Fiction Update: What’s New In My Worlds

I am interrupting your regularly scheduled blog today to bring you news of new and awesome publications!

It’s been kind of a slow year so far for new fiction. I find that frustrating because there’s a whole lot behind the scenes that is in the process of happening, (more on that below) but very little that has actually happened. This means that there’s not a lot new for my readers to read.

So, what I’m doing over on my Patreon Page is I’m launching a new kind of story, a sort of series of humorous vignettes, called “Signs From A Generation Ship.” And we all know the problem: You launch a huge ship across the horrifying void of space on a journey of 1000 years, hoping that your great-great-great-great-ad absurdum-grandkids will get there, but how do you stop them from forgetting they’re on a ship and blowing themselves up when they, I don’t know, try to free God from the fusion reactor, or look for supplies on the other side of that big, sealed double door? What kind of warnings do you post? Here’s a snippet:

Publication BDCH4135M

Location: Helm Station (embedded in the padding, back of helmsman’s chair)

Title: Welcome To The Control Room!

Hello! Judging by the fact that you are ripping apart the chairs, we must assume that you may be the first person(s) to visit the Control Room (or “Bridge”) for quite some time, possibly even for generations. We hope you are literate. If so, please locate a copy of Publication AA1: Your World Is A Ship, hopefully still available in many cabins and public spaces. If you are semi-literate, TAKE BOOK TO READER. DO NOT BURN FOR WARMTH. If not, the flashing red button will play this message in an audio file unless you press it.

This recording is not the voice of a ghost or an evil spirit. It was hidden by your ancestors in case a mutiny or other disaster caused your people to forget their origins. For a detailed description of these origins, please refer to the aforementioned Publication AA1.

In the meantime, the machines surrounding you are very complicated and vital to maintaining your life and that of your children for the foreseeable future, which is why it is so important that you DO NOT TOUCH ANY OF THE BUTTONS OR DISTURB ANY MORE OF THE ARTIFACTS IN THIS ROOM. SERIOUSLY, LEAVE EVERYTHING IN THIS ROOM ALONE! IF YOU TOUCH ANYTHING IN THIS ROOM YOU MAY CONDEMN EVERYTHING YOU KNOW AND LOVE TO A HIDEOUS AND PAINFUL DEATH.

To discover whether you or others before you have already condemned everything you know and love to a hideous and painful death, please complete the following steps:

1) Look at the Astrogation Station. That is the panel with three large screens on it.

2) On the upper small screen, there is a gold circle projected. If there is a star glowing within the circle, please leave the Control Room immediately, barricade it with severe warnings and guard it with your lives until the Voice Of Arrival Protocol instructs you or your descendants what to do. Guard it with your lives.

3) If there is no star in the circle, continue to disassemble this chair. Ignore the pamphlet buried in the column. Flip open the transparent cover and press the large, red button.

4) Use the countdown to pray to whatever God(s) your people revere.

This story will update Monday, Wednesday and Friday on my Patreon until I run out of signs, and is yours for the low price of $1.00 per month. Additionally, you will receive my novelette, The Chrysalyx, a tale of steampunk intrigue in the alternate 1920s, downloadable as a .mobi file.

Chrysalyx Cover Done

So, what’s in the process of happening? Well, what’s coming up is…

  • “All The Colors Of The Darkness,” the story of a girl blinded to keep her from developing her natural talents as a witch, will be appearing sometime this year from Lethe Press in their Survivor anthology.
  • “Crying By Remote Control,” the story of a woman who must use prosthetic emotions, has just been accepted to the anthology Mind Candy 2.
  • On The Wings Of The Morning, an anthology of my no-longer-easily-available work will be coming from Digital Fiction later this year.

Also, the novel I’m working for at Digital Fiction is nearly halfway done.

So that’s it. Please support me on Patreon; I’ll make it worth your while.

 

 

Is It Just Me, Or Is THE EXPANSE What’s Between Julie Mao’s Ears?

If you’re currently watching Seasons 1 and 2 of THE EXPANSE or plan to do so in the future, please be aware there be spoilers here.

Okay, so first off, I really do like THE EXPANSE. It’s a fine show, with great interplanetary sci-fi action, and wonderful acting. I haven’t gotten around to starting Season 3, yet, but that is a question of time, which is in very short supply right now.

But I have to ask, am I the only person who thinks that Julie Mao was a complete idiot? I mean, the character herself is understandable, and is a great example of overused-trope-done-well. She’s a spoiled child of privilege who decides that the pathway to righteousness and holiness is to wreck Evil Daddy’s stuff. She’s determined to become the White savior (Asian savior, yeah, I know, but the principle is the same, and that sort of thing seems to have shifted a bit in the intervening 200 years) of the downtrodden Belters. So far, she’s not really different from today’s trickle of rich white kids who decide to go join ISIS or a leftist terrorist group because Mommy and Daddy didn’t fulfill them enough and there’s poor people and this proves that AMERIKKKA IS TEH EVILZ!!

But Julie outguns these poor saps because she knows that her Daddy is actually screwing around with something that’s apparently a fusion of nuclear weapons, killer AI and zombie virus, so she decides to arrange to steal it. And apparently is utterly unconcerned that she might be playing with something she barely comprehends, is incapable of controlling, and might cause literally billions of deaths if she screws up.

Hmm. Is it an accident that Julie’s name is “Mao?”

And then of course, like so many in her actual situation, is shocked to discover that she and her friends are actually the low-level bottom feeders of politics rather than an unstoppable revolutionary force, and that she has been outthought and played, all of which leads to her death and the deaths of — “revolutionaries” take note — thousands of people, almost all of whom are the very “downtrodden Belters” she was trying to “save.”

I’m sure the people of Eros were very grateful to her.

In the end, Julie Mao reminds me of no one so much as Osama bin Laden. All for the cause, kumrads! And it matters not how many we kill, because our ideology is pure!

Or am I missing something?

Honestly, I can forgive Julie Mao because she does come to a pretty bad end, and the character of the detective who falls in love with her because she represents to him a willingness to fight for what he’s given up on is compelling. I’m honestly not certain whether the writers wanted us to see irony in Julie Mao or whether they were in earnest. Hell, maybe I AM missing something. Thoughts?

The Law Of Diminishing Cool Stuff

One of the great misconceptions that readers (and non-readers) have about writers is that “ideas” are valuable. “Where do you get your ideas” is to a writer, of course, that most useless of questions, much like asking an artist where he gets his canvas or where she gets her clay. It’s just there, and if it’s a mystery to you, then you need to look at the world (and possibly art, whatever your “art” is) a lot more.

So writers are never out of ideas, and in fact generally have the opposite problem. One of my great regrets is that if I were able to become a full-time author right now I could easily write for the rest of my life and never run out of “ideas.” Conservatively, I estimate that there are at least four entire novels and five short stories, apart from the novel I am actually drafting and the one I am revising that I could be working on from the ideas I have now. I will have more.

In fact, the problem I now have come face to face with is in the novel I am revising. It was pointed out to me by my editor that I had been sloppy with my portrayal of black-powder weapons. Well, guilty. I wrote them well enough to fool the average reader (and myself, and at least one other history teacher) but not well enough for this editor’s readers. Guilty as charged.

While I haven’t gone fully into this revision yet (mostly because I’m drafting that other novel, see above) a LOT of ideas — a lot of really COOL ideas — on how to solve this have been flitting around my head. The problem, and the point of this post, is that I have reached the point of what I must call The Law Of Diminishing Cool. In other words, most of the things I can do to make the guns more awesome in ONE direction are completely inconsistent with the ways the gun is already cool in ANOTHER direction. For example, I could reduce the guns’ loading time by making introducing cartridges, or making them breechloaders. But if I do that, I lose a really cool scene featuring a ramrod. Breechloaders don’t NEED ramrods. Or, as it turns out, there really was once a repeating air rifle that saw military service! Lewis and Clark took one with them on their expedition because it didn’t need gunpowder! The Austrian Army was, at about the same time, fully equipped with them! But if I make them do THAT, I lose a really cool scene that relies on the guns having a muzzle flash. Air rifles don’t HAVE muzzle flashes.

There’s no easy way around this, although I am both looking forward to and dreading the thought process I need to solve this problem.  But you can’t just ignore it. Too many famous franchises have ignored this. They can, because people will watch them anyway. But when they do, you get really stupid consequences and lack of continuity, like in Star Wars, where the original series establishes that Force use runs in families, but then the prequels decide that Jedi are essentially Space Monks who can’t have families, but on the other hand, they also want potential Jedi kids to be trained from approximately age 3, and they ALSO want to keep Jedi from falling to the Dark Side.

Now all four of those ideas, taken separately, make some sense. It’s cool to have Jedi abilities run in families, so that Luke must take down Darth Vader. It’s cool that the Jedi are enjoined against attachment, so that Anakin can’t just marry Amidala and live happily ever after. It’s cool that Jedi must be trained from a young age. And it’s sensible that you don’t want Jedi falling to the Dark Side.

Together, these ideas are a mess. If Jedi have to be trained from a young age, wouldn’t it be best if their parents started it, and had a good idea of who they were? And if you DON’T want Jedi to turn to the Dark Side, and the Dark Side is “quicker, easier, more seductive,” wouldn’t you HAVE to train everyone, just to avoid Sith?

The answer to this is that a writer has to practice discipline. As much as you want to, you can’t just do all the ideas at once. That way lies Star Wars. I mean madness. I confuse those these days.

The Heinlein Hypocrisy Part I: What Words Mean

A late post is still a post.

“God is omnipotent, omniscient, and omnibenevolent — it says so right here on the label. If you have a mind capable of believing all three of these divine attributes simultaneously, I have a wonderful bargain for you. No checks, please. Cash and in small bills.” (Robert Heinlein, Time Enough For Love, New York: Ace Books, 1987, p. 247.)

As a science-fiction reader, I find that Heinlein is absolutely one of my favorite atheists. I find his theology as fascinating and infuriating as his novels: often insightful, occasionally brilliant, and then suddenly descending into downright nincompoopery. The above quote is a perfect example of the latter.

Leaving aside for the moment that only the Western and Middle-Eastern monotheistic religions have come close to assigning the above attributes to God, even for Christianity (which is pretty plainly Heinlein’s target) my search of the NIV Bible for those terms returned precisely zero hits for any of them. So… what label would this be? However, to avoid argument, let’s stipulate that whether it’s stated or not, it’s pretty much believed to be true.

First off, there’s no actual argument, or even insight, here. This is what C.S. Lewis calls “flippancy” in the Screwtape Letters; the assumption that a joke or a point has been made. It works when you’re playing to an audience that pretty much agrees with you already, and at no other time. Why Heinlein thinks these things are mutually contradictory, I can’t say, since he hasn’t deigned to tell us. But I think I have a pretty shrewd idea. Unfortunately, it’s pretty tiresome, and it’s old.

I suspect that Heinlein’s reasoning would roughly run thusly: that a God who was omnipotent is a contradiction in terms, or at least in the observable universe, since God pretty plainly allows many things to happen that He cannot approve of without being very definitely not benevolent. Unless of course, He does not know of these things. Since He does allow them, He must be less than omnipotent, omniscient, or omnibenevolent.

The problem of course is that Heinlein, who would doubtless call bullshit (as well he should) on anyone using engineering terms, or military terms outside their professionally-known meanings, has only a tyro’s grasp of theology, which, as it doesn’t interest him anyway, Heinlein does not care about. I see this often in discussions with atheists. They’re not interested in how these terms have always been defined or discussed by thousands of years of faithful Christians or Jews. They’ve seen a flaw, and by Christ (or not) they’re going to point it out.

I shouldn’t really have to say, but apparently I do, that omnipotence means that God can do anything doable. It is no argument against it that He cannot accomplish paradox, such as the old saw about making a rock so big He can’t lift it. Likewise, God is not less than omniscient for not knowing things that do not exist (such as who is going to heaven based on choices that they literally have not made), any more than a mathematician is “humbled” by a five-year-old who asks him what color the number seven is. Finally, God is not open to the charge of failing in omnibenevolence if he visits punishment on the unjust, or allows other agents to commit injustice, if He indeed does have both the power to correct injustices and the wisdom to know what justice is. “Omnibenevolence” does not mean that God is good to all people at all times, still less that those people would always perceive the good being done to them accurately.

The dishonesty and ignorance here is for someone like Heinlein to insist on the absolute definitions of amateur or non-believers while ignoring or discounting those whose vocation it has been to discuss and study such things. To condemn religion as a game for fools by insisting that God doesn’t meet these definitions according to your interpretation of them is both ignorant and unfair. What, after all, would it look like if I criticized Heinlein’s The Moon Is A Harsh Mistress for flinging goods Earthward by catapult as scientifically ridiculous… because I insisted that “catapult” must describe a machine that uses knotted ropes and stressed wood for its tension power, rather than a thirty-kilometer long, fusion-powered, magnetic mass driver? It would be like suing Nabisco for false advertising because one of their Fig Newtons doesn’t weigh 0.22 pounds in Earth’s gravity.

To such a discourtesy and to such ignorance, I imagine Heinlein would have told me to go to hell, and I would most assuredly deserve the invitation. And so does he, when he uses arguments that are just as specious and delivered from such an ignorant place. It is wise for us to remember that we cannot use such simple definitions, of course, and that theology requires some complex thought. But we must at least be willing to engage with that thought, or our theology – or our atheology – will be disastrously wrong as Heinlein’s.

Coming Apart At The Seams: Sandbox Games

Anyone who plays sandbox games knows about their “seams.” Well, maybe not. I just made up that term. But you know what I’m talking about: the places where you run into the edges of the sandbox and are pretty much forced into the realization that you are just playing a game, and it doesn’t have to make sense.

And yes, I realize that in some ways, this is inevitable. In others, it seems unimaginative, and in yet others it seems downright sloppy. I’m going to take some examples of each of these from the two games I’ve been playing the most over the past few years: Skyrim and Elite: Dangerous.

As far as the inevitable “seams,” the best example is that of borders. Eventually, you have to run out of playing field. An example of a really well-done “seam” is found in ED: the edges of the galaxy. It works because it feels natural. They even show extragalactic features such as the LMC and the GMC and M31. Why can’t you go there? Because human technology just isn’t that good. Makes perfect sense in the game universe: this is about as close as you can get to a seamless border. Skyrim is a bit less competent, but that’s the nature of the beast. Eventually, you just get to a place where your character runs into an invisible wall. You can’t leave Skyrim. I have to admit I don’t know how you’d solve that.

On the border of “inevitable” and “unimaginative” are the times in Skyrim where you run into someone who you really want to kill and discover that they are simply unkillable, or at least, unkillable yet. This has been the bane of D&D-like RPGs since they were computerized: your hero character who is supposed to be able to take down a Dragon God, and yet, cannot kill a shopkeeper and take his stuff. I’m not sure exactly how you do solve that. In the case of shopkeepers or very important plot-specific characters, especially in a magic-heavy environment, I wonder why it hasn’t occurred to the writers not to, for example, create 1) a giant alarm-spell that calls guards instantly to a scene of unjustifiable attack, coupled with 2) shopkeepers or nobles who always carry an emergency invisibility potion and sensibly use it an run the hell away when they’re attacked, leaving your character to 3) get dogpiled on by the guards, and 4) discover that they cam back as soon as you left out of boredom or being driven off by guards. Of course, once your character is up somewhere above 50th level, it still requires the game to explain why your character can’t essentially conquer the world single-handed since he is, after all, the person who is supposed to stop the Dragon God who wants to conquer the world single-handed. So there’s still a seam there (more on this later).

In the downright unimaginative corner comes a certain feature of ED that really annoyed me. Some systems in ED are permit-locked. The game won’t allow you to plot a hyperspace jump to them until you’ve accomplished something. A bit more on this in the next section.
Now, if you like thinking your way around problems like I do, you notice something: a shop in ED  really has two FTL drives. The hyperspace jump is the “fast” drive. It will take you anywhere from 8-40 light years in about ten seconds. But you get around each system using a “slow” FTL drive or “frameshift drive.” And when I say slow, it’s still really fast. Given time, it can build to speeds in excess of Star Trek‘s Warp 10. So you can’t JUMP to a permit-locked system, but given the time and patience, you could certainly just GO there…
Except you can’t. If you try, you discover that the star you have been heading for, which is a gigantic ball of hydrogen fusion and attendant planets when you jump there, is a mere point of light when you finish your hours-long flight. Sigh.
It occurred to me that a way around this would be to take a page from Zork: interstellar space is a dark place, and if you try to fly directly between stars, the odds are almost certain that You Will Be Eaten By A Space Grue. (For a really great classic SF story that uses this concept, read Cordwainer Smith’s “The Game Of Rat And Dragon.” It’s wonderful.)

And then you get to the truly sloppy stuff: Remember the permit-locks I mentioned earlier? Well, that makes perfect sense when it’s, say, the Empire saying that you can’t visit their capital system without a permit. It makes somewhat LESS sense, when its hundreds of stars out in the middle of nowhere and no one knows who has issued the permit or why. And yet there are several such regions in the galaxy. It’s pretty obvious this is the game designers saying DON’T GO THERE. SIGNED, GOD, but it looks pretty bad. Honestly, it would be better to do something like marking them all “No pilot has ever jumped to these stars and returned.” and making it an instakill if you do, with legends of the disappeared pilots in game.

So, those are my thoughts. I’d be interested to hear yours.

The Return Of The Logoccentric Orbit!

Hello, readers!

Okay, so it’s the end of week two of The New Day Job, and I’ve been spending this week trying to figure out how to keep the productivity up that I enjoyed while working part time. Needless to say, it’s harder. But the job is good, I’ve made some adjustments, and I hope to get back on track with everything that’s going on.

So my goals are, in approximate order:

1) Get back to at least 1000 words per day on the contracted novel.
2) Get back to daily blog posts.
3) Get back on track for providing my Patreon supporters content.
4) Improve my online presence (hints gratefully accepted for that last one, BTW)
5) Get back to the James & Harriet stories.

I really appreciate all my blog followers. Remember, a writer who’s read is a productive writer, so if you’ve enjoyed following me, please comment, respond, and spread the word!

Thanks again,

Scott

This Is The Kobayashi Maru…

…nineteen periods out of last publication. We have struck an approaching day job, and have lost most of our time… motivation punctured and we have sustained much loss of productivity.

Yes, so, between novel,  new day job, marketing, a child’s birthday, Patreon obligations, and a number of other things, the blog may have to be the last priority for awhile. I’m afraid it truly is a no-win situation, except of course, for people who buy my books! Those people ALWAYS win!

I love all my readers and will strive to back to daily output as quickly as possible.

How To Tell If You Are In Literary Magical Realism

Firstly, you will notice that something amazing has happened. Not just to you, because then you might simply be insane. And this will not do for magical realism, where everyone must be insane. Or behave like it. No, it must be something incredibly amazing that happens to everyone, like everyone sprouting butterfly wings, or water squirting on people whenever they have bacon and eggs for breakfast or something. Except people don’t eat bacon in magic realism because awareness. Soy.

Secondly, under no circumstances must anyone change their behavior because of this. No one will wear rain slickers when they have soy and eggs. There will be no widespread disuse of bicycles or running shoes because people take up flying.

Thirdly, whatever has happened, it is only really important to one person. Your character. And it will open up his or her or their soul, because this is the person the universe rotates around, and has changed itself to illuminate their one specific problem that is extremely important that no one has ever had to deal with before. Like finding fulfillment. Or falling in love.

Third-and-a-halfly, your character must studiously ignore any larger implications of something amazing, and only ask things like, Grandma, do your wings ever catch on your clothing. And not use quotation marks because decentering spoken discourse challenges the patriarchy or capitalism or something and is really important, okay?
Okay.
Were you talking there?
Who can tell?

Fourthly, The End

Seventhly, make sure there is no resolution of anything.

Sixthly, play with narrative conventions, such as chronological order, making clear you won’t be bound by them or sentence structure grammar because freedom, I mean liberation

Am I In An Epic Fantasy? A Guide

This is the kind of thing that my Patreon supporters get periodically!

This Guide Will Help You Determine Whether You are In An Epic Fantasy.

What kind of person am I?

You are young and single.
Where do I live?
In a small, unregarded village, hundreds of miles from anywhere important.
What’s my job?
Apprentice something-or-other. Or nothing, really.
Who are my parents?
Dead.
What? No, they’re not. I live in their house!
That’s what you think. Be prepared for a big revelation, soon.
How soon?
As soon as the Village Elders talk to you.
What? Why would they talk to me?
It has to do with the mysterious sheep-killings and dark strangers we’ve been seeing about these parts lately.
Yeah, what’s up with those?
And about that mysterious amulet you always wear.
I always wondered about that. Where did that come from?
We never talk about that.
Dammit! That’s what my “dad” always said when I asked.
And you were never suspicious that your parents always referred to themselves in quotation marks?
Dammit. What do I look like?
Like an absolutely typical person in your village, possibly with an atypical (pick one):
Hair color
Eye color
Birthmark
Minor physical defect that in NO WAY detracts from your attractiveness
Do I have a religion?

Yes, but God or the gods, or the Whatever doesn’t really ask a lot of you, or have any commands, or do much at all, except for facilitate Ancient Prophecies that totally have absolutely nothing to do with you or anyone you know (wink, wink!) and that no one actually reads apart from Mysterious Strangers that appear out of nowhere.

Excuse me, but there’s a knock at the door.

Don’t hurry back.