Many thanks to Sally Cronin for this opportunity.
If you’re looking to do guest appearances, I highly recommend checking out what Sally has to offer on her blog.
Many thanks to Sally Cronin for this opportunity.
If you’re looking to do guest appearances, I highly recommend checking out what Sally has to offer on her blog.
Many people are talking about advancements and dangers in A. I. these days, so I felt I ought to express my own thoughts. Well, to start, perhaps like me, a lot of people imagine A. I. as depicted in the movies when they first hear it. Certainly, I’ve always hoped that’s something we will never see. There are some things, I feel, that ought to never be discovered. Like Dr. Malcolm in the film Jurassic Park pointed out, humanity should not be so focused on whether they could that they forget to think if they should.
That being said, a difference has been pointed out between creative and editorial A. I. And certainly, I am not a supporter of the former. It devalues the hard work and effort real people put into the words they type and the stories they create entirely out of their own imagination. I watch a lot of documentaries about lives of writers, in which I learn of the trials and tribulations they went through, because it not only fascinates me how they came up with their stories, but also gives me comfort to know that I am not alone in what I have gone through.
As for editorial A. I., as a tool, it potentially can be helpful. I’ve seen how MS Word’s editorial features, and it has helped me fix a lot of things. But it’s best to remember that it is a tool, not a guideline to follow to the letter. I’ve noticed that not everything highlighted as a mistake is an actual mistake, and just because it is highlighted doesn’t mean that a writer has to change it. And certainly not all features have to be used. Humans can choose not to. For one, I do not use Copilot.
Sometimes one editorial program will highlight something as an error or a potential error that another won’t. Plus, human eyes can detect things about a story that machines are incapable of noticing. My own judgment is still important, as is a real editor’s. Editorial A. I. would have a field day with Adventures of Huckleberry Finn, yet the way language is used is one of the things that makes it special.
Technology can certainly be beneficial for writing. I remember writing long hand, and I am grateful for computers and how they make editing easier than by hand or with a typewriter (though at times I have wondered it would be like to type on one). But it is a double-edged sword. It was shameful to hear about how A. I. has pirated authors’ works to improve itself.
I certainly hope we don’t see machines replacing people, nor churning out books like in Nineteen Eighty-Four. While it seems advancements in A. I. are here to stay and will continue to come, let us not forget that it should be a tool and not a replacement for human ingenuity or choice.
Yesterday, I gave this sermon at church, whose message was about staying positive. I used examples from my life, including my writing, where I’ve learned to look for the bright side. Even if you are not a Christian, I hope you will be inspired to look for and remember all the positives in your life.
And I have one little announcement. Last month, I mentioned some stats about my site. Well, this year has now become the most popular, in terms of site views, and so has this month. Never has any month’s site views reached four figures.
Wishing you all a Happy New Year!
Many thanks to Robert Jolles and Heather Flaherty for giving me the opportunity to be interviewed on this podcast!
I think I may have to take Rob up on his suggestion for a re-launch party.
Art often imitates life. In searching for stories and ideas, they often come from real life. Real people, events, situations, whether from the author’s life or from others’ experiences, make excellent soil to plant story seeds in. Sometimes the real story is told through the lens of fiction with fictional names for people and places (known as a roman à clef, or novel with a key; film à clef for movies), which allows for stretching of truth a little more. Yet this calls into question how close to the truth should a writer stick. What’s more, how will the people upon whom characters are based react?
If characters are not composites but primarily based upon specific individuals, there is a risk they might not like how they are portrayed, especially if it is in a negative light (such as caricatures, a technique used by a fictional writer in the mystery shows Magpie Murders and Moonflower Murders who wasn’t a good person). Ernest Hemingway has been accused of antisemitism due to the character Robert Cohn, based on his contemporary Harold Loeb, in his roman à clef, The Sun Also Rises. As revealed in Ken Burns’s program, Hemingway used people’s real names in his first drafts, but he changed them so as not to be sued.
If people’s real names are used, even if it’s just the first name, the risk is even greater that they will be forever associated with the fictional versions. It was true for Peter Llewellyn Davies, Alice Liddell, and Christopher Robin Milne. Even aliases in nonfiction/memoir can be viewed negatively, as it was with Donald Sinclair and the family of Fritz Pfeffer, respectively, over “Siegfried Farnon” and “Albert Dussel” in All Creatures Great and Small and The Diary of Anne Frank, or if unflattering names are used for fictional characters.
Then, of course, it’s not just themselves but those they care about, and trying to say counterparts aren’t the real people may not matter. William Randolph Hearst not only disliked that his life was the main inspiration for Citizen Kane, but he also hated how the counterparts to his mistress Marion Davies and his mother were depicted. He used his influence to sabotage the film’s box office success.
Of course, when telling a fictional narrative with fictional names, one can always claim plausible deniability. Plus, hopefully most people won’t mind, especially if the writer is on good terms with them. Nevertheless, it is always something to bear in mind when fiction is drawn from reality. There is a boundary regarding fact vs. fiction, and it should be taken into account when crossing it.
Many thanks to Melissa for this opportunity to talk about my books and my writing!
Telling a Story Well: An Interview with Andrew McDowell
This is my second time appearing on the Merry Writer Podcast, which is hosted by authors Ari Meghlen and Rachel Poli. Many thanks to both of you!
You can also listen to it on Podbean. There are many other places you can choose from to listen to it as well.
I wish all my fellow Americans a Happy Independence Day tomorrow.
Years ago, I talked about the influence of Joseph Campbell’s The Hero with a Thousand Faces (one of my recommended resources), and how I saw Mystical Greenwood as the Departure phase in the hero’s journey. Thus, I planned for Beneath the Deep Wave to be the next phase, known as the Initiation. Likewise, I sought to look for little ways to stand out from the traditional storyline.
The “Road of Trials” is most prevalent in this phase, so I knew there would be a lot of traveling like in the first book. However, when I look at both books together, in terms of plots spelled out in another resource I recommend, 20 Master Plots and How to Build Them, I see Mystical Greenwood more of as an actual “Quest” story whereas Beneath the Deep Wave is much more an “Adventure.” The seeking more aligns with what the book refers to as the MacGuffin (made famous by Hitchcock). It makes sense, I suppose, since the Trials are meant to prove the hero’s worth.
I knew going in also that Beneath the Deep Wave was going to include romance, so this would tie in more with the “Woman as Temptress” rather than “Meeting the Goddess,” as I’d imagined Dermot might be faced with a dilemma: would his love compromise his vows to his magical order? Then, of course, there’s the “Atonement with the Father.” By the end, I don’t know whether this is a combination of “Apotheosis” and “Ultimate Boon,” but in some ways, akin to Dan Brown’s The Da Vinci Code, I thought about physical vs. symbolic treasures, in this case tying them in with the elements and the natural world. I shouldn’t say any more, for fear of spoilers.
I’ll end this post by saying that the last phase, the Return, will be and is an inspiration for the plot in last book in One with Nature. Happy Father’s Day!
Many thanks for author, blogger, and book podcaster Jean Lee for the opportunity to do this interview!
Imposter Syndrome is something that’s been discussed many times by writers, and it is something that I wanted to talk about. Like so many others, I’ve been a victim of this. It’s a vicious cycle of looking at stuff I’ve done, hearing others praise it, and it all feels empty, like it isn’t really that good, or not good at all. At such times, I convinced myself that what I have done, what I’ve written, wasn’t worth the merit it’s received.
Typos have been a big source of that, more so because I began overanalyzing everything from word choice to sentence structure, even formatting. I decided I needed to change some internal formatting factors like margins and font size before Beneath the Deep Wave was published, and for the sake of consistency, to change them in Mystical Greenwood as well, resulting in a roughly 40-page deduction for both. It seems Mystical Greenwood was destined to have a checkered history, similar in some ways to films that have had decades worth of production behind them.
Another example of this feeling happened when, in recent years, I’ve seen books appearing on Amazon with people who have the same name as me, such as an academic book by an anthropologist and a short memoir by a British man discussing a traumatic childhood. At times, as a result, I’ve regretted not choosing a pen name or what I referred to as a “writer’s name,” meaning a different way to write my name.
Yet at the end of this regret and anxiety, every time I am reminded why I didn’t go that direction. My full name, Andrew Michael McDowell, is long, and there was a writer named Michael McDowell (not my dad). As for Andrew M. McDowell, well, because of the sound with which the letter M ending and beginning a name being the same, when said aloud, it’s as if they fuse and can’t be differentiated. Plus, before I became a writer, I’ve always introduced myself, and signed my name, as Andrew McDowell. And, at least, I’m currently the only Andrew McDowell in the Poets & Writers directory.
As for errors, well, I must remind myself that you can always fix them; everyone’s been printing them forever. I made the decisions I made which, at the time, were the right ones. Judging them by what is happening at present only causes anxiety, unless we can learn from them. But I cannot fault those decisions for being the right ones at the right time. At least I have let go…for now. Besides, imperfections show that I’m human, and if I look at famous movies and TV shows with goofs, continuity errors, etc., those haven’t prevented them from having the cultural impact they’ve had.
Worrying about things I’ve done is ultimately meaningless. I know I should be proud of all that I have accomplished. I am not perfect, nor do I need to be. I need to see both the trees and the forest. But still, sometimes, I worry. I’ve tried to be more positive, but I’ve not succeeded yet. I guess it means I’m learning and that I care. But I also cared enough about myself to know that I needed to let go of chasing perfection and just be happy. I still need to work on self-love. It is apparent to me that something I write someday could not be as favorably received (like Charles Dickens experienced with Martin Chuzzlewit), but I hope that won’t stop me from trying better next time. The key is to let go and move on.
I’ll be at a local author showcase sponsored by the Maryland Writers’ Association next week at Savage Mill. If you’re going to be in the area, I hope you can stop by.