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Sunday, September 17, 2017

Max Headroom Episode Three: Body Banks

Episode Name: Body Banks

Premise: Edison Carter investigates the disappearance of a young woman, which leads to the discovery of a body bank involved in organ theft.

Theme explored: The episode focuses on medical technology and questions how far one should go with it. In this case, a wealthy individual pays a large sum to a body bank for a pituitary gland to save his mother's life and insists it be found at any cost. It leads to the body bank declaring that if it cannot find a matching organ from a dead person, it will extract one from a living person -- in this case, a person in the lower class. The question that is asked: If saving one person's life must mean taking another's life, is it worth it?

Along with the plot involving the young woman's disappearance -- a kidnapping in which her organs are sought to save a wealthier person's life -- a member of Network 23's corporate board is blackmailed to acquire the technology that made Max Headroom possible to save the mind of the wealthier person. This not only furthers the theme about how far one should go with medical technology and who benefits from it, but touches upon bribery and corruption among the wealthy. This is further explored, to an extent, in a subplot in which Network 23's executive board attempts to get Max Headroom to become a spokesperson for the Zik Zak Corporation when Max has his own ideas about being a spokesperson.

Class warfare is also touched upon -- those who benefit are the elite and well connected while those who are exploited are described as the "fringes" of the city, which is another way of describing those in the lower classes who don't have the connections or resources those in higher classes do.

Max Headroom quotes:
"They're interested in me? They want an audience -- I'm like an audience."
"Zik Zak, the corporation that makes you give your money away the nicer way."
"Forget what I said about those Zik Zak burger packs. Don't go for your wallet -- that's just what they taste like!"
"Asking is just polite demanding."

Personal observations: Debates regarding medical care, ranging from who really gets access to life-saving treatment to how far we should go in exploring new medical achievements (stem cell research is a good example), haven't gone away in today's society. The question posed about "whose life matters more?" is one we must keep asking ourselves as well, especially when the question comes down who happens to have better access to medical care.

Sunday, September 10, 2017

Max Headroom Episode Two: Raking

Episode name: Raking

Premise: Theora Jones' younger brother Sean is caught up in raking, a youth sport with a violent twist.

Theme explored: The main focus of the episode is how violence is used to exploit youth. The episode revolves around raking, a sport in which youth use motorized skateboards and attempt to knock each other down, but is exploited by adults and turned into a spectacle in which youth are encouraged to injure each other and bets are placed as to who will survive.

But the critique doesn't stop with a sport that's turned violent -- throughout the episode, Max Headroom is asking questions about a show called Missile Mike (a clear reference to Rambo) that is considered "children's programming" on Network 23, which happens to be negotiating for the rights to broadcast raking events (along with its primary sponsor, Zik Zak, agreeing to sponsor events). It raises the issue about how media companies seek programming to draw viewers without always considering whether it's appropriate for a particular audience or something that should even be aired to begin with.

Max Headroom quotes:
"Is fond the same as fondle?"
"The kids like killing? Who told them about it?"
"I'm looking for something with action, excitement and taste -- a taste of blood."
"Do you know that in Chinese, there are 30 different ways of saying one word? Is that why their population is so big? Chinese men just don't know when to take no for an answer."

Personal observations: Another episode with a theme that is still relevant today -- violence and its impact on not just youth, but all people, is something we still struggle with today. That many of the most popular movies, shows and video games today are violent in nature begs the question about how far media should go in using violence to appeal to audiences.

Sunday, September 3, 2017

Max Headroom Episode One: Blipverts

Episode name: Blipverts

Premise: Edison Carter, star reporter for Network 23, discovers a recent death is linked to Blipverts, the new advertising technique his own network is utilizing.

Theme explored: The episode revolves around advertising and its influence on decisions made by media conglomerates, along with asking the question about what happens when a journalist's pursuit of a story comes into conflict with the very corporation the journalist works for.

Blipverts are advertisements designed to compress multiple three-second advertisements into a 30-second span each time, resulting in viewers finding it harder to change the channel. The technology is favored by Network 23's top advertising client, the Zig Zag Corporation, who is unwilling to drop Blipverts even after the revelation that a TV viewer died after watching them.

Max Headroom quotes:
"Network 23: The network where two's company and three's an audience."
"The executive board? You mean, you're the people who execute audiences?"
"Tune into Network 23, the network that's a real mind blower -- love those Blipverts!"
"I know you're looking at me and thinking to yourself, 'Why, he could be a star.' Well, let me just suggest humbly that -- you're right, I could!"
"How can you tell when our network president is lying? His lips move."

Personal observations: The first episode of Max Headroom explores themes that are still relevant in today's world, particularly with the huge influence that mass media has over today's society. Corporations want to get the word out about their products and are willing to explore any means to advertise and some will raise questions about ethics. Blipverts takes that issue to its ultimate extreme, in which a method of advertising proves lethal.

The episode does a good job establishing Edison Carter as a person who deeply believes in journalism as getting to the truth and keeping viewers informed, but he seeks to maintain a level of professionalism at all times, even when he engages in covert methods to get to the truth. His computerized alter ego, Max Headroom, takes a different approach -- he is more interested in getting himself over with audiences, but there is a lot of truth to what he has to say. Both generate material that keeps audiences interested, even as the executive board struggles with the idea that they are risking the bottom line by letting both personalities reveal the truth in their own ways.

The episode establishes the relationship between Theora, the camera controller who works alongside Carter, in getting through Carter's rough exterior and showing that he can trust her. It also sets the table for future storylines, such as Ben -- the one member of the executive board who sets limits as to how far he'll go to ensure the bottom line -- and Grossberg -- the Network 23 chairman who is more concerned with the bottom line than anything else -- and how they will each impact future decisins, and how Bryce, the technical genius who creates Blipverts, Max Headroom and other technological advances, becomes something of a wild card.

This was a good episode that can stand on its own (as was the case with most TV pilots back in the 1980s, in case the network didn't pick up the show) while allowing for future storylines to unfold.

Sunday, August 27, 2017

A Look Back At Max Headroom

After I finished up edits and rewrites on the second draft of my third novel and reviewed edits on my second novel, my thoughts turned to ideas for future books.

See, folks, this is what happens when you become a novel writer -- you keep getting all these ideas in your head for new stories!

But I'm not here to talk to you about such ideas, because my thoughts also turned to my collection of DVDs that I've accumulated through the years, how I started to think more critically about the movies and TV shows and what they were all about, and that's when I pulled out my DVDs of the Max Headroom TV series.

For those who remember Max Headroom, you probably remember him from MTV and his ad spots plugging New Coke, but what caught my interest when I was younger was the short-lived TV series based on the character. It lasted 13 episodes on ABC (a 14th episode was produced but didn't air until it went into reruns on cable networks) and was released on DVD by Shout Factory seven years ago.

What sparked my interest in revisiting the TV series was its commentary on television and its impact on society. Set in a dystopian future (the tag line was "twenty minutes into the future"), it focused on a society in which multiple TV networks dominate and everything revolves around their programming. Edison Carter is a reporter for Network 23 who always want to seek out the truth, even if it means clashing with his network's agenda.

In his pursuit of a story regarding something amiss at his own network, he is injured and his memories are download into a computerized conscious dubbed Max Headroom (so named because the last thing Carter saw before his injury was a sign that read "Max Headroom"). Unlike Carter, his computerized alter ego is brash and outspoken, but like Carter, has plenty of reasons to be critical of the TV-dominated society he's part of.

The show creators and writers admitted that Max Headroom was a series ahead of its time, given the relevancy that its criticisms of television and media hold today. The series predicted the rise of TV networks dominating the landscape, but while it didn't predict the rise of Internet-based media, Max Headroom would certainly have fit in well with today's society in which just about any form of media can make somebody an instant celebrity.

What I am going to do for the next few weeks is critique each of the 14 episodes and discuss some of the themes explored in each episode. The format I'm going with will look like this:

* Episode Name
* Premise
* Theme explored
* Max Headroom quotes
* Personal observations

I thought it would be fun to go back and review a series that, while it didn't last long, it had a big impact on a number of writers today and would probably be a relevant series to bring back to the airwaves today.

And who knows -- maybe it'll inspire some of you science fiction, fantasy and dystopian writers to come up with some of your own ideas about what might happen "twenty minutes into the future."

Sunday, August 20, 2017

Book Review: Stealing Liberty

I've always been a fan of books with themes that make you think. One of those books I ran across which does that is Jennifer Froelich's recent release, Stealing Liberty.

Taking place in a dystopian future, the book follows a group of students sent to a detention facility, who discover old books found in a hidden tunnel and learn more about the United States and its final days. When they learn about a planned sale of the Liberty Bell to Japan, the students plot to steal it.

Froelich does a good job creating strong characters and building tension and suspense. The book blurb suggests an alternating viewpoint between Reed and Riley, but two other characters, Xoey and Adam, have their viewpoints. It does add to the story, though I could make a minor quibble about how Adam's view tends to be limited.

Froelich also creates a good supporting cast -- I particularly enjoyed Sam and wouldn't have minded getting more of his perspective. The antagonists aren't what you what call evil -- they truly believe they are doing the right thing and it's their actions that make them characters who you can't sympathize with.

Most of all, the concept is what makes the book a great read. Though there are views shared that not everyone will agree with, they force the reader to question what price one is willing to pay to cater to a single mindset or viewpoint, as opposed to exploring individually and let one draw his or her own conclusions. This becomes particularly important in this world, in which popular books and songs are forbidden, alongside items associated with America's history. People may have differing opinions about The Bible and the Harry Potter series, but a society in which those and other books are all banned is a society I think few would want to live in.

That Froelich wrote a novel that makes you think as much as it makes you empathize with the protagonists and keep turning pages because of the tension built, makes Stealing Liberty an easy recommendation to read. You may purchase the book at Amazon.

Sunday, August 13, 2017

Twenty Questions With Jo Ann Schneider

My guest for Twenty Questions is Jo Ann Schneider, the author of the Jagged Scar series. She has released four books in the series so far, of which the most recent title is Crippled Hope. Previous installments are Fractured Memories, Severed Ties and Shattered Dreams, with the fifth book, Broken World, underway.

You may learn more about the Jagged Scares series here or visit Jo Ann's website to learn more about her books.

For those who want to know more about Twenty Questions, you may learn more here about how you may participate.

I appreciate Jo Ann stopping by to visit -- let's hear from her about her writing.

1. How did you get interested in writing?
I won’t lie, I started writing stories as a tweenager. They all featured me, tossed into my favorite universes (ie Transformers, Jem and the Holograms, The A-Team, Aliens, Star Wars...) romping about kicking bad guy’s butts with the heroes.
None of it was good, but that’s how it all started.

2. What inspired you to come up with the Jagged Scars series?
A dream I had in college. A young girl who wakes up among strangers and has no idea where she is or what’s going on. I usually have fun dreams, but this was different. It felt real, and I still remember it to this day. The dream itself never made it into the novels, but the young girl, Wendy, and the leader of Shelter, Mike, did.

Ever since seeing the original Planet of the Apes—late at night, huddled in front of my 12” black and white TV that I had in my room when I was about twelve—and having my mind blown by the Statue of Liberty at the end, I’ve been fascinated with the fall of the world and what might happen afterwards. Jagged Scars is my first romp into that world.

3. Tell me about the main character, Wendy, and what inspired you to create her.
Wendy has problems. She’s the lone survivor of a Skinny (a mix between zombies and reavers) attack on the Den. She struggles with PTSD through the first three books, and it never totally goes away. It takes her a while to trust and/or bond with anyone. In book one, Wendy feels a little distant, and that’s on purpose.

Despite her problems, she’s a warrior who has spent more of her life training than anything else. She would give her life it if meant saving a kid, and she’ll go out of her way to kill Skinnies. Her father described her as the hammer of the Den, while her sister was the heart.

4. What characters, other than Wendy, did you find enjoyable to write as you progressed with the books?
Well, the others have their work cut out for them. Wendy is a hard nut to crack, but between Kev, Cal and Arie—with the occasional assist from Jeff—they break through her shell of protection and begin drawing the real Wendy out into the story.

The relationship between Kev and Cal has been fun to write. At first they’re like brothers, but Kev gets hurt and Cal gets warped by one of the bad guys, and they struggle for a few books. Being able to drive a wedge between them and then have the characters rip it apart was strangely satisfying. Their relationship is different now, and that’s okay.

5. What are some of the themes you explored in writing the series?
The first is mental illness. Not that I delve into the topic, but the first two books in the series are riddled with Wendy’s struggle with PTSD. She doesn’t really know what the problem is, and for a while she thinks she’s becoming a monster. Her friends rally around her, and never give up on her. Kev even knocks her out to keep her from killing a guy who did some nasty things to her.

That would be the second theme. Friendship. It can go through hell and still survive. I think people today need to know that. With the flurry of social media and the ease with which you get into a fight over nothing these days, I think it’s important to remember to ask yourself, “What is important? That we disagree over this topic, or that we’re friends and can stay that way despite our differences?”

6. What were some of the things you have learned along the way as you have written and edited each book in the series?
I’ve learned a few things. One being that I’m a crazy person until my plot is gelled. Which, sadly, may take two or three drafts of the book.

I’ve learned how valuable mean beta readers are. Seriously, worth their weight in gold. And chocolate.

I’ve learned that knowing the end will help me get there.

Right now I’m learning that wrapping everything up in book five is by far the most difficult part of this series.

7. Tell me more about the book, Babes in Spyland.
Babes in Spyland is a satirical James Bond in heels story. And it’s just as cheesy as it sounds. Four Super Secret Agents go up against bad guys that really shouldn’t exist. Like Lady Cluck. And the Swiss Misters. There are zombie flash mobs, a golf cart chase, theme parks, and a reality TV show gone awry.

The whole thing started out as a joke in college between some friends. It escalated and I decided I loved the characters so much that I asked the other girls if they were okay if I wrote an actual story. They said yes.

Babes was originally a serial story—one episode a week for twelve weeks to make a season. The publisher has gone out of business, so you can’t read it that way anymore, but I plan to break the original five seasons apart and then add on to it.

8. How did the process for writing Babes in Spyland differ from what you have done with the Jagged Scars series?
Each season of Babes is about 25k words. That was what the publisher requested. Fractured Memories, the shortest of my Jagged Scars books, is over 60k. On one hand, only having to worry about 25k words is easier than over 60k words. However, cramming an entire mystery—along with enough jokes to keep me laughing—into only 25k was challenging.

I didn’t have a solid ending in mind for Babes when I started, and life got crazy when I met my husband to be, so the last two seasons were a bit messy to write.

9. You have also written a couple of books in the New Sight series – what inspired those books?
I had recently been to a writing conference, and I had vowed that I would have a novel to pitch to an agent the next year. I’d been messing around with ideas for a few weeks, when one day, as I was driving home from work, the idea hit me.

Kids addicted to magic.


10. And what can you tell me about that series’ main character, Lysandra Blake, and how you created her?
I obviously gravitate toward female protagonists. Lys sort of grew out of the world building I was doing for the series. Once I figured out the magic system I started to think about what sense would be the most interesting to explore. Sight ended up at the top of the list, and things snowballed from there. I needed a main character who had issues—in this case addiction instead of PTSD—but was a good kid. Lys is smart and kind. She’s way out of her comfort zone at the beginning of the book when she’s on the psych ward after trying to take her mother’s eyes out with a spoon. We’ve all felt out of place before. Lys got that times about ten. I’ve loved her journey of self-discoverey so far. She isn’t a warrior, like Wendy, but she’s tough in other areas.

11. What do you find is the right environment for you to write?
I can write almost anywhere. One of the best short stories I’ve ever written came to me while I was in the train station in Moscow, Russia. Also, doctor’s offices. No idea why.

If I need to push out words, I go to Barnes and Noble. No distractions. No laundry. No dusting. No pull to go to the fridge and see if something chocolate or caffeinated has miraculously appeared in the last fifteen minutes.

If I’m not in a huge rush, I have an office in my house. All I need is a computer and a comfie chair. Music helps, but Pandora can stop for a good hour before I notice sometimes.

12. Are there specific programs or tools you find useful to help you with the writing process?
I type in Word. Although I have Scrivener. I’m just too afraid of opening it and losing a month of my life.

For plotting I am a huge fan of Blake Snyder’s Beat Sheet. I know there is a lot of controversy around having a ‘formula’ to write to, but it really helps the pacing of my stories. If I didn’t use it, the fun part of the story would be 2/3 of the novel, and the endings would all be rushed. Not to mention weak. Torturing characters is sometimes hard, and the Beat Sheet forces me not shy away from it.

Also, I often write plot points on index cards and spread them around my desk/table/house. I’m a visual girl. It really helps.

13. What have you found to be useful methods for promoting your writing?
I’m in the midst of trying out:
Amazon Ads
Facebook Ads
Newsletter swaps
Free books
Diversifying my platforms (not just Amazon)
Social media

I’m still looking for what really works for me. But the best thing I’ve done is find a few people who are ahead of me in the marketing game and ask them what’s working for them.
Putting Fractured Memories up for free on Amazon was a big move for me earlier this year. So far so good.

14. What are some of the famous books or authors you have enjoyed or inspired you?
Ender’s Game by Orson Scott Card, and anything by David Eddings or R.A. Salvatore. I know, old school.

15. Any aspiring or independent authors whose books you’ve read that you liked and want to mention to others to check out?
I’m really liking Angel Lawson’s The Death Fields series.

16. What advice would you give to those who want to write a novel before they actually get started?
Just do it! First drafts are supposed to be horrible. There will be parts that make you cringe and want to delete the file, then there will be parts that will amaze you. Embrace them both, then be ready to build on them.

17. I see you have a black belt in Kempo – tell me more about Kempo and what you enjoy about that martial arts discipline.
Well, I’ve always wanted to be a Jedi Knight, but since that particular path isn’t available, I decided on the next best thing. A ninja! I’m not great at the actual fighting part of it, but I love the physical confidence it gives me. I’m a chubby girl—always have been and always will be—so it’s nice to know that if something happens, I have a few things up my sleeves. And a killer kick to the groin. (Sorry guys)

I’ve had great instructors, and honestly, nothing prepared me more for receiving critiques in writing than having my instructors correct me and show me a better way to do even a simple kick. It sounds cliche, but I learned how to keep my cup empty, instead of full all of the time.

Plus, you get to kick things as hard as you can. It’s extremely satisfying.

18. I can tell you’re a Star Wars fan – is there a particular character(s) in the series you particularly love, and if so, who?
What gave it away?

Yes, I love Star Wars. As a kid I was all over wanting to be like Luke. Like I said before, Jedi would totally have been a career path for me. However, as I’ve gotten older, Han has become my favorite. His approach to things is practical and sometimes brutal, but things get done. He’s been down a lot of different paths, and in the end he decides to stick with the rebellion. He does what’s right even though it might hurt him in the long run. I like that.

19. In your travels to other continents, what were some locations you visited you particularly found enjoyable or interesting?
I went to China with my dojo and we did some training at the Shaolin Temple. Like Kung Fu the Legend Shaolin Temple. There is a room in which there are two divots in the floor, about a foot and a half across and four or five inches deep. They are just over shoulder width apart. This is where the monks stomp the floor.

Seriously. Stomp the floor. The stone floor, made out of super thick slabs of rock. That was pretty cool.

I took a Lord of the Rings tour in New Zealand. We went everywhere, but one of my favorites was the outing we took to where they had Edoras in the movies. The whole set is gone, but it was a beautiful wilderness with this amazing hill in the middle. We forded streams and everything to get there.

On my first cruise to Alaska my mom, dad, sister and I took a helicopter ride up to the top of a glacier. We got out and walked around. It was amazingly beautiful, and peaceful, but also full of power. Like nothing I’ve ever felt before. We all still talk about it, twenty years later.

20. Who would win a battle of superhero skills: Superman, Batman or Wonder Woman?
I have to stick with what I heard Stan Lee say when he was asked about characters in the Marvel Universe fighting.
“It depends on who’s writing the story.”

I still agree with him.

Friday, August 11, 2017

On The Black Witch, YA Lit And Related Issues

Earlier this week, I ran across an article at Vulture about young adult novel discussions on Twitter which focused on The Black Witch, a novel by Laurie Forest released earlier this year. To summarize, earlier this year, there was a review of The Black Witch that was highly critical of the novel (it may be found here) and followed by reactions ranging from tweets questioning the book to negative reactions to reviews that praised the book. A few months after the book was released, the Vulture article in question went up, which has sparked more debate, such as that tweets the author, Kat Rosenfield, linked to were on teens' accounts.

I won't go into too much detail about the novel itself, other than to say that I haven't read it but that there are some reviews on Goodreads that are worth considering (you can find the full thread of them here). But regardless of one's opinion about the book, there are several issues that need consideration when we talk about the world of YA publishing. As a YA writer, I have thought about a few of these issues from time to time, while others came up as I thought about the discussion surrounding The Black Witch.

The truth is, I have read from a lot of authors of all types about pushback they get against them for whatever reason, to the point that some wonder if it's even worth discussing their works with the public. We are in a society in which social media and the Internet are major parts of our lives and, while they have opened new doors and allowed for new opportunities that weren't available before, they come with a host of problems that we are struggling to address.

Meanwhile, having entered the YA field, I find myself struggling not only with how my writing takes shape in genera, but whether or not I am doing justice to the characters I write and to how to better represent people of all types. I imagine a lot of other YA authors feel the same way.

So here are some issues that need consideration regarding not just The Black Witch, but any novel that tries to tackle tough issues, and things we need to keep in mind regarding our discussions and debates about novels and literature.

The issues novels can tackle are often ugly. The Black Witch's main theme is prejudice, which takes a lot of forms, often forms that are not pretty. People tend to fear what they don't understand, especially if they have never grown up around particular individuals. Even our Internet age that allows us to connect with more people of different types hasn't solved this, especially because the Internet can just as easily allow the same types of people to gather in like-minded circles and sometimes keep bouncing the same views off one another.

And if we are honest, we are all prejudiced to some degree, regardless of race, sex, orientation, religion (or lack thereof), philosophy, location, ethnicity -- the list goes on. True, for those of us living in the United States, white, Anglo-Saxon males have tended to dominate historically, but on a worldwide scale, it's more complex. And those prejudices have taken ugly forms at times, ranging from slurs and harsh stereotypes to slavery and genocide. Prejudice has long been a weak point of human beings in general and something we still struggle with to this day.

But while I understand that words can be harmful, authors need to be able to explore these tough issues in order to get people to consider their shortcomings and question their own views. It's not just regarding prejudice -- there are plenty of issues that can address tough, often ugly, issues ranging from portrayal of warfare to abusive relationships. Sometimes it leads to material that can be sensitive to some readers. I understand the need for authors to carefully research what they write and to get feedback on what can be sensitive topics, but we have to be careful we don't discourage authors from exploring these issues or even make them decide they don't want to write any more.

Open, honest discussion about what authors can do to better address such topics should be welcomed, but we have to remember that sometimes we can't avoid ugly truths if we want to get people who may not be as aware, to become more aware.

People, in real life, don't always change quickly. One of the complaints I've heard about The Black Witch is that it took until halfway through the book before the protagonist started to change. But when you consider the protagonist grew up in the same area for 17 years and had no contact with people outside her own, it's not surprising it would take her a while. Because that's closer to reality than people may realize.

It's easy to think that, with Internet, social media and other means of networking that people will experience a broad range of individuals, but as I mentioned earlier, these new forms of communications have also allowed like-minded individuals to congregate and seldom go outside their bounds. But even when we do go outside those bounds, the online connections are no substitute for face-to-face interactions.

It's those face-to-face interactions that do a lot more to break down the walls and get people to understand how those who are different from them are really like. So it would be a natural progression that, in a book's world in which people don't have face-to-face interactions with those who are different, that when said people do have more of those interactions, it may take longer for them to warm up.

That's not to say all such criticisms of The Black Witch are invalid -- only that we must remember that face-to-face interactions do more to get us to really understand others who out there and what they are really like.

Diversity in publishing is a legitimate issue that may take time to address. It's true the major publishers were dominated by white males at one point, and that it tends to be white females who are becoming more prominent at them now, while others appear lost in the shuffle, but this is a complex web that's not so easily untangled when you consider a number of factors.

First, it's difficult for any author to get in with a major publisher -- you need an agent to do that and, without an agent, a major publisher won't consider you. Even with an agent, that's no guarantee you'll sign with a major publisher. We know about how the authors who became famous received multiple rejections the first time they tried to break into the publishing world, so you can imagine what that obstacle can be like for authors who are under-represented in the publishing world.

Second, while self-publishing is providing a means of allowing under-represented authors to get their works out there, it requires they do a lot of the work themselves -- in particular, promoting themselves. And some writers struggle with finding ways to market their books (I know I'm still learning that stuff). For those that do know how to market themselves, they must still navigate a world in which millions of books are out there. Figuring out how to stand out from the crowd is not easy.

Third, even with publishers wanting to promote diversity, their methods of promoting it may not be the best methods. It seems to me that there's more interest in making sure we have every type represented as characters in the novels, rather than trying to find more authors of every type and get their works represented. But even if you get those authors, the publishers may only show interest in books with themes that appeal to a mass audience. Finding a way to address such challenges is not an easy thing.

There are other challenges ranging from which groups are showing the most interest in reading (which plays a part in how many of those types of people will want to pursue novel writing) to the interest in paper-bound books versus ebooks (an area that the publishing industry is still figuring out and in which it may be fair to ask if demographics play a part) to the tendency of publishers to fall back on proven authors over those trying to get their first novel published.

Getting more diversity in publishing is fine, but the challenges that presents are many and it will take time to sort everything out and get it where it may need to be.

Outrage culture is dominating society too much. Regardless of where one stands on political, social, economic or any other issue, there is a tendency to vent our frustrations and outrage more than wanting to engage in discussion. And that leads to the tendency of some to follow that outrage because they become enamored with the drama that comes along with it.

It's often encouraged by the ability of people to like or favorite social media posts, reviews, forum posts and other forms of online communication. For some people, they are less interested in how a discussion is taking shape and more concerned with getting gratification and reward for having a post everybody loves -- that is, until somebody comes in with a counter point (sometimes regardless of how it's worded) and the arguments start.

Outrage culture often leads to whoever is leading the charge becoming less interested in promoting change or raising awareness and more interested with promoting themselves and raising their status. It can also lead to people who are unwilling to consider a single word of somebody's counterpoint and try to shout them down. In short, outrage culture does nothing to advance discussion and lead to meaningful change and, in the long run, can do more harm than good to whatever issue people are trying to raise.

And that brings me to this...

Twitter is problematic for open, honest discussion. I use Twitter and have found it useful in some ways. There are people who use it who have found ways to engage in honest discussion or raise valid points. It can serve as a means to promote your work or link to articles and blog post. And I have found it's the best way for me to post updates about sports events I cover for my full-time job at a newspaper.

But Twitter comes with plenty of drawbacks, which has led to the point that some want nothing to do with this form of social media. Let's go over some of the problems.

* The 140 character limit tends to boil things down to the simplest of terms and reinforces the mindset that Twitter is not about having a meaningful discussion, but about throwing out talking points, sound bites, memes and one liners, with gifs thrown in for good measure.

* It's extremely difficult to keep tweets private. Case in point is the Vulture article that linked to tweets off several people's accounts, many who were teens. But Twitter is set up so that somebody can link to any tweet that isn't protected -- and even that protection isn't foolproof, as a follower can share it and risk that it goes into the public realm.

* Twitter offers the least amount of information on a profile so people can know who they are conversing with. For people who may want to keep that information private, it works in their favor. But the flipside is how can one possibly know how old somebody is or exactly who they are dealing with if they have so little information to go by? For those who link to random tweets, some people may not even realize who is the person behind the tweet.

* Twitter offers one the least control over who can talk to them and who can follow them. Users can mute or block others, but it doesn't always prevent their tweets or replies from getting responded to by whoever wants to respond. Compare that to Facebook, in which users have more control over who can see what -- again, not foolproof, but more measures in place than what is on Twitter.

* Policing Twitter behavior has been a difficult exercise. People who run Facebook pages and groups can control posting and monitor inappropriate behavior, but Twitter doesn't operate like that. Additionally, the founders of Twitter haven't always been responsive to cutting down on inappropriate behavior, given how the platform works.

Those issues make Twitter problematic and are among the reasons why some people just don't bother with it any longer. And while some of the issues are the responsibility of those who founded and run Twitter, others fall into the hands of users who may find it too tempting to throw something out there just to get attention.

If we are going to address concerns about YA literature or literature in general, it's going to require more open, honest discussion about these and other issues, but it will also require everyone to keep an open mind and not be so defensive regarding how we approach our concerns. We may have good intentions regarding the issues we want to raise, but a flawed approach does nothing to address those issues and may, in fact, make the situation worse.