of James Bond and Jack Ryan, where the emphasis is on action but there’s little or no question who are the good guys.
The other strain is the John Le Carré school, probably more technically realistic, where the tendency is to reduce the conflict between freedom and tyranny to a game played by cynical and generally dispassionate professionals. In this kind of story it’s hard to tell one side from the other; in fact, our side generally comes off looking worse, as we get a closer look at its transgressions.
Judging by The Tourist, Olen Steinhauer seems to belong to the second group.
His hero, Milo Weaver, is a former “Tourist,” a roving professional assassin for the CIA. Now he has settled down happily with a wife and stepdaughter. Then he’s recalled to join the hunt for a famous assassin, loose in the USA. Once he catches him he learns things that lead him to question some of his most cherished relationships. Caught in a power struggle between the CIA and Homeland Security, he must take the risk of trusting an old enemy, and take the chance of losing everything that has made his life worth living.
The writing’s good, and Milo is an engaging character. But I disliked the cynicism of the story, the assumption that there’s really nothing to choose between America and any other world power. There isn’t much hope in this book. Cautions for language and mature subject matter.
I’ve been watching the new series of BBC’s Sherlock, of course, and of course it’s very good. If you’re on Facebook, you’ve probably seen, as I have, a number of positive reviews.
And I don’t mean to pan it here. I enjoy watching it. I think it’s extremely clever and well done.
But I have to say I think the series has lost its way.
The first season was remarkable, in my view, for being an update and a reboot that managed to keep the spirit of Conan Doyle’s characters and stories to an amazing degree.
Last season, I think, was a little less so. And this season even less.
The failure (it seems to me) is an overdose of something I ordinarily like – excellent characterization. Cumberbatch’s Holmes and Freeman’s Watson are wonderfully alive and interesting. But they’ve moved too much to center stage.
Remember, these are supposed to be mysteries. This season’s stories have been mostly about Holmes’ and Watson’s friendship. In Episode One, the great question was, Will Watson forgive Holmes for going off and letting him think he was dead? In Episode Two, it was, How will Holmes manage to function as best man at Watson’s wedding, considering his personality problems? In each case, the mysteries were shoved off onto the periphery.
I don’t mean to complain – much. But it’s important not to lose focus on your primary task, whatever you’re doing. A Holmes story that’s more about relationships than mystery is not really a Holmes story.
Are Pynchon and Dickens essentially the same writer? Alan Jacobs notes, “The Pynchonian and the Dickensian projects have a great deal in common [big rambling eventful tragicomic books featuring outlandish characters with comical names], and as time goes on I think it will become more and more clear that there is something truly old-fashioned about Pynchon’s career.”
Jacobs says Pynchon’s style appears to be to write long, complex books about people who don’t read long books at all. His characters are caught up in the Interwebs, the TeleVision, and commercial products of all types. He says Pynchon may be driving at a warning: let the non-reader beware.
I meditated the other day, in this space, on the question of whether Lutherans are boring. It’s a given, of course, that I’m boring personally, but what about the rest of my brethren? I tried to think of some notable Lutheran I could point to and say, “You call that boring? Ha!” But I couldn’t come up with any.
And then one of my Facebook friends posted this video.
Now I don’t know whether Egil Ronningsbakken, the performance artist here, is a Lutheran or not. Odds are he’s at least nominally Lutheran, since most Norwegians are, but more and more Norwegians are purely secular nowadays, without even going through the traditional pro formas of baptism and confirmation.
Still, he’s at least Lutheran by heritage. And whatever you may call whatever it is he’s doing, you can’t call it boring. Frankly, just watching the video is almost physically painful to me, afraid of heights as I am.
I might mention that Preikestolen, the cliff where he’s performing here, is the precise spot I had in mind in the big climactic scene in The Year of the Warrior where Erling and his men confront a warlock under the northern lights. I called it the High Seat in the book, not in order to protect the innocent, but just because I assumed that Preikestolen (The Pulpit) wouldn’t be a name the Vikings would have used. So I made one up.
A friend asked me to read an illustration of God’s faithfulness yesterday morning. Perhaps, you’ve read or heard it. Here’s the start of one version.
A mother took her small child to a concert by Paderewski to expose him to the talent of the great pianist. She hoped as she did to encourage her son in his piano lessons, which he had just begun.
They arrived early at the concert and were seated near the front. Standing alone on the stage was a marvelous Steinway grand piano. As they waited for the concert to begin, the mother entered into a conversation with the people beside her.
Her boy had wandered up to the stage and began to play “Chopsticks” (or “Twinkle, Twinkle” in other versions). Members of the audience called out to get the boy off the stage and asked who was responsible for him, but then Polish pianist Ignacy Jan Paderewski hurried out to the piano. He leaned over the boy and whispered, “Keep playing, son. Don’t stop.” The master reached around him and improvised a piece worthy of the concert audience.
The story illustrates God’s faithful encouragement to his people. The version I read was in a Charles Swindoll book, which elaborated on God’s words to us. Keep going. Don’t give up. That’s the part where I teared up.
The story isn’t true, unfortunately. It’s a good illustration and has a bit of the variations you see in common among urban legends. Truth or Fiction says it may have been inspired by a poster for a Polish Relief event, showing Paderewski encouraging a young Polish boy at the piano.
But since we’re talking about urban legend types, you may have seen the one about the guitarist who gave a lengthy solo at the end of one of his band’s regular numbers. Someone began to boo him. The musician challenged this non-fan, saying, “If you think you can do better, come up here and prove it.” And the man walks up to the stage, showing himself to be Eric Clapton.
Websites store cookies to enhance functionality and personalise your experience. You can manage your preferences, but blocking some cookies may impact site performance and services.
Essential cookies enable basic functions and are necessary for the proper function of the website.
Name
Description
Duration
Cookie Preferences
This cookie is used to store the user's cookie consent preferences.
30 days
These cookies are needed for adding comments on this website.
Name
Description
Duration
comment_author
Used to track the user across multiple sessions.
Session
comment_author_email
Used to track the user across multiple sessions.
Session
comment_author_url
Used to track the user across multiple sessions.
Session
These cookies are used for managing login functionality on this website.
Name
Description
Duration
wordpress_logged_in
Used to store logged-in users.
Persistent
wordpress_sec
Used to track the user across multiple sessions.
15 days
wordpress_test_cookie
Used to determine if cookies are enabled.
Session
Statistics cookies collect information anonymously. This information helps us understand how visitors use our website.
Google Analytics is a powerful tool that tracks and analyzes website traffic for informed marketing decisions.
Used to monitor number of Google Analytics server requests
10 minutes
__utmb
Used to distinguish new sessions and visits. This cookie is set when the GA.js javascript library is loaded and there is no existing __utmb cookie. The cookie is updated every time data is sent to the Google Analytics server.
30 minutes after last activity
__utmc
Used only with old Urchin versions of Google Analytics and not with GA.js. Was used to distinguish between new sessions and visits at the end of a session.
End of session (browser)
__utmz
Contains information about the traffic source or campaign that directed user to the website. The cookie is set when the GA.js javascript is loaded and updated when data is sent to the Google Anaytics server
6 months after last activity
__utmv
Contains custom information set by the web developer via the _setCustomVar method in Google Analytics. This cookie is updated every time new data is sent to the Google Analytics server.
2 years after last activity
__utmx
Used to determine whether a user is included in an A / B or Multivariate test.
18 months
_ga
ID used to identify users
2 years
_gali
Used by Google Analytics to determine which links on a page are being clicked
30 seconds
_ga_
ID used to identify users
2 years
_gid
ID used to identify users for 24 hours after last activity
24 hours
_gat
Used to monitor number of Google Analytics server requests when using Google Tag Manager
1 minute
_gac_
Contains information related to marketing campaigns of the user. These are shared with Google AdWords / Google Ads when the Google Ads and Google Analytics accounts are linked together.
90 days
Marketing cookies are used to follow visitors to websites. The intention is to show ads that are relevant and engaging to the individual user.
A video-sharing platform for users to upload, view, and share videos across various genres and topics.
Registers a unique ID on mobile devices to enable tracking based on geographical GPS location.
1 day
VISITOR_INFO1_LIVE
Tries to estimate the users' bandwidth on pages with integrated YouTube videos. Also used for marketing
179 days
PREF
This cookie stores your preferences and other information, in particular preferred language, how many search results you wish to be shown on your page, and whether or not you wish to have Google’s SafeSearch filter turned on.
10 years from set/ update
YSC
Registers a unique ID to keep statistics of what videos from YouTube the user has seen.
Session
DEVICE_INFO
Used to detect if the visitor has accepted the marketing category in the cookie banner. This cookie is necessary for GDPR-compliance of the website.
179 days
LOGIN_INFO
This cookie is used to play YouTube videos embedded on the website.