Well, well, well, this was quite a fast one. And I didn’t even push, I just ran on. At one point I noticed that I felt slightly out of breath, then I looked at my watch and was going 4:35/km, so it was alright. Today‘s audiobook was DARK MATTER by Blake Crouch, which I‘ve read some weeks ago. The book was brilliant, the audiobook is as well. I‘m looking forward to the AppleTV+ series of it. Have a great Thursday, y‘all! #Running#applewatchultra2#audiobooks#sciencefiction
#PennedPossibilities 323 — What's a piece of advice for writers that you listened to and are glad for?
An Australian author, Lucy Sussex, told us at Clarion West 1998 to be shameless in promoting ourselves. Being a shy person, networking and promotion has been a heavy lift, but I'm working on it and I know it's going to help. Mastodon: ☑️
#PennedPossibilities 322 — What piece of advice, as an author, did you once receive but hadn’t followed? Looking back on it now, you might wish that you had.
Advice: Don't only write novels. Write lots of shorter pieces.
When I started I saw that you could only make a living if you sold novels, so I wrote novels. That completely discounted the fabulous practice you get completing lots of smaller stories. Completing a novel takes lots of time and there's a mounting anxiety that in the end the plot will fail or no publisher will be interested. Yeah, true with short fiction, but the investment is far lower (or should be if you're doing it right). There used to be lots of magazines you could sell short fiction to... for pennies a word, but it was something, and it offered a chance to build a brand name and a following. Such notoriety could help you sell novels, too.
Chroniqueur de science-fiction pour Usbek & Rica, Cédric Fabre constate que les émotions et les sentiments humains tendent, dans beaucoup de romans du genre, à passer au second plan. Comme si les univers dépeints importaient plus, finalement, que les personnages. Dans cette tribune, il partage son ressenti, qu’il a soumis également à plusieurs auteurs et éditeurs de SF.
"Three young scientists travel around the country in the 25th century after the world has been ravaged by pollution. In their hi-tech RV (called Ark II), they study the land and help out those in need."
"The Great Retrofit is a near-future version of the city of Messina, in Sicily. Its science fictional element is the rise, and success beyond expectations, of a new type of economic agent, a form of for-benefit company that follows a quintuple bottom line approach, having the objective to improve its own performance across five dimensions: surplus (rather than profit), people, planet, beauty and truth, or knowledge sharing."
#WordWeavers 2405.19 — How did you settle on your MC’s appearance?
Historically, I wrote my characters such that I found them attractive. I don't do that anymore.
Sometimes I don't have control, except for hair styles and clothes, or the lack thereof. The story or character may have certain in-the-moment requirement, like when the MC needed to train in an almost all-male fight gym as a prizefighter (she'd later win a championship). Of course she had tailored pink and black gym wear made of technical fabric that outlined every curve—which proved interesting.
These days I do the best not to assign an appearance at all, instead keeping things vague and sticking to describing only what's absolutely necessary. My experiences with publishers is that'll they'll ignore your descriptions for cover art and promotion anyway. In any case, doing this allows the reader to imagine someone they would find attractive(†). The MC in the current WiP is described physically only as tall, shy, so beautiful that both sexes fall for her, and that she has "winter eyes," whatever that is. In the other story, the only thing I'm settled on is described by the devil-girl something like this:
"Take two finger length pieces of rusty rebar, sharpen one end, bend it ninety degree, and stick one above each temple, pointing backwards. Makes wearing hats problematic. Yeah. Gets messy when they try to grab you by the head in a fight, especially if it sticks in..."
She's also describes her very olive complexion; she's mentioned green eyes in a mirror and red hair everywhere. It could easily change in revision.
(†) A recent writer's prompt asked about my target audience. Can I say "imaginative?"
Watched it for the umpteenth time last night. 42 years old and as long as you're not watching the original theatrical release, it's a near perfect film. A pure masterclass.
My friend suggested I picked the name brain grid game for my puzzle game. Entering this text into AI art generators yields some haunting images. A crossover of scifi dystopia and demoscene. #demoscene#sciencefiction#horror#mentalhealth#movies#aiart
#WritersCoffeeClub Ch 9 Nbr 18 — Have you written sections where the action occurs against the clock? How did you do it?
My current story segment in serialization takes place over a very short time period, after the last third of the previous story taking place between dusk and dawn. The other story I am working on is a three act story, each act taking place over very few hours.
Writing stories in compressed time isn't much different than writing stories that take place more episodically over longer periods of time. In both cases, I write about what is important for the character and how they deal with events. An example may help.
In the serialization (obviously spoilers if you know which story I'm referring to), the MC realizes that though the leader has left on a military adventure to handle a "guerrilla insurgency," she sees evidence that same foe may attack the capital city. In theory, she's politically second in command. In practice, she has no real power. How she spends that day scheming and conniving with only a title to get a single frigate on patrol drives the story and the clock. It starts with a PTSD episode where she realizes she may be responsible again for innumerable deaths without the power to prevent them, then her working every contact she knows, butting heads with the generals who discount her experience running a crime syndicate (briefly), convincing a discriminated against officer who wants to accept discharge to instead command a museum-piece frigate, getting into a bloody fight with the XO, avoiding what the reader will see as assassination attempts, and it just gets worse with her love interests (plural!) pulling at her heart.
All in 12 hours. Tick-tock! That's one day of three days of escalating existential threats. The fourth day's events take place over one hour, which is about the time it would take to read.