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    <title>Pinboard (infovore)</title>
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    <description>recent bookmarks from infovore</description>
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  </channel><item rdf:about="https://electricliterature.com/ted-chiang-explains-the-disaster-novel-we-all-suddenly-live-in/">
    <title>Ted Chiang Explains the Disaster Novel We All Suddenly Live In - Electric Literature</title>
    <dc:date>2020-04-03T11:23:42+00:00</dc:date>
    <link>https://electricliterature.com/ted-chiang-explains-the-disaster-novel-we-all-suddenly-live-in/</link>
    <dc:creator>infovore</dc:creator><description><![CDATA["While there has been plenty of fiction written about pandemics, I think the biggest difference between those scenarios and our reality is how poorly our government has handled it. If your goal is to dramatize the threat posed by an unknown virus, there’s no advantage in depicting the officials responding as incompetent, because that minimizes the threat; it leads the reader to conclude that the virus wouldn’t be dangerous if competent people were on the job. A pandemic story like that would be similar to what’s known as an “idiot plot,” a plot that would be resolved very quickly if your protagonist weren’t an idiot. What we’re living through is only partly a disaster novel; it’s also—and perhaps mostly—a grotesque political satire." Ted Chiang on what stories about change and revolution do (and what _actual_ change and revolution also do).]]></description>
<dc:subject>writing interview sf sciencefiction tedchiang</dc:subject>
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<item rdf:about="http://www.newyorker.com/magazine/2016/10/17/the-fantastic-ursula-k-le-guin">
    <title>The Fantastic Ursula K. Le Guin - The New Yorker</title>
    <dc:date>2016-10-16T15:59:18+00:00</dc:date>
    <link>http://www.newyorker.com/magazine/2016/10/17/the-fantastic-ursula-k-le-guin</link>
    <dc:creator>infovore</dc:creator><description><![CDATA["...she asked me, cautiously, “Wouldn’t you say that anybody who thought as much about balance as I do in my work probably felt some threat to their balance?” After a long pause, she added, “Of course all adolescents are out of balance, and very aware of it. To become adult can certainly feel like walking a high wire, can’t it? If my foot slips, I’m gone. I’m dead.”" Wonderful profile and interview with/of UKLG.]]></description>
<dc:subject>ursulaleguin interview writing sf fantasy profile</dc:subject>
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<item rdf:about="http://www.theparisreview.org/interviews/2929/the-art-of-fiction-no-85-j-g-ballard">
    <title>Paris Review - The Art of Fiction No. 85, J. G. Ballard</title>
    <dc:date>2015-01-19T17:32:48+00:00</dc:date>
    <link>http://www.theparisreview.org/interviews/2929/the-art-of-fiction-no-85-j-g-ballard</link>
    <dc:creator>infovore</dc:creator><description><![CDATA[Rather wonderful interview with J G Ballard in 1984, in the Paris Review; effusive, head-screwed on, but god, his working process is hardly something you can emulate: such absolute control and certainty!]]></description>
<dc:subject>jgballard writing process society interview</dc:subject>
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<item rdf:about="http://www.infinityplus.co.uk/nonfiction/intmjh.htm">
    <title>M John Harrison interviewed - infinity plus non-fiction</title>
    <dc:date>2013-10-22T16:12:51+00:00</dc:date>
    <link>http://www.infinityplus.co.uk/nonfiction/intmjh.htm</link>
    <dc:creator>infovore</dc:creator><description><![CDATA[Rather good interview with MJH; covers lots of bases, carried out just before Light was published.]]></description>
<dc:subject>writing interview mjohnharrison sf fantasy fiction</dc:subject>
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    <title>Paris Review - The Art of Fiction No. 211, William Gibson</title>
    <dc:date>2013-07-30T13:23:11+00:00</dc:date>
    <link>http://www.theparisreview.org/interviews/6089/the-art-of-fiction-no-211-william-gibson</link>
    <dc:creator>infovore</dc:creator><description><![CDATA["Coming up with a word like neuromancer is something that would earn you a really fine vacation if you worked in an ad agency. It was a kind of booby-trapped portmanteau that contained considerable potential for cognitive dissonance, that pleasurable buzz of feeling slightly unsettled." There is so, so much in this interview, that quoting it feels somewhat futile. It's a really lovely thing piece, that goes far beyond cyberpunk, and delves deep into Gibson's writing and history. There are at least five meaty quotes I wanted to yank; it's worth reading and rereading.]]></description>
<dc:subject>williamgibson writing literature interview sf</dc:subject>
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<item rdf:about="http://www.eurogamer.net/articles/2012-04-02-jenova-chen-journeyman#comments">
    <title>Jenova Chen: Journeyman • Articles • Eurogamer.net</title>
    <dc:date>2012-04-03T11:49:16+00:00</dc:date>
    <link>http://www.eurogamer.net/articles/2012-04-02-jenova-chen-journeyman#comments</link>
    <dc:creator>infovore</dc:creator><description><![CDATA["So what happened when you removed collision detection?" "Players started looking for other ways to get more feedback. Helping each other yielded the most feedback so they began to do that instead. It was fascinating." A lovely interview - and great piece of writing fro Simon -  with Jenova Chen. The parts on how players regress is particularly interesting, as is Chen's ambition to be _different_ rather than just 'artistic'. I particularly enjoyed the anecdote about collision detection, hence quoting it.]]></description>
<dc:subject>journey thatgamecompany games simonparkin writing interview jenovachen play childishness</dc:subject>
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    <title>The lone wolf - Books - Entertainment - theage.com.au</title>
    <dc:date>2006-07-02T20:58:42+00:00</dc:date>
    <link>http://www.theage.com.au/news/books/the-lone-wolf/2006/06/21/1150845234882.html?page=fullpage#contentSwap2</link>
    <dc:creator>infovore</dc:creator><description><![CDATA[[Murukami] wrote the initial chapters in English, before translating them into Japanese. "I didn't know how to write fiction, so I tried writing in English because my vocabulary was limited. I knew too many words in Japanese. It was too heavy." Good inter
]]></description>
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