Writing Like Knitting

I wrote a poem today, which is not something I typically do. In fact, I didn’t intend to do it at all.

I was listening to Mike Birbiglia’s postcast, Working it Out. In episode 4, he talks about writing poetry with his wife, and Matt Berninger and Carin Besser of The National. They talked about all the people who are out there making creative work, but not showing or sharing it. Maybe not even having the desire to share. Mike seemed surprised and fascinated by the idea, and I also find it very strange to think about. Whenever I write, I always have the vague idea of a reader other than myself in mind.

They discussed working on a poem for years, “like knitting,” with no real concern or urgency for finishing it. In fact, specifically enjoying the not-doneness of it. Writing as a pass-time. Writing as a personal, private act, or peaceful meditation.

This idea really struck me. So even though I don’t write poetry, it felt fitting in the moment to write a poem about writing poems. I started writing, and before I knew it, a poem happened. I won’t vouch for the quality, but it was a fun little spontaneous act of creation. In fact, it was fun enough that I’m thinking I might delve into poetry again some time.

She Writes

She writes
Taps the keys
A poem, a secret, between her and the screen
Words are fluid
Day to day, month to month,
Year to year
Obsequious to whim and whimsy
To whatever mood takes her
That day
That year

The poems are not for others
They are hers
They are her
They are
A slow progression, knitting
Bonsai trimming
Cutting hair
No desire to share
To show
Not greedy
Just comfortable in the words
In the middle of making
No concern
For done

Razor Mountain Development Journal #10

This is part of my ongoing series where I’m documenting the development of my serial novel, Razor Mountain. Be forewarned, there are spoilers ahead!

Last Time

I outlined three new God-Speaker chapters to catch up with Christopher’s storyline, I fixed up the chapter ordering, and I thought a bit about the writing style of God-Speaker’s chapters.

Finishing Act I

To keep up my current cadence, I want to finish Act I with one more God-Speaker chapter and three more Christopher chapters. (Check out my previous post in the series to see the chapters in Act I so far. Since I know where I want the characters to end up by the end of the act, it’s just a matter of working through the steps to get them there.

In this final chapter, God-Speaker starts out separated from his tribe, alone, having fallen down the glacier. All that’s really left for him is to find his way to Razor Mountain.

Chapter 17

Because of the way I’m switching between Christopher and God-Speaker, this will be the last chapter of Act I.

To add insult to injury, I think God-Speaker will start the chapter with the discovery that the stone god he’s carrying was broken in the fall. This is the god that he speaks to, the reason for his name; the god that his tribe relied on for guidance and protection. This is the lowest he’s ever been.

He is disconsolate, and wanders in the eerie semi-dark world of tunnels and ice caves beneath the glacier. He feels as though he may already be dead.

After wandering for some time, he comes to a place where the ice is black and glows strangely. He realizes this is the smoking impact crater that he saw from on top of the ridge. He feels compelled to continue forward, in the same way that he felt compelled by the “voice” of the stone god.

He follows this compulsion until it leads him to a cave that descends into Razor Mountain. He follows it in complete darkness. Eventually, he comes to a place that glows in the darkness. This is the crash site. He finds the artifacts here, touches one of them, and his mind is changed forever.

My chapter outline in Scrivener is this:

Chapter 17: (GS) God-Speaker discovers that his stone god was broken in the fall. He gives it a sort of burial, then wanders beneath the glacier. After some time, he comes to a place where the ice is black and glows strangely: the impact crater he saw from above. He feels compelled to continue forward and finds a cave. He follows it in complete darkness until he comes to a glowing place where he finds the artifacts, touches them, and receives a sort of enlightenment.

The Christopher Chapters

Christopher’s chapters are a little more work, but he does have three chapters to do it in. He starts in a bad place, lost in the wilderness, and unsure if his map can actually guide him to anything useful. He’s now too far away to go back to the bunker that was his safe place.

My act-level outline has him receiving some help from Amaranth (unbeknownst to him, at first). He is shot at by soldiers from the 550th Infantry, and finally meeting Amaranth and being led to the exiles. Actually meeting a group of people after being alone for so long seems like a suitable ending for Christopher’s Act I, and a good counterpoint to God-Speaker, who ends up completely alone, also at Razor Mountain.

Chapter 13: (C) Christopher realizes that he is probably going to die in the wilderness. He finds a bit of Zen in this, and decides to just continue traveling toward the next point marked on his map. While walking through the forest, he comes across a rabbit carcass, skinned, gutted, and ready to cook.

Chapter 15: (C) Christopher wakes the next morning. He’s stiff and injured, but beginning to feel used to it. He packs up and walks, thinking about the rabbit. He decides that someone must be watching him and looking out for him, though he doesn’t understand why, or why they don’t reveal themselves. He comes to an open area and sees that he’s close to the distinctive peak of Razor Mountain. Suddenly, someone starts shooting at him, and he takes cover.

Chapter 16: (C) Christopher takes cover and moves deeper into the forest to avoid the shooting. It’s coming from the mountain. While hiding and fumbling with the gun he brought from the bunker, he sees Amaranth. She sneaks between trees to him, without showing herself. She indicates that he shouldn’t fire back, and motions to lead him on a route through the trees that keeps him hidden from the shooter. After a while, it seems to be safe and they walk. Nightfall comes, and she finally brings him to a cliff-side entrance, similar to the bunker where he first found refuge. Inside, it’s much bigger than the bunker. She leads him underground, to the exiles.

Results

I finished the chapter summaries for Act I!

Next session, I’ll probably be getting a little more abstract again, as I map out what happens in Act II. There will be more characters, more interactions between them, and more mysteries.

Guessing the Future for Science Fiction

Taking on the role of oracle is one of the greatest joys and biggest challenges of writing science fiction. There’s something magical about reading a story that unveils entirely new ideas, technologies, or shifts in society, only to see those things come to pass a few years down the road.

It can be equally interesting to look at less accurate “futures” from bygone eras and see how they turned out wrong. What does the hopeful and often hubris-filled science fiction of the post-WWII era say about the society that generated it? What about the gritty and depressing dystopias crafted in the ’80s?

Guessing the future isn’t easy. Occasionally, we get it right and look prescient. More often, we get it wrong in some way or another. But we can at least perform our due diligence by building our fantastic futures on the mundane foundation of the present.

Hard and Soft Science Fiction

There is a stylistic split in the genre of science fiction. It’s not a hard line; it’s more like a gradient. “Hard” science fiction does it’s best to extrapolate from the present in a straight line. In hard SF, the future should be explainable. It should follow logically from what we see in the present. “Soft” science fiction cares less about explanations, crafting futures that are convenient to the story, without worrying so much about the through-line between the present and the future.

In practice, no science fiction story can completely describe all the events and technologies that led from the present to that particular future. There is no perfectly hard sci-fi. And some stories will simply have less to explain. They won’t be as concerned with the technological nitty-gritty of the future.

Still, when we think in these terms, it’s easy to start placing different stories somewhere closer to the hard or soft end of the spectrum. The Mars trilogy by Kim Stanley Robinson is fairly hard, concerning itself greatly with the details of the technology and grounded in cutting-edge space travel research. Meanwhile, Herbert’s Dune books or the Star Wars movies are fairly soft. The setting and the technologies serve the story, and little explanation is provided for their provenance.

More distance from the here and now, be it temporal (“a long, long time ago”) or physical (“a galaxy far, far away”) is going to add softness. The future imagined in Dune is so many thousands of years in the future that the intervening time couldn’t possibly be accounted for within the text. In fact, after Herbert’s death, a whole swath of Dune books were written to fill in some of that intervening time.

Focus

If you accept that your story is going to be soft science fiction, you may not have to worry too much about extrapolating. Perhaps you’re writing an allegory, where the future setting only serves to contrast with the present day. Perhaps you’re writing a fantasy story, and the backdrop of spaceships and laser swords are purely aesthetic.

Assuming you’re writing harder sci-fi, you’re going to need to decide what your areas of focus will be. Do you want to explore future technologies? Do you want to explore how they might change life for individuals, or across larger swaths of society?

Science fiction must tell a story, but it has the added burden of building and explaining its world as the story unfolds. Every story has a limited number of words it can spend building the world. By choosing specific areas of focus, you can maximize those words, and cut passages that stray too far from those areas.

Find the Starting Points

To build a future, you have to start in the present. There are always interesting things happening in the world. Which of those things relate to your areas of focus? This is the research stage of the project, where you’ll need to look at what trends or technologies already exist, or perhaps what scientists are actively studying in the field.

For example, let’s look at some technologies I’m interested in for one particular story. I’m interested in augmented reality (AR), intertwining of digital and physical worlds, and the increasing power of hackers to affect physical objects and systems as they become integrated with the internet.

For this project, I would look into the various VR headsets and the sorts of applications people are running on them. What about low-cost alternatives, like Google Cardboard? What about prototypes like Google Glass? The AR functionality on modern smart phones allow me to see what furniture might look like in my house before I buy it. What else can I do?

I might also look into recent hacks that affect real-world systems. Iran’s uranium enrichment program was hacked to break their centrifuges. The US has a variety of concerns about the safety of their electrical grid.

For the combining of digital and physical worlds, I could dig into mobile games like Pokemon Go that follow the user’s real-world location to change the game-state, and use AR to project game objects onto the user’s surroundings.

Extrapolate

Once you have some starting points, you need to begin extrapolating. What are people researching today? What isn’t possible yet, but might be possible with one or two simple advances?

Computing power, internet speeds, and many other “base” technology enablers tend to increase steadily over time. If the only limitation on something today is the speed of computers, chances are good that the limitation will go away in the future. The price and size of popular technology tends to decrease over time as well. Any technology today will likely become smaller and cheaper in the future.

These are surface-level extrapolations. To go deeper, you need to think about how the technology might be used, and what it might enable. What might good and selfless people want to do with this technology as it advances? What might evil, selfish people want to do with this technology? Can it be an enabler of other technologies or societal shifts?

Technologies do not stay isolated. They don’t live in silos. They cross-pollinate, mix, and work in tandem. Sometimes they obstruct one another. How might this new thing affect other technologies, positively or negatively?

Back to the example of AR, digital/physical crossover, and hackers.

I imagine a future where AR is ubiquitous. It’s powered by mobile devices (something that’s already happening). It’s displayed on glasses (similar to Google Glass), and it’s controlled with a strap around the fingers, for motion control (a streamlining of Nintendo’s console controllers, Microsoft Kinect, and many similar technologies). I imagine that AR could use mobile location technology to provide location-relevant data. A bluetooth “beacon” might also transmit to nearby devices.

With this kind of ubiquitous AR, physical objects might be unnecessary in many contexts. A clothing store might not bother with a sign out front, or even outfits on mannequins. A sign that appears to nearby shoppers in AR could be cheaper and more eye-catching. The AR outfits in the window could be tailored to each individual shopper and their search history, or on a carousel that displays hundreds of options, one after another.

The crosswalks on the road could be virtual, communicating with local traffic to determine when it’s safe to walk.

On the other hand, hackers could graffiti an AR storefront without the bother of buying spray paint and sneaking out at night. They could graffiti hundreds of storefronts from their basement. Perhaps they could convince passing mobile devices that they’d made a purchase as they passed by. If they were nefarious enough, they might alter the crosswalk algorithms so pedestrians step out in front of cars.

Technology and People

Even the hardest, most tech-oriented science fiction has characters with motivations, goals, conflicts, and challenges. Technology is only interesting in context with people, even if those people are aliens, robots, or sentient jars of mold.

Technology sometimes affects us at a personal level, affecting our behavior as individuals. Sometimes these effects are more powerful in aggregate. Many of us are familiar with the changes in personal behavior we’ve seen in the rise of social media. As societies, we’re still in the process of working out how those changes will ultimately affect our politics and our social discourse.

Technology can affect our behaviors and the ways we interact with one another. One hundred years ago, relatively few businesses had branches in multiple countries, and those branches were more independent. Now, many people in large corporations have regular phone conversations and video meetings with their counterparts around the world. Products and services are launched globally, and directed by corporate leaders halfway across the world.

Back in our example, how might ubiquitous AR affect interpersonal interactions? If I run into an acquaintance on the street, and I don’t remember her name, a quick image search of her face could help me find it and avoid embarrassment. Of course, the privacy implications of this type of technology is considerable.

We already see many people absorbed in their phones on public transport and in public spaces. When AR makes your entire range of vision into a screen, will that exacerbate the effect. Will we finally be isolated in our own little virtual bubbles, as many doomsayers have been complaining about for years?

Final Thoughts

Extrapolation is hard. Of the thousands of works of science fiction that are produced, only a few are going to hit the mark, and only some of the time. However, even if we can’t always guess the actual, literal future, we can at least produce futures that are logical, well thought-out, and internally consistent.

Internal consistency means making sure that one technology doesn’t preclude or contradict another. Some technologies are mutually exclusive. Betamax and VHS can’t both take over the world. CDs and Zip drives don’t live side-by-side indefinitely.

On the other hand, conflicting technologies can precipitate interesting societal conflicts. Does it make sense to have a future where people grow organs in labs to increase their longevity, while also developing the technology to upload human minds into computers? Maybe not. Or maybe this is what precipitates a global crisis, where we have to decide as a species whether being human requires a specific physical form or not.

If you find yourself having trouble, you might be tempted to go into the far-flung future, because there’s so much room for things to happen in the intervening time. Instead, try getting as close to the present as possible. Extrapolate tomorrow. Practice working your way outward.

Have you seen any new technologies that inspired you? What did you extrapolate from them? Let me know in the comments, and I’ll see you in the future!

Razor Mountain Development Journal #9

This is part of my ongoing series where I’m documenting the development of my serial novel, Razor Mountain. Be forewarned, there are spoilers ahead!

Last Time

I outlined five more chapters for Christopher, while reserving a couple of slots for God-Speaker chapters.

Plot Shape, and a Counting Error

When I went back and looked at the chapter outlines I had so far, I realized that I mis-numbered them and need to adjust the ordering. Chapters 2 and 5 were God-Speaker chapters, and I planned to have two more chapters dedicated to him, up through Chapter 12. However, I had earmarked chapters 6 and 10, and I don’t want two God-Speaker chapters back-to-back.

Although the God-Speaker story and Christopher’s story are very separate at this point, I’d like to have them relate to each other here and there. They might have some similar action, related themes, or happen to cover the same geography around the same time. I think that this will help the stories to feel a little more connected. So I’m going to be looking for opportunities for that.

Because I have fewer detailed ideas for what will happen to God-Speaker than I do for Christopher, I spend some time thinking about what the general shape of his plot should be at this point in the book. For Christopher, the book starts off bad, but things have to start going well enough that he gets up the courage to set out on his journey, only to be repeatedly pummeled by a cruel universe.

I think it makes sense to have his arc at this point somewhat mirror Christopher’s. Since he gets fewer chapters in Act I, that arc will have to be compressed. God-Speaker’s first two chapters are pretty bleak. This means the third God-Speaker chapter should have him overcoming some hardship and getting a reason to have some hope. That hope then gets dashed in his fourth chapter.

Christopher starts out alone, and will only start to meet other people as he gets closer to Razor Mountain. God-Speaker starts out among other people: his tribe. He needs to end up alone by the end of the act. However, I don’t feel much interest in the hypothetical story of the tribe dying off one-by-one to attacks or hunger or illness. A story could certainly be made out of that, in the general trajectory that I want, but I’d rather think about other options until I find something that catches my interest more.

Christopher’s first interaction with other people is coming soon. I think it’ll be signs of Amaranth helping him out, and some of the Razor Mountain soldiers shooting at him from afar. To keep the corollaries going between the two storylines, that would be a great time for God-Speaker to end up alone. One character makes connections while the other loses them. To do that, I’m going to separate him from his tribe.

God-Speaker Chapters

  • At the behest of their god, God-Speaker’s tribe crosses rough terrain and climb to a high place. From here, they can see a path through the vast glacier to a vast grassland. They also see a crater and Razor Mountain, partly encased in ice. This appears to be an evil place to them. They plan to follow the path to the grassland.
  • Montage? The tribe travels across mountains and glaciers. They make primitive sleds and find some food, but not enough to be full. They come to a point where they can start the long descent down to the grassland. A blizzard sweeps in and slows their progress.
  • The tribe trudges on through the blizzard. The god moves God-Speaker to climb a slippery ridge, and he sees that they are close to the place where the ice opens up. He directs the others, but slips and falls. He slides deep down under the ice, back in the direction they came from. He is lost and alone.

For this to fit with Christopher’s chapters, the discovery of a good path should align with Christopher feeling prepared to go on his journey. The blizzard should hit both characters around the same time, and God-Speaker being separated from his tribe should align with Christopher finding the burned bunker and realizing that he is also lost and alone in the wilderness.

The Story So Far

Here are all of the chapters outlined so far, with the new, adjusted ordering. To some readers, I suppose this may feel like a lot of chapters to not even be done with Act I, but I naturally tend to write fairly short chapters, so I’m not too bothered.

Also, I started annotating my chapter summaries in Scrivener with a (C) or a (GS) to indicate the viewpoint character at a glance.

  1. (C) Christopher wakes up on a small plane over the Alaskan wilderness. Everyone else is missing. With no parachute and no fuel, he jumps out over open water. He survives the fall with an injured leg and manages to swim to shore. Freezing and hurt, he looks for shelter. He finds a strange door in a cliffside, where he can input numbers. He puts in random numbers, and the door unlocks. He stumbles inside, passing out from cold and exhaustion.
  2. (GS) God-Speaker and his tribe prepare for the winter migration. He prepares the tribe’s small stone god. Another tribe attacks. They drive the attackers off, but several members of the tribe are killed or wounded, and supplies are stolen. They begin the migration dispirited.
  3. (C) Christopher wakes in the bunker, injured but alive. He explores the bunker and finds food, beds, and geothermal technology that looks like 1950s science fiction. He finds a large, old radio, but nobody responds to him, and the only signal he can find is a cryptic numbers station that continually shifts frequencies. He also finds a map that has several locations marked, but no explanation of those markings.
  4. (C) Days have passed, and Christopher is settling into a routine. He starts a bonfire outside the bunker and burns green pine boughs to create a column of smoke. He hikes the area around the bunker, but has found nothing but empty wilderness. It begins to snow heavily, and he returns to the bunker for the evening. He is restless, scared, and uncertain what to do.
  5. (GS) God-Speaker travels with his tribe, carrying the stone god in a carrier on his back. It snows frequently, making travel more difficult. They consult the god to determine where to go. They attempt to hunt, but the hunting party encounters another band of travelers. They have a tense face-off, but do not fight. The hunting party returns empty-handed. Everyone is hungry.
  6. (C) Christopher decides to investigate the closest marked point on the map. He collects all the equipment he thinks he will need. He tries camping outside the bunker to get comfortable with it. By the end of the chapter, he feels ready to do a test excursion.
  7. (C) Christopher hikes a half-day out, sets up a camp site, tears it down, and returns to the bunker. He has some troubles with his equipment. He gets a little lost. He’s tired, and it’s very late by the time he gets back to the bunker. He decides to rest up and plan for the actual journey to the mark on the map.
  8. (GS) At the behest of their god, God-Speaker’s tribe crosses rough terrain and climb to a high place. From here, they can see a path through the vast glacier to a vast grassland. They also see a crater in the glacier and Razor Mountain, partly encased in ice. This appears to be an evil place to them. They plan to follow the path to the grassland.
  9. (C) Christopher sets out in perfect weather. He travels most of the day, then sets up camp. Everything goes smoothly this time, and he feels good.
  10. (C) Christopher wakes up when his tent collapses in the night. There has been a huge snowfall He does his best to jury-rig a lean-to, but it goes poorly. He gets no more sleep before morning and is forced to eat and pack in heavy snow. He is cold, wet and miserable. He decides to continue, but is once again full of uncertainty. his progress is very slow, he twists his ankle, and he still hasn’t gotten to his destination by nightfall. He’s exhausted, and he constructs something that barely qualifies as shelter.
  11. (GS) Montage? The tribe travels across mountains and glacier. They make primitive sleds from birch. They find some food, but not enough to be full. They come to a point where they can start the long descent down to the grassland. A blizzard sweeps in and slows their progress.
  12. (C) The next day, Christopher feels that he is nearing his limits. He searches for the marked location for most of the day. Finally, he finds it, but it’s ruined. It was clearly smashed and burned decades ago.
  13. (C) To be determined.
  14. (GS) The tribe trudges on through the blizzard. The god moves God-Speaker to climb a slippery ridge, and he sees that they are close to the place where the ice opens up. He directs the others, but slips and falls. He slides deep down under the ice, back in the direction they came from. He is lost and alone.

I left an open slot at chapter 13 for Christopher, to keep the cadence of two Christopher chapters per God-Speaker chapter. I like having patterns like that, but I’ll re-evaluate it when I continue Christopher’s outline, and I’ll break the pattern if it doesn’t fit with the flow of the story.

Other God-Speaker Thoughts

I was idly thinking about the story a few days ago, and I thought that God-Speaker’s tribe very likely had much simpler and less expressive language than what we have today. It would likely revolve around the daily tasks for survival and small-group interactions. Using cartoony “cave man language” would be heavy-handed (and unpleasant to read), but I might be able to convey some of that sense in a more subtle way by purposely constraining myself to shorter sentences and short, common words.

It would be a bit like this popular XKCD comic. Conveniently, there’s already a tool that I might try to help with this sort of writing.

When God-Speaker finds the artifacts and starts to learn how to use them, his capacity for complex thought and language is expanded, and that can also be reflected in the style that I use for his chapters.

Results

I outlined three new God-Speaker chapters to catch up with Christopher’s storyline. I fixed the chapter ordering. I thought a bit about the writing style of God-Speaker’s chapters.

In the next couple sessions, I want to finish the chapter outlines for Act I.

Is Cyberpunk Retro-Futurism Yet?

The author of Neuromancer – the book widely considered to have kicked-off the cyberpunk genre – says it’s now a retro-future. That’s pretty interesting, considering how much high-profile cyberpunk seems to still be happening.

For those who don’t follow video games, Cyberpunk 2077 was perhaps the most hotly anticipated game of 2020 (before it ended up releasing late, dogged by accusations of employee abuse and so buggy that refunds were offered on some platforms). Blade Runner 2049 was a lauded, big-budget movie just three years ago. And most of the streaming services have their own recent cyberpunk offerings.

Through five decades, we received a steady, if inconsistent, stream of cyberpunk literature, cinema, television and games. Not only that, but it gave us an almost absurd number of ___-punk sister genres, cribbing the dystopian outsider aesthetic and patching in various kinds of technology.

Death of a Genre?

Unlike most genres that take place in the present or a particular historical era, most science fiction has a built-in shelf life. While most people might be able to look past the 2019 “future” date of the original Blade Runner or the clunky flip-phones of The Matrix, there comes a certain point where an imagined future starts to feel stale.

The parts of these retro-futures that actually came to pass seem somehow more depressing, more mundane, more obvious when we live inside them every day. The predictions that failed often seem further away than they did before, or outright absurd.

Some of cyberpunk’s staying power might owe to pop media’s perpetual mining and re-mining of nostalgia for remakes, reboots, sequels and spiritual successors. Cyberpunk has also accumulated plenty of visual and tonal markers that have been used (and abused) to provide quick and shallow style. For every Matrix, there’s an Equilibrium or Aeon Flux.

It seems clear that if cyberpunk does die, it will be a slow, sighing death. Most science-fiction genres and styles don’t go away completely. They inform the sub-genres and successors that follow, transforming or splintering.

Where is the Center of the Universe?

Back on Twitter, Aaron suggests that the future is in “Gulf Futurism, Sino Futurism, Afro Futurism.” It’s not hard to see that these are all sub-genres with very different geographical and cultural centers from old-school cyberpunk. Cyberpunk is rooted in extrapolations of 1980s American culture. Even when it goes as far afield as Hong Kong, it’s more 1980s British Hong Kong than post-handover Chinese Hong Kong. The neon hanzi are largely window-dressing.

There is certainly a deep vein of anxiety in America that suggests that the country’s cultural and economic influence on the future is waning. That refrain seems to be getting louder, not quieter. Meanwhile, other places in the world are seeing their cultural and economic influence grow at breakneck pace, even as technology upends old norms and traditions.

Gulf futurism centers the world on the Arabian Gulf, while Sino Futurism looks at the future through a Chinese lens. Afro Futurism explores futures and themes not only centered on the African continent, but also on African diaspora and the complex intersections of culture and history that brings.

Cyber, Solar, Bio or Steam

Other Twitter responses mention solarpunk and biopunk, offshoots that focus less on traditional cyberpunk technologies like AI and VR, and instead explore the consequences of things like environmental disaster, climate change, and runaway biotechnology. In a world where climate change becomes more apparent every day, these themes are more relevant than ever.

Meanwhile, there are many other derivatives that shift the aesthetic from futuristic to fantastic. Genres like steampunk and dieselpunk are more fantasy than science-fiction, enjoying anachronistic alternate universe playgrounds that are concerned with the themes of the last century rather than the themes of the upcoming one.

Fodder for the Reading List

Cyberpunk will continue, in some form or another, but it’s getting long in the tooth. Maybe its latest micro-renaissance will prove to have interesting things to say about our modern dystopian world. And even if it doesn’t, it’s interesting to see the genre splintering in so many different directions. If nothing else, these tweets have inspired me to sample some of these other sub-genres.

Razor Mountain Development Journal #8

This is part of my ongoing series where I’m documenting the development of my serial novel, Razor Mountain. Be forewarned, there are spoilers ahead!

Last Time

Last time, I outlined chapters 3 and 4, continuing Christopher’s story, and chapter 5, continuing God-Speaker’s.

Christopher Takes a Risk

So far, Christopher seems to have gotten lucky. He survived the fall from an airplane and found the bunker. Now, he finds himself safe in the bunker, but lost in the wilderness. He is naturally inclined to avoid risk, but he begins to think he has no choice.

In keeping with his character, he evaluates his options before he does anything. He doesn’t know much about the area. He hikes around the woods near the bunker. He has a difficult-to-interpret map from the bunker, which might point him toward other landmarks. He has a good quantity of food and supplies from the bunker.

He also has no illusions about his lack of skill in wilderness survival. The snow is now fairly deep, especially the drifts that form in this craggy, mountainous terrain. His leg is feeling better, but still not completely healed. He knows it would be easy to overextend himself.

Christopher ultimately decides that he needs to go out exploring, but he is the sort of person who will first engineer some kind of test run to gain confidence. He thinks he may have an idea of how to interpret the map, but if he’s correct, it will entail days of travel to get to any of the spots marked on it. He will need to be able to travel for days over difficult terrain, carry enough supplies to stay alive, and keep himself warm on cold nights.

Christopher’s Story Beats

Getting meta for a moment, there are a few things I want to accomplish with this section of Christopher’s story.

First, Christopher has to overcome his fear and set out. He’ll make some timid progress. This is just enough to push him to take a bigger risk, actually heading out into the wilderness far enough that he can’t get back to the bunker by nightfall.

As soon as he’s in a situation where he can’t easily back out, I want the story to start beating him down. The terrain becomes more difficult than he expected. His equipment breaks. He twists the ankle that was starting to heal. And it snows again.

At that point, I have Christopher good and miserable. Everything is going wrong and he’s more than a day away from the bunker. It will be a long, hard journey just to get back to his safe spot. His prison. That gives him an even more difficult choice: does he continue, hoping to reach one of the points marked on his map, or does he go to all that work just to get back to his starting point, worse-off than he was before?

All of this should lead into him making the tough choice to keep going. We can feel proud of his perseverance in the face of all these difficulties, and fighting against his own personality.

So, he continues, and manages to get to the spot marked on the map. At first, he finds nothing. He searches. Finally, he finds what the mark on the map means. It is another bunker: a different, smaller structure. This one is ruined, broken and burnt. It looks like it was destroyed decades ago.

That forces another decision on him, similar to the first, but with much higher stakes. He still has the choice to continue or go back. The next mark on the map is further away. He doesn’t think he has enough supplies to get to this new place, or to get back to the bunker, and his leg is in bad shape.

Wrapping up Act I

Those beats probably get me more than halfway into Act I. From that point, I need to start moving the plot toward the action that I know should happen before the act is over. Christopher being in dire straits is a good opportunity for Amaranth, the exile hunter, to give him some help, providing the first sign that good things can actually happen to Christopher in this book (even if they’re few and far between).

From there, it’s a matter of Christopher continuing toward Razor Mountain, gaining some confidence in his own ability to solve problems on the fly. He eventually meets Amaranth and she brings him to her people, the exiles. But that’s all for another day. For now, I need to turn some of this into more chapter outlines.

Chapter Outlines

  • Chapter 6 – God-Speaker chapter. TBD.
  • Chapter 7 – Christopher decides to investigate the closest marked point on the map. He collects all the equipment he thinks he will need. He tries camping outside the bunker to get comfortable with it. By the end of the chapter, he feels ready to do a test excursion.
  • Chapter 8 – Christopher hikes a half-day out, sets up a camp site, tears it down, and returns to the bunker. He has some troubles with his equipment. He gets a little lost. He’s tired, and it’s very late by the time he gets back to the bunker. He decides to rest up and plan for the actual journey to the mark on the map.
  • Chapter 9 – Christopher sets out in perfect weather. He travels most of the day, then sets up camp. Everything goes smoothly this time, and he feels good. He sleeps.
  • Chapter 10 – God-Speaker chapter. TBD.
  • Chapter 11 – Christopher wakes up when his tent collapses in the night. There has been a huge snowfall. He does his best to jury-rig a lean-to, but it goes poorly. He gets no more sleep before morning and is forced to eat and pack in heavy snow. He is cold, wet and miserable. He decides to continue, but is once again full of uncertainty. His progress is very slow, he twists his ankle, and he still hasn’t gotten to his destination by nightfall. He’s exhausted, and he constructs something that barely qualifies as shelter.
  • Chapter 12 – The next day, Christopher feels that he is nearing his limits. He searches for the marked location for most of the day. Finally, he finds it, but it’s ruined. It was clearly smashed and burned decades ago.

What About God-Speaker?

I chose to not worry about God-Speaker for this session. I know I want to have several more God-Speaker chapters mixed in, but I have a good idea of what I want to do with Christopher, and I’m less certain about God-Speaker. As I get these Christopher chapters worked out, I can look for good places to add a few God-Speaker chapters, and worry about their content later.

Results

I outlined five more chapters for Christopher, while reserving a couple of slots for God-Speaker chapters.

Next time, I’m going to figure out what should be going on in those chapters, and if those slots are enough. I want to get to a similar point in the God-Speaker storyline where I’m at least within sight of the end of Act I.

Reference Desk #4 – The Elements of Style

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The Elements of Style is a book originally written in 1919, expanded and published in 1957, and updated three more times since. It’s a little book, less than 100 pages. It’s easy to read, and you can purchase both the physical and e-book editions for less than ten dollars. It’s opinionated, specific and packed with clear examples.

Useful and Concise

Some books on writing seem to be trying to convince the reader that they’re useful through sheer wordiness. They’re full of advice that sounds good, but immediately breaks down when you try to apply it to actual writing. The Elements of Style would never presume to waste your time like that. It takes its own advice. As rule #17 states:

Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all sentences short or avoid all detail and treat subjects only in outline, but that every word tell.

Prefer the specific to the general, the definite to the vague, the concrete to the abstract.

Principles of Composition – #16

It’s full of simple, straightforward advice and rules with clear examples. The book often provides two examples side-by-side: one good and one bad. It is specific enough that you can take any of these rules and apply them to a manuscript in progress. I find that my writing always comes out a little better for it.

A Surprisingly Fun Read

While there are a handful of things that feel a bit outdated, even in the most recent revision, the majority of it is relatively timeless. As much as popular styles of writing and word choice change over time, good writing holds up well.

Through brevity and style, the authors show in the descriptions of their own rules what good, clear writing looks like. This is a book I reread, in whole or part, every year or two. I always come across some passage here or there that makes me smile. Despite being a prescriptive rule book, it’s often a delight to read.

If you’re a writer and you haven’t read this book, you owe it to yourself to do so.

Write in a way that draws the reader’s attention to the sense and substance of the writing, rather than to the mood and temper of the author. If the writing is solid and good, the mood and temper of the writer will eventually be revealed, and not at the expense of the work.

An Approach to Style – #1

Razor Mountain Development Journal #7

This is part of my ongoing series where I’m documenting the development of my serial novel, Razor Mountain. Be forewarned, there are spoilers ahead!

Last Time

Last time I came up with brief descriptions of the hunter, Amaranth; the exile leader, Ema; and the exile traitors, the brothers Garrett and Harold. I named the main Razor Mountain group the 550th Infantry Regiment.

What Comes Next for Christopher?

I left off the chapter 1-2 outlines with Christopher in a mysterious bunker in the Alaskan wilderness, and God-Speaker’s tribe starting its migration. I don’t want to make it very obvious this early on, but I think chapter 2 is actually what Christopher sees in his troubled dreams while he’s collapsed in the bunker. Being in close proximity to Razor Mountain is bringing his God-Speaker memories closer to the surface.

I’m planning to intersperse God-Speaker chapters, and since I plan to have a larger amount of Christopher chapters, I think the next two should focus on him. He wakes up, shocked and damaged, takes stock of his surroundings, and has to decide what to do.

The first and easiest thing for him to do is explore the bunker. It’s a relatively small space, cleverly designed, but the decor hints that it’s actually quite old. There are beds, food, supplies and even weapons to sustain several people here almost indefinitely. And yet, it’s empty and unused. This appears to be a safe place for Christopher. Because of his personality, he’s inclined to stay put, but he also quickly realizes that there may be no help coming.

His next thought is to explore nearby, still close to the bunker. There is a radio, but it only picks up cryptic signals. Perhaps there is a high vantage point where he can look for settlements? Or a way to make a smoke signal?

After a few days, Christopher begins to understand (at least subconsciously) that he may be the only one who can get himself out of this situation. He has a stark choice. He can stay safe in the bunker, letting it become his prison, or he can choose to take some serious risks, which is probably the only way he will ever be found or manage to get home.

These chapters need to set up Christopher’s internal conflict, which will drive Act I: his fear of the unknown and his unhealthy aversion to risk vs. his need to act and take chances to get out of his current predicament.

The Next Two Chapter Outlines

Chapter 3 – Christopher wakes in the bunker, injured, but alive. He explores the bunker and finds food, beds, and geothermal technology that looks like 1950s science fiction. He finds a large, old radio, but nobody responds to him, and the only signal he can find is a cryptic numbers station that continually shifts frequencies. He also finds a map that has several locations marked, but no explanation of what those markings mean.

Chapter 4 – Days have passed, and Christopher is settling into a routine. He starts a bonfire outside the bunker and burns fresh pine boughs to create a column of smoke. He hikes the area around the bunker, but has found nothing but empty wilderness. It begins to snow heavily, and he returns to the bunker for the evening. He is restless, scared, and uncertain what to do.

What Comes Next for God-Speaker?

Travel and hardship.

God-Speaker’s Act I ends with him having lost his whole tribe, and being drawn into the depths of Razor Mountain, where he will find the artifacts. His first few chapters should be a succession of devents that wear him down and take away everything he cares about.

The tribe has already suffered loss. Now they are migrating, and since it’s the midst of an ice age, cold weather seems like an obvious challenge for them to face. Along with this, there is a lack of food. This is also what’s driving other tribes to migrate across the area.

I might also be able to use weather to make a small connection between Christopher’s chapter and the adjacent God-Speaker chapter. Christopher experiences a large snowfall, then God-Speaker does as well.

God-Speaker’s Chapter

Chapter 5 – God-Speaker travels with his tribe, carrying the stone god in a carrier on his back. It snows frequently for days, making travel more difficult. They consult the god to determine where to go. They attempt to hunt, but the hunting party encounters another band of travelers. They have a tense face-off, but do not fight. The hunting party returns empty-handed. Everyone is hungry.

Results

I outlined three more chapters. I’m feeling pretty good about pushing through Act I chapter-level outlines. I think I will still have a lot to figure out when I get into Act II, so I may try to include some of that work in the next couple sessions.

Writing Spikes

My day job is software development, and once in a while I find some useful crossover in concepts between programming computers and writing fiction. Today, I’d like to take one of those software concepts – the “spike” – and apply it to fiction.

What is a Spike?

In software development, a spike is an experiment. It is writing code in order to answer a question or test a solution to a problem. Implicit in the idea of a spike is that this is “throwaway” code. It’s not expected to go into production.

When to Try a Spike

The goal of a spike is to take an infinite number of possible storylines and reduce them down to the best one. The most obvious place to try a spike is when you know your story could go in several interesting directions, and you’re not sure which one is the best option. Think of your story in terms of alternate universes. Each choice, each universe, differs at this specific point. As the author, it’s your job to find the most interesting universe, and discard the others.

A less obvious opportunity for a spike is when you don’t know where your story is going next. You may be doing some exploratory writing, and run into a bout of writer’s block. Or you may still be working on your outline. Often, when we feel like we have no ideas, we’re really just letting our inner editors censor us. Chances are, you have some “bad” ideas that you’re reflexively throwing away. Instead, use them as fuel for a spike.

The other useful time for a spike is when you reach an important inflection point in the story. This could be a major event for some of the characters, a big reveal, or a turning point in the plot. These are the moments that people talk about when they discuss books they love.

This might seem like a strange place to experiment. These moments are often the seeds of a story that first take shape in my mind, and make me want to write it in the first place. Why mess with a good thing?

Well, the human mind is lazy. Tropes and stereotypes thrive in comfortable, familiar territory. When we run with the first idea that comes to mind, those same well-worn, rehashed ideas can start to sneak in.

If these are the shiniest, most important bits of the story, shouldn’t they be as great as they can be? The worst that can happen is that you come up with bad alternatives, and you confirm that your original idea was the best.

The Steps of a Spike

You can do a spike during outlining, while writing, and even in revision (although you may end up making even more work for yourself). You just have to tailor your scope and output to where you are in the writing process.

First, get your mind into brainstorming mode. Define all the options. If you have a hard time coming up with possibilities, consider setting a specific number of options, and forcing yourself to come up with at least that many. Sometimes, great ideas come when we’re struggling, and we force ourselves to reach for the strange or unexpected. These options don’t have to be detailed. A list of bullet points is enough.

Once you have enough options, you’ll need to decide how many you want to pursue. A good default is three options, but this is entirely up to you. You may only have one – an alternative you want to try. Spikes are a balancing act. Remember, they’re designed to be disposable. You’re going to do some work, and then throw some of it away. Let that free you. That work isn’t wasted – it’s ensuring that whatever you decide to keep is the best it can be.

Next, it’s time to define the limits of your experiments. You can set a number of pages, number of words, or a time limit for each option. Once again, balance is key. Spend too much time or too many words on too many options, and the project will never be finished. The goal is to be confident about which option is best.

Evaluating the Results

Again, every spike is an experiment. You made your choices, and you wrote something for each one. You may have some additional notes as well. These are the results of your experiment. Now, you need to evaluate them.

If you have a confidant, spouse, editors or beta readers, and they’re willing to take a look, you may want to solicit feedback. They might see something special that you missed in one of your experiments. They might also catch a gaping plot hole. They might react more or less strongly than you expected.

Whether you get feedback from someone else, it’s time for a final decision. Evaluate each of your pieces and pick with the confidence that you’ve now thoroughly explored your options.

Finally, do some revision. If you felt hemmed-in by the time/page/word limits you set for yourself, now is your opportunity to expand and improve. Maybe you thought of something in paragraph ten that you could have set up more effectively in paragraph two. Like a science experiment that gets refined into a commercial product, you can take your proof of concept and polish it to perfection.

That’s it! A spike really isn’t complicated – just a controlled comparison between a set of options. But it’s good to remind ourselves that sometimes it’s okay to try things out, even when it might feel like a waste of words. You never know when that strange idea you set aside might change your story for the better.

Razor Mountain Development Journal #6

This is part of my ongoing series where I’m documenting the development of my serial novel, Razor Mountain. Be forewarned, there are spoilers ahead!

Last Time

I made an initial attempt at God-Speaker’s act-level outline. I also started chapter-level outlines with the first two chapters.

Other Characters

I spent a little time thinking about secondary characters that Christopher will encounter in the first act or early in the second act.

  • Hunter – This girl, a young teenager, was born with a congenital disorder of the throat that prevents her from speaking. She is one of the exiles from Razor Mountain, and the most adept at surviving in the wilderness. She happens upon Christopher while he’s traveling and helps him. I felt like an unusual name, so I’m going to call her Amaranth.
  • Exile Traitors – A pair of brothers who have become disillusioned with the exiles. They’re looking for a way to get back in the good graces of the main group, and attempt to trade Christopher for forgiveness of their desertion. I’m calling them Garret and Harold.
  • Exile Leader – A woman named Ema. She became skeptical of the propaganda fed to the inhabitants of Razor Mountain and led the other exiles to try to escape.

Razor Mountain Factions

So far, I see the need for three factions: the exiles, the “main” faction, and the council who are the shadowy ruling group that knows about God-Speaker. The relationship between exiles and “main” group is straightforward. The exiles left the main group, distrusting the propaganda. The two exile traitors were initially excited to leave Razor Mountain, but their opinions quickly changed once they realized how difficult it would be to survive in the wilderness long enough to find civilization – especially since the residents of Razor Mountain don’t really know much about the outside world.

The interactions of the council and the “main” group are less clear. There are several problems to solve.

  1. The council probably replenishes its members from the main group. How does this happen?
  2. The council has to exercise control over the main group. What propaganda do they use to pacify the main group?
  3. How does the main group see the outside world, and their place in it? Does anyone from Razor Mountain go out into the outside world or interact with it? Even if they somehow remain hidden and are largely self-sufficient, they’ll probably need some interaction with the outside world.
  4. Names. As usual, when I notice myself needing to type vague names over and over (like “the main group”), I know it’s time to come up with a name. What does this main group call themselves?

To enforce order and strict hierarchy, I think it makes sense for the main group to have a militaristic bent, which means military hierarchy and ranks. I don’t know too much about military organization, so I did some searching. Generally, it seems that divisions contain brigades/groups, which contain regiments. Regiments are up to about 5000 soldiers, containing a few battalions.

For a robust, reasonably functional, mostly self-sufficient society, my gut instinct is that hundreds (and probably a few thousand) people are necessary. So a regiment is a good top-end for the size of the main group. I picked a random 3-digit number that’s well above any modern US regiment number: the 550th Infantry Regiment. I’m thinking that the propaganda of Razor Mountain claims that this military organization is a secret part of the US armed services, even though there is no actual connection.

Numeric identifiers don’t stick well in most people’s minds, so my inclination is to give the regiment a nickname. Many of the nicknames of Army regiments are cryptic or related to some obscure historical context. There might be some interesting context for this group at some point, but for now, I’ll just give them an animal appropriate to their surroundings – “the Lynx.”

Moving to Scrivener

Now that I’m into the chapter outlines and I’m starting to gather a variety of different notes – research, factions, and characters, I’m at the point where I generally start moving everything into a Scrivener project. Scrivener is a tool that merges word processor and writing project management. If you’re curious, I just wrote a whole post about Scrivener.

I got my paltry two chapter outlines into Scrivener, and I’ll be adding to character descriptions and other notes as I go.

Results

I came up with brief descriptions for the hunter, Amaranth; the exile leader, Ema; and the exile traitors, the brothers, Garrett and Harold. Amaranth is the most important for the first act. I named the “main group” at Razor Mountain the 550th Infantry Regiment (the Lynx).

Next time, I’d like to get more Act I chapters outlined, and let any challenges that come up dictate what I work on next.