Wolf DeVoon

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  1. Ayn Rand And The End Of Love

    I often say that I'm good at the obvious, but right or wrong I always say what I think. -- struck me as absurd. Not asking anyone to agree with me. Fire, ouch is not a story, it's experiential, tactile, physical, resulting in a normative abstraction. So is touch typing, sexual experiences, successful cooking experiments (compared to unsuccessful ones) and so on. Story is something completely different, whether related as a selective anecdote or a fictional narrative, and I disbelieve that normative propaganda "plays" if you know what I mean. It usually "bombs" and "smells" (more showbiz terms). Real story as I understand it explores the Unknown, speculates far beyond experiential, tactile, familiar life and its Bibles of various kinds.
  2. Ayn Rand And The End Of Love

    I know you're trying to help me, and that it seems reasonable to learn, grow, flower again. When a woman gives birth she is "settled." I'm like that, settled.
  3. Ayn Rand And The End Of Love

    You were exceedingly kind to me in reviewing Constitution of Galt's Gulch. I understand my fiction is peculiar, as you say rightly, archaic, done better by others. The reason I write that way is a simple mind doing what it can do, sketching an ideal man and an ideal woman, such as I understand what that might be. It's a love story. The next book in the series is more of a traditional mystery involving a serial killer, and the third novel was a cryptocurrency adventure, same main characters. ------------------ p.s. to all concerned, I have Jonathan set to Ignore for cause.
  4. Ayn Rand And The End Of Love

    First off, this sounds like gibberish. Present tense observation, witness to events, is not story. It's life in the real world. Fire, ouch, and so forth. I don't think it's fruitful to debate whether normative abstractions are acquired mostly in youth or adulthood. It is conceivable that a new appreciation of something can be conveyed by story, but I don't think Aesop or Ayn Rand achieved that. Notably, Rand exited story in Galt's 50-page speech, to give a lecture in logic. It's absurd to say that attending a lecture on calculus is somehow story hour, with good guys and bad guys fighting over exponents. Second, original stories differ from stock answers and normative anything. That's why they're interesting and surprising, the opposite of Salinger's kitchen sink slice of life crap, instantly recognizable. For the juvenile reader of a certain age, Adam's Hitchhiker's Guide To The Galaxy is barrels of fun because it revels in pleasant comedy, nothing to do with awkward reality. Heller's Catch 22 achieved the same thing by slanderous conundrum, exempting readers from making any effort to think twice or think further. In Vonnegut's world everything is deuces wild, and Irving wants to sell you a stick of soapy butter camouflaged in painfully tedious neighborhoods that are recognizable as the folks next door. There was and still is big business in evil, of course, particularly in Hollywood product after Capra and DeMille. Truman Capote was the poster boy for evil literature, Harvey Weinstein and Quentin Tarantino the bastard cousins of Wes Craven and Sam Peckinpaw. Good old evil, whatever would we do without it? USC would have to shut its doors if Hitchcock was seen exactly for what he was, a purveyor of pain, Spielberg's great mentor. Is evil original as a story? -- never. It's as tawdry and commonplace as a walking tour of Compton, South Chicago, or Detroit. I don't think normative abstractions play a significant role in my stories. My characters are people (as opposed to dogs or doorknobs) but unlike other people. They are reality oriented, no fun and games. The villains are bit players, ordinary in many ways, highly recognizable. My hero and heroine are not templates for better homes and gardens of spiritual enlightenment. You couldn't follow them if you wanted to try, and often they themselves question life on life's terms, understanding little, risking much, gambling for a sense of passionate pride that is normatively incorrect with a capital i in the world today. That's why I've been blackballed.
  5. What if living is too painful to make it worth it?

    This thread doesn't make any sense to me. I've been through a lot of difficult stuff, prison, failed projects, enormous stupidity more than a hundred times, arguably still worse off than most people today, credit cards gone, no cash, awful diet, frequently cold. What of it? I count each day as a whole new life, quantity limited, savor every keystroke.
  6. Ayn Rand And The End Of Love

    I feel the same way, a firm friendship, much admire the time and effort required to build and operate OL -- ten years of investment, all of it positive and cheerful. I don't regret anything I've done to publicize my work recently, spent many thousands of dollars, did radio interviews, social media, pitched a long list of agents and publishers. What I have is unwanted. Brant read Valor and panned it, wanted to slap my hero, said he was disappointed with the story. The Good Walk Alone, serialized above the fold at LFC Times, generated a flood of angry complaints every week. I'm accustomed to rejection, silence, zero sales. Curiously, it only affects me at night when, like now, I hope to tempt someone to buy a book. There's a $4 anthology at Smashwords, three complete novels that will likely be scraped and pirated. Tomorrow morning like all other mornings I'll walk down the hill with my dog and put my key in the door of my writing office, rested and eager to start coffee and go forward on a project that I don't think has a precedent in literature, the same adventure related twice, his story (40,000 words) and hers (another 40,000) two completely different experiences. I don't actually care whether it's read, not this book. I'll archive it at CreateSpace and Kindle, because I can't rely on my laptop to live forever. Roark didn't care what people thought -- just saying. It did not matter to the work.
  7. Ayn Rand And The End Of Love

    Imagine how that makes me feel, everyone else gets dust jackets and shelf space, talked about.
  8. Ayn Rand And The End Of Love

    Effing brill, refreshingly original
  9. Ayn Rand And The End Of Love

    Okay, I got it. I reacted to what kind of sex and violence were popular.
  10. Ayn Rand And The End Of Love

    Naw. It's mostly triggered by memory, some from kidhood, some from lies we tell ourselves. Those who don't aren't "emotional" as such.
  11. Ayn Rand And The End Of Love

    No, not necessarily. The stuff I write is cisgendered white alpha male and passionately wanton white females, a no-no.
  12. Ayn Rand And The End Of Love

    I'm aware of him, 300+ reviews on Amazon, master salesman, shitty author (personal opinion). Last night I was distraught and couldn't sleep, perfectly aware of my situation, zero sales, I mean absolutely zero on a dozen titles. Amazon has everything backwards, the book I promoted most vigorously buried on page 2. Spent serious money for IngramSpark distribution and a PW review, got totally shafted on Portrait of Valor. However. Today was another day of writing, as all of my days are. That's the only way to write a book, and I'm an extremely slow writer. About 2 pm today something good happened. This is what I posted on FB a few minutes ago:
  13. Ayn Rand And The End Of Love

    Apparently, the handsome living angle has eluded me.
  14. Ayn Rand And The End Of Love

    Whoa, completely wrong. The "slicks" (Saturday Evening Post, Collier's) each sold a million copies a week, paid huge sums for short stories. That's how Fitzgerald made a living, certainly not from book royalties. During his lifetime, he received $50 for his masterwork, Tender Is The Night. No market at all for short stories today. Zilch.
  15. Ayn Rand And The End Of Love

    I usually think in terms of motive. Reacting also to MSK's comment above, I read the people I meet in person. The clever ones are good actors, harder to read, but a little chat reveals plenty. Very difficult for me to see worry and hardship in their sad eyes, the brusque intensity of a predator, and vacancy in a child.