things I have forgotten

Dynamics.

Oh, I remember what they are. Pianissimo, piano, mezzo-piano, mezzo-forte, etc. But what do they sound like? How quiet is mezzo-piano? How much louder than that is mezzo-forte?

I know this is a matter of interpretation, not actual decibels. But I've lost my sense of proportion for such things. And it's even more complicated when you're playing a digital piano: this thing has a volume knob and you can adjust the touch, so what constitutes quiet vs. loud depends not only on what I do with my hands, but what settings I've got the instrument on. It's going to take me a while before I re-develop my feel for the dynamics of the pieces I've been playing.

Also, I should mention in passing that I didn't realize how accustomed I was to playing pieces out of instructional books until I started playing lots of new-to-me music that doesn't have suggested fingerings marked on the page. <g> Howard Shore is a particular challenge on that front, or rather whoever arranged the Lord of the Rings score for piano is.

But I've had the Precious for nearly a month now, and I've played it virtually every day (barring when I was in Boston this past weekend -- and even then, I managed to play a different piano one afternoon), so I think it's safe to say that I'll get plenty of practice in the months and years to come. :-)

Writing Fight Scenes: Smooth Moves

NOTE: You can now buy the revised and expanded version of this blog series as an ebook, in both epub and mobi formats.



[This is a post in my series on how to write fight scenes. Other installments may be found under the tag.]

I've said before that you don't actually have to give a blow-by-blow description of your fight in order to write a good scene, and in fact you often don't want to. Going into detail slows the action down and risks confusing a reader who can't visualize the movement very well.

But sometimes, at key moments, it can be good to describe specific moves. The sequence that leads to somebody being killed or disarmed or knocked to the ground can be worth focusing on -- a brief snapshot that shows a character's desperation, competence, etc. So let's talk for a moment about how you can work that out, even if you don't have a lot of training.

Warning: it involves looking like a complete weirdo. :-)

( Kids: try this at home! )

Is this easier to do when you know how to fight? Sure. But even if you don't, miming your way through the key moves can make it concrete enough for you to write about it more vividly, and help you avoid making up a sequence that a reader who is visual and/or combat-trained will find howlingly implausible. You don't need the whole fight -- you probably don't want the whole fight -- but having a few specifics can give the scene more weight, and that's never a bad thing.

Mitt Romney, Bubble Boy

In light of Romney's self-inflicted gut wound this week, I find myself dwelling on this piece by Jeremiah Goulka, about how and why he ceased to be a Republican.

The enormity of the advantages I had always enjoyed started to truly sink in. Everyone begins life thinking that his or her normal is the normal. For the first time, I found myself paying attention to broken eggs rather than making omelets. Up until then, I hadn’t really seen most Americans as living, breathing, thinking, feeling, hoping, loving, dreaming, hurting people. My values shifted -- from an individualistic celebration of success (that involved dividing the world into the morally deserving and the undeserving) to an interest in people as people.
[...]
My old Republican worldview was flawed because it was based upon a small and particularly rosy sliver of reality. To preserve that worldview, I had to believe that people had morally earned their “just” desserts, and I had to ignore those whining liberals who tried to point out that the world didn’t actually work that way.

Goulka says a lot more, going into detail about how Hurricane Katrina and the Iraq War pried the scales from his eyes, but that's the part that I keep thinking about -- because it's the only way I can make sense of Mitt Romney.

I think the man has spent his entire life in a socio-economic bubble so hermetically sealed that he doesn't even realize the world outside it exists. That's how he can see forty-seven percent of this country as moochers selfishly glued to the governmental teat, shirking personal responsibility while the virtuous men of his class keep the country going. That's why he thinks people making two hundred thousand dollars a year are middle class; that's why he can say, with a straight face, that he "inherited nothing." By his standards, those statements are true. But his standards are so skewed, the skew has completely vanished from his field of vision. He's a poster boy for privilege: carrying so much of it, and so utterly blind to the knapsack on his back.

And it means that when he opens his mouth around people from outside his bubble, he comes across as a condescending dick. It's happened again and again on the campaign trail, despite what I presume are the best efforts of his handlers to teach him less counter-productive habits; it happened on a massive scale at that fundraiser, because he never meant those words to be heard by the hoi polloi. It happens when they send Ann out to be his surrogate, because she's been living in the same bubble, a world where she and Mitt were "struggling to make ends meet" back when they were living off his stock portfolio.

During the 2008 campaign, I remember somebody writing a cute post wherein they pretended the presidential election was a piece of fanfic, and criticized it for Obama's Mary Sue qualities and the OOC way John McCain was being written, betraying all his principles in a cynical bid for the win. If 2012 were a workshop story, I'd be bleeding ink all over the page, lambasting the writer for saddling the Republican party with such an unrealistic caricature of arrogant, wealthy, self-interested self-absorption as their candidate. Because even when I can explain Mitt Romney, I have trouble believing that this really what we've ended up with.