dweomeroflight: (erin bamf watts)
If anyone is still on here, reading LiveJournal, I want to tell you a story. It goes like this:

Once upon a time, enormous government reforms rolled out to effect all aspects of social care. Service providers were terrified, large providers ate up the little providers, peaks fought against each other as funding got tighter and tighter and Government departments tried their best to implement half baked reform concepts while minister's remained tight lipped on future reform decisions.

I want you to meet Misha. Misha is married to an Aboriginal man. Misha has three children. Misha is smart. Misa is small and thin with two earrings in each ear and half her hair shaved off on one side. Misha manages a team at an aged care peak. Misha talks strategy with 'the feds' So, we are told to think, Misha has gotten her life right.

But Misha also has deep wrinkles across her face. (She is only 51.) But Misha never spends time at home. (She loves her family.) But Misha is afraid of her own team to the point of paranoia because many of them are experienced and smart. (Misha you are experienced and smart, and you can still learn from others).

But Misha twists truths and her philosophy on reform chameleon like to suit whom she speaks to (does Misha remember what it is she fights for anymore?) But Misha holds on to her fed contacts like a miser to his purse (but does Misha know who she promised to represent?) But Misha is so afraid of losing power that she feels sick to the stomach when one of her subordinates knows something she doesn't (does Misha care that she thinks managing is synonymous with running a team of controlled automatons?) But Misha has left behind a trail of broken relationships; angry providers and peaks and sector support workers (it's never her fault, but theirs) But Misha says, 'we tried years ago to engage other stakeholders, and they wouldn't play, so we screw them over' (the same stakeholders who call and email me off the record. One being the CEO of a competitor peak).

But Misha thinks she knows it all (that's why she thinks she understands me when I tell her, it's not you, it's me, and I have to go away).

But Misha thinks I am making a big mistake. I rejected her team, after all (that's why she uses her false sugar-sweet high pitch on me).

But Misha thinks I care about her so much (no, but I care about the providers I swore to help when my old peak was tricked into giving our government contracts to you. I stayed for them, not for you).

But Misha thinks, 'Maureen understands this Game of Thrones we all play. She is like me and I can respect her.' (Yes, I understand it, but I will take no more part in it because playing with people's lives is not a game).

Misha smiles at me and her smile is false. Misha says kind words to me and her words are false.

I have worked in policy and sector support in disability and aged care for two years. I was on good pay. I walked the corridors of power, however briefly. I helped to change national policy. I helped to save providers about to go under. I threw providers lifelines. I learnt to lead and to speak with authority and confidence. I learnt about engagement, about what works. I learnt about strategy and about Boards. I learnt about the intricacies of political feuds and backdoor deals. I learnt that John Le Carre wasn't lying in his books when he spoke hard truths about government and about bureaucracy.

I felt myself growing to like my power, and I grew afraid. I saw parts of myself in Misha. Ugly, ugly parts, and I was afraid.

I can't take the falseness and the double dealings and the back stabbings and the power hungry games and the whispers, whispers in politicians ears any longer. Not without becoming part of the game.

So I quit the job I started December last year. I go full time at my dream job in disability doing front line work with people with disability again from May. I go to a provider who has a vision, and believes in that vision with all of its small heart and soul.

I go to stop myself becoming a second generation Misha. I go because I promised myself, in my first God awful disability NFP job, that I will never stop telling them Albertine. That I will tell them of my metaphorical Rwanda. Always.

And one day I will write about Misha and about Petyr Baelish and about State of Play in Australian social care reform, and what I write will be angry and bitter and sad because such a story will always be marked by a sense of moral wrongness. Such futility. Such waste. So much of people's very real ideals played upon to feed others personal agendas.

So I make this promise to you and to the world: I will never rest till I have told them of what I have seen and where I have been. I will never rest until I have told the world of Albertine.

Not now that I have seen I am responsible.
dweomeroflight: (Default)
Has anyone else heard about Booker prize winner, Hilary Mantel's, controversial speech on Royal Bodies, presented for the London Review of Books? I saw it yesterday in my twitter feed and clicked on it out of interest. As someone coming to it as a cultural historian, as a writer and as someone who comes from a country that has little love left for the British monarchy, it is one of the most interesting and complex speeches I have read in an age; criticising the symbiotic relationship between royals, a country's people and the media. Mantel calls attention to the myth that a royal title evokes, the role that must be performed in accordance with that myth and the ways that the media especially, simaltaenously depersonalise and exult the royal body as an object, not as a person. Coming at it from a feminist bent, she examines the ways that women, particularly queen's, have been valued in the royal myth, with a small section discussing Princess Diana and Princess Catherine (Kate Middleton). Mantel dares to question the UK's image of Royal woman, asking why it is in an era of so called feminist success, that we value Kate only for her body- her youth, her beauty and her child bearing ability? Not only does she question our ideals of womanhood, she also (rather subtly it must be said) questions the entire institution of British royalty.

The link is here:

http://www.lrb.co.uk/v35/n04/hilary-mantel/royal-bodies

What's the fuss/tell me what's a-happening? )
dweomeroflight: (Default)
Well I joined [livejournal.com profile] lj_scribe and the prompt for this week was "living the dream." This is what I came up with where I was using the prompt metaphorically and no this is not based off anything real lol. It's just out of my messed up head.

Also, I dedicate this to Carol [livejournal.com profile] cianthecat because she has so much faith in my writing.

Title: The Actress is the Dream
Word Count: 252

Read more... )
dweomeroflight: (Default)
So I know there are Spooks fans on my flist and I just posted this New Year's Ruth/Harry, Dimitri/Beth (love those two cheeky buggers) fic on ff.net. I'll post the link here for whoever wants to read. I'd post the fic to my lj but I'd be here all day with the formatting. If you don't want to review on ff.net you can leave a comment at the bottom of this post :)

http://www.fanfiction.net/s/6625345/1/The_Assignment
dweomeroflight: (Default)
I saw someone else do this as a poll at a Who comm and I figure now that I've seen the episodes I can attempt this. ok, so episodes broken down for your reading pleasure...

Excellent (I could watch these forever and never get bored): The Eleventh Hour, The Beast Below, Time of Angels, Flesh and Stone, Vampires in Venice, Vincent and The Doctor, The Pandorica Opens, The Big Bang
Total: 8

Good: (Has the potential to be in excellent on rewatch): Amy's Choice, The Hungry Earth/Cold Blood

Total: 3

Ok: (wouldn't rewatch it unless I really had to): Victory of the Daleks, The Lodger

Total: Two

Basically most perfect New Who season ever? Yes, yes indeed.

Big Bang review under cutlink XD

Read more... )
dweomeroflight: (Default)

I write like
L. Frank Baum

I Write Like by Mémoires, Mac journal software. Analyze your writing!




I used the latest section of my novel. Apparently I write like the guy that wrote The Wizard of Oz? Cool!
dweomeroflight: (Default)
Ok guys, I know I havn't reviewed Dr Who since Vampires in Venice but there is a reason. Actually there's a few reasons.

a) I'm going overseas for 5 months which equals lots of stress and organisation and no lj
b) I'm meeting up with online fandom friends next week for the Burton exhibition in Melbourne and have been trying to work out that (Oh fandom friends- some of these guys are really good friends, never mind that I've never met them in person before.)
c) Amy Choice onwards Dr Who has been getting more and more complex with more and more going on and its getting harder for me to have any coherent thoughts after one viewing.

But Vincent and The Doctor was so awesome that I'm writing a review.

Read more... )
dweomeroflight: (Default)
In a word it was terrible. Everything that RTD generally gets wrong was done wrong here. In fact I think this is the worst episode of New Who I've seen since Donna and the Adipose at the beginning of season four. Actually. No. Fuck it. This is the worst episode of New Who yet. And that's really saying something- hello Shirley Henderson episode.
 
Read more... )

*Note to self, learn from this Christmas special. Make sure that when you edit you're novel, you don't make the same mistakes as Russel.

When writing,

1. Have consistent character development. If you're character seems to be acting in a way that is at odds with the rest of the book, it dosen't work.
 
2. Don't be afraid to kill characters off or have some sad endings. Don't bring characters back to life because you suddenly think they'd make a good foil for X or because you think everyone loves happy endings. They don't. I know because I'm one of the ones who likes them sad and bittersweet.

3. Don't have all of the action happen all at once only to be resolved in a couple of pages. If this happens it probably means that the rest of your novel is full of filler. If it dosen't relate to a part of the plot, delete it.

4. Don't leave things unanswered unless there is PURPOSE in leaving things unanswered.

5. It is OK to have moral grey areas.
 
6. Have a story and stick with it. None of this one second its for kids, the next for adults, the next for teens. Don't write for the biggest possible audience, write for yourself, and let the novel/episode find its own audience.

7. Don't reuse the same cliche's over and over (Kit and The Horsekin I'm looking at you, oh and RTD of course with the recurring villains), the reader/viewer WILL get bored, and the suspense and fear of the adversary is lost.
 
Well that's all from me for now. Whew what a rant!
dweomeroflight: (Default)
I've always had this obsession with working out evil characters motivations for doing things, which is why even though I disagree with people who claim that Wicked is the greatest musical ever (that would be those written by the musical genius Stephan Sondheim) I do have to admit that the opening and closing songs of No one mourns the Wicked really have hold of something that not many people like to admit... which is basically that the world isn't black and white... but rather shades of grey.

the respective lyrics are here:

Let us be glad
Let us be grateful
Let us rejoicify that goodness could subdue
The wicked workings of you-know-who
Isn't it nice to know
That good will conquer evil?
The truth we all believe'll by and by
Outlive a lie
For you and -

SOMEONE IN THE CROWD:
No one mourns the Wicked

ANOTHER PERSON:
No one cries "They won't return!"

ALL:
No one lays a lily on their grave

MAN:
The good man scorns the Wicked!

WOMEN:
Through their lives, our children learn

ALL:
What we miss, when we misbehave:

GLINDA:
And Goodness knows
The Wicked's lives are lonely
Goodness knows
The Wicked die alone
It just shows when you're Wicked
You're left only
On your own

ALL:
Yes, Goodness knows
The Wicked's lives are lonely
Goodness knows
The Wicked cry alone
Nothing grows for the Wicked
They reap only
What they sow

and later on:

No one mourns the Wicked!
Now at last, she's dead and gone!
Now at last, there's joy throughout the land
And Goodness knows
We know what Goodness is
Goodness knows
The Wicked die alone

GLINDA:
She died alone

ALL:
Woe to those (Woe to those)
Who spurn what Goodnesses
They are shown
No one mourns the Wicked

now having taken out all the superfluous stuff that relates to the Wicked Witch and other characters in the actual musical, this song could pretty much apply to every well written evil character under the sun. I love this song so much, I love the irony involved and how in the finale there's one choir who is overjoyed that the witch is dead, and how the second choir is quietly mournful, seeming to say, "No one mourns the wicked" even as they know that in real life, there is always someone left to mourn.

Now when I say well written evil characters I'm not talking Sauron from LOTR say who is just evil for the sake of it, but rather evil characters that are given some sort of reason for their evilness.

and some examples of evil characters who are loved despite their evilness...

evil people can be loved... (this is the guy who destroyed one tenth of the world's population, imprisoned The Doctor and abused his wife) and yet the Doctor is ABSOLUTELY shattered that he is dying!!!



and mourned for... (I still get a bit emotional remembering this scene) You know its serious when a male is crying...



and from Sweeney Todd...



Toby loves Mrs Lovett and even kills Sweeney in revenge for his murder of her (this is despite knowing she is an evil bitch who willingly took part in murder to cook bodies in pies, and who would have killed Toby himself) again proving... people mourn the Wicked.

Other examples...

Mab and Merlin in Hallmark's Merlin (Mab pretty much destroys everything Merlin loves and he still is sad when she dies)

Various characters in KK's Deverry saga

Darth Vadar in the Star Wars prequels

and others that I will add when I think of them...
dweomeroflight: (Default)
I can't believe this... I'm reading 5 books at once which begs me to ask the questions... am I mad, in a coma? etc LOL. (I am such a nerd)

so what is this crazy thing reading?

1. Daggerspell- Katherine Kerr. In preperation for the last book, I'm re reading this series for the eleventy billionth time. My Mum is now to the point with this series where she groans aloud, "Not that series... AGAIN?"

2. Blood of Elves- Andrzej Sapkowski. A Dutch fantasy novel, only just published here. The first in a long series according to wikipedia. So far its good...

3. Hades Daughter- Sara Douglass. I really enjoyed her Axis trilogy and I'm a sucker for anything combining historical events with fantasy. Seems great so far.

4. The adventures of TinTin- Herge. who dosen't love the intrepid Tin Tin? My childhood is within these books; well alongside Enid Blyton and the Asterix comics.

5. Vincent Van Gogh: a Portrait in art and letters- edited by H.Anna Suh. No, I'm not just reading this for a light holiday read. It's for research for the stand alone novel I'm writing after I finish my fantasy novel. This last book, demonstrates that I must be mad :P
dweomeroflight: (Default)

So I've finally finished my first year of uni... this feels weird : / But at least I can now get back to my story...

I'm kicking myself because I've finished reading Feeling Sorry for Celia and Finding Cassie Crazy by Jaclyn Moriarty, nearlly killing myself with laughter at how great (and funny) they are, and now I don't have the next two books... tomorrow I'm going to the bookstore...

However, I did manage to use up the last of my scholarship money to buy me the last Dorothy Porter verse novel murder mystery she wrote before she sadly passed away at the beginning of this year :(

I'm excited! That woman is amazing at poetry writing, just go read The Monkey's Mask.

Here's an example from pg 3 of Monkey's Mask:

Trouble

'Jill'
I challange the mirror
'how much guts have you got?'

and further down the page

'I've got no head for heights,
but plenty of stomach
for trouble.'


trouble
deep other-folks trouble
to spark my engine
and pay my mortgage

seriously if I could ever write poetry half as well as this lady did, I'd be one happy girl!

Random side note: It's kind of ironic that the protagonist of Monkey's Mask is called Jill, and in the book she acts like Deverry Jill, but in a more modern, detective sort of way... oh and a lesbian way. I like Porter's Jill, I wish she was real :(

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