Tuesday, March 30, 2010

Webcomics

When I’m not writing stories or doing research on topics for stories I like to check out what’s going on in comic book land. Since 2008 I’ve been reading a lot of webcomics. These online strips self-published and self-financed by the artists are often better than anything mainstream publishers produce nowadays, and everyone should give them a chance.

Some of my favorites include:

Something*Positive - I got hooked on this strip at my last job and read through two years of in an hour at lunch! It’s one of my favorites!

Girls With Slingshots - Great strip about two girls, a bar, and a talking cactus.

Queen of Wands- An awesome strip by Aerie. It’s finished its run a few years ago, So check out her new strip-

Punch an’ Pie with Chris Daly. Great strip with a lot of laughs!

ShortPacked! Fun strip by David Willis about one of my favorite hobbies- Collecting action figures!

Penny & Aggie- Spent the course of a week getting caught up with this one; Really solid writing and tight storylines featuring complex, three-dimensional characters.

Head Trip Hilarious strip by Shinga. Her artwork here reminds me so Much of Disney Animation!

Webcomic artists like self-published authors make their income off their strips and merchandise from the strip, so support them by buying their books or giving a donation through the PayPal links on their sites. Pens, paper, bandwith, food gas, and lodging don’t come cheap, so if you enjoy the strips, help em’ pay the bills so they can keep making more!

Progress Report

Unfortunately, my appearance for the radio with Dr. Maxine Thompson was cancelled last night. The show will be rescheduled, and I’ll let everyone know when the new date for the show is, probably by using Facebook or Twitter.


It’s been two weeks since I last posted anything; why I’m just writing a progress report and not a topic for the blog. ....


All About Marilyn seems to being doing well out of the gate. Two months after its release I’m getting great reviews and positive feedback from readers. The book is generating a lot of enthusiastic responses from casual viewers; that’s a plus. When a book excites casual buyers, it shows it’s a solid product. ....


I really want to ramp up the promotion on Marilyn; two months into promotion and I still haven’t hit the streets yet. I’ve only been to one bookstore and contacted one vendor in Harlem. There’s been a lot of rain, snow and sleet here in New York. I’m hoping the weather gets better so I can make the rounds to vendors Uptown.


I’m working on a new headshot. Got a new camera and I’m taking pictures. The headshot on the back of Isis and All About Marilyn actually comes from a Post Office ID card I took in 1999. Yep, I was in a hurry way back when I was self-publishing Isis and rushed to find a headshot. I know it’s a little grim looking, but better than anything else I have in my current album.....


Working on revisions for Book #4. Cut down another 3,000 words so the 97,000 word novel is now 94,000 words. I’m working on cleaning up the book’s layout. I like using bigger fonts like Book Antiqua and Garamond; at the 11 or 12 size because it makes stories easier for customers to read and isn’t so hard on their eyes. I also like White space between paragraphs. Now I have to find a way to make sure it costs out. A $16-$18 paperback is a tough sell at retail, even if it’s 400 pages. With a 55% discount at retail it'd be about $14.00. That's a big hit to the wallet. I want to keep my books affordable.


Still haven’t even sketched up the cover design for this project; but I’ve got some ideas floating in my head. Still crunching numbers on hiring an artist for the cover. Yeah, I know models are all the rage for book covers, but I can’t afford a photo shoot right now. Until I find a new job, It’s gonna be illustrated art. Then again if I can’t come up with a cover concept, I may just go with a plain cover like Catcher in the Rye.


My goal for Book #4 is a fall 2010 release. But I may hold back for an early 2011 release. I really want the quality control to be the best it can be for this title.


I’m still learning more about Book promotion; I’m finding that January is the best time to launch a new book. A lot of the independent bookstores are resetting their shelves and looking for new product. Many of the book clubs are starting their reading lists and looking for fresh titles. Readers have money to spend on Gift cards. Bloggers and shows are looking for guests to fill their schedules.


A real article will be posted up here soon. Eventually. Just working on my schedule...

Wednesday, March 17, 2010

BIG NEWS! SHAWN'S GOING TO BE ON THE RADIO!

..

BIG NEWS

Shawn’s going to be on the radio.

SHAWN’S GOING TO BE ON THE RADIO!

Internet Radio.

I’ll be discussing my new book All About Marilyn with Dr. Maxine Thompson on March 29, 2010 at 9:00 on the ArtistFirst radio network. I'm really excited about this opportunity and I’m hoping to make the most of it.

I'm hoping everyone who reads my blogs tunes in!

Monday, March 15, 2010

OOSA Online Book Club Review of All About Marilyn

Here is the OOSA Online Bookclub reivew of All About Marilyn http://blogs.myspace.com/index.cfm?fuseaction=blog.view&friendId=123405176&blogId=530938788

All About Marilyn4.0 out of 5 stars Is it All About Nikki?,


"All About Marilyn" is a brilliant screenplay written by Shawn James. I've never read a screenplay, but Shawn explains the terminology of show business so you are able to read the play with ease. In "All About Marilyn" we are introduced to Marilyn Marie, a star in the teen series All About Nikki. One bad decision Marilyn believes is going to advance her career ultimately ends it. When Marilyn's show is canceled, it just turns out to be the beginning of the end for Marilyn.

The play then cuts to present day. Marilyn is struggling to stay a float. Hollywood is a town that worships youth, and there aren't many roles for women over thirty. And for an African American woman over thirty, roles are pretty much non-existent. To top it all off, the very role that made her a household name now is just a hindrance as Marilyn is typecast as Nikki. She's reduced to the occasional guest spot on television shows and extra work, all the while hoping to find a part that's going to resurrect her career. While on set of a movie, it's more of the same as Marilyn is cast as an extra. Marilyn's life takes an unforeseen tragic turn as she's assaulted on the movie set.

While Marilyn is recovering, her whole perspective on life changes. She has a new lease on life, and with the help and encouragement of her supportive friends, Marilyn makes a fresh start. With the acting bug out of her system, Marilyn begins to live a life she could have never imagined.

Shawn James gives readers unique insight on the harsh realities of the showbiz industry, with rich, multi-dimensional characters the readers share a connection with. Readers also feel the ups and downs and highs and lows Marilyn endures. You can expect big things from Shawn James in the future. All I can say is bravo; very well done.


Reviewed by: Anna

APOOO Book Club Review of All About Marilyn


http://www.apooobooks.com/marilyn-shawn-james/

Detailed below is the APOOO Book club Review of All About Marilyn.

Link to their site as well.

When I requested to review All About Marilyn, some how I overlooked the word screenplay. Imagine my surprise when I opened the package and flipped through the book, as I do with all books when I first receive them. The last time I read anything that came close to this format was written by Shakespeare and called a play. However, Shawn James begins the screenplay with a little background information or what he called “Screenplay Basics.” Did I really need that information to enjoy what I was reading? No!

Marilyn Marie, at one point in her younger years, was a big time actress on a sitcom called All About Nikki. As with most child stars, she has to prove herself later on in order to get a part that is nothing like the character she used to play on television. One day while she was on a production set, her friend had written, a major incident occurs, triggering the change she had been seeking. Marilyn was leaving behind her life as Nikki Desmond, but would Nikki Desmond continue to be a part of her life forever? Will she be nothing but another washed-up actresses?

Mr. James brought drama. I can see how it would be the turning point in movie. If All About Marilyn was written in novel form I could see it then also. I did not expect the ending or any of it for that matter. But I did enjoy what I read. I am not sure if this is a new literary genre, but I would read more. I recommend readers of plays and those looking for a new type of reading experience to give this book a try.

I received this screenplay for review purposes from the author.

Jennifer Coissiere
APOOO BookClub

Saturday, March 13, 2010

Support Your Local Self-Published Author

They’re innovative, imaginative and creative storytellers who take the challenge of writing designing, distributing and promoting their own literature. Who are these pioneers of the pen? Self-published authors.

As a self-published author I buy other self-published authors’ books. Why? Because self-published writers are the future of the publishing.

Self-published authors introduce different ideas to reading audiences. In non-fiction self-published writers write about specialized topics in science, entertainment and history. That biography about an obscure historical figure? Produced by a self-published author. That book about a rare event in history? Written by a self-published author. A book about how to pick up ladies? Written by a self-published author.

In fiction self-published writers create fiction in categories considered too risky for mainstream publishing houses. That African-American fantasy novel or Urban Supernatural tale on the bookstore shelf? Probably came from a self-published writer. That comedy novel? Probably written by a self-published author. Golf-themed murder mystery? Probably produced by a self-published author.

Self-published authors created categories of fiction that didn’t exist twenty years ago. Urban fiction? Created by a self-published author. Street Lit? Created by self-published authors. Chick lit? Created by a self-published author. Each of these categories of fiction were described as unsellable by editors at major publishing houses and literary agents until some enterprising writer started selling thousands of copies. Now they’re imprints at many of the same houses that rejected them on the first query.

Self-published authors have big ideas but little resources. Many struggling writers like myself put these books together on shoestring budgets out of our personal savings and sell them out of the trunks of cars, traveling to trade shows or walking up and down the streets of downtown shopping districts. We believe in our projects, and have many more we want to share.

But we can’t produce them without readers. Readers who buy books.

So I’m asking everyone to support your local self-published author. Head over to Amazon and buy a copy of a self-published authors titles like mine. Better yet, go to your local bookstore and have them order a copy, so they’ll stock it on their shelf. If you enjoyed a self-published author’s book, tell your friends. Give them away as Christmas or birthday gifts. Give em’ away at the office Christmas party. The more books self-published authors sell, the more royalties authors make and can reinvest in publishing new titles.

Saturday, March 06, 2010

Harlem Book fair 2010


Harlem Book Fair 2010

Okay, last year at the Harlem Book fair I didn’t fare so well. I came home with all but one the books I brought to sell and lost over $400.00.

So why am I doing the fair again this year? I realize the opportunity to attend the fair is bigger than me.


Many in the African-American community complain about the quality of the books offered at the fair, how there are so many titles focused mostly on the negative experiences of African-Americans and not much else. However, few of those who complaining are willing to offer something different to the reading audience.


My mission as an author and self-publisher is to provide readers with positive stories about the African-American experience. If I want to share those stories with my audience I realize I have to put last year’s failure behind me and persevere.


I feel giving readers a choice is worth more than the money for me. The fair is my opportunity to offer readers a choice of what I believe is quality literature. Whether they choose to buy my books or not, I have to make every effort to allow readers to have that choice. People in America often take their freedom of choice for granted; many don’t truly appreciate what it is they have.


In areas like art, literature and even commerce many in the African-American community don’t realize how a lack of diversity has limited their freedom of choice. Books open the world to readers, and when there aren’t many types of books offered to readers their opportunity to view the world becomes narrowed. Different stories give readers different perspectives, and expand people’s understanding of the world around them. Venues like the Harlem Book Fair need to have more than one type of Black experience offered to readers. I’m hoping to offer an expanded selection of titles along with a few surprises.


The Harlem Book Fair will be July 17-19 2010 on West 135th Street. If you're in the New York area then, Come to my table!

Wednesday, March 03, 2010

How Stars Go Broke


How Stars Go Broke


It’s not common for some celebrities to announce their mega million dollar salaries in the media. Big numbers like Fifteen, Twenty, Twenty-five or thirty million dollars for a movie role. While these high salaries are quite shocking, what’s more disturbing is how quickly these enormous fortunes can slip away.

Numerous entertainers like Toni Braxton, Nicholas Cage, Sinbad, and the late Michael Jackson have found themselves bankrupt or in severe financial distress. Many more are on the brink and don’t even know it.

How does a star making millions of dollars go broke? Well, it can happen very quickly once expenses are broken down. Taking those multimillion dollar salaries apart after agent commissions, manager commissions, taxes and other expenses, there isn’t much left available for a celebrity to maintain their lavish lifestyles long-term. Over time, celebrity salaries actually go down while their expenses stay the same. This sets up a recipe for financial disaster. All it takes is a major illness, a tax issue, a divorce or a long-term period of unemployment to put a star’s finances in jeopardy.

What many don’t know is that celebrity careers have a cycle very similar to the economic cycle: Start, Rise, Peak, Decline, and End. Oftentimes, as a star cycles through the early stages of their career, revenues increase and they become accustomed to living within the financial means of their salary. However once a celebrity reaches the peak stage of their career, revenues and job opportunities to create revenues begin declining. This situation isn’t so bad if a celebrity adapts their spending to the declining revenues. However, in many cases celebrity spending often stays the same as the peak level of earning. Worse, some celebrities don’t monitor their accountants or managers (who often have power of attorney and authority over finances) to make sure they’re paying federal taxes, state taxes and property taxes.

This formula of diminishing revenues, poor education, and a lack of financial supervision and planning is what leads many celebrities going broke or going bankrupt during the declining and ending phases of their careers. Not knowing who’s handling their money or how much money remains can lead to multimillion dollar back tax bills, property liens, foreclosures, lawsuits and a financial nightmare.

In All About Marilyn I detail how celebrity fortunes can change in an instant. Over the course of a few years, the fictional Marilyn Marie goes from a TV star with a promising career to a struggling actress scraping by to pay her bills. This happens to so many celebrities in real life; the cancellation of a TV show, or series of box-office failures can lead to years of unemployment and a slew financial long-term problems. I want people to understand that these financial difficulties can happen to anyone even in the best of situations and that anyone can fall on hard times. It’s often easy for us to judge celebrities from what we see and read in the media, but we often don’t understand how quickly any of us can also wind up in a similar financial situation.

Saturday, February 27, 2010

All About Cover Art

I was gonna post the APOOO Book Club review of All About Marilyn, but I want to wait for that review to be posted on their site. So I'm posting this article about Marilyn's cover art instead.


All About Cover Art

(WARNING! LOTS OF PICS!)


All About Marilyn cover

Stop the presses! There’s a Nekkid lady on the cover o’ Shawn’s new book! Cover your eyes! Think of the children! THINK OF THE CHILDREN!


I know that's the reaction of some to the All About Marilyn cover. However, there’s nothing sexual or titillating about the art on this cover. These pictures relate directly to the story in the book.


The concept for the All About Marilyn cover is an art nude leaning towards an abstract style. The bright red lips are supposed to draw people towards Marilyn’s face where the story of her picture is told. I deliberately drew both pictures with a minimal lines so readers would only be drawn to those red lips.


I got the inspiration for Marilyn’s cover reading the newspaper back in April 2008. Art photos of Carla Bruni (You'll have to Google Carla's pic cause I'm THINKING OF THE CHILDREN!) were featured in a New York Daily News article. The nude picture was modified with awkward black censor bars over her breasts and her hands which covered her genitals. Those censor bars and the sensationalized copy kept us from seeing the artist’s original vision; taking our eyes away from the model’s face, the composition of her body language, and the real story in the picture.


By censoring picture, the photographers’ original vision became perverted. The black bars distorted the details in the photograph’s story, forcing the viewer to come up with an incorrect image of what they saw in the facial expression and the composition of her figure. And when it came to Americans, a simple art nude becomes sexualized and with the simple addition of a pair of black bars and a sensational cover story.


Understanding how some Americans sexualize art that features nudity, I decided the censor bars would be an integral part of telling Marilyn’s story. Along with the half-face, they keep the picture of who is Marilyn Marie incomplete. This unfinished image of minimal lines and red censor bars draw the viewer’s eyes to the red lips of her face which tell the story of a strong, confident black woman who is being kept from revealing the truth about herself to everyone.


Developing this concept took multiple drawings and many, many, many tries to get right. Art is a very instinctive process; it has to “feel” right. It took a year to finally created something I felt comfortable presenting. The cover concept for this “Abstract Sista” front and back are a combination of pencil Ink, colored pencil, acrylic paint, a laser printer, and Photoshop.


Fist draft cover


This was the first design I came up with for the All About Marilyn cover. Don’t have a color jpeg, (old computer died) but it was hand-drawn, and handpainted. Featured in the back matter for The Cassandra Cookbook on page 264, I actually considered using this art before all the negative reviews about the cover for The Cassandra Cookbook made me rethink it. Looking at it now, great googly moogly it looks like crap. Her entire body looks like rubber and her right foot looks broken.



2008 Front cover



2008 Back cover


Cover concept #2 was still very rough. Sketched up some new art with cleaner lines. I used Microsoft’s ancient Picture it! software to clean up the censor bars and the filmstrip concept. I went for a full abstract concept on this, wanting to focus only on line, composition and form so the reader’s eyes would be drawn only to the red lips on the white page. In this concept, decided to give the back cover the abstract theme, making it All About Marilyn; her story would be between the pages of the book.


This art was to be final, (again) but after the Harlem Book Fair of 2009 I seriously rethought Marilyn’s cover concept. I was really getting heat about my interpretation of Cassandra Lee on the cover of The Cassandra Cookbook and I didn’t want Marilyn’s story dragged down into that light-skinned/dark-skinned nonsense, or worse some people implying that the character on the cover was white. I didn’t want those narrow minds misinterpreting my art and perverting it the way they did the Bruni photo.


Worse, I didn’t want to be branded a sell-out when my intention was to make the cover art about lines, composition, and form. These fundamentals of art are often hard to see when color is added to a drawing; this is why many art photographers prefer to shoot their models in black and white. With those two colors and the shades of gray, we get a better understanding of the story the photographer is trying to tell through the lines of the body and the body language of the model. And to my chagrin, those blasted censor bars didn’t line up front and back.


So it was back to the drawing board. again. This time I was for a looking for a compromise that would allow me to maintain my original concept and satisfy the reader.



All About Marilyn cover



back cover 2


Cover Concept #3 I took this design through five Lulu test copies up to the final finished product. Went with high key style on the abstract art so the colors wouldn't distract from the my original concept.


With the help of Adobe Photoshop Elements Software, the red censor bars line up on the front and the back of the cover. From head to toes, Marilyn is the same size front to back. I smoothed out the rough spots in the art (dust, specks, an unevenness of the hair from front to back), and brightened things up (I had a literal headache trying to denote the difference between the CMYK red that prints on POD presses and RGB red that’s on every computer monitor)


I made sure the white letters could be more readable on the back, and I placed the notation “A Screenplay beneath Marilyn’s breast bar because I felt it was more discrete than the awkward placement on the bottom bar with my name in the second concept. Hopefully, the red lips on the face will be the first thing people look at.

Saturday, February 20, 2010

Publishing a Screenplay In Paperback- Am I Crazy?

Fiction. Nonficition. African-American readers mostly buy books in these two categories. So why the heck am I publishing a screenplay instead of a third novel?

Do I have money to waste? Nope. I’m currently unemployed and still looking for a job almost two years later. But rather than let All About Marilyn sit in a box gathering dust, I thought it would be more effective to use my script as a way to help other brothers and sisters learn.

I understand while African-American audiences enjoy black cinema, there are very few tools to teach brothers and sisters about the craft of screenwriting. Sure African-Americans can find a DVD of classic black movie like Do The Right Thing, Hollywood Shuffle, Boyz N The Hood, Straight Outta Brookyln, House Party, and New Jack City in stores, but when an aspiring black filmmaker tries to find a copy of a script of these to learn the way these writers told their stories there’s next to no material anywhere.

In my search for African-American screenplays to study while writing All About Marilyn, I ran into roadblocks. Lots of roadblocks. Most of the screenplays available online, in paperback, and at the library were primarily of white films. Worse, many had numbers down the side complete with camera angles. These shooting scripts, formatted for later on in the production process were of little use to me. Shooting scripts often confuse aspiring and first-time screenwriters; some even incorporate those numbers and camera angles into their stories!

I understand that in order for there to be future Black filmmakers there must be hard copies of screenplays for brothers and sisters to read so they can learn how to write a script. It’s very important for African-American filmmakers to have copies of speculative scripts (a script that only focuses on the story) so they can learn the proper format and technique for telling a story for the screen. More importantly, it’s important for aspiring African-American screenwriters to have copies of scripts of African-American films and TV shows by African-American writers so they can see stories about our own experiences from our own writers.

My mission with this book is to get African-Americans excited about screenwriting. Researching the industry, I’ve learned that out of the 14,000 members of the Writers Guild of America, less than two percent are African-American. And out of that 14,000 membership, only 300-500 writers work in a given year regardless of race or ethnicity. Breaking down those numbers, two percent of four hundred means at best a handful of African-Americans are writing scripts in Hollywood at any given time.

Reading those paltry statistics, there’s a desperate need for more black Screenwriters. Over the past two decades, Black films have gone from a flurry of major studio releases to a trickle of independent, self-produced films by filmmakers like Tyler Perry and T.D Jakes. Without more African-Americans behind the camera to tell the stories about the black experience, there can be no black films. Worse, an entire generation of Black people will not know what it is to see stories featuring people who look like them sharing their experiences onscreen.

Saturday, February 13, 2010

Hollywood in Black and White

We see them. For a moment they’re on movie screens, televisions and the covers of magazines. They portray strong mothers, sassy siblings, supportive girlfriends, caring wives and the stuff of many a fantasy in our imaginations.

Then, in an instant they’re gone.


Who are these mysterious females? African-American actresses. Every generation including mine has had a series of beautiful sistas who are touted one minute as someone who will become the next household name. Then in a year or two, after a few memorable performances in a handful of films or TV shows, they disappear from the spotlight and their names are forgotten by everyone.


Light skinned or dark skinned, fat, or skinny, short, tall, young, or old, award winning or reviled, I noticed that the same pattern transpired in the careers of most of the sistas I researched. A short surge of popularity, followed by a quick fade into obscurity. In most cases these ladies had the talent to take their craft to the next level, but there was no work available for them. Why?


It turns out that there were numerous reasons why most Black actresses weren’t working as regularly as their white female counterparts. As I explored the barriers sistas faced in finding employment in Hollywood it painted a picture of four Tinseltowns: One Black, one White, One Male and one Female, separate and unequal. Compared to everyone else, Black actresses faced the most obstacles in their career paths, and that’s why their careers didn’t have the longevity or diversity of their white female counterparts.


The first of these obstacles is an access to screenplays written by African-American screenwriters for African-American audiences. Currently out of 14,000 registered writers in the Writer’s Guild of America, less than two percent are African-American. And out of that number of 14,000 less than 500 work in a given year. And out of those 500 working writers only a literal handful are African-American or minority.


Because of this severe shortage of screenwriters of color, African-American Actresses’ have next to no access to scripts or anyone willing to write material tailored towards their strengths. Most of the few African-American screenwriters who do work are male and tend to write material for male protagonists because it’s easier to sell scripts with a male lead than a female one. The price of a screenplay can be as much as three to five percent of a film’s production budget, so it’s often more lucrative for a screenwriter to write a script with a white male lead than a black female one. Three to five percent of a $75-$100 million budget for a script featuring a white male lead character pays a lot more money to a screenwriter than three to five percent of a film with a $2 to 10 million budget written with a black female lead character.


Because there is so much more money to be made writing roles for White male, White female, and Black male leads, than Black female ones, the parts for Black actresses that are available are often small roles that are underwritten and underdeveloped. Without writers dedicated to crafting and tailoring material to fit a specific black actress, most Black actresses often are stuck playing the same roles over and over again.


The second obstacle Black actresses face in developing their careers is the lack of support for African-American films from executives in the movie industry. In a business environment that is 98 percent White and male, many executives will not support films with African-American female leads out of fear they won’t be profitable. While there have been great successes in mainstream African-American films with female leads like Waiting to Exhale, Set it Off, Soul Food, and Precious movie executives can point to numerous financial failures in recent African-American films they’ve invested in, and use these flops as a reason not to invest in films featuring African-American female leads.


Without the support of studio management to assist in developing their careers, most African-American actresses have no access to financing for projects they want to develop or a network of theaters to distribute them even if they get them produced. Oftentimes, if African-American actresses want regular work (not necessarily quality projects) they have to go outside of Hollywood to work in independent films. Many of these low-paying low-budget projects (some pay as low as a few hundred dollars, others pay nothing at all) have limited exposure. Unless these films have a serious financial backer like Oprah Winfrey or Tyler Perry, who have the money to get them distributed into theaters, the only way audiences see these movies is on home video or at film festivals.


The third obstacle African-American actresses’ face in their career path is competition from their Black male counterparts. Some Black male leading actors fear that by having a black female leading lady as their co-star their film project will be labeled a “black” movie and not perform well at the box office. So they will insist upon having a female co-star that is Hispanic, White or Asian in the hopes of selling to a broader audience of moviegoers. Some will go as far as insisting upon their entire supporting cast isn’t black so the finished film would be more competitive at the box-office.


The final obstacle African-American actresses face in their careers is a lack of support from African-American audiences. Even when studios do release projects with Black actresses in lead roles, there hasn’t been much of an audience of ticket buyers in the African-American community. From critically acclaimed films like Akeelah and The Bee, Oprah Winfrey’s Beloved, and The Secret Life of Bees, to critically panned films like Phat Girlz, films featuring African-American female leads do not perform well at the box-office. The failure of these films at the box office doesn’t encourage anxious studio executives who consider African-American films to be a tremendous risk to make more films with African-female American leads, or to tell stories featuring the experiences of African-American women. Without the audience there going out to support the films, executives feel there is no real reason for studios to produce them.


In spite of these numerous obstacles, many sistas persevere. They fight hard for every role, and put forth the best efforts possible in their performances. While many of my sistas don’t have the wealth or fame of their white female counterparts, they make the performances in the roles that they do receive have a lasting impact on viewers like myself.


Listening to the interviews of numerous black actresses telling their stories about struggling in Hollywood was the main reason I was inspired to write All About Marilyn. I wanted to detail the racism, sexism, and misogyny that prevented black actresses from having the careers their White contemporaries enjoyed. While I’ve read articles in Ebony and Essence that told readers about the plight of black actresses, I felt audiences needed to be shown some of the experiences a black actress dealt with on a daily basis. I felt if readers met a character like Marilyn they could relate to and identify with, they’d understand the how the business of Hollywood colors what we see onscreen.


My hope is that Marilyn’s story will spur African-American audiences to start going out and supporting African-American films again. I’m also hoping that more African-Americans start learning the crafts of filmmaking and screenwriting, and focus on careers behind the camera. There are a million shades of brown in the Black community, and I’d love to see those stories color the experience of what I see onscreen.

Saturday, February 06, 2010

All About Book Promotion

All About Book Promotion


All About Marilyn should be hitting online bookstores throughout Ingram’s system this week (Amazon is listing it as in stock as have several other stores) so I’m working on the second phase of book promotion.


Marilyn’s book promotion actually started on Jan 27 with the press released sent out online at prlog.org Marilyn’s press release seems to be succesful; it got 65 hits in one day and stands at 124 after two weeks. Solid considering the press release for The Cassandra Cookbook has received about 430 hits since August of 2008.


I’m contacting local newspapers as well. They’re long shots, but I’m doing all I can to get the word out about my stories.


Promotion work feels a lot easier this time than it did on The Cassandra Cookbook. I think I’m getting more experience in this area of publishing; I’m a lot more comfortable putting books together and promoting them now then a year ago.


I’m utilizing several new approaches to promotion this time. In addition to going out to book vendors and the African-American bookstores, I’ll be I’ll be sending postcards to bookstores in New York and in other states. These will have the books ISBN number on them so retailers can order the book. I’m offering All About Marilyn to retailers at an attractive 55% discount so they have an incentive to order and stock the book. It’s a hit on the royalties, but I’ll risk it to get my title on bookstore shelves.


Shipping out copies to African-American book clubs this week. So readers be on the lookout for your copies!


I’m also testing sales through paypal for the first time on www.shawnsjames.blogspot.com. Copies of All About Marilyn and The Cassandra Cookbook will be available at a discounted price there, have my autograph and I’ll cover the shipping and handling. I might do this for 30 days or so to see if it works.


I would like to network with New York City bookstores about arranging a booksigning. I would love to do one in the future. It’s just a case of logistics.


I have a new amazon page: http://www.amazon.com/Shawn-James/e/B00379H1CG/ref=ntt_dp_epwbk_0 where all my books are listed together. Working on a Search Inside for All About Marilyn right now.


Finding out Twitter is an amazing resource for book promotion, as are MySpace and Facebook. People click the links I post there a lot. Finding social media is a great way to get the word out.


I’m still mulling over attending the Harlem Book fair this year. Assessing my finances. I have the inventory, butI’m pondering whether or not it’ll be worth the trip downtown. I don’t want to spend hours in the sun to come back with all the books I came in with. If I do it, I have to factor in the cost of a gazebo this year.

I’m still looking for an “offcial” job while pursuing this little hobby of mine; prospects are still slim. New York State is NOT the place to look for a job. Prospects are VERY few and far between.


To correlate with Marilyn’s release, I’ll be posting a series of blogs about the book and African-American actors in Hollywood in the coming weeks. Lot of writing, lot of planning. One blog will have lots of pictures. FUN!

Thursday, February 04, 2010

I feel like I just can't win.

I haven't felt so alone in my life. I feel like I want to give up. I just can't win.

People been giving me all sorts of hell about the All About Marilyn cover. I design this cover so I wouldn't have to deal with the racial nonsenseI got about the Cassandra Cookbook cover, having to deal with that lightskin/darkskin crap and accusations of being colorstruck. Now they accuse me of being "worldy about making an artistic statement and refuse to support me.


I hate the fact that my intentions in both cases about these covers I designed were twisted and distorted by the public. In Cassandra's case I never expressed any preference about skin color regarding the character; I designed what I saw in my imaginaton.

In Marilyn's case I never meant anything sexual or worldly about the art. My intention was to make a statement about black beauty; the red lips were supposed to draw the viewer to Marilyn's face where the story was told. It was an abstract picture. Marilyn's face is incomplete; there was more to her story than what is presented between the minimal lines of detail.

I understand that Black people come in numerous shades of brown and that art is supposed to make us think and expand our understanding of the world and the people in it. This is something missing from the narrow-minded perspectives of inner city life.


On my last two book projects I feel that my mission of trying to bring positive stories about the African-American experience is failing. My goal of inspiring others and broadening African-Americans understanding of self is being lost by the public. It hurts me to know that the knowledge I wanted to share about the entertainment industry in All About Marilyn isn't going to be heard because most people are going to judge the book by the cover. Worse, because so many will judge the book by the cover they'll never get an understanding about the basics of screenwriting, or learn more about an industry where there are so few people of color.

Monday, January 25, 2010

All About Marilyn Now Available At Barnes & Noble.com and Amazon.com

Now Available from SJS DIRECT



Fame Ends at 34.
Life Begins at 35.

ISBN: 978-0-615-34258-0

Suggested Retail price $14.00

Marilyn Marie is desperate to break away from Nikki Desmond, the rich spoiled rotten character she played on the hit 1990’s teen sitcom All About Nikki. Scraping by for years on work in two bit made-for-video productions and handouts from friends, the 34-year-old actress anxiously waits for the big break that will jump start her stalled career. Tragically it comes she’s on the set of the movie SELL OUT when she’s attacked by Hollywood’s current it girl Tabatha Strong.

While recovering in the hospital Marilyn prepares for the greatest role of her life: being herself. However, the ghost of Nikki Desmond continues to haunt her as she travels to New York with a new face and a new lease on life. Eager to move on, Marilyn realizes she must reconcile with her troubled television past if she is to have a future in the real world.

All About Marilyn is currently now available at barnesandnoble.com and amazon.com. Pick up your copy today!

Saturday, January 23, 2010

A guide To A Better Experience At The Library

There are some unwritten rules about the library most who go there don’t know about. Having worked there and come to an understanding about these unspoken policies, I’ve learned some things that can help make everyone’s next trip to there a bit easier.


Before heading to the library, check the bookstore first. Sure the books in the library are free. But in my short time there I’ve seen books on the shelf with pages missing, pages written in, and pages torn out. I’ve seen magazines with entire articles torn out. One book on the shelf had an entire chapter missing! Having a library book in hand does not guarantee that all of the book is there. From personal experience, I can tell you there’s nothing worse than doing research and finding the page or chapter you need to read is missing. This is even more frustrating if you’re reading fiction and enjoying the story.


So before heading to the library, I implore everyone to check the bookstore first. Most titles are available at Amazon and Barnes and Noble are brand new and will have all the pages. Used bookstores and eBay are a great place for cheap copies of out-of-print books and will have all the pages intact.


The person working the circulation desk is NOT a librarian. In most cases they’re an office assistant, clerk, volunteer or college student. While they are familiar with library policies, they aren’t familiar with the collection and aren’t going to be of much help finding a book for you. Their primary duty is to process the checking in/out of books and collect library fines.


Librarians nowadays are actually managers who work in the back to maintain and manage the collection. Librarians are usually often only available Monday-Friday and not on weekends when most patrons attend the library.


The Circulation desk closes 15 minutes before the library closes. Just because the hours posted on the door are 10-6 or 10-8 does not mean anyone can rush in at 5:45 or 7:45 to go look for a book. Staff shut down computers at 5:45 and 7:45, so there is no way to check a patron’s books in or out after then. So please come in an hour before the library closes to get any materials.


Don’t drop books down the Book Drop/Deposit chute. Book Drop/Deposit chutes are often the LAST thing checked by a busy library staff. A book returned through the Book drop chute on the due date may not be checked in by staff until DAYS or even WEEKS later. To ensure a book is checked into the library’s system as returned, go to the circulation desk and watch as the clerk scans it into the system


Bring Your Library Card. I can’t tell readers how many times I’ve dealt with people who leave their library cards at home and had meltdowns when they couldn’t take anything out. Without a library card, there is no way to take out any books, videos or anything else. Please don’t have a tantrum.


The library’s catalog can’t be trusted. I’ve watched as so many have checked out these listings thinking that books are available, some request that the library holds these books for them, and when they get there…Said book isn’t there, and individuals lose it.


The library catalog, whether online or paper only states if a book is part of a library’s collection. Availability on the shelf… well that’s another issue. Books that are lost or stolen can still appear in a library’s computer system for YEARS. Sometimes, catalog records aren’t updated for months after a book is reported missing to library staff. Library staff often leave the record open because they are doing a title search for the lost book.


Putting a book on hold does not mean you will get the book next. Another thing library patrons often do is put books on hold when someone else has them, thinking they’re guaranteed to be the next one in line to get said book three to four weeks later. It’s a crapshoot gambling on a chance the person holding the book will return it; usually it’s a gamble most library patrons lose. So instead of hedging bets on the return of a library book, take this time to head to the bookstore.


Requests for a title search are a waste of your time. Oftentimes, people won’t find a book on a shelf and will fill out a form where library staff will promise to search for it. The truth is it’s a way of giving patrons the run-around. Two weeks later, library staff will oftentimes tell the returning patrons the book is not there. In many cases, the book people are looking for is often lost or stolen, and in many cases the staff of the library knows it ahead of time. If library staff has to search for a book listed as available in the catalog, it’s GONE.


Instead of wasting time waiting for a title search, patrons should use that time to head to another branch, a used bookstore, eBay, or an online bookstore. It’s much more productive than hoping, wishing and praying the book will be there.


Bring change, preferably lots of one dollar bills, nickels and dimes. The library staff rarely has enough money to change a five, much less a twenty. So if a patron needs money for the copier, soda machine, or anything else, it’s best have your own singles and quarters. Some libraries have vending machines that dispense change, but they may or may not work. The best bet is to bring your own change.


Bring Wet Wipes. Older books on the shelf can be dusty. So bring wet wipes to clean hands before and after handling library materials.


Library staff does not handle copiers or issues with copiers. Outside contractors maintain all library copiers, copy card machines and printers. Only a company technician can service these machines when they out of order. So getting a refund if the copy machine eats a patrons’ money is a50/50 tossup. It often depends on the kindness of the clerk working the circulation desk.


Don’t put a lot of money on a copy card. In some libraries, people buy copy cards. Smart people don’t put more than $5 on these. If the card is defective it leads to the risk of patrons losing their money. It’s a headache trying to get money back from these since the library staff does not control the service of the copiers or the cards. The process for getting money back on these means filling out a dispute form and waiting…and waiting, sometimes even months. If patrons do eventually get a refund it’ll be in the form of well…A copy card. I’ve seen people put $20 or more on these only to get upset when there’s a read error or a defect in the card. Please use singles or change to minimize losses from issues with a defective copier.


Library guards protect the books, not you. Some libraries have the luxury of hiring guards. Their job is to actually deter people from stealing the books with their presence and clear the library of patrons who refuse to leave at closing time. They can’t help patrons if their stuff winds up missing. The most they can do is call the police. So please...


Look out for your stuff. While it’s often quiet, the library’s silence often lulls patrons into a false sense of security. Because many patrons often get too comfortable, they leave their belongings alone to go get a soda, go to the bathroom and find their stuff gone. I’ve watched as patrons have had computers, iPods, cell phones, coats, backpacks, USB keys, hats, scarves and everything else lying around them stolen. Patrons must understand that the library is open to everyone including criminals. So anyone going to the library should remain alert at all times and keep all their belongings in front of them.


Look out for yourself and your children. Supervise and watch children when going to the library. Keep an eye out for yourself when going to the library alone, or go there in a group. Remember, the library is “open to everyone” including the mentally ill, the homeless, pedophiles, and criminals who sometimes loiter there. In addition to the thefts of property, there have incidents of violence at library some library branches. On many occasions some library patrons have used library computers to look at pornographic websites. Other patrons have been caught performing sex acts in the library bathrooms and between library stacks.


Always bring hand sanitizer when visiting the computer lab. computers are in the lab are handled by just about everyone. In some extreme cases people are viewing pornography on these computers and well…masturbating. Library staff rarely ever cleans the keyboards and mice in the computer labs so they are NASTY! So if using library computers, please bring hand sanitizer and use it before and after handling the keyboards and mice there.


ALWAYS Bring a USB Drive with Anti-Virus Protection when using library computers. Some libraries have password protection on the BIOS of their public computers and have security policies on the guest accounts of their operating systems. These restrictions prevent patrons from saving anything to their hard drives, or modifying system files. Patrons can open software like Microsoft Word or Adobe Photoshop, on these computers but if they wish to save their information they must have a USB disk.

Other libraries have open and free public computers with no security restrictions where people have gone…Just about everywhere. Like porn sites known for having viruses, spyware and malware. Stuff that can totally screw up a computer. Some patrons e-mail files to themselves they’ve picked up for research from these library branches unaware of the risk it presents. Oftentimes, patrons wind up sending themselves a virus along with the information! So when doing research, always bring a USB drive along and make sure it has up-to-date anti-virus software installed on it before saving anything.


Have a software firewall and up-to-date anti-virus software installed on a PC laptop or Netbook when using Library Wi-Fi. Library networks are free and convenient, but they’re also open and unsecured, meaning they are extremely vulnerable to just about everything from hackers to viruses. When using these networks, always have a firewalls and anti-virus software installed and up-to-date.


Library Videos, and DVDs, and video games aren’t worth it. While it’s free to get movies and games from the library, it’s the last place anyone should go for one. Thieves often switch out DVD so the movie titled on the jacket is not the one inside. Some swap out blank discs, others swap out kids movies and others swap out adult films! In the cases where patrons do get the movie on the jacket the viewing experience is not a great one. DVDs from the library are dirty, warped and full of scratches. Playing these and can misalign a DVD player’s laser.


In the case of a damaged or defective movie, a patron could wind up with stuck with replacement costs and administrative fees of $55 or more for an old worn out movie or game that’s been played dozens of times. This is more than the cost of a brand new DVD or videotape! A cheaper fix for movies is to get a Netflix subscription instead. The replacement costs for Netflix are only $20.


Hoping these tips will help everyone have a better experience when attending the library.

A guide To A Better Experience At The Library

A guide To A Better Experience At The Library



There are some unwritten rules about the library most who go there don’t know about. Having worked there and come to an understanding about these unspoken policies, I’ve learned some things that can help make everyone’s next trip to there a bit easier.


Before heading to the library, check the bookstore first. Sure the books in the library are free. But in my short time there I’ve seen books on the shelf with pages missing, pages written in, and pages torn out. I’ve seen magazines with entire articles torn out. One book on the shelf had an entire chapter missing! Having a library book in hand does not guarantee that all of the book is there. From personal experience, I can tell you there’s nothing worse than doing research and finding the page or chapter you need to read is missing. This is even more frustrating if you’re reading fiction and enjoying the story.


So before heading to the library, I implore everyone to check the bookstore first. Most titles are available at Amazon and Barnes and Noble are brand new and will have all the pages. Used bookstores and eBay are a great place for cheap copies of out-of-print books and will have all the pages intact.


The person working the circulation desk is NOT a librarian. In most cases they’re an office assistant, clerk, volunteer or college student. While they are familiar with library policies, they aren’t familiar with the collection and aren’t going to be of much help finding a book for you. Their primary duty is to process the checking in/out of books and collect library fines.


Librarians nowadays are actually managers who work in the back to maintain and manage the collection. Librarians are usually often only available Monday-Friday and not on weekends when most patrons attend the library.


The Circulation desk closes 15 minutes before the library closes. Just because the hours posted on the door are 10-6 or 10-8 does not mean anyone can rush in at 5:45 or 7:45 to go look for a book. Staff shut down computers at 5:45 and 7:45, so there is no way to check a patron’s books in or out after then. So please come in an hour before the library closes to get any materials.


Don’t drop books down the Book Drop/Deposit chute. Book Drop/Deposit chutes are often the LAST thing checked by a busy library staff. A book returned through the Book drop chute on the due date may not be checked in by staff until DAYS or even WEEKS later. To ensure a book is checked into the library’s system as returned, go to the circulation desk and watch as the clerk scans it into the system


Bring Your Library Card. I can’t tell readers how many times I’ve dealt with people who leave their library cards at home and had meltdowns when they couldn’t take anything out. Without a library card, there is no way to take out any books, videos or anything else. Please don’t have a tantrum.


The library’s catalog can’t be trusted. I’ve watched as so many have checked out these listings thinking that books are available, some request that the library holds these books for them, and when they get there…Said book isn’t there, and individuals lose it.


The library catalog, whether online or paper only states if a book is part of a library’s collection. Availability on the shelf… well that’s another issue. Books that are lost or stolen can still appear in a library’s computer system for YEARS. Sometimes, catalog records aren’t updated for months after a book is reported missing to library staff. Library staff often leave the record open because they are doing a title search for the lost book.


Putting a book on hold does not mean you will get the book next. Another thing library patrons often do is put books on hold when someone else has them, thinking they’re guaranteed to be the next one in line to get said book three to four weeks later. It’s a crapshoot gambling on a chance the person holding the book will return it; usually it’s a gamble most library patrons lose. So instead of hedging bets on the return of a library book, take this time to head to the bookstore.


Requests for a title search are a waste of your time. Oftentimes, people won’t find a book on a shelf and will fill out a form where library staff will promise to search for it. The truth is it’s a way of giving patrons the run-around. Two weeks later, library staff will oftentimes tell the returning patrons the book is not there. In many cases, the book people are looking for is often lost or stolen, and in many cases the staff of the library knows it ahead of time. If library staff has to search for a book listed as available in the catalog, it’s GONE.


Instead of wasting time waiting for a title search, patrons should use that time to head to another branch, a used bookstore, eBay, or an online bookstore. It’s much more productive than hoping, wishing and praying the book will be there.


Bring Change, preferably lots of one dollar bills, nickels and dimes. The library staff rarely has enough money to change a five, much less a twenty. So if a patron needs money for the copier, soda machine, or anything else, it’s best have your own singles and quarters. Some libraries have vending machines that dispense change, but they may or may not work. The best bet is to bring your own change.


Bring Wet Wipes. Older books on the shelf can be dusty. So bring wet wipes to clean hands before and after handling library materials.


Library staff does not handle copiers or issues with copiers. Outside contractors maintain all library copiers, copy card machines and printers. Only a company technician can service these machines when they out of order. So getting a refund if the copy machine eats a patrons’ money is a50/50 tossup. It often depends on the kindness of the clerk working the circulation desk.


Don’t put a lot of money on a copy card. In some libraries, people buy copy cards. Smart people don’t put more than $5 on these. If the card is defective it leads to the risk of patrons losing their money. It’s a headache trying to get money back from these since the library staff does not control the service of the copiers or the cards. The process for getting money back on these means filling out a dispute form and waiting…and waiting, sometimes even months. If patrons do eventually get a refund it’ll be in the form of well…A copy card. I’ve seen people put $20 or more on these only to get upset when there’s a read error or a defect in the card. Please use singles or change to minimize losses from issues with a defective copier.


Library guards protect the books, not you. Some libraries have the luxury of hiring guards. Their job is to actually deter people from stealing the books with their presence and clear the library of patrons who refuse to leave at closing time. They can’t help patrons if their stuff winds up missing. The most they can do is call the police. So please.


Look out for your stuff. While it’s often quiet, the library’s silence often lulls patrons into a false sense of security. Because many patrons often get too comfortable, they leave their belongings alone to go get a soda, go to the bathroom and find their stuff gone. I’ve watched as patrons have had computers, iPods, cell phones, coats, backpacks, USB keys, hats, scarves and everything else lying around them stolen. Patrons must understand that the library is open to everyone including criminals. So anyone going to the library should remain alert at all times and keep all their belongings in front of them.


Look out for yourself and your children. Supervise and watch children when going to the library. Keep an eye out for yourself when going to the library alone, or go there in a group. Remember, the library is “open to everyone” including the mentally ill, the homeless, pedophiles, and criminals who sometimes loiter there. In addition to the thefts of property, there have incidents of violence at library some library branches. On many occasions some library patrons have used library computers to look at pornographic websites. Other patrons have been caught performing sex acts in the library bathrooms and between library stacks.


Always bring hand sanitizer when visiting the computer lab. computers are in the lab are handled by just about everyone. In some extreme cases people are viewing pornography on these computers and well…masturbating. Library staff rarely ever cleans the keyboards and mice in the computer labs so they are NASTY! So if using library computers, please bring hand sanitizer and use it before and after handling the keyboards and mice there.


ALWAYS Bring a USB Drive with Anti-Virus Protection when using library computers. Some libraries have password protection on the BIOS of their public computers and have security policies on the guest accounts of their operating systems. These restrictions prevent patrons from saving anything to their hard drives, or modifying system files. Patrons can open software like Microsoft Word or Adobe Photoshop, on these computers but if they wish to save their information they must have a USB disk.

Other libraries have open and free public computers with no security restrictions where people have gone…Just about everywhere. Like porn sites known for having viruses, spyware and malware. Stuff that can totally screw up a computer. Some patrons e-mail files to themselves they’ve picked up for research from these library branches unaware of the risk it presents. Oftentimes, patrons wind up sending themselves a virus along with the information! So when doing research, always bring a USB drive along and make sure it has up-to-date anti-virus software installed on it before saving anything.


Have a software firewall and up-to-date anti-virus software installed on a PC laptop or Netbook when using Library Wi-Fi. Library networks are free and convenient, but they’re also open and unsecured, meaning they are extremely vulnerable to just about everything from hackers to viruses. When using these networks, always have a firewalls and anti-virus software installed and up-to-date.


Library Videos, and DVDs, and video games aren’t worth it. While it’s free to get movies and games from the library, it’s the last place anyone should go for one. Thieves often switch out DVD so the movie titled on the jacket is not the one inside. Some swap out blank discs, others swap out kids movies and others swap out adult films! In the cases where patrons do get the movie on the jacket the viewing experience is not a great one. DVDs from the library are dirty, warped and full of scratches. Playing these and can misalign a DVD player’s laser.


In the case of a damaged or defective movie, a patron could wind up with stuck with replacement costs and administrative fees of $55 or more for an old worn out movie or game that’s been played dozens of times. This is more than the cost of a brand new DVD or videotape! A cheaper fix for movies is to get a Netflix subscription instead. The replacement costs for Netflix are only $20.


Hoping these tips will help everyone have a better experience when attending the library.

Thursday, December 31, 2009

Black women and Marriage: Is it that bad out there?

A while ago, I listened to a discussion about why so many Black women aren’t married when I attended the Circle of Sisters Expo this October. According to statistics, forty-two percent of Black women over the age of thirty have never been married; double the number of white women at that same age.



Some think it has to do with the shortage of “eligible” Black men. These same statistics cite that out of a random pool of 100 black men many are unemployed, (17 percent), incarcerated, (8 percent) or did not finish High School (21 percent). These numbers state that close to fifty percent of black men aren’t the type of males Black women would find acceptable for marriage and this is why there are so many single women in the African-American community.



However, I have to wonder if the lack of married Black women due is a perceived shortage of “eligible” black men or a lack of true Black-on-Black love among African-Americans today.



What is Black on Black love? The ability to love one’s self as a black person, and the ability to take pride in the beauty of being African-American. To look in the mirror and see oneself as a black person capable of expressing love, receiving love and as someone who deserves to be loved for being themselves by other black people. To have the ability to look at other black people as people capable of expressing love, receiving love and deserving to be loved for being themselves as black people.



I really don't think a shortage of men is the reason why so many black women aren’t married, but a shortage of values and character in the African-American community. On the surface, many unmarried black women who complain about this “shortage” say they seem to “have it all” only have it on a material level. However, when I listen to these sistas speak on deeper discussions of internal traits such as character, I often discover that many black women don’t love themselves or see themselves as valuable enough to be loved or deserving the love of others. I believe it’s this lack of a sense self-worth, is why so many black women struggle to find partners, not because of a shortage of Black men.



I truly believe it’s the poor self-image and low self-esteem that many African-Americans have about themselves that causes men and women to have difficulties in finding partners to marry. This negative perception of self goes beyond race, class or gender and is buried deep within the subconscious minds of brothers and sisters. Because both Black men and Black women don’t see themselves as lovable or beings capable of expressing or receiving love, they have little to no standards about what behavior they'll accept in a relationship, and will settle for less than a full commitment from their partners. Without the standards and boundaries self-love establishes, there can be no dedication for a commitment like the institution of Marriage.



It's scary what I've read about Black men and women are tolerating in relationships now. Some are willing to "share" a man and others (both men and women) who just are indifferent about their partners cheating on them. More violate their own personal boundaries and accept relationships with lost, broken, or emotionally damaged men. A few even pursue men of another race or only to find their different colored partner has the same type of toxic character and personality traits they tried to escape from the black men they were pursing.


Because Black people don’t love themselves, they settle for less in life, something unheard of twenty years ago or even forty years ago. Sometimes I walk around my neighborhood feeling all the negative energy around me, I have to ask myself: Where has all the love gone?



I think that the African-American culture is now so full of misogyny, sexism, and self-hatred that a black woman isn't seen as someone valuable by both black men or Black women and that’s why the marriage rate is so low for African-American women. Due to the constant exploitative and disposable images of objectified, degraded sexual, black women, many black men do not see a black woman as someone beautiful or valuable; someone worthy of being an equal partner for life. Worse, many black women do not see themselves as someone having great beauty or value to be someone's equal partner for life.



Many of the character traits presented of Black women in the media these days emphasize the external and not internal. Because there is so much promotion of the external character traits (looks, material possessions, financial status, sexuality) very few Black people see the true value of a black woman's internal character traits (grace, intelligence, compassion, strength, dignity, tactfulness, courage, organization, kindness, patience, understanding caring), the traits men see as valuable in a woman enough to commit himself to her in a marriage.



This same cultural misogyny and self-hatred has also poisoned the way black women see Black men. Many Black women do not see a Black man as a valuable partner due to the numerous false stereotypes used to identify him. These unrealistic pictures of what makes a "successful" man (Well-educated, handsome, "good" six-figure job, expensive clothes and driving a luxury car, good in bed) focus only on the superficial external character traits of a Black man and not the internal character traits (honesty, integrity, caring, tactfulness sensitivity, patience kindness, courage, dedication, determination, a sense of humor, leadership, creativity) that make a Black man a good partner in a marriage.



The contents of character within men and women form the values that are supposed to complement each other so both partners can support each other for the duration of the relationship. Unfortunately, because so many African-Americans have a poor self image and such low standards in who they choose for partners today, relationships are often formed on shaky foundations with broken, damaged, lost or non-committal partners. Without a relationship built on the solid foundation of common values found in internal character traits there's no structure to build the supports for a long-term commitment like a marriage.



Shawn's advice for the lovelorn, lonely, Sistas: Love yourself. Don't look for love; love will find you. Love attracts love. And if you love yourself, others will love you.

Saturday, December 05, 2009

Acting White

Acting White. It’s what some African-Americans call a person who speaks articulately with good diction, aspires to achieve academically or is well-educated. It’s something some people have called me for just being myself. Since I was a teenager It’s always puzzled me how African-Americans often associate a person’s intelligence with the color of their skin.

My most recent experience with this cultural trend was when I took my PC Repair class a few months ago. I was talking to one of my classmates when another interjected “He talks like a white man.” I didn’t take offense to it; Even when I was in High School, at college or the many jobs I’ve worked people have been surprised by my articulation and strong diction. Like it was unexpected for an African-American male to express any semblance of intelligence.

I have often been laughed at by some and mocked by others for my intelligence and good diction, however I haven’t once thought of changing my speech pattern to reflect what is perceived as “black”. While my peers may have thought my speech was peculiar, I never saw speaking well and being intelligent it as just a “white” thing. I always thought intelligence reflected positively a person’s character; a sign of patience, understanding compassion, and reason. Those were character traits to me that every person should try to aspire to have.

Some of the people who have inspired me and my writing didn’t consider expressing their intelligence or speaking well a white thing either. I don’t believe Malcolm X was seen as “acting white” when he spoke articulately back in the 1960s. Neither was Dr. Martin Luther King Jr. And I enjoy hearing African-American actors like Salli Richardson, Keith David, Charles Dutton, and Denzel Washington perform because of the near perfect diction in their performances.

From what I’ve learned about the African-American experience Education has always been a “Black” thing. Throughout history, from the Ancient Egyptians who were masters in Astronomy, science, engineering and math to artists like Juan De Pareja, writers like Phyllis Wheatley, or inventors like Benjamin Banneker and George Washington Carver to educators like Booker T. Washington, Mary McLeod Bethune Barack Obama, African-Americans have always pursued excellence in education.

Even my slave ancestors aspired to learn because they saw education as a way to improve their economic and social condition. After many southern states like Virginia passed laws against teaching slaves how to read and write, many still persevered towards gaining literacy because they saw it as an opportunity to empower themselves. From the 1800s up until almost recently, being an educated intelligent black person who spoke well was considered a good thing. It wasn’t considered “acting white”.

So I’m wondering where did this “acting white” thing come from over the last fifteen or twenty years? As I see it, what people called “Acting Black” as it’s seen in mainstream America to me doesn’t seem like a representation of “Black” but a perpetuation of longstanding racist stereotypes. These “real black” images presented to the African-American community seem more like a repackaging of the degrading images of the black buck, the coon, the black harlot, Tragic Mulatto, jigaboo, and the mammy to me.

What’s more ironic to me is that many of the wealthy rappers, ballplayers thugz and other assorted people who perpetuate the degrading images of “acting black” are the same ones sending their children to high-priced private schools to learn how to speak well and become intelligent, while promoting to the black masses a message of ignorance.

So on this issue of race and identity I often wonder who really is “acting white” and who is “keeping it real”. Are the African-Americans who aspire to speak well and express their intelligence “keeping it real” because they follow a centuries long history of education that has been part of the black community, or are the African-Americans who identify with “street” culture “acting white” because they promote and perpetuate a stereotypical image of African-American life that makes Middle America comfortable.

Tuesday, November 24, 2009

Thug Culture or Nazi Propaganda? Identity crisis in the Black Community

“All that is necessary for evil to win is for good people to do nothing.”

There’s a crisis in the Black community. One that is tearing apart the fabric of African-American society. However, the cause of this crisis isn’t poverty. It’ not the proliferation of guns, drugs or crime. It’s not the lyrics in hip-hop music. The real crisis in the African-American community has to do with culture and values. Thug culture seeks to supplant African-American culture as the main identity of the Black community. And all good Black people have to do for this evil to win is sit back and do nothing.

The Black community must understand: One man’s gangsta is another man’s fascist.

Like the “Good German Jews” before us, many African-Americans throughout the country are sitting passively while the fascist menace of thug culture insidiously imposes its values on the overall Black community. In Black neighborhoods, This propaganda proliferates its message by hijacking our art, literature and leaders, as gangsta rap, street lit, and their spokespersons gun-toting rappers, diamond wearing entertainment moguls and ball players glamorize crime, guns and ignorance as “keeping it real” or the only way blacks have a “true” identity in America.

Like Adolf Hitler and his SS soldiers, these thugs portray themselves as the “true blacks” and their perpetuation of old white racist stereotypes as the only way to be “black”. These Aryans of the black community exploit the media promoting false ideals like “hustling”, being a “gangsta” “Stop snitching” “Ride or Die,” “Pimping” and being a whore as the truth while denouncing the ideals of education, hard work and business ownership established over four hundred years by blacks such as Crispus Attucks, Harriet Tubman, Sojurner Truth, Fredrick Douglass, Booker T. Washington, Mary Mcleod Bethune, Malcolm X, Dr. Martin Luther King Jr. and countless others as “acting white”.

It’s a message taught on the streets, in schools, on Televisions and in the prisons and even in some homes. Those who are educated or who aspire to be educated about the truth are being murdered or driven out of the community just as doctors, lawyers college professors, teachers and intellectuals were driven out of Germany and the territories it occupied during the war while the thugs teach their message: A message of hate-Self hate.

One man’s colors are another man’s Swastika.

One man’s gangsta is a white man’s coon.

Unfortunately, like the “Good German” Jews who went along with things they knew were wrong many Older Blacks and black leaders sit back and passively watch as Black youth imbibe the fascist propaganda of a self-destructive set of ideals thinking it’s just “trendy” or “hip”. Others are just too scared of reprisal from these junior fascists to teach the truth to the next generation.

I realize those thugs and gangstas who are “keeping it real” in the Black community by are just like the “Good Germans” who became Nazi soldiers. They are “only following orders” of superiors. It wasn’t excused at the Nuremberg trials. It can’t be excused by Black America now.

Why am I writing this? I realize I can’t sit back and do anything. I cannot stay silent any longer.
I cannot be a “Good Black”.

I must do something to make sure evil does not win.

Having experienced the violence and terror during crack epidemic of the late 1980’s and early 1990’s here in New York City as a result of some members of my generation being taught these false messages of thug culture, I won’t be a Good Black Person. I understand in order for this evil to succeed again in destroying my community and corrupting another generation with its warped values is for the countless masses of hardworking black people to sit back and do nothing just as the Jews did in Germany while Hitler’s regime came to power.

I understand that Like Hitler and his Nazi regime, these thugs and gangstas will destroy everything around them in the black community in their quest for power. Just like the South Bronx I grew up in as a child in the late 70’s early 80’s was destroyed by in the power struggle for turf, African-American neighborhoods all over the country will be turned into war zones the equivalent of Poland, England, Austria-Hungary and Russia during World War II.

And just like the Nazis, those fascists who practice the thug culture make up about less than .05 percent of the black community the same way Hitler’s regime were only a small part of the German population. However, because the silent majority of “good Germans did nothing 100 percent of Europe was destroyed by the Second World War. The inactivity of all Blacks on this issue of race and identity in the 21st century will eventually lead to the total extermination of the African-American race in the United States.