Search Results for: intertext

Scribbles & WIPs

K. Williams is always working on new projects. Samples of current writing can be viewed at KWilliamsAuthor on deviant Art.com, including poetry, short stories, novel excerpts and screenplays, as well as a conceptual take on Marvel’s X-Men. Go to the Blue Honor Blog for musings on current events, publishing and the arts.

Below is a short list of projects underway and links to K’s non-fiction essays.

What’s in the pipeline?

Screenplays…

Fiction…

OP-GHO: Operation Ghost

OP-GHO, the follow up to OP-DEC, brings Carsten Reiniger back to audiences. After returning from Germany with Claire Healey and her aunt to New York City and a new life, his relationship with the girl has gone a few steps farther. Prepared to leave his bachelor days behind him, he works out the perfect time to ask her to marry him, but the moment is interrupted by a bomb. New York is home to a gregarious Nazi spy ring and they’re seeking help from the IRA to sabotage American installations. Claire is not so convinced that he’s left his spying days behind, and clues start popping up to insist that Carsten is still working for the Nazis himself.

Trailokya: The Aghartian Chronicles

Trailokya: The Aghartian Chronicles is another installment of the Trailokya universe. In this series, readers follow the exploits of Lady Caasi, queen of Aghart as her people are tempted from the light by Prince Belial. Growing in ability, this race of aliens provides the prince with a powerful ally if he can turn them against his enemy, Zion. Can their princess save them from burning down?

Maredudd

This medieval spy thriller introduces Maredudd (pronounced Meredith), who is summoned back to Britain by King Edward I to infiltrate Scotland on his behalf.

Blue Haven

The anticipated sequel to Blue Honor, Blue Haven brings readers back to familiar faces. Grown up, Ezekiel, Zeke, has turned from teasing Jo-Hanna Fordder to being in love with her. The young couple, against odds, hope to marry, but Jo-Hanna’s father will have no part of his daughter marrying an African and former slave. Jo and Zeke elope to New York City, hoping to find a haven for their love. Instead, they’re pursued by a bounty hunter set on bringing Jo back to her father. Desperate, Zeke’s mother Hettie contacts her dear friends Emily Conrad and Evan Howell. They must help her get the kids back safe before her boy is killed. Emily implores Evan to assist, as well as her husband Joseph Maynard. The men go west, seeking a tracker of great renowned and return with him to New York. Jo and Zeke have already gone, seeking the safety of Paris, France and her forward thinking population. Who will find them first? Is there a place Jo and Zeke can go to be together?

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Middle Class isn’t the best birth a girl could hope for in the East India age of Britain.
Poetry Prints, Comics and Children’s Stories…
Non-Fiction Articles and Essays…
K. Williams is a Graduate of the SUNY Empire State College, School for Graduate Studies. With a Master’s degree (MALS) in Film Studies and Screenwriting, her experience on the topic of adaptation is extensive. Here you will find essays and articles written by K on various topics, including film, writing and history.
All articles and Essays are copy written and the soul property of K. Williams. These documents may not be reproduced, duplicated, or copied without permission.

Derrida’s Teacher Calls His Writing Quite Incomprehensible

April 17, 2015 By Captain Maiel

Take heart, writer. Your voice is just different.

Those are the words that I longed to hear during my struggle for publication. It seemed that every outlet wanted to mold me into the industry’s ideal writer. For a subjective art, there certainly are a lot of rules and expectations. The longer we cave to the whims of an industry that is controlled by the tastes of an elite few, the further writing becomes not art but mechanical production.

Had Derrida listened to his teacher, would we now have his books? Thankfully he did not. Certainly I agree that active voice is better than passive and that wordiness can bog down the pace, but I don’t agree with these arbiters of an author’s fate when it comes to what makes a great work. There is a huge push to hear the voices of the oppressed–which in it’s heart is good, but don’t forget that it is more likely being done in the same vein as Poverty Porn–images of poor people with celebrities and the like–to make money of a niche. It’s just as racist to say that a black author is better than another because, well, they’re black and they know suffering, or something. No. They’re as good, because they’re good at writing and the melanin in their skin doesn’t determine that–though it has been made to determine their experiences. Likewise, I am not better at penning stories about women, simply because I am a woman. Our society has precluded the experience of woman, so to find an authentic woman is a feat–good luck to a person of any gender in accomplishing it.

That last statement is indicative of the subjectivity in writing. The reader will determine how well you communicated your ideas. From one to the next that success is going to waver. One author doesn’t speak for a whole generation. That’s a myth. Greatness has been told to us in a lot of cases. I used to wonder, while sitting in class, what makes these books so much more important than these other books. Why this author and not that one?

Semiotics was the focus on which I did most of my graduate work. The subject matter isn’t easy. It’s full of a lot of conceptual ideas and philosophy, psychology and history. You’ve really got to know the archetypes of culture to push into it even a little bit. Symbolism and similar studies feed into it, like–one of my favorites–intertextuality. Semiotics is a branch of literary analysis that picks apart the parts of meaning making.

Fascinating questions abound. Learn more about Derrida below…and read some of my work on the topic of semiotics at K. on Writing.

Derrida’s Teacher Calls His Writing Quite Incomprehensible

Jacques Derrida, Philosopher

Jacques Derrida was a French philosopher, born in Algeria. Derrida is best known for developing a form of semiotic analysis known as deconstruction, which he discussed in numerous texts. Wikipedia
Born: July 15, 1930, El Biar, Algeria – Died: October 8, 2004, Paris, France
Spouse: Marguerite Derrida (m. 1957–2004)
Children: Pierre Alféri
Education: École Normale Supérieure, Lycée Louis-le-Grand, Harvard University
(c) Google Search, April 14, 2015

‘Little House,’ Big Demand: Never Underestimate Laura Ingalls Wilder : NPR

February 16, 2015 By Captain Maiel

I have never read the Little House books. When people over hype a work to me, I immediately reject it. It’s not because I’m a hipster rejecting everything mainstream. The truth is, if you’ve read my Film Theory and Adaptation Theory papers, that the intertext will not be there for me to love the work as much as these people do, and I know it, because I am left confused–befuddled–by their overt enthusiasm. Why would I not love Little House though? It’s about a girl growing up in a hard environment! You should totally love these books.

There is a period of time in American History of which I am repulsed. It’s the American Western expansion–pioneer time. It was a time of hardship, violence, a lot of rape and murdering and lawlessness. It was a time of zero medical know how (out on the prairie–back at the city universities, they were actually making great advances in the field). Prairie time was the time the First Nations were being slaughtered in earnest–the federal government had put policy into effect to clear them out. It was a time of destruction to a pristine environment. I could go on. The point is, I cannot romanticize these events. There is only a negative intertext for me.

However, if you’ll remember Victor’s writing on critics and how far you should take their opinions–there you go. The fact is, Ingalls Wilder has an autobiography and her enormous fanbase need to hear about it. That I can get behind! This lines up with my assessment of the ‘old prairie’ and gives a less glossed version of the events. When it comes to history, yes, I know the Little House works are fiction, you shouldn’t gloss. Even in fiction, because readers somehow manage to absorb fiction as facts, you should tread carefully–if not accurately about the times of which you write.

Very happy to share that the Historical Society who have put out the bio are super pleased about their author’s success which has trickled down into this book being a big hit with readers all over again. Find out more here:

‘Little House,’ Big Demand: Never Underestimate Laura Ingalls Wilder : NPR.

K on Writing

A collection of academic work by K. Williams on writing and writing theory. The focus is on screenwriting, adaptations from novels and the tools used, as well as analysis of cultural portrayals. K has a Master’s degree in screenwriting.

K. Williams is a Graduate of the SUNY Empire State College, School for Graduate Studies. With a Master’s degree (MALS) in Film Studies and Screenwriting, her experience on the topic of adaptation is extensive. Here you will find essays and articles written by K on various topics, including film, writing and history.

All articles and Essays are copy written and the soul property of K. Williams. These documents may not be reproduced, duplicated, or copied without permission.