Category Archives: The Writing Process

The Earth my sky, the Moon my siren

Hello everyone,

Before I get to my 55 word story, I wanted to say how I excited I am to post my first official entry as a Fictorian! I have guest posted here four times before, and I am both honored and thrilled to be made a full time member.

Now, on to my first blog post- -and it was a doozy! Write a story in exactly 55 words? It sounded like a fun challenge, but a difficult one. In the end I enjoyed the puzzle of writing the story so much, I documented my journey through double-nickel-land for this post. First I’ll give you the story, then if you want to stick around I’ll take you through my process of writing it.

***

THE EARTH MY SKY, THE MOON MY SIREN

The hatch is open, my radio channel closed. Alone I float through the stars, alone with her.

Through the glass she had called, her song a sweet wind. She whispers, reaching for my helmet. Without it, I will hear her better. Her hands and mine, both at my collar.

Who removes it? It doesn’t matter.

***

All in all, I’m pretty happy with how that came out. Funny thing is, I had my idea for the story pretty quickly after getting the assignment. In my mind’s eye I saw an astronaut floating in space, getting farther and farther away from his capsule. I knew he was out there because he wanted to be, but also against orders. (I acknowledge more than a passing nod to David Bowie’s Space Oddity in the imagery.)

The siren concept and the ending both came quickly to me and I was off to the races. Now the question was: how could I possibly tell this in 55 words?

So I figured first I’d bang out what I had using as brief prose as possible and count it up. This version (sadly?) is lost to the ether, but it was 70 words long.

“Great!” I said. “I’m only 15 words off. I’ll just squeeze it a bit more and count up what I have!”

That second version ended up 90 words long. Somehow my prose squeezing added 20 words instead of subtracting them!

Here is try #2, the 90-word version:

***

The stars are my world now. Outside the capsule, I am alone among them. Alone with my new friend.

She had beckoned through the window, called to me with a song I’ve heard on the wind since I was a child.

There is no wind here, as she floats with me. The capsule is far now, but she is close. With my helmet off I will hear the wind, feel the song in my ears. I cannot tell if it is her hands on the helmet seal, or mine.

It doesn’t matter.

***

So all the core concepts are there, and the ending is there. Still now I am 45 words away from my goal. I was, like my astronaut, drifting farther and farther away.

I decided on my third try I would just capture the core concepts in a few words as possible. No prose, nothing fancy. Just A to B to C and see what that count was.

Here is try #3, where I also started counting the number of words in each sentence:

***

I am alone in space, outside my ship (8)

A woman called me with her song (7)

We float off together. (4)

She wants me to remove my helmet to hear her song. (11)

Either she or I remove it, it doesn’t matter who (10)

***

Ok with the core concepts down, I did the math: 8+7+4+11+10 = 40

That gives me 15 words to play with. I could add a bit, and swap in some ‘prosier’ word choices.

I decided I wanted to add “The door is open, my radio channel closed.” as a first line – that’s another 10 words, leaving me 5.

Here’s version #4:

***

The door is open, my radio channel closed. (8)

Alone I float through the stars, alone with her. (9)

Through the glass she had called, her song a sweet wind. (11)

She whispers now, reaching for my helmet. (7) Without it, I will hear her better. (7).

Her hands and mine, both clasping the collar. (8).

***

Okay, still needs the big finish, what do I have left to work with? Five. Five words. “Who unclasps it? It doesn’t matter.” is six. Maybe I can cut one in one of the sentences above. I decided to kill ‘now’ in “She whispers now”.

Here’s a look at what I hoped was the finished product, version #5:

***

The hatch is open, my radio channel closed. (8)

Alone I float through the stars, alone with her. (9)

Through the glass she had called, her song a sweet wind. (11)

She whispers, reaching for my helmet. (6) Without it, I will hear her better. (7)

Her hands and mine, both at my collar. (8)

Who removes it? It doesn’t matter. (6)

***

I also swapped ‘hatch’ for ‘door’, which I think is better. I made a second minor change because I didn’t want to use ‘clasp’ twice. At this point, I decide it’s done and that is the version you read.

For 55 words I’m pretty happy with it – the major thrust of what I envisioned is there. I wish I had a bit more room for atmosphere and to show his emotions about removing his helmet, but I’m happy with the result.

If you are a writer (or want to be one) I encourage you to try a double-nickel challenge of you own. I found it to be a fascinating little puzzle and I think it grows some great skills.

See you next time!

Two Great Genres That Read Great Together

Science Fiction and Horror – Two Great Genres That Read Great Together

If you’re of a certain age, you’ll get this.

Imagine a kid, tousled hair and freckles staring in horror at a book in his hand walking down the aisle of a library.  From the other directions another kid, this one a girl with thick dark curls held up in two ponytails, as they peruse the aisles of their local library. They comically run into each other. The first boy recoils. “You got your science fiction in my horror!”

The girl looks equally aghast. “You got your horror in my science fiction!”

As an aspiring writer, I tried to write what I thought was purely science fiction while I wrote my first short stories. I knew that the novels developing in my head were more military science fiction and I was completely comfortable with that subject matter. I wanted to keep my learning curve within the bounds of “traditional” science fiction. In hindsight, I’m very glad for the opportunity to have had my mind changed for me.

In 2012, I joined the Colorado Springs Fiction Writers Group and became a regular member. While submitting short fiction for critique, analysis, and help, we had a contest to write a flash fiction story combining two dissimilar genres. To this day, I’m glad I did not draw Lovecraftian horror and “chick-lit.”  Instead, I drew science fiction…and horror.

Horror was something I never expected to write. I’ve never been a huge fan of horror movies, and I very rarely watch them. Walking Dead? Nope. It’s just not my thing. So, faced with writing a 1,000-word story I panicked and wrote nothing until the weekend before it was due. I was hung up on two things. First, to paraphrase Ray Bradbury’s definition of science fiction – it is the art of the possible. Horror, to me, seemed like the art of the impossible. Granted, I’ve experienced a few crazy, unexplained things in my life, but horror seemed to be all about fear. How could fear and (at least to me) optimistic visions of the future be related?

The second thing standing in my way was failing to understand why we read horror. I am a dedicated Stephen King fan and I realized while I was trying to get past the blinking cursor of doom that I was not connecting the science fiction scenery to the emotional response from the reader. When that finally happened, I wrote the story in one sitting while waiting for a flight at the Salt Lake City airport. I submitted the story “Poultry” for critique and was told I should find a place for it. Eventually, I did find a magazine for it, but without pay. In the last six months, I sold it again to Digital Science Fiction, where it recently appeared in their Quickfic Anthology.

Writing a miniature space opera with a horror element (and admittedly, a dark humor, too) was easier than I thought because I realized I wanted to elicit a response from the audience. I wanted there to be a moment of revulsion and a head-shaking chuckle at the end of the story. I’m hopeful I achieved that because that was the lesson I learned while writing the story.

We tend to think of prose as painting a picture for the reader. That’s part of the equation. We need to visualize the reader’s response. Can we do that for every reader? No. But, if we have that “target” in mind, we can deliver an emotional punch to the reader’s gut. That’s what makes stories memorable.

And, for the record, science fiction and horror are two great genres that work great together. (Insert head-shaking chuckle here)

Genre Frappé

All month long, the Fictorians have been posting articles on mixing several genres together to make a book more interesting or to entice a wider audience. Here are two outside-the-mainstream ideas for you to consider.

Erotic Genre Mixing

If you’re comfortable writing and marketing erotica, you should consider combining it with the different genres. There are plenty of straight-forward erotic encounters between all kinds of individuals to choose from in the eBook marketplace. There are, however, smaller niches where your mixing in different genres can bring in more readers.

This isn’t a new idea by far. Even in genres such as Westerns, there have been plenty of years-long ongoing series that featured plenty of explicit sex between the characters. A good example is the Jake Logan series based on a man named John Slocum. Considered an Adult Western, it had by formula three explicit sexual encounters per novel. The series was penned by multiple authors under the Jake Logan pseudonym, and it ran for over four hundred novels.

The idea of the adult-oriented genre novel is a relatively unexplored niche. Writing a Space Marine novel series? You could have the teams be chaste and virginal as they sling lead or energy beams around, or you can add in some adult interactions as one would expect in a more realistic lifestyle. Maybe the protagonist falls in love with an underground freedom fighter, only to discover they were a spy all along. The adult interactions between the characters will create a bond that is far more heartbreaking and emotional than if they were friendly acquaintances when the truth comes out.

If you decide to go this route, it is important that you indicate the adult content in the marketing material. Some people prefer have a sex-free reading experience, and if you have a surprise orgy halfway through the book, you might get hit by poor reviews.

Non-Fiction Blended with Genre Fiction

This is another under-represented area that is open for exploitation by a savvy author. The most common mix for this is known as Alternate History, where the author sets up actual historical events and adds in a “What If?” event that veers from what actually occurred.

For example, did you know that there was an actual Emperor of the United States? Emperor Norton I lived in San Francisco and declared himself the Emperor plus the Protector of Mexico in 1859. The citizens of San Francisco loved him and his “official” decrees, and many dignitaries stopped by to say hello. Now imagine writing a story where the United States government was overthrown and he was actually elevated to political power. How would life be different now?

You can combine plenty of ideas with different genres to create some unique combinations. One good example was an anthology edited by Fictorian Travis Heermann called Cthulhu Passant. This charity project combined Lovecraftian horror with the game of chess. Each story had both elements, and at the back of the anthology the editor appended a quick primer on chess moves and terminology.

If there is something you are proficient in, consider marrying it to one of the genres to create something new. William Gibson combined science fiction with marketing in his novel Pattern Recognition. The movie The Last Starfighter combined arcade-based video games and science fiction. Consider combining what you do for a day job or hobby and how it can be tossed into a blender to make a delicious Genre Frappé.

 


 

About the Author:DeMarco_Web-5963

Guy Anthony De Marco is a disabled US Navy veteran speculative fiction author; a Graphic Novel Bram Stoker Award® nominee; winner of the HWA Silver Hammer Award; a prolific short story and flash fiction crafter; a novelist; an invisible man with superhero powers; a game writer (Sojourner Tales modules, Interface Zero 2.0 core team, third-party D&D modules); and a coffee addict. One of these is false.
A writer since 1977, Guy is a member of the following organizations: SFWA, WWA, SFPA, IAMTW, ASCAP, RMFW, NCW, HWA. He hopes to collect the rest of the letters of the alphabet one day. Additional information can be found at Wikipedia and GuyAnthonyDeMarco.com.

Science Fact and Science Fiction (Part 2)

Yesterday, we talked about what sort of people become scientists and how they think. If you missed Part 1 of Science Fact and Science Fiction, be sure to go read that first.

And now, back to the list of 4 things writers get wrong about science and scientists.

3. As Always, You Need to Follow the Money…

Many senior scientists don’t get much lab time. In fact, most of the professors I studied under or worked with in college spent most of their time raising funds to keep the lights on and the experiments rolling. Lab space, lab equipment, experimental materials, and graduate student salaries don’t come cheap. So, whenever you read or write about a scientific study, it behooves you to think about where the money comes from. Figure out the funding and you’ll often have a good idea of the sorts of biases and politics you’re going to have to deal with. Additionally, each of the four major types of scientists — academic, corporate, government, and amateur/startup — have their own quirks, habits, and means of incentive.

Academic scientists are driven by the stricture of “publish or perish.” Their goal is to secure funding from governments, special interest groups, or businesses to allow them to study what interests them. They are often pure scientists (remember from yesterday: those who value knowledge for its own sake). However, the modern system is set up such that academic scientists are under a great deal of pressure to perform “ground breaking” work and publish those results with regularity.

The problem is that getting a break-through every couple months is unlikely. A scientific investigation, if done properly, may take years or even a life time to bear fruit. There are many researchers whose discoveries weren’t recognized as important until well after they had died. However, that isn’t an excuse in a publish or perish culture. You still need to make regular “progress” or you can lose you funding and your job. This pressure has led some to distort or even outright fabricate data in order to keep the money flowing. Pro tip: Want to be despised by a bunch of scientists? Falsify data. Not only is it dishonest and often illegal, even minor transgressions will destroy your reputation and career if discovered.

Corporate scientists, on the other hand, don’t have as much trouble with the issue of funding. However, they also don’t really get to choose what they study. Their job is to invent, improve a product, or make a discovery that can then be commercialized to make a boatload of money. Preferably, they’ll do this quickly and cheaply. Ultimately, they get their funding from the company’s consumer base.

Naturally, applied scientists (remember: those who find value in using knowledge) tend to migrate to the private sector. This is the sort of work that I do, and I really enjoy it. I can take the time and energy that I’d otherwise have to focus on finding funding and do the work. Plus, I genuinely enjoy what I do, so it’s a win-win.

Next are the government scientists, who can be further split into two major groups. First are the administrations with government mandated missions, such as NASA or the handful of government research labs. The reason they exist is because the government thinks that either a) no one would invest in that kind of work and it’s essential to public wellbeing, or b) they don’t want that sort of work in the hands of private entities. In fact, there’s a line in the United States Constitution (Section 8) that mandates that the Federal Government is to “promote the Progress of Science and useful Arts.” And they do. Government grants and contracts are responsible for many of the major discoveries and technological advances we take for granted.

The second group of government scientists are those who are employed to act as regulators and advisers. Their job is to double check the rest of us to ensure that our work complies to local, state, and federal laws, as well as ensure that new products won’t cause harm to the public. They are also often expert witnesses for various branches of the government. However, it is still a government job, fraught with all the same sort of bureaucracy, problems, and politics that are characteristic of any government endeavor.

The last group is the amateurs and startups. Though they are often the most underrated group, they are also often the pioneers with the unique vision needed to change the world. These folks aren’t limited by corporate goals or academic systems. They are the sorts of people who passionately follow their interests and therefore can be either pure or applied scientists. Amateurs often don’t end up making a lot of progress, largely because of lack of formal training or funding. Most startup companies fail because they can’t compete in the market or their “big idea” isn’t so ground breaking after all. However, sometimes these people invent or discover things that change the world. After all, the Jet Propulsion Laboratories owes their origins to four “amateurs” who were students at Caltech. Even today, many successful technology companies are founded on the basis of a great idea and a lot of effort put in by people working in a basement.

4. Science is Imperfect – That’s the Point!

Everyone tends to look to science for answers when really they should be looking for questions. Fundamentally, the point of science is both understanding and predictive power. Observations of the past should be used to predict the future. If they fail to do so, they aren’t necessarily useless. Rather the model is simply incomplete. As hypotheses are repeatedly tested and challenged, they gain weight and become theories. As theories age and stand up to the efforts of hundreds and thousands of observations and experiments, they become taken as “fact.”

Though scientists have earned a reputation for arrogance, what they really need is a profound sense of humility. Scientists are human. Our understanding can be wrong or incomplete. We must NEVER reject a new piece of evidence because it clashes with our world view. Hypotheses that were once viewed as ridiculous are now widely accepted as fact. Need an example? If you had stood up fifty years ago and asserted that black holes are real, you would’ve been laughed out of the room. Black holes were the stuff of science fiction. However, we now know that not only do black holes exist, but they are fairly common (if hard to see). In fact, our very own Milky Way galaxy, like most others, actively orbits around a single supermassive black hole at the galactic center! (Want to know more? Look up Sagittarious A*.)

In conclusion, the really important question is this: What kind of story are you telling? How important is scientific reality to your audience? Can you get away with hand waving and mutterings of “sufficiently advanced technology,” or do you need to research every single tiny detail? I can’t tell you for sure. It depends on your audience and your own tastes. Getting science “right” in fiction is less about factual accuracy than it is about being consistent. Writers don’t really need to be experts, however. We can find plenty of authorities who are happy to share their knowledge.

Fortunately for us, Science Fiction is speculative. The most important thing about getting science right is to ensure that you are internally consistent and your characters behave like scientists would. I’ll say this again because it is essential. What you can’t afford to do is get the human element wrong. Though science is a body of knowledge and a set of skills, it is also a point of view. If we write the characters with truth and consistency, we can sell the rest.