Dropping Science: The Crowd Sourced Erotic Novel That Became A Best Seller

I don’t know if this really qualifies as science, heck I’m not sure what it really qualifies as, but it’s such an interesting story about the way the internet works that I wanted to share it.

Brian Brushwood and Justin Young are comedians who host various podcasts and web shows. While pushing a book on magic a while ago, Brushwood noticed a disturbing trend on the iTunes best seller list, namely that the entire top ten was consumed with obvious cash-in imitators of the 50 Shades of Grey series. These were poorly reviewed books by unknown authors but people were buying them in droves because they looked a bit like the famous series. The worst part was that once these books hit the top ten they stayed there because readers just assumed they were good because they had sold well. While many people would look on this and weep for the death of literature, Brushwood and Young looked at it and thought “Challenge Accepted.”

Via a youtube video, the pair put out a call to all their fans to help them create the first crowd sourced erotic novel by submitting random chapters to them. The only conditions were that it feature the main character, involve people with trendy jobs (like cupcake decorators and fixed gear bicyclists) and included lots and lots of banging. Here’s the pair explaining their plan:

 

Well guess what, it worked. The Diamond Club shot to number 4 in the iTunes bookstore and continues to hover there as poor unsuspecting housewives throw down 99c a pop for what is essentially a series of unconnected, badly written sex scenes with no coherent plot whatsoever. I’ll resist the urge to make a cheap joke about the real 50 Shades of Grey there because I think the story is funny enough by itself. Does it say something negative about the way people buy books now? Sure as hell it does. But I take comfort in the fact that the internet as once again been proven to be a great tool for bringing people together, whether that be to instigate change, develop technology or to simply troll over sexed book fans. Well played chaps.

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Some Thoughts on The Great Gatsby Trailer

The Great Gatsby is (and has been since I first read it at the age of 17) my favourite book by some distance. With that in mind I’ve been rather curious about the latest attempt to bring Fitzgerald’s great American novel to the screen. This time around the project is helmed by Baz Luhrmann (Romeo & Juliet) and stars Leonardo DiCaprio in the title role and if the trailer is anything to go by then things seem to be on track.

I’m still not totally convinced that Gatsby needs to be a movie and part of me can’t help but think that DiCaprio is too self assured to work as the lost, delusional Gatsby but I like all of Baz Luhrmann’s films (yes, including Australia. Australia’s great, bum off) and I’ll watch pretty much anything with DiCaprio in (miscast or not). The idea of casting Tobey Maguire as Nick Carraway is an interesting one and from the trailer, looks to be a pretty sound decision. Maguire is a great character actor who deserves to be thought of as more than “that guy who played Spider-Man”.

The one thing that baffles me is why on earth, given the largely non-action based story, the movie is in 3D. Most likely it has something to do with studio pressure and the fact that Luhrmann wants to have a bash at it before the horse finally collapses. I would suggest that this is an example of 3D running faster, spreading it’s arms father and hoping for one fine morning…but that would make me a wanker.

Gatsby is out later this year.

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Oh and if you want to see a truly great (no pun intended) Gatsby esque film then you should watch Stephen Poliakoff’s Friends and Crocodiles. It’s not a version of the Gatsby story per-say but it has so many parallels that if you like Gatsby then you’ll love it.

Practitioners 50: Stan Lee (Part 1)

As Norse Gods, American super soldiers and billionaire playboy philanthropist technocrats in multi-billion dollar battle suits launch into battle across cinema screens throughout the world to a hail of cheers and applause from fans of adventure of all ages does anyone wonder who decided to put these characters together? As the Silver Surfer CGI expands the limits of modern special effects technology on the silver screen while being pursued by a man on fire across the skyline of Manhattan does anyone notice the slightly built, silver haired gentleman in glasses being turned away from Sue and Reed Richard’s wedding? It’s the man who created the flaming figure and put him in Manhattan, who created the platform upon which the Silver Surfer sails, the Hulk smashes, Ghost Rider seeks vengeance and Spider-man spins his web. Let’s not beat around the bush. No Stan Lee, no Avengers, Spider-man, X-Men, Thor, Iron Man, Hulk. No Marvel comics. So no bringing Nick Fury, Namor and Captain America back from the dead. No Luke Cage, Iron Fist, Daredevil, Jack Flag. No Wolverine, Elektra, War Machine, Mary Jane. Definitely no Aunt May or J.Jonah Jameson.

Lee is a world class media operator before media operators were known to exist. Given opportunities many others had in the boom of comic books, Lee created something substantial, meaningful and powerful. He created a framework that would prove to be the single most well known and profitable set of franchises in history, revolutionise the way people read comics and bring a wry smile to many a fanboys face. He’s Stan Lee. There is no one like him. And this is his story…

Stan Lee was born Stanley Martin Lieber in a tiny apartment at the corner of West 98th Street and West End Avenue, New York City on December 28, 1922. His father worked a dress cutter, working only sporadically after the Great Depression of the 1930s. Lee had one other sibling, his brother , Harry Lieber, 9 years Lee’s junior and described the one-bedroom apartment he and the rest of his family had lived in at 1720 University Avenue as “a third-floor apartment facing out back”, with him and his brother sharing a bedroom and his parents using a foldout couch.

Errol Flynn in Robin Hood, part of the swashbuckling capers that a young boy who would grow up to be Stan Lee was inspired by

As a child, Lee has recently revealed that he was fascinated and influenced by books and movies, in particular those of legendary swashbuckler, Errol Flynn. Attending DeWitt Clinton High School in the Bronx, Lee found entertainment and inspiration in his voracious reading habit. His penchant for writing was present early on, as a youth he worked such part time jobs as writing obituaries for a news service and press releases for the National Turberculosis Centre (where presumably he gained his chatty patter, while trying to alleviate the heavy language associated with such writing you can only imagine that writing anything lighter was a distinct joy), delivering sandwiches for the Jack May pharmacy to offices in Rockefeller Center, working as a trouser boy for a trouser manufacturer; ushering at the Rivoli Theater on Broadway; and selling subscriptions to the New York Herald Tribune newspaper. Graduating high school early at 16 and a half in 1939, Lee joined the arguably awkwardly titled WPA Federal Theatre Project.

At a young age, as other Practitioners such as Jack Kirby were roughing in the streets and studying to become artists, Lee had immersed himself in New York. He had mucked in and fronted life out on the island of Manhattan. He hadn’t leapt straight for his dream job with both hands but done something immeasurably more valuable perhaps as a writer. He’d experienced the corners and seen the offices and lives of the average joe of Manhattan. This is something that would undoubtedly inform his work later in his career. This, perhaps, is where Lee’s fascination with the struggle of the average guy formed. In the shadows of the heaven fingering ramparts of giant cathedrals to man’s development and upper limits, there was still the guy making his way from one building to the next bringing sandwiches. New York is perhaps greatest of all cities for this, elevating it’s environment to represent grandeur and greatness while presenting daily struggle and difficulty to the great majority of it’s inhabitants that fuel it. It’s not that no other major city such as London, Paris or Tokyo represented this with both squalor and riches, but nowhere else have they both been so obvious and pronounced and yet so mixed and reliant on the other or for so long than in New York. Without the lingering class systems of London and Tokyo or the leveled society of federal and social in Paris, a dress cutter’s son, educated in the Bronx can wander into the marble lined halls of the Rockefeller center. It blended the exceptional with the every day. New York allowed the average person to witness Marvels.

Sometimes it’s not what you know but who you know and Stan Lee’s first step into comic books was with Timely Comics, thanks to his uncle, Robbie Solomon. Now an assistant on Timely Comics’ division of Pulp magazine and comic book publisher Martin Goodman’s company. Lee’s cousin Jean was Goodman’s wife, which would put Lee in good stead by the time he was hired by the great, Capatain- America-creating Joe Simon. But it wasn’t an unstoppable climb to stardom for Stan Lee.

Captain America # 3 (Stan Lee's first writing assignment)

His duties were prosaic at first and much like that which he had had to do in previous work. “In those days [the artists] dipped the pen in ink, [so] I had to make sure the inkwells were filled”, Lee recalled in 2009. “I went down and got them their lunch, I did proofreading, I erased the pencils from the finished pages for them”. Marshaling his childhood ambition to be a writer, young Stanley Lieber made his comic-book debut with the text filler “Captain America Foils the Traitor’s Revenge” in Captain America Comics #3 (May 1941), using the pseudonym “Stan Lee”, which years later he would adopt as his legal name. Lee later explained in his autobiography and numerous other sources that he had intended to save his given name for more literary work, something that never really surfaced. Lee began immediately to have a lasting effect on the characters that still continue today, with this initial story also introducing Captain America’s trademark ricocheting shield-toss, which immediately became one of the character’s signatures.

He graduated from writing filler to actual comics with a backup feature, “‘Headline’ Hunter, Foreign Correspondent”, two issues later. Lee’s first superhero co-creation was the Destroyer, in Mystic Comics #6 (Aug 1941). The Destroyer was a field journalist, Keen Marlow, captured behind enemy lines and experimented upon with a super hero serum similar to that used on Captain America. The Destroyer was Lee’s most popular character prior to the Fantastic Four and enjoyed a MAX imprint (Volume 4) through Lee’s company Marvel very recently. Other characters he created during this period fans and historians call the Golden Age of comics include Jack Frost, (an amnesiac character made entirely of ice who woke in the icy wastes of the antarctic and is reminiscent of latter day Ice man Bobby Drake) debuting in USA Comics #1 (Aug. 1941), and Father Time (an interesting character used as back up material for Captain America 6-12, involving a hooded figure with a scythe who turns time against crooks), debuting in Captain America Comics #6 (Aug. 1941).

When Joe Simon and Jack Kirby left late in 1941, following a dispute with Goodman, the 30-year-old publisher made a decision that frankly, would alter the face of comics. He installed Stan Lee, just under 19 years old, as interim editor. Unsurprisingly, given Lee’s capacity for operating seamlessly between mover and shaker in later years, Lee showed an ability for business that led him to remain as the comic-book division’s editor-in-chief, as well as art director for much of that time.

But many of Lee’s friends and colleagues of similar age had been called to war and in early 1942, Lee had his call to join the United States Army. He would serve stateside in the Signal Corps, the section of the army that provides communications, writing manuals, training films, slogans and occasionally cartooning. In true Stan Lee style, while Jack Kirby walked into enemy territory to draw maps, Lee’s military classification, he says, was ‘playwright’ adding that only 9 men in the U.S. Army were given that title. Vincent Fago, editor of Timely’s animation comics section, which put out humour and funny animal comics, filled in until Lee got back from his World War II military service in 1945. Danger of bad back from sitting in a chair too long seemingly averted, Lee returned and now lived in the the rented top floor of a Brownstone in the East 90s in Manhattan, much like a certain young man and his doting auntie managed to almost 50 years later….

Practitioners 47: Alan Moore (Part 1)

Alan Oswald Moore looks and behaves like a Magician and declared himself one in 1994. Often considered to be the village eccentric he is (also) in fact one of the most prolific and revered comic writers in the world and the history of comics books.

Alan Oswald Moore was born 18 November 1953 in England. He is an English writer primarily known for his work in comic books, a medium where he has produced some of the most seminal pieces of comic book literature. Frequently referred to as the best comic book writer in history, Moore blends folklore, myth and legend, science fiction, mysticism, drug use, politics, and fringe culture with a healthy dose of blithe absurdism (and mild perversion) as the basis for a lot of his work. He has occassionally worked under a pseudonym such as Curt Vile, Jill De Ray and Translucia Baboon. It can be said that Moore doesn’t take himself or his work as seriously as most of those who follow it, unless it is despoiled by Hollywood, although even this he acknowledges with shrugging, friendly disinterest.

Abandoning his office job in the late 1970s for the soulless, mentally crippling waste of life that it was to a man like Moore, Moore started writing for British underground and alternative fanzines in the late 1970s, such as Anon. E. Mouse for the local paper Anon and St Pancras Panda, (a parody of Paddington Bear) for Oxford-borne Back Street Bugle. Those however had been unpaid jobs, however he gained paid work, supplying NME with his own artwork and writing Roscoe Moscow under the Pseudonym Curt Vile (a twist on composer Kurt Weill) in a weekly music magazine, Sounds, earning £35 a week. Alongside this, he and his wife Phyllis, along with their new born daughter by claiming unemployment benefit to keep themselves going. In 1979, Moore started producing a weekly strip for the Northants Post, Maxwell the Magic Cat, under the pseudonym Jill De Ray (a pun on the medieval child murderer Gilles de Rais, something he found to be a ‘sardonic joke’, giving you some insight into Moore’s inner workings.)

It was with 2000AD that Moore began to get into his cheerfully lunatic stride, producing Tharg’s Future Shocks prolifically from 1980 – 1984. A formulaic approach had to be used to create and complete a story in the two or three pages available which would have hampered most writers, however Moore grasped this concept and gleefully introduced world after world after world of apparently normal or absurdist characters that were then either exploded, zapped, overrun, sold, shocked, trapped or eaten by the end of the second or third page. A perfect example is a Future Shock in which a erewolf has ‘secretly’ stowed onto a starship intended to travel light years automatically to it’s destination. A dream scenario for any film, comic or TV Sci-fi writer, the possibilities are endless. However, instead of merely playing out the scenario in which the werewolf has to be stopped in the script – Moore introduces another Werewolf. Then another. Until it becomes clear that everyone on board is a werewolf and the ship is on autopilot heading into the sun. Such is the nature of Moore’s mind that he has likely forgotten he even wrote it but he simultaneously created a genre bending idea, incorporating conventions of both horror and science fiction, masterfully making the central character the bad guy and entirely unsympathetic before unceremoniously burning the assembled characters (and the plot line) in a sun in a way that makes you chuckle to yourself. Moore simply never concerned himself with the idea that he would run out of ideas. In his defence he never has. A ferocious reader, he absorbs subject matter as quickly as he generates it, like some intellectual symbiont that looks like Santa on crack, gnawing on the shape of the universe and regurgitating bits of it, now fused and unrecognisable.

So impressed were 2000AD with Moore’s work they offered him his own series, based very, very loosely on E.T. A series to be known as Skizz, illustrated by Jim Baikie. Ever critical of his own work, Moore later opined that in his own opinion ‘ this work owes far too much to Alan Bleasdale.’
Add to that the anarchic D.R. and Quinch, illustrated by Alan Davies, which Moore described as ‘continuing the tradition of Dennis the Menace, but giving a thermonuclear capacity,’ followed two anarchic aliens, loosely based on National Lampoon’s O.C. and Stiggs. Ever the innovator, Moore (with artist Ian Gibson) introduced a deliberately feminist title, based around a female character (a first for 2000AD at that time), The Ballad of Halo Jones. Set in the 50th century, it went out of print before all the progs were completed by Moore.

Unusually, and unbeknownst to may, Moore took on Captain Britain for Marvel UK, taking over from Dave Thorpe but retaining the original artist Alan Davis, who Moore described as ‘an artist whose love for the medium and whose sheer exhultation upon finding himself gainfully employed within it shine from every line, every new costume design, each nuance of expression.’ However he described his time on Captain Britain as ‘ halfway through a storyline that he’s neither inaugurated nor completely understood.’

But it was under Dez Skinn, former editor of both IPC (publishers of 2000AD and Marvel UK), over at Warrior that Moore finally kicked into high gear and started moving towards his massive potential. Moore was working on Marvel Man (later named Miracleman), drawn by Garry Leach and Alan Davies. Moore described it as ‘(taking a) kitsch children’s character and (placing) him within the real world of 1982’ and The Bojeffries Saga, a comedy abouta working class family of Vampires and Werewolves, drawn by Steve Parkhouse. But it was another title, which showcased in 1982 alongside Marvel man in the first edition of Warrior in March 1982.

This was V for Vendetta, a dystopian tale set in London 1997, in an England now run by a fascist regime. The only resistance to this is a masked Guy Fawkes figure who bombs empty iconic government buildings and attempts to foster anarchy in the name of freedom. Moore was influenced by the pessimism that was rife over the conservative government of the time, only creating a future where sexual and ethnic minorities were incarcerated and eliminated. V for Vendetta struck a chord at the time but has lost little popularity through the years – regarded as a seminal work, V for Vendetta is a clear marker in the career of potentially the foremost comics writer of our time. Illustrated by David Lloyd, it’s a lodestone of pent up left wing aggression towards an increasingly reactionary conservative government and like all great literature is loaded with parallel themes inherent in the society of the time. Whether it’s the Crime and Punishment of comic works is another matter, but it remains a poignant and thought provoking piece that will most likely retain it’s popularity well into the future – and certainly for as long as Moore remains a popular writer.

Moore was a phenomenon, his scripts generating the most consistently well rated pieces in 2000AD he grew unhappy with the lack of creators rights in British comics. This would become a consistent problem with future publishers as well, as Moore refused to accept the situation. Talking to Fanzine, Arkensword in 1985 he noted that he had stopped working for all publisher except IPC ‘purely for the reason that IPC so far have avoided lying to me, cheating me or generally treating me like shit.’

He did, however, join other creators in decrying the wholesale relinquishing of all rights, and in 1986 stopped writing for 2000 AD, leaving mooted future volumes of the Halo Jones story unstarted. Moore’s outspoken opinions and principles, particularly on the subject of creator’s rights and ownership, would see him burn bridges with a number of other publishers over the course of his career – but this has rarely done anything but feed Moore’s reputation as an anarchic presence in an industry that, in appearance anyway, runs creatively on anarchy.

During this same period – using the pseudonym Translucia Baboon – became involved in the music scene, founding his own band, The Sinister Ducks, employing a young Kevin O’ Neill to complete the sleeve art. In 1984, Moore and David J released a 12-inch single with a recording of ‘Vicious Cabaret’ a song featured in the soundtrack of the movie adaptation of V for Vendetta, released on the Glass Records label. Moore also wrote ‘Leopard Man at C&A’, which was later set to music by Mick Collins to appear on the Album We Have You Surrounded by Collins’ group the Dirtbombs.

But, musically speaking it wasn’t Leapordman that would occupy his future but a Swap Thing. Alan Oswald Moore was beginning to be noticed on the far side of the Atlantic by Len Wein, DC Comics Editor.

Part 2 on Tuesday 27th December