A Writer's Journey

Welcome to my author blog. I write blog posts that explore the issues I come across as a science fiction writer. I welcome comments. If you're a writer interested in offering a guest blog entry email me.

Next up: Becoming Queen

My next upcoming novel is called Becoming Queen. I'm doing final edits and formatting. Release Date: May 15, eBook only. Here's the blurb: 

19-year-old Daneli is a tomboy who doesn’t get along with her mother. She’d rather be riding her horse or perfecting her archery skills than wearing finery and ordering servants around.  But as the eldest daughter of House Trageri, Daneli is the inheritor of long-standing tensions, and a mission far larger than she is.  First, she must undergo an arduous training process, then pass a series of tests in order to become Queen.  Afterward, with the help of ten hand-picked spouses of both genders, along with her secret Gift, it will be her job to create peace between her cooperative, matriarchal nation and the violent, fiercely hierarchical patriarchy to their north.  As  if that weren’t challenge enough, Daneli is also in for a big surprise.  A spaceship is speeding toward her colony – and its arrival will change everything.

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Fiction vs. Non-fiction

I am between fiction projects, and I decided to really push on a project that has been on the back burner for over a year. It's a book about nonprofit technology, the field I've spent the last 18 years in, 12 years full-time.

Writing non-fiction is in some ways a nice break - it helps me work on something very concrete, and takes a very different kind of creativity. I don't get to make stuff up - I have to spend time doing research. But I do get to determine how I talk about things, and how it's arranged, and how to keep it moving.

There isn't a plot, in the same way, to keep the pages turning, but there will be threads that can be followed (or not), and an arrangment of information that will be conducive for reading and study. And I get to put on paper things that I have had either in my head, or in blog posts or presentations scattered about, all in one organized place.

In this case, production is going to be similar - it will be a self-published book, both in paper and e-book formats. 

Anyway, I'll keep everyone posted on how it's going. And also, check out the Indiegogo campaign to help me get time to write it!

 

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How Does Your Topia Arc? (Guest Post)

By Justine Graykin
 
Reading a recent post on your blog, I got to thinking about dystopis, utopias, and how the various plots tend to arc. In the classic utopia, the reader is introduced to a perfected world, and the plot is an excuse to introduce the author’s ideas of how to achieve this perfection. Plato’s Republic did this without resorting to any fictional device, while Edward Bellamy has his protagonist awaken in a future America that has become a socialist paradise in Looking Backwards. This sort of straightforward propaganda has largely gone out of style. Not enough action, anguish, and suspense.
 
Then there is the Utopia That Isn’t, as in Samuel Butler’s Erewhon. Although the world the reader is introduced to appears on the surface to be perfect, it is actually rife with flaws and dark secrets. It’s a bit like what Ayn Rand would do if she got hold of Looking Backwards (which she rather does in Atlas Shrugged). Utopia is actually dystopia in disguise.
 
Between the lines in the plots of these false utopias is the acknowledgement that different people have a different idea of what is good. Socialists feel that what is most important is that all individuals are taken care of and guaranteed an opportunity for happiness. Libertarians would emphasize the right of the individual to strive for personal success without obligation to his fellow man. These two philosophies crack heads when they try to organize an ideal society.
 
Dystopias often take the other guy’s notion of perfection and show how bloody awful it would be in practice. Atwood’s The Handmaid’s Tale is one version of the consequences of creating the Christian Nation so many fundamentalists seem to think would be the ideal America. It’s just another way of saying, “You’re wrong and here’s why.” The reader’s response would depend in part on their own beliefs. No doubt a fundamentalist would insist that Atwood has it all wrong, just as socialists think Ayn Rand is utter feculence.
 
The best crowd-pleasing dystopia is when you get some really bad guys, like aliens, soulless corporations, criminals, or unscrupulous politicians (but I repeat myself) and have them running things in a way that just about any sane human being would think is wrong. Suffering, injustice and misery are rampant, and when the heroic rebel comes along to put things to right, the audience is primed for applause. (I’d call this the Hollywood distopia.)
 
So you have the good is good, the good is actually bad, and the bad is just plain bad and must be overthrown to make way for something which we presume will be good, or at least better. There is one other type I’d suggest which I’ll call the Star Trek model. In it you have a utopia, which really is a utopia, perhaps not perfect but certainly an improvement on what we have now and something to look forward to. The utopia is tested by challenges to its philosophy, which it reconciles, or threats to its existence, which it must overcome. I confess I’m rather partial to this one, having grown up with it. In a way, it combines the first two types by trying to construct a workable ideal, yet acknowledging the difficulties in doing so, the opposing views, the human weaknesses, the harsh realities, and dealing with them.
 
The difference for me is that dystopias start dark and (usually) end with hope, but only hope’s possibilities. The Star Trek model starts in the light, with hope’s fulfillment, then battles the darkness with optimism as a constant companion. Somehow I find that more courageous. It’s safer to darkly prophesize about something that is wrong than it is to build and defend something that is right.
 
Justine Graykin is a writer and free-lance philosopher sustained by her deep, abiding faith in Science, Humanity (well, Science, anyway) and the belief that humor is the best anti-gravity device.

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How to write dystopia well

Did you actually think I had an answer to that? OK, well, I sorta do, but I think there are many ways to do it. 

Dystopia and, it's converse, utopia, are two of the most common subjects and themes in science fiction. Even when novels don't make the dystopia itself a subject, the setting might well be dystopic in nature. Firefly is a great example of doing this well. The first dystopic novel I ever read was George Orwell's 1984, which I imagine would top the list of many dystopic SF classics. One of the earliest dystopias I really appreciated was John Brunner's "The Sheep Look Up." It was written in the 70s, and was a scarily prescient look at the future environmental crisis. It did get a few things wrong - we are struggling more with climate change than we are with air pollution, but a lot of what he wrote has come to pass. One of the more interesting things I remember about that novel was that elected officials weren't from states or geographic districts, but from corporations.

The secret to writing dystopia well is to extrapolate logically from our dystopic present, with believable and imaginable steps along the way. John Brunner extrapolated trends in US governance and environmental policy. Octavia Bulter wrote what I would say was the most believable dystopic novel I'd ever read in "The Parable of the Sower.". She was really good at this. She extrapolated current (at the time she wrote it, and worse now) economic inequality to it's logical result. In some ways, the further in the future you are trying to predict, the less accurate the extrapolation is going to be. In some ways, "The Handmaid's Tale," by Margaret Atwood is another good example. The scenario of a staged terrorist attack, and religious fundamentalists taking over somehow doesn't seem all that farfetched.

But there's more than just the mechanics of writing a believable dystopia. What's the point of writing a dystopia anyway? For me, it feels like it's a warning bell, telling us to look at where we might end up if we keep going in the direction we're going in. It gives writers a chance just to play with the possibilities, and explore what characters do with the exigencies of dystopic life. And, my favorite reason, is to write about how we can emerge from dystopic futures, find hope and a new way to live. In that way, I hope that it finds us able to emerge out of our dystopic present.

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Works in progress, upcoming books, and guest bloggers

A few odds and ends today. Fridays are good days for odds and ends.

First, I wanted to let people know what I'm working on, and what to look out for in the next few months. I have two books that are completed in not-so-drafty form. I think I've mentioned them both before.

One is called "Becoming Queen," a fantasy/sci-fi hybrid, sort of. It's the story of Daneli, who is heir to a throne, the conflict between two nations, and the impending arrival of something that will change everyone's lives forever. I hope to publish this book by mid-March. The second is called "The Artifact," a straight-up hard-sf novel about a woman who grows up within a fundamentalist, patriarchal, backward colony, finds her freedom, and ends up helping to save her people from a horrible fate. I hope to publish this sometime toward the end of spring.

I'm almost finished with my newest novel, tentatively titled "Friends with Wings," about a woman who is stranded alone (well, she has intelligent, non-human companions) on a planet far from Earth. It is set 90-130 years in our future, and includes my first dystopic future, which takes up about the first 1/4 of the book. 

And for you Casitian fans, I am still in progress on the novel which describes the original capture of humans during the bronze age by the Tud'scla, the species that enslaved humans for a couple of thousand years.

Over the next few weeks and months, I'm doing a guest blog exchange, so there will be guest bloggers here. This is new for me, but I'm excited about having new and different voices here, as well as getting to talk to other audiences.

 

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Going Vertical

"Going vertical" is a phrase used often in non-fiction and memoir writing. Going vertical means that in a sense, you are going deeper (and sometimes also higher) in perspective and description at certain points in a book. In memoir, this might involve delving much more deeply into a specific happening, or zoom out to look at the very big picture. Going vertical gives the reader a chance to understand the narrator in a much deeper way than just relaying what happened next.

My current work in progress, with a working title "Friends with Wings," involves a woman who is alone on a planet that is not Earth. Alone, except for intelligent winged creatures, who she can't really understand, but who treat her well. The plot is fairly straightforward, and unlike many of my novels, there aren't many sub-plots, or other things going on. Most of the book is Trina, the protagonist, alone on a planet named Johannes. 

And so, I'm going vertical. What is it like for her to live alone on another planet? Does she miss human contact? How does she learn about the other intelligent creatures who share the planet with her?

I tend to write novels that are very plot driven. This novel gives me a chance to delve deeper into a personality, a psyche. I delve into the details of her life, so that an understanding of her, and how she survives emerges. It's a fun challenge. 

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Whither paper?

I love books, I always have. Ever since I could read, I read all the time. I don't read nearly as much as I used to, because I write so much, but there was a time when I would read three or four nonfiction books a month, and five or six fiction books a month. Now, it's more like one fiction book a month and one non-fiction book every couple of months.

And I've always liked paper books. My favorite are hardbacks. Solid in the hand, usually with gorgeous paper, and a nice binding. But practically, I never really bought that many of them. Back in the day, when hardback was released before paper, there were a few authors that I couldn't wait for - I'd buy the hardback. I think the last harback books I bought were the Harry Potter series.

And when I traveled, I always brought lots of books. Even on day trips to the beach, I'd bring at least two. Often, for longer trips, I'd be lugging six to ten books in my suitcase. It was that, in combination with selling most of my stuff to downsize on my way to seminary, that sold me on eBook devices. The idea of traveling with basically an entire library was just too appealing to me, even though I do still like paper books. And, as someone who moves as often as I do, the fewer actual physical books I own, the better. Now, I own more eBooks than I do paper books. 

As everyone knows, the paper book is not having a good go of it right now. Bookstores are dwindling. This is not entirely eBooks fault - it also has to do with Amazon, in particular. But eBooks certainly don't help the plight of bookstores, especially independent ones.  The publishing industry is undergoing a huge change, brought about by technology, including eBooks, and print on demand. It's classic disintermediation, and it's happening on a massive scale.

Almost one quarter of all books sold right now are eBooks, and that number is up from last year. There are predictions that eBook sales may outstrip all physical book sales by the end of 2013. But for my books, the deal is already done. 96% of my books sell on eBook platforms, such as Kindle, Smashwords, etc. This is mostly due to the fact that I don't have a traditional publisher, so physical copies of my books aren't getting into bookstores, and the books aren't being promoted in the classic ways.

Which leads me to think about eliminating paper versions of my books moving forward. It takes a lot of time and effort, and a bit of extra money, to make paper books alongside eBooks. And since so few people buy paper copies of my books, I'm wondering whether it's worth the extra effort for any upcoming books (there are several, I will likely publish at least three this year.)

I welcome any thoughts you have about this.

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Worldbuilding, Part 5: Travel

I love to write about travel, and when I think about each of the books I've written, travel of one sort or another is an important, or even central, theme. 

Space travel is one of the hallmarks of science fiction - a lot of classic science fiction has to do with travel to other planets, or other stars, or, aliens traveling from elsewhere here. All of Star Trek was basically built around space travel, and the ramifications of it. I've talked a little before about my tendency to do my best to obey the laws of physics, as they are currently understood, but in reality, all of the space travel that  I have envisioned in my books is impossible using any current knowledge or technology. Space travel is fun to imagine and write about.  

There are several ways ot exploring space travel in the world (or universe) one is building. Some people choose to downplay the technology and knowledge invoved in fast interplanetary, or interstellar travel, and just focus on what happens when people travel. Other people imagine complex new star drives that work by extrapolation of current technology. Or, some embrace interesting completely wild ways of accomplishing interstellar travel, like Frank Herbert's spice-modified pilots who fold space. I tend to do my best to pick one specific strategy, like, wormholes, or ion drives, or some such, and allow that to be as commonplace as something like jets are for us. I have two universes (both forthcoming) where interstellar travel takes a long time (not as long as some authors, who have imagined generation ships.) I have two universes, one the Casitian Universe, and one the universe of a forthcoming novel called "The Artifact" that uses wormholes and jumpgates built and/or tended by ancient species. (This is not a new idea.)

But space travel isn't the only kind of travel I spend a lot of time on. I love to imagine travel on a planet. It's fun to think about what one can come across on a place that isn't Earth. However, in one case, the Expedition, I have written basically a travelogue, set in the 19th century United States. What makes it different than other fictional narratives describing that time is that it is a travelogue by a human that was not born on Earth.

Travel is an amazingly great engine for plots, which is why it is such a big theme in many genres of fiction. It provides novel situations to explore, provides context for great conflict between traveling companions, and great contexts for development of characters. One of the favorite travel narratives I've written is the story of the young Leticia, in The Story of New Earth, and her escape with others from her restrictive home, and around one part of New Earth. It's fun to really show how the new experiences that a character has during travel effects them, and how they develop as characters.

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Worldbuilding, Part 4: Gender, Sexuality and Families

This series is about the joy of worldbuilding. I didn't quite think I'd spread this out into so many posts, but I guess I have a lot of joy to talk about! 

Human beings are far more interesting than one might think given the ongoing social pressure for individuals to conform to the American ideal: the heterosexual, monogomous nuclear family (or, gosh, now, even simply the monogamous nuclear family). I have to say that I think that "ideal" is about the most boring thing human beings have come up with in history (and human beings have come up with a lot of interesting and different relationship structures). And the ideal that there should be only two gender expressions: masculine men and feminine women, is also pretty boring, at least for me (and historically, things have been quite a bit more interesting than that.) Therefore, unlike most speculative fiction, the characters and relationships I most often explore do not fit these ideals.

Humans are pretty much always the main characters in my books, even though aliens are certainly a presence at times. And when it comes to humans, I often start with one fundamental idea: what if we created relationships between people who were free to express their gender identity as they choose, and free to choose whover (and how many ever) they wanted to? What would those relationships look like, and how would society structure itself around those relationships? I think that is core - as a society, we do arrange ourselves largely around the family structures we create - so if the structures were radically different, then the resulting societies would have to be radically different.

One example is the Casitian system. Casitians are basically single, except for a period of about 15 or so Earth years, where they have, and raise, children in a family group if they choose to. An individual Casitian who wants to raise children finds an opposite-sex partner that they think will be a good match for child-rearing (no romantic attachment is expected or encouraged.) Eight to ten adults form a family group to raise their children collectively, until the children reach the age of about 12 or 13. where they leave to join a youth community. Before and after this period, or if someone chooses not to raise children, Casitians live on their own, and most spend the winter (which is actually the equivalent of a year on Earth) living with a "companion" (read: romantic partner), of any gender. This is sort of a modified gender and sexuality fluid serial monogamy model.

Then, there are the Trageri. This is in a book coming out sometime later this year, called "Becoming Queen." The Trageri have one of the more interesting relationship and family systems. I think it's kinda cool, if I do say so myself. Trageri (one of two nations, the other nation does not at all share this system) is a monarchy organized in "houses" - and each house has anywhere from thirty to sixty family members, as well as another thirty to one hundred or (many) more affiliated employees (and that number depends on the wealth and influence of a house.) When the eldest female of her generation comes of age, it is her duty, as head of the house, to find eight to eleven spouses, who will collectively raise the next generation of the house. There are often romantic attachments between these spouses (some can come from the same house, as there will be children unrelated to each other in the same house,) but the primary function of this process is to find others who will keep the house strong, and do well to raise the children. Individuals are free to have romantic relationships of any kind outside of the marraige, as long as they are exceedingly careful about birth control (if necessary - queer relationships are fully accepted.)

When it comes to aliens, I've basically taken my cue from the amazing variability in gender, sexual expression, pair-bonding. and young-rearing that exists on this planet. There are organisms on earth that change their sex during their lives. They were the model for the Kurool, who change sex several times in their lives (although they do it consciously.) Some male animals take the lead on rearing young. The males of the aliens I'm writing about now, called the Eeriv, have a pouch on their back where the young live, and glands to feed them. 

I do have one alien species, the Tud'scla, who have five individuals who contribute their genetic material to their offspring, something not found on Earth (that I know of.) The Tud'scla are pentaploid (that is, they have five sets of chromosomes). There are no sexes or gender in this species - individuals can both contribute their genetic material to one who will incubate the eggs, or they can be the incubator.

Gender and gender expression (or the lack thereof,) sexuality (homo, hetero, bi, pan, etc.,) and relationship structures (monogamous, polyamorous, etc.) will have foundational influence on society, and that is really important (and fun!) stuff to explore. And it's also always important to think about ramifications of these structures, and the kinds of conflict that can arise because of them. Great fodder for plots!

 

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Worldbuilding, Part 3: Making up language

Klingon TextOne of the more interesting parts of making up new intelligent beings, or new societies, is to think about language. Many science fiction stories and novels skip over these details entirely, because, well, they are hard. I've made my share of mistakes, and I know that I'm not anywhere near to getting as good at dealing with langauge as some writers. I think I suffer from being basically monolingual (unless you count programming languages). But I also do a lot of research, and that probably helps some. I'm not a linguist, though.

There are several layers to this. First, there are names. If you introduce characters who are alien, they generally have to be named in some way or another. The names have been, for me, an entre into what a language might be like. For instance, when I was writing my very first novel, The Casitians Return, I had to name this character who would become very central to the plot. Her name is Ja'el. I sort of did the apostrophe spontaneously (meant to signify a gutteral stop), and when I introduced other characters, most of them similarly got apostrophes in their names (although they don't all have apostrophes, like Silandra.) Later, of course, I found out this is somewhat of an over-used method in scifi (which is, I imagine, why I made the mistake - I'd read it so often.) But, by the time I'd heard that critique, I was done with the book, and on to its sequel, so I was stuck. So I just went with it. 

In the Casitian Universe series, there are four languages represented: English, Casitian, Kinder, and Tud'scla (the language of the aliens that captured humans back in the neolithic age.) In a novel I have in progress, which is the story of the initial capture of humans, the Tud'scla invent a language that both they and the humans can speak. It is quite bereft of vowels, since they can't pronounce vowels very well. Example Tud'scla names include Hll'venr and Jrl'sen. Casitian and Kinder language are both descendents of that Tud'scla language, although the Casitian language has changed much more than the Kinder language - it has become much more fluid, and, as you can tell from Ja'el's name, pretty vowel-heavy. The Kinder got rid of the gutteral stop, but kept the lack of vowel sounds.  An example Kinder name is Pkygy.

Anyway, that's a pretty simple set of things to create, and I think it mostly works, It fits in with the social structures of the Casitian and Kinder cultures, and their origins. That's the fun part - how do you weave in the language with the culture. Klingon (the language at the top left over there) is a great example of how this has been done.

I've made up some vocabulary terms (and I love making terms for things that don't have English equivalents), and names, but I have yet to think about actual sentence structure until quite recently, while working on another work in progress. The alien species in that novel (working title: Kepler Exploratory) has a language which has many fewer nouns and verbs, and a ton of adjectives and adverbs. In fact, for them, sentences can easily lack nouns and verbs and still be intelligable, unlike English. I'm still working hard on writing sentences (in English) which reflect the language. It's a tough one, but the language is a lot like poetry, and since I've written poetry, it feels doable.

I have yet to actually create a language. That is certainly not in my plan, but one never knows.

 

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