Black Friday Weekend Freebies – Death & The City

Hope you’ve all had a good week so far and are planning a chilled-out weekend (let’s face it, if you’re reading this, you’re already chilling out compared to those folk stampeding around the shops).

I’ve put two Kindle ebook freebies up for the next 4 days – Friday 27th to Monday 30th November inclusive (until midnight Monday, Pacific time).

These are the books I learned the most by writing, back in 2008 – what not to do, genre ambiguity, what to say when I felt like it, whether it was bad writing or not – but mainly, how to stay sane 🙂 Editing was an unknown practise to me back then, so these are the long versions. Luckily, I did know how to proofread!

Considering all the ranting I do and advice I give, If you’d like the evidence that we all start somewhere, you can find it here:

3D DATC1 cover

Death & The City: Book One on Amazon

3D DATC2 cover

Death & The City: Book Two on Amazon

The books were originally one massive book, which I split in half down the middle – no reason except for print cost at the first time of publishing. Another lesson – in the digital age – that’s not necessary either, although I do still love my print books.

Here’s the blurb:

Lara Leatherstone – not her real name, she got it from an internet Porn Star Name Generator… and Connor Reeves, also not his real name – how he came by his, is less clear… Both are obliged to work their way through the To Do List of ‘Hollywood Hit-Men’ – a breed mostly preoccupied with gold chains, impressing barmaids, and shady contracts – erasing these unwanted pests with the minimum of paperwork. Or pay.

When her head office try to set her up in a team with a wingman, her main concern is they’re trying to manufacture a weakness that they can manipulate her with – not to mention once they agree on a working colleague, Pest-Control-sniper-turned-police-officer Connor, that he might be quite manipulative too…

Hope you all have a very happy and safe holiday weekend xx

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New – Free on Kindle until midnight Wednesday 28 Oct, PST

3D WritingPublishing

Writing & Publishing For Yourself: The Indie Author Handbook, Self-Publishing Toolkit, and Staying Sane Survival Guide – or ‘The Adventures of an I.T. Helpdesk’ by Lisa Scullard (non-fiction/humour)

FREE on Kindle for a limited time (regular price $2.99 or equivalent) – Write a decent book, Tweet a few times, accept any spontaneous reviews graciously, and keep all of your friends…

Hi folks! Seeing as I didn’t know what I’d really done to earn recognition as a top blogger on here, a while ago I went through all of my posts on Writing and Publishing and compiled a list (see my Tutorials pages). Following that, and reading them through, I realised I had a whole lot more to add – to update – and articles elsewhere that were relevant. As well as journal entries of everything I’ve learned on the indie author rollercoaster.

I’ve now`organised them, fully-revised and updated, into this eBook above – containing my earliest advice on writing (reviewing the 27th Brussels International Film Festival, in 2000) to the latest. The eBook was was published yesterday, and I’ve just finished the final tweaks after uploading.

Here’s the blurb:

This isn’t a ‘How to sell a million copies’ or ‘How to be a New York Times bestseller’ guru session. This is not for seasoned ‘Authorpreneurs’ looking for new promotion and sales tactics. It is NOT a tried-and-tested formula for writing a blockbuster novel. And it will not tell you how to become a billionaire through exploiting your hidden USP (Unique Selling Point).

Neither is it a Zen lifestyle guide, telling you that it is simply a case of convincing the world (and yourself) that you are the world’s top author, and you will be showered with money, Nobel prizes, Oscars, Specsavers Daggers, retail sponsorship, street-value turnips, or whatever else takes your fancy.

None of the above. It’s a journal of the everyday life of a modern, under-the-radar indie author since the global self-publishing trend started, and a few confessions of advising others while being a Useful Technical Person to Have Around…

It is also a book for beginners, giving tutorials and case studies – on the subjects of inspiration, motivation, genre, legal hurdles, research, editing, and identifying your ideal market audience – along with the rocket science of formatting your documents, embedding illustrations, creating and linking to external content (such as audio and video), uploading them, and some gentle cautionary advice on publishing issues and promotions.

There will be laughs. There will be tears. There will be revealing examples made (and for readers with browser-enabled tablets or PC/phone reading apps, links to working samples of multimedia content).

Above all, it’s designed to save you time, hassle (and ultimately, save you money) when joining the indie author phenomenon.

Lisa Scullard went online one day in 2014 to find she was suddenly (and without warning) a WordPress-promoted top blogger in Reader on the subject of ‘Writing & Blogging’ – and promptly understood the full meaning of the phrase: “With great power comes great responsibility.” This subsequent book is an organised compilation of relevant blog posts, tutorials, articles, experimental book trailers and journal entries made over the years, covering the topics of writing, researching, editing, publishing and promotion. It has been an undertaking of mass rewrites, edits, revisions, expositions and updates, and some keyboard-crunching efforts at formatting, in order to justify such an unprecedented amount of recognition.

…And it’s FREE until midnight PST, Wednesday 28th October 2015, on Kindle worldwide. Grab it while you can.

Amazon.comAmazon.co.ukAmazon.deAmazon.frAmazon.esAmazon.itAmazon.nlAmazon.co.jpAmazon.inAmazon.caAmazon.com.brAmazon.com.mxAmazon.com.au

It’s already available in print on Lulu directly (postage £2.99 basic shipping) and should appear on Amazon in paperback form over the next few days.

Last updated: 14 November, 01.30 GMT – The latest updated version is now live. If you’ve downloaded your copy already, make sure it’s automatically synched to the newest version. You can use the Kindle Customer Services ‘Contact Us’ by chat/email method to request it to be re-delivered free to your app/tablet if it doesn’t update automatically from your reader settings. You’re always entitled to request the newest revision of an ebook for free, even after a paid purchase.

One of my supporting examples of fiction is also available FREE on Kindle for the same time period, for reference – Death & The City: Cut to the Chase Edition. (Also worldwide).

3D DATC CTTC cover

I hope you all have a great weekend, and for those of you off school and college, enjoy half-term break (and happy forthcoming Halloween) 🙂

L xxx

Genre Jazz: Re-cut – copyright, parodies, homage, tributes, image rights and public domain

The Story of Technoviking: The Film

technoviking

The Story of Technoviking, release date today, 15 Oct 2015 (50m06s, free to watch online): http://technoviking.tv/film

Writing parody mash-up on my blog while looking for inspiration in movie scenes made me realise two things: (1) That it’s still my strongest point writing-wise, and (2) Youtube kicks everyone’s ass!

In terms of public use, Youtube is the home of re-imagination. Whether the original muse is a movie, news story, pop promo, video game, or social commentary meme, it’s where users upload their re-interpretations, parodies, mutations, reactions, songs and art inspired by images appearing in the curated mainstream and entering the awareness of the social media sphere.

Perhaps the earliest cult internet muse inspiring an ongoing global artistic phenomenon is the Youtube uploader Subrealic.

Subrealic is the user name of Matthias Fritsch, a film-maker from Germany who took what appeared to be random public footage in a series of different locations, and posted them independently some time before joining Youtube.

The video in question was a candid single-shot in-camera sequence called ‘Kneecam No.1’ captured by Matthias at the Berlin Fuck Parade, a protest street event in response to what many underground EDM (electronic dance music) fans considered to be the over-commercialised Love Parade taking place in the city at the same time in 2000.

Matthias says: “The reason why I filmed this was to document the Fuck Parade as an event. Why I published this sequence was not to show the Fuck Parade but to raise a question for the audience: Is what you see real or staged? To create an uncertainty. I named it ʽKneecam No.1’ and ʽNo.1’ stands for a series of experimental videos that deal with the role of the camera… I started to upload my videos to YouTube to make them more accessible because it was much easier to host videos there than on my own website.”

The Kneecam No.1 video showed a short segment of the street protest party, filmed from the back of a moving trailer playing a mix of rave tunes by Can-D-Music and Winstan vs. Noia, while party-goers followed.

It captured a small moment of conflict, and its resolution by a figure intervening on the distracted parade with undeniable alpha-male status, who then reasserts the purpose of the event by leading the group in dancing behind the trailer for several minutes, before disappearing again.

Although the earliest reactions to the video came only in the form of comments debating the authenticity of the piece and whether it was an arranged set-up, once it began to be shared and re-posted on forums and other websites, the cult of personality of the alpha-male ‘character’ in Kneecam No.1 developed.

Matthias was on a trip to China when he received this email comment: “The video has been posted by someone 2 days ago and now there are 1 990 256 view. I have never see that before on the web. What is the name of those songs in the film? He needs to be on a T-shirt too. Thank you very much.”

Commenters on forums responded to it with custom memes and reaction images, and shortly, reaction videos. In one forum, the ʽstar’ was nominated for a title:

“He doesn’t dance to the music, the music dances to him. His name: Technoviking.”

As soon as the nickname Technoviking was coined, the cult status of the video was confirmed. The character was given the type of hero status reserved for action movie icons, compared to Chuck Norris.

Matthias began to collect and document Technoviking references to study what was occurring in the virtual world once it became apparent that this was a viral internet phenomenon.

“A whole Technoviking universe seemed to appear. So what I did was collect all those responses to my video. And of course most of them were remixes of the original video. So I put together an archive based on this Technoviking meme in order to study the behaviour of users online.”

Youtube users, artists, cartoonists, toy-makers, printers, songwriters and console gaming fans were soon using the original Kneecam No.1 film as a muse to create objects and scenarios in art based around the perceived leading character. The subsequent productivity and social awareness that surrounded Kneecam No.1 far outweighed the original – it had a self-regenerating, self-perpetuating, self-mutating life of its own.

Kirby Ferguson, from the film Everything Is A Remix Part 4, 2011: “This is evolution. Copy, transform, combine.”

Over the years, the film has been re-contextualised with alternative music, animations, re-scripted subtitles and voice dubs. It has been re-enacted hundreds of times over, with students, dolls, hula-hoop performances, in living rooms and outdoors, and uploaded by Youtubers sharing their enthusiasm for the Berlin Fuck Parade encounter scene and the mysterious individual known only as Technoviking, originally curated in Kneecam No.1.

Heinz Drügh, Professor of New German Literature and Aesthetics at Goethe University, Frankfurt am Main, states:It is a bit like the butterfly effect. Something that was not created for a big dimension got such a huge echo. Especially by taking into consideration that most things in the Internet are not getting any attention.”

Technoviking as a cult celebrity figure has been printed on mugs, t-shirts, appeared in graphic novel sequences, and even as in-game characters, epitomising the alpha male action hero – only as inspiration taken from real life, not a Hollywood movie set.

Matthias, his film only the trigger for all of the extended creativity that followed it, made a modest sum of money over a period of two years when Youtube invited him to monetize his video with advertising, and by selling a few t-shirts. The majority of his efforts were focused on studying the viral influences of Technoviking, where the marketing of products by others based on the video’s character were more visible and aggressive, and where other individuals in the world were sharing and reinterpreting its influences.

He was also making efforts to trace the man himself, hoping to share the phenomenon with him and ensure that the benefits of the original video’s cult status were available mutually.

“…After the video went viral in 2007 I started to search in different gyms by calling them, because I thought he is from Berlin and a body builder, so he must be known in one or the other studio…”

He kept coming up against dead ends, but eventually after a number of years, contact was made – in the form of a Cease and Desist order from the individual’s lawyer.

The most famous unsuspecting internet cult hero of the early 21st Century only wanted his privacy and ‘the right to be forgotten’.

Matthias had to agree to remove the original Kneecam No.1 and all of his own ancillary products.

That part was simple enough. For the complainant, there are a myriad more cases of ‘use of his image’ and constant re-postings of the video by other users to pursue.

It’s a case of ‘Life imitating art imitating life’ – a character inspired by a real individual, given the themes of justice-seeker and superhero by the public, arts and the entertainment world, prompts the individual concerned to pursue his own global justice and protect his own right to privacy.

The man formerly known as Technoviking will indeed take you down, just as the many memes suggested his character would.

Remember also that this is a private individual – not a celebrity. He has nothing to lose by pursuing enforcement of his image rights.

Antonio Broumas, Digital Rights Attorney, Digital Liberation Network: I am very interested in the result of this case. It actually determines many things regarding what we are doing on the Internet. What can be uploaded to YouTube? How can we use people’s photos in public places? What is permitted and what is not? And I believe that the aim of the court in these cases will have to be to make things clear for the citizens.”

Meanwhile, Matthias Fritsch, the Youtube uploader formerly known as Subrealic, has made a case-study documentary of the Kneecam No.1 viral video’s influence to date and the worldwide phenomenon it prompted, leading to the image rights case being brought against him by the perceived ‘star’ – the individual concerned. It’s both a cautionary tale and an evolutionary one regarding the global arts community, including commentary and interviews with legal, social and arts experts.

The documentary covers issues an artist will encounter when using material ‘found in reality’ and regarding visual image copyright and distribution when the image contains persons and their rights. There are forms of explicit consent required for specific further use of the images, beyond merely collecting them.

It explodes the myths regarding the right to use images or footage from crowd scenes, namely the ‘Five or more persons’ myth.

Louisa Specht, Personality Rights Expert, ZAR Karlsruhe: The ʽ5 Person Myth’ doesn’t exist as a law. I am allowed to record parades and demonstrations without the agreement of the depicted people, but when an individual stands out from the crowd this exception doesn’t apply anymore.”

It also dissects what is essentially art and public property – such as whether an individual can claim rights over an image that contains elements of earlier appropriation, whether those are actions or personal style, or the context of their appearance and behaviour. The argument over ‘fair use’ has grounds in whether art inspired by individuals and scenes found in reality, whose own inspiration for image is inspired by earlier identifiable arts and personality icons, can even be claimed as a private or personal image in any new context that an artistically-revised version gives it.

Felix Stalder, Professor of Digital Culture and Net Theory in Zurich: The owner has to be aware that he takes or that she has taken from the public – so he/she has to grant the public also the right to take from him/her.”

Something that’s inspired me in the past is the trend on Youtube for re-edits of trailers and movie clips, by fans. My brothers and I used to do our own re-dubbed voice-overs for Star Trek when we were kids, on an ancient VHS rental with a Play/Rec/Dub setting. Must have been the earliest invented!

For example, I published my parody The Zombie Adventures of Sarah Bellum after writing it chapter-by-chapter on my blog, linking to movie scenes that were my muses and mashed-up music remixes on Youtube. I wanted to show where my influences lay. While searching for the scenes, with the most popular ones I would come across dozens of alternate versions in a creative online explosion, similar to the demographic portrayed by the ʽspawn’ of Kneecam No.1.

I don’t just mean ‘re-edits’ as in, a fan’s favourite bits of the movie put together as a tribute or slideshow. I mean where they’ve used the original as an artistic prompt, and changed the implied genre, or storyline, as a transformative work. Look up the political-thrillerised version of Splash’. That’s really creative, and the great thing about Youtube is everyone can share and appreciate a different slant on what Hollywood does.

And completely reinvented mash-ups, taking an existing concept and changing the context, like the re-imagined works initiated by Subrealic, aka Matthias Fritsch. One example is Youtube uploader Ryan (user name: nigahiga), known for a spoof of the social media game Candy Crush Saga by re-inventing it and shooting it as a Hollywood movie trailer.

It has been done in books already – most notably with Death Comes to Pemberley’ by P.D. James, and Pride and Prejudice and Zombies’ by Seth Grahame-Smith.

Two different interpretations of the same Jane Austen romance. James took the original characters from Pride and Prejudice’ but not the original book or prose, and penned a murder mystery in place of a happy ever after – but her imitation of Austen’s style is spot on, so it is the genre which has changed, but not the voice as such.

Grahame-Smith took the original text – legally, as it is in the ‘public domain’ meaning out of copyright worldwide (literary copyright expires in most countries at the wonderful-sounding date of death [of the author] + 70 years’ or in a few cases death [author] + 100 years’) – and added butt-kicking martial artist zombie-killer action to it.

If you plan to do similar, as in either of these examples, make sure the original content you are planning on mashing up is in the ‘public domain’ (as defined by the time-spans above). Public domain does NOT mean ‘the characters have been discussed in the Daily Mail’ or that they have fan pages on Facebook, or profiles on Wiki. One thing I was asked about by a cover artist – no, images on WikiCommons are not ‘public domain’ – they are provided for contextual use only.

Be wary of falling into the trap of assuming ALL books who fulfil the ‘date of death of the author’ are in public domain. Estates are often set up for prolific or famous authors – for example, the late British author Arthur Ransome.

Under normal circumstances, his books would enter public domain status seventy years after his death. However, the existence of an estate to protect his work, and an existing fan-base, means this is unlikely, and copyright may be renewed before it expires. This came as a surprise to at least two authors I have worked with – one who mistakenly assumed you could appropriate anything ‘from any book over seventy years old’ (misinformation about copyright lifespan, see above for definition), and one who thought you could publish new stories about an author’s famous original leading characters and situations so long as the author was dead (post-burial optional). As discussed before, that’s fan-fiction, and can’t be published for financial gain.

You also have to be aware of when a central character is not public domain, while the source story might well be. The fairytale of Sleeping Beauty is ancient and can be re-imagined by anyone. But Maleficent the character, based on the original ‘evil witch’ from the fairytale, as portrayed in all forms by Disney, was created and is owned by Disney. Again, this is similar in context to Stalder’s comment he takes or that she has taken from the public – so he/she has to grant the public also the right to take from him/her.”

Maleficent - before and after 1

Genuine Disney merchandise doll in original packaging on the left, with my re-dressed and repainted custom OOAK version on the right, made for myself as a fan of the character. Even more relevant – the doll on the right that I customised was not a genuine Disney original, but a bootleg version manufactured elsewhere and found online. So the Maleficent doll design has been ‘re-mixed’ twice.

It is possible to develop a new, copyrighted product inspired by public domain work. You cannot legally reproduce Disney’s version of Sleeping Beauty or Maleficent, or any of their named character designs, and equally neither you or Disney can claim the copyright status of sole use of the original fairytale. But you can write your own version of the original fairytale from scratch, change the title, change the point-of-view, add new characters of your own devising (called O.C.s by fan-fiction writers) and you may copyright your own unique version.

This is where the debate rages over transformative works, especially when they cross back and forth over the transmedia line, from imagery to written word to gaming to product marketing and back again. It happens with cultural appropriation in music and fashion – mutual admiration or artistic appreciation of lifestyle across communities leads to imitation, reworking, a new and temporary ownership of those styles for a period of time, and then transition again.

Domenico Quaranta, Art Critic and Curator, Link Art Center, Italy:The idea should have the right to evolve, and who did something shouldn’t have the right to value, to judge the following variations of the idea that he contributed to. Because if this contributed in a significant way to the evolution of the story, this contribution itself must be significant.

Parody, as made by National Lampoon, and the Barry Trotter books etc, is a reworking of a genre, of a recognisable copyrighted current franchise – but with new characters, which may sound and act similar to the originals, and also importantly, with jokes in. Although ‘parody’ is still not recognised in all countries. Some territories consider it copyright infringement where readily identifiable, and deem them not publishable either, as with fan-fiction.

Many books and films, especially fantasy/humour (including Pratchett’s Discworld series) pay homage to earlier works in ways that the reader or viewer can identify with.

For this to work, the parody element – or the tribute, or homage – has to be something that connects broadly with the audience. Kneecam No.1 gave the audience the ʽsuperhero’ identification scene. In generally accepted storytelling, you have a scene with a damsel in distress, an injustice, a battle or a risk to life involved, and a mysterious, larger-than-life stranger swoops in to save the day. After succeeding and re-establishing the status quo, reminding the rest of humankind to look out for one another and what their current priorities are, the superhero vanishes again. He has other places to be and problems to solve. This is the story archetype for that character, and the role that Technoviking immediately fulfilled in the imagination of the audience.

Maxa Zoller, Film Curator, Cairo: “I think it’s a certain male desire to become this CGI, muscular, protective archetype of a man. These guys, when they imitate the viking, film, edit, upload and watch other examples – and that’s also where the fun comes in – there is an affective context that is not just popular culture, that has a certain quality.

Although these stories and scenarios exist as common archetypes, Hollywood homage and copyright is a fine line. George Lucas and Quentin Tarantino are artists in their own right who have included style reference to their influences in their work. Steven Spielberg too. Hollywood director Chris Columbus used his own Young Sherlock Holmes cast and script as reference for many scenes and characters when directing Harry Potter & The Philosopher’s Stone. My mother recalls watching Young Sherlock Holmes on TV as ‘that old Harry Potter film with the unconvincing Dementors running around in dressing-gowns. The one where Hermione gets shot at the end.’

A line is crossed in film when an entire story and its parallel sequences are seen to be ‘lifted’ from one other recognisable work – you can look up Disturbia/Estate of Alfred Hitchcock vs. Sheldon Abend Trust to research how one such case of two films and the original story was raised.

Any writer automatically owns their own prose. That’s word order on the page. Not title, not idea, not basic plot. If someone is proven to have Ctrl+C-ed and Ctrl+V-ed (copied and pasted) from another author’s non-public-domain work, or reproduced chunks of it verbatim, that is written copyright infringement in a nutshell.

A well-reported case in the last few years involved passages lifted from Ian Fleming’s James Bond novels, among others, by a hasty crime thriller writer, drunk on the lucrative new publishing contract he had received (Assassin of Secrets by Q.R. Markham, pen-name of Quentin Rowan, 2011). The portions of work that were stolen were quickly spotted in review copies by existing fans of the originals, and shared publicly in online reader forums. The plagiarising author’s book was withdrawn, and thousands of orders and pre-orders had to be refunded.

Titles, and names such as Discworld can be protected by registered trademark. You can go on that journey if you wish – trademarking is not automatic, unlike copyright, and must be applied for. You will have to prove ownership, originality, and that the word, image or phrase is not in common public usage. Look up the following two words together – ‘space’ + ‘marine’ copyright, for a good example of trademarking which has had plenty of online coverage (see Games Workshop’s Warhammer 40,000 v. M.C.A. Hogarth)

It’s rare to see trademark owners attempt to get it enforced retrospectively, but it does happen.

However, unpublished and indie authors occasionally come out with the well-roasted old chestnut: “I’d love for a huge publisher to steal my ideas, because then I would sue them and be rich.”

When is the last time you heard of this happening? I haven’t – yet I have seen several instances over the years of where a case might be made. The only case I saw followed through and resolved, hopefully to mutual satisfaction, was in the case of an indie author’s unique and personally commissioned cover art on the Authonomy website (now defunct), which was clearly imitated on a different book announced for release by the host publishing house. The publisher blamed the individual working for them on cover design, and had not checked their sources or inspiration – even though they owned the promotional website that the design was lifted from.

Major publishers and film companies always have to be prepared for a deluge of copyright claims, and legally, the complainant has to prove the theft, that the opportunity was in hand. If you research JK Rowling and her product distributors regarding individual authors’ attempted copyright cases against her work – there is a whole Wiki page’s worth – you will discover that the claimants have been bankrupted by such efforts, not enriched.

Even if the small fry have afforded their losing legal costs, the big fish may counter-sue subsequently for tarnishing their reputation, or something called ‘lack of good faith action’ requiring substantial damages to be paid to them by the original complainant. Cue small fry bankruptcy…

You may also be in trouble if you use a celebrity as a character in your published work, never mind a private individual, such as the Technoviking case. This comes under ‘appropriating and distributing a person’s image without consent’ – a French traditionally published author fell foul of this recently, using a current Hollywood actress as the person his female leading character was mistaken for and used to her advantage in his story. He had to pay damages to her as his book was found to have defamed the celebrity’s persona, tarnishing her public image (by his character’s behaviour in the story), while further damages for appropriation of her likeness and personality had also been sought. (Scarlet Johansson v. Grégoire Delacourt re. La Première Chose Qu’on Regarde, 2014). A major console gaming designer was subjected to a similar case by another Hollywood star, who claimed that she and her clothing style, including specific visual images and a recognisable corruption of her name ‘confusing to fans’ had been used as a model for an in-game character, without licensing or consent. (Lyndsay Lohan v. Rockstar Games/Take-Two Interactive re. GTA V, 2014).

Lyndsay v. GTA V

Lyndsay Lohan in a selfie-style pose on the left. GTA V in-game character Lacey Jonas mimics on the right.

Alexander Paschke, lawyer for Technoviking:My client asserts the rights that he is entitled to. And if this includes a claim for compensation – then it is part of that. But again: He is not after money – it would be much easier to make money out of this in other ways – but this is about others not exploiting and commercializing his persona. If you look at it from the other side: If the violator, who is marketing somebody else illegally, if he can even keep the profits coming out of the violation – what kind of understanding of rights would this be?

In non-fiction, there is the established referencing system for quotes and sources. Even if your own work is a paraphrased version of the source and not quoted directly, a lot of non-fiction requires supporting evidence, not just credit to the originator. Verbatim quotes will still need permission, including for credited song lyrics. Look up the Harvard method of referencing to fill out your bibliography of research to include in the endnotes of your book. (See Dr Raj Persaud plagiarism case).

That’s the bare bones of it. The part I can shed a positive light on today is the genre twist option, accessible to authors. Where, like P.D. James, you take an old public domain tale, and tell it for a different audience. I hear that very kinky things are currently going on in the world of crusty old romances at the minute, never mind murder mysteries and zombies.

By the look of things happening elsewhere in fictional mash-ups and re-inventions, Technoviking got off lightly. The audience in general respected him.

Wolfgang Ullrich, Professor of Art History & Media Philosophy, Karlsruhe:If one wanted to speak very traditionally and philosophically, one could see a phenomenon such as the Technoviking as a nice piece of evidence for a thought that was first prominently formulated by Immanuel Kant in his book ʽCritique of Judgment’ in the year 1790, where he asks himself the question: “How does one recognize a work of art?” – and he explicitly means a great work of art, the work of a genius. And the criterion for him, which is actually the only criterion for him, is the reception, the effect of this work. For him it’s clear: The work is a work of a genius if there are copycats, if there are a lot of copycats, if it has something compelling that other humans can’t resist its effect. This would be an indicator of the original’s power, that created new rules and established new forms, and for Kant this would be the proof for a really great art work in the case of the original video of Technoviking.”

Supposing as a writer, for example, you became such ʽa copycat’ and took the genius of Conan Doyle’s Sherlock Holmes, re-writing him in the style of Bridget Jones’ Diary or Are You there, God? It’s Me, Margaret. Or Frankenstein in the style of a CSI police procedural, analysing all of the body parts going missing. I’d like to see Kathy Reichs do that one… It was done fantastically with Johnny Depp as a police forensics expert in Sleepy Hollow’ – so it’s not an entirely new concept (just look at the action-style on show in the last Sherlock-based TV and movie releases, which are frequently re-invented for new audiences), but potentially there are many forms of almost-unexploited literary mash-up yet to reach the mainstream bookshelves.

You just need to find your genius to emulate – that’s unless you manage to become one, in your own right.

Matthias gives the impression that he still hopes to share an open dialogue one day with the reluctant star of his early film project.

“There is not only ʽmy intellectual property’ but also his, the work of the DJs, the people who made the music, the background dancers – they also were part of the creation – and therefore I don’t see myself as the only originator that owns everything.”

However, if you’re an author investing your time in words on the page, you’ll have to run to catch up with the creativity of online users making re-cut trailers and their own tribute videos on Youtube. That’s if the man formerly known as Technoviking doesn’t get to them first.

The documentary by Matthias Fritsch is released today on http://technoviking.tv/film – it’s free to watch, and compulsory viewing for anyone interested in the future of artistic interpretation, image rights, copyright, global cultural appropriation, viral marketing, and the individual right to privacy and maintaining the personal context of one’s own life, given today’s open social media culture. It’s a fascinating case study, showing how the phenomenon grew chronologically and in its exponential aspects, in which Matthias, the originator, had no promotional role.

Felix Stalder: Transformative uses – using something to make something new out of it… In a way this is covered theoretically by fair use in the US. But the way fair use has been interpreted in the court, it is very very narrow.”

Thanks to Matthias Fritsch of technoviking.tv for permission to quote from interviews in ʽThe Technoviking Story’ and to share the documentary

Head in the Clouds

Some visitors to my main blog here might have noticed ‘Planetoplasty’ in my links. It’s an open-source blog I started for anyone to visit and take ideas from for use in their own SF and fantasy, by developing the schematics and social geography of random concepts for planets as writing prompts – treat it as if it’s Earth, in other words, write anything you want about it. See the ‘About’ page for a better explanation 🙂

https://planetoplasty.wordpress.com/about/

Enjoy the visit, compiled with a smattering of my usual nonsense, and I hope you gain some inspiration too.

I’ll be posting my first story based on this alternate world fairly soon – you’re welcome to send me links to your own versions as well.

Happy writing 🙂

L xx

Planetoplasty

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The Cloud Islands on planet Crud, part of the Shatter that divides the eastern and western hemispheres, overlook both the Crater Zone (impact region) on one side, and the Shambles (lowlands) on the other. The Islands are a loosely interconnected chain of countries at high altitude, mainly in competition with the inhabitants of the ravines and canyons, miles below. The Cloud Islanders strongly dispute any mining of the bedrock beneath them, while the Canyonians resent fly-tipping and contaminated rainfall/effluent from above – even though it does add a remarkably sought-after fertility to their topsoil.

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You would think that the Cloud Islands are barren and arid, but although at the poles they are ice-covered all year round, at the equatorial region there is as many as three months of the year with clement weather. Industry is focused on food (mainly of the game bird and poultry variety) with a huge…

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Summer sale price on Kindle – the full-length Zombie Adventures

The Zombie Adventures of Sarah Bellum

6th July – After today’s latest updates go live on Amazon, you will be able to download The Zombie Adventures of Sarah Bellum (standalone full-length parody novel, 180,000 words approx) for 0.99c (or equivalent) from Kindle worldwide

After over 100 downloads through KDP Select over the weekend (Lucky you if you managed to grab a copy!), I’ve now reduced the price for a summer sale on The Zombie Adventures, if any of you were still wondering what all that ‘Grey Matter’ (to be continued) stuff was based on 🙂 Now includes the two bonus chapters “from Crispin Dry’s point of view” 😉

(Find your regional Amazon product page listed below).

Thanks for all your follows and likes, hope you enjoy the read! xx

UPDATE: 5th July – still showing up as Free on Amazon worldwide, last chance to download for free today! Get in there! 😀

USA – http://www.amazon.com/Zombie-Adventures-Sarah-Bellum-ebook/dp/B00AIF3PKY/

UK – http://www.amazon.co.uk/Zombie-Adventures-Sarah-Bellum-ebook/dp/B00AIF3PKY/

Canada – http://www.amazon.ca/Zombie-Adventures-Sarah-Bellum-ebook/dp/B00AIF3PKY/

Australia – http://www.amazon.com.au/Zombie-Adventures-Sarah-Bellum-ebook/dp/B00AIF3PKY/

Germany – http://www.amazon.de/Zombie-Adventures-Sarah-Bellum-ebook/dp/B00AIF3PKY/

France – http://www.amazon.fr/Zombie-Adventures-Sarah-Bellum-ebook/dp/B00AIF3PKY/

Spain – http://www.amazon.es/Zombie-Adventures-Sarah-Bellum-ebook/dp/B00AIF3PKY/

Italy – http://www.amazon.it/Zombie-Adventures-Sarah-Bellum-ebook/dp/B00AIF3PKY/

Netherlands – http://www.amazon.nl/Zombie-Adventures-Sarah-Bellum-ebook/dp/B00AIF3PKY/

Japan – http://www.amazon.co.jp/Zombie-Adventures-Sarah-Bellum-ebook/dp/B00AIF3PKY/

India – http://www.amazon.in/Zombie-Adventures-Sarah-Bellum-ebook/dp/B00AIF3PKY/

Brazil – http://www.amazon.com.br/Zombie-Adventures-Sarah-Bellum-ebook/dp/B00AIF3PKY/

Mexico – http://www.amazon.com.mx/Zombie-Adventures-Sarah-Bellum-ebook/dp/B00AIF3PKY/

New Year’s resolution – the importance of still writing for yourself

Happy new year! I hope you’re all looking forward to 2015, like I am, and to the opportunities and changes it may bring to your creativity.

This was originally going to be a tutorial post, but I didn’t want to overload your New Year’s Eve inboxes and blog readers with something you’ll need a hot water bottle and supply of endless coffee to get through… so I’ll try and keep it on the shorter side 🙂

In a nutshell, when you set out to write for an audience, a target market, remember there’s still time (and a need) to continue to write and be creative for yourself alone.

Whether it’s therapy, or relaxation, or just for entertainment. Whether it’s recording your dreams or memories, or making plans for the future. You need to keep that part of your writing alive – the part that inspired you to write with a purpose in the first place – because nothing tries to suck the joy out of writing more than constantly thinking about deadlines, sales, and financial returns.

If you’re a compulsive writer and it’s something you’ve always done, it’s particularly important to keep writing for yourself, to preserve that feeling of serenity and the internal insights that arise from it. You will find yourself picking up inspiration along the way, and using elements of it in your commercial writing, but allowing yourself to BE yourself in your creativity, and taking time out from the ‘author’ side of it, is what will help prevent any disillusionment, doom and gloom taking over.

You don’t ever have to make your personal creativity public. Like a diary, you can write it in quill and ink in endless notebooks, or record them aloud using your phone, tablet, or computer. Keep your spontaneity going! It will do your mind and spirit good, as well as positively enhance your professional efforts.

Although I put quite a lot out there commercially, most of my creativity is still personal – I’m still developing my skills and different genre styles away from the marketplace. I still experiment and play with ideas, counsel myself with writing, and use other art forms like sewing, knitting, customising and painting to relax.

One of my longest writing therapy projects did eventually end up in novel form, and because I feel silly/embarrassed promoting it commercially – to me, it’s therapy I wrote for myself, in the guise of narrative fiction (written nearly seven years ago now!) – I give it away in regular Kindle ebook freebies, so a few times a year you’ll find it listed as free:

Death & The City: Cut to the Chase Edition

 Death & The City: Cut to the Chase Edition on Amazon UK & Amazon.com – search for it on your regional Amazon site as prompted by clicking here on the Amazon.com product page.

This is the version I made more reader-friendly by including shortcuts through the text, meaning you can skip through the internal monologue as prompted and read it more as an action novel, or read the whole thing in linear fashion as a semi-literary one. That was one of my technical experiments in ebook formatting that I’m quite proud of – you can see how it works by checking out the description and the ‘Look Inside’ preview on Amazon.

I’m still in two minds as to whether publishing it (unedited) was the true outcome or purpose, but in terms of the therapeutic side of writing, I definitely came out the other side feeling better for it, both internally and creatively. And having it out there, rather than filed away and forgotten, is a small reminder to me that writing therapy and self-analysis is worthwhile to some of us artistic types – even if no-one else reads it 🙂

I hope you all have a very happy and creative new year, and remember to make time for yourself in the process!

L xxx

If you’re seeing this post in your email inbox, and wondering how it got here, you can change or turn off email notifications in your WordPress Reader by clicking on EDIT below each blog you follow in the list here – https://wordpress.com/following/edit/

Inspiration and book trailers – using open source Audacity and sound FX to create audio

What started out as a music track remix turned into something else once I got distracted 🙂 Click here for alternative link if you can’t see the video above.

I was reading a blog post somewhere recently about free and Open Source software tools that authors can use in their promotion packaging, and came across a mention of Audacity, a track-mixing and recording desktop program, that authors can set up to record their own voice-overs, music, and mix their own copyright-free audio material to use in book trailers. This grabbed my attention initially, because one of my hobbies is music mashups over video (click here for an example of a soundtrack I made using Holst’s ‘Planets Suite’ recorded electronically by Isaio Tomita, combined with Rob Dugan’s epic dance anthem ‘Clubbed to Death’ and a loop sample by Brandon Billings, dubbed over NASA’s Mars Rover 10-minute promo animation).

Having used demo versions of track-mixing software in the past, I was on the lookout for a full version of a program with no nagware attached and unlimited potential.

I found a starter tutorial for Audacity on Youtube, and it seemed pretty similar to other programs I’d tried out, with a lot of additional features.

Like Tony says straightaway, I downloaded it from the official Audacity site. It’s not a huge program file, and was installed and ready to use within a few minutes. I haven’t used the recording voice-over tool so far, but there’s a lot of instruction on this in the above video.

I found that music and sounds can be imported on the ‘File’ menu from MP3 files already saved elsewhere on my computer, which is my usual practise. I’d had an idea for a tune I wanted to mash up, and imported the original track (‘The Politics of Dancing’ by Re-Flex) and imported then trimmed and made a loop from the intro of another track (‘Humanoid’ Cry Baby remix by Stakker Humanoid).

At this point, I made a cup of tea, and got distracted by thoughts of scenes for another Zombie Adventures novel. When I sat down again with the laptop, I found a file saved on my computer called ‘Whoosh Pack’ from SweetSoundEffects, a free FX downloads website by Zach King, and also one called ‘Ultimate Fight Sounds’ which I’d used when dubbing sound effects for the short film ‘How to Train Your Zombie’ directed by Junior for one of her home school projects:

Listen for the crunch and stab sounds from 03:41 to 04.54 – the recording of sound effects on film dubbing is done by a ‘foley’ 🙂

What I’d found on the above film, when adding sound FX directly into Windows Movie Maker as a separate track to music, was that the music volume would become inconsistent and ‘fade’ temporarily while the sound effect was playing (as you can hear). I hadn’t discovered a fix for this in Movie Maker, and wanted to find a way of controlling the volume/gain or fade of each individual effect and music track so that they wouldn’t override one another automatically.

In Audacity, you can control every track you add in exactly that way – including where you want a fade to begin and end by selecting that area of the track – you don’t even need to split it. Each effect you add has its own separate ‘layer’ with individual controls, just like a full paid version of other programs. So you can mix and save a complete soundtrack to add to your book trailer or movie as a single MP3 file.

So, over the beginning of my Re-Flex re-mix, thinking about zombie mayhem for my next book, I added fight sound clips, whooshes, screams, and knife sounds. Having too much fun at this point, I went back to SweetSoundEffects online and downloaded more free audio FX samples, including gun sounds and explosions. These arrive via email link to download in a zip file, which you then extract on your computer to your chosen documents location.

The great thing about Audacity is that so far I’ve found no limit on the number of layers you can add and control on your soundtrack, so a single gunshot through a window noise with a hit and a scream added will consist of four or five different sound effects overlapped in separate layers, all timed to create that ‘event’ in the soundtrack. I think the most separate sound clips I’ve added at the moment to a complete soundtrack is about 100.

I was pretty pleased with the zombie battlefield din that I’d created (could perhaps use some groans, but I didn’t want to overdo it first time), so I cropped the soundtrack to about a minute and a half, and exported it as MP3.

Again, as the tutorial says, if you haven’t downloaded the required MP3 conversion program ‘LAME’ from where Audacity directs you to already, at this point you’ll be prompted and directed to the instructions and download link. Don’t click in the big sidebar adverts saying ‘download’ – make sure you select the right one beneath the instructions for LAME MP3, for your computer. Once installed, you might need to click on ‘Browse’ for the LAME MP3 program the first time you export your track from Audacity, but otherwise the file will convert and save automatically in your chosen location – I use ‘My Music’ files to save all audio.

You can then make a Windows Movie file using the complete soundtrack. Import your images or video first (I used a single image for the first track, as it was an experiment), and then your audio. Select the MP3 file of your complete, mixed soundtrack, and it will appear as a single track in your ‘My Movie’ project. Your images, movie or slideshow will then need to be edited in ‘running length/time’ to match the length of your soundtrack, given in seconds. Alternatively, decide on the length of your movie and fade out the soundtrack accordingly – it’s up to you. Add any captions or titles that you want to include. Then save and export your movie file as normal – the usual for upload online is to export it as a file ‘for computer’ although you can also write to DVD etc.

This method is ideal for book trailers, where you’re not trying to sync dialogue, and just want an easily-manageable soundtrack.

So, having succeeded, and wanting to play with adding a few more sound effects to my ‘battle scene’ soundtrack, I re-opened the project in Audacity, saved it as a different file name so as not to over-write the original, removed the music, and added an MP3 of different music and samples that I’d remixed earlier, to make another version:

O-Ren Ishii

Click here for ‘Chill Bill – Lucy Loses It Remix’ (contains strong language)

After that, and playing with more ideas for backing music and an even longer battlefield audio scene, I downloaded some aircraft sounds, extended the mix, changed the music again, made a tribute slideshow, and eventually ended up with this:

‘Nightmare Before Apocalypse’ – audio remix (backing track: Danny Elfman). Click here for alternative link if you can’t see the video above.

Not only did I have a ton of fun with this, I also got several new story ideas while mixing up music and FX – so whether you’re planning on making yourself a free book trailer and need to record voice-over, sounds and music, or are wondering what your battle scenes might sound like, or even just want some inspiration, it’s a great way to get even more creative.

Enjoy 🙂 x

Current events – Writing Buddies 5th Anniversary exhibition at the Central Library, Southampton Civic Centre, 12-17 May 2014

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The Right Worshipful The Mayor of Southampton (Councillor Ivan White), centre, with Pam Whittington and Penny Legg, the founders of Writing Buddies, cutting the celebration cake yesterday at the opening of the exhibition. All photos: Lisa Scullard

I joined Writing Buddies back in 2010, having found them by chance while looking for a local writing group close to the New Forest.

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Writing Buddies is unique in that it isn’t a feedback and critique group, but rather a support group for the technicalities of living as a writer – where to take your writing, who can help, and if you are inclined, the technical details on how to publish.

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It’s free to join and we pay a couple of quid at the group meetings towards hire of the room at the Mercure Dolphin, Southampton, on the first Friday of every month.

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The 5th Anniversary cake was created by Christine Donovan, previous Rubery Book Award winner, who studied cake-making at Brockenhurst College

DSCF2382Members are from all ages, backgrounds and abilities, and as well as sharing progress on individual writing careers, they have supported other projects, including recording audio stories to be played on the radio for the visually impaired.

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Penny Legg discussing the work of Southampton Sight, with the Right Worshipful The Mayor of Southampton, Councillor Ivan White

Individuals can also volunteer to give informative talks at these monthly meetings. In June’s meeting, I’ll be giving a talk on copyright.

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The exhibition runs until this weekend, where you’ll be able to see examples of all of our work and other creative projects, in the main body of the library near the entrance.

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For more information on Writing Buddies, email Penny on penny@pennylegg.com

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Christine’s lovely cake went down a treat 🙂

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Until midnight Friday 16th May 2014, PST, you can download three of my ebooks for free from Amazon Kindle – Death & The City: Book One, Death & The City: Book Two, and One Stolen Kiss, written under my pen-name Lauren Boutain

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Enjoy 🙂

I went for it…

Lauren Boutain

Jensen AcklesJensen Ackles – another dreamboat from my Pinterest muses board and Facebook page

So – you can see what I have been up to, on my new ‘Books’ page. And for more insight, you can treat yourself to the complete ebook on Kindle.

I had some great feedback, and also won a Romance pitching contest in the last two weeks, which has fuelled my current writing even further – so I decided not to wait around for the publisher’s response to the full manuscript they requested three months ago, and yesterday I published it…

For five days ‘One Stolen Kiss’ by Lauren Boutain is free on Amazon Kindle worldwide, until midnight 10 February PST. After that – 99 cents offer until the end of February, as it’s new, as am I, to this genre. My expectations are ‘hopeful’ 🙂

Let me know if you enjoy it… and I wish you…

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‘Death & The City: Cut to the Chase Edition’ free on Amazon Kindle

Death & The City: Cut to the Chase Edition

Now available free through the next 5 days (promotion ends midnight 30 July Pacific Standard Time). Click below for regional product links:

Amazon.comAmazon.co.ukAmazon.deAmazon.fr – Amazon.esAmazon.caAmazon.itAmazon.co.jpAmazon.com.brAmazon.in

Monday 29 July 2013: 

Lara Leatherstone – not her real name, she got it from an internet Porn Star Name Generator…

…And Connor Reeves, also not his real name, as it turns out – how he came by his, is less clear…

Both are obliged to work their way through the To Do List of ‘Hollywood Hit-Men’ – a breed mostly preoccupied with gold chains, impressing barmaids, and shady contracts – erasing these unwanted pests with the minimum of paperwork. Or pay.

When she’s not under surveillance by Head Office, Lara spends her time juggling a night job in bar security, an only child with a zombie fixation, and what passes for a social life in the small hours in between. And the minor matter of ongoing internal scrutiny, by her own highly-self-monitoring personality disorder.

HOW THIS EBOOK WORKS: This version of Death & The City has been adapted for you to literally ‘cut to the chase’ and skip past Lara’s longer internal thought-processes. You’ll see the hyperlinked word SKIP in the right margin, which will take you into the next action segment. If you want to return to the top of the segment you skipped, the word BACK will take you there. So depending on your reader preference – for the times when you just want to stay in the action, and for when you want to know what’s going on in that mind of Lara’s – you can either jump ahead, or read the whole thing continuously – it’s up to you.

Death & The City (c) Lisa Scullard 2008

P.S. The Zombie Adventures of Sarah Bellum is also still free on Smashwords for all devices with promo code SW100 until the end of July – http://www.smashwords.com/books/view/262618

The Zombie Adventures of Sarah Bellum

Hope you all have a great summer! So far in 2013 I’ve been a cartoon character, a vampire slayer, a pirate… I’ve successfully collected new eye surgery (yay) and some heavy duty sports injuries (ouch), and I’m looking forward to being a zombie again and maybe even a Doctor Who character for events later in the year 🙂 Enjoy! xxxx