From: owner-aml-list-digest@lists.xmission.com (aml-list-digest) To: aml-list-digest@lists.xmission.com Subject: aml-list-digest V1 #532 Reply-To: aml-list Sender: owner-aml-list-digest@lists.xmission.com Errors-To: owner-aml-list-digest@lists.xmission.com Precedence: bulk aml-list-digest Friday, November 30 2001 Volume 01 : Number 532 ---------------------------------------------------------------------- Date: Wed, 28 Nov 2001 11:09:08 -0800 From: jltyner@postoffice.pacbell.net Subject: Re:[AML] Beards I wonder what Richard Johnson's Stake President would have thought of the Stake President I had in the Granada Hills Stake in California. He was raised in an observant Jewish household, (his mother sat shiva(sp?) when he became LDS), and retained his beard and mustache through all his callings. Yet, here is where culture isn't necessarily doctrine as he is one of the most spiritual people I've ever met. It was an interesting Stake all around. There are many entertainment industry people who live there with a bunch of college students and millionaires thrown in. But everyone got along well without much in the clique department, we felt very comfortable there. BTW, for Richard Dutcher and anyone else looking to raise money for their projects, this might be the place to go. At least one singer had her album funded by a wealthy ward member. Kathy Tyner, Orange County, CA - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 28 Nov 2001 13:19:05 -0700 From: "Scott Parkin" Subject: Re: [AML] Writer's Lament D. Michael Martindale wrote: > So you aspire to be a bishop, a stake president, or maybe even a general > authority. So you think being a "mere" home teacher is not a calling of > value. > > It seems to me that this gospel equivalent is what you're saying about > your writing career. If you can't be a general authority, you don't want > to waste your time being a home teacher. An excellent point, but that wasn't quite what I was trying to say. It's more a matter of wanting to be like the best home teachers, to emulate their delivery and preparedness and innate spirituality, to bring the camaraderie and sense of community that the best home teachers bring so that the family will be edified and brought closer to their god. But then as I visit a family and hear the words coming out of my mouth, I suddenly realize how much they sound like the words of the bad home teachers I've had over the years. Having studied the methods and techniques of the best home teachers (and the worst), I find myself doubting the quality of my own methods. So rather than present lessons I believe to be inadequate, I've stopped making appointments. Not a knock on home teaching (or producing for smaller audiences) at all, but rather a desire to succeed as a home teacher according to the definitions that I have now defined for them. Home teachers bring spiritual, social, and temporal value to families. That's what I want to do. I don't knock any other home teacher for succeeding on their own terms; I just want to succeed on mine. And I'm finding that increasingly hard to do. Should I have stopped making appointments? Probably not. And now I'm feeling empty for the loss of something that always brought joy to me--enough loss that I'm working up the courage to start again after having been sufficiently disappointed to stop in the first place. Unfortunately, I've continued to learn about the inadequacies of my previous efforts such that my critical faculties are now even more stringent than they were when I stopped five years ago. It makes starting up again that much harder. Is that an excuse? Not really. I claim that I would be happy writing ingredients lists for bubblegum wrappers--the least of all writing tasks--so long as I find some audience and that my writing has some value to that audience. And that claim is mostly true, though I admit that I would also like to write the ingredients of Wrigley's gum (or Chiclets or some other brand name) as well as for Bob's Novelty Elk-Flavored Gum Company (a small, but fiercely loyal and discerning consumer base). And, while I'm very good at writing gum ingredients, I also admit that I would also like to write ingredients for chocolate bars with an eye toward moving up to some real food item with actual nutritional value, like Hamburger Helper. The really cool stuff, like premium pesto sauces or gourmet bernaisse is beyond even my hope--I just don't have that level of panache, so I'm not targeting those markets. Yet. None of these hopes claim that writing for Bob's Novelty is beneath me. In fact, I want to bring premium pesto style to elk-flavored gum, because those are my people, the people I identify with, the people I would rather spend my time with than anyone else. And because they're my people, I want the best for them. But in studying how premium pesto writers do their thing, I have learned that I'm not as good as I want to be--or as good as I thought I was. Yes, Bob's Novelty customers may be satisfied with my previous work, but I'm not. Not anymore. (This bizarre digression into elk-flavored gum brought to you by my first-ever experience with ground elk meat served in homemade stroganoff last night. The elk was a gift from our bishop. My prior experiences with wild game had been...well...*gamey,* so it was with a certain trepidation that I approached the meal. I am happy to report that it was quite good and I ate a double-helping.) Part of my purpose in writing the lament was self-motivation. By putting it out there for a general audience (a small, but extremely discerning audience), I have now turned up the pressure on myself to get moving. Yes, that makes me a shameless exhibitionist, but isn't that at least part of what writing for an audience is all about? I admit to a little chicken-or-egg thing there, because I wrote the lament at the very moment that I was in the process of making it obsolete. I haven't written a lot over the last few days, but I have written more than I have in quite a while. And as soon as I finish this post, I will start the first new story I've conceptualized in the last five years. It will be the first specifically Mormon piece I've ever written for a general audience. That has as much to do with my frustrations as anything else, I think. I'm changing genres as a writer, and that's always an odd transition. I've always seen myself as a speculative fiction writer (science fiction, fantasy, light horror). But the works I most admire are either "literary" or classic. For years I wrote near-future sf that was more mainstream than speculative, and I find that most of the new ideas that occur to me are progressively less fantastic (though, oddly, the fantastic or spiritual or even somewhat mystical continues to inform the way that I look at storytelling). I've ended up between marketing classifications with both an audience and an editorial system that I'm far less familiar with. At the same time, I also find myself wanting to write personal essays and the like--again, areas that I have little or no prior experience in. I like the combination of fictional style but intimate subject matter. Unfortunately, personal essays seem even more personally exhibitionistic than other forms. It becomes literally yourself that you're selling, and that's also not something I've done before. Similarly, I'm looking at novel-length works after writing over 150 short stories; a change in form that brings new uncertainty with it. Not an insurmountable problem (or series of them), but one that has managed to stop the rather considerable momentum I once had in writing fiction. So... There you have it. Whatever it was, there it is. > Yet which act--the dramatic, once-in-a-lifetime (if ever) display of > commitment, or the small kindness multiplied many times over--will our > salvation really be built on? The sweeping visions the general > authorities of LDS writing present are inspiring, motivating, but a diet > consisting purely of steak will cause malnutrition as much as a diet of > cotton candy. Mozart had great talent, but Salieri's opera was the one > the emperor declared the best he had seen--Salieri spoke to people too. > Salieri's damnation wasn't a lesser talent; it was envy of someone > else's talent. It was the servant given one talent burying it in the > dirt because someone else received five talents, so what worth was one? Salieri's sin was indeed that of envy, but that doesn't make his statement about being cursed with great ambition and small talent untrue. It just defines the boundaries of his frustration. His own appreciation of Mozart's talent illustrated to him how small his own really was without equally reducing his ambition. I don't actually begrudge anyone their success, though I do wish I could share in it to some degree. Who isn't frustrated when "The Christmas Box" gets an $8M advance from Simon and Schuster when nearly everyone recognizes that the story is simplistic and the writing ordinary? I don't want to keep Evans from getting his eight mil--I don't require him to fail in order to feel like I'm succeeding--but I would like to get a tiny part of that potential reward, and the audience that it represents, because I'm just arrogant enough to believe that my words have as much innate value as his. I have no intention of trying to write large, sweeping stories of grand truths. I don't see the world in those terms, so I couldn't write a story convincingly that relied on them. Others can write those stories and I wish them the best of luck with their efforts. They will almost certainly outsell me, and that's just fine. But that's not the basis of my frustration. Mine is with my own inability, not with others' ability; it's my own lack of success, not others' success that gets me. I'm not even claiming that it's unfair that anyone else is publishing and I'm not, because it has nothing to do with those other people. I'm having a hard time living up to my own standard--the one and only standard that I can't escape when I sit down to write. Mine is not a unique wall. Call it the internal critic or the chattering monkey (thank you, Barbara), it's a common barrier that writers often run into. In my case perhaps it was too easy a road to this point that makes this ordinary barrier seem so high to me. I have never been afraid to write an idea, however silly or trite. I have never had difficulty putting words on paper (as this ever-expanding post so aptly illustrates). I have always thought people who couldn't come up with story ideas were a little goofy, because I do it with ease--for me it's sorting the vast pot of ideas and picking *one* that's hard. Mine is a frustration born of too much thinking and not enough writing. So the fix is easy. Sort of. Once I can overcome inertia and get the ball rolling again. It just seems so much larger and heavier than it was before. Time to write other things now. The ball will never move if I don't start pushing. Scott Parkin - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 28 Nov 2001 14:49:33 -0700 From: "Paris Anderson" Subject: Re: [AML] Beards Jim Cobabe wrote: > Sudden loss of beard appears to be an epidemic sweeping through the ranks of men in the church. Apparently, one of the most important principles of our time is for men to keep their facial hair shaved. (Sideburns are out, too.) > Now this is really spooky. I hometeach a guy who quit shaving the day he left the mission feild. A couple of week ago he shaved and he told me he was in the temple and got a huge impression that the beard had to go. Of course, he fought it, then the voice came and said, "This is your Abrahamic sacrafice." That's pretty scary. Paris Anderson - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 28 Nov 2001 15:47:59 -0700 From: "Scott Parkin" Subject: Re: [AML] Point of View A post in two parts. Really more like two posts in one package, but I think you get the general idea. I was going to do a third part that noodled with samples of different POVs (3rd limited, 3rd omniscient, 3rd limited deep penetration, 1st, 2nd), but this post is already too long. Maybe later. ===== It's been kind of fun to see this little story evolve from the first version through the later ones. I know the discussion isn't about how a story changes from reader to reader, but we've had a really intriguing example of it with Terry's snippet and its revisions. More on Terry's original point in the next section. Terry's original 3rd person limited omniscient deep penetration snippet was generic, non-specific about why people were doing what they did. A simple scene of a bully breaking a nerd's glasses (sad that he never did get a name) and a watching the girl's internalized indignation at that injustice. There's a victim, but no hero. In Terry's expanded 3rd person limited snippet he added some detail and an expanded relationship between her and George (not to mention the social comment in naming him Romney). Terry escalated the meanness of the act by adding ongoing laughs from George's cronies, as well as Jennifer's role as hero by having her verbalize a retaliation. But the more intriguing addition was the sense of history of prior attacks--and her awareness of them--suggesting either her implicit assent to prior taunts through her non-action, or her possible explicit participation in a lessor kind of taunt. The sense of history--both forward and backward--expands the sense of the scene far more than internal vs. external narrative style. Michael Martindale then recast the action a bit in a 3rd person limited POV, but the story remained the same. This is the one where I got the stronger impression that Jennifer had been a more direct participant in prior taunts (a purely individual interpretation allowed for in--but not specifically specified by--the text). She's judged the act as evil, but has reserved judgement of George as a person--within the scene, at least. Then Todd Peterson combined internal monolog with spoken dialog in a deep penetration POV to enable a direct understanding of Jennifer's mindset. The first sentence was a mild violation of limited omniscient (George's motive is offered as narrative fact, not character speculation--which doesn't occur until the second sentence), but the remainder stays firmly within her head. He switches nicely between internal monolog and external dialog to strong effect. But more interestingly he adds a feminist commentary that hadn't existed in any of the previous versions. Until now the characters were essentially androgenous, just children dealing with a simple act of bullying. This commentary now takes over the scene, changing the emphasis from a future act of revenge by Jennifer against George to an isolation of Jennifer from all boys, bullies and victims alike. George's motivation has now changed from simple assertion of dominance over another person to an act of sexual bravado, a performance intended not to punish the nerd (still doesn't have a name) but to impress the girl. The suggestion of retribution has vanished, as has the sense that the victim of this crime has sustained meaningful injury. She has now judged and dismissed all other characters in the scene but herself as unworthy, and has made a broad judgement against all things male. The entire story is now different, though the events have remained the same. Then Paris Anderson reinterpretted the scene in third person limited (no deep penetration) to include a limited (but much faster paced) version of Todd's scene that left in Jennifer's awareness of the sex-linked motivation for George's action, but refocuses on her rejection of George's--and his cronies'--act as evil, not just stupid. The nerd has essentially vanished from the story (now he's just "some loser" without even a body, no less a face), and Paris adds an impending separation from the situation and an added tension for Jennifer about that separation. Again, no hint that Jennifer will avenge the crime. I find this evolution to be quite intriguing. We went from an isolated act of playground bullying into a skirmish in the war over sexual politics in three easy steps. And none of that evolution had anything to do with the characters' POV, though the illustration of the tools of internal philosophizing brought in the dramatic change in focus. Once again, proof that a story told from the same outline will yield radically different results in the hands of different authors. ===== ===== I think Todd illustrated a fundamental aspect of storytelling in his version of the snippet that more directly addresses Terry's original question. Terry posits that limited penetration into the single-POV's mind creates more of a sense of mystery about what will happen next. I partly agree and partly disagree. Todd's use of deep penetration created a second layer to the story that didn't exist in the original version. He added complexity that has changed the purpose of this scene from seeing whether Jennifer will avenge the wrong done to Franklin (my arbitrary name for the nerd; even nerds deserve a name in my story about the fox) to seeing whether/how she will resolve the newly discovered sexual tension she feels with George in particular and all boys in general. The scene is no longer carried by the foreground action; rather, the foreground action is a carrier for the second story. To some degree this muddies Terry's original question because Todd didn't just add deeper penetration, he fundamentally changed the story. Yes, it illustrates how deeper penetration into characters' minds can enable layering and greater literary complexity, but it also illustrates how internal monolog can slow the pace of an active scene by spreading the physical detail over a longer passage. You gain more story at the expense of pace, and change your reader from someone who wants to know what event happens next to someone who wants to know how Jennifer's mindset came to be and how it will be affected by whatever it is that happens next. A form of event-driven fiction versus character driven fiction. I'll leave the argument about which kind of story is better to others; I believe they're just different stories aimed at different audiences. The problem is that while deep penetration enables a more direct exploration of a character's thoughts in-line with the events, it's not the only way to structure a story to provide the same level of introspection. By using separate scenes for the events and their interpretations, you can create a tension for the reader about how POV will react. The reader knows there will be an internal emotional reaction to the events in a later scene, and the writer can focus on raising the tension for that scene by increasing the pace of the current event-driven scene. Do you like to mix the sweet and sour chicken with the rice, or do you leave them as distinct layers combined only at the moment they (literally) enter the consumer's head? I'm not convinced it's a question of one being better than the other, but rather what emphasis you want to create in the story. It's just a technique that remains a slave to the fundamental question: What story are you trying to tell? The second fundamental question is like unto it: To whom are you telling the story? Scott Parkin - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 28 Nov 2001 16:28:03 -0700 From: Thom Duncan Subject: Re: [AML] Beards Barbara Hume wrote: > At 08:22 PM 11/21/01, you wrote: > >> my new (my third in this calling) stake >> president came to me after a PEC meeting a few weeks ago and asked me >> to "step >> into his office". "Now brother Johnson" sayeth he. "What can I do to >> get you >> to shave off your beard?" > > > He didn't say why he wanted you to do that? My answer would have been, "Show me in the Church Handbook of Instrtuctions where a clean-shaved face is a requirement for male Priesthood holders and I'll shave the very next day." > Is it supposed to be > obvious? I always wonder what the reasoning is behind that request. It > seems so much more a cultural issue than a religious one. It is, imo, an example of culture becoming confused with religion. We look at our leaders, clean-shaven men all, and figure, to be like them, we must LOOK like them. But are we who are beared any more like Christ except in outward appearance? Of course not. Neither are those hirsuite-less any more like the General Authorities except outwardly. And some stake > presidents think it's important, and some don't. I can't think of any > way to connect this question to Mormon literature unless someone is > writing a book about the intermingling of LDS culture and LDS dogma > (which someone ought to do, if no one has). That would be a very interesting work. Try and untangle the intertwined threads of culture and religion. Thom - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Thu, 29 Nov 2001 00:18:59 -0500 From: "Debra Brown" Subject: [AML] Fw: MN Enoch Train Special Broadcast: KZION Press Release 28Nov01 US UT StG A2 Here's how dumb I am.....I did not realize the Enoch Train was a musical group, and thought it was the name of the sea voyage. Color me red! Debbie Enoch Train Special Broadcast ST. GEORGE, UTAH -- When Enoch Train set sail from Esbjerg, Denmark on August 7, 2001, they weren't leaving for an extended vacation. They were commemorating a courageous journey that their ancestors took years ago. And they commemorated that journey the best way they know how. With music. Sea Trek was a 59-day voyage to celebrate the 150th Anniversary of the Mormon migration from Europe to America. The voyage consisted of 10 vintage sailing ships that left the Esbjerg port on August 7 and eventually docked in New York City on October 4. The trip was broken up into two sections, the European Gathering and the Atlantic Crossing. The ships docked in a number of port cities along the way, with each docking accompanied by day-long "Rock the Dock" festivities. Enoch Train participated in every leg of the European Gathering. Their schedule was vigorous. Not only did they perform on the lead ship, they also participated in the "Rock The Dock" celebrations as well as "Saints on the Seas", a stirring musical tribute to the pioneers and the faith that carried them to America. And you can relive every moment of this historic event right here! KZION is pleased to present "Set Sail", Enoch Train's second full length CD on Thursday November 29th at 12:00 PM MST (GMT -7) and again at 8:00 PM MST (GMT -7). Source: Enoch Train Special Broadcast KZION Press Release 28Nov01 A2 >From Mormon-News: Mormon News and Events Forwarding is permitted as long as this footer is included Mormon News items may not be posted to the World Wide Web sites without permission. Please link to our pages instead. For more information see http://www.MormonsToday.com/ - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Thu, 29 Nov 2001 02:52:58 -0700 From: "D. Michael Martindale" Subject: Re: [AML] Konnie Enos Virus? > [MOD: Thanks to Jana for this information. > But as Jana states, individual List members may be > vulnerable to messages from other List members. According to my admittedly > limited understanding of such things.] If you received a message that said "Have a look to the attachment" and you opened the attachment, you've got the virus. If you have the file "Kernel32.exe" in your "C:\Windows\System" directory, you've got the virus. (Kernel32.dll is a valid file.) - -- D. Michael Martindale dmichael@wwno.com ================================== Check out Worldsmiths, the new online LDS writers group, at http://www.wwno.com/worldsmiths Sponsored by Worlds Without Number http://www.wwno.com ================================== - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Thu, 29 Nov 2001 03:08:06 -0700 From: "D. Michael Martindale" Subject: Re: [AML] Critiques and Writer's Dreams Terry L Jeffress wrote: > Someone will ask, so I presen't Heinlein's rules: > > 1. You must write. > > 2. Finish what you start. > > 3. You must refrain from rewriting, except to editorial order. > > 4. You must put your story on the market. > > 5. You must keep it on the market until it has sold. I go along with all of these except #3. I'm not sure he meant this, but I tend to think he might have: refrain from rewriting AFTER you've got the book into a condition that you're pleased with. It's easy to keep fiddling with the thing forever, trying to get it perfect (and probably making it worse after a while), or at the criticism of others. At some point you've got to say, "It's good enough," and move on. THEN is when you refuse to rewrite unless a paying editor asks for it. - -- D. Michael Martindale dmichael@wwno.com ================================== Check out Worldsmiths, the new online LDS writers group, at http://www.wwno.com/worldsmiths Sponsored by Worlds Without Number http://www.wwno.com ================================== - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Thu, 29 Nov 2001 00:17:17 -0500 From: "Debra Brown" Subject: [AML] Fw: MN Best of LDS Film Festival, Starting This Week, Available for Local Presentations: LDSBox Press Release 27Nov01 US UT Prov A4 Best of LDS Film Festival, Starting This Week, Available for Local Presentations PROVO, UTAH -- The First Young LDS Film Festival opens this weekend in Provo, starting on Thursday, November 29th, showing a total of 24 short films as well as presentations by a series of LDS filmmakers, a symposium, a panel discussion and a special screening of the hour-long documentary, "The Mountain Meadows Massacre." But the festival is also trying to reach those that can't make it to Provo. After the screening in Provo, the "Best of Competition" program will tour around the world. The 2-hour program consists of comedy, drama, animation and experimental short films by young LDS filmmakers. The program is already scheduled to be shown in Salt Lake City on December 8th. If you are interested in bringing the program to your country, city, stake or ward, please contact Christian Vuissa at vuissa@home.com Please go to: http://www.ldsbox.com for more information. YOUNG LDS FILM FESTIVAL November 29 - December 1, 2001 Provo Theatre Company 105 East 100 North Info program: http://www.ldsbox.com/cgi-bin/program.php Info finalists: http://www.ldsbox.com/cgi-bin/finalists.php Info admissions: http://www.ldsbox.com/cgi-bin/tickets.php >From Mormon-News: Mormon News and Events Forwarding is permitted as long as this footer is included Mormon News items may not be posted to the World Wide Web sites without permission. Please link to our pages instead. For more information see http://www.MormonsToday.com/ - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Thu, 29 Nov 2001 02:52:58 -0700 From: "D. Michael Martindale" Subject: Re: [AML] Konnie Enos Virus? > [MOD: Thanks to Jana for this information. > But as Jana states, individual List members may be > vulnerable to messages from other List members. According to my admittedly > limited understanding of such things.] If you received a message that said "Have a look to the attachment" and you opened the attachment, you've got the virus. If you have the file "Kernel32.exe" in your "C:\Windows\System" directory, you've got the virus. (Kernel32.dll is a valid file.) - -- D. Michael Martindale dmichael@wwno.com ================================== Check out Worldsmiths, the new online LDS writers group, at http://www.wwno.com/worldsmiths Sponsored by Worlds Without Number http://www.wwno.com ================================== - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Thu, 29 Nov 2001 03:08:06 -0700 From: "D. Michael Martindale" Subject: Re: [AML] Critiques and Writer's Dreams Terry L Jeffress wrote: > Someone will ask, so I presen't Heinlein's rules: > > 1. You must write. > > 2. Finish what you start. > > 3. You must refrain from rewriting, except to editorial order. > > 4. You must put your story on the market. > > 5. You must keep it on the market until it has sold. I go along with all of these except #3. I'm not sure he meant this, but I tend to think he might have: refrain from rewriting AFTER you've got the book into a condition that you're pleased with. It's easy to keep fiddling with the thing forever, trying to get it perfect (and probably making it worse after a while), or at the criticism of others. At some point you've got to say, "It's good enough," and move on. THEN is when you refuse to rewrite unless a paying editor asks for it. - -- D. Michael Martindale dmichael@wwno.com ================================== Check out Worldsmiths, the new online LDS writers group, at http://www.wwno.com/worldsmiths Sponsored by Worlds Without Number http://www.wwno.com ================================== - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Thu, 29 Nov 2001 00:17:17 -0500 From: "Debra Brown" Subject: [AML] Fw: MN Best of LDS Film Festival, Starting This Week, Available for Local Presentations: LDSBox Press Release 27Nov01 US UT Prov A4 Best of LDS Film Festival, Starting This Week, Available for Local Presentations PROVO, UTAH -- The First Young LDS Film Festival opens this weekend in Provo, starting on Thursday, November 29th, showing a total of 24 short films as well as presentations by a series of LDS filmmakers, a symposium, a panel discussion and a special screening of the hour-long documentary, "The Mountain Meadows Massacre." But the festival is also trying to reach those that can't make it to Provo. After the screening in Provo, the "Best of Competition" program will tour around the world. The 2-hour program consists of comedy, drama, animation and experimental short films by young LDS filmmakers. The program is already scheduled to be shown in Salt Lake City on December 8th. If you are interested in bringing the program to your country, city, stake or ward, please contact Christian Vuissa at vuissa@home.com Please go to: http://www.ldsbox.com for more information. YOUNG LDS FILM FESTIVAL November 29 - December 1, 2001 Provo Theatre Company 105 East 100 North Info program: http://www.ldsbox.com/cgi-bin/program.php Info finalists: http://www.ldsbox.com/cgi-bin/finalists.php Info admissions: http://www.ldsbox.com/cgi-bin/tickets.php >From Mormon-News: Mormon News and Events Forwarding is permitted as long as this footer is included Mormon News items may not be posted to the World Wide Web sites without permission. Please link to our pages instead. For more information see http://www.MormonsToday.com/ - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Thu, 29 Nov 2001 00:18:59 -0500 From: "Debra Brown" Subject: [AML] Fw: MN Enoch Train Special Broadcast: KZION Press Release 28Nov01 US UT StG A2 Here's how dumb I am.....I did not realize the Enoch Train was a musical group, and thought it was the name of the sea voyage. Color me red! Debbie Enoch Train Special Broadcast ST. GEORGE, UTAH -- When Enoch Train set sail from Esbjerg, Denmark on August 7, 2001, they weren't leaving for an extended vacation. They were commemorating a courageous journey that their ancestors took years ago. And they commemorated that journey the best way they know how. With music. Sea Trek was a 59-day voyage to celebrate the 150th Anniversary of the Mormon migration from Europe to America. The voyage consisted of 10 vintage sailing ships that left the Esbjerg port on August 7 and eventually docked in New York City on October 4. The trip was broken up into two sections, the European Gathering and the Atlantic Crossing. The ships docked in a number of port cities along the way, with each docking accompanied by day-long "Rock the Dock" festivities. Enoch Train participated in every leg of the European Gathering. Their schedule was vigorous. Not only did they perform on the lead ship, they also participated in the "Rock The Dock" celebrations as well as "Saints on the Seas", a stirring musical tribute to the pioneers and the faith that carried them to America. And you can relive every moment of this historic event right here! KZION is pleased to present "Set Sail", Enoch Train's second full length CD on Thursday November 29th at 12:00 PM MST (GMT -7) and again at 8:00 PM MST (GMT -7). Source: Enoch Train Special Broadcast KZION Press Release 28Nov01 A2 >From Mormon-News: Mormon News and Events Forwarding is permitted as long as this footer is included Mormon News items may not be posted to the World Wide Web sites without permission. Please link to our pages instead. For more information see http://www.MormonsToday.com/ - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 28 Nov 2001 16:59:35 -0600 From: "Preston Hunter" Subject: [AML] Ryan Little's new feature film: "Out of Step" [MOD: Thanks to Preston for this writeup, based largely on information from the Web site, since he tells me he hasn't seen the movie yet...] This one slipped under my radar screen, but there's a ton of information available about it now, and a very well done official web site at http://outofstepthemovie.com What did "Elder Kinegar" do after his mission? He wrote and starred in an LDS dance film set in New York City: "Out of Step" tells the fictional story of "Jenny Thomas," a Mormon girl from a small town in Utah pursuing her dreams of becoming a professional dancer. After being accepted to a prestigious dance program Jenny finds herself alone and overwhelmed in New York City. The film combines high energy dance and cutting edge music with comedy, romance, drama, a traditional quest and very untraditional characters. The screenplay for "Out of Step" was written by actor/writer Michael Buster, who may be best known as the AWOL "Elder Kinegar" from Richard Dutcher's independent hit "God's Army" (2000). Buster's script was based on an original story by Willow Leigh Jones. Michael Buster also stars in "Out of Step" as "Paul Taylor," a witty New York City filmmaker who befriends Jenny soon after she arrives in New York. Like Jenny, Paul is a Latter-day Saint, but as he begins to have feelings for her, she falls in love with David Schrader, a musician. David does not share Jenny's religious or cultural background, yet he seems to be the man of his dreams. "David" is played by actor Jeremy Elliott, who has previously starred as Jacob in "The Testaments of One Fold and One Shepherd" (2000), directed by Academy Award-winning director Kieth Merrill. Jeremy Elliott also plays "Sam" (the male lead) in "Charly," the upcoming feature film directed by Adam Anderegg from the best-selling Jack Weyland novel. Jenny's parents are played by Tayva Patch and Rick Macy, who have previously starred together (although never before playing husband and wife) in Blair Treu's "Secret Keeper", Dutcher's "Brigham City" and Merrill's "Testaments." Simply listing this incredible cast should make it clear that "Out of Step" is a "must-see" film. But perhaps the most compelling aspect of the film is its director: Canadian-born prodigy Ryan Little. Although "Out of Step" is his first feature film as director, Little's name is already known to film fans. Little was the director and producer of the independent short "The Last Good War" (14 min.), which in 1999 won both the Jimmy Stewart Crystal Heart Memorial Award (at the Heartland Film Festival) and the Student Emmy for Best Dramatic Film Award, awarded by the Academy of Television and Film. "The Last Good War" is the story of two soldiers from opposite sides of the World War II conflict who end up in the same shelter during a brutal winter storm. "The Last Good War" has been screened at over 20 film festivals and is available for purchase from BYU Creative Works. Preston Hunter www.adherents.com - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Thu, 29 Nov 2001 00:19:29 -0500 From: "Debra Brown" Subject: [AML] Fw: MN Mormon Broadcaster Brought Cronkite Name to ASU: Deborah Carl 27Nov01 US AZ Phoe P2 Mormon Broadcaster Brought Cronkite Name to ASU TEMPE, ARIZONA --ElDean Bennett will always be remembered at Arizona State University, and not just for the 30 years he taught in the journalism department. Bennett, an LDS Church member, brought the name of legendary broadcaster Walter Cronkite to the department, which then became the Walter Cronkite School of Journalism and Telecommunication. Bennett was named chairman of the department in the early 1980s, and quickly faced a budget that was underfunded and equipment that needed to be upgraded. So Bennett turned to Walter Cronkite for help. After visiting with Bennett and touring the department, Cronkite agreed to lend his name to an endowment. In 1984 the department was named the Walter Cronkite School of Journalism and Telecommunication, giving it prestige and name recognition among journalism schools, a support to the school to this day. By 1987, Bennett handed the department reins to Doug Anderson and returned to teaching in the classroom until 1997. Maralin Bennett said her husband didn't care much for the red tape and politics that went with being department chairman, anyway. He much preferred being with students. He died Oct. 12 from complications of diabetes. The Tempe resident was 73. While Bennett enjoyed journalism, he was devoted to his family. He and Maralin had six children: Terri Anne, Randall Dean, Stephen Dean, Julia Anne, Barbara Anne and Allan Dean. Bennett also made time to serve The Church of Jesus Christ of Latter-day Saints and sang with the choir. One of his favorite pastimes was making recordings for the blind. Source: Ex-broadcaster brought Cronkite's help to ASU Phoenix AZ Republic 15Nov01 P2 http://www.azcentral.com/news/articles/breaking/1115obitbennett15.html By Connie Cone Sexton: The Arizona Republic >From Mormon-News: Mormon News and Events Forwarding is permitted as long as this footer is included Mormon News items may not be posted to the World Wide Web sites without permission. Please link to our pages instead. For more information see http://www.MormonsToday.com/ - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ End of aml-list-digest V1 #532 ******************************