Slightly late notice but…
I’ll be at Octocon next weekend and I have been invited onto panels discussing, Self Publishing Military Science Fiction and Time Travel. See you there!
Slightly late notice but…
I’ll be at Octocon next weekend and I have been invited onto panels discussing, Self Publishing Military Science Fiction and Time Travel. See you there!
I started this blog entry two weeks ago, I meant to get it done before going on my holidays but… well that just didn’t happen so I’ll have to see if I can pick up the thread again.
If you haven’t been paying much attention to the recent fuss over the Hugo science fiction award then I for one am in no position to criticize since I’ve only vaguely been listening to what turned into a fairly unedifying spectacle. So what the heck was it all about? A group calling themselves the Sad Puppies made a public attempt to push through their nominations by gaming the voting system. On face of it a clash between liberal and reactionary elements, the latter being a white-boy club trying to keep ‘thems girls and blacks out of ‘our’ competition’, much like the whole Gamersgate thing of a few months ago that I paid even less attention to.
On further examination though, the situation is… less clear cut.
Going be what I’ve read, there is no doubt that the Sad Puppies included in their numbers some individuals who seemed to be unpleasant pieces of work, unfortunately it would appear that exactly the same could be same of their opposition, respectively Theodore Beale and Benjanun Sriduangkaew AKA rage-blogger Requires Hate. While I think it was probably right that the Sad Puppy nominations were ultimately voted down, I also think that no matter what some say, this was far from a victory for anyone.
Let me give an excerpt from Guardian Newspaper:
A snapshot of today’s sci-fi publishing industry – as opposed to the fandom that ultimately underwrites the industry’s business – does not show a diverse picture. Both bookshelves and cinema screens are currently dominated by the Matt Damon/Andy Weir vehicle The Martian and its archaically old-fashioned (and vastly overrated) SF. The lead sci-fi news story of recent weeks is Ernest Cline’s high seven-figure advance for a third novel, which will presumably pander to exactly the same Beavis and Butthead demographic as Ready Player One and Armada.
I’ve highlighted the line I find the most important. I enjoyed The Martian* while the winner of last years Hugo for best novel was Ancillary Justice by Ann Leckie, left me underwhelm. The idea that someone doesn’t like the Martian or does like Ancillary Justice does not in anyway offend me. What I do find unacceptable from both side of the Sad Puppies argument is the sense that you are not permitted to have your own preference. Certainly I’ve heard individuals attempting to get in a few digs about self-publishers and the supposed crap they produce, which mostly rolls off my back because it is so blatantly self serving. What I do find irritating however is the self proclaimed experts – such as the one above – who plainly believe the average reader should not be allowed to decide for themselves what they enjoy.
It is unfortunate that we don’t appear to be will to accept that what constitutes ‘good’ is a deeply and purely personal determination. There is no such thing as single right answer but we don’t seem to be able to do that, instead we seek to make the whole thing adversarial and in the case of Hugos, slightly pointless. So let us all perhaps try to remember in future that works of fiction are primarily a form of leisure and whether we judge a book to be good or bad is according to whether it entertained, not whether it made the right political message.
*although I have low expectations of the film
Additional information on the whole saga can be found HERE
A friend of mine, one who bounced ideas off for years, is currently hard at work on his first novel and now when our paths cross it’s his turn to bounce ideas off me – what comes around goes around. I won’t say anything about the nature of his work because that’s entirely his to introduce. What I will talk about it a sentence from him that started with: “I’m thinking about going back and-”
I’ve made my fair share of mistakes from mixing up character and place names to wacky typos to find and replace errors. All of which pale in comparison against the cardinal sin of writing that I have committed. Namely going back and tinkering. Now I will add a qualification. What I refer to is going back while writing the first draft. Yes, you will have to go back and make repeated passes through it if you have any sort of notion of putting the work forward for publication, because gods know, the chance of it being perfect on the first pass is about the same as the metaphorical thousand monkeys with a thousand typewriters producing the works of Shakespeare.
Writing is by its nature a learning experience where to be honest I think the only way to stop learning is to stop writing but your first serious attempt is the one where you’ll learn the most the quickest. When I start a story I have one or two characters, some basics for the setting and maybe a couple of scenes. As you go a long things get fleshed out, gaps start to get filled in, you start to get a handle on the process, the words are starting to pour out of you. Then you look back.
That section or chapter you thought was great now seems clumsy or you’ve come up with a something that really needs to be put in a few chapter earlier. So you go back, you tinker.
You stop making forward progress.
A story, be it novel, novella or even short story, needs to have a start, a middle and an end. No matter how cracking the first line, paragraph or chapter is, it isn’t a story because it isn’t complete. Going back becomes a cycle. You go back to make a change and that change cause knock on changes so you end up working your way up through the existing text making more changes. By the time you get back to where you left off you’ve learned a few more things, had a few more ideas and you go back again and the cycle continues. All the while the story doesn’t get really any closer to actually being finished but does get closer to being abandoned.
The Nameless War was my slowest book to write, several years, because during the first and second draft I kept going back. The Last Charge was done in less than two because I was more disciplined, yes I did change my mind about details as I wrote but didn’t go back to change them straight away. In fact when I finished each chapter I tended to mutter to myself “That needs a lot of work.” then open a new file for the next chapter.
I’m currently writing a time travel story which as you might imagine does involve a lot of double checking but I’m not going back to change anything. Not yet. As I said before writing is a learning experience which makes going back a false economy. Changes while it is all work in progress could and likely will be changed again. With first drafts don’t be afraid of changes in writing style as you go, you’re learning. Once you have the full text, then you can apply all the things you have learned. If you are afraid of forgetting to make a change to an earlier chapter, then add a footnote to it.
But above all else, keep going forwards.
WARNING: probably spoilers ahead.
It was a cinema heavy weekend for me with Pixar’s newest entry Inside Out opening the weekend’s viewing. The film main character is Joy, the lead emotion for an eleven year old girl called Riley, whose life has been turned upside down when she and her family move to San Francisco, the stress of which has brought Sadness to the fore. When Joy and Sadness are accidentally swept into the outreaches of Riley’s mind, the only emotions remaining in Headquarters are Anger, Fear and Disgust.
Okay let us not beat around the bush, is it good? Yes. Is it very good? Yes. Is it great? Hmm… for my money, close but no cigar.
It’s likely been said before and undoubtedly will be said again a large part of Pixar’s success come from the fact that they don’t really make children’s films, they make films children can enjoy. I was at an early evening showing, with the about three quarters of the seats and children were pretty few and far between. At its heart Inside Out is a film about growing up and the search for emotional balance that come with it.
As the voice of Joy it falls to Amy Poehier to do the heavy lifting and she proves equal to the task. She manages to get across the endlessly upbeat attitude and the sometime difficult relationship with the other emotions, in particular with Sadness, where there is definitely more than a hint of suppressed urge to aim a kick. Joy means the best but suffers the flaw that she is bit of a control freak who really wants things to stay the way they are.
One thing that I thought was interesting and quite admirable was that Riley was a girl. With one or two small changes to the script the character could have just as easily been a boy. Her passion for ice hockey and the fact that she is good at it is a major part of her character and at no point is anything made of this. By that I mean nothing is said or implied that this is in anyway unusual. I think not that long ago a point would have been made that she was good at hockey despite being girl and I think that is a positive change.
During their journey through Riley’s mind Joy see parts of the child she was and adult she will become, which I think nicely shows how all of us are in state of transition from the person we were to the one we will be. I mentioned earlier the search for emotional balance is a central theme, the phrase that closes so many classic stories is: They Lived Happily Ever After; Inside Out shows how a person dominated by a ‘positive’ emotion like Joy, would be as much an emotional cripple as one controlled by say Anger because quiet simply, there will be times when negative emotions gets things done.
The visuals are up Pixar’s usual high standards, bright, clear but by how we’re come to expect this and indeed it would be shocking if the visuals weren’t effective. One visual idea which I liked was that the emotions control panel changes and is upgraded as Riley ages, the first one being a single button (cry or don’t cry) while at the close they have a new and extended panel (what’s this button marked puberty? I don’t know, I’m sure its not important). So why then do I not think this should go down as great?
Well I’m still pondering that one myself. I think because this is a film which I think an adult will get more from than a child. Perhaps I’m wrong, I don’t have a child to ask but just don’t think this is quite the stuff of classics.
I don’t know what proportion of science fiction and fantasy novels are part of series as opposed to stand alone but it is fair to say that they are far from uncommon. Now it should be pointed out that there are different kinds of series. There those like say the Chronicles of Narnia which use the same setting and have some character overlap but are basically stand alone books that can be read in any order. Then there series like Lord of the Rings in which there is a single grand story arc across two or more books, all of which need to be read and read in one fixed order. It is the latter category I want to say a little about.
It isn’t hard to see from where the lure of the series comes; creatively it gives more room in which to develop and flesh out a story, this is specially important for science fiction and fantasy since we have to burn so much word count on world building. Since an individual novel is limited to between forty and a hundred and fifty thousand words(1), while even a short series can be multiples of that, the extra words allows the writer to avoid having to make compromises to keep the word and page count acceptable. From business standpoint it looks even better, sell one large book for twelve Euros (dollars, pounds, shillings, rubles, yen, goats, whatever) or two for nine, ninety-nine. If the reader wants to get the complete story, they have to fork over for each and every book. In fact on that later point occasionally publishers have split into two books that were intended as a single volume. But in doing so a new problem is introduced.
The ending of any story is the pay off, regardless of genre or style, a bad ending can completely undo any good work that has been done up to that point. The ending needs to resolve the major plot threads and if the reader is left unsatisfied or feeling cheated, well then that’s a reader who won’t be looking that writer up again. But for a single arc series it can’t tie everything off, it needs to provide a satisfactory close and at the same time provide a launchpad for the next book of the series. What is needed is a sub-ending. The writer Shantnu Tiwari makes an impassioned case that the very worst sub-endings are cliffhangers. While I can’t get quite as worked up, thinking back across my own reading history I can think of a few cliff hanger ending I’ve read and while they didn’t make me throw the book across the room, they didn’t make me rush out and buy the next book either because there was that lack of pay off. The other problem with the cliffhanger is that there is likely a gap between the publication of individual books, of between months to years (20+ and counting in the case of one series I know of). Will the reader still have excitement to pick it back up, will they still remember what was going on? The best sub-endings I seen are the ones that felt like they could have been the end of the series, for my money Juliet E McKenna‘s first series nailed this perfectly.
So, if you are sitting out there somewhere idly considering writing your own series what am I saying? I’m saying you need to plan ahead (2). You absolutely must know where each book is going to end. Even if the big finish at the end of the series is absolutely amazing, it’s going to count for nothing if most readers abandoned ship at the end of the first book.
While we’re on subject of endings, lets move onto big ones, not just the end of a series but the end of a setting. It’s a personal belief of mine that all setting have their limits. Regardless to genre or even medium, each setting has its limits. Now quiet where those limits are depends on the nature of the setting. It is hangs off a single character then the limit will be reached fairly quickly (3) while one based on a large world or universe in which individuals can come and go will have more legs (4) but even there are limits. I suspect it’s one of the reason I never got into comic books, by now Batman should have either cleaned up Gotham City or be dead, either way as a story without a final end holds no attraction to me. Obviously there is a damn good reason why the likes of Batman, Star Trek or any other property keeps soldiering on:
Be you an individual author or a good old fashioned soulless corporation walking away from an cash stream is going to be difficult to do at best and often impossible. Search the internet on any particular established series or franchise and it won’t be hard to find someone somewhere who feels its gone off the boil, the glory days are gone, it’s now just ploughing the same furrow. The solution to this if a solution is needed is in the hands of the consumer. We need to be ready to pursue to new and original. While we can continue to enjoy the glory days of our old favorites we should be ready to abandon them if they don’t come to an actual end.
FINAL THOUGHT: I say all that as someone who is very much a hobby writer. I don’t rely on my writing to pay the bills, just pay for the luxuries. I’ve certainly not had anything like a huge hit which I’ve continued to milk. Obviously if I do I may well turn into a huge hypocrite but at least if that happens, I’ve given everyone some good material to work with.
(2) Yes I do know what I said in a previous blog entry about my tendency to do more winging it than planning. I did know where the Nameless War and Last Charge were going to end when I started them, the Landfall Campaign it was figured out while WIP, which is a writing technique I call ‘making life difficult for yourself’ [patient pending].
(3) Say a few books, two or three of films or a television series
(4) Example Star Wars or Star Trek
I can now be found on Twitter.
An Aellr design that pre-dates contact between the Confederacy and humanity, the Psirtas class (named after towns on the colony worlds of the Confederacy) was one of the workhorses of the Defence Fleet. The first human sighting of this design came in the calamitous days running up to the First Battle of Earth. The smallest of four ships that approached the planet, with its prominent missile launcher mounted to one side of the jump drive, Psirtas class was immediately categorised by the human defenders as a destroyer. Unfortunately this misinterpretation was one of a pattern mistakes made by both sides that would see the Confederacy and Earth blunder into the profoundly avoidable Contact War.
NOTE Given the ongoing political tensions between the Confederacy and Earth background have come from secondary sources and may not be entirely accurate.
The Psirtas class originate approximately fifty years before first contact; as with most Aéllr designs the class was intended to provide the Defence Fleet with a multi-role platform capable of performing search and rescue, personnel transport and internal security. As with all Aellr ‘warships’ of this period, any military role was of very much tertiary importance and little more than a fading relic of the Aéllr Reunification War of more than a century earlier. Intended to compliment the much larger Hinhle (Province) class cruisers, the Psirtas placed emphasis on acceleration over range.
The design can be divided into three main segment. The forward-most section, mounted the jump drive, main bridge and the two hard points for mission specific equipment. When serving in the military or internal security role, these would mount a turret, each one carrying a single plasma cannon. Alternatives to these fittings were shuttle hangars, high definition sensor arrays or docking arm. The point defence guns – primarily intended for anti micrometeorite duties – and the probe/missile launcher were permanent fixtures.
Mid ships was the centrifuge with two large pods. It is believed a small secondary bridge is housed within one pod but for the most part this space is given over to crew facilities. Several members of the class, usually when de-militarized have been observed with six secondary pods fitted to a large circular ring that connects the two primary pods. It is believed that like the forward hard points this a mission specific fitted when more living space is required.
Astern is the engineering section, protruding from the ventral and dorsal surfaces of which are the engine nacelles. The length of these is to allow the engine plume to clear the centrifuge during breaking manoeuvres. The decision to extend the engine pod in the vertical axis appears to be to facilitate the class’s search and rescue role, allowing the ship to come closer along side another vessel while maintaining the same deck orientation. A side effect of this choice of orientation is that the ship’s profile in the broadside arc was considerably larger than would have been the case if the nacelles had been side mounted. This provides another clear indication how low a priority the class’s military role was. The ship’s radiator panels are housed in the broadside circular assembly which when deployed resembled paddlewheels, leading to the class’s human nickname ‘pedalo’. Physical protection was limited to anti-radiation shielding while sensors systems took the form of small clusters scattered across the main hull.
Overall the Psirtas class with its emphasis on adaptability was very much a conservative design, following with standard practice of the time. The only significant break from previous practice was the absence of a raised bridge, a feature of Aéllr government ships since the Reunification War.
By the time of first contact between Humanity and the Aéllr, the Psirtas class were in their middle years, with the expectation of at least another three decades of service. While an exact number constructed is not known, it is believed to be in excess of thirty, although by first contact the earliest members of the class had been withdrawn from service. When the Aéllr taskforce was dispatched to earth a single member of the class was included to act as a scout ship. The decision to include this vessel with the ships that directly approached Earth, seems to have been born of a genuine belief that the force would face no opposition. In fact the Psirtas was to prove very much a weak link. An early direct hit to the ventral nacelle rendered the ship virtually uncontrollable while the two point defence guns left a large blind spot astern. The taskforce’s attempts to support the ship meant that it neither closed on Earth nor retreated out of range between waves of human fighters.
In the aftermath of Earth the casualty averse Defence Fleet appears to have come to the conclusion that the class was too fragile for front line operations. For most of the rest of the war the class remain within the Confederacy’s borders, covering for the Hinhle class ships that were being used to prosecute the war against Earth. The Psirtas would see direct combat when the cruiser Onslaught entered Confederacy space in the last year of the war, the Battle of the Three Systems being the most notable event of this campaign.
Post war it would appear that the remaining members of the class were returned to their civil role. It is believed that at least a dozen remain in service with the Defence Fleet with perhaps half as many again now owned either privately or by individual colony worlds. However sources indicate that the Defence Fleet no longer rates the class as part of it’s fighting strength.
Author’s Notes: As the first alien race humanity encountered, with the war between them being the background event that did the most to shape the Battle Fleet Universe, the Aéllr are a very large part of the setting which I’ve wanted to explore for a while – especially since describing in Volume Two of Ships of the Fleet the human Contact War cruisers. Most of my ship designs are fairly brick like, in part because it is how I imagine then and in part because with the software I have access to, they’re a damn-sight easier to make. But I wanted to explore the possibilities of a design using much of the same basic technology but with a very different set of priorities at least as far as the limits of my talents and my computer processors capabilities.
I heard it said that there are basically three kinds of writers:
1) Those who plan everything to the Nth degree
2) Those who wing it
3) Those who fall somewhere between the two extremes
I’m a three leaning towards two, I did try writing out a plan for I think the Landfall Campaign but then once I started writing, never remembered to refer back to it. What I do have for each work is a set of mental notes in the form of key scenes. These might be battles or a brief conversation, either way they’re important points for the creation of the story. I like to think of it as an incomplete alphabet. When I know I have A, B and D, I know have to go through C to logically get from B to D. It helps break huge looming task that is book writing down into more manageable lumps while at the same time keeping at eye on the endgame*. There is no such thing as a one perfect method of writing that works for everyone – no matter what people who are usually trying to sell their ‘perfect’ method claim – what there are is a number of techniques and what you have to do is find the combination that works for you.
*Quite a few of the early Discworld books by the late Terry Pratchett were chapterless and I don’t know how he managed that.
I’ve now started twittering and can be found: