Saturday, November 27, 2010
Wednesday, November 24, 2010
ALAN, ORLANDO, AND TWO DAYS WITHOUT SLEEP
I attended ALAN with Mar yesterday. She had went the previous day with one of her sisters but I had writing that really needed to get cracked out and couldn't go with them. All of us would have liked to have attended the whole event but had to pick and choose days that fit into our lives. Though we were both there Mar went to the talks and got the autographs while I tried to get more writing done just outside the doors sitting on park benches.
Speaking of the park benches. I was sitting on the hard benches inside the convention hall, turned sideways with my legs crossed, writing and to one side of me was a lady typing on her laptop. I thought she looked familiar. I had a feeling it was Ellen Hopkins, writer of books such as CRANK, but wasn't sure. I also was too deep into a chapter to distract myself. I asked Mar later when we meet up for lunch but she didn't know for sure by my description but I just checked her website and it was her. I've never read any of her books but Mar has and I have heard of her a lot from other friends. Oh, and at the same time standing on the other side of me beside my bench was Tom Angleberger and I love his book THE STRANGE CASE OF ORIGAMI YODA. Funny how things like that happen. Mar had gotten an ARC of his new book HORTON HALFPOTT signed for me earlier in the day so things started out good for me in the day.
It may have been because of the distraction of so many writers around me but I didn't notice until I opened files to start writing today but I finished my NANOWRIMO project yesterday. That was a nice check off of the book in a very busy writing month for me.
They were giving out boxes of books and Mar and her sister got tons signed. I got books signed by Tom Angleberger as I said above and also THE EARTH, MY BUTT, AND OTHER BIG ROUND THINGS by Carolyn Mackler but I also picked up books to read such as CRUEL SUMMER by Alyson Noel, HEREVILLE by Barry Deutsch, and THE LOOKING GLASS WARS(which people have been telling me to read for a long time) by Frank Beddor.
Wish to write more but need to get back to writing.
Speaking of the park benches. I was sitting on the hard benches inside the convention hall, turned sideways with my legs crossed, writing and to one side of me was a lady typing on her laptop. I thought she looked familiar. I had a feeling it was Ellen Hopkins, writer of books such as CRANK, but wasn't sure. I also was too deep into a chapter to distract myself. I asked Mar later when we meet up for lunch but she didn't know for sure by my description but I just checked her website and it was her. I've never read any of her books but Mar has and I have heard of her a lot from other friends. Oh, and at the same time standing on the other side of me beside my bench was Tom Angleberger and I love his book THE STRANGE CASE OF ORIGAMI YODA. Funny how things like that happen. Mar had gotten an ARC of his new book HORTON HALFPOTT signed for me earlier in the day so things started out good for me in the day.
It may have been because of the distraction of so many writers around me but I didn't notice until I opened files to start writing today but I finished my NANOWRIMO project yesterday. That was a nice check off of the book in a very busy writing month for me.
They were giving out boxes of books and Mar and her sister got tons signed. I got books signed by Tom Angleberger as I said above and also THE EARTH, MY BUTT, AND OTHER BIG ROUND THINGS by Carolyn Mackler but I also picked up books to read such as CRUEL SUMMER by Alyson Noel, HEREVILLE by Barry Deutsch, and THE LOOKING GLASS WARS(which people have been telling me to read for a long time) by Frank Beddor.
Wish to write more but need to get back to writing.
Thursday, November 11, 2010
THE PAST FORWARD
Below you will find the ad blurb and cover for my second book THE PAST FORWARD. This book will be released for download on LuLu Dec. 30th. I really think I learned so much writing this book and as I do think it is better than my last book I'm happy with how it turned out.
I had all of these big ideas for the cover but in the end as I did with STEREO I went with a simple idea and here because if I can not hire someone to do a nice piece of artwork for the cover I'm going to go simple when it comes to using photos.
Stop by here Monday because I will be posting the book trailer for THE PAST FORWARD. It will be my first book trailer, fingers crossed.
Gail Busiek was once a cheerleader then she fell out of a tree. It knocked the cheerleader right out of her. After falling out of the tree she staggered around before falling down a set of concrete steps.
She once loved gymnastics but those steps knocked that out of her too.
All combined she ended up in a coma and when she woke she not only hated cheerleading and thought gymnastics was a waste of time but she now was a sci-fi geek and had a brain similar to a computer.
Pretty simple, this is a soap opera as you watch Gail deal with being moved up to high school but also deal with now attending school with her sister, her sisters best friend, a former friend of her sisters, and a group of people who are stalking her life, and the fact that this book will focus more on her sister and an old childhood friend reentering her life than it will Coma Girl (that’s what the newspapers call Gail)
Sucks to be the lead character when the writer gets affection for another member of the cast.
You might notice the "TIN UNIVERSE STORY #6" note on the cover. Even though this is the 6th installment in my Tin Universe line of stories you don't need to read stories #1-5 to enjoy THE PAST FORWARD. But if you want to have all the little and big details of the Tin Universe before reading THE PAST FORWARD click on this link: http://stores.lulu.com/billywas
Saturday, October 23, 2010
TECHNOLOGY AND THE ARTS INTERVIEW SERIES #3: DAMON FORD
I’ve known Damon for a number of years. An admirer of the way he thinks and someone I have and always will consider a friend and so when I decided I wanted to finish this three interview series talking to a consumer of the arts and new technologies, the first person that came to mind I wanted to send questions to was Damon. I’ve never talked to Damon about any subject without coming away from the conversation thinking from different lines to what we talked about.
-Damon, thank you for taking time out of your day to answer some questions.
*You’re welcome. Despite some initial surprise at being asked, I’m happy to try to articulate some of my thoughts here.
-Over the time I have known you it seems like you have always had a interest in how technology effects us all and this series of talks deals with technology and the arts; so, to start how about you give us some insight in how technology has changed how you encounter art and how you consume it in your life?
*To start, technology has certainly made art more accessible. Whether that be through purchasing a DVD, reading something online, buying a book that is not released locally (or even just finding out about artists that don’t release / have a presence locally) – technology levels the playing field.
Recently, a New York Times article highlighted a marketing position of some publishers to give away e-books on the kindle. Distribution / publication costs are minimal, so in some respects makes sense. But it also reinforces that ‘e’ is also a code for ‘free’, and there are a generation of consumers that consider online content is, or should only be, free. And for this, content providers really only have themselves to blame. I have, and will continue to pay for content that is valuable to me online, and in some cases would start to pay, if the content provider actually started charging for their content. I just don’t follow the logic of giving content away online, but charging a premium for that same content being in print.
Perhaps this legacy has come about from the fact that just getting online has traditionally cost quite a bit of money (and while falling rapidly is still generally not ‘free’) - content providers have in the past faced a challenge getting people to pay again once they are online.
Of course, people will (and do) pay when the content is packaged in a way that the consumer values – witness iphone / blackberry apps (and ipad ones), or when the content is time sensitive, like the markets data and analysis of the Wall Street Journal or Financial Times.
Working out just what consumers will pay for online, how much, and in what delivery form, is going to be one of the big challenges of the next several years. And personally, I have no idea what the successful models will end up being – that is something for others to work out.
- I remember us once discussing pdf books and reading on handheld devices. How often have you read materials of any length on an handheld device? Do you see this becoming more and more the normal fashion for artists to communicate with their audiences?
*I’ll admit that as a primary medium I prefer print, even when I have to wait a week or so for delivery of print editions of international magazines that I subscribe to that also have free online access for subscribers. So, while I will peruse the tables of contents, and perhaps look at some online only content, when it comes to reading / interacting with a text, I like the tactile involvement of words on paper. And I’m prepared to pay for it, because it is of value to me.
However, I say this at a time when e-books / e-reading is in its infancy, and the devices for reading content are, to be honest, less than impressive. A friend had me order a kindle for his wife as a Christmas present, which was both wanted, and eagerly awaited. And then, on Dec 26 I was asked to help out, because they could not get the kindle to connect to a wireless provider. A google search gave me the information I needed to help out, but it was not an intuitive solution, and even knowing what I had to do, it still took over half an hour on the kindle to make it work.
The challenge that technology companies are going to have to overcome in bringing e-readers and their associated technologies to market is that there is still a significant proportion of the community that is not comfortable with these sorts of products, and don’t understand why they don’t just ‘work’. And when you’re experience is opening a book or magazine and not having to fight the medium to get content you had paid for ….
So, while e-reading has potential, there is much work to be done on the devices, and the software running them. I have every intention of ordering an Ipad, because I’m curious to discover if it has the potential to change the way I read / purchase content. I have a feeling that in time it will, but perhaps not with this initial release of the product. I definitely see a substantial change in the way publishers will have adapt to these new products over the next 6, 12 and 18 months.
-Reading or viewing art forms, which do you prefer in a non-personal way(though personal may not be the right way of saying it): Website, email, pdf, all?
*For reading, I like pdf, and always have. It’s all about the visual for me, and pdf fonts / layout just seem much more readable.
-Do you believe technology is an advancement with bumps in how it mates with art or is technology an enemy of the artist and art itself? This is a question I've asked several artists and I was wondering about the view from someone who is sort of an outside view on art as you like to say you are not an artist. Though in my eyes everyone is artistic, I consider intelligence artistic.
*I would consider technology to be a provider of opportunity, and how the artist uses (or chooses not to use) any new technology would I think be made on an individual basis. Technology need not be an advancement per se – it’s more about a different way of doing something – and I think that art grows with every new way there is to present an idea.
-Since we are both of the age that technology was beginning to really grow in its modern fashion during our youth to how it stands today, do you think you enjoy the way art is presented now over then when you where younger?
*I consume a lot more art now, thanks to the internet, especially in the sourcing obscure music, movies, tv shows, books etc. I remember back in the mid 1990’s when I first ordered cd’s online – the idea that I could source music of artists that I wanted but which were not released locally was both amazing and addictive. It’s those initial feelings of wonderment in the sudden expansion of opportunity that was presenting itself that I have never forgotten. And I don’t think we should ever forget that. And even now, every time I order something online it amazes me that, within a week or so, it will arrive at my door, and I didn’t have to go anywhere for that to happen.
So in the sense that ‘presented’ means ‘available’, I certainly enjoy things now.
Damon has worked with NSW Department of Human Services- Ageing, Disability & Homecare. He attended the University Of Wollongong class of ’93 and ’98: ’93 Primary, Bachelor of Education. ’98 Special Education, Master of Education.
Picture provided by Damon Ford.
Interview questions by Brian C. Williams
-Damon, thank you for taking time out of your day to answer some questions.-Over the time I have known you it seems like you have always had a interest in how technology effects us all and this series of talks deals with technology and the arts; so, to start how about you give us some insight in how technology has changed how you encounter art and how you consume it in your life?
*To start, technology has certainly made art more accessible. Whether that be through purchasing a DVD, reading something online, buying a book that is not released locally (or even just finding out about artists that don’t release / have a presence locally) – technology levels the playing field.
Recently, a New York Times article highlighted a marketing position of some publishers to give away e-books on the kindle. Distribution / publication costs are minimal, so in some respects makes sense. But it also reinforces that ‘e’ is also a code for ‘free’, and there are a generation of consumers that consider online content is, or should only be, free. And for this, content providers really only have themselves to blame. I have, and will continue to pay for content that is valuable to me online, and in some cases would start to pay, if the content provider actually started charging for their content. I just don’t follow the logic of giving content away online, but charging a premium for that same content being in print.
Perhaps this legacy has come about from the fact that just getting online has traditionally cost quite a bit of money (and while falling rapidly is still generally not ‘free’) - content providers have in the past faced a challenge getting people to pay again once they are online.
Of course, people will (and do) pay when the content is packaged in a way that the consumer values – witness iphone / blackberry apps (and ipad ones), or when the content is time sensitive, like the markets data and analysis of the Wall Street Journal or Financial Times.
Working out just what consumers will pay for online, how much, and in what delivery form, is going to be one of the big challenges of the next several years. And personally, I have no idea what the successful models will end up being – that is something for others to work out.
- I remember us once discussing pdf books and reading on handheld devices. How often have you read materials of any length on an handheld device? Do you see this becoming more and more the normal fashion for artists to communicate with their audiences?
*I’ll admit that as a primary medium I prefer print, even when I have to wait a week or so for delivery of print editions of international magazines that I subscribe to that also have free online access for subscribers. So, while I will peruse the tables of contents, and perhaps look at some online only content, when it comes to reading / interacting with a text, I like the tactile involvement of words on paper. And I’m prepared to pay for it, because it is of value to me.
However, I say this at a time when e-books / e-reading is in its infancy, and the devices for reading content are, to be honest, less than impressive. A friend had me order a kindle for his wife as a Christmas present, which was both wanted, and eagerly awaited. And then, on Dec 26 I was asked to help out, because they could not get the kindle to connect to a wireless provider. A google search gave me the information I needed to help out, but it was not an intuitive solution, and even knowing what I had to do, it still took over half an hour on the kindle to make it work.
The challenge that technology companies are going to have to overcome in bringing e-readers and their associated technologies to market is that there is still a significant proportion of the community that is not comfortable with these sorts of products, and don’t understand why they don’t just ‘work’. And when you’re experience is opening a book or magazine and not having to fight the medium to get content you had paid for ….
So, while e-reading has potential, there is much work to be done on the devices, and the software running them. I have every intention of ordering an Ipad, because I’m curious to discover if it has the potential to change the way I read / purchase content. I have a feeling that in time it will, but perhaps not with this initial release of the product. I definitely see a substantial change in the way publishers will have adapt to these new products over the next 6, 12 and 18 months.
-Reading or viewing art forms, which do you prefer in a non-personal way(though personal may not be the right way of saying it): Website, email, pdf, all?
*For reading, I like pdf, and always have. It’s all about the visual for me, and pdf fonts / layout just seem much more readable.
-Do you believe technology is an advancement with bumps in how it mates with art or is technology an enemy of the artist and art itself? This is a question I've asked several artists and I was wondering about the view from someone who is sort of an outside view on art as you like to say you are not an artist. Though in my eyes everyone is artistic, I consider intelligence artistic.
*I would consider technology to be a provider of opportunity, and how the artist uses (or chooses not to use) any new technology would I think be made on an individual basis. Technology need not be an advancement per se – it’s more about a different way of doing something – and I think that art grows with every new way there is to present an idea.
-Since we are both of the age that technology was beginning to really grow in its modern fashion during our youth to how it stands today, do you think you enjoy the way art is presented now over then when you where younger?
*I consume a lot more art now, thanks to the internet, especially in the sourcing obscure music, movies, tv shows, books etc. I remember back in the mid 1990’s when I first ordered cd’s online – the idea that I could source music of artists that I wanted but which were not released locally was both amazing and addictive. It’s those initial feelings of wonderment in the sudden expansion of opportunity that was presenting itself that I have never forgotten. And I don’t think we should ever forget that. And even now, every time I order something online it amazes me that, within a week or so, it will arrive at my door, and I didn’t have to go anywhere for that to happen.
So in the sense that ‘presented’ means ‘available’, I certainly enjoy things now.
Damon has worked with NSW Department of Human Services- Ageing, Disability & Homecare. He attended the University Of Wollongong class of ’93 and ’98: ’93 Primary, Bachelor of Education. ’98 Special Education, Master of Education.
Picture provided by Damon Ford.
Interview questions by Brian C. Williams
Wednesday, October 13, 2010
ULTIMATE COMICS SPIDER-MAN: THE WORLD ACCORDING TO PETER PARKER
WRITER
brian michael bendis
ARTIST
david lafuente
COLORIST
justin ponsor
LETTERER
vc's cory petit
PUBLISHED BY
marvel comics
I have missed a few volumes of Ultimate Spider-Man leading up to and including The Ultimatum Wave but this volume is my first introduction to the new look Ultimate Universe and as the only book I was following was Ultimate Spider-Man that's how it should be.
There are a lot of Bendis haters out there. People who will only judge his books just by his name being connected to the project. I'm not one of those. Some of his work I have enjoyed, some not so much, but I think when time has passed his run on Ultimate Spider-Man will be considered one of the top five takes on the character ever.
Even though there is a lot of back story to this series, don't let you lead you away from reading it, most of the back story is explained before the collection gets started or easy to understand as the story goes forward. I consider this a great jumping on point for those who may not want to start with the very first Ultimate Spider-Man volumes, though I think you should, you can start here.
I've always looked at Ultimate Spider-Man as one of the best YA books out there. Better writing and drama than most of the big prose books YA books AND YOU GET REALLY COOL ART WITH THE COMICS!
4 Out Of 5 Stars
AND HERE ARE SOME QUICK REVIEWS:
BATMAN: KING TUT'S TOMB
2 Out Of 5 Stars
HOUSE OF M: UNCANNY X-MEN
2 Out Of 5 Stars
Tuesday, October 12, 2010
DOCTOR WHO #13-14
WRITTEN BY tony leeART BY matthew dow smith
COLORS BY charlie kirchoff
LETTERS BY robbie robbins; neil uyetake
EDITS BY denton j. tipton
COVERS BY paul grist, phil elliott, matthew dow smith; charlie kirchoff
The first two issues of the final 10th Doctor IDW storyline begins here with SACRIFICE Parts 1 and 2. As always my reviews are short and without many details or spoilers (but when I start ranting about something) but what I will say about these issues right off is how much I wish we had gotten the chance to see more stories of the travels of Matthew and Emily with the 10th Doctor. With it appearing like the 11th Doctor IDW time will start with Amy Pond as his traveling companion it does not sing that well in my eyes for us seeing Matthew or Emily again. I have Part 3 of this story on a stack to read so no SPOILERS for me please.
The story smells a little of the Black Gaurdian Trilogy of stories from the Classic Series during the 5th Doctor's time with Matthew sort of taking on the Turlough role; which is highlighted more in my mind by the Turlough Diary angle the story takes. Maybe Tony Lee found a little inspiration there.
3 Out Of 5 Stars
My star rating is for the most part based on a hope that the story pays off in the end. I have enjoyed almost all of the art IDW has used for the Doctor Who books but the writing needs to pay off more. At times is seems like they are costing on it being a big brand tie-in.
review written by Brian C. Williams
Thursday, October 7, 2010
Crazy Hair
2 Out Of 5 Stars
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