Discussing Main Publishing Trends of 2018

booksIt is always good to be aware of the dynamics of the industry you represent, so I try not to miss the annual emails on main publishing trends that come with my subscriptions to various online resources for authors. In 2018, the major authors’ resource authorspublish.com has been discussing the following tendencies in the publishing industry:

1. The euphoria of self-publishing is wearing off ;

2. Independent publishers are becoming more likely to be closed to unsolicited submissions;

3. There are fewer eBook-only publishers (According to authorspublish.com, “A number of eBook-only publishers have closed this year. Others that have focused on eBooks only are now publishing print versions as well.”);

4. More literary journals are charging reading fees;

5. More prestigious literary journals are charging reading fees;

6. More literary journals are having free submission options;

7. Presses have no time to send rejections;

8. Print journals are becoming rarer and rarer;

9. Publishers are consolidating;

10. More small manuscript presses are using Submittable. 

These trends were kind of anticipated by experts, but now we have an ‘official’ confirmation that the changes are rue, which allows every author to make better conclusions about their personal writing and publishing strategies for 2019.

These facts, however, cannot provide a full and objective picture of the industry dynamics without another piece of information–on  international bestsellers lists for fiction books, published in a few European countries (France, Germany, Italy, and Spain) in English. After studying the lists provided in Nina Sabak’s article at publishingtrends.com and a few other similar resources, outlining current publishing trends in Russia, Poland and Germany, I came up with some interesting conclusions:

  1. There is an internationally developing tendency to print and sell mainly the books of certain genres: mainly mysteries, thrillers, then some fantasy books and a bit of speculative prose, while other popular genres (like romance) are not printed in large quantities in Europe;
  2. It is possible that the major publishers are taking steps toward printing mainly the bestsellers that can be regarded as ‘universally’ accepted pieces of reading and will more certainly be purchased as gifts (to be placed on a bookshelf and read again and again) rather than as pocket editions. This fact confirms that, due to the  quickly developing attitude to printed books as souvenirs rather than information (knowledge) carriers, the publishers all over the world tend to print a limited variety of the most popular bestsellers (innthe most popular genres), while the rest of the books tend to be distributed as e-books.

I also believe that in the nearest years, a new tendency to write shorter fiction books will continue to develop. This conclusion does not follow from the above mentioned articles, but the general tendencies listed here indirectly confirm such possibility.

Any way, the changes are coming tha they are inevitable. Let us see what changes the coming year is going to bring to the publishing industry. And now, just look at the beautiful picture below — very probably, for the last time, because as of now, more and more people prefer to have a kindle device or a phone in their hands while reading.

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Success Is All About Making the Right Choice

Success comes with making the right choice of the object to deal with.

Why torture yourself with learning, training, taking risks and gaining success drop by drop?

Simply attack a slipper and feel like a lion!

Sonya_making_friends_06_07_2018

Writing a One-Sentence Novel Summary

Every author of fiction is familiar with the torture of putting together a one-sentence summary of every story they write: the sentence that serves a few purposes at a time. It is supposed to do a few things–

  • define the so-called “story question”;
  • help readers decide whether they want to read this book;
  • be the writer’s navigation tool that shows him/her the direction of writing;
  • become a very effective marketing tool, etc.

Writing a one-sentence description is always a big burden for the author, because every story contains numerous ideas, suggestions and messages, dozens of which can be precious for the readers, but the author must choose only one message: the one that will serve as a solid carcas supporting the whole structure of the future book.

Which message is it? How can the author identify it? What is the best way to put it together into that magical one-sentence statement? Many authors spend weeks trying to answer these questions, learning from each other, looking for a ‘universal’ algorithm, which would satisfy everyone: the author, the reader, and the publisher of the book.

The only constant in the book writing process is the triple alliance of the author, the reader, and the publisher. To understand what each party is expecting to see in our one-centence summary, it is necessary to look at their goals.

The author’s initial goal in writing a book is to impress a large number of people (what else can make a person voluntarily spend years of her life working like a dog without any guarantee of future rewards or benefits?) To impress a large number of people one needs to say something witty in that sentence: something new and revealing, something that others do not normally see the way the author can see it;

The reader’s goal is to obtain memorable experiences (emotional, intellectual, ethical, aesthetic, etc.) Obtaining memorable experiences is always associated with suffering (not physical, but emotional): every reader wants to experience a new level of it with every next book they take from a shelf, which means that our one-sentence statement must contain an emotionally disturbing idea or image; in other words, it should produce an effect of a needle prick.

The publisher’s goal is pragmatic: to hit the best possible sales and thus, to make the best possible profit, which means that the publisher is expecting to see a couple of amazingly precise and effective keywords which will capture the minds of millions.

Now, let us see what we can get from this. Summing up the above paragraphs, our magical one-sentence novel description must meet the three abovementionned basic conditions, which means that the author should make sure to include the following elements into the description:

one-sent-novel-summary-elements1

After we have given it a lot of thinking and put a few words opposite each of the three above items, we can move on to building the structure of our sentence. Again, how can we satisfy everyone who is going to read it?

Many publications on the topic suggest a variety of one-sentence summary structures which have worked well for the bestselling authors. We certainly cannot ignore them. Having studied a dozen of such publications, we can see that the proposed examples of one-sentence summaries usually have simple and easy to read structure, so that everyone could grasp all information contained in the sentence right away: literally, at a glance. Majority of sample one-sentence descriptions had the structures similar to this one:

one-sent-novel-summary-scheme1 I provided an example below the scheme, which illustrates the elements of the sentence structure. This example can also show us that the sample one-sentence description–

“In a care home for the elderly, a woman draws strength from a mysterious friendship in an attempt to recall past secrets and prove her sanity” (Three Things About Elsie by Joanna Cannon review)

is not only built in accordance with the ‘Where-Who-How-What for’ scheme, but it also meets the three conditions which we discussed above:

(1) it contains a new, revealing look at a common, quite failiar and socially important topic (elderly woman draws strength… from friendship; … to prove her sanity);

(2) it is emotionally touching and grabs the reader’s attention right away (elderly woman;  friendship; prove sanity – these words produce expectation of a touching, possibly sentimental, maybe even dramatic, but definitely emotionally intense story);

(3) it has the ‘magical’ keywords, which immediately attract attention of the target audience (the words mysterious, secret draw our attention to the genre and style of writing: as we read them, we expect a great degree of suspense in the story; also, the phrases draws strength, an attempt to recall, and prove her sanity immediately evoke imagess of a dynamic and captivating plot, where the characters must take tremendous  efforts to achieve their goals).

As you can see, our ten-minute study of the ‘secrets’ of successful one-sentence summary writing has already revealed a lot of valuable information; I am sure we can get more if we study more examples of such summaries. I am going to continue my research and write another post about successful one-sentence novel summaries in this blog soon.

You are very welcome to paste your comments, suggestions and — maybe — your examples of one-sentence summaries below this post. Let us analyse them together.

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The Aftertaste of Portnoy’s Complaint

Portnoys-complaintWhy do we rate some books as classics, while many other books remain labeled in our minds as ‘just another great novel’? To me, Philip Roth’s Portnoy’s Complaint is a good example illustrating the answer to this question.

When I opened Portnoy’s Complaint for the first time, I could feel its Jewish-American scent from the very first lines. It felt like being physically present in that community and knowing the protagonist and his family in person. The images drawn by Philip Roth were so vivid that I was disgusted by the feeling of presence in their bathroom when I came across the descriptions of various physiological acts performed there by the protagonist. Some scenes disturbed me: they reminded me of other similar families which I used to know. The first pages caused some unpleasant aftertaste, so I had to close the book for a while and let my disgust calm down.

However, the book did not let me go, I started thinking about it. Surprisingly, the scenes that had caused my disgust in the beginning, slowly floated away with time, and then the main character — the self-antagonistic protagonist with painfully inflamed, guilt-infested mind, captured my imagination. The few first pages of the book left such a strong aftertaste that I had no other choice, but to open the book again and read it to the end.

To be honest, this guy–the protagonist–still disgusts me: this obtrusive Jewish bore keeps making me think about his problems… against my will! No, I am not going to discuss his mental and emotional health here… not in this post, but isn’t it amazing how the protagonist has all the qualities of an antagonist, and in fact, in this book, he is both! Two in one!

What attracts my attention is the fact that Philip Roth’s novel has captured my imagination so much that, weeks after reading it, I still return to it in my mind, thinking about its characters as if they are real people living next door.

I am certainly not the first one to develop this aftertaste from the novel. The book has  been sensationally popular; millions of people have read it since the day it was published. As Bernard Avishai wrote in his article for Huffington Post,

“By 1975, six years after the book’s publication, Portnoy’s Complaint had sold nearly half a million copies in hardback in the United States, three and a half million in paperback. The book brought what was in the back of our minds to the tips of tongues.”

The reviews of the book are countless, too. And quite controversial. Some rate the book as absolutely excellent, others are openly negative, but nearly no one evaluates the book as average.

The novel touches every reader in a unique way, no matter what kind of emotions it evokes, because Portnoy’s Complaint is–

“…a novel that is playfully and painfully moving, but also a work that is certainly catholic in appeal, potentially monumental in effect–and, perhaps more important, a deliciously funny book, absurd and exuberant, wild and uproarious.” NYTimes review

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Huxley’s Novel Where Nothing Happens…

This post is about Crome Yellow by Aldous Huxley. I just ran across a short Youtube video, where the reviewer’s main idea was to say that ‘characters talk a lot’, but ‘nothing really happens’ in the novel…

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I happened to have Crome Yellow in my home library since I was a teenager. The book was not a translation into Russian: it was an original, unabridged edition, a rare thing for the books, published in the Soviet Union. Now, I even think that the Soviet-time censors allowed it to be published because they also saw Crome Yellow as a book where ‘nothing really happens’. A perfect book for a censor, no doubt.   aldous6

It rested untouched in my room, on the English books shelf, for years. Published in 1979 by the USSR’s “Progress” publishing house, it was smaller than  traditional books, but a bit larger than classical Penguin books, so my mother left it standing right behind the glass of the shelf, showing me its whole cover, while a few dozens of original Penguin editions (once brought by Dad from a conference trip to America) were obediently lining along the shelf behind it.

Every morning, a sun beam creeped into the room to count little penguins on the book spines (I deliberately kept the curtains wide open to let the sunbeam in). I would wake up and lie quietly for a while, listening to birds chirping right outside and watching that beam. It would creep along the shelf and light up little images of penguins one by one, until it reached the bright yellow cover of Crome Yellow, and then the whole shelf would start glowing with tender, yellowish light. When the beam reached leter ‘R’, it was time for me to get up and go to school.

I did not try reading the books from that shelf until I was 16 or so. They were written in real American and British English, not the English that I was taught in the Soviet-time high school, so they were too difficult for me to read. When I finally turned my eyes toward that shelf, I was a senior high school student, preparing to enter a university department of English language and philology, and I was looking for every possible opportunity to learn the ‘real’ English language, which the natve speakers used.

Crome Yellow was the handiest book to reach, so I took it from the shelf first. Having struggled through the first dozen of pages, I realized that I could read it– with dictionary, of course, and very slowly, but I understood the language in general. Then, with every next page, I got used to Huxley’s style, and reading became easier. I think I did not understand some of the idioms, but I sensed sarcasm and the witty style of a young, intelligent and a bit maximalistic narrator from the very beginning. Thanks to Crome Yellow, for the first time in my life, I felt proud of myself: I could read original English classics!

At that time, I had no idea about other books written by Huxley, neither I knew who he was or when exactly he lived; I could not even tell whether he was British or American, but reading Crome Yellow opened the whole new world of literature-in-English for me. It was largely due to this book that I finally decided to pursue the idea of obtaining a university diploma in English language and literature.

Now, when I am familiar with most of Aldous Huxley’s books, I realized that I never happened to re-read Crome Yellow since university. I downloaded it for reading this morning, and from the very first lines I am in love with this book again!

How could that reviewer not see the wonderful work of mind going on right behind the words of the characters? How can anybody say that ‘nothing really happens’ in the book, when what happens every second is the work of sharp, witty, observational mind, which provokes the reader to think together with the narrator? To me, the excellence of the novel is exactly in its atypical plot structure: the simplicity of the plot was developed deliberately in order to picture the life of people, who ‘talk a lot’ and would like to accomplish a lot, but their intentions seldom go farther than just talking, so ‘nothing really happens’ in their lives.

Today, three decades after I was a teenager, that yellow cover still faces the window in my parents’ apartment, and the long shelf of Penguin books still makes a neat line behind it. Every time I visit my parents’ home, I am tempted to enter that room in the morning hours to see how the sun beam travels along the shelf, showing me little penguins on the book spines and creeping to reach yellow cover with big white letters: Crome Yellow. When it does, I remember the words from the book:

“All that happens means something; nothing you do is ever insignificant.”
― Aldous Huxley, Crome Yellow

Aldous3It was a significant thing for me to watch that sun beam creep over Crome Yellow cover every morning: it helped me choose my directions in life. I am thankful to Huxley for this, because he could convince me so gently! Nothing really happened, but I came to the most important, life altering decision. Isn’t it what distinguishes a real classic from a scribbler?

* * *

These are my favorite lines from the book. Enjoy (or read the whole book, I am sure you will love it):

“He had been making an unsuccessful effort to write something about nothing in particular”

“Things somehow seem more real and vivid when one can apply somebody else’s ready-made phrase about them.”

“He took nobody by surprise; there was nobody to take.”

“As for women, I am perpetually assuring myself that they’re the broad highway to divinity”.

Love… as Dostoevsky saw it.

Love. Is it a gift given to us from above, or a skill which can be developed by learning? I have been trying to figure this out, and of course, I am not the first one to ask this question. A great thinker of the 19-th century, Fyodor Dostoevsky, kept trying to answer this question during his whole life. Some of his thoughts on the topic can be found in his immortal novels. I spent this morning turning pages of my Soviet-time edition of Dostoevsky, published in 1958.

D001Let me start with a line from The Brothers Karamazov, one of the most acclaimed of Dostoevsky’s novels: 

“What is hell? I maintain that it is the suffering of being unable to love.”
― Fyodor Dostoyevsky, The Brothers Karamazov (1880)

Wow. Scary, isn’t it?

In the 19-th century the phrase ‘being unable to love’ sounded even worse than it sounds now: it meant that Creator himself had decided to deprive some particular people of the gift, and thus, they were in some way inferior, or sinful, or just ‘spotted’ and destinied to suffer endlessly.

Today, it is still common to hear that love is a gift given to us from above, but we tend to take it lightly, because — well — science tells us not to worry. “Love is a result of chemical reactions,” it says, “if your body has hormones — and, of course, every body has some,” it says, “then you have nothing to worry about: relax, you are capable of feeling love.”

Modern science looks at it with pragmatism, typical of the 21-st century. The notion ‘gift’ is defined by modern dictionaries as a natural ability or talent, and so, some people feel gifted for love, while others claim that love is a skill (interpreted by dictionaries as ‘the ability to do something well; expertise’), which can be acquired by training. Very convenient, don’t you think? 😉

When 150 years ago Dostoevsky wrote that–

“To love someone means to see them as God intended them.”
― Fyodor Dostoyevsky

every reader would nod his head in agreement on reading this, a contemporary reader might shrug doubdfully or even express disagreement. Unlike our great-great-grandparents, we, modern people, prefer to believe that being in love is an exciting adventure, which may (and should) happen to anybody, it may involve lots of emotional experience, and– well, there is no need to worry: nobody dies of love anymore. Love is fun! Why even try to understand how God intended your partner, when you

In his latest stories, ever-gloomy Dostoevsky writes–

“To love is to suffer and there can be no love otherwise.”
― Fyodor Dostoyevsky, Notes from Underground

Love IS a skill, agrees the great genius, because it can be developed. Moreover, it develops with suffering, it takes you time and suffering to learn the skill of love. In Dostoevsky’s latest story, The Dream of a Ridiculous Man, his character says:

“I want to suffer so that I may love.”
― Fyodor Dostoyevsky, The Dream of a Ridiculous Man

If Dostoevsky’s characters finally managed to master the skill of love, they would realize the change that happened to them:

“They were renewed by love; the heart of each held infinite sources of life for the heart of the other.”
― Fyodor Dostoyevsky

but still, there was lots of suffering:

“But to fall in love does not mean to love. One can fall in love and still hate.”
― Fyodor Dostoyevsky, The Brothers Karamazov

and more suffering:

“Love in action is a harsh and dreadful thing compared to love in dreams.”
― Fyodor Dostoyevsky, The Brothers Karamazov

What a gloomy, dark, sad, derogatory approach! After this, I am not surprised that our high-school students are reluctant to read Dostoevsky.

Still, a genius is always a genuis. Even hundreds years later, his words remain meaningful. Moreover, they sound like a call for action, and no one of us could put it together as precisely as Dostoevsky did:

“Love a man, even in his sin, for that love is a likeness of the divine love, and is the summit of love on earth.”
― Fyodor Dostoyevsky

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P.S. This is a photo of a page from Dostoevsky’s book of notes. One of these days, I am going to put together a little post about his drawings and calligraphy practice. It seems he loved drawing while planning his scenes.

The Romantic Russian Phrase Book

RRPB_Covers_all_Ness_Bc

Learn Russian with love!

The Romantic Russian Phrase Book is an easy to learn course of conversational Russian with full audio support.

  • The phrase book was developed specifically for those who are seeking to establish romantic relationships with Russian women;
  • the book is a perfect tool for every beginner who is interested to learn about Russian language and culture;
  • The phrase book contains hundreds of easy to pronounce, most meaningful phrases and sample dialoges, which can be used in multiple life situations;
  • You will find numerous tips from the best linguists and relationships experts;
  • Learn about Russian culture and lifestyle;
  • get the taste of simple grammar and enjoy full audio support for every unit;
  • contact the author Rina Tim at any time to request information, counseling, and/or language training.

The Romantic Russian Phrase Book contains 18 thematic units:

UNIT 1. How To Be Polite In Russian
UNIT 2. Greetings
UNIT 3. Your First Meeting With Her
UNIT 4. How To Say A Compliment To Her
UNIT 5. Making Her A Gift
UNIT 6. Romantic Dinner For Two
UNIT 7. When She Is Silent And Thoughtful
UNIT 8. Moments Of Intimacy
UNIT 9. When Doing Things Together
UNIT 10. Having Fun Together
UNIT 11. Asking For Things
UNIT 12. Speaking To Her On The Phone
UNIT 13. Riding In A Taxi
UNIT 14. Shopping Together
UNIT 15. Meeting Her Family
UNIT 16. Some Conversation Starters
UNIT 17. Phrases To Use In Love Letters
UNIT 18. Words To Use In Conversation

The book is available at Amazon:  https://www.amazon.com/dp/1519170068

We wish you good luck for your wonderful Russian adventure!

 

The Romantic English Phrase Book

Романтический разговорник английского языка

Phrasebook-B5

ИЗУЧАЙТЕ АНГЛИЙСКИЙ С ЛЮБОВЬЮ!

The Romantic ENGLISH Phrase Book is a great assistant for Russian women who are taking their first steps in learning English

Романтический разговорник английского языка – это набор простых, легко запоминающихся английских фраз на все случаи жизни

  • Уникальный набор фраз, необходимых для общения с собеседником-иностранцем
  • множество диалогов, имитирующих ситуации романтического общения
  • полезная информация от экспертов в области лингвистики и психологии отношений
  • примеры житейских ситуаций в диалогах и заметки о Западной культуре
  • постоянная связь с автором на http://www.rinatim.com
  • возможность получения консультаций 24/7

Эта книга дублирует Романтический разговорник русского языка, который мы составили ранее для иностранцев, приезжающих к своим русскоговорящим невестам. Чтобы понимать друг друга, вам и вашему иностранному гостю достаточно держать разговорники наготове и обмениваться фразами из тех тематических блоков, которые подходят к конкретной ситуации общения.

Обе книги имеют одинаковое содержание и состоят из 18 разделов:

Тема 1. Как вежливо привлечь к себе внимание?
               Unit 1. How to Be Polite in English?
Тема 2. Приветствия.
               Unit 2. Greetings.
Тема 3. Ваша первая встреча.
               Unit 3. Your First Meeting with Him.
Тема 4. Скажите ему что-нибудь приятное.
               Unit 4. Tell Him Something Nice.
Тема 5. Принимаем и дарим подарки.
               Unit 5. Accepting and Making Gifts.
Тема 6. Романтический ужин на двоих.
               Unit 6. Romantic Dinner for Two.
Тема 7. Если разговор угас.
               Unit 7. When the Talk Is Slow.
Тема 8. Когда вы остались один на один.
               Unit 8. Moments of Intimacy.
Тема 9. Всё делаем вместе.
               Unit 9. Doing Things Together.
Тема 10. Развлекаемся и отдыхаем.
               Unit 10. Having Fun Together.
Тема 11. Как попросить о чем-либо.
               Unit 11. Asking for Things.
Тема 12. Разговор по телефону.
               Unit 12. Speaking on the Phone.
Тема 13. Поездка в такси.
               Unit 13. In a Taxi.
Тема 14. Ходим по магазинам.
               Unit 14. Shopping Together.
Тема 15. Когда он у вас в гостях.
               Unit 15. Inviting Him to Meet Your Family.
Тема 16. Некоторые стартеры для беседы.
               Unit 16. Conversation Starters.
Тема 17. Несколько фраз для личной переписки.
                Unit 17. Phrases to Use in Love Letters.
Тема 18. Часто употребляемые слова.
                Unit 18. Words to Use in Conversation.

Желаем вам удачи в вашем романтическом путешествии в английскую культуру!

Bye Bye, Blackboard!

(A few thoughts about modern education)

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My group of graduate students called me yesterday to say that they could not attend my class because four of them were having a cold and the rest would be working in the morning hours. In this semester, my class with this group fell on the day when they have no other classes at all (we use to call such days ‘library days’), and of course my students would prefer to spend it taking care of their own affairs.

“All right,” I said, “let us see when we can do it.”

It took us not more than a minute to revise a few options and agree to arrange an online afternoon class instead, in a time convenient for everyone. My students were very thankful to me for understanding, and I was glad to have a chance to use all available Internet resources during my class, because there is so much you can share with your students if you have direct access to the Internet resources right during the discussion!

After the online class, we remained online with one girl for a few minutes to clear up some information regarding her diploma thesis, and that was when she confessed to me that, more often than not, teachers grow quite upset if they find out that their students combine work and study; they rarely agree to change time of their class, to say nothing about giving a class online.

To my regret, Ukrainian system of higher education remains highly conservative and snail-paced. The largest state universities, which traditionally set the pace of all processes in the whole educational system, are the slowest when it comes to having to revise programs of study, curricula or teaching approaches, even when the changes seem obvious and inevitable. They prefer to turn their backs to the newest technologies and look like mammoths of the academic system rather than to make changes and improve the system.

learning2

Still, the changes are coming and they are inevitable. Today, when people around the world have become accustomed to communicating with each other remotely, it is obvious that they expect to have this opportunity everywhere – in the streets, at home, at work and of course during the process of learning. If my students spend their morning time wearing headphones and listening to audiobooks online just to pratice their English, and then roam through the Internet in search of materials for their essays during their subway ride to the university, how on Earth can I make my classes interesting in a classroom equipped only with a blackboard and a piece of chalk?

Soyer, Paul Constant, 1823-1903; Old Man and a Young Girl Learning to Read

We all have to realize and agree with the fact that the time of reading coursebooks has passed. It does not mean that we should stop reading books, no. But we’ve got to adapt to the fact that we need to combine all available ways of information perception — books, the Internet resources, and all possible audio and video based information — to share knowledge with students Why? Because-

learning should be consistent with the requirements of the time.

In the nearest time, all students will interact with others remotely, and teachers who will try to keep their students in classrooms by telling them about the pleasures of silent contemplation of books, are going to fail miserably. Again: why? Becausein the 21st century-

reading books has become an intimate, pleasurable and luxurious, yet time-consuming occupation, which very few can afford.

Alas! This is true. Reading, as well as real-time listening to a highly skilled professional in the quetness of a library or a museum, has become an unaffordable luxury because the most precious thing of the 21st century is time (not money anymore!). If some of us have not realized this yet, they will. Very soon. I am sure.

learning3

One more thing to add to this is a simple fact that in this situation, people’s general attitude to acquiring diplomas (as well as other forms of professional certification) is going to change.

Very soon, pictures like the one you can see below, will become exclusively the property of art. Even today we are more accustomed to seeing kids using electronic devices instead of books, and, however sad it may sound to us, the older generation, the faster means of learning will take over, and this is going to happen in the nearest few years.

learning5 The situation when students had to adapt to the requirements of the educational system will soon change to the exact opposite: the system will have to adapt to the realia of life, and– you know what? I cannot wait for this to happen.

Being yourself in the 21st century

“Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth”. Oscar Wilde

Now, replace the word “mask” with the word “Facebook” and read the quotation again. It remains true in today’s world, doesn’t it? We can put in “Twitter”, or “Google”, or any other name of a virtual communication network, and Oscar Wilde’s words will sound like a correct observation about our current lifestyle.

behind-a-mask

A century ago, a mask (a really good one) was needed to help a person feel safe about speaking out their mind. Today, you can click on an “enter” button and write anything you want on a virtual wall; what is more, you can be pretty sure that you won’t be made responsible for your words. Does this mean that “being yourself” and expressing yourself openly has become more welcome in today’s world?

Honestly, I don’t think so. Our current lifestyle has given us unprecedented freedom of expressing ourselves and sharing knowledge with each other – freely, unconditionally, and practically in no time, but today, unlike it was in Oscar Wilde’s time, even when you say something meaningful to the world, your words will drown in the ocean of other stuff, which pours into our minds through social networking systems, press and media every minute.

Well, of course there are topics which people prefer to bypass even on social media. I have noticed that some articles of ambivalent meaning on Facebook (nothing special, just the ones that require a different angle of vision) are often ignored and receive no feedback at all, which means that people are still wearing their masks, even when their identity is “protected” by the freedom of social networks. Yeah, people have become smarter.

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But have they become wiser?

There is so much information everywhere around us that we – the people of the 21-st century – have learned to protect our minds against it: we simply don’t care anymore. In our crazy run away from the past to reach out for the future we forget to pay attention to the reason of the run.

To a 21-st century writer, whose mission is still the same – to observe and reflect the reality as it is – the new system of mind protection raises a problem: I mean, how can writers’ voices be heard when the readers have lost the ability to care?

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In the 20th century it was not unusual to hear a saying that “a good writer is the nerve of his time”. The new millennium has led us to an opposite approach: how good is the writer’s “nerve” unless it is connected to the reader’s brain?

I hate to say this, but today, what used to be called the “nerve” has a tendency to transform into a logbook. The only hope is that the emotional personality in each person will still remain intact, it will require some emotional activity from us. If human feelings (like compassion, tenderness, affection, sympathy or others) are going to hide behind even harder masks than a century ago, then people will probably want to turn back to reading fiction in order to satisfy their needs in emotional life. Have you noticed that reading fiction is already becoming an intimate occupation? I think this trend will intensify in the nearest future.

I’d like to share another observation here: the growing interest to reading fantasy and sci-fi books. Isn’t it another evidence of the changes taking place in human minds to satisfy our need of self-expression? True or not, but one thing I can say for sure: people are actively learning to be themselves in the 21-st century. With a new design of our masks, we still find it difficult to speak out the truth. So, some of us plunge into the world of fantasy as we look for ways to satisfy the need to be ourselves.

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Relocating back to the UK after 12 years in Hong Kong

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ALEX MARKOVICH

Author, scriptwriter, theater director