Showing posts with label writing. Show all posts
Showing posts with label writing. Show all posts

Thursday, March 3, 2016

The Hope Spot #16 "Deconstructing the Cold Equations"

Last month we began to take a look at two developing genres called “rational fiction” and “rationalist fiction” in order to see what they might be able to lend to horror. This month we will continue by taking apart a story that has been both lauded and maligned, in order to teach by example. 

The core element of both rational and rationalist fiction is that “the rules of the fictional world are sane and consistent.” Some stories fail on both of these counts. Others manage to be consistent, but are far from sane. The following story is science fiction, not horror, but the lesson can be applied to any genre. 

The Cold Equations was written in 1954 by the author Tom Godwin. In brief, the story is about an emergency vessel that is being sent to deliver badly-needed medicine to a colony planet. The pilot discovers that there is a stowaway, which is an issue because the amount of fuel on the ship is carefully-calibrated and any additional weight will mean that the ship will not be able to land safely. Alas, the stowaway is a teenage girl who did not know this and merely wanted to visit her brother. Still, the laws of physics are the laws of physics, and since either the pilot or the girl must go, and the pilot is the only one who can land the ship, the girl must be thrown out lickety-split. “It has to be that way,” the protagonist says,” and no human in the universe can change it.” 

The story could make a good example of “paleo” rationalist fiction if it weren’t for a few problems—or rather the same problem, repeated over and over. As Gary Westfahl summed up: “Very poor Engineering.” On TV Tropes, the Headscratchers article for The Cold Equations is more than half the length of the ten thousand-word story itself. 

There is a puzzle, of sorts, in this story: How does one make sure that the medicine gets to the colony, so that nobody dies from kala fever? The solution, Tom Godwin asserts, is that the girl has to go. But there is a chair. There is a supply cabinet with, one might reasonably suppose, supplies. There are clothes, “identification disks”, a gun, paper, pencils, and other miscellany. The girl weighs about a hundred pounds; is there really no way to get rid of that relatively small amount of weight? An “answer story” called The Cold Solution sees the pilot going so far as to lop off some limbs. 

Let us assume, however, that there is not enough miscellany to toss out, that the chair cannot be removed, that lost limbs will put the pilot in shock so that he cannot do his job as a pilot, and so on. A puzzle that sought to portray a good person who was honestly trying every possible alternative—as the story clearly meant to do—should at least have its protagonist consider these possibilities, even if they became unfeasible. By skipping over these possibilities the story betrays that things are happening “solely because ‘the plot requires it’”, which rational fiction is rather opposed to. 

Even so, the story still fails on the aforementioned count of the fictional world being “sane and consistent.” They are consistent, certainly, but are they sane? Absolutely not. 

If stowaways pose such a danger, then the girl should not be able to say, “I just sort of walked in when no one was looking my way… I slipped into the closet there after the ship was ready to go just before you came in.” Something as simple as a locked door would have nipped this plot before it even started. Or a sensor that alerted the pilot to weight and “some kind of a body that radiated heat” before liftoff, instead of an hour later. 

Most radical of all, perhaps the society that designed these ships could rediscover a concept called “safety margins” and actually adhere to them. This is a principle that is basic to all engineering. Yes, the story breaks down completely and you have no plot at all, if there was a little more fuel on the ship. But while the rules of the story may be consistent, they apparently correspond to a greater world that is utterly insane. As Cory Doctorow says, the ideas in this story “present a kind of blueprint for disaster, a willful and destructive blindness…”  

As the story’s existence goes to show you, it is possible to write a tale whose logic goes out the window as soon as you start asking what sort of world it exists in. Indeed, since the editor sent it back three times because he disliked Tom Godwin’s “ingenious ways to save the girl” you can even learn that there are some people who will not accept a story that demands to exist in a reasonable world. Nevertheless, as can be demonstrated just as easily by the story’s reception (especially in present times), you still can’t make a story like that and have it be good

There is a glut of horror fiction featuring characters whose actions do not make sense, and who do not inhabit a world that makes internal sense. This is different from saying that a story about time-traveling robots doesn’t make sense on the basis of our world, which has a conspicuous lack of time-traveling robots. If there are problems with the internal logic of The Terminator then it is because, for example, we are never told why Skynet sent a robot to assassinate a woman in the past before her son became a threat, when an equally-viable strategy for a time-traveling AI would have been to simply start the war decades earlier.

Don’t take this to mean that the film isn’t good. Since we all have different tastes in fiction, and there is even a market for drugstore romance novels with nearly-indistinguishable plots, I can’t even say that The Terminator would have been an objectively-better film for somehow resolving this issue. All that I can say is that neither The Terminator nor The Cold Equations can be considered rational fiction, let alone rationalist.

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Thursday, February 4, 2016

The Hope Spot #14 Lovecraft and Existentialism

I cannot leave Yog-Sothothery alone. It calls to me. It demands a response. But my response is not an affirmation of its statement. It can’t be. Cthulhu is slumbering in R’lyeh, waiting to arise from sleep and death. Nyarlathotep dances to the tune of a million flutes. Indeed, it may be claimed with certainty that in the epilogue it shall be said of our world that darkness, decay, and the red death held dominion over all, and of the coleopteran race to follow ours that this, too, shall pass.
But I am crippled from properly appreciating this, I think. I am an existentialist, and in my existentialism I look out my window and behold the passing away of all that I love and the imminent reign of the Great Old Ones, and yet… and yet still I ask myself whether I shall have my eggs fried or scrambled this morning. In my existentialism, I cannot escape the matter of life, even if it will one day come crashing down to nothing.
The Mythos demands a response, and so I say this: that the presence of these things, standing at either end of our lives like terrible wraiths, does not invalidate the moments between. If men could survive the concentration camps and speak, as did Viktor Frankl, of “the last of the human freedoms,” the ability to choose how oneself will react within the limits of one’s effective agency—then the war is over and was only ever a lie to begin with. It is no matter if Nyarlathotep stands outside, doorknob turning in his grip. The question still remains: How will you act in this very minute, no matter how few or many lie before or after it?
In other words, Azathoth is. This is not to be disputed. But no matter the fact of his existence, as terrible as it is, there still remains the matter of life: what you are going to do with whatever amount of days and minutes you have left to you. After the world ends it may be that as much will have come of helping your neighbor as would have come from sitting on the floor for the lights to cut out, but it nevertheless feels as though they are not equal in the moment that they happen. Rejecting any choice at all, simply because one day it will amount to nothing, is a special kind of cowardice.
“Existence precedes essence,” said Sartre. Cthulhu is waiting in R’lyeh, hungering for your soul, but that does not prevent you from choosing how you react. You may die in the fetal position or with your head held high, and if that is the only choice that can be made then it is all the more important for you to choose well.
With a philosophy of life that is founded upon existentialism, I cannot view Yog-Sothothery as anything but an elaborate and terribly entrancing form of the Absurd. It is for this reason that I find myself drawn again and again to Lovecraft’s Mythos in both my reading and my writing. All of my work in Lovecraft’s playground is based upon approaching it, not nihilistically, but existentially.

Any human who comes in contact with the Mythos must decide zir stance on suicide, and any human who decides that ze is against it must answer the question posed by Viktor Frankl: “Why have you not committed suicide?” If one has not killed oneself then there is a reason for this, whether great or pathetic, and it is in the space of these two moments that my stories play out.

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Thursday, September 10, 2015

Things That I Like: Cosmogonical Fiction

Things That I Like: Cosmogonical Fiction

What’s that, you may ask? Let’s start out with a few examples. Spoilers will be everywhere, so be warned.

Unknown Armies is a game that divides itself into three levels: street, global, and cosmic. In cosmic-level games, the players are trying to live their lives so as to imitate particular Archetypes strongly enough to ascend to a higher state of existence and become one of the 333 members of the Invisible Clergy. When their ranks are filled this universe will come to an end and a new one will be born under their direction.

Nexus War and its replacement Nexus Clash are a pair of browser-based MMORPGs that are about a conflict taking place after the end of the universe. The player characters are people taken from various worlds and points in the history of the last universe, and placed in a battlefield made partly of eternal planes and partly of post-apocalyptic flotsam. Their actions strengthen and weaken the various gods (and fixing things can be as useful as killing your god’s enemies, if he’s the craftsgod). The strongest god out of the nine will be the one who will exert the greatest amount of influence in creating the next universe. This will affect everything from how many spatial and temporal dimensions exist to how death works (or doesn’t) to how integral violence is to the very fabric of reality in that universe.

Homestuck is a really, really long webcomic (658,000 words and counting) that is, basically, about these kids who play a game called Sburb that sends them into another world. In the process this destroys Earth, and their actions in this other world will contribute to the creation of a whole new universe.

A Dry, Quiet War is a bit off from the others in that there is a war at the end of time— it’s literally called “the Big War at the End of Time”— but it isn’t being fought to determine the nature of the next universe. Rather, in crazy stable time loop shenanigans, the war is being fought in order to determine the nature of this universe. As Colonel Bone explains, “In the future, we won. I won, my command won it. Really, really big. That’s why we’re here. That’s why we’re all here.”

What do these have in common?

There is a conflict being fought by persons or groups. They may be fighting each other, as in Unknown Armies and Nexus War, or against the environment or another group which has no chance of influencing the universe, as in Homestuck, where the Dersites can only prevent the creation of the new universe, not twist it to their own aims.

The conflict generally involves an amount of violence, but violence typically isn’t the only factor. 

  • In Unknown Armies you have to act in a way that befits your Archetype, and acting against this can actually reduce your power.
  • In Homestuck, catching frogs is one of most important tasks out there, and building houses is also a pretty big thing.
  • As mentioned before, in the Nexus games something as simple as repairing or building a door can help out your side.

The participants generally ascend to greater power in the course of events, whether or not they are directly responsible for creating the new universe or merely facilitating it:

  • Characters in Unknown Armies gain godlike powers.
  • In Homestuck, Sburb’s players have the potential to ascend to the “god tiers” and get other abilities along the way,
  • The champions of the Elder Powers in the Nexus games can become angels, demons, vampires, and more.
  • Those who fought in the Big War at the End of Time are almost like eldritch horrors by the end. Some of this is merely technological, such as how Colonel Bones’ nerves have been replaced by wires, but then there’s stuff like how he kills somebody so that that the other guy is plain wiped from existence.

Finally, those involved may have to destroy this universe or a part of it in the process of creating the new one. Indeed, destruction is necessary in three of the above four, and in two of those the forces of creation are apparently convinced that they are an IKEA and all universes must go.

These stories are to be distinguished from games like Mage or Esoterrorists, or stories like Fritz Leiber’s Change War series because the nature of this reality is set in stone. Even if you’re fighting for this universe’s nature, as in A Dry, Quiet War, there’s really no hope of changing the outcome. You’re just fighting because you fought, and it’s impossible to change time no matter what, or there will be other reasons for you to fight, or breaking the time loop does bad things to you but to everybody else in the timeline-as-it-should-have-happened it’s as if nothing different went down (as in Homestuck but also as in The Men Who Murdered Mohammed).

What’s the point of writing all this out?

I think that these examples represent a legitimate pattern of story. Hence why I bothered to give them a name. But, and here’s a point, I had to give them a name. It’s a real pattern, but not one that’s been recognized yet. Probably because it is, I’ll freely admit, pretty minor.

But these can’t be the only stories of their kind. Are there any other examples that come to mind? Or common elements that I’ve missed?


(And does anyone think that it’s an interesting enough pattern to use for a story, or am I the only one?)

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Thursday, January 15, 2015

The Hope Spot #3: Nietzsche & the Heroine’s Journey

This post originally appeared in the August issue of Sanitarium Magazine
***


I am probably not the biggest Nietzsche fanboy that you are ever going to meet, but I think that a case could be made that I am the biggest Nietzche fanboy currently writing a column for Sanitarium. One of my favorite ideas from Nietzsche is the concept of “Eternal return.”

Wednesday, December 17, 2014

Guest Post: A Platform to Stand On.

Today's guest post was written by Shaun Horton. He blogs at Shaun of the Not-so-Dead, where he posts articles on "writing, the horror genre, and the occasional mad rant." He has published several stories, including the novel Class 5, Cenote, and Paths

Class 5 is available for free through Amazon today and tomorrow, and Cenote will be similarly available on the 21st of December. 

These days, it seems like everyone and their eloquent iguana has talked about how to build a platform as an author. It also seems like just as many are quick flash-in-the-pans that disappear in six months. So, what makes this blog post any different? Well, for starters, I've been working on my platform to varying degrees for going on two years. I've tried several different things, some that have worked, and some that haven't. So what sets this blog post apart is that there is real experience here.

Thursday, October 30, 2014

Things That I Like: The Utopians: Theory, More Practice

In light of my earlier article on dystopias, I thought it would be appropriate to bring back an aborted setting that I worked on a long, long time ago. The premise was that there was a great conflict by a number of groups, called the Utopians, who were each genuinely trying to better everyone’s lives. But they disagreed on methods and they disagreed on ends. Even though they acknowledged that they were all trying to do a good job they couldn’t work together because each of the others sacrificed or didn’t address something which they considered to be of vital importance.
That’s what this is about, by demonstrating and giving examples.  Good Guys— or at least Decent Guys— who still can’t get along because they have such differing value systems, and the myriad ways that a utopia can take root.

Thursday, October 2, 2014

Things That I Like: Beyond Good & Evil: 4 Moral Dichotomies

I like moral dichotomies and moral conflicts in settings. I even, on occasion, enjoy the epic struggle between Good and Neutral, or Candy and Chocolate. But when you have a conflict between the forces of Light and Darkness and they represent Good and Evil every time, well, I get a little exhausted by it. The next go-to option is little better. Order and Chaos? Nowadays that seems to be just as overplayed as Good and Evil. Sometimes even more— or worse, it’s supposedly about Order vs Chaos but these are just synonyms for Good and Evil.
Maybe one day I’ll write up a column about other ways to treat Order and Chaos in fiction (let me know below if that would interest you) but today I want to deal with moral dichotomies in general and present four Light/Dark dichotomies that are about a little something more.

Sunday, August 31, 2014

September: Month of The 750-Word Craziness

My current average writing speed is 500 words/hour. I want to increase this average.

To that effect I'm going to set a goal of writing 750 words in an hour every day. I'm also going to be writing things that I had no idea I was going to write until I sat down at the computer, by using random generators to supply me with the day's project. I will take fifteen minutes to check facts and get resources together, if necessary, and then I'll set the clock and get to writing. If I hit my goal every day and always take the fifteen minutes to research then at the end I'll have written 22,500 words in 37.5 hours. In truth that's 600 words an hour, not 750, but in normal circumstances I wouldn't be researching as I'm writing, would I?

Friday, August 15, 2014

Guest Post: Writing Saved My Life

Today's guest post was written by Jeff Martin. He blogs at The Oak Wheel, where he posts fiction, reviews, and other neat stuff. He's also always interested in guest authors, if you'd like to set your pen to paper. In fact, my writing/creativity column "Things That I Like" started as just such an arrangement. 

It’s a lofty title, one that I doubt my prose will live up to. Nevertheless, it is a truth, a simple pillar that constitutes the backbone of my existence.

I have always been a storyteller. Ever since I called the fire department when my grandmother was napping as a kindergartner to tell them that someone had broken into the house, I have been weaving tales in one way or another. Sometimes I have been admonished for telling them, as I was by the slightly amused but mostly annoyed firefighter that found me hiding behind my grandfather’s rocking chair. For the most part, though, I receive indifference; occasionally, I am given encouragement.

It has recently dawned upon me that praise or a lack thereof has nothing to do with why I tell stories. I tell stories because, if I do not tell them, I become consumed by them. This fact did not become clear to me until months after I suffered a seizure in April of this year.

From what I remember, it was a beautiful day. My wife, son and I had just got back from a trip to the coastal enclave of Fort Bragg in northern California where we visited my mother for the weekend. It was as relaxing as a vacation can be for a (then) practicing alcoholic. The bed and breakfast we stayed in was quaint although the bed was a bit small for the three of us; the restaurants we visited served top-shelf whiskey and knew what I meant when I ordered a shot ‘neat’. We got back to our home in Sonoma County and decided to have lunch at a small Mexican restaurant in our hometown. Life was good.

It is probably more accurate to say that my perception of my life was good. My life was actually not good at all. After months on the wagon, I had fallen off in typical fashion and started drinking as soon as I could get away with it in the morning. It was a compulsion that I, at that juncture, just simply did not understand. My relationship with my wife had stagnated as the years of living with a barely functioning alcoholic had begun to wear her soul thin. My son, who is afflicted with a congenital heart defect, was, unbeknownst to him, about to have his third open heart surgery. Stress poured out my pores in viscous effusions.

Stress is a word we often use but seldom understand. I certainly didn’t understand it until, after waking up frantically in the back of an ambulance on my way to an emergency room, I was told by a doctor that I had suffered a stress induced seizure.

I was absolutely baffled. How could this happen? I thought everything was going smoothly even though my life and its surroundings were in shambles. My wife came to the emergency room and found me bawling like our toddler, covering the cheap thin hospital gown with a steady deluge of tears. I was a mess, confused and out of touch with reality.

The months that followed were rocky and I will spare you the gory details. Suffice to say, I attempted to get sober and, without the constant numbing agent that is alcohol anesthetizing my brain, I began to think that I was going bat shit crazy. Fully insane, straight jacket status. A One Flew Over the Cuckoo’s Nest meets Silver Linings Playbook type of crazy. My presumed insanity only led to an alcoholic relapse of epic proportions. Things got so bad that I sought help from a group of Stanford psychiatrists while my son was recovering from his open heart surgery and they diagnosed me with full-blown bipolar disorder, a diagnosis that has since been ruled inaccurate (it’s apparently very hard to diagnose an alcoholic in the throes of their disease with a mental disorder).

When I had a name for my crazy, I got scared, the kind of scared you get when you’re alone in the woods at night with no one for miles around and your flashlight battery dies. I started looking up the mood stabilizers that the doctors were recommending that I start taking online, things like lithium and valproic acid. The side effects scared me even more than the disorder I had been diagnosed with. As my son was discharged from the hospital, the three of us returned to our home, leaving one set of worries behind at the Lucille Packard Children’s Hospital in Palo Alto, California, and dragging a new set of them with us.

After meeting with new doctors in my home county, I committed to actually once and for all getting sober. My physician agreed to monitor me in case I started having bad physical withdrawal symptoms, a necessity after the seizure I endured. The first day was hellish; I paced about the house aimlessly, picking up a book for a few moments only to cast it aside in frustration when I couldn’t concentrate. After the fourth or fifth time of throwing down a book, I had an epiphany: I used to write.

Not only did I used to write, but I used to love it. In my youth, I would scribble juvenile stories down into the ubiquitous black and white Mead notebook about cowboys and spurned lovers. As I grew and technology advanced, I would tap my fingers gaily across the keyboard to spin harrowing tales of knights and dragons. These memories came back to me in a rush, a rush very similar to the feeling of that first drink coolly caressing the lips and then warming the belly whilst calming the head.

That was it. I scrambled for my computer and haven’t looked back since.

If I had known what kind of transformation was about to take place, I would have traded the bottle for the pen years ago. At least, I like to tell myself that. In all likelihood, I quit drinking at the exact moment that I was ready to. What I do know for certain is that writing saved my life. You can’t get cirrhosis from too much writing; you don’t wake up in the middle of the night shaking and running to the refrigerator hoping to god that the ghost of Nicholas Cage left you a bottle of orange juice and vodka a la Leaving Las Vegas; writing doesn’t take your relationships and spit them out into tiny degraded pieces. No, writing was and is, for me, the ultimate release. Writing every day and carving stories into the screen with a keyboard has been the reason that I not only no longer drink but also the reason that I do not crave a drink at any moment.

Anyone that has dealt with addiction knows exactly what I’m talking about when I say ‘crave’. There is an insatiable need that takes over the brain, an irrational compulsion to consume whatever it is you’re addicted to regardless of the risks. The trick, in my current experience, is to trade the addiction with something healthy. For me, it has been writing.

I have pondered in the dark reaches of the night why writing has so easily replaced drinking for me. The only conclusion that I have come to is that, as I mentioned previously, I was being consumed by stories. I’ve always had a vibrant inner dialogue but as I left my adolescence for the drunken dens of young adulthood, I got used to having zero inner dialogue. The voices that I once had harnessed and channeled into beautiful tales were drowned in whiskey and beer. Whenever I would put down the bottle, those stories (voices) came rushing back to me, scaring me so much that I ran back to liquor without a second glance. Now I see my mind for what it is: a vessel teeming with stories, a few of them told but most of them waiting in the wings.
 
Previously, I felt my life was an endless darkness that I groped through without care or concern; today, I still feel the darkness but I have been given an enduring light that I can shine whenever fear overtakes me.

Who knows what tomorrow will bring.

Wednesday, August 13, 2014

Things That I Like: 8 First Contact Scenarios

This post originally appeared at The Oak Wheel on June 3rd, 2014.

“Craphound had wicked yard-sale karma, for a rotten, filthy alien bastard. He was too good at panning out the single grain of gold in a raging river of uselessness for me not to like him— respect him, anyway. But then he found the cowboy trunk. It was two months’ rent to me and nothing but some squirrelly alien kitsch-fetish to Craphound.” Craphound, by Cory Doctorow.
The following First Contact scenarios can be used with humans on either side of the encounter. Don’t discount the possibility humans being the relatively more advanced civilization making contact, or both being at about the same level. Most of them can be combined with several others (consider how “missionary work” could be added to “information/signals only”).