This week's been somewhat of a drag due to a terrible bug. And during the weekend I went to a wonderful volunteer event, and and the end of next month I'll be going to BristolCon 2018. So here's a bit of a quick rundown of what's happened since the beginning of July.
Recently finished proofreading the second volume of The Leviathan Chronicle, and updated the text of the current volume with new corrections. Despite recent changes caused by the merger of Kindle and CreateSpace , I'll hope to still publish during the final months of this year.
Finished my latest project, a sci-fi take on Dumas's immortal tale The Count of Monte Cristo, but with less nobility and more honesty about what people really do when they're driven by pure vengeance. Hope to get down to a proper proofread soon.
Started two new and promising projects. One a fantastic thing with a non-human cast and a light tone, and the other my own contribution to Lovecraftian lore with my own particular twists. Figurative and otherwise.
Completed a promising short story based on my recent interesting reading of "We Purchased People". Hope it goes down well if/when people see it.
Cleaned up myself by editing out milk, which has been causing unnecessary mood swings impacting my writing and productivity.
Hope I'll have something a little larger for you all next week. Have a good week!
Sunday, 30 September 2018
Sunday, 23 September 2018
What is a productive day?
A question that can get raised about authors is "how much writing makes a productive day"? This question can be a prickly issue as many authors may not like discussing their working habits, or whatever stimulants are used to fuel the creative maelstrom.
My personal work regime is this. Up and assess my condition, then to the computer to start up and check email. Then do writing throughout the day broken by other activities such as computer-based leisure, walks out, housework, and of course eating and drinking to keep myself from falling over. Through all this, on good days, I can manage between three and five pages. On bad days, such as when I'm distracted or not feeling myself, that comes to two pages. On very good days I can be upwards of seven pages. My stimulants are limited to tea, and then only three or four cups in a day so I don't send myself into a tizzy.
My writing day can vary. It can be over and done in a morning, drag on until the wee small hours, or be finished between the classic 9-5 working day. This is my routine for six days in the week, with Saturdays being days off. And of course I take days off when I'm really under the weather, such as down with a bad bug or in too much pain from some injury or other to focus properly. I also sometimes need to rest my hands. Typing is hard on the hands.
Personally, I consider three pages of writing, or one chapter of proofreading, a productive day. The writing averages out to between 1000 and 2000 words. Without large interruptions, I can complete a full-scale novel in about half a year or less. I did once set myself an interesting challenge; write one chapter every three days until the book was completed. And I succeeded. It was a very long book, with each chapter between ten and twelve pages on average, and it had quite an engaging story for my 2014 period. Though it was rambling, and I now consider it in need of a complete rewrite before being published anywhere.
Things do ebb and flow, depending on whether I accidentally eat or drink something for which I have an intolerance. Sometimes that can last a day or two, sometimes it can last weeks or even months. It's been hard, but I think I'm walking the right path.
What are your working habits?
My personal work regime is this. Up and assess my condition, then to the computer to start up and check email. Then do writing throughout the day broken by other activities such as computer-based leisure, walks out, housework, and of course eating and drinking to keep myself from falling over. Through all this, on good days, I can manage between three and five pages. On bad days, such as when I'm distracted or not feeling myself, that comes to two pages. On very good days I can be upwards of seven pages. My stimulants are limited to tea, and then only three or four cups in a day so I don't send myself into a tizzy.
My writing day can vary. It can be over and done in a morning, drag on until the wee small hours, or be finished between the classic 9-5 working day. This is my routine for six days in the week, with Saturdays being days off. And of course I take days off when I'm really under the weather, such as down with a bad bug or in too much pain from some injury or other to focus properly. I also sometimes need to rest my hands. Typing is hard on the hands.
Personally, I consider three pages of writing, or one chapter of proofreading, a productive day. The writing averages out to between 1000 and 2000 words. Without large interruptions, I can complete a full-scale novel in about half a year or less. I did once set myself an interesting challenge; write one chapter every three days until the book was completed. And I succeeded. It was a very long book, with each chapter between ten and twelve pages on average, and it had quite an engaging story for my 2014 period. Though it was rambling, and I now consider it in need of a complete rewrite before being published anywhere.
Things do ebb and flow, depending on whether I accidentally eat or drink something for which I have an intolerance. Sometimes that can last a day or two, sometimes it can last weeks or even months. It's been hard, but I think I'm walking the right path.
What are your working habits?
Sunday, 16 September 2018
The "Non-" Human Problem
A while back, I wrote a post about future projects. Out of them all, I decided upon the one I referred to as "strange blend of sci-fi and fantasy" revolving around pirates. I got into writing the third draft of the first chapter when I made a decision. I didn't want to write another story revolving around human protagonists in a science fantasy world. I wanted something different. And since I've always had a soft spot for canine/lupine characters in fiction, I decided upon that; a world where the dominant species are humanoid lupine creatures called the Okaru.
This gave me much liberation, but also presented multiple problems. I'll do the problems first.
Problem A: They're not human. Obvious, but still a problem. So using human pronouns in a world without humans as a reference is asking for trouble. This extends to terms like "mankind" or "humankind", but also less obvious ones like gender nouns. Using "he" and "she" can't really be avoided if you want to avoid rampant confusion. But unlike a previous experiment with this, using "male" and "female" seems too clinical for what I want to do with this story.
Problem B: Making it both relatable and alien. This compounds and is compounded by the above problem. You need to use some terms because otherwise you risk leaving the reader completely at sea. Conversely, using several terms from the human world can help with translation, but use them too much and the illusion of otherness is broken. Striking the balance between the fantastic and the mundane is something any fantasy or sci-fi writer worth their salt has needed to come to terms with at some point.
Problem C: They're not human, physically. Having these non-humans running around means you need to create something that's not the strictly ape-based bipedal form humans have had for so many millions of years. But the general fiction-reading public is still having a hard time grasping the wilder aspects of the non-human. As proved in Star Trek, Star Wars, Avatar, and virtually every other popular sci-fi story, humanoid characters not only provide easy roles for human actors, but allow viewers to empathise. Some stories such as Solaris and The Uplift War break this mould, but have human or humanoid characters to balance that out. My aim with this story was to create characters who couldn't be played by people in suits and masks.
And now for this story's liberations!
Liberation A: Gender noun freedom. Yes, I earlier cited this as a problem. But it also liberates me from the restrictive letter box style of the English language when it comes to gender. It very much limits based on sight and sound of voice. Someone can changed from he to she or she to he, but what about those who don't identify as either? There are terms for such people in languages other than English, but they haven't actually carried over. Dropping human gender nouns allowed me to substitute them with versions that sound alien, but are based on an existing language other than English. This also provided me with a word that covered people who didn't identify as either. For these people, as suggested by my sister, I used the terms "them" and "they". There is also a better understanding an tribal-style acceptance of these people within Okaru society.
Liberation B: Characters with more potential. As its a non-human society, the world of the Okaru is in some ways less restrictive than our human world. While it has a real-world base (the late 16th to early 17th century period known as the Golden Age of Piracy, where following the Seven Years War, Britain had become the dominant naval world in the world) it needn't follow real-world history too closely. This means it can use an established structure for characters to grow in or rebel against without too many of the usual restrictions. Just so long as it doesn't resort to the get-out of pulling stuff out of thin air. For instance, my lead is a pirate on a mission independent from the usual pirate fraternity, while her antagonist is a military leader determined to wipe out piracy.
Liberation C: Commentary opportunities. Something about the Okaru is that they are distinguished by their fur rather than the human equivalent of skin and hair colour. This offers opportunities to use the Okaru equivalent of ethnicities while also creating striking images for the main characters that the reader can hold in their minds. This gives opportunities for commentary in aspects such as stereotyping and even racism in a context safer than using actual humans. Still hot topics, but with a slight buffer zone allowing them to be an introduction for younger readers.
That's really all I'm prepared to say about my new project for the moment. I hope it can be read someday. And I hope you enjoyed reading about it.
This gave me much liberation, but also presented multiple problems. I'll do the problems first.
Problem A: They're not human. Obvious, but still a problem. So using human pronouns in a world without humans as a reference is asking for trouble. This extends to terms like "mankind" or "humankind", but also less obvious ones like gender nouns. Using "he" and "she" can't really be avoided if you want to avoid rampant confusion. But unlike a previous experiment with this, using "male" and "female" seems too clinical for what I want to do with this story.
Problem B: Making it both relatable and alien. This compounds and is compounded by the above problem. You need to use some terms because otherwise you risk leaving the reader completely at sea. Conversely, using several terms from the human world can help with translation, but use them too much and the illusion of otherness is broken. Striking the balance between the fantastic and the mundane is something any fantasy or sci-fi writer worth their salt has needed to come to terms with at some point.
Problem C: They're not human, physically. Having these non-humans running around means you need to create something that's not the strictly ape-based bipedal form humans have had for so many millions of years. But the general fiction-reading public is still having a hard time grasping the wilder aspects of the non-human. As proved in Star Trek, Star Wars, Avatar, and virtually every other popular sci-fi story, humanoid characters not only provide easy roles for human actors, but allow viewers to empathise. Some stories such as Solaris and The Uplift War break this mould, but have human or humanoid characters to balance that out. My aim with this story was to create characters who couldn't be played by people in suits and masks.
And now for this story's liberations!
Liberation A: Gender noun freedom. Yes, I earlier cited this as a problem. But it also liberates me from the restrictive letter box style of the English language when it comes to gender. It very much limits based on sight and sound of voice. Someone can changed from he to she or she to he, but what about those who don't identify as either? There are terms for such people in languages other than English, but they haven't actually carried over. Dropping human gender nouns allowed me to substitute them with versions that sound alien, but are based on an existing language other than English. This also provided me with a word that covered people who didn't identify as either. For these people, as suggested by my sister, I used the terms "them" and "they". There is also a better understanding an tribal-style acceptance of these people within Okaru society.
Liberation B: Characters with more potential. As its a non-human society, the world of the Okaru is in some ways less restrictive than our human world. While it has a real-world base (the late 16th to early 17th century period known as the Golden Age of Piracy, where following the Seven Years War, Britain had become the dominant naval world in the world) it needn't follow real-world history too closely. This means it can use an established structure for characters to grow in or rebel against without too many of the usual restrictions. Just so long as it doesn't resort to the get-out of pulling stuff out of thin air. For instance, my lead is a pirate on a mission independent from the usual pirate fraternity, while her antagonist is a military leader determined to wipe out piracy.
Liberation C: Commentary opportunities. Something about the Okaru is that they are distinguished by their fur rather than the human equivalent of skin and hair colour. This offers opportunities to use the Okaru equivalent of ethnicities while also creating striking images for the main characters that the reader can hold in their minds. This gives opportunities for commentary in aspects such as stereotyping and even racism in a context safer than using actual humans. Still hot topics, but with a slight buffer zone allowing them to be an introduction for younger readers.
That's really all I'm prepared to say about my new project for the moment. I hope it can be read someday. And I hope you enjoyed reading about it.
Sunday, 9 September 2018
Review - Short Story - We Purchased People
In recent days, I've been acquainting myself with some of the classic science fiction present in our family bookshelves. Among them is a large volume of short stories written by masters of the craft. The one that caught my eye was "We Purchased People" by Frederik Pohl. I read it, and it's not one I can keep to myself.
The premise is a world where humanity is in trade with several different alien races. As FTL travel doesn't yet exist, this trade is done via advanced communication technology which allows the various species to exchange information for various trinkets and resources from Earth. Their agents are the dregs of humanity, implanted with technology that allows their "owners" to control them for any length of time. The protagonist is one such "purchased person", a man whose past is extremely shady and whose life is quickly thrown into utter chaos due to the innocent inquisitiveness of his owners.
This story isn't the typical sci-fi fare. It doesn't shy away from extremely mature subject matter, yet doesn't have a single severe expletive in it. The main character is the most extreme type of anti-hero, if any term including the world "hero" can be used for him. He's sullen, twisted, and his suffering doesn't elicit any sympathy at all. This is an analysis of how the cast-offs of humanity are used for some purpose.
On the whole, I would recommend this to true sci-fi connoisseurs. It's well-written, and has an interesting and twisted take on human-alien relations. It also shows up many elements of human prejudice and reminds one of some of the more disturbing elements of mental programming experiments from the 20th century. And yes, this story was written after people became fully aware of the CIA's Project MKUltra.
10/10
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