As somebody who, in my second marriage, insisted on a prenuptial agreement

As somebody who, in my second marriage, insisted on a prenuptial agreement, I can also testify that sometimes it is an act of love to chart the exit strategy before you enter the union, in order to make sure that not only you, but your partner as well, knows that there will be no World War III should hearts and minds, for any sad reason, change.

Elizabeth Gilbert

The first page of your novel

The first page of your novel is vitally important, but not necessarily because the action starts there. The first page, and first several pages, should:

  • set your tone and reader expectations. In a thriller, that means establishing a rhythm that will push forward rather than linger, and maybe having some sort of stakes already in play, even if they’re unrelated to the central plot. (Your protagonist is running late to get to a meeting and is running to catch a bus pulling away from her bus stop.)
  • make your reader care to continue on: have a hook that grabs the reader’s attention, makes them think, “now that’s interesting,” and pulls them from one paragraph to the next. Make them interested in solving a mystery from the first paragraph, even if it’s a minor question only pertinent to your opening scene. (Why was she running late? Where was she rushing off to? What are the consequences of her tardiness?)
  • introduce some important aspect of character or theme; setting can be introduced here but is easy to overdo. Don’t make setting the only thing you talk about; it is impersonal exposition and therefore doesn’t make the reader care. In a thriller this is especially true; don’t describe setting with any more words than you need to unless it can be worked into what the character is doing or is itself inherently thrilling.
  • be without flaws. It’s early, you don’t have to defend or overcome structural weaknesses here– but you do have to polish your writing to a mirror finish.

. . . .

The first page (and first sentence, and paragraph) is important in the same way your first meeting with somebody new is important. An agent or publisher (or indeed a customer thinking of buying your book) is going to read the opening line, the first paragraph, the first page to see if they like your style of writing, and see if you know how to begin a story and get the reader engaged.

They want to see if you make dumb mistakes (typos, grammar, clichés, other beginner errors like opening with a fight in progress, or opening with an info-dump, or detailed character descriptions, or the history of your setting, etc).

Agents (and the readers for publishers) reject 95% (or more, seriously) of the books or queries they receive, which means (practically speaking) they have to make snap decisions, and they do. Otherwise they’d have no time to do work that actually pays them money. They expect you to put a great deal of care into the opening sentence, the first page, the first ten pages (which many request).

They expect your most careful and attentive work there, and if it sucks, they don’t need to read the rest. They aren’t there to fix your work, or critique work, or help you get better, or see a promising young talent, or spot a diamond in the rough, they are there for one thing: to find writers that are already good writers, and represent already good writing, and make their 15%. That’s it!

The service agents do for the publishers is screening, searching through the flood of dreck to find some gold nuggets.

No, it is not advisable to move the “thriller” to the first page.

The opening of the book is expected to be an engaging introduction to the main character(s) and the setting, a setup for a story to come. The setup usually lasts for 10% to 15% of the book, before the big problem of the book appears.

Nevertheless, this first 10% is supposed to be engaging. One way to do that is to introduce your character(s) by giving them a “little” or “throwaway” problem of some sort, not necessarily a problem important to the plot but a kind of problem they might encounter in their everyday life. This gives you a chance to talk about setting, show us some of their personality in the process of dealing with their little problem.

The problem with opening in the middle of action is closely related: If you do that, readers don’t really care, because they don’t know who is fighting, whose side they should be on, or anything else. In the opening pages, readers don’t care because they don’t have any context for understanding what is going on.

That is why nearly every movie and story begins with “The Normal World” of the hero; and the main problem first appears 10% or 15% of the way in. If the setting is complex (with magical, fantasy or scifi elements) the main problem is delayed somewhat, until the reader/audience is “up to speed” and has a basic grasp of what the heroes and villains can do, or what their ships can do, etc.

In some series (movie or TV or books) we can cut “The Normal World” quite short, since the audience is up to speed from the first book and doesn’t need much reminder. But in a “from scratch” novel, don’t rush the main conflict, it doesn’t make the book more exciting at all, it makes it boring.

Your query letter, the first sentence, the first paragraph, the first page, the first ten pages, the first chapter: This is how you will be judged, quickly and ruthlessly, by agents and publishers. Nobody is going to invest the time to read your whole book or story if these alienate them.

I am a sick man

I am a sick man. … I am a spiteful man. I am an unattractive man. I believe my liver is diseased. However, I know nothing at all about my disease, and do not know for certain what ails me. I don’t consult a doctor for it, and never have, though I have a respect for medicine and doctors. Besides, I am extremely superstitious, sufficiently so to respect medicine, anyway (I am well-educated enough not to be superstitious, but I am superstitious). No, I refuse to consult a doctor from spite. That you probably will not understand. Well, I understand it, though. Of course, I can’t explain who it is precisely that I am mortifying in this case by my spite: I am perfectly well aware that I cannot “pay out” the doctors by not consulting them; I know better than anyone that by all this I am only injuring myself and no one else. But still, if I don’t consult a doctor it is from spite. My liver is bad, well then let it hurt even worse!

First paragraph of Notes From Underground, Fyodor Dostoevsky

It was the best of times

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way — in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.

A Tale Of Two Cities by Charles Dickens – first paragraph

What Does an A Really Mean?

From the Chronicle of Higher Education:

When classes pivoted to remote instruction in 2020, some professors — even some entire colleges — moved to pass/fail grading systems. Sure, it was a short-term crisis response. But allowing pass/fail, even for a little while, demonstrated that the traditional approach to grading isn’t the only option.

Some professors had already decided as much: There’s a small but high-profile “ungrading” movement championed by professors who argue that grades are not only poor measures of learning, but also pull students’ focus from understanding the material to earning points. And there are alternative grading approaches that evaluate student work against a standard, provide feedback, and let students try again if the standard has not been met.

For other professors, grades are a barometer. If many students aren’t performing well — and if there are demographic disparities among them — that is a sign something has gone wrong in how they’re being taught or supported.

Meanwhile, there’s been a wave of worry about grade inflation. And it’s true that grades at many colleges have risen steadily since the 1980s. Grades can rise for many reasons, but the concern is that students and administrators are pushing professors to award higher grades, lowering expectations and losing a main method for differentiating among students.

Grades mean something — articulated by an instructor and interpreted by a student — in the context of a particular course. But that isn’t all they mean. Grades play a gatekeeping role, helping to sort students into colleges, majors, graduate programs, and jobs. They can shape the way students see themselves. Heck, they can get them a discount on their car insurance.

In an attempt to capture the myriad and evolving ways in which grades are perceived, The Chronicle asked a selection of stakeholders, including professors, students, and high-school counselors, to provide a short answer to the same simple question: What does an A mean?

. . . .

As a teacher (of both philosophy and public speaking), my philosophy of grading has always been that a B should be relatively easy to earn, assuming that the student gives an honest effort and does what is expected, and that an A should be hard to get, representing both excellent performance and depth of understanding.

Jim Jump, retired academic dean and director of college counseling at St. Christopher’s School in Richmond, Va., who writes about admissions issues

You knew what the course was trying to achieve and pursued it sincerely without trying to game the system.

Holden Thorp, editor in chief of the Science family of journals and a former chancellor of the University of North Carolina at Chapel Hill

. . . .

It depends on context and content, but I flash back to the rubric I used when teaching high school so many years ago. For me, an A should reflect five things: evidence of deep understanding, masterful application of the relevant knowledge or skills, attentive participation, creative engagement, and thorough attention to detail. These will apply very differently when it comes to a seminar discussion, an essay, a biology midterm, or a math problem set, of course, but the intuitions should consistently apply.

Rick Hess, senior fellow and director of education-policy studies at the American Enterprise Institute, who has written about grade inflation

Link to the rest at the Chronicle of Higher Education

Fuzzy grading that differs from professor to professor and from college to college is one reason that prospective employers sometimes ask prospective employees for their results from standardized testing.

Per The Wall Street Journal:

Consulting firms such as Bain & Co. and McKinsey & Co. and banks like Goldman Sachs Group Inc. ask new college recruits for their [SAT] scores, while other companies request them even for senior sales and management hires, eliciting scores from job candidates in their 40s and 50s.

College students can be ‘Marriage Pact’-matched with ‘backup plan’ spouse if all else fails

From Fox News:

A college student is helping young adults feel more confident in the future of their love life with a new insurance policy tool.

Finding “the one” can be something that happens early in life for some people — or later on for others.

In 2022, the average age of marriage for a female was 30, while the average age of marriage for a male was 32, according to the Knot.

Liam McGregor, however, is making sure that even those at the age of 30 and 32 have some sort of “insurance policy” for living a life in marriage.

In 2017, McGregor and another college student started the Marriage Pact — a tool for students at Stanford University to have a spousal “backup plan.”

Essentially, students who signed up would take a questionnaire that would then match them with someone on campus, a percentage of quality and an email address to reach out if they so choose.

McGregor told Fox News Digital the purpose of the pact.

“A marriage pact is an informal agreement between two people that if both parties remain unmarried by the time they turn 30 or 40, to simply marry each other,” he said.

He added, “When you look up from your career in your mid-30s and realize you never prioritized ‘the one’ … you’re going to need a backup plan. The Marriage Pact matches you with your optimal backup plan in your community, based on what really matters in lifelong relationships.”

The questions on the Marriage Pact vary based on the particular college campus — and students can only be matched with others from their same school.

The 50-question survey is based on core values, according to the Associated Press, and includes questions about communication styles, conflict resolution, smoking and drug habits and more. 

McGregor told Fox News Digital that the algorithm doesn’t ask for pictures, height or any of the other typical dating site criteria — saying there’s “no swiping or search[ing].”

An example of a question used at the University of Michigan is: “There is a place for revenge when someone has wronged me.”

From there, the students must rate their response on a scale of one to seven, with one being “turn the other cheek” and seven being “plotting rn (right now).”

A question on the Boston College Marriage Pact is: “I would end a friendship over differing political views.”

Notre Dame has one that reads: “I would send older relatives to a nursing home.”

Based on how individuals respond, the algorithm attempts to match them with their optimal marriage backup plan partner.

“It’s designed using decades of relationship science research to match you with the person who you’re most likely to be compatible with in the long term,” he said.

The economics student, who graduated from Stanford University in 2020, had over 1,000 people sign up from Stanford on the first day, followed by another 1,000 the next and so on.

McGregor said that by the end of the first week of Marriage Pact, 60% of Stanford students had signed up to get their “optimal marital backup plan.”

McGregor told Fox News Digital he was “floored” by the initial response to the survey.

“The way people describe it, it’s the only thing people can talk about for weeks when the Marriage Pact happens at their school,” he said.

Now, seven years later, Marriage Pact is on 88 college campuses across the country and has nearly 500,000 participants.

The U.S. Department of Education and Marriage Pact say there are 14 schools where students are more likely to make a pact by the end of their senior year than students who will graduate.

McGregor said students from 15 different schools initially tried to join the Marriage Pact when it was released at Stanford — and the interest grew from there.

In the fall of 2020, the Marriage Pact was in seven schools — and by the spring of 2021, it was in 50.

McGregor told the AP that about 30% of matches meet up in person and one in nine of those end up dating for a year or longer — many actually getting married.

For example, Max Walker and Melia Summers joined the Marriage Pact as New York University students in the fall of 2020.

Walker was at the New York campus, while Summers was at NYU’s Abu Dhabi campus, per the AP.

Summers eventually decided to do a semester in New York. That’s when she and Walker met for the first time and went on a date — nearly one year after their match.

The pair will wed in June 2024 after having a match rate of 99.65%.

Link to the rest at Fox News

One of the several things that crossed PG’s mind when he read the OP is whether the arrangement will create an implied license to stalk.

Another thought was that more than one interesting story could be written about those who signed up for this service.

Thanks to F. for the tip.

With the old economics destroyed

With the old economics destroyed, organizational forms perfected for industrial production have to be replaced with structures optimized for digital data. It makes increasingly less sense even to talk about a publishing industry, because the core problem publishing solves — the incredible difficulty, complexity, and expense of making something available to the public — has stopped being a problem.

Clay Shirky

We’re Never Alone

Note: This year, The Paris Review chose author Tobias Wolff to receive the Hadada Award, the magazine’s annual prize for lifetime achievement in literature. Following is an excerpt from Mr. Wolff’s remarks.

From The Paris Review:

When Lady Astor was breathing her last, a large group of family and friends gathered around the bed to see her off. Just before she departed this life, she snapped awake and looked around and said, “Is this my birthday, or am I dying?”

Well, don’t tell me.

The scene here bears some resemblances to hers. I look out and see my dear wife, Catherine, and my oldest and best friends, and others who’ve come into our life in later years, even as I still vividly recall the laughing, never-to-be-forgotten faces of two beloved friends who left our company too soon, George Crile and Edward McIlvain. I have been lucky, blessed, really, in family and friendship, and in too many other ways to describe here.

The Irish painter John Yeats, the poet’s father, described the making of art as the social act of a solitary person. Actually, he said “a solitary man.” They talked like that then. Anyway, I nodded in recognition when I came across that line. Maybe Hemingway could write in a crowded café, but I and the other artists and writers I’ve known have had to be shut away somewhere, out of the human stream, to get our work done. Yet as the years have frosted and mowed this head of mine, I have come to a different understanding of the situation. You may have retreated to your attic studio, you may even have pulled up the ladder behind you, but you were not alone. Never.

Case in point:

When I was in the fourth grade, my teacher became exasperated with my mulish refusal to learn cursive. I liked to print my words, so that they looked like the ones in the books I read. Finally, Mrs. Post sent me home with a note to my mother, telling her that I would not be allowed to return to school until I learned to write in cursive. My mother did not need this complication. She was raising me alone, in a small apartment above a garage, working on her feet all day at a Dairy Queen. By the time she got home and finished making dinner she was ready to put those aching feet up and lean back with a book. Now she had to spend her evenings teaching me how to … well, write.

This is how she did it: she started with the “quick brown fox,” and when that became unbearably tedious she chose passages from the books I’d borrowed from the library: Lassie Come-HomeOld Yeller; Jack London’s White Fang and Call of the WildLad: A Dog, or another volume of Albert Payson Terhune’s many-volumed testaments to his love of collies. You see a pattern here. I wanted a dog. So: passage chosen, my mother adjusted the pencil just so in my fingers, then put her hand on mine and guided hand and pencil over the page, copying the chosen passage in her beautiful script that I could never duplicate, though damned if I didn’t finally learn to stitch letters together, and make recognizable if unlovely words and sentences, until I was allowed back into the classroom. And to this day, when I write in longhand, I sometimes stop and remember those nights, and the feeling of my mother’s hand on mine. 

Some years later I received a scholarship—preposterously undeserved, but that’s another story—to a rigorous boarding school in Pennsylvania. I spent the summer before school began with my brother Geoffrey. We had not seen each other in six years. He had just graduated summa cum laude in English from Princeton, and was shocked to discover that I couldn’t write an essay, not really. I’d been skating by in a rural high school in Washington State, the classrooms full, the teachers overwhelmed. Late as the day was, my brother took my education in hand. He assigned books for me to read, and essays to write on those books while he was at work, and then he went over my essays when he got home. He was both demanding and kind, his red pencil unsparing but also, often enough, encouraging. So did this young man with plans of his own give his summer nights to his little brother, hoping to get him launched with some hope of success.

Link to the rest at The Paris Review

Adelle Waldman’s new novel follows workers in a big-box store

From The Economist:

Adelle Waldman’s sharp-eyed observations of intellectuals in Brooklyn chasing book deals and bedmates made her first novel, “The Love Affairs of Nathanial P.” (2013), a hit. For her follow-up, she has traded the excesses of the urban elite for the struggles of unskilled workers farther afield. This may sound dreary, but “Help Wanted” is a lively, humane book.

To write about the employees of a big-box store in upstate New York, Ms Waldman spent months working at one herself, earning $12.25 an hour unloading trucks of merchandise at 4am. Many of her colleagues had been working at the shop for years, but their hours were limited and unpredictable, which made it hard for them to make plans, get a second job or reliably cover their bills.

Town Square, the shop in “Help Wanted”, is a rare source of jobs in a town that has seen better days. The fictional Potterstown still hasn’t recovered from losing an office of IBM, a computer firm, to Mexico decades ago. The employees who show up to the “dungeon-like” warehouse in the small hours are not thrilled by their lives, but they are grateful to be there.

Ms Waldman probes the needs of this motley morning team, such as Nicole, a young mother with an unemployed fiancé, who hides her anxiety about how she will feed her daughter beneath “an air of boredom and free-floating hostility”. These affectionate portraits chronicle the rough luck of people who cannot afford university and who struggle to make ends meet or, in some cases, to stay out of prison.

. . . .

The employees of Town Square enjoy their shared rituals and take pleasure in their “sense of mastery” as they expertly stack boxes and arrange displays. Their pride is real but fragile, threatened by greedy employers, monopolistic e-tailers and the prospect of automation, which looms ominously near the end of the book.

Link to the rest at The Economist

Chess Teaches the Power of Sacrifice

From The Wall Street Journal:

The act of sacrifice holds an elevated and sometimes sacred place in societies across the globe. While sacrifices may be rare in a person’s daily life, they happen as a matter of course in a large number of chess games. Many positions cannot be won or saved without something of value being given away, from a lowly pawn all the way up to the mighty queen. Certain types of sacrifices happen so frequently that to an experienced player they might be considered routine, almost boring, and it often takes an unusual sort of sacrifice to quicken the pulse of jaded grandmasters who have seen tens of thousands of them in their lifetimes.

In the introduction to his classic book “The Art of Sacrifice in Chess,” player Rudolf Spielmann wrote, “The beauty of a game of chess is usually appraised, and with good reason, according to the sacrifices it contains. On principle we incline to rate a sacrificial game more highly than a positional game. Instinctively we place the moral value above the scientific.”

It is this “moral value” that separates some sacrifices from others. Spielmann draws a clear distinction between what he calls a “sham sacrifice” and a real one. A sham sacrifice is one where one can easily see that the piece being given up will return concrete benefits that can be clearly calculated. Any player would be happy to part with their queen if they see that they can checkmate the opponent’s king within a couple of moves.

However, in the case of a real sacrifice, giving away a piece offers gains that are neither immediate nor tangible. The return on investment might be controlling more space, creating an assailable weakness in the opponent’s position, or having more pieces in the critical sector of attack.

In chess, we call these intangibles “compensation.” Having enough compensation for a sacrificed piece is a judgment call based on knowledge of similar situations or a refined intuitive feel based on thousands of games played. Of course, compensation doesn’t guarantee that you will win the game, and if these intangible advantages don’t pan out then that extra material you gifted to the opponent could come roaring back to overwhelm your smaller army.

Life is filled with examples of sham sacrifices versus real ones. When someone takes out a college loan, there is a reasonable assumption that, through future earnings, they will be able not only to pay off the loan, but also to earn more money on top of it. This assumption may not work out, but it has been executed so many times with success that many students feel safe taking on that debt. The fact that it may take years, or in some cases even decades, to see the sacrifice pay off doesn’t change the sense of confidence most young people and their families have when investing in education.

In contrast, real sacrifices promise no guarantee of a concrete return. My mother made an incalculably real sacrifice when she made the painful decision to leave my brother, sister, and me in Jamaica, where we’re from, to head to the U.S. in search of a better life. I was only two years old when she left. It would take her 10 long years to gain citizenship and be able to sponsor us to join her in this land of opportunity. She could not have known how those 10 years would play out and the infinite number of possible challenges we might all have to overcome.

In fact, the very first day after she arrived in the U.S., Dr. Martin Luther King Jr.was shot and killed in Memphis, setting off riots all around the country. The way she tells it, she was in shock that her dream began in such a devastating fashion. But she understood that this wasn’t just about her emotions and fears; she had three young kids, being taken care of by her mother, who were relying on her to push on. And push on she did, with courage and determination and sense of purpose, and a decade later, she accomplished the task that she had set her mind to so many years before, and finally we were able to reunite as one family.

Her sacrifice came with unanticipated results. While she had dreamed that we would all get a college degree (we did), she assumed that we would end up in traditional professions with guaranteed pension plans. She could not have foreseen that I would end up making my living from chess, that my brother’s martial arts passion would lead to his becoming a three-time kickboxing champion, or that her baby girl would leave the world of business behind to win six world titles in boxing.

It did not have to turn out that way. It did because she was willing to stomach the key aspect of making real sacrifices: the willingness to take risks. For a chess player, risk is as much intuited as it is calculated. Due to the inherent complexity of the game, it is virtually impossible to assess with certainty whether a risky move will pay off in the end. It’s up to the player to decide if sufficient conditions have been met to take the chance on a risky move. Those conditions may be an aggressive, attacking posture, dominant pieces, weaknesses in your opponent’s position, time pressure, or the stress of the competitive situation. All these could add up to a certain degree of confidence in the chance of a positive result.

When it comes to risk, grandmasters are not a monolithic group. Depending on their personalities, top players have different levels of risk tolerance. On one hand, you’ll find the swashbuckling, dynamic attacking personality types like Alexander Alekhine, Mikhail Tal, and Rashid Nezhmetdinov, who will take risks without much hesitation. On the other side of the spectrum are more conservative players such as José Raúl Capablanca, Tigran Petrosian and Wesley So. Tolerance for risk is very personal.

What we do know, however, is that the famous saying “No risk, no reward” is true in many cases. A skilled adversary is normally able to handle solid, conservative play and therefore able rob us of opportunities that may be inherent in our position. As Magnus Carlsen put it: “Not being willing to take risks is an extremely risky strategy.”

To be comfortable with risk is to be comfortable with uncertainty.

Link to the rest at The Wall Street Journal

Perplexity at Work

Prompt: TikTok considers AI ad avatars

Perplexity Response:

TikTok is actively exploring and integrating various AI-driven features and tools to enhance content creation, advertising, and user engagement on its platform. This exploration includes the development and testing of AI-generated avatars, AI-driven content creation tools, and advanced advertising solutions that leverage AI to improve targeting, engagement, and measurement. Here’s a comprehensive overview of TikTok’s considerations and implementations regarding AI ad avatars and related AI features:

AI-Generated Avatars and Content Creation

  • Digital Avatars: TikTok introduced AI-generated Digital Avatars as a new feature for content creation, offering over 100 different avatars with a range of appearances, accents, and languages. These avatars are designed for various uses, including narrating product demonstrations, explainer videos, and gameplay, thereby providing a cost-effective way for businesses and content creators to produce engaging content.
  • AI Avatar Testing: TikTok is testing a new option to let users create AI-generated avatars for their profile pictures. This feature, still in the early stages of testing, aims to put recent advances in AI technology at the forefront for millions of users, potentially enhancing personalization and engagement on the platform.

AI-Driven Advertising Tools

  • Pencil: Pencil offers a service that uses AI to combine branding and products with user-generated content (UGC) to create TikTok ads that blend seamlessly with the platform’s native content. This service emphasizes the importance of standout text and contemporary video effects, following TikTok’s best practices for ad layouts and text use.
  • Promote Tool Enhancements: TikTok has added new targeting and boosting features to its Promote advertising tool, allowing creators and small businesses to more effectively turn their content into ads. These features include driving traffic to TikTok pages or inboxes and expanded audience targeting options.
  • Search Ads and AI Content Label: TikTok has introduced search ads, allowing brands to position their advertisements strategically during user searches, and an AI label to flag videos entirely generated by AI. These initiatives aim to enhance transparency and trust while leveraging AI for advertising and content creation4.

Strategic AI Integration

  • Generative AI Tools: TikTok continues to experiment with generative AI tools, including profile images, improved contextual search, and AI music generation. These efforts are part of TikTok’s broader strategy to integrate AI in ways that drive engagement and offer new creative opportunities for users and advertisers13.
  • Measurement Tools: TikTok has launched new ad performance measurement tools, such as Cross-Channel Partners and Lift Partners, to provide marketers with improved insights into the effectiveness of their campaigns. These tools leverage AI to analyze ad performance across different platforms and measure the impact on brand metrics, sales, and physical store visits14.

TikTok’s exploration and implementation of AI ad avatars and related AI-driven features reflect the platform’s commitment to staying at the forefront of social media innovation. By leveraging AI, TikTok aims to enhance content creation, advertising effectiveness, and user engagement, offering new opportunities for businesses, creators, and advertisers to connect with their audiences in creative and impactful ways.

Outline for a Murder Mystery in the Style of Dorothy Sayers

Perplexity Prompt: Create an outline for a murder mystery in the style of Dorothy Sayers

Perplexity Response:

Setting: The Quaint Village of Little Hampden

  • Little Hampden is a picturesque English village known for its tight-knit community, charming cottages, and a central village green where the annual summer fete is held.
  • The village is surrounded by dense woods and rolling hills, with a small river running through it.
  • The local vicarage, the pub called “The Weeping Willow,” and the village hall are the main social hubs.

Introduction: A Mysterious Death

  • During the village fete, a beloved local artist, Jonathan Eastwood, is found dead in his studio, which overlooks the village green.
  • The death appears to be a suicide, but certain inconsistencies lead to suspicions of foul play.
  • Lord Peter Wimsey, visiting his aunt in Little Hampden, takes an interest in the case.

Key Characters

  • Lord Peter Wimsey: The aristocratic amateur detective with a sharp intellect and a passion for justice.
  • Mervyn Bunter: Wimsey’s loyal valet and assistant, with a keen eye for detail.
  • Reverend Thomas Marple: The well-respected vicar with a love for gardening and a secret past.
  • Eleanor Brampton: The victim’s muse and a talented painter, known for her fiery temper and tumultuous relationship with Eastwood.
  • Dr. Henry Forbes: The village doctor, whose medical opinion on the death raises more questions than answers.
  • Inspector Charles Parker: Wimsey’s friend from Scotland Yard, called in to assist with the investigation.

Red Herrings

  • A mysterious figure seen near the artist’s studio on the night of the murder.
  • A scandalous love letter found in Eastwood’s desk, hinting at a possible affair.
  • A recently altered will that benefits a distant relative.
  • A disgruntled former student of Eastwood’s who had a public falling out with him.

Twists and Turns

  • Evidence that the suicide note was not written by Eastwood.
  • Discovery of a hidden compartment in the studio containing a valuable missing painting.
  • An anonymous tip that leads Wimsey to question the alibis of several villagers.
  • A break-in at the vicarage that uncovers a stash of blackmail letters.

Character Development

  • Wimsey’s empathy and understanding of human nature help him connect with the villagers and gain their trust.
  • Bunter’s military background proves crucial in deciphering a code found among Eastwood’s belongings.
  • Eleanor Brampton’s initial hostility towards Wimsey softens as she becomes an ally in the investigation.
  • Reverend Marple’s struggle with his conscience as secrets from his past come to light.

Clues and Evidence

  • A palette knife smeared with paint and blood, found in the nearby woods.
  • A torn piece of a jacket caught on a bramble that matches the fabric of a local squire’s missing coat.
  • A set of footprints leading away from the studio that suggests the presence of a second person.
  • The discovery of a rare poison in the victim’s system, not readily available to the public.

Conclusion: Unveiling the Murderer

  • Wimsey gathers all suspects for a dramatic reveal in the village hall.
  • He meticulously explains how each piece of evidence fits into the puzzle, exonerating the innocent and cornering the guilty.
  • The murderer is revealed to be someone unexpected, with a motive rooted in a long-held grudge and greed.
  • Wimsey’s clever deduction and attention to human psychology bring the case to a satisfying close.

Epilogue: Aftermath and Reflection

  • The village of Little Hampden returns to its peaceful ways, with the shadow of the murder lifted.
  • Wimsey reflects on the nature of crime and justice, and the impact of the case on the community.
  • Eleanor Brampton dedicates her next painting to Wimsey, capturing the essence of Little Hampden and its resilience.
  • Wimsey and Bunter depart, leaving behind grateful villagers and a sense of order restored.

Based upon his playtime with Perplexity, he thinks the AI might be most useful for this sort of question – an author is stuck for a plot and wants some fresh ideas. PG thinks there might be help for sub-plots, character creation, etc., generated with similar more-focused prompts.

How to Deliver Backstory Without Confusing the Reader

From Jane Friedman:

One of the key pitfalls of backstory, especially early in a novel, is either confusing backstory or overly coy and “mysterious” backstory. Here’s what it looks like.

In the enigmatic town of Serenity Falls, nestled deep within the embrace of towering pine forests and shrouded in perpetual mist, secrets were as abundant as the whispers that echoed through the labyrinthine streets. The townspeople moved with an air of quiet reserve, their eyes veiled and their lips sealed, guarding the mysteries that lurked in the shadows of their collective history.

Isabella, a newcomer to Serenity Falls, with a past as elusive as the morning fog, felt an inexplicable pull toward the town’s enigmatic allure, drawn by a sense of curiosity that she could neither explain nor ignore. She found herself embroiled in a web of intrigue and suspense that seemed to emanate from the very soul of the town itself.

Editor Tiffany Yates Martin discusses this terrible passage of backstory (written by AI, in fact) and then shows how to improve it. 

Link to the rest at Jane Friedman

Dig into Your Character’s Taboos

From Writer Unboxed:

I am drawn to the things that people won’t talk about. That may be obvious, if you know that my first two novels were about body image and suicide. When was the last time you asked a new mom about her poochy, post-baby abdomen, or what it was like for your neighbor to find her son dead by his own hand? Body-altering, life-changing events happen to us every day that most people just won’t talk about, even though staying mum feeds a churning magma of shame.

Secrets and lies are everywhere in contemporary fiction, and will often drive the entire novel, as David Corbett covered well in a 2022 post. For the purposes of this post, if the protagonist participated in “the thing that shall not be mentioned,” it’s probably more like a shameful secret that someone might lie to cover up.

What I want to look at today is a subtler contribution to characterization—unquestioned taboos passed down through your character’s family or tribe of origin.

Our understanding of what behavior is acceptable in society can come from what we’re told—“No sweetie, we don’t bite our friends”—or, sometimes more powerfully, through what’s never spoken about. If you’d like to try this way of enhancing characterization, look for a taboo relevant to your premise that is specific to the character’s family, as in the examples below. Because it won’t ever be talked about, the character may not even know why it’s taboo; they’ve simply accepted it as forbidden. These silent influences can add shading to a character, impact goal achievement, or dam/damn their inner arc of change.

Love. A man approaching a dock in a motor boat is met by a four year old waving his arms. “Uncle Jim, Uncle Jim, I love you!” The man climbs onto the dock, says hello to the child, then marches up to the boy’s mother and asks why her son would say that to him. She says, “Um, because he loves you? Wild guess.” The uncle harrumphs. “Well. We don’t do that.” What if using the word love causes suspicion in a family member instead of pleasure?

Money. Even though your character’s father was a vice-president of a major company, she had no idea what he earned except that according to her mother, the money didn’t stretch far with five children. This might leave the character clueless about budgeting, saving, and investing in ways that could impact her goal achievement. If her best friend hinted at “how much more money” she was making at her new job, your protagonist might feel prompted to ask for the details her friend longed to spill, but, believing it was crass to talk about money, have to force those words through the involuntary constriction in her throat. What if making money made her feel uncomfortable rather than successful?

Age. At dinner, a girl once asked her favorite aunt how old she was. Her mother cut her a stern look. A long, tense pause ensues. Her aunt finally says, “Old enough to know better.” How might this impact the girl? Would she think that aging is shameful and to be avoided at all cost? Might she be waiting for the day when she knows better?

Emotions. As with many who will not talk about the trauma they’ve suffered, there might be only two prevalent emotions at home: silence and anger. How might this impact a sensitive boy, who perceives the emotional world in many more shades, and cannot stop his tears despite his mother demanding that he do so? Might he see his emotional intelligence as emotional damnation, instead?

. . . .

 Interpersonal issues. An only child grows up to be a mother ill-equipped to manage the five children she has after she marries, especially since her husband works long hours supporting them. Her strategy when trouble erupts is to divide and conquer. How might this impact her daughter, when she’s called upon to resolve conflict in her own life?

Mistakes. A boy grew up never realizing that the parents he’s been emulating made mistakes. They certainly never admitted to any. How might this hamper this young man later in life, when an important relationship requires that he make use of the fine art of apology? And might he dismiss as weak an important mentor after the man admits to his own mistakes? How can he leave perfectionism behind in order to allow new awareness and personal growth?

Link to the rest at Writer Unboxed

Unions at Oxford University Press and Barnes & Noble are continuing to organize the book world.

From The Literary Hub:

We may be in for another hot labor summer in literature and publishing this year. Two recent news items caught my eye, as workers continue organizing in the world of books.

Workers at the Oxford University Press Union are threatening to strike as negotiations with management continue to stall. The union has faced stiff resistance, and filed a successful complaint with the National Labor Relations Board claiming that the Oxford University Press has broken the law by refusing to negotiate and by moving bargaining union work overseas. A strike may be next for the union as they continue to fight for better conditions and protections “to ensure the sustainability of OUP’s legacy and to serve as a model for fairness and stability across the industry.”

Elsewhere, Barnes & Noble workers are gearing up to unionize more of the chain’s more than 600 stores. Organizing efforts have already been successful at seven stores, and workers are hoping to keep the momentum up and push for more.

Barnes & Noble’s CEO James Daunt’s attempts to squash further organizing and slow-walk negotiations haven’t been particularly effective, and he has made the argument against organizing oddly personal. The Guardian quotes Zane Crockett, a bookseller at a unionized store in Bloomington, Illinois, who said that Daunt called into “the store himself saying a vote for the union is a vote against him.” A New York bookseller, Jessica Sepple, said that the CEO’s “big argument against us unionizing was it would make [Daunt’s] life harder, which he would repeat several times. It wasn’t very successful.”

Link to the rest at The Literary Hub

If the Daunt quote is accurate, he’s even more stupid than PG has long suspected.

Carter Wilson Interviewed Hundreds of Writers — Here’s What He Learned From Them

From BookTrib:

I launched my podcast Making It Up nearly three years ago with the goal of interviewing writers not for any particular work of theirs, but to talk to them about their lives. I didn’t want to ask them what famous author they want to have dinner with or what their top five favorite books are … yech. I wanted to know what their childhood was like, what inflection point made them want to write, and to hear about the years of glorious rejection letters. Most readers pick up a book and assume the author has always been an author, and they make gobs of money writing. I wanted the real, raw truth.

After nearly 150 conversations with writers of all backgrounds (from NYT bestselling thriller authors, to hopeful debuts, to historians, science writers and poets), I’m still amazed how much connective tissue binds us writers together. A few commonalities I’ve evidenced throughout my interviews:

  • Most writers can name a specific person or event that happened in their teenage years that made them want to write.
  • Writing is less a plan than it is a purpose. Despite all efforts to do anything but write, the act of writing will burrow its way to the surface at some point in a writer’s life.
  • No one sets out to write because it’s a solid business decision.
  • Nearly every writer has suffered (or continues to suffer) from impostor syndrome. We all feel like frauds, no matter how successful we may get.
  • There is no linear progression to a writer’s career. Some become hugely successful with their first book, but struggle to repeat the magic with the next several. Others find their best sales after ten books. You can’t count on anything, but yet the best may always be yet to come.
  • Writers can easily name a peer of whom they envy their success.
  • Writing is hard. It gets easier as the muscle for it develops, but it’s never easy.
  • Writing is meditation. It’s one of the few times in a person’s day they have to be fully focused and, more importantly, completely present.
  • Most writers hate social media and eschew the idea of self-promotion, necessary as it may be.
  • Writers view the publishing industry with a mixture curiosity and frustration. We all agree the industry is incredibly opaque, and there’s no formula for success within it.
  • Writers in the same field or genre don’t view one another as competition, and are often generous with their time supporting and promoting each other’s work. They view the true competition as anything else that vies for a potential reader’s attention, namely smartphones and Netflix.
  • Finally, from my experience, most writers are deeply kind, humble and just happy to share their time and opinions with you.

That last one is a universal truth I’ve seen throughout my podcast career. I’ve never talked to a jerk. Sure, some are shy, awkward, and certainly technologically challenged, but always generous and honest. Moreover, these writers are fountains of wisdom, doling out indispensable truisms from which not only my listeners benefit, but I as well. My favorites include S.A. Cosby talking about the equitability of writing (all quotes slightly edited for clarity):

“I think writing, of all the creative arts — acting, singing, dancing — it’s the one where everybody has the best shot. You can be a 75-year-old first-time author, you can be a 35-year-old author that’s got six or seven books under your belt, or you can be a 21-year-old wunderkind. Everybody has that same shot because nobody knows what’s gonna click, what’s gonna break out. And so for me, writing is that thing where I just feel like it’s the most equitable creative art.”

— S.A. Cosby on the Making It Up podcast

Or listening to Robert Dugoni tell me about taking advice from a friend, which led to him diving into learning the craft of writing:

“He said “immerse yourself in the community in which you want be involved.” So I started going to conferences, and I’d be sitting at tables with people that I had just met, and they’d be talking about these books that they read on story structure, or on character development, and I’d be like, what? So I took a step back, and I took about three years, and I gave myself an MFA. I have about forty binders, all full of different tabs, things like development, tension, what you’re trying to do. I had to learn, and, lo and behold, three years after I initially started, after I’d spent years and years studying, I started to have some success.”

Robert Dugoni on the Making It Up podcast

Link to the rest at BookTrib

How anybody can compose a story by word of mouth

How anybody can compose a story by word of mouth face to face with a bored-looking secretary with a notebook is more than I can imagine. Yet many authors think nothing of saying, ‘Ready, Miss Spelvin? Take dictation. Quote no comma Sir Jasper Murgatroyd comma close quotes comma said no better make it hissed Evangeline comma quote I would not marry you if you were the last person on earth period close quotes Quote well comma I’m not so the point does not arise comma close quotes replied Sir Jasper twirling his moustache cynically period And so the long day wore on period End of chapter.’

If I had to do that sort of thing I should be feeling all the time that the girl was saying to herself as she took it down, ‘Well comma this beats me period How comma with homes for the feebleminded touting for custom on every side comma has a man like this succeeded in remaining at large mark of interrogation.

P.G. Wodehouse

Best dictation software of 2024

From Tech Radar:

The best dictation software makes it simple and easy to record audio notes on your desktop or mobile device.

It also allows you to speak instead of typing and converts your spoken words into text. This can save you a lot of time and energy and is very useful for anyone who might have difficulty typing for any period, such as those with RSI or a disability.

Although dictation software has been around since the 1990s, it was mostly seen as a gimmick due to low accuracy. However, technological advancements have made them more accurate and usable; you can now dictate text with accuracy levels of over 90%.

The most popular office software, Word, comes with a built-in speech-to-text converter, and it’s back engine has almost certainly been helped by Microsoft’s purchase of the Dragon software company, which leads the field when it comes to dictation software for all applications. Apple and Google also provide similar options for their software platforms.

. . . .

Dragon Professional Individual

Dragon Professional Individual dictation software is widely recognized as the best in the business. Dragon products are reliable, easy to use, and among the most accurate available.

Having used Dragon dictation software on our laptop, we can attest to its best-in-class performance. In a 300 word test, the software got 299 words correct. 

Like most advanced dictation software platforms, Dragon software leverages deep learning technology and artificial neural networks. These technologies enable Dragon to adjust its transcription based on several factors, such as the amount of ambient noise, the speaker’s accent, and even the tone with which they speak. 

For businesses, several Dragon dictation products may be suitable. This is because Dragon has gone beyond merely offering one software package for all purposes, and has created dictation software custom-designed for specific industries. The most popular are Dragon Legal, Dragon Medical One, and Dragon Law Enforcement. 

The biggest downside of Dragon dictation software is the substantial cost for a license.

. . . .

Microsoft Word speech to text

Although not a standalone dictation software platform, we believe Microsoft Word’s dictation functionalities merit a spot on this list. Built directly into Microsoft Word, and included with all Microsoft 365 subscriptions, it is a powerful and accurate dictation tool. 

The platform relies on vast amounts of training data and artificial neural networks, meaning it is continuously improving its ability to transcribe voice to text. Having tested Microsoft’s dictation software, we’re confident it competes in accuracy and ease of use with the leading dictation software providers. 

There are few standout features to mention, but we see this as a strength. Microsoft Word’s dictation software is straightforward to use, with no setup or installations required. It is accessible directly from the Word application, and it only takes one click to begin voice typing. 

Several voice commands enable you to take control of the document. These include punctuation marks and formatting tools. 

A final thing we like about Microsoft Word’s speech to text software is its support for nine different languages, with many more in the testing stage.  

. . . .

Google Docs Voice Typing

Google Docs is a popular online world processor offered by Google, the tech giant best known for its search engine. It works just like Microsoft Word but online instead of a desktop app. It’s also free to use, so you don’t have to pay any extra fee for a dictation tool. 

Google Docs allows you to type with your voice. When you open the software, just select Tools > Voice Typing and give it access to your device’s microphone. Then, you can click the pop-up microphone button anytime you want to dictate text. During our test, it was very accurate and typed in the correct words that were dictated. Just ensure you speak loudly and legibly because little pauses and stutters can confuse it. 

All you need to use Google Docs is a working Google account. There’s no setup or installation required; you just have to sign in and open a new document. The drawback is that you can not use the voice typing feature offline. 

. . . .

How We Tested the Best Dictation Software

To test for the best dictation software we first set up an account with the relevant software platform, whether as a download or as an online service. We then tested the service to see how the software could be used for different purposes and in different situations. The aim was to push each dictation software platform to see how useful its basic tools were and also how easy it was to get to grips with any more advanced tools.

Link to the rest at Tech Radar

The OP includes information about other dictation programs beyond the three mentioned above plus a more detailed review of Dragon Professional, MS Word and Google Docs.

Feel free to share your experiences with dictation software in the comments.

How To Dictate Your Book

From The Creative Penn:

The word ‘writing’ has become associated with hitting keys on a keyboard to make letters appear on a screen or inscribing by hand onto paper. But the end result is a mode of communication from one brain to another through the medium of words. Those words can be generated by your voice, just as people can ‘read’ by listening to an audiobook.

Famous authors who have written with dictation include diverse creatives John Milton (Paradise Lost), Dan Brown, Henry James, Barbara Cartland and Winston Churchill. When Terry Pratchett, fantasy author of the Discworld series, developed Alzheimer’s Disease, he found he couldn’t write anymore, so he moved to dictation in his final years.

. . . .

So, why dictate?

(1) Health reasons

You can dictate standing up or while walking, or lying in bed with injuries, or if pain stops you typing.

I started using dictation when I had RSI and used it to write the first drafts of Destroyer of Worlds and also Map of Shadows, plus some chapters for this book, which I dictated while walking along the canal towpath.

(2) Writing speed and stamina

Dictation is faster at getting words on the page than typing, especially if you are not self-censoring.

I’ve made it up to around 5000 words per hour with dictation, while I only manage around 1500 words per hour typing.

There is a trade-off with ‘finished’ words as you will have to at least lightly edit to correct transcription issues, but if you want to get that first draft done faster, then dictation can be the most effective way.

(3) Increased creativity

Some writers have a problem with perfectionism and the critical voice in a first draft. They struggle to finish a book because they are constantly editing what they have written.

If you dictate, you can bypass this critical voice, get the first draft done and then edit it later.

. . . .

What’s stopping you dictating?

There are a number of reasons why people resist dictation. I know them all because I’ve been through this journey several times!

The most common are:

• “I’m used to typing. I don’t have the right kind of brain for dictation.”

• “I don’t want to say the punctuation out loud. It will disrupt my flow.”

• “I write in public so I can’t dictate.”

• “I have a difficult accent which will make it impossible.”

• “I write fantasy books with weird names which won’t work.”

• “I don’t know how to set it up technically.”

• “I can’t spare the time to learn how to dictate.”

Here’s what I wrote in my journal on the first day I tried dictation before I’d actually even started.

I’m very self-conscious. I’m worried that I won’t be able to find the words. I’m so used to typing and creating through my fingers that doing it with my voice feels strange.

But I learned to type with my fingers, so why can’t I learn to type with my words? I just have to practice. Something will shift in my mind at some point, and it will just work. This should make me a healthier author, and also someone who writes faster.

Authors who use dictation are writing incredibly fast. That’s what I want. I want to write stories faster as I have so many in my mind that I want to get into the world.”

Here are thoughts from my journal after the first session:

“It felt like the words were really bad and the story clunky and poor. But actually, when the transcription was done and I edited it, it really wasn’t as bad as I thought it would be. A classic case of critical voice.

I need to ignore this when I’m dictating. I definitely need to plan the scene more before I speak it, which will save time overall in both dictation and editing.

I did think I would find the punctuation difficult, but that has also been easier than I thought. There are only a few commands that you use regularly, and dialog is the worst but you get into a rhythm with that. It also gives you a pause between each speaker to consider what they might say next, so perhaps it is a blessing in disguise. For the Indian character names, I am just using an easy placeholder word that I will go back and fix later.”

Link to the rest at The Creative Penn

It appears that Joanna created this blog post and video about six years ago. PG plans to see if he can find anything about technology updates that may be relevant to authors who may want to experiment with dictation.

Here’s a video in which Joanna describes how she dictates her books.

Authors who dictate

From Sathyanand’s Blog:

“The Greek poet Homer (probably) dictated the entire Iliad and Odyssey because, according to tradition, he was blind.” ~ says Michael M. from Daily Writing Tips.

Dame Agatha Christie dictated perhaps half of her 66 famous mystery novels. Science fiction writer Kevin J. Anderson says, “It’s been about fifteen years since I gave up the keyboard and took up a recorder for my first drafts.” He is the author of 56 bestsellers, with more than 23 million books in print worldwide.

Legendary writer Sidney Sheldon wrote all his 18 novels by dictating. “Each morning from 9 until noon, I had a secretary… I wrote each morning — or rather, dictated — and then I faced the TV business.” On the best days, he dictates close to 50 pages.

Link to the rest at Sathyanand’s Blog

Are You A Dictator? Then Philips’ New Integration with Nuance Dragon’s AI Speech Recognition May Be for You

From LawSites:

I am not a dictator (although some in my family may at times disagree). But I know that, for many lawyers and legal professionals, dictation is the only way to go. If you are one of them, you may want to check out the integration announced today by Philips Dictation of Nuance Dragon’s AI-powered speech recognition into the Philips SpeechLive dictation platform.

Philips SpeechLive, owned by the company Speech Processing Solutions, is a browser- and mobile-based dictation and transcription product for converting speech to text. The product, which also includes tools for routing and managing transcriptions, is used by a number of law firms.

With today’s announcement, SpeechLive now integrates Nuance Dragon, which has been a long-time leader in dictation software for the legal profession. The integration brings enhanced AI-driven speech recognition with software that continuously learns and becomes more accurate with use.

. . . .

Among the features enabled through this integration:

  • Specialized legal vocabularies. User can access tailored legal vocabularies for greater precision in transcription.
  • Custom profiles. Speech profiles can be personalized for to enhance efficiency and reduce repetitive corrections.
  • Personalized user recognition that uses adaptive learning to optimize transcription accuracy, tailored to individual preferences.
  • Real-time speech recognition. Integration of the Dragon Bar enables users to dictate directly into applications, such as Word documents or client management systems.

Link to the rest at LawSites

PG was an early adopter of Dragon’s early dictation system a very long time ago. It didn’t work very well.

However, in his law office, he dictated most of the documents that he couldn’t create with his home-brew document assembly system. His secretaries were very talented at cleaning up some of the documents he had dictated badly.

He also dictated requests to call the court clerk’s office to find out the status of court filings, etc., etc., etc. He hired the smartest secretaries he could find and paid them significantly more than the local going rate so they would stay around a long time. When a big check would arrive, he often paid his secretaries part of the windfall. Hiring and keeping smart people paid off very nicely for him.

PG remembers reading that a successful author dictated the first drafts of his novel for transcription a long time ago. He doesn’t recall who it was, but perhaps the name will float into his mind from the cloud or some similar source.

The Pacific Islands: United by Ocean, Divided by Colonialism

From Public Books:

The Pacific islands of Samoa and the Cook Islands are about as far from each other (960 miles) as the American West Coast cities of Los Angeles, California, and Portland, Oregon. And yet, the inhabitants of the two islands must contend with a time difference of a remarkable 23 hours. The reason is that they are separated by the International Date Line, which divides one calendar day from another. Here, deep in the Pacific, the impact of Western colonialism runs deep: it even shapes the way Pacific Islanders experience time. It does so by erecting a barrier between geographically close and historically linked islands, a divide, explains scholar Maile Arvin, that is “irreconcilable with Indigenous epistemologies of the Moana, or Pacific Ocean that emphasize the ocean as connection rather than barrier.”

The Pacific Islands have long had a shared culture, yet were divided by European colonizers—with terminology based on their encounters with Africa—into “Polynesia,” “Micronesia,” and “Melanesia.” “White people carved this vast oceanic world into categories of race,” Nitasha Tamar Sharma writes, “appointing Melanesians as the Black people of the Pacific because of their dark skin and curly hair, in contrast to Polynesians, whom Europeans considered closer to Whiteness.”

A case study for understanding Pacific Islanders’ relationship to whiteness can be found in Guam, a Micronesian island held by the US as a territory. One of the most militarized islands in the western Pacific Ocean, Guam contains two major military bases: Naval Base Guam in Santa Rita and Andersen Air Force Base in Yigo. It is the construction of modern Guam as a strategic military outpost for the United States that forms the basis of Alfred Peredo Flores’s Tip of the Spear: Land, Labor, and US Settler Militarism in Guåhan, 1944–1962. Flores posits that Guam (which Flores calls Guåhan, the island’s Chamorro name, but which I will refer to in this essay as Guam for ease of recognition by unfamiliar readers) was developed by the United States through a process of “settler militarism,” and that the formation and maintenance of Guam’s civilian military labor system depended on privileging the needs—financial and sexual—of white Americans over those of Chamorro (the Indigenous people of Guam, also spelled CHamoru) and Filipino workers. “Settler militarism,” according to Juliet Nebolon, underscores the extent to which “settler colonialism and militarization have simultaneously perpetuated, legitimated, and concealed one another,” making it a useful term to understand the development of Guam as both a cultural and military asset to the United States.

This question of proximity to whiteness is also considered by Arvin in Possessing Polynesians: The Science of Settler Colonial Whiteness in Hawai`i and Oceania, which theorizes that Pacific Islanders’ identity has been shaped by a “logic of possession through whiteness.” By this logic, Arvin argues, Polynesians were considered “almost white”: allowing white settlers to claim indigeneity and thus settler colonial ownership over Hawaii and other parts of Polynesia. Such near-whiteness contrasts Micronesians (including Chamorros in Guam) and Melanesians, whom Arvin argues were considered closer to Blackness and, thus, racially subjugated in a more conventional manner. Polynesians’ perceived proximity to whiteness, according to Arvin, was primarily rooted in the belief that “because Polynesian language, myth, and biology contained an Aryan heritage, Polynesian peoples and land were naturally also the heritage of white settlers.”

Arvin’s “logic of possession through whiteness” illuminates Flores’s account of what happened in mid-20th-century Guam. Putting these two books in conversation, I argue that Chamorros’ racialization as dark and “other” in contrast to white Americans allowed for the privileging of whiteness and white labor in the settler colonial project in Guam, in contrast to Arvin’s example of settler colonialism in Polynesia, specifically Hawaii, relying on constructing Polynesians as proximal to white Americans. In the first instance, settler colonialism positioned Chamorros as distant from whiteness in order to underscore Pacific Islanders’ perceived inferiority as laborers and residents of Guam compared to their white counterparts. In the second instance, settler colonialism similarly exalted whiteness not by underscoring Pacific Islanders’ distance from whiteness but by locating Polynesians as “almost white as an attempt to make Polynesia into a Western, settler colonial project, not merely a place.”

In post–World War II Guam, then, Arvin’s “logic of possession through whiteness” operates slightly differently than it does in Polynesia to nevertheless exercise control over Chamorros, specifically by underscoring their distance from whiteness rather than assigning them an “almost white” status.

It is necessary to first define the parameters of Polynesia, Micronesia, and Melanesia, even though the terms are a “form of knowledge production that structures settler colonialism.” Polynesia is the largest by area of the three regions and includes Hawaii, Tonga, Samoa, Tahiti Nui, the Cook Islands, and New Zealand, among other islands. West of Polynesia is Melanesia, which includes Fiji, Vanuatu, Papua New Guinea, and the Solomon Islands, among others. North of Melanesia are the islands of Micronesia, including Guam, the Northern Mariana Islands, the Marshall Islands, Nauru, and the Federated States of Micronesia.

Polynesians, specifically Native Hawaiians, were positioned as racially proximal to whiteness. As such, they were elevated above Micronesians and Melanesians, who were named so literally because of their melanin. Micronesians fell somewhere in between: darker in complexion than Polynesians but lighter than Melanesians, occupying the liminal space between whiteness and Blackness. Some scholars offer a more capacious definition of Blackness: According to legal scholar Charles Lawrence as summarized by Sharma, Blackness “includes Micronesian and Hawaiian men whose lives are burdened (and cut short) by racist people in positions of power—who in Hawai’i include Asians.” Under this framing, both Chamorros and Native Hawaiians occupy a position of relative Blackness compared to non-Indigenous Asian and white settlers.

So where do all Pacific Islanders, considered separately from Asian Americans (with whom they have been grouped), stand in relation to whiteness? Considering this question is important as Asian Americans litigate their own positionality in relation to whiteness, especially with looming discourse contending that Asian Americans are “honorary white people” in light of issues such as affirmative action and policing.

Pacific Islanders are often lumped together with Asian Americans in US community surveys, data reports, and government-sanctioned celebrations. These include Asian American and Pacific Islander Heritage Month, alternatively referred to by the federal government as Asian Pacific American Heritage Month and, most recently, Asian American, Native Hawaiian, and Pacific Islander Heritage Month: three names that underscore the government’s ongoing uncertainty when it comes to defining and locating Pacific Islander communities in relation to Asian Americans.

In 1997, the US Census finally separated the categories “Native Hawaiian and Other Pacific Islander” and “Asian.” Still, Pacific Islanders are seldom considered separately from Asians in mainstream news coverage and scholarly criticism, beyond references to the Pacific Islands in geopolitical and military contexts. But there are “stark, documented inequalities between Asian American and Pacific Islander groups,” as Arvin observes. Moreover, grouping them together ignores “the distinction that Pacific Islanders are Indigenous peoples,” meaning they are the earliest known inhabitants of the region.

And the dearth of specific information about the demographic makeup and needs of Pacific Islander communities has led to fewer resources for those communities, especially when health and economic studies in reality focus primarily on Asian ethnicity groups but purport to target AAPI communities. Disaggregating data among Asian American and Pacific Islander communities can help: a San Francisco Unified School District student population recount found that almost three times as many students identified as Pacific Islander compared to the school’s initial report for the 2018–19 academic year—and that more than half of them identified as Samoan, which led to the creation of an educational pathway for students “rooted in Sāmoa Aganu’u indigenous values and practices.” Clearly, when it comes to Pacific Islanders, questions of terminology have material consequences.

Link to the rest at Public Books

PG doesn’t agree with ideas of racial guilt or historical racial subjugation as the most relevant elements in today’s society.

He also disagrees with the statement in the OP that “The Pacific Islands have long had a shared culture.”

How did this sharing of culture take place in a region that covers an enormous area—64 million square miles—a space larger than all the land masses of the world combined—during times when a huge portion of Pacific Islanders could only travel by small boats powered by sails or paddles?

PG will limit himself to a discussion of only one more statement in the OP – “White people do not need to be present for whiteness to exert its hegemony.”

What is “whiteness”? Is the “whiteness” of Finland the same as the “whiteness” of white people living in South Africa? How about the “whiteness” of Alaskans and the “whiteness” of white sharecroppers who live in Alabama?

The author of the OP is a woman named Meena Venkataramanan (Harvard University, BA in English; University of Cambridge, MPhil in English), who writes for The Washington Post and speaks English, Spanish and Tamil.

On Ms. Venkataramanan’s blog, we learn that:

My writing has also appeared in the Los Angeles Times, the Boston Globe, POLITICO, the Los Angeles Review of Books, the Chicago Review of Books, Harvard Magazine, the Texas Tribune, the Arizona Republic, the Pittsburgh Post-Gazette, and ABC News. My work has been featured on MSNBC’s Rachel Maddow Show and All In With Chris Hayes, and I have discussed my reporting across national and regional media.

On a different page of her blog, we can see “links to selected media appearances on television, radio, video, and podcasts.” In various of these media appearances, we learn that she is a recognized expert on why more American women want their tubes tied and how Queen Elizabeth’s death resurfaced colonial trauma for some people. Additionally, her thoughts about a “Bad Bunny and El Muerto Variant Cover” on TikTok apparently rated an article in The Washington Post.

Ms. Venkataramanan is certainly a useful expert on a wide variety of subjects—where Pacific Islanders stand in relation to Whitness, knowledge production that structures settler colonialism, how Asian Americans litigate their own positionality in relation to Whiteness, and so forth.

PG just realized that he forgot to mention another field of expertise Ms. Venkataramanan has mastered – Why “Some Black Germans want change.”

Captain Cook’s Final, Fatal Voyage

From The Economist:

Until recently Captain James Cook was not a particularly controversial figure. But in January a statue of the 18th-century British sailor and explorer was toppled in Melbourne and the words “The colony will fall” spraypainted on the plinth. In Hawaii an obelisk in Cook’s memory has been splattered with red paint and the message “You are on native land.” Cook has joined Edward Colston, Robert Clive and Cecil Rhodes as a focal point for anti-colonialist ire.

In fact Cook was neither a slave trader nor much of an imperialist. He was, first and foremost, a brilliant navigator and cartographer. Acting under Admiralty orders, he undertook three pioneering voyages in the Pacific between 1768 and 1779. His mapmaking transformed Europeans’ knowledge of the world’s largest ocean.

An excellent new book draws on Cook’s letters and notebooks to tell the story of his third and final trip. Cook was almost 50 when he set off on hms Resolution in July 1776. Among the crew he took were William Bligh (later captain of the Bounty before the mutiny in 1789) and Mai, a Tahitian prince noted for being painted by Sir Joshua Reynolds. Cook had secret instructions from the Admiralty not only to claim new territory for Britain, but to search for a north-west passage via the Bering Strait (a task even someone with his navigational experience found impossible).

The author, Hampton Sides, focuses on Cook’s return to Australia and New Zealand—countries the explorer had first encountered almost a decade earlier—his discovery of the Society Islands (today part of French Polynesia) and his time in Hawaii. It was there, in February 1779, that he was killed after a botched attempt to kidnap a local chief in response to the theft of a longboat.

Cook was a man of his times. He believed Europe would have a civilising influence on many benighted folk in the Pacific. He was distinctly cruel in meting out punishments, to his own crew as well as to any indigenous people who opposed him.

Yet Cook also admired many of the people and places he encountered in the South Pacific. Unlike the Spanish, he had no interest in religious conversion. He tried hard to stop his men from spreading venereal disease. For the most part, his land claims were aimed not at promoting a British empire but forestalling grabs by Britain’s rivals, France and Spain.

Link to the rest at The Economist

J.K. Rowling Still Free from the Speech Police

PG note: This is closer to the political line than PG typically ventures. This will not become a regular feature on The Passive Voice.

He makes this exception because, as described in The Wall Street Journal, Scottish law has the potential to seriously harm authors who are subject to it.

Freedom of speech is the cornerstone of any democracy. If a government can outlaw and punish speech it dislikes for any reason, a fundamental tool that allows a democracy to readjust its course and correct the errors that human beings inevitably commit.

It is a short step from prohibiting speech a government believes to be improper to prohibiting speech that criticizes other actions the small group of people who are in power decides will be best for themselves.

From The Wall Street Journal:

An appalling political effort to force the people of Scotland to express only government-approved thoughts on “gender” has so far been unable to conquer the country’s most successful expresser of thoughts. Megan Bonar and Katy Scott report for the BBC:

Social media comments made by JK Rowling challenging Scotland’s new hate crime law are not being treated as criminal, Police Scotland has said.

The Harry Potter author described several transgender women as men, including convicted prisoners, trans activists and other public figures.

The new law creates a new crime of “stirring up hatred” relating to protected characteristics.

The force said complaints had been received but no action would be taken.

Ms. Rowling responds on X:

I hope every woman in Scotland who wishes to speak up for the reality and importance of biological sex will be reassured by this announcement, and I trust that all women – irrespective of profile or financial means – will be treated equally under the law.

Libby Brooks adds in the U.K.’s Guardian:

As the Scottish government’s contentious hate crime law came into force on Monday, the author… posted a thread on X… listing sex offenders who had described themselves as transgender alongside well-known trans women activists, describing them as “men, every last one of them”.

She stated that “freedom of speech and belief are at an end in Scotland if the accurate description of biological sex is deemed criminal”.

Agence France Presse notes more of Ms. Rowling’s commentary:

The law, she said in a lengthy online criticism, is “wide open to abuse by activists who wish to silence those of us speaking out about the dangers of eliminating women’s and girls’ single-sex spaces”.

“I’m currently out of the country, but if what I’ve written here qualifies as an offence under the terms of the new act, I look forward to being arrested when I return to the birthplace of the Scottish Enlightenment,” she wrote.

Thank goodness that Ms. Rowling will remain free—at least for now—but will such liberty be allowed for everyone? Ross Douthat now writes at the New York Times

In 2002, the English journalist Ed West penned an essay entitled “Britain Isn’t a Free Country.” His evidence was straightforward: Through the aggressive enforcement of laws against hate speech, Britain was harassing, investigating and sometimes imprisoning its own citizens, effectively consigning the right to free expression to the dustbin of history.

Here in 2024, Mr. Douthat describes the latest assault on free expression:

The new Scottish law criminalizes public speech deemed “insulting” to a protected group (as opposed to the higher bar of “abusive”), and prosecutors need only prove that the speech was “likely” to encourage hatred rather than being explicitly intended to do so. One can offer a defense based on the speech in question being “reasonable,” and there is a nod to “the importance of the right to freedom of expression.” But a plain reading of the law seems like it could license prosecutions for a comedian’s monologue or for reading biblical passages on sexual morality in public.

Mr. Douthat adds:

My prediction is that neither Rowling nor any figure of her prominence will face prosecution. Rather, what you see in West’s examples is that the speech police prefer more obscure targets: the teenage girl prosecuted for posting rap lyrics that included the N-word or the local Tory official hauled in by the cops after posting to criticize the arrest of a Christian street preacher.

Which is, of course, a normal way for mild sorts of authoritarianism to work. Exceptions are made for prominent figures, lest the system look ridiculous, but ordinary people are taught not to cross the line.

Mindful of this possibility, Ms. Rowling posted on X on Tuesday:

If they go after any woman for simply calling a man a man, I’ll repeat that woman’s words and they can charge us both at once.

Link to the rest at The Wall Street Journal

It is extremely difficult to obtain a hearing from men living in democracies

It is extremely difficult to obtain a hearing from men living in democracies, unless it be to speak to them of themselves. They do not attend to the things said to them, because they are always fully engrossed with the things they are doing. For indeed few men are idle in democratic nations; life is passed in the midst of noise and excitement, and men are so engaged in acting that little remains to them for thinking. I would especially remark that they are not only employed, but that they are passionately devoted to their employments. They are always in action, and each of their actions absorbs their faculties: the zeal which they display in business puts out the enthusiasm they might otherwise entertain for idea.

Alexis de Tocqueville, Democracy in America

The journey from Self-Published to Traditionally Published author

From Women Writers, Women’s Books:

I often get asked why I decided to self-publish my books. It all started in the summer of 2019 when I attended the Winchester Writers’ Festival, submitting the first three chapters and a synopsis of my debut novel Leave Well Alone to four literary agents beforehand.

It was a busy weekend, listening to guest speakers, participating in workshops, meeting other authors and joining writing seminars. In addition, during the festival, I attended one-to-one sessions with each of the agents I had submitted my work to. These sessions were how I imagined speed dating to be, but for writers to find an agent rather than a lover.

There were about thirty agents in a hall and as many authors. A bell would ring, indicating the start and finish of each session, when the authors would stand up and leave their current perspective before moving on to the next agent. The stakes were high for us authors, each session intense as we hoped to find an agent.

The highlight of the weekend came when I sat down opposite the third agent (from a very reputable agency), and she said, ‘I love it. Everything about it. Your story idea, your writing, your characters, everything!’ We spent the ten-minute slot chatting about the publication process and the author name I should use. It was a surreal moment, and I was beyond excited! While raising my three sons, one of whom has severe disabilities, I’d been writing Leave Well Alone on and off for seven years. I envisaged signing copies of my labour of love in bookstores. I fantasised about seeing it at the airport.

But life doesn’t always take the path we hope for.

Things didn’t work out with that agent (long story), and to say I was bitterly disappointed is an understatement.

But, in hindsight, it was the best thing to happen to me. And if I ever met that agent again, I would wholeheartedly thank her for not taking me on.

I threw my manuscript into the Cloud in disdain and began plotting my second book, Don’t Come Looking. By the end of the year, I had completed a very rough draft.

Discouraged by the agenting process, I began researching self-publishing and what it would entail to get my book into the hands of readers. I found an editor (who went on to edit all my six self-published books) and worked with her to make Leave Well Alone the best it could possibly be. I spent hours learning the beginning of the publishing world and constructing a marketing plan, and at the end of 2019, I decided 2020 would be the year I would see my debut in print.

I found a cover designer, devised a detailed publishing schedule, and taught myself how to run Amazon and Facebook ads. Then, on August 1st, 2020, I self-published my debut. By Christmas, it had earned Amazon’s bestseller tag, topping the charts in both the UK and the USA. Little did I know I would go on to self-publish another five books.

In May 2023, I was approached by Bookouture, a division of Hachette UK, to work with them. Two months later, I signed a two-book deal with them. I was thrilled they signed me on two books I hadn’t even written. I spent the rest of 2023 writing How Can I Trust You? and Did I Kill My Husband? to be published on April 8th and May 29th respectively. I also wrote a short story, Sweet Revenge, to introduce new readers to my work. You can pick up a copy from the following link: https://bookouture.com/subscribe/aj-campbell/

I’m currently writing books nine and ten, which I can’t wait to tell my readers more about.

Link to the rest at Women Writers, Women’s Books

Writers With ADHD: Strategies for Navigating the Writing Process

From Writers Helping Writers:

Earlier this year, I received an email from Bret Wieseler, requesting, “I would love to see a post about writers with ADHD. If you’ve never struggled with it yourself, maybe you know someone who has and can share their thoughts, methods, management strategies, etc. You offer such great insight into the many aspects of being a writer. I’m sure some of your readers, like myself, who struggle with ADHD would appreciate any advice you could offer.”

I immediately knew who to call on, and I am excited to share a guest post today from a writer who has been a part of my own journey almost from the very beginning. Johne Cook and I met on an online writing forum over 15 years ago, and he remains one of my favorite people to have entered my life in this journey. I have long admired his pragmatism, his insight, and his general cool in the face of the Internet’s insanity. To this day, I will often ask myself, “What would Johne do here?”

He has always been open about his experience as a writer with ADHD—both the challenges and his solutions for overcoming them. Today, I’m excited to have the opportunity to let him share his experience, tips, and resources with you.

Discovery

I wish I knew then what I know now.

For my first 45 years, I thought I was broken: I was a daydreamer, I couldn’t focus on things everyone else thought were important, I fidgeted when I should have been focusing, and I focused intently on the wrong things when people wanted my attention elsewhere.

It’s not like there weren’t clues. I excelled as part of an award-winning marching band in high school where marching in unison was expected, but it was like I was out of step with society.

I had difficulties with organization, time management, and sustaining attention in non-stimulating environments.

I couldn’t make important decisions to save my life. I kept putting things off. I had health problems, money problems, interpersonal problems.

I waited until the 11th hour to begin anything important, and things frequently fell through the cracks.

When I was young, what I wanted most was to be “normal.” But the older I got, the more I believed that was never my reality or calling.

Everything changed the day I heard a piece on NPR called “Adult ADHD in the Workplace.” As they discussed what ADHD was and shared six basic questions, I realized I checked five of the six boxes. They shared a link to a website, and I double-checked my results when I got home.

And then I met with a doctor and confirmed the diagnosis. My entire identity changed.

When I tried two different medications that gave me additional focus at the expense of my creativity (and some other small side effects), I sensed, for the first time, that my creativity was somehow tied to my condition. I valued my ability to sling words, see patterns, and make intuitive leaps that others around me couldn’t.

Because I valued my creativity, I ultimately handled my ADHD through other means that I’ll talk about below.

I realized I could either run from my ADHD or embrace it.

I decided to lean into it.

Communication

Knowing is half the battle. Knowing this about myself (and knowing that I was special, not broken) changed the way I saw everything.

I started by talking to my wife Linda and my family about what I was like and gradually increased my communication to include my boss and peers at work.

For some of them, what I told them was no surprise, and my biggest pleasant shock was how cool everyone was about it.

Finally, when appropriate, I shared about my ADHD with people I met out in the world. Letting people know what I was like set expectations and minimized confusion.

Once I had that handled, I moved on to the fun stuff.

ADHD as a Superpower

If attention deficit is the disorder, attention hyper-focus is my superpower.*

During the pandemic, Linda and I watched an interrupted season of The Amazing Race, mostly for Penn and Kim Holderness from YouTube’s The Holderness Family. It was only while watching the show that we learned that Penn was very ADHD. They referred to his ADHD as a superpower, and I saw with my own eyes how his ADHD helped him with pattern recognition, creative outside-the-box thinking, and hyper-focus during challenges.

And watching Penn at work on the show changed how I viewed my own ADHD.

In short, when managed effectively and embraced for its positive attributes, ADHD can empower writers to harness their inner strengths and achieve success in various domains of life.

Understanding ADHD in the Writing Process

People with ADHD exhibit different symptoms such as difficulty maintaining attention, hyperactivity, or impulsive behavior. For writers, these symptoms can manifest as challenges in organizing thoughts, staying on task, and completing projects.

However, it’s also associated with high levels of creativity, the ability to make unique connections, and a propensity for innovative thinking.

Challenges Faced by Writers With ADHD

(The following challenges are common but not universal.)

  • Distraction: Writing progress can be derailed by the lure of new ideas, social media, or even minor environmental changes.
  • Difficulty Organizing Thoughts: It can be daunting to translate a whirlwind of thoughts into coherent, structured writing.
  • Procrastination: Delaying writing tasks in favor of more immediately rewarding activities.
  • Impulsivity: Starting new projects without finishing current ones can lead to a cycle of uncompleted works.

Despite these challenges, many writers with ADHD have developed strategies to thrive.

Strategies and Tools for Writing with ADHD

I decided against medication. Once I took medication off the table, I began leaning harder on software tools to become more organized and to remind myself of important things.

Turning ADHD challenges into advantages requires a combination of personal strategies, environmental adjustments, and technology.

Linda and I are a team—she knows to prompt me to use my tech to capture ideas or thoughts in the moment, and I’ve become better at tracking my ideas by noting them in my phone or on my calendar.

Today, there are more tools available than ever.

Here are several approaches:

1. Structuring the Writing Environment

Minimize Distractions: Create a writing space with minimal visual and auditory distractions. Tools like noise-canceling headphones or apps that play white noise can help.

Establish Routines: Having a set writing schedule can provide structure and make it easier to start writing sessions.

2. Breaking Down Tasks

Use Lists and Outlines: Breaking writing projects into smaller, manageable tasks can make them less daunting. Outlining can also help organize thoughts before diving into writing.

Set Small Goals: Focus on short, achievable objectives, such as writing a certain number of words daily, to build momentum.

3. Leveraging Technology

Calendars: Google Calendar or Fantastical (MacOS only) free up my mind and keep me up-to-date.

Writing Software: Applications like Scrivener or Google Docs offer features to organize ideas, research, and drafts in one place.

Time Management Apps: Pomodoro timers or task management apps like Trello can help manage time and keep track of progress.

Pocket: A social bookmarking service for storing, sharing, and discovering web bookmarks.

SnagIt: A screenshot app on my computer where I capture and store screenshots in folders for later use. Also does optical character recognition (OCR) on text strings, allowing me to replicate URLs with copy/paste.

Note-taking appsApple Notes—my second mind that I can access from any of my Internet-connected devices.  Notion—a beefier app for more sophisticated note-taking

4. Embracing the Creative Process

Allow for Free Writing: Set aside time to write without worrying about coherence or structure. This can help capture creative ideas without the pressure of perfection.

Develop a System for Capturing Ideas: Use note-taking apps or carry a notebook to jot down ideas as they come, regardless of the time and place.

5. Seeking Support

Writing Groups: Joining a writing group or participating in writing challenges can provide accountability and motivation.

Professional Help: For some, working with a coach or therapist specializing in ADHD can offer personalized strategies and support.

Success Stories: Writers With ADHD

Many successful writers have ADHD and have spoken about how it affects their creative process. Writers emphasize the importance of embracing their non-linear thinking, and view it not as a hindrance, but as a source of creativity and originality:

Agatha Christie: The “Queen of Crime” was known for her prolific output and intricate plots. Some speculate that her energetic writing style and ability to focus intensely on details could be signs of ADHD.f

. . . .

John Irving: The author of The World According to Garp was diagnosed with ADHD as an adult and has spoken about how his condition has both helped and hindered his writing process.

Link to the rest at Writers Helping Writers

The following are from The Holderness Family, mentioned in the OP:

SPD Client Presses Race to Claim Books as Ingram Drops a Tight Deadline

From Publishers Weekly:

An email sent by Ingram Publisher Services to former clients of the shuttered SPD Press Distribution is causing more panic in the independent publishing community. The email directs publishers to fill out a form by April 17, providing Ingram with instructions about where to send their titles—at the presses’ own cost. But what has publishers most anxious is Ingram’s plan to “recycle” any inventory remaining at the Ingram warehouse after 60 days.

Given the current state of confusion and uncertainty about future distribution arrangements, some publishers worry that two months isn’t nearly enough time to complete the process of finding a new home for their titles. Others on social media pointed out that some of the 300,000 books that were at the SPD warehouse likely belong to publishers that are no longer operating, and, without anyone around to claim them, will simply be destroyed.

The email also notified publishers that with the closure of SPD, Ingram’s warehouse and fulfillment agreement with the distributor has ended and that Ingram has stopped fulfilling orders. This puts publishers in a lose-lose situation: on the one hand, filling orders with no clear path for retailers to pay suppliers is a losing proposition; on the other, no new orders coming in means no cash flow.

The IPS email also says that Ingram will continue to process returns from the Ingram wholesale business for all titles associated with SPD for six months. After that point, all returns will be recycled “unless agreed otherwise.”

Responding to the urgency of the distribution question, Independent Publishers Group will participate in a webinar hosted by the Community of Literary Magazines and Presses on April 8 at 3:00 p.m. EDT, in order to provide information about its different services. CLMP is inviting all presses with at least $10,000 in annual sales and an ongoing publishing program to attend. On April 9, IPG will host its own online open house at 3:00 p.m. EDT.

Link to the rest at Publishers Weekly

Small Press Distribution Shuts Down

From Publishers Weekly:

Small Press Distribution, one of the last remaining independent book distributors in the United States, has closed. In an announcement made March 28, SPD executive director Kent Watson said that the closure is effective immediately, and that the staff is in the process of winding down the business.

Watson cited a decline in sales and a loss of institutional support as the reasons forcing the distributor, founded in 1969, to close. “Despite the heroic efforts of a tireless staff to raise new funds, find new sales channels for our presses, and move from our outdated Berkeley warehouse, we are simply no longer able to make ends meet,” said Watson in a statement. In February, SPD completed moving more than 300,000 titles from its Berkeley facility to warehouses owned by the Ingram Content Group and Publishers Storage and Shipping.

The transfer was part of Watson’s plan to keep the nonprofit distributor a viable option for small publishers by cutting operating costs while simultaneously increasing services such as access to print-on-demand facilities, e-book and audiobook distribution, and more extensive distribution in the U.S and worldwide.

The move from the Berkeley warehouse was facilitated by a GoFundMe campaign that raised $100,000. Watson launched a second effort last month in an attempt to raise another $75,000 to roll out the new services to publishers, but the campaign was having trouble gaining traction. In announcing the closing, Watson said that the warehouse shift took longer and cost more than SPD had planned for, while systems integration delays further strained SPD’s financial resources. Part of that strain, Watson elaborated, was due to a loss of $125,000 in annual grants SPD had previously received, a loss Watson attributed to “funders [moving] away from supporting the arts.”

At the moment, all SPD inventory remains at the Ingram and PSSC warehouses. In a post on its website, SPD said publishers will need to contact Ingram or PSSC to discuss distribution options and the return or disposition of their books.

The demise of SPD is another blow to independent publishers looking for distribution options to reach retail accounts.

Link to the rest at Publishers Weekly

PG says a lot of many small presses are operated by very conscious people who love books and will publish authors who can’t get a New York publishing contract. These authors are left out in the publishing cold because they write for a group of faithful readers that is too small to move any New York profit needle.

It’s not unusual for small businesses of all sorts to be thinly capitalized without any financial backup plan to weather a storm like that described in the OP.

Authors publishing through small presses provide writing is attractive, at times very attractive, to a small group of ardent book lovers. Again, unless such readers manage to gather hundreds of thousands of like-minded book lovers, big publishers are unlikely to fill a gap that has kept some small publishers in business.

Ingram may want to help, but they operate in large-volume printing and distribution that is designed to sell at least thousands of copies of a given book. PG notes that Ingram Lightning Source does provide print-on-demand service. PG understands that Ingram charges an annual Market Access Fee of $12 for each title a publisher places in the Lightning Source system.

He doesn’t know enough about Ingram’s real-world per-page fees and shipping fees to speculate if it can provide a profitable safety net for small independent publishers. However, he suspects that Small Press Distribution, the last distributor services small publishers that has closed its doors as described in the OP, must have had some significant benefits to small publishers that Ingram does not offer.

3 Body Problem: Lawyer sentenced to death for Lin Qi murder

From The BBC:

The release of Netflix’s series 3 Body Problem has been watched millions of times around the globe since its release late last month.

It has even found an audience in China where Netflix is unavailable, sparking much chatter among viewers of the series.

But many fans of the three-book series, credited with propelling China’s nascent science fiction genre after its publication in 2008, have also been paying attention to a court room in Shanghai where one of the key players behind the adaptation was sentenced to death just a day after the show’s release.

His crime? Murdering a man sometimes dubbed China’s “billionaire millennial” – the gaming tycoon Lin Qi, whose company Yoozoo Games owns the rights for film adaptations of the Chinese science fiction epic.

According to the court, Xu Yao, who was known as a distinguished lawyer, became consumed by professional rivalry after Lin sidelined him shortly after he helped land the Netflix deal in 2020.

Within months of this apparent slight, Lin was dead – the victim of a poisoning plot described as both “premeditated” and “extremely despicable” by the court last week.

For fans of The Three-Body Problem, which features an alien civilisation and is set against the backdrop of China’s Cultural Revolution, the parallels were clear.

“At least we know that Xu Yao and Lin Qi have read The Three-Body Problem thoroughly. Lose your humanity and you lose a lot; lose your animal nature and you lose everything,” said one comment on China’s Weibo.

Lin and Xu were reportedly on good terms at the start: Lin had appointed Xu to spearhead a subsidiary called The Three Body Universe a year after he joined Yoozoo as the company’s chief risk officer in 2017.

The subsidiary was in charge of securing intellectual property rights for the film adaptations, and the two had worked closely together in brokering the deal to adapt the novel into a Netflix original series.

But they fell out when Lin – who founded Yoozoo in 2009 – decided to put other executives in charge of business operations, local reports said. Xu, authorities allege, began to plot.

Some reports said he set up a company in Japan to acquire the lethal substances and even tested them on animals. Xu then disguised the substances as probiotic pills and gave them to Lin.

Lin checked himself into the hospital when he felt unwell after taking the pills, and was initially in stable condition. But his condition took a dramatic turn – he died 10 days later, on Christmas Day 2020, at the age of 39. At the time, he was believed to have had a net worth of around 6.8bn yuan (£745m; $941m), according to the Hurun China Rich List

Four other people fell sick from drinking poisoned beverages in the Yoozoo office but survived, the court heard.

Following his death, Yoozoo issued a statement on its official Weibo microblog which read: “Goodbye youth… We will be together, continue to be kind, continue to believe in goodness, and continue the fight against all that is bad.”

His death shocked China’s gaming and technology sectors and sparked widespread speculation, but it took years for the full details to emerge – despite Xu being detained within days.

The Three-Body Problem is the first book in a trilogy called Remembrance of Earth’s Past, by Chinese author Liu Cixin. The novel has been translated into close to 30 languages since it was published in Chinese.

The Netflix show, stylised as the 3 Body Problem, debuted with 11 million views in its first four days and has remained among Netflix’s most-watched programmes since its release on 21 March.

The series is one of the most expensive projects undertaken by the streaming giant, with a reported budget of $160m for eight episodes. Its co-creators include Game of Thrones showrunners David Benioff and D.B. Weis and the book’s author Mr Liu. Lin is posthumously credited as an executive producer.

Link to the rest at The BBC

Publishers Dispute State English Language Training

From Publishing Perspectives:

Since Publishing Perspectives first reported in September 2023 on the textbook crisis in Mexico, publishers say the situation has gone from bad to worse, with the government of Andrés Manuel López Obrador now taking steps to produce its own English-language-training books.

The Mexican Publishers Association, the Cámara Nacional de la Industria Editorial Mexicana (CANIEM), has issued a formal declaration and complaint, calling out the Ministry of Public Education (SEP) for its effort through the National Commission of Free Textbooks (CONALITEG), to develop educational materials for the teaching of the English language in preschool, primary, and secondary schools.”

In a remarkable next-shoe-to-fall development, the most influential book publishing body in Mexico—the country with the largest number of native Spanish speakers in the world—is in litigation with its own federal government over the free-enterprise right to produce not only Spanish-language educational materials but also English-language training (ELT), the latter being vital to the future prosperity of Mexico’s nearshoring national workforce.

Having pushed aside more than 25 years of successful protocols for private commercial textbook creation in Spanish, Mexico’s federal government, the publishers say, now has declined to recognize the publishing community’s Guidelines To Authorize the Use of Didactic Packages for the for the Subject  of English as a Foreign Language in Public Schools of Basic Education of the National Education System.

This means, the publishers say, that the government is once more making its own educational materials—as it was discovered to be doing last autumn with Spanish-language texts. Government agencies “are allegedly preparing the English textbooks for the 2024-2025 school year,” the CANIEM says, “without having the corresponding study programs for preschool and elementary school,”  information that’s part of the Guidelines.

. . . .

When a system of private publishers bidding for the right to produce national textbooks is superseded by a government overtake of textbook creation and production, the result is a clear loss of the freedom to publish for many publishers, who no longer have an open market in which to operate.

And what’s more, the CANIEM writes, “This decision compromises the education and academic training in the English language of millions of Mexican children; violates the rights of teachers to choose and have access to quality teaching materials; and tramples the rights of different publishing houses to participate in their development.

“This puts at risk millions of young people entering the job market to take advantage of Mexico’s integration with the world’s largest and most dynamic international market and such associated phenomena as ‘nearshoring,’ since they do not have basic communication skills.”

Nearshoring, of course, is a business strategy that involves outsourcing various business processes and needs to nearby markets. The United States, obviously, positions the world’s most robust English-language economy in excellent proximity to Mexico. But without the requisite English-language skills, then Mexico’s native Spanish speakers are left out of the nearshoring benefit.

The legal position CANIEM is taking is that its’ actually illegal for the government to take it upon itself to produce English-language training textbooks for preschool and elementary school “without having previously elaborated and presented the study programs to which such books must be adjusted; secondly because the call cannot be made without previously being published in the Official Gazette of the Federation. And finally because in an open and notoriously discriminatory manner, several publishing houses were excluded, all of which are members of the Mexican Association of Publishers.

The Political Context

Many authoritarian governments have included state textbook publishing as an early foray into the erosion of free expression, deploying disinformation to dumb down a population being routed away from critical thinking.

A year ago, in March 2023, Valerie Wirtschafter and Arturo Sarukhan wrote at the Brookings Institution, “As Mexico’s Senate celebrated the passage of a bill designed to curb the power of the National Electoral Institute (INE), the non-partisan and independent agency that oversees elections, the country took another step backward toward its decades-long authoritarian past. … Under president Andrés Manuel López Obrador, a pugnacious and charismatic leader who swept to power in 2018, Mexico’s independent institutions are slowly losing their ability to serve as a counterweight to the executive.”

The member-publishers of CANIEM are up against what appears to be another textbook-control grab by the Mexican government for intellectual impact on its population.

Link to the rest at Publishing Perspectives

An Utterly Misleading Book About Rural America

From The Atlantic:

Rage is the subject of a new book by the political scientist Tom Schaller and the journalist Paul Waldman. White Rural Rage, specifically. In 255 pages, the authors chart the racism, homophobia, xenophobia, violent predilections, and vulnerability to authoritarianism that they claim make white rural voters a unique “threat to American democracy.” White Rural Rage is a screed lobbed at a familiar target of elite liberal ire. Despite this, or perhaps because of it, the authors appeared on Morning Joe, the book inspired an approving column from The New York Times’ Paul Krugman, and its thesis has been a topic of discussion on podcasts from MSNBC’s Chuck Todd and the right-wing firebrand Charlie Kirk. The book has become a New York Times best seller.

. . . .

It has also kindled an academic controversy. In the weeks since its publication, a trio of reviews by political scientists have accused Schaller and Waldman of committing what amounts to academic malpractice, alleging that the authors used shoddy methodologies, misinterpreted data, and distorted studies to substantiate their allegations about white rural Americans. I spoke with more than 20 scholars in the tight-knit rural-studies community, most of them cited in White Rural Rage or thanked in the acknowledgments, and they left me convinced that the book is poorly researched and intellectually dishonest.

White Rural Rage illustrates how willing many members of the U.S. media and the public are to believe, and ultimately launder, abusive accusations against an economically disadvantaged group of people that would provoke sympathy if its members had different skin color and voting habits. That this book was able to make it to print—and onto the best-seller list—before anyone noticed that it has significant errors is a testament to how little powerful people think of white rural Americans. As someone who is from the kind of place the authors demonize—a place that is “rural” in the pejorative, rather than literal, sense—I find White Rural Rage personally offensive. I was so frustrated by its indulgence of familiar stereotypes that I aired several intemperate critiques of the book and its authors on social media. But when I dug deeper, I found that the problems with White Rural Rage extend beyond its anti-rural prejudice. As an academic and a writer, I find Schaller and Waldman’s misuse of other scholars’ research indefensible.

After fact-checking many of the book’s claims and citations, I found a pattern: Most of the problems occur in sections of the book that try to prove that white rural Americans are especially likely to commit or express support for political violence. By bending the facts to fit their chosen scapegoat, Schaller and Waldman not only trade on long-standing stereotypes about dangerous rural people. They mislead the public about the all-too-real threats to our democracy today. As serious scholarship has shown—including some of the very scholarship Schaller and Waldman cite, only to contort it—the right-wing rage we need to worry about is not coming from deep-red rural areas. It is coming from cities and suburbs.

The most obvious problem with White Rural Rage is its refusal to define rural. In a note in the back of the book, the authors write, “What constitutes ‘rural’ and who qualifies as a rural American … depends on who you ask.” Fair enough. The rural-studies scholars I spoke with agreed that there are a variety of competing definitions. But rather than tell us what definition they used, Schaller and Waldman confess that they settled on no definition at all: “We remained agnostic throughout our research and writing by merely reporting the categories and definitions that each pollster, scholar, or researcher used.” In other words, they relied on studies that used different definitions of rural, a decision that conveniently lets them pick and choose whatever research fits their narrative. This is what the scholars I interviewed objected to—they emphasized that the existence of multiple definitions of rural is not an excuse to decline to pick one. “This book amounts to a poor amalgamation of disparate literatures designed to fit a preordained narrative,” Cameron Wimpy, a political scientist at Arkansas State University, told me. It would be like undertaking a book-length study demonizing Irish people, refusing to define what you mean by Irish, and then drawing on studies of native Irish in Ireland, non-Irish immigrants to Ireland, Irish Americans, people who took a 23andMe DNA test that showed Irish ancestry, and Bostonians who get drunk on Saint Patrick’s Day to build your argument about the singular danger of “the Irish.” It’s preposterous.

The authors write that they were “at the mercy of the choices made by the researchers who collected, sorted, classified, and tabulated their results.” But reading between the lines, the authors’ working definition of rural often seems to be “a not-so-nice place where white people live,” irrespective of whether that place is a tiny hamlet or a small city. Some of the most jaw-dropping instances of this come when the authors discuss what they would have you believe is rural America’s bigoted assault on local libraries. “The American Library Association tracked 1,269 efforts to ban books in libraries in 2022,” Schaller and Waldman note. “Many of these efforts occurred in rural areas, where libraries have become a target of controversy over books with LGBTQ+ themes or discussions of racism.” The authors detail attacks on a number of libraries: in Llano, Texas; Ashtabula County, Ohio; Craighead County, Arkansas; Maury County, Tennessee; Boundary County, Idaho; and Jamestown, Michigan.

But half of these locations—Craighead County, Maury County, and Jamestown—do not seem to qualify as rural. What the authors call “rural Jamestown, Michigan,” scores a 1 out of 10 on one of the most popular metrics, the RUCA, used to measure rurality (1 being most urban), and is a quick commute away from the city of Grand Rapids.

That Schaller and Waldman so artfully dodged defining what they mean by rural is a shame for a host of reasons, not the least of which is that the question of who is rural is complex and fascinating. Scholars in rural studies make a distinction between subjective rural identity and objective rural residence—in other words, seeing yourself as rural versus living in a place that is geographically rural according to metrics like RUCA. The thing is, rural identity and rural residence are very, very different. Though Schaller and Waldman mention this distinction briefly in their authors’ note, they do not meaningfully explore it. One political scientist I spoke with, Utah Valley University’s Zoe Nemerever, recently co-authored a paper comparing rural self-identification to residence and found a stunning result: “A minority of respondents who described their neighborhood as rural actually live in an area considered rural.” Her study found that 72 percent of people—at minimum—who saw themselves as living in a rural place did not live in a rural place at all.

It turns out I am one of those people. I grew up in Mechanicsburg, Pennsylvania, an 88 percent white enclave in the southward center of the state. Eighteen minutes and nine miles to the east, you hit the capital city of Harrisburg, which has the best used bookstore in the tristate area. Nineteen minutes and 13 miles away to the west, you hit the game lands, where I spent my teenage years playing hooky and hunting in thick, hard-green mountains. Mechanicsburg feels urban, suburban, and rural all at once. There are strip malls and car dealerships. There are trailer parks and farms with beat-to-hell farmhouses. There are nice suburban neighborhoods with McMansions. My high school had a Future Farmers of America chapter and gave us the first day of deer season off. The final week of my senior year, a kid unballed his fist in the parking lot to show me a bag of heroin. Another wore bow ties and ended up at Harvard.

What do you call a place like that? It was both nice and not-nice. Somewhere and nowhere. Once in college, a professor made a wry joke: Describing a fictional town in a story, he quipped, “It’s the kind of place you see a sign for on the highway, but no one is actually from there.” He paused, racking his brain for an example. “Like Mechanicsburg, Pennsylvania.”

I tend to think of myself as having a comparatively “rural” identity for a variety of reasons: because Mechanicsburg was more rural when I was growing up. Because both sides of my family are from deeply rural places: Mathias, West Virginia (where 100 percent of the county population is rural), and Huntingdon, Pennsylvania (74 percent rural). Because, since the age of 10, I have spent nearly all my free time hunting or fishing, mostly in unambiguously rural areas that are a short drive from where I live. Because people like that professor tend to view my hometown as a place that is so irrelevant, it barely exists. So when Nemerever looked up data on Mechanicsburg and told me it had a RUCA score of 1 and was considered metropolitan—like Schaller and Waldman’s erroneous library examples—I was genuinely surprised. I’d made the same mistake about my own hometown that Schaller and Waldman had about Jamestown, Michigan.

Scholars who study rural identity say that common misperceptions like this are why defining rural is so important. “Researchers should be highly conscious of what ‘rural’ means when they want to measure relevant social, psychological, and political correlates,” a study of “non-rural rural identifiers” by Kristin Lunz Trujillo, a political-science professor at the University of South Carolina, warns. “Rurality can be a social identity that includes a broad group categorization, even including people who do not currently live in a rural area.”

Schaller and Waldman might have understood these nuances—and not repeatedly misidentified rural areas—if they’d meaningfully consulted members of the rural-studies community. In a portion of their acknowledgments section, the authors thank researchers and journalists in the field who “directed our attention to findings of relevance for our inquiry.” I contacted all 10 of these people, hoping to better understand what kind of input Schaller and Waldman sought from subject-matter experts. One said he was satisfied with the way his work had been acknowledged, and another did not respond to my message. Seven reported only a few cursory email exchanges with the authors about the subject of the book and were surprised to find that they had been thanked at all.

Although it is not unusual for authors to thank people they do not know or corresponded with only briefly, it is quite telling that not a single person I spoke with in rural studies—with the exception of the Wilmington College rural historian Keith Orejel, who said he was disappointed that his feedback did not seem to influence the book—said these men sought out their expertise in a serious way, circulated drafts of the book, or simply ran its controversial argument by them in detail.

. . . .

Arlie Hochschild, a celebrated sociologist and the author of Strangers in Their Own Land and a forthcoming book on Appalachia, struck a plaintive note in an email to me about White Rural Rage: “When I think of those I’ve come to know in Pike County, Kentucky—part of the nation’s whitest and second poorest congressional district—I imagine that many would not see themselves in this portrait.” She added that these Kentuckians would no doubt “feel stereotyped by books that talk of ‘rural white rage,’ by people who otherwise claim to honor ‘diversity.’”

Link to the rest at The Atlantic

PG grew up in rural and very rural areas. (He remembers the name of every student in his class in grades 1-6 and can recite them on demand. [No, he was not home-schooled.] He was the valedictorian of his high school graduating class of 22. Out of those 22, only two graduated from college.

PG was happy to move to a close-in suburb of Chicago to go to college. He used some of his leisure time to ride public transportation to explore all different sorts of neighborhoods in the city, including one in which all the signs were in Polish and another in which the signs were in Greek. After he graduated, he worked in Chicago for several years. During this period of time, Chicago was the largest Polish city in the world—more Poles lived in Chicago than in Warsaw.

As far as White Rural Rage is concerned, PG remembered that he was required to read a book titled How to Lie with Statistics because his first job out of college involved analyzing a lot of numbers.

From the reading PG did to understand White Rural Rage, it sounded like the authors of the book cherry-picked their statistics to fit their desired conclusions—opinions first, numbers later. And, of course, the book’s publisher was Random House, most of whose management regard New Jersey as terra incognita.

Character Type & Trope Thesaurus: Psychopath

From Writers Helping Writers:

DESCRIPTION: This narcissistic and antisocial character lacks empathy and will cross any line to get what they want.

FICTIONAL EXAMPLES: Anton Chigurh (No Country for Old Men), Annie Wilkes (Misery), Amy Dunne (Gone Girl), the Joker (The Dark Knight), Patrick Bateman (American Psycho)

COMMON STRENGTHS: Adaptable, Adventurous, Charming, Confident, Focused, Observant, Private, Spontaneous

COMMON WEAKNESSES: Antisocial, Callous, Controlling, Cruel, Dishonest, Evil, Haughty, Hostile, Impatient, Impulsive, Irresponsible, Manipulative, Rebellious, Reckless, Self-Indulgent, Selfish, Uncooperative, Unethical, Vain, Violent

ASSOCIATED ACTIONS, BEHAVIORS, AND TENDENCIES
Remaining cool under pressure
Acting assertively and decisively
Maintaining a singular focus on their goals
Being highly adaptable
Communicating strongly and effectively
Paying keen attention to details
Being confident
Showing resiliency in the face of setbacks
Being cruel for their own satisfaction or personal gain
Refusing to accept responsibility for their actions
Choosing relationships based on what the other person can do for them

SITUATIONS THAT WILL CHALLENGE THEM
Having to maintain a façade of emotional intimacy and normal emotional range in a long-term relationship
Their lies and manipulation being exposed
Facing legal or social repercussions for their actions

TWIST THIS TROPE WITH A CHARACTER WHO…
Forms a genuine connection with another person
Has an atypical trait: Hospitable, Affectionate, Wholesome, Gossipy, Responsible, etc.

Link to the rest at Writers Helping Writers

The difference between a psychopath and a sociopath?

From Forbes Health:

What Is the Difference Between a Sociopath and a Psychopath?

Today, both psychopathy and sociopathy may be used as terms implying an antisocial personality disorder, the official diagnosis for an individual displaying the traits of either term. While there is much overlap between psychopathy and sociopathy, they are not one and the same.

What Is a Sociopath?

The term sociopathy was coined in the era of behaviorism between 1920 to 1950 as a primary psychological theory, but it has since fallen out of use. “This term has not been used in modern science for several decades—for example, you cannot get funding from the National Institute of Health [NIH] to study ’sociopaths,’” says Kent Kiehl, Ph.D, a neuroscientist studying brain imagine, criminal psychopathy and other psychotic disorders in Albuquerque, New Mexico.

When the term was still in use, it was believed that people were born as blank slates and subsequently shaped by their environment or social forces, ultimately resulting in a good or bad personality, says Kiehl. However, this view was determined to be incorrect and, as focus shifted to increasing accuracy and reliability in diagnosis, the term “sociopathy” was dropped from the Diagnostic and Statistical Manual of Mental Disorders (DSM-5) about 20 years ago.

What Is a Psychopath?

Even though the term is not an official diagnosis per the DSM-5, psychopathy remains a term in psychology today to indicate individuals who display high levels of unemotionalism or callousness, as well as impulsiveness or developmental antisocial traits, such as destructive or aggressive behavior.

Symptoms of psychopathy generally appear in early childhood and impact all areas of an individual’s life, including relationships with family, friends, at school and at work. About 1.2% of the adult population has psychopathy, according to a 2021 study in Frontiers of Psychology[1]. Those with psychopathy tend to display antisocial behaviors, such as a lack of empathy and disregard for the well-being and emotions of others, which can negatively impact relationships both personally and professionally as they struggle to connect and trust the world around them.

Psychopath and Sociopath Traits

The traits of a psychopath and a sociopath are “the same,” according to Kiehl, with both falling under the clinical diagnosis of antisocial personality disorder.

However, in terms of social construction, the two terms are viewed somewhat differently. Specifically:

  • Sociopaths tend to act more impulsively and erratically compared to psychopaths.
  • Sociopaths generally struggle to maintain a job or a family life, whereas psychopaths may be able to do so.
  • While psychopaths generally struggle to form attachments, sociopaths may be able to do so with a like-minded individual.
  • Psychopaths may be better able to disassociate from their actions and experience less guilt than sociopaths.

In order for a patient to be diagnosed with antisocial personality disorder, they must display a “persistent disregard for the rights of others,” according to the DSM-5 clinical criteria as listed in the Merck Manual, a medical reference guide. This disregard is indicated by the presence of three or more of the following traits:

  • Disregarding the law (such as committing acts that are grounds for arrest repeatedly)
  • Acting in a deceitful manner (lying repeatedly, deceiving others for personal gain or using aliases)
  • Being impulsive or failing to plan ahead
  • Acting irresponsibly on a consistent basis (quitting a job without plans to get another or failing to pay bills)
  • Being easily provoked or aggressive (frequently getting into physical fights)
  • Failing to feel remorse (feeling indifferent to or rationalizing the mistreatment of others)

However, the most utilized method to assess traits of a psychopath in clinical or forensic work is the Hare Psychopathy Checklist-Revised (PCL-R), says Kieh. The assessment can be used to predict violence and other negative outcomes, as well as explore treatment potential.

The assessment includes 20 items on which individuals are rated on a scale of zero to two based on how much their personality or behavior matches the item’s description. This results in two primary scales—one to measure emotional detachment and one for antisocial behavior—which combine for a total score. The highest score an individual can get on the PCL-R is 40, and a score of at least 30 is needed for someone to be classified as a psychopath.

Items on the assessment include:

  1. Glibness/superficial charm
  2. Grandiose sense of self-worth
  3. Need for stimulation
  4. Pathological lying
  5. Conning/manipulative
  6. Lack of remorse or guilt
  7. Shallow affect
  8. Callous/lack of empathy
  9. Parasitic lifestyle
  10. Poor behavioral controls
  11. Promiscuous sexual behavior
  12. Early behavioral problems
  13. Lack of realistic, long-term goals
  14. Impulsivity
  15. Irresponsibility
  16. Failure to accept responsibility
  17. Many short-term relationships
  18. Juvenile delinquency
  19. Revocation of conditional release (meaning someone was granted a conditional release from prison and that release has been revoked.)
  20. Criminal versatility

Psychopathy and Sociopathy Causes

While sociopathy—when the term was still in use—was a disorder believed to stem from a person’s environment, psychopathy is believed to arise mostly from biology and genetics with some environmental influence, though research on psychopathy’s causes is ongoing.

“There’s a lot of current research examining how biology/social forces interact and contribute to the development of psychopathic traits,” says Kiehl. “We generally review ‘primary’ psychopathy as coming from a larger biology/genetic component, contrasted with ‘secondary’ psychopathy, which is hypothesized to come from more social forces (such as bad parenting or perhaps trauma as a child) contributing more than biology.”

Risks of Psychopathy

There are a number of risks associated with psychopathy. Indeed, psychopathy is “one of the best predictors of future violence that we know of,” Kiehl notes. Although not all people with psychopathy are physically violent, studies find that while psychopaths account for less than 1% of the general population, they are responsible for between 30% and 50% of all violent crimes[2].

Still, psychopathy does increase a person’s tendency toward antisocial and aggressive behavior, which can manifest in various ways in school, the workplace and social situations. “Interpersonal relationships are also highly prone to failure,” Kiehl notes.

An affected individual struggles to form trusting bonds and tends to manipulate others and engage in antisocial behaviors, all of which can pose challenges to forming positive interpersonal relationships. That being said, how a person with psychopathy ultimately behaves varies based on the individual, their environment and their community.

Link to the rest at Forbes Health

Ask a Bookseller: ‘Art and Fear’

From Ask a Bookseller:

This one’s for the creatives.

Used bookstores can be a treasure trove of great reads, old and new, on a huge variety of topics.

Dickson St. Bookshop in Fayetteville, Ark., is one such spot. Bookseller Elaine Eckert says she gets particularly excited when she comes across a copy of her favorite nonfiction book, “Art and Fear: Observations on the Perils (and Rewards) of Artmaking,” by David Bayles and Ted Orland.

Eckert says she first picked up a copy two decades ago, and she still has that copy with its margin notes and underlines.

Written in straightforward, unpretentious language, the book urges people to keep doing the good and hard work of creating something new in the world.

“Whenever you’re tearing apart layers of your soul and putting them onto canvas or music notes or into words, there’s always that self-doubt,” concedes Eckert, who is also an amateur painter.

She easily located her favorite sentence in the book that reminds her to keep going: “Those who continue to make art, or those who have learned how to continue, or more precisely, have learned how not to quit.”

. . . .

She recommends this book as a good companion for those moments when creating feels scary or weighted down by self-doubt, or when our progress doesn’t align with our expectations.

Link to the rest at Ask a Bookseller

AI v. Hemingway

In his experiments with AI writing programs, PG has discovered a few strengths and weaknesses.

Following are the first few paragraphs of “The Sun Also Rises,” as originally written by Ernest Hemingway:

Robert Cohn was once middleweight boxing champion of Princeton. Do not think that I am very much impressed by that as a boxing title, but it meant a lot to Cohn. He cared nothing for boxing, in fact he disliked it, but he learned it painfully and thoroughly to counteract the feeling of inferiority and shyness he had felt on being treated as a Jew at Princeton. There was a certain inner comfort in knowing he could knock down anybody who was snooty to him, although, being very shy and a thoroughly nice boy, he never fought except in the gym. He was Spider Kelly’s star pupil. Spider Kelly taught all his young gentlemen to box like featherweights, no matter whether they weighed one hundred and five or two hundred and five pounds. But it seemed to fit Cohn. He was really very fast. He was so good that Spider promptly overmatched him and got his nose permanently flattened. This increased Cohn’s distaste for boxing, but it gave him a certain satisfaction of some strange sort, and it certainly improved his nose. In his last year at Princeton he read too much and took to wearing spectacles. I never met any one of his class who remembered him. They did not even remember that he was middleweight boxing champion.

I mistrust all frank and simple people, especially when their stories hold together, and I always had a suspicion that perhaps Robert Cohn had never been middleweight boxing champion, and that perhaps a horse had stepped on his face, or that maybe his mother had been frightened or seen something, or that he had, maybe, bumped into something as a young child, but I finally had somebody verify the story from Spider Kelly. Spider Kelly not only remembered Cohn. He had often wondered what had become of him.

Robert Cohn was a member, through his father, of one of the richest Jewish families in New York, and through his mother of one of the oldest. At the military school where he prepped for Princeton, and played a very good end on the football team, no one had made him race-conscious. No one had ever made him feel he was a Jew, and hence any different from anybody else, until he went to Princeton. He was a nice boy, a friendly boy, and very shy, and it made him bitter. He took it out in boxing, and he came out of Princeton with painful self-consciousness and the flattened nose, and was married by the first girl who was nice to him. He was married five years, had three children, lost most of the fifty thousand dollars his father left him, the balance of the estate having gone to his mother, hardened into a rather unattractive mould under domestic unhappiness with a rich wife; and just when he had made up his mind to leave his wife she left him and went off with a miniature-painter. As he had been thinking for months about leaving his wife and had not done it because it would be too cruel to deprive her of himself, her departure was a very healthful shock.

The divorce was arranged and Robert Cohn went out to the Coast. In California he fell among literary people and, as he still had a little of the fifty thousand left, in a short time he was backing a review of the Arts. The review commenced publication in Carmel, California, and finished in Provincetown, Massachusetts. By that time Cohn, who had been regarded purely as an angel, and whose name had appeared on the editorial page merely as a member of the advisory board, had become the sole editor. It was his money and he discovered he liked the authority of editing. He was sorry when the magazine became too expensive and he had to give it up.

By that time, though, he had other things to worry about. He had been taken in hand by a lady who hoped to rise with the magazine. She was very forceful, and Cohn never had a chance of not being taken in hand. Also he was sure that he loved her. When this lady saw that the magazine was not going to rise, she became a little disgusted with Cohn and decided that she might as well get what there was to get while there was still something available, so she urged that they go to Europe, where Cohn could write. They came to Europe, where the lady had been educated, and stayed three years. During these three years, the first spent in travel, the last two in Paris, Robert Cohn had two friends, Braddocks and myself. Braddocks was his literary friend. I was his tennis friend.

The lady who had him, her name was Frances, found toward the end of the second year that her looks were going, and her attitude toward Robert changed from one of careless possession and exploitation to the absolute determination that he should marry her. During this time Robert’s mother had settled an allowance on him, about three hundred dollars a month. During two years and a half I do not believe that Robert Cohn looked at another woman. He was fairly happy, except that, like many people living in Europe, he would rather have been in America, and he had discovered writing. He wrote a novel, and it was not really such a bad novel as the critics later called it, although it was a very poor novel. He read many books, played bridge, played tennis, and boxed at a local gymnasium.

And here is what PG’s current most interesting writing AI, Perplexity, generated:

Certainly! Here is a creative rewriting of the first few paragraphs of “The Sun Also Rises” in the style of Ernest Hemingway: 

Robert Cohn was once middleweight boxing champion of Princeton. Do not think that I am very much impressed by that as a boxing title, but it meant a lot to Cohn. He cared nothing for boxing, in fact he disliked it, but he learned it painfully and thoroughly to counteract the feeling of inferiority and shyness he had felt on being treated as a Jew at Princeton. There was a certain inner comfort in knowing he could knock down anybody who was snooty to him, although, being very shy and a thoroughly nice boy, he never fought except in the gym.

He was Spider Kelly’s star pupil. Spider Kelly taught all his young gentlemen to box like featherweights, no matter whether they weighed one hundred and five or two hundred and five pounds. But it seemed to fit Cohn. He was really very fast. He was so good that Spider promptly overmatched him and got his nose permanently flattened. This increased Cohn’s distaste for boxing, but it gave him a certain satisfaction of some strange sort, and it certainly improved his nose.

In his last year at Princeton he read too much and took to wearing spectacles. I never met any one of his class who remembered him. They did not even remember that he was middleweight boxing champion.

I mistrust all frank and simple people, especially when their stories hold together, and I always had a suspicion that perhaps Robert Cohn had never been middleweight boxing champion, and that perhaps a horse had stepped on his face, or that maybe his mother had been frightened or seen something, or that he had, maybe, bumped into something as a young child, but I checked on all the stories I heard about Cohn, and found out that they were true. This passage maintains Hemingway’s characteristic terse prose, simple and direct language, and understated tone. It also reflects Hemingway’s focus on themes of masculinity and the effects of societal pressures on the individual.

Perplexity has a “Tell Me More” option at the end of its responses (at least in the paid version). PG hit the “Tell Me More” button and here’s what Perplexity provided:

Continuing in the style of Ernest Hemingway, the narrative would likely proceed with a focus on the disillusionment and existential themes that are prevalent in his works. Here’s an extension of the rewritten passage, maintaining the Hemingway style: After Princeton, Cohn was lost. Like many of us, the war had changed him. It wasn’t just the physical scars, those were easy to hide. It was something deeper, a sort of emptiness that came with seeing too much and understanding too little. He wandered through Europe, searching for something he couldn’t name. It was in Paris that he found Frances, and for a while, it seemed as though he might have found what he was looking for. But happiness, like a shadow, is elusive when chased.

Paris was a city that promised much but held back even more. It was filled with expatriates like us, all running from something, all trying to write the next great novel, paint the next masterpiece, or simply forget the past. The cafes of Montparnasse were our battlegrounds, where we fought against our own disillusionment with words and wit as our weapons.

Cohn wrote a novel during those years. It wasn’t particularly good, nor was it bad. It simply was. Like so much of life, it existed in that gray area between success and failure. Frances encouraged him, perhaps more out of a desire to secure her own future than any belief in his literary talents. But in the end, it didn’t matter. The book was published, and Cohn found himself a minor celebrity among the expatriate community.

Yet, fame, Cohn discovered, was as empty as everything else. He began to realize that the problem wasn’t with Paris, or his novel, or Frances. The problem was with him. He had been searching for meaning in a world that seemed determined to withhold it. And in that search, he had lost himself.

It was around this time that I met him. He was a man out of step with the world, clinging to the belief that somewhere, somehow, there was something real, something true. I couldn’t help but admire him for that, even as I pitied him. For in the end, we were all lost, all searching, all hoping for the sun to rise on a new day that would bring with it some semblance of meaning. This continuation captures the essence of Hemingway’s themes: the search for meaning in a post-war world, the disillusionment with the “Lost Generation,” and the personal struggles of his characters as they navigate their lives. Hemingway’s writing often explored the complexities of human emotions and relationships against the backdrop of a world that seemed indifferent to individual suffering, and this narrative aims to reflect those elements.

End of Perplexity Rewrite

PG says Papa doesn’t have anything to worry about.

Postscript:

During his web-wandering in connection with this post, PG discovered something else of interest:

The Unpublished Opening of The Sun Also Rises
by Ernest Hemingway
Also includes:
Letter to Ernest Hemingway on The Sun Also Rises
by F. Scott Fitzgerald

This was published in a now-defunct periodical titled Antæus No. 33, Spring 1979, edited by Daniel Halpern. You can read this Unpublished Opening/Fitzgerald Critique article Here.

If you don’t have a copy, you can read The Sun Also Rises, with the opening Hemingway used after seeing Fitzgerald’s letter Here.

How Anthropic found a trick to get AI to give you answers it’s not supposed to

From TechCrunch:

If you build it, people will try to break it. Sometimes even the people building stuff are the ones breaking it. Such is the case with Anthropic and its latest research which demonstrates an interesting vulnerability in current LLM technology. More or less if you keep at a question, you can break guardrails and wind up with large language models telling you stuff that they are designed not to. Like how to build a bomb.

Of course given progress in open-source AI technology, you can spin up your own LLM locally and just ask it whatever you want, but for more consumer-grade stuff this is an issue worth pondering. What’s fun about AI today is the quick pace it is advancing, and how well — or not — we’re doing as a species to better understand what we’re building.

If you’ll allow me the thought, I wonder if we’re going to see more questions and issues of the type that Anthropic outlines as LLMs and other new AI model types get smarter, and larger. Which is perhaps repeating myself. But the closer we get to more generalized AI intelligence, the more it should resemble a thinking entity, and not a computer that we can program, right? If so, we might have a harder time nailing down edge cases to the point when that work becomes unfeasible?

Link to the rest at TechCrunch

What Is Sensitivity Reading?

From The Science Fiction Writers of America:

Have you ever read something that you knew was incorrect? Sometimes, research has fallen short of convincing people who know better, even though other readers might not notice anything wrong. For those who know, it can be jarring and pull them out of the story. How would you feel if that error was about your life? Your personal history? Your family’s history? Or something intrinsic to who you are?

Sensitivity readers exist as a consultancy resource to offer an authentic perspective regarding how marginalization affects characters, settings, and worldbuilding, and to provide feedback that an author can accept, reject, or question. That feedback can include, but is not limited to, problematic tropes, stereotypes, inaccuracies, and offensive portrayals. Utilizing this feedback, authors improve the representation so that readers who live these experiences can avoid harm and enjoy their books.

The controversy

Books have been recruited into the ongoing culture war that we’re seeing across our society with lurid headlines about Roald Dahl or the James Bond books “being forced” to change. Often, when an author has negative feedback or a book is delayed or withdrawn, the sensitivity readers are blamed.

Sensitivity reading is seen as new, controversial, and headline-grabbing. Changing anything is presented as “woke,” snowflake modern sensibilities. However, this practice has been employed for as long as books have been printed. Some great examples include Agatha Christie’s And Then There Were None, the Bowdlerized version of Shakespeare, or how Grimm and Anderson fairy tales are softened for younger children. 

Charlie and the Chocolate Factory’s Oompa-Loompas were originally pygmies Willy Wonka imported from “the deepest and darkest part of the African jungle.” Ten years later, Dahl updated them as having “golden-brown hair” and “rosy-white skin,” and Africa became Loompa-land. Dahl was happy to edit his own work. So was Dickens, with another book considered a classic. Dickens went back and removed over two hundred references to anti-Semitism of the Fagin character in Oliver Twist after criticism from a Jewish reader. 

Stories with positive outcomes exist in modern reporting despite the media’s tendency to focus on authors who are less receptive. Recently, Irvine Welsh spoke candidly about when he’d written trans characters, and thought using sensitivity readers would be akin to censorship. However, Welsh said his sensitivity reader had wanted to make the book “as authentic as possible and was incredibly supportive. And it did help to make the book better.” 

Joanne Harris, Chair for the Society of Authors, also made a great point when she tweeted: “If you don’t want to use a sensitivity reader, don’t use one. But if you’ve never used one, then maybe you’re not the person most qualified to talk about what sensitivity readers actually do.”

The process

What sensitivity readers look for depends on their specialty and the manuscript itself. Topics could include race, LGBTQIA+ experiences, disability, and other marginalizations. While what we’re looking for varies, we all look for authenticity. We read through the manuscript, searching for instances of stereotyping, bias, or harmful tropes, and providing cultural, personal, or community-related context to all aspects relevant to our read.

As a biracial British Indian second-generation immigrant, my area of expertise includes my identity, race relations in the UK, especially for the Indian/Desi diasporas, UK anti-immigration politics, Brexit, etc., through to India under the Raj, for both factual or fictional books. I can help with general racism, but I would always recommend finding a closer fit where possible.

With most fiction or non-fiction books, my sensitivity read is completed at the end of the editing process, before or during copy edits. I’ll be given the full manuscript to review or a selection of scenes. Picture books, however, require feedback for the very early script and work-in-progress art stage. A second review of the final art and copy will often be completed.

When reading, I’m working from my personal lived experience, from training, and any background research required, if it’s a particular time period, for example. If it’s authentic, I’ll give it a thumbs up and explain why; if it’s not, I will give suggestions on how to improve the authenticity. These suggestions might be in-line text or links to further resources where they can find more information.

I take note of initial impressions by using Track Changes in MS Word or comments on a PDF; then, on a second read, I’ll review how those impressions played out. Were people deliberately using stereotypes in order to subvert them later, or was it an accidental problem that needs fixing? I point out good representation, not only the negatives, and try to recommend details that help the story ring true.

The report ties back to a page number or a reference, so the author knows exactly what the comment refers to. If it is an overall issue, I’ll clarify why they must change something fundamental about the narrative.

Industry uptake

While there is no formal data on the use of sensitivity readers, I have noted an increase in requests and new clients. I worked with ten different publishers in 2021, thirteen in 2022, and sixteen in 2023. There was a similar proportional increase of requests from independent authors. My sensitivity reading peers have also noticed an upward trend, especially from publishers.

Many reads are one-off projects, but I have been working with some publishers since 2020, and I know of at least one publisher who uses readers for every book they release.

Bloomsbury, Bonnier, and Quarto told The Bookseller they had employed sensitivity readers as it was “important in inclusive, forward-thinking publishing.”

Why do it

Creating characters that reflect the world’s diversity is important for writers and readers. However, it’s essential to create that representation authentically. Consider why you’re adding characters different from yourself, and how you will feel if you get aspects wrong. Consider asking for feedback to create your best character rather than worrying about possible bad reviews or social media pile-ons. 

Link to the rest at SWFA

PG tried to think of a book of fiction he had read that reflected the world’s diversity. He was unsuccessful.

PG’s favorite books are often set in a time and place very different from any PG has experienced. That preference takes him to many histories. Fantasy/sci-fi is another trip to a time and place he has never experienced first-hand and has never actually existed.

PG also bucks against overly-sensitive people, although in his former legal practice, he had to deal with clients who could be triggered by many and varied events and experiences. The hurly-burly and unpredictability of some hard-fought court cases were difficult for such clients to deal with.

PG tried to prepare clients for ups and downs in court proceedings, but the intense emotions when a witness delivers a nasty surprise instead of another brick in a carefully constructed wall can be hard to deal with.

Page 98

From Writer Unboxed:

I’m writing this post in a public library. It isn’t a research library, the awesome university kind where you might go to dig up fabulous story details. It’s a humble branch library. The patrons are either kids from the nearby high school or their moms. The adult fiction shelves are not deeply stocked with classic novels but rather with plastic-jacketed titles from recent decades, the kind of stuff that regular people want to read.

It’d say that 70% of the fiction titles on the shelves are mysteries and thrillers. We’ll come back to that.

First, a nod to my fellow WU contributor Ray Rhamey. His monthly Flog a Pro posts are popular, and with good reason: They highlight first pages and ask us to judge them, yes or no, would you turn to the second page or not? Brilliant.

Ray knows a lot about first pages. His website has a checklist of things that a first page should accomplish. There are two primary areas. With respect to character, something should go wrong or challenge the character; the character should desire something; the character should take action. With respect to setting, the reader should be oriented, what’s happening should be happening “now” not “then”, set up isn’t needed.

The final element is a story question. Got all that and you get a gold star. I like Ray’s checklist; it is a good, basic starting point for beginnings, which bring us right away into the story action and are how the vast majority of manuscripts begin. Ray is the first to say that his checklist is only a guideline and that’s wise. There are many ways to open a novel besides kickstarting the action. There are atmosphere openings and voice openings (sometimes called the letter to the reader) among a variety of other approaches.

Whatever the opening strategy, in my observation effective openings offer us the following:

  • Commanding voice. Skillful language, sonority and cadence lull us into the semi-dream state in which story begins to seem real. I’ve written about that previously HERE.
  • Character presence. Whether first person or third, close or distant, we are anchored in a character and strongly sense who that character is. Furthermore, we have a reason to care about, identify with or hope for that character.
  • Intrigue. This is commonly understood as story question, the puzzle unsolved, the mini-mystery that doesn’t yet have an answer. Intrigue, though, can be anything anomalous, odd, out of the ordinary, curious or leading. The crude application of intrigue is seen in thriller hook lines, but there are many other ways get us interested.
  • Story expectation. The type of story experience we’ll have is signaled through tone, sensibility and word choice. I’ve written previously about promise words HERE.
  • Necessary knowledge. This is emphatically NOT set up. Set up is the unneeded explanation of how the story circumstances came about. It assumes that the reader is a dummy, unable to understand or accept why a story is happening. Necessary knowledge, on the other hand, tells us something specific about person, place or story that is different enough as to be critical to the verisimilitude of the story we’re going to read, or at least is unique detail or unusual perspective that, paradoxically, contributes to the illusion of reality.
  • Mood. Our frame of mind is set. Stories can be broken down into two fundamental categories, invoking in us either fear or hope. Gloom sends us one way. Delight sends us another. As with the underlying musical score in a movie, we’re emotionally prepared.
  • Story world. We find ourselves in a place which is not only particular—a place which we can imagine in the mind’s eye—but a place in which we sense that things are going to happen. Big things. Significant things. Meaningful things.

However, my post today is not about openings. I’m fairly confident that the opening of your WIP is going to bring us some, if not much, of what I’ve identified above. My post today, rather, is about page 98.

When we are that deep into your novel, is page 98 still bringing us stuff which engages, intrigues, informs, sways, and suggests to us that there is more to come? Is there still a strong feeling of character, sensibility, and promise? Do we find ourselves in a particular mood or frame of mind?

Or to put it simply, is page 98 as good as page 1? To find out how—or even whether—that can happen, let’s go back to the library.

Link to the rest at Writer Unboxed

J.K. Rowling Still Free from the Speech Police

From The Wall Street Journal:

An appalling political effort to force the people of Scotland to express only government-approved thoughts on “gender” has so far been unable to conquer the country’s most successful expresser of thoughts. Megan Bonar and Katy Scott report for the BBC:

Social media comments made by JK Rowling challenging Scotland’s new hate crime law are not being treated as criminal, Police Scotland has said.

The Harry Potter author described several transgender women as men, including convicted prisoners, trans activists and other public figures.

The new law creates a new crime of “stirring up hatred” relating to protected characteristics.

The force said complaints had been received but no action would be taken.

Ms. Rowling responds on X:

I hope every woman in Scotland who wishes to speak up for the reality and importance of biological sex will be reassured by this announcement, and I trust that all women – irrespective of profile or financial means – will be treated equally under the law.

Libby Brooks adds in the U.K.’s Guardian:

As the Scottish government’s contentious hate crime law came into force on Monday, the author… posted a thread on X… listing sex offenders who had described themselves as transgender alongside well-known trans women activists, describing them as “men, every last one of them”.

She stated that “freedom of speech and belief are at an end in Scotland if the accurate description of biological sex is deemed criminal”.

Agence France Presse notes more of Ms. Rowling’s commentary:

The law, she said in a lengthy online criticism, is “wide open to abuse by activists who wish to silence those of us speaking out about the dangers of eliminating women’s and girls’ single-sex spaces”.

“I’m currently out of the country, but if what I’ve written here qualifies as an offence under the terms of the new act, I look forward to being arrested when I return to the birthplace of the Scottish Enlightenment,” she wrote.

Link to the rest at The Wall Street Journal