Nov. 22nd, 2014

wyld_dandelyon: (Rainbow Margay Mage)
With thanks to [livejournal.com profile] ankewehner, for the prompt, here is another Catkin ficlet. I am also posting this as my #flashfriday story. I'm hoping to do this more often, though I've been focusing on finishing a novel, whose working title is Clockwork Dragon.

H is for Helpful

Bindi walked the frozen alleys restlessly, changing from human to cat form when the moon rose. Sean followed, his sleek black pelt letting him hide in the shadows. As they drew near to her apartment, he came over to her, rubbing against her brown-furred shoulder with his own. He looked pointedly at the open window.

Bindi stood, her dark tail twitching. The neighborhood felt wrong, as if cold air was emanating from the beaches, though it was early in the winter, and the weather maps showed that the lakeside was, as always before midwinter, warmer than the rest of the city.

She jumped to a wall, and murmured the cantrip that tucked her clothes neatly around her skin as she changed to human form again. The black cat jumped to her lap, and waited. Sean was fun in bed, but lacked either the magical talent or the will to practice even such minor spells. Changing back would have left him naked in the snow.

“There’s something wrong,” she told him.

He rolled his eyes, a very human gesture on his slender feline face.

“Yes, I know I’ve said that before. I just wish I knew what it was, or at least where it’s coming from.”
He looked east. From here, they could see Lake Michigan, or at least the part near enough to the shore to have been turned into a frozen wasteland by the unseasonable cold.

“Yeah, the feeling is worse the further east we go, but there’s nothing out there but ice. When we drove up to Waukee and then all the way to Manistee, the bad feeling was clearly coming from the Chicaugwa area, not someplace in the middle of the great lake.”

Sean purred, remembering the pleasantries on the trip, and rubbed against her, looking again at the window.

“I’m really worried,” she said, not reacting to his invitation at all.

He stood on her lap and shimmied, running a dramatic shiver down his body, and looked again at the window.
“You think it’s the cold? I don’t think so. Weatherworking takes a lot of power…but then, tying magic in to the weather isn’t as hard as shaping it.” She petted his head absently, thinking hard. “It still takes more power than one person is likely to have. If some group is casting a spell, tying it into the cold somehow, that could account for me feeling things are getting more ominous every day.” Bindi shivered for real. “They’re not predicting a thaw for weeks. I don’t like this. I don’t like it at all.” She lifted the black cat up to her face and kissed him. “Thanks, Sean, you’ve been very helpful.” She rubbed his head. “I’ve got to talk to some people about this. See you later.”

Bindi put him down on the windowsill and shifted, her clothes vanishing magically only a moment before she disappeared in the normal feline fashion.

Behind her the tomcat jumped into the window and packed his meagre belongings into his backpack. He left a figurine, a black cat windsurfing, on her dresser to thank her for her hospitality and let her know he was headed to warmer climes. He hesitated, then left a bottle of subtle perfume next to the figurine. The bottle was tied shut with a twist of his own black hair. He would happily take Bindi with him, but Chicaugwa was her territory, and female catkin were as bound to their territory as toms were to wandering. He knew she wouldn’t leave—they never did—but he would be very happy to see her again. And maybe, if this impending doom was bad enough, Bindi would track him down.

He murmured the one cantrip he had mastered, and the enchanted pack shrunk down into a battered-looking collar around his neck. He prowled through the small apartment one last time before leaping to the windowsill and pushing it closed from the outside. He leapt lightly to the alley, and set off. He felt lonely already, but even so, it felt good to be on the road, headed away from whatever doom was aimed at Chicaugwa.
wyld_dandelyon: (Rainbow Margay Mage)
Yet I love Face Off, The Voice, the Jim Henson Creature Shop Challenge, So You Think You Can Dance, and similar shows. It's clear to me that some people would call this a paradox. I've seen facebook rants, generally very well written, that these shows miss the point of creative pursuits, and even that they will give our young people the wrong idea of how to succeed in and even why they might want to engage in creative pursuits.

Yet I grew up hearing, over and over, that people need a "real" college degree and a proper adult career, that the arts, while not valueless, were frivolous or at least not profitable. That artists had to get very lucky to make enough money to eat. The subtext was don't be an artist--artists don't get respect.

And, you know, there are certainly a lot of artists who live sale to sale, and even more who squeeze a tiny bit of art into their spare time, having essentially set their dreams aside to pursue a more lucrative career. Even in this magical future world where the internet lets people go directly to an artist to buy things, it's so very easy to be living the life of an unknown artist, making things and stacking them in a corner to gather dust, and getting no respect from your more conservative friends and relatives.

Enter reality shows. At first, I was more than underwhelmed. Take a bunch of people, put them in a fruitful and marvelous tropical setting, give them meaningless challenges and watch them starve as if there's no food there while being filmed by camera crews that have plenty to eat. All set up as an excuse to get them to scheme and lie and act badly on camera. Ugh. What a waste.

But I was lured in to Face Off by the chance to watch artists work. Oh, sure, the camera focuses on the stupid drama as much as it can, but it still shows people making really cool stuff. It lets them talk about why they make the choices they do, choices about material and color and technique, and then it shows us the results they produce. It shows artists learning from each other. It shows them taking the time to help each other, despite ludicrously short deadlines. The artists are not starved and are not allowed to work 24-hour days, even if they want to.

Additionally, the artists who enter the contest get a chance to meet and get pointers from award-winning professionals and to show off their skills to the world. In a world where the actors get lots of recognition and the artists used to be just names that flashed onscreen while everyone walked out of the theatre, it's a chance for those artists to get some recognition and respect. Sure, it's a contest, but it is more than that. Over and over, the weekly loser says that being on the show was a great experience and they learned a lot. Some come back again in a new season, while others go on to get jobs in the industry.

I've been talking about Face Off, but I see the same thing with singers on The Voice or American Idol, and I see something else too. I see how many of them gain enough fans to get recording contracts and start touring. The big winner is supposed to be the Next Big Name, but even as little as I follow the charts, those other singers (the ones who worked hard before and on the show) go on to be as big or bigger names than the winners.

Being involved in the arts, I know how much of a person's creative career hangs on finding a way to reach the people who like the art you do. You work to be good, better, excellent--but even an excellent story faces a very real chance of rejection from an editor who bought something similar, or who loves the story, but it doesn't fit well with the other stories she received for the anthology, or other similar reasons. You need luck, or to have enough fans that will buy an anthology just because you're in it that the editor wants your name on the cover.

John Denver wrote about being a young musician, sitting with his guitar and aching for people to sing to. He eventually found his audience, but how many people, like Vincent Van Gogh, died before their work became popular? How many writers don't break through because they haven't yet found their "people to sing to"?

So I look at these shows, and I see creative people creating, learning, and finding opportunities to do more of that--and finding ways besides taking a day job to not starve while doing it. I also see audiences who value the creative arts. Those are wonderful things, even if the corporations that run the shows feel a need to add an artificial structure of conflict to the framework of the show. And who knows--maybe that "costume" really does bring more eyes and ears (and wallets) to the performance. I'll forgive the costume because, for me, it's far less important than the heart of the show.

The other reason I love these shows is more personal. I see these people working so hard to create things with the camera on them, and I am inspired. I watch the dance shows and move more--certainly a good thing for my health. I watch the music contests and I sing more--and I get to hear the experts' advice on singing, and learn a bit about one of my own arts. I watch the artists on Face Off and I think, "I could try to do that someday!" and I get a bit more ambitious about my own efforts with paint, sculpey, and costuming. Similarly, I read the Hugo packet and get inspired about my own writing.

I am strongly an adherent of the statement that art is not a zero-sum game. It is not about winning and losing, but winning and winning. It is exactly because art is not a zero-sum game that I love these shows. Regardless of who wins and loses (the Hugos, the Pegasus Awards, The Voice, or whatever awards we are considering), by experiencing the art created by others, my world is enriched. I'm inspired to push myself to create, and to gain more skills, and to seek out ways to sell and share my art, so my own creative endeavors will reach more people. I am also reminded to push myself to excellence so my work will be more satisfying to me as I create it.

No matter how much the producers try to shoehorn the arts into the bitter, futile reality-tv-show format, the arts and the artists showcased cannot and do not fit neatly into that square hole. They remain something that transcends and inspires.

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