Kat 3. The Great Book Debate

I have a confession to make. Even though I’m working my way though this project, trying to figure out the future of the book, I didn’t get it until last week. The problem is that I can’t imagine a world without physical, paper books. I love the physicality of books. I love the way the paper sounds as I turn the page, and the feel of the paper under my fingertips. I love slipping mementos between pages, and stumbling across hand written messages on the inner covers of second-hand books. I love the way leafing through a certain book is a sea of memories. I love meeting my favourite writers, and the squealing excitement of reading their newly scrawled message. And, yes, I love the smell of old books.

Scent is a powerful memory trigger, and that vanilla-like smell reminds me of running my hands over my Nanna’s books, sniffing them to try and figure out why they smelled so good. I think back to snuggling up on a chair, or when I was much younger on Mum or Nanna’s lap to read. Like Hermione Granger, I was the sort of kid to walk around hugging a book. On a plane home from Melbourne this year, I woke up hugging my (signed- and yes I squealed) copy of Tim Ferguson’s The Cheeky Monkey. I’m a chronic book-hugger, always have been.

E-readers don’t hug, and they don’t smell like old book.

In fact, my E-reader is doing little besides turn me into a grumpy old lady. I don’t like the idea of leasing a book (or album, or movie…), especially when Australia pays more for a digital file than most other countries. I don’t like the feeling of sliding my fingers across glass instead of paper. I loathe paying for a book, and having chunks of text missing from the file. And I certainly don’t like that the same techno-magic that delivers my digital books can delete them without my consent. The idea that a hunk of irritating plastic and glass could replace my beloved books? Heresy.

Last week, I finally got a chance to read The Future of the Book is the Future of Society by Bob Stein. There’s something beautiful about the idea of the book “as the vehicle humans use to move ideas around time and space.” Suddenly the book is a TARDIS. I’m ok with that. And in the same way that the TARDIS evolves to suit whoever is using it, the book is changing to reflect the new ways we interact. It’s becoming collaborative.

Stephen Fry has said that “books are no more threatened by the Kindle than stairs by elevators”, and I agree. The book has always been, will always be, a vehicle of change. Reading was once an act reserved for the devout or the wealthy. It’s grown from a source of exclusion, to a solitary activity, to an all-embracing collaboration. The changing face of the book isn’t just about whether it’s printed or digital, or who is able to read it. That’s thinking small. As writers and creatives, there’s a chance to redefine every element of the book or online text. As Stein notes, even something as simple as moving the comments from the bottom of the text to the side creates a shift in dynamics. It takes the us and them and morphs it into us: a group of people sharing ideas, asking questions, and undertaking our own hero’s journey. Even a book-hugger like me has to admit that it’s a fascinating premise.

So what about you? Are you a book-hugger, or an e-reader aficionado? And, most importantly, what should a book be? Should it be tactile and sensory, lightweight and portable? What is your perfect book, and how should it be used?

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The Future of the Book article:     http://futureofthebook.org/blog/2013/03/18/the_future_of_the_book_is_the/ 
iTunes price disparity:                   http://www.macstories.net/stories/the-great-disparity-in-global-itunes-prices/ 
Book Dedications:                         http://bookdedications.wordpress.com/
Amazon scandal:                           http://www.nytimes.com/2009/07/18/technology/companies/18amazon.html?_r=0
The Cheeky Monkey:                    www.cheekymonkeycomedy.com
Old book smell:                             http://blogs.smithsonianmag.com/smartnews/2013/06/that-old-book-smell-is-a-mix-of-grass-and-vanilla/ 
Smell and Memory:                       http://www.bbc.com/future/story/20120312-why-can-smells-unlock-memories

Poetry - This Tree Is Not Like The Others

A poem by Emily.

This tree is not like the others.

 

The branches swing like arms towards me. 

The bark is warm and vibrates between my fingers. 

The leaves whistle a melodic tune as they blow in the wind. 

This tree is not like the others. 

The roots twist and turn in the soil, like veins criss-crossing on the palm of a hand. 

The posture is like a soldier going into battle. 

The trunk, like a long and slender thigh. 

This tree is not like the others.

The face, etched into the papery skin, looks to the landscape. 

And remembers a time, when it could walk, when it could talk. 

When it was human.

Getting Into Poetry

Our bloggers here at Willow Patterns Remixed have been experimenting with different methods and strategies to cut up, mix, glue, flip, scramble, sample, reference, jumble, and remix the stories told over a year ago in Willow Patterns. So far we've written a few letters from the perspective of different characters present in the 9 short stories, each connecting them together. But now we are going to be looking at poetry.

Some find the hardest thing about poetry is choosing something worth writing about that hasn't been done before. So our bloggers are not only looking at different styles of poetry, but also what can be created from the creations of others.

Here's a simple sonnet and haiku Maddy came up with.

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Sonnet – The rhyming poem, first 12 lines, every other line rhymes. The last 2 lines rhyme with each other.

Reading Willow Patterns was like waking up every morning experiencing a new day.

Every chapter was completely different from the next, a new story to tell.

However, array of topics were to be spoken of within each chapter in a certain way.

Each author could do with them what they liked.

Showing us their flair and creative sway.

Some chapters I thoroughly enjoyed, while others’ not so much.

I thought some were quite dark, mysterious and quite frankly, gray.

It was a project put before 9 authors to finish within a 24 hour time frame.

Completing a task in that timeframe would have felt like they were writing an essay.

They were stuck in a library amongst that whole time,

Eating pizza, endless snacks, and drinking coffee while they felt they were fading away.

Oh what a brilliant job they did,

Their work must be applauded and admired for being shut away.

Writing a book within 24 hours, without turning away.

Haiku - Only 3 lines and is 17 syllables all up
Line 1: 5 syllables
Line 2: 7 syllables
Line 3: 5 syllables
And doesn’t have to rhyme


Haiku 1:

Willow Patterns was

A book with nine great stories

Written in post haste

Emily 3. Creativity In Numbers

Arguably the biggest hurdle for the group within this project has been figuring out how to merge the facts and figures of the Willow Patterns data with creative techniques such as poetry, music and sculpture. I know for me specifically, this has been difficult because it is hard to see numbers and stats as anything other than graphs and tables, which is how I have traditionally dealt with data.

To try and find a way to decipher the data, and express it in a clear and more creative way to the average individual, I turned, like always, to Google. I had always been under the opinion that creative pursuits and data belonged to two completely different spheres, where one revolved around endless possibilities and the other was confined to numbers. However, when conducting my Google search I discovered how wrong I was; it appears that creativity and data are inexplicably linked. A creative data strategist, Becky Wang claims that much of the creativity we see in the media or books is reliant on data and numerical research (2013). In her job, she is responsible for researching and collecting data for head media agencies which are then turned into advertisements, billboards and other marketing communications.
 These agencies require her to collect data on what their consumers are interested in or are attracted to. Once this data is collected it is up to her to interpret the data and determine what will work best in marketing communications. For example, if a company’s data indicates that their consumers have a real interest in innovation and technology, Becky decides whether using an ad with a green screen or animation and graphics will be effective. “The end product is always creative; revolutionary technology in adds, amazing images or photos on billboards... but these things could never be created without the data first” (Wang, 2013).

Similarly, authors and filmmakers have to research and interpret data when embarking on a new story. If the story has any non-fictional elements or is based on a particular period or event, authors and filmmakers need to research to ensure they are telling the story with a level of accuracy. This research often requires interpreting data. However data can also be used for inspiration. When an American writer of short stories was formulating his next piece, he stumbled across data revealing the 300 most used words in the English language. This data became stimulus for a poem he wrote within his next story (Webb, 2013).

With this in mind, I believe it is now time to revisit the Willow Patterns data and look closer at what the numbers and figures have to offer. By keeping an open mind and focusing on what the data is actually telling us, as opposed to just the physical numbers, we should be able to create some diverse and unique representations of the Willow Patterns journey.

An Interview With Rjurik Davidson

 Not only was it great to get some info on the surprising ease of wrapping up Willow Patterns, but we also ask Rjurik some questions about his writing style and what's next for him in the writing world. 

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1. As you were a close second in finishing your chapter, and indeed were almost done before dinner arrived, can we assume then that the writing process for you on the day was an easy one or were there some stressful moments the data doesn't identify?

You're right, it was surprisingly easy for me, and I think that had to do with the context. We all simply had to finish the piece. Usually, there are plenty of reasons to walk away from the writing: the phone rings, Facebook calls, emails arrive, you just feel like stopping. Instead, at every tiny moment I felt like stopping, at every moment when I didn't know what to write, I simply had to keep going. Once these decision were made - by the context - the only ones I had to face were story questions. What is the plot? What do the characters do now?

2. Your story is very unique, taking a new tangent with the future of the human race. Was this an idea you had held previously or did you come into the project looking to start something completely from scratch?

I had no idea what I would write. Partly this was because we agreed on a number of things in common at the beginning of the day. Bringing an idea to that would have been dangerous I think. The key moment, for me, was when someone suggested the stories take place in a library. When that was agreed upon, together with the suggestion that there be a flood involved, the image of an empty, ruined library sprung into my head. Then immediately afterwards, a notion of two warring characters, then the opening line: "At night I sharpen the axe..... " So it was all pretty much conceived in the moment.

3. Some of the other authors so far have had reservations about their work on Willow Pattern, what with it being a fast first draft and all. How did you feel about your own work, and and the outcome overall?

I don't really have any reservations. No. I mean, it's a first draft, but my story has a vitality to it, a lack of frills which I like. I recently re-read it and there are a few errors - including an erroneous name - but I think it works well. I think you're bound to have uneven contributions during a process like that. But it worked for me. I wish I had a 24-hour book project every day. It would certainly increase my productivity!

4. Being the last writer on the book allowed for certain freedoms as well as more constraints to tie the book together, which you did tremendously well. How did being last effect your writing? And did you put your hand up for the job?

I did put my hand up for the job, because I wanted to write speculative fiction. I wanted the ruined future library that I pictured during the initial discussions. As soon as I got that, I tried to incorporate as much of the common ideas and characters as I could. This meant periodically checking out the wall where people placed little notes, ad well as listening to the others when we had our mid-day meeting. During the actual writing, though, I could only afford a piece of my mind to what the others were doing. Mostly it was: "How do I make this story work?"

5. The title of your collection The Library of Forgotten Books brings to my mind Borges and I have read that he is an influence of yours also. Were there any specific influences in your Dark Tides story for Willow Pattern that you can recall?

Looking back on it, I'd say my story is quite Ballardian. It reminds me of his early stories, the ruined world, humanity which is transcending in some way. The environmental concerns are my own, as is the way I handle the conflict between human and post-human. In Ballard, humanity is doomed. In my story, well, it's uncertain what the future holds. There might be a bit of Peter Carey in there too. I love Carey's stories, and maybe 'Crabs' might be an influence here?

6. Certainly 12 hours to complete a short story is out of the ordinary, how long do you generally spend on one of your pieces of short fiction?

The stories of mine which work the best tend to be written quickly. Sometimes even in around two sittings, though they're never finished in one day. I'll tinker with them a couple of times after that, to add the little bits the story often really needs to be complete. Others I work and work on, and they often become huge and unwieldy - sometimes these end up working, but there are others that are half-finished and I don't know if I'll ever complete them. Nowadays I want to simplify. I find beauty in that simplicity. In music they call it knowing "when not to play." The word for it is grace - doing something with the simplest possible motion. That's what I'm starting to appreciate more. I've been reading Ursula Le Guin, and she has that grace.

7. You were, for the most part, writing short fiction before working on Unwrapped Sky, your first novel, at the time of the 24 hour book. How do you find the differences between novel writing, short stories and this rapid approach? And which do you prefer?

I love short stories, but I haven't worked on any for some time. Sadly, unless you're Alice Munro, you're not going to be able to survive as a short story writer. So it's novels for me at the moment and I spend a lot of time in the midst of these very complicated books thinking "I just want to write short stories!". I love them both though. Still, a novel is a big investment, and when they don't work you can't just walk away. I will however get back to stories in between novels. I can't leave them alone for too long.

8. With your first novel almost ready for release what is next for you?

Well, I'm working on the second novel, a sequel to Unwrapped Sky. It's called The Stars Askew and I'm about to send it to my editor. Then I'll be working on a 1890s Australian steampunk novel. It's set in an Australia which still has the inland sea, and the lead character is a suffragette. It involves a massively changed Melbourne, automatons, and Australian megafauna. Most of all, it should be fun. It will be nice to leave the world of Unwrapped Sky and write something simpler and snappier.

9. And would you ever consider being involved with something similar to the 24 hour book again? Perhaps now you're a novelist, a 24 day novel?

Yes. Yes. Yes. But a 24 hour novel might be a bit complicated, unless you had time to plan. a 3-day novel, perhaps? But then you've got finance problems. Anyway, I loved the experience and would do it again in a heartbeat.

An Interview With Angela Slatter

The lovely Angela Slatter is yet another of the 9 writers to give us some insight into the mish-mash that was the 24-hour book. 

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1. What made you decide to be involved with the Willow Pattern project?

(a) I was asked!
(b) It was something totally new and intriguing.
(c) It was a great challenge to see if I could pull together a story in such a short time - and there wasn’t really any room to fail.
(d) We were going to see the finished product at the end of 24hrs - which was a treat when normally your book is a year or so in production!

2. Did you have any prior relationship with any of the authors? And was this an additional factor in taking on the challenge?

I’ve known Rjurik Davidson and Chris Currie for a while, but the other authors only by reputation. It was great to know we weren’t suffering alone, and we came together at regular intervals to touch base and make sure we were all on track, so that was a pretty good support system.

3. I've always found that beginning a story with a mystery was very effective, ever since seeing Citizen Kane, and a supernatural detective is even more enticing. Had you decided upon the mystery theme, detective character or any other elements before beginning the 24 hours?

I had decided to use the character of Verity Fassbinder, who I’d used in a previous story, “Brisneyland by Night”, because she was fully formed in my mind, as was her Brisbane - with the super tight deadline I didn’t feel that I would be able to convincingly get my head around a new character. Generally I spend a lot of time with characters in my head before they make it onto the page, so it was useful to use Verity. I also had maybe three plot points in the back of my mind as standbys if my subconscious didn’t play nice when we started.

4. How did your role having the first chapter effect your writing?

You know, I don’t think I thought about it too much - we’d agreed on recurring elements in the story (SLQ, the vase, the librarian), and I just knew I was writing something early in the piece, well before the flood hit. But I wanted to give hints of what was to come, to give a sense of foreboding, a sense that the city wasn’t quite right. That’s the main angle I was thinking about.

5. You have a background in fantasy and there were some fantastical elements in Willow Pattern, your chapter especially with a supernatural theme and establishing the roaming sands. Would you have liked to have seen this fantasy side developed more in your chapter and the book as a whole?

Not really - I think the true value of Willow Pattern is its diversity, each of us telling different stories that are connected at particular points, but have their own life, their own narrative arcs. It’s quite a unique sort of a mosaic, with each story-tile reflecting its author.

6. What were some of the more fantastical ideas that didn't quite make it into the book?

I don’t know! I think all of mine went into the story I told.

7. Last year you also published your novel with Lisa L Hannett, Midnight and Moonshine. How did the collaborations differ between the two projects?

Lisa is my best friend as well as my writing partner and when we write together we’re aiming for a seamless third voice - one that doesn’t sound like Angela or Lisa when we’re writing alone, but that sounds like a voice that could be either of us. That sort of work means a lot of drafts and a lot of editing to smooth things over. Willow Patterns was always a project that allowed the individual voices to remain in place and obviously; the collaboration pretty much amounted to selecting those few recurring elements I’ve mentioned earlier.

8. You reference a few of the other authors' works in your chapter. Was this planned or discussed beforehand? And did I miss some, or are the other women left out?

I actually referenced everyone’s work, either in title or a line from their best known words. I didn’t discuss it, I just liked the idea of putting a little nod to my fellow authors in there, just to make it even more unique.

9. From the data there was quite a gap between 7 and 9pm where it seems like not much took place. Obviously this wasn't the case, can you take us through what happened?

Good God, that’s a year ago! I suspect that was when a dinner break was called and we were all wailing “My God, what have we done?” I think I was probably a slower starter than say either Krissy or Rjurik. It took me a while to hit my stride - and I was also editing as I went, so that when I came to the end I was able to give the editors something that was as clean and solid as it could be.

10. Did you learn anything about your writing or process during the 24 hour book or from looking at the data afterwards?

I learned that I can write a lot really fast and it’s not necessarily all brown and hideous! If anything, I think I’m now a faster writer and don’t worry too much about the first draft being “brain vomit”, because the editing process is the place where you tidy things up. I’d say what I took away from the project was a mantra of “Write fast, edit slow”. It won’t work for everyone, but it does for me.
 

11. Simon Groth has said that for another project to arise the challenge would have to be something new and different, would you be interested in being involved again? And do you have any ideas that may fit the unique criteria?

Mmmm, no. Alas. Unless it’s something like a street reads kind of an event. Or maybe a story scavenger hunt, where you need to follow where the end of one story tells you to go in order to get the next instalment of life fiction writing!

Collabor-bake Remixed

Here we are at attempt number two to bake a cake in 24 minutes. I got linked to a recipe by our very own Kylie Thompson for a cute little cake in a mug (cup-cake, get it?). 
 
Glancing over this recipe made me feel confident that this time I just might ‘do the impossible’ and bake the entire cake, from putting in the ingredients to baking time, in less than 24 minutes. Like my first attempt, I allowed myself to set up all the ingredients like the writers would have set up their writing implements. Once they was all out it was ready, set, go!

First things first I was instructed to crack one egg into a mug. I picked my favourite mug for good luck, and cracked away. When it came to the flour I was only two minutes in and decided this time I would allow the time for sifting to prevent the clumpy mess of my first rushed attempt. Since the mug was so small, however, half of the flour went all over the bench and I realised I should have sifted into a bowl first. Never mind, I don’t mind a bit of mess I just estimated how much more flour would be needed and sifted away into the mug (and onto the bench).

 I couldn’t believe my eyes when at 4 minutes 23 when all of the ingredients were in and mixed. With only 1 ½ - 2 minutes microwave cooking time, I had pretty much already given myself the trophy and started practising my victory speech.  After less than a minute in the microwave the mixture started rising above the tip of the mug. I opened the microwave and made the decision to keep going, risking the avalanche that could occur. I was pleasantly surprised however, that after two minutes the mixture was still all in the mug and after prodding it with a fork I discovered that it had hardened nicely into a successful cake. So with the clock reading 7:15 I had not only done the impossible, but shaved 16 minutes and 45 seconds off of it. 

Just for fun I turned the timer back on and downed the cake by 12 minutes and 20 seconds. I didn’t add the suggested dollop of ice cream on the top before consuming the cake though, because cake is healthy without ice cream… right?

My only problem was that in 7 minutes and 15 seconds I think I might have actually over cooked the cake, as it was a bit stiff. All in all I was proud of my efforts, and very thankful to Kylie for the recipe and thus the assistance in accomplishing my quest. Now the question is, what challenge should I try next?