Writing

AI Panic and NaNoWriMo

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This has been the year of panic over artificial intelligence. It will take over our jobs! It will replace journalism, fiction writing, and maybe even songwriting! This panic has shown up in reactions to a measured statement by the board of National Novel Writing Month, aka NaNoWriMo. Three members of the board have resigned over the statement.

It begins: “NaNoWriMo does not explicitly support any specific approach to writing, nor does it explicitly condemn any approach, including the use of AI.” That’s not a very tactful way to start, I’ll grant; it could easily be read as endorsing the use of a computer to write your work for you. A clarification was added after the first paragraph, saying, “We also want to make clear that AI is a large umbrella technology and that the size and complexity of that category (which includes both non-generative and generative AI, among other uses) contributes to our belief that it is simply too big to categorically endorse or not endorse.”
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There’s nothing wrong with these expressions

This entry was posted in Commentary Writing and tagged usage vocabulary writing on by

I’ve written a lot of posts on the misuse of words and expressions. For balance, I should mention some that pedants object to, but I don’t. (“Pedant” is defined as someone who objects to usages I don’t object to.)

“I could care less.” The pedant says this should be “I couldn’t care less.” Don’t you understand irony? This is always uttered in a sarcastic tone, and it means something like “I could care less — if I really tried hard.” Do you also object to saying “Big deal!” to dismiss something unimportant?
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Britannica blunders 1

This entry was posted in Writing and tagged language Shakespeare usage vocabulary writing on by

The once-respected name of Britannica has really sunk. In an article on Shakespeare’s Romeo and Juliet, they misquote and misinterpret the most famous line of the play, while thinking they’re correcting a misconception.

The most famous line of the play, “Wherefore art thou, Romeo?”, is often misinterpreted. The archaic word wherefore does not mean “where”, but “why”, rendering the modern English translation as “Why are you, Romeo?”

That’s not what the line is! It’s “Wherefore art thou Romeo?” with no comma. Juliet isn’t asking why Romeo exists. She’s asking why he’s Romeo — meaning why he is Romeo Montague, a member of an enemy family. The next lines make this clearer: “Deny thy father and refuse thy name, Or, if thou wilt not, be but sworn my love, And I’ll no longer be a Capulet.”
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“Writer Beware” blog

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This is still, at least officially, a blog by a writer for writers. This week I came across a blog that will interest anyone who writes for money: Writer Beware. It presents worthwhile information on scams that writers may encounter, as well as advice on dealing with publishers, agents, and so on.

I encourage people to use RSS feeds rather than social media sites when possible to follow blogs and news sites, so here’s the RSS link, which should work with any RSS reader (I’ve subscribed to it with Leaf).

Spohr’s first clarinet concerto

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Louis Spohr wrote four clarinet concertos as a result of his professional acquaintance with clarinetist Johann Simon Hermstedt. The first shows that Spohr’s often conservative approach to composition didn’t keep him from writing a concerto with some serious surprises. It’s a difficult work, especially for the clarinet of his time, which had fewer keys than the modern instrument.

The difficulty is partly due to Spohr’s unfamiliarity with what is easy and what is harder on a clarinet. His preface to the printed music reveals that this concerto led directly to improvements in the instrument’s design:
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A historical note on blackface

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In the nineteenth century, minstrel shows were a popular form of entertainment in the US. Their focus was racial caricature. The songs were in a fake form of black dialect, and many of them trivialized bad things that happened to black people. Some of them have survived in a cleaned-up form. “Dixie,” the unofficial anthem of the South, was originally “Dixie’s Land,” about a woman who “died for a man that broke her heart,” treating it as a bit of fun. (“But if you want to drive away sorrow, / Come and hear this song tomorrow!”) Other songs were still worse.

Minstrel shows featured performers in blackface. This didn’t mean simply black makeup; it was an intentional caricature, with dark makeup on the face and white lips. A well-known example is Al Jolson in the 1927 film The Jazz Singer. Even black performers were sometimes expected to wear blackface.
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Vancouver Comics Arts Festival is looking worse

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In an earlier post, I discussed the Vancouver Comics Arts Festival’s exclusion of Miriam Libicki for, in effect, being Israeli. Today I found a newly published interview with Libicki that makes the convention look still worse. Based on what she says, the convention’s motivation was more a matter of book-banning.

She characterizes the disruption which allegedly endangered the convention as “screaming.” As described, it might be grounds for restricting or expelling the person responsible, but there doesn’t seem to have been any threat to anyone. At one point, security removed some people for being disruptive. The “screaming” person was objecting to Libicki’s books without having read them. Subsequently the convention demanded a review of Libicki’s writing. Libicki was asked for digital copies of her books, which she couldn’t readily provide.
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The attack of the singularized plurals 2

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English includes many nouns that end in “-um” or “-on” and are pluralized by changing the ending to “-a.” They come from Latin and Greek respectively. Examples include “medium,” “datum,” “ovum,” “criterion,” and “phenomenon.” As with everything else, the language isn’t consistent; we have museums, not musea; morons, not mora; polygons, not polyga. I wouldn’t complain if the language regularized the endings of all these words. “Bacteriums” and “phenomenons” would sound weird at first, but we could get used to it.

What’s happening instead is that people turn the plurals into singulars. With some words, like “data” and “media,” the change has been firmly established. Others are substandard but turn up often, like “a bacteria” or “a phenomena.” Recently I saw a writer friend who should know better talking about “a criteria.” This doesn’t make the words any more regular, since double-pluralizing “medias” or “datas” is still frowned upon. It leaves us with words that are the same in the singular and the plural.
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What really is a theocracy?

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About a year and a half ago, I wrote about the overbroad use of the term “Fascism” and what it really was or is. Another political designation that gets freely tossed around is “theocracy.” Merriam-Webster defines it as “government of a state by immediate divine guidance or by officials who are regarded as divinely guided.” This is too broad; governments of all kinds have claimed that God guides their heads of state. Listen to traditional patriotic songs, and you’ll hear lots of claims that the leaders act under God’s guidance.
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Update on Smashwords and Draft2Digital

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Smashwords is now saying that some accounts will be automatically moved to Draft2Digital. A May 1 email says:

On June 1st, we’ll begin automatically migrating some Smashwords author accounts to Draft2Digital. If you desire more control over the migration process, or want to have your account migrated sooner, please complete the brief questionnaire that was previously sent to the email address associated with your Smashwords account.
 
When Draft2Digital acquired Smashwords in March 2022, we announced that the integration of the two companies would be completed in three phases, with the final phase involving the migration of Smashwords author/publisher accounts over to Draft2Digital. Given the vast number of Smashwords accounts, the migration process itself must be divided into phases to ensure maximum effectiveness and efficiency.

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