[small enough to matter]
Jan. 15th, 2006 03:48 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
reenkaI'm starting to truly think that in fact, talking to tech-support people is pure torture, designed to test the mind and break the spirit. Yes.
You know why? WHY?? YES, OH YES, I CAN TELL YOU WHY.
THEY ARE TOO POLITE. They are so polite, and non-offensive, and non-information-volunteering that I want to wring their scrawny little necks, oh yes I do. Talking to a person who treats you as if you're a (vaguely mentally disabled) 5 year-old is... well, it's bad enough if you don't feel you should keep your temper too. And of course I don't push too hard because that would make me feel ungrateful and silly, and also a bitch ('what's going on?' 'oh, some settings got changed.') ARGH.
My problem, really, is that overly polite professional people somehow come off as inhuman. Except a machine would offer to give you information more; come to think of it, I like computers themselves like, tons more than chippery tech-support girls. Die, tech-support girls, die!!1
They're really like... the human incarnations of AOL. -.-
And then people say 'if you haven't got anything nice to say, say nothing at all'. Riiiight. Because that doesn't lead to 'if you don't think it'll be useful, say nothing' and 'if you don't think The Little People can understand, say nothing' and 'if you think it'll make people listen to The Authority That Is You, keep on saying nothing'. Of course.
~~
I've been reading fantasy novels recently, both set partly in Scotland. Mmmm, Scotland... I'm not sure if I'm more enamoured with the faerie lore or the actual history (the Picts! Eee!), but-- well, that's normal for me.
Back when I first went to the fantasy section of Barnes & Noble several days back, I had some major headdesk...ing regarding everything being part of some crappy serial (trilogy being getting off lightly), but my real problem is actually things being crappy. It's just somehow worse when it's also 'part three of five'. (And then they say it's hard to break into the writing business-- I mean, can't be that hard when 90% of what I see is awwwwful.)
But Lisa Tuttle's stuff is really promising and Juliet Marillier is one of the very few people who do historical fantasy to my tastes these days. In epic fantasy especially, my tastes seem to be more exacting than with other types (well, than with urban fantasy), because people seem more likely to write in a dry, ponderous manner and use lots of flowery cliches-- I mean, even the best (Marillier or the other recent Australian, Alison Croggon) have this thing with the flowery descriptions and over-elaborate pretty much everything, and that sense of pompousness which I hate-- but it's more bearable somehow. Probably an actual talent for writing helps.
Though yeah, my issue is generally that when people focus on far-reaching plot and 'environment' or 'social issues' in their writing, the immediacy level goes way way down. Everything, even how things are -described- starts to feel predictable and boring when the focus becomes on the story to the point where the actual writing part is irrelevant. Like, I really don't know how people stand to read it-- not that some cliches aren't comfortingly familiar, but a constant barrage of them with no random sparkle feels like a recitation of a memorized play, doesn't it?
This is why I don't tend to read all the more famous fantasy epics that mark everyone else as a fantasy fan, man. It really takes way more talent than most writers have to make a big story still seem small enough to matter.
Actually, what I really like is some self-consciousness on the part of the narrative-- especially when things become cliche, it really amuses me when the characters are aware they're in a story (not literally, but more in a 'this is like this sort of story' sense). In stories which are based on fairy-tales but set in modern times especially, that works well for me. In a historical fantasy, characters being aware of myths or telling folktales for some reason frames things nicely as well-- or there being other (positive) characters who 'talk sense' or think in a skeptical fashion allows me to identify more with the main heroes. Though too much self-awareness makes for tell-not-show, methinks.
When the nay-saying character is merely there to be the enemy (and no real attempt at winning anyone over exists), I just get tired of being proselytized at.
Actually, it seems a lot of the fantasy books I've read lately off the top of my head, the main 'sympathetic' character is a 'true believer' or becomes one by necessity or revelation. Generally, I identify with that sort quite well, but when the skeptic or heretic is portrayed sympathetically as being intelligent and discerning and grows as a person without becoming a 'convert', that's even more appealing somehow. Maybe I'm just doomed to liking anti-heroes, I dunno.
You know why? WHY?? YES, OH YES, I CAN TELL YOU WHY.
THEY ARE TOO POLITE. They are so polite, and non-offensive, and non-information-volunteering that I want to wring their scrawny little necks, oh yes I do. Talking to a person who treats you as if you're a (vaguely mentally disabled) 5 year-old is... well, it's bad enough if you don't feel you should keep your temper too. And of course I don't push too hard because that would make me feel ungrateful and silly, and also a bitch ('what's going on?' 'oh, some settings got changed.') ARGH.
My problem, really, is that overly polite professional people somehow come off as inhuman. Except a machine would offer to give you information more; come to think of it, I like computers themselves like, tons more than chippery tech-support girls. Die, tech-support girls, die!!1
They're really like... the human incarnations of AOL. -.-
And then people say 'if you haven't got anything nice to say, say nothing at all'. Riiiight. Because that doesn't lead to 'if you don't think it'll be useful, say nothing' and 'if you don't think The Little People can understand, say nothing' and 'if you think it'll make people listen to The Authority That Is You, keep on saying nothing'. Of course.
~~
I've been reading fantasy novels recently, both set partly in Scotland. Mmmm, Scotland... I'm not sure if I'm more enamoured with the faerie lore or the actual history (the Picts! Eee!), but-- well, that's normal for me.
Back when I first went to the fantasy section of Barnes & Noble several days back, I had some major headdesk...ing regarding everything being part of some crappy serial (trilogy being getting off lightly), but my real problem is actually things being crappy. It's just somehow worse when it's also 'part three of five'. (And then they say it's hard to break into the writing business-- I mean, can't be that hard when 90% of what I see is awwwwful.)
But Lisa Tuttle's stuff is really promising and Juliet Marillier is one of the very few people who do historical fantasy to my tastes these days. In epic fantasy especially, my tastes seem to be more exacting than with other types (well, than with urban fantasy), because people seem more likely to write in a dry, ponderous manner and use lots of flowery cliches-- I mean, even the best (Marillier or the other recent Australian, Alison Croggon) have this thing with the flowery descriptions and over-elaborate pretty much everything, and that sense of pompousness which I hate-- but it's more bearable somehow. Probably an actual talent for writing helps.
Though yeah, my issue is generally that when people focus on far-reaching plot and 'environment' or 'social issues' in their writing, the immediacy level goes way way down. Everything, even how things are -described- starts to feel predictable and boring when the focus becomes on the story to the point where the actual writing part is irrelevant. Like, I really don't know how people stand to read it-- not that some cliches aren't comfortingly familiar, but a constant barrage of them with no random sparkle feels like a recitation of a memorized play, doesn't it?
This is why I don't tend to read all the more famous fantasy epics that mark everyone else as a fantasy fan, man. It really takes way more talent than most writers have to make a big story still seem small enough to matter.
Actually, what I really like is some self-consciousness on the part of the narrative-- especially when things become cliche, it really amuses me when the characters are aware they're in a story (not literally, but more in a 'this is like this sort of story' sense). In stories which are based on fairy-tales but set in modern times especially, that works well for me. In a historical fantasy, characters being aware of myths or telling folktales for some reason frames things nicely as well-- or there being other (positive) characters who 'talk sense' or think in a skeptical fashion allows me to identify more with the main heroes. Though too much self-awareness makes for tell-not-show, methinks.
When the nay-saying character is merely there to be the enemy (and no real attempt at winning anyone over exists), I just get tired of being proselytized at.
Actually, it seems a lot of the fantasy books I've read lately off the top of my head, the main 'sympathetic' character is a 'true believer' or becomes one by necessity or revelation. Generally, I identify with that sort quite well, but when the skeptic or heretic is portrayed sympathetically as being intelligent and discerning and grows as a person without becoming a 'convert', that's even more appealing somehow. Maybe I'm just doomed to liking anti-heroes, I dunno.
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Date: 2006-01-17 09:19 pm (UTC)Yet I still suck, because I probably would spend my time finding ways to passively thwart the rules. But still. It's like that phrase from The God Of Small Things, about the Great Stories. (God, google is wonderful. I don't have a copy on me, but here it is:)
“It didn’t matter that the story had begun, because kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings. They don’t surprise you with the unforeseen.. They are as familiar as the house you live in. Or the smell of your lover’s skin. You know how they end yet you listen as though you don’t. In the way that you know that one day you will die, you live as though you won’t. In the Great Stories you know who lives, who dies, who finds love, who doesn’t. And yet you want to know again.
That's how I excuse writing cliches or, at the very least, stories that are extremely simple and don't address any great Issues or encompass any social debate, difficult characterisation etc etc ad infinitum. Hey, it works for me ...
So it's in Japanese? Eh, screw that. The only reason I would buy is to free up some harddrive, and also the constant fear that my laptop will explode and take my life with it.
The novella! I read that when I was eleven, and found the actual books two years later. Initially I was charmed by the, you know, hardcore sex. Naturally. I can't say much against him except that his latest was a disappointment, because I think he's pretty fabulous otherwise. Westeros is one of the few fantasy lands I can fully believe in. That, and the Seven Duchies, and Narnia -- I still check any new wardrobes, which is why the end of the movie made me burst into tears. OMG I KNOW -- SAP.
Is true. I can't really explain my penchant for S/J, no more than I can my one for H/D. It works for me. Because it was it, because it was I ...? Arglebarf.