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Siege and To Green Angel Tower: Otherland was planned as a tetralogy from the beginning. I'm trying to get the length which feels right for the story, but it's not to everybody's taste.

Not everybody's interested in the level of detail I like. The fantasy audience almost expects things to be in multiple volumes, whereas some of the science fiction readership have been a bit startled.

Shadowmarch was planned as three volumes, but while writing the final book Shadowrise he and his publishers realized it needed to be split into 2 books of about pages each, which led to another four-book "trilogy.

This is the plan, anyway. Williams is writing his current series, The Bobby Dollar Books , with an eye for producing shorter, more "standalone" books.

Also, I don't write well unless I feel challenged by something new. But all my stories are single stories -- the length just varies -- as opposed to true series fiction, so it's mainly a question of just shrinking everything down, the scope, the secondary focal-points, the number of plot-strands.

That's why I'm writing the Angel Doloriel books, which will be more like regular series books -- you won't swoon if you try to pick one up without reading its predecessor.

Me being me, though, there will still almost certainly be lots of detail, characters, and continuity stuff to wrestle with!

One hallmark of Williams's stories is complex worldbuilding with well-developed histories , folklore and mythologies , languages and cultures , religion and politics for the multiple races populating the geography.

If you're going to make readers invest in these smaller characters, you have to give them a payoff as well, so instead of having one or two major character arcs I have 25 or 30 character arcs in my books.

People are not just spear-carriers. I like to do that, because it gives me a much more kaleidoscopic view of these big, world-changing events.

Even my most serious stuff usually is laced with humor, although obviously not at every moment, and not always in the most noticeable ways.

A lot of my humor is absurdist in nature, so often I just put crazy things in and don't make much out of them, because it seems to reflect the world I live in.

But even the most basic conversations and situations usually have some humorous elements. That's just my own response to the human condition.

Sometimes it may be bleak humor, but there's always humor. Williams's stories explore the areas of life where complicated systems come together and adapt to one another with solutions that are not simply black and white.

One of the defining characteristics of the fantasy genre is the inclusion of magic in the world of the novel. Williams uses magic sparingly in his books.

The nature of stories , storytelling , and "a certain skepticism about history " is a recurring theme in Williams's work.

The examination of story and storytelling is one of the main themes in the Otherland series. In her review of the series, Victoria Strauss points out,.

All the invented worlds of Otherland are stories sometimes literally, for a number of them are novels brought to life , through which the members of the Grail Brotherhood have given shape to their dreams of immortality; and along Paul's and Renie's and the others' difficult journeys, storytelling has helped them retain their connection to the real world and gain perspective on the struggles they undergo.

In The War of the Flowers , Williams examines both the world of fairy tales and the tales the faerie folk tell. When Button the goblin tells a story to a crowd of goblins bent on revolution, we again see the storytelling theme: It is not for me to tell you what fits in that open place, that well of mystery at the center of Faerie What is in that empty space?

It is not for me to say. The stories of my people do not work that way. Renie's brother Stephen is one of the children caught up in mysterious comas, while!

Xabbu the Bushman is learning about virtual reality in order to preserve the heritage of his people before it completely disappears. Family ties and history are primary motivators for the other characters as well, notably Jongleur, Dread, and even The Other.

In The War of the Flowers , the theme is explored in the political power struggle between the seven great families that rule over the land of Faerie, Theo's uncovering of his own family secrets, and the mysterious "terrible child" who represents "the idea of family connection without love Family is the cauldron of everything that makes us who we are.

It's the place we first learn the myths of humanity. It's the place we develop our ideas of society and also the order of the cosmos.

It's what you stand on or run from the whole of your life. In Otherland , Williams illustrates the plight of indigenous people through the protagonist!

Xabbu's quest to master virtual reality and preserve the vanishing ways of his people. One of my most dubious bits of truth-manipulation may turn out to be the simple assertion that there will be anyone left pursuing the hunter-gatherer life in the bush by the middle of the twenty-first century.

In the Shadowmarch series, Williams again gives us a First People displaced by the arrival of humans. In Shadowmarch , "Williams explores the idea that even religions that share the same root mythologies can often warp and manipulate those tales to fit their political and spiritual needs.

It's a very adult approach to religion and offers interesting social commentary by enhancing the plot, rather than getting in the way of proper storytelling.

In The Bobby Dollar Books , Williams uses his depictions of Heaven and Hell as a platform to develop and explore religious themes in greater detail.

As a matter of fact, you could make a case that this could be ordinary science fiction or fantasy and not about the 'truth' of religion at all.

But whatever it is, it gives me plenty of chances to play with theology , something I enjoy very much. Just as a photographer captures a moment in time, a writer can take a particular way of looking at things and focus the attention The idea of forever, of eternity , is something that human beings cannot really understand What would it be like to be happy forever?

Can we really understand that? Would that make us feel good? Or is it actually a little frightening? What is it like to be punished forever, for something you do during a very short period of time living on earth?

So as a writer I like to say, 'Okay, these are the ideas, but what would these things really mean if they truly are happening, how would it feel?

In an interview with Wired , Williams elaborates:. It wasn't intentional -- though I'm a big Moorcock fan -- but the way it worked out as I was thinking these things through is that heaven winds up being sort of like Ultimate Law in Moorcock's version of things, which is something that doesn't change.

It's all about the same frequency of reward and existence, and it just keeps going on and on and on and on. Hell is much more dynamic So hell has to be something where your punishment surprises you, and part of your punishment is that there is no getting used to things because you never know what will happen next.

That's a very simplified version, but that's one of the main differences. So hell is quite dynamic and changing. It's very much about 'whoever has the power makes the rules.

The rules have all been made and they're not changing. Tailchaser's Song contains "little nods and affectionate jabs toward Tolkien " and The Lord of the Rings.

Which is, of course, a very catlike thing to do. Eliot's " The Naming of Cats. But what critics and readers saw was another Tolkien homage , and depending on how they felt about such things, that's how they treated it.

I was a little disappointed about the lack of discussion or even recognition of the underlying themes, but pleased that at least people read it.

The main character Simon "comes straight out of the Arthurian cycle. It smacks of Corwin's traveling to Amber. In Shadowmarch , the Rooftoppers are drawn on the great tradition of " Wee Folk " in western folklore.

I just like the idea of little tiny people, and find them more interesting and heroic if they are not otherwise inherently 'magical.

Williams's Otherland series has been a cultural phenomenon in German-speaking countries, "in large part due to my change in German publishers to Klett-Cotta, who made me a mainstream writer because of their own reputation as serious publishers.

One was Tolkien and one was Peter S. So once they picked me up, because they are primarily a company known for literary fiction , for philosophy , for history , for some fairly academic high-end stuff, I had a certain legitimacy that lifted me out of the genre in Germany.

And then a couple of good things happened very quickly, including among other things somebody decided to do it as a radio play , which wound up being the longest radio play in German radio history, and all this other stuff happened and the books really took off there.

Having Klett-Cotta as his publisher meant reviews "in a lot of places that wouldn't normally have been reviewing me, and since the first story that got that treatment Otherland had a lot of contemporary issues and ideas in it, it really helped establish me as a writer worth talking about.

So it was a combination of factors, but it was quite startling how the same exact books that were being reviewed kind of like Star Trek novels or something here in the States were being reviewed by very knowledgeable people who were talking about the future of human civilization and about what the 21st-century was going to be like economically.

It was the same books, but they had been moved to a completely different context -- namely 'real fiction with important issues being discussed,' which I had always felt they were.

It just shows you how much of this stuff is circumstantial, how much of it is context, and where you are, and how fortunate you are in getting into the cultural discussion.

The German radio network Hessischer Rundfunk produced the Otherland radio play in January , and the public premiere was at the International Frankfurt Book Fair in October that year at a club in Frankfurt called the U It was produced as a "hours radio play" broadcast on two stations.

The play was published by der Hörverlag, Munich , as an audiobook. Walter Adler directed, and also adapted the book for the radio play.

The music was composed by Pierre Oser. No, it doesn't sound exactly as I'd imagined it, but that's the great thing about collaborative art -- it becomes more than the sum of its parts.

That way, I got to enjoy it, too. Williams is an ideas-driven author: And if they last, if they survive for awhile, they begin to agglomerate with other ideas.

They begin to become something more than the sum of its parts. Answering a question about the "inspiration or processes" he uses to mesh reality with fantasy, to take his big ideas and fit them into his worlds, Williams said: But you have to keep re-rolling those particular dice over and over until you get an answer that works for the story.

I do most of this in my head, running different simulations , almost, to see which possibilities will lead to the best outcomes.

Long, complex novels invite questions about planning and outlining: Ventrella, Williams said, "I like the balance between knowing too much and knowing too little, so I certainly outline, but I leave lots of room for things to change, grow, whatever, as I write the story.

So most of the interplay between cultures springs from my inventing a history based in part on the invented geography that came first.

He gave an example of some of the research he did for the Bobby Dollar books which feature a were-pig character:. For me, writing is less about pounding keys and more about the thinking that happens first.

Williams has collaborated on several creative projects. In an interview with Jeff VanderMeer he addressed collaborating and what he finds to be challenging about the process:.

But the rewards balance the challenges of collaboration. I had an early experience with this in theater and music writing music as part of a band is a great way to learn this lesson and as much of a control freak as I am and believe me, I am I would hate to lose this aspect of creativity.

There are some wonderful things that can ONLY come out of collaboration. From Wikipedia, the free encyclopedia. This article has multiple issues.

Please help improve it or discuss these issues on the talk page. Learn how and when to remove these template messages.

This article may need to be rewritten entirely to comply with Wikipedia's quality standards. The discussion page may contain suggestions. Please help improve it by revising it to be neutral and encyclopedic.

This article may be too long to read and navigate comfortably. In this data memo, we analyse political news and information shared over Twitter in the period leading up to the Swedish General Election.

We find that 1 Swedish political discourse […]. McClatchy covered the latest ComProp work: In Mexico, there are rising concerns over computational propaganda and the political polarization it may cause.

In this data memo, we analyze data about political news and information shared over Twitter and Facebook in the period leading up to the Mexican presidential election.

News and Political Information Consumption in Brazil: Mapping the Brazilian Presidential Election on Twitter In Brazil, there are rising concerns over computational propaganda and the political polarization it may cause.

ABSTRACT A review of literature about automation, algorithms and politics identified China as the foremost area in which further research was needed because of the size of its population, the potential for Chinese […] Click to share on Twitter Opens in new window Click to share on Facebook Opens in new window Click to share on LinkedIn Opens in new window.

Challenging Truth and Trust: Around the world, a range of government agencies and political parties are exploiting social media platforms to spread junk news and disinformation, exercise censorship and control, and undermine trust in the media, […] Click to share on Twitter Opens in new window Click to share on Facebook Opens in new window Click to share on LinkedIn Opens in new window.

Commentary Essays Foreign Policy: Academic Articles Chinese computational propaganda:

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Buch Manipulation Video

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manipulation buch -

Weitere Informationen zu unseren Apps finden Sie hier. Ich fand das Buch gut, da es Manipulationstechniken mit wissenschaftlichen Studienergebnissen kombiniert. Ich konnte mich jedenfalls nicht des Eindrucks erwehren, dass sich der Autor zunehmend in einen Schreibrausch hineingesteigert hat und dabei leicht den didaktischen Kontakt zum Adressaten seines Textes verlor. Die Macht der Manipulation: So machen Sie sich ein Leben, ganz wie es Ihnen gefällt. Die Psychologie des Überzeugens: Mehr lesen Weniger lesen. Ebenso irrational ist unser Wille, auf keinen Fall zu kurz zu kommen. Neue Psychologie der Beeinflussung: In diesem Fall würden wir uns über Bewertungen und eigene Empfehlungen für alle Mitleser freuen.{/ITEM}

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