Character-in-Setting for SF & Fantasy

I’ve been rereading ‘Writing into the Dark: How to Write a Novel Without an Outline’ by Dean Wesley Smith lately. In one spot he tells what to do to start a ‘written into the dark’ story— put a character into a richly detailed setting and let that character react to it. (Chapter 5 is where the book gets into detail about it.)

I also have writing books that tell me how to write outlines and I have written outlines for a number of failed writing projects in my past. (Why did they fail? Probably because writing the outline turned the whole project into a dull, predictable mess I couldn’t work on once the outline got done.) But I do believe that ‘writing into the dark’ is a bit of a different proposition for the sci-fi or fantasy writer.

Imagine a contemporary detective story where the main character is a private detective. There are a lot of things you know about the story without thinking, because you live in the contemporary world. You know your main character may have dark or light skin color— but not purple or green skin, not tiger-striped skin (unless tattoos are involved) and isn’t a seven-foot-tall brown-furred creature with six arms.

In science fiction and fantasy stories, we don’t know those things. Our main characters can be humans or space aliens or elves or orcs. They can live in holes in the ground, fairyland, or someone’s expandable pocket. All bets are off in a fantasy or SF setting— so ‘writing into the dark’ may involve a bit of pre-creation of the setting, or perhaps redrafting 5 different versions of chapter one before you figure out that your main character is a dog.

We contemporary writers often have a problem with setting. We are warned against doing much description lest we bore readers with a block of description. And so many writers produce stories with characters conversing in a white space. If we are lucky, the writer may drop a hint so you can imagine the scene on a standard-issue space station, or a standard-issue fantasy-world forest. Or perhaps mention a specific enchanted box elder tree when the hero rams someone’s head into it.

The way to make a setting interesting enough to describe is to perceive it through the senses and opinions of your character. Often it is a character new-come to that particular setting. Even if your character was born and raised on a space station, most likely if he is on a space station right now, it’s a different one, where they do everything different and wrong.

Individual details matter. Your fantasy world character shouldn’t stroll past a generic ‘tree.’ Let it be an animated apple tree that throws its apples at people it doesn’t like. Or a maple tree inhabited by a psychotic wood nymph.

The best way to learn how to do this is to examine how popular writers make you see places that have never existed. In the Harry Potter books, look up the exact words and phrases that helped you visualize Diagon Alley or Hogwarts school. (Ideally, you will write them down.) Find other favorite books of yours and look at the first scene in a new setting. How does the author make you see it? And what else is going on in the scene? What do the characters present see or hear in the setting, or smell in the setting? What are their opinions of the setting? Are they the same as the ones the author may expect the reader to have? (A fantasy knight may enter what he sees as a shabby castle that strikes the reader as a paradise of luxury— or enter a state-of-the-art castle that the readers will clearly feel would be improved by some running water and indoor plumbing.)

Once you have a relate-able character and a setting that contains details and points-of-interest, you can start exploring this setting in the course of finding out what the characters goal or problem is and seeing how he solves it. Writers who ‘write into the dark’ may use this method, rather than a detailed outline, to explore their ideas and create a good story.

Happy writing!
Nissa Annakindt & her cats

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Key to the Star Trek Aliens

Are the alien species of Star Trek (original Trek) symbols of something else? I suspected so— before there even was a Next Generation. They are of course more than that. But the symbols are a key thing to understand, especially if you are making your own aliens. Or if Star Trek and its aliens are one of your Asperger ‘Special Interests.’

Klingons 

Klingons are the major ‘enemy’ in the original Star Trek universe. So it’s only natural that they are a symbol of the USA’s real-world biggest enemy of the time, the Soviet Union. Klingons are quite plainly presented as cruder, more aggressive, and more direct than Terrans (‘Americans.’)

Klingons remind me of a story my high-school German teacher told us illustrating the difference between Germans and Russians. Seems a small boy’s village was taken over by German soldiers during the war. Since they boy had the good luck not to be Jewish, the German soldiers were kind to him, and let him fire off one of their machine guns. The gun jammed. The German soldiers were all upset, since now they would have to send the gun back to the manufacturer to get it fixed.

As the war went on, the Germans left, and Russian soldiers marched into the village. The boy made friends with these soldiers as well, and they let him shoot one of their machine guns. The gun jammed. A Russian soldier took the gun, smacked it against a big rock, and the gun worked just fine again.

I can totally see Klingons smacking one of their disruptors against a rock to fix it, instead of sending it back to a factory into the hands of whiny, not properly Klingon eggheads.

Romulans and Vulcans

Though Romulans were an enemy race and Vulcans an ally, it was also made quite clear that they were somehow related. Romulans were more aggressive, because they were more emotional. Vulcans traditionally controlled their emotions, and were more peaceful. 

I believed that both Romulans and Vulcans were symbols of Asian peoples. The Romulans were symbols of the Chinese— a mysterious people who had gone communist and assisted the North Koreans in killing Americans during the Korean War.

The Romulans in Star Trek were a mysterious enemy— the Federation had fought a war against them before without ever seeing a Romulan, living or dead, and so they didn’t know Romulans looked like Vulcans. Like the Klingons/Soviets, the Romulans/ChiComs were an aggressive empire likely to conquer planets and never give them back. 

The Vulcans were symbols of the Japanese people— not the WW2 enemies that attacked Pearl Harbor and committed atrocities against civilians in Nanking, but the later, allied-to-us Japanese that we perceived as good, possessing an ancient culture, and friendly. The Vulcans were a more mature species, but we Terrans had a thing or two to teach them. Starfleet only had one Vulcan officer, Spock— and he was not only half Terran, but half AMERICAN. 

Andorians

They were the blue-skinned guys with an antenna and white hair. They required enough make-up that there were no Andorians on the Enterprise crew. The very little we saw of them mainly made me think they were a symbol of race/skin-color issues, especially of the more exotic races/skin-colors.

Terrans/The Federation

The United Federation of Planets seems to be a knockoff of a bad Terran idea, the United Nations, but with less vampires (This is a reference to Declan Finn’s vampire novels in which we learn how to get the vampires out of the UN building. Nice to know.) Even the flag of the UFP is nearly the same as the UN flag.

Both Terrans and the Federation are symbols of Americans. Because Star Trek was an American TV show with an American audience, see? Americans are a fairly useful ‘type’ of the population of planet Earth, anyway, because Americans come from all over the planet. And you can’t say that Navaho Americans aren’t ‘real’ Americans because they aren’t Scottish Americans, or African Americans are not ‘real’ Americans because they are not Japanese Americans. 

Because Gene Roddenberry did not have time to invent dozens of alien races for the Federation and introduce them all before the storytelling got started, and because it was cheaper to have regular human actors without a ton of expensive time in the makeup chair, most people in the Federation seemed to either be Terrans or an alien species who looked exactly like Terrans.  The few exotics we saw (Andorians, Tellerites, Horta, Organians) spiced up the rest without scaring off too much of the American audience.

Or maybe the aliens of the original Star Trek WERE too much. The show was cancelled after 3 seasons, and never made it back to network television except for the cartoon Trek which also didn’t last long.

Hoping you had a happy Divine Mercy Sunday or Orthodox Easter,

Whether you celebrated or not (everyone should have a happy once in a while)

Nissa Annakindt

So, what do YOU think of my ‘key’ to the Star Trek aliens? Feel free to rant about how I’m all wrong and you, with your theory, are 100% correct. What do/did the Star Trek aliens mean to you? Or do you hate Star Trek and are ‘wrong’ enough to like other SF series better? 

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Interview with Author Elizabeth Lavender

Introducing Elizabeth Lavender, author of The Spinning of Deception and Deception’s Hold, who has been kind enough to be interviewed by a interviewing amateur like me. Do Elizabeth a mitzvah and look at her books on Amazon, her Twitter and Facebook, and her web page/blog— all linked below.

ME: How, specifically, did you get the idea for the book series?

ELIZABETH: I would have to say I was inspired by a lot of different places.  I have always been a big sci-fi fan, leaning towards the Star Wars world and also Star Trek.  I love fantasy though, especially the Narnia and the Lord of the Rings series.  I also enjoy the supernatural/thriller element and so I really enjoy reading anything by Frank Peretti and Ted Dekker.  So the universe of my books, the world very much has the Star Wars feel to it.  The physical battles have the Star Wars and Lord of the Rings combination to them.  There is a much deeper battle that runs through the series though. That has the Narnia and the Peretti/Dekker element.  The storyline is all of these together.

ME: Describe the books, please.

ELIZABETH: The books are a combination of sci-fi/fantasy, but it certainly has the suspense/thriller element as well.  Running through all of the storylines are Christian themes/elements.   The series begins with a Dark Lord and the Black Dragon Commander that are using their forces to attack the galaxy and are planning something much bigger to use on the colonies.  We are introduced to the group that is trying to stop them, led by a “select few” called sunspearbearers.  One is a young man named Dante and the other is a young girl.  She is his same age, but she has been trained in secret all this time.  A truth from the past is revealed and it sets up a task for Dante.  While they try to figure out what the Dark Lord is planning and stop it, Dante gets closer to this battlefield he must face seemingly alone. He’ll be faced with the full Darkness and deception of the Dark Lord. The two sunspearbearers’ worlds must find a way to come together before they lose everything they hold dear to the Dark Lord’s deception.

ME: What were some of the challenges you experienced during the writing process?

ELIZABETH: The writing part thus far has come easy because the story is just flowing.  The part that is not so much fun is revising and the publishing/marketing part.  With revising, it is difficult because after a while when you have read through your own writing so many times it’s hard to know if you really need to change something or if it’s good to go.  You can’t tell if you are improving it anymore. The publishing and marketing part uses a whole other part of the brain that is so different from the writing part that it feels like you are stumbling around lost half the time!

ME: What was the greatest joy you experienced during the writing process (if any)?

ELIZABETH: The writing itself is a joy.  I have scenes in my head, dialogue there already waiting to be written for future books in the series.  It is awesome when you to get to that part in the series, type it, read through the scene, and realize it came alive on paper just like you pictured it.  You want the reader to feel the laugher in that scene, or the Darkness in that scene, or the hope that could still be found, or the emotional weight of that scene, or the spark of romance starting between two characters…  You smile because you know you nailed it.

ME: Describe how your Christian faith helped you get through the writing process.

ELIZABETH: My faith is extremely important to who I am.  I am a Christian, my faith is in my Lord and Savior, Jesus Christ.  My faith has guided my writing.  Yet, the books will not come out and say Jesus or God in any of the series because I want the writing to reach a broad audience.  I want readers to ask questions.  I had to have a storyline that draws the reader in first, and I hope that has been done.

ME: What can we look for in the series? Is there anything else that runs though it to be prepared for?

ELIZABETH: The series is about the physical battlefield with blasters/sunspears. Yet it is much more about the deeper battle that marks the first two books. Deception and Darkness and everything they bring with them will continue to create battlefields that the characters must struggle with.  Those battles can be harder for them than ones with sunspears and far more costly.  It may also get them into some awful situations because their enemy is cruel.  It seems bleak, and their struggle seems to break them at times. Even as they face such Darkness, I believe you will find another thread throughout the series.  I will let you read for yourselves and figure that one out.

ELIZABETH LAVENDER AUTHOR BIO:

Elizabeth Lavender is the author of the Sunspear series.  Originally from the Alabama coast, she currently lives in the Dallas area with her husband, Jeff, and her two children.  She has a Master’s in counseling from Dallas Baptist University and has studied psychology and English as well.  She enjoys science fiction and fantasy and hopes to bring some of that same enjoyment to others. 

THE LINKS!!!

Come on! Click on the links to Elizabeth’s stuff! You know you want to!

Here are the Amazon links for The Spinning of Deception (Book 1)

https://www.amazon.com/dp/B07ZLS4HL1   (e-book/kindle) 

https://www.amazon.com/dp/1951741013 (paperback)

Here is the Amazon links for Deception’s Hold (Book 2)

eBook link : https://www.amazon.com/dp/B085PV3GQP

Paper back : https://www.amazon.com/dp/1951741048

Rule #3: The Poverty of Rewriting

Rewriting, rather than fixing or redrafting, is a philosophy of poverty. Every one of the words of your not-quite-good chapter 12 is to be considered a rare gem of which your mind only has so many. So you rewrite and rewrite and rewrite, keeping some words and sentences and ideas from the first draft intact while you suffer through five or ten or twenty rewrites. 

Real writers like Robert Heinlein, Harlan Ellison and Dean Wesley Smith didn’t believe in that kind of writerly poverty. They wrote and finished stories and put them on the market. There was always a fresh story progressing down the pipeline. If story #27 didn’t sell, by the time these authors finished sending it around to all the markets they had written half-a-dozen more to market and some of those most assuredly would sell. 

When I first started writing and submitting poetry many years ago, I did believe in the whole infinite-rewrites myth. But I found that when a poem ‘worked,’ going back to it days or weeks later to do a rewrite didn’t help. It was either as great as I could make it already and changing any word made it weaker, or it was a flub that didn’t get good no matter what I did to it.

I sent out those one-draft poems and some got published. And kept writing more and more and more. No word poverty there! There was always another idea coming along into my fertile brain. I didn’t have to waste hours, days or weeks trying to spin my flubs into gold.

Think of the very first story you wrote— perhaps as a grade-school assignment. Do you really think if you had been rewriting that story time and again it would now be so polished that it would win you a literary prize? Or did you learn more by writing other stories or essays or poems? 

A writer writes— puts down new words on paper or screen. Writing is not outlining or talking about writing or gossiping about your writing plans in critique group or promoting your published books on Twitter or filling a world-building notebook. It’s putting down new fresh words to a new fresh story. Again and again and again. Because your mind will never run out of ideas. You don’t have to infinitely rewrite the old ones until they turn into gold. You write, you finish, you put it on the market (or self-publish.) It’s that simple. Or that impossibly hard.

Rule #3: Redrafting is not Rewriting

What is redrafting? Redrafting happens when a chapter or a whole story is Just Not Working. You junk what you have written down and write a new draft from your memory of the idea. I did redrafting myself before I even knew that was the name for it.

Dean Wesley Smith describes it as being all from memory, but I use name and place-name lists in order to keep from having to reinvent the wheel because I don’t always have a good memory for things like that. Before I read about redrafting, I did redrafting when a chapter I had written got bogged down and felt unfixable. I just started over. I might make it a different scene with different characters but serving the same purpose as my original scene did. 

What is the big difference? When you do many rewrites, you end up with a pastiche which has sentences from the first draft, third draft, tenth draft, and so on. They may not match each other well— which may trigger yet another rewrite in the endless process of Not Finishing your writing project.

Every word in your redraft will be far more consistent in tone than something that has been rewritten and rewritten. Your first draft in rewriting mode may have been humorous, your third deadly serious, your fifth melodramatic, and your tenth an odd mishmash. While your redraft will be fresh and more consistent.

Redrafting when you need to gives a project fresh life. Your bogged-down chapter 7 does not need to be rewritten ten more times in a vain effort to make it good enough. You don’t ever need to look at it again, because your redraft has taken its place. 

Now, you may need to keep various notes and outlines that date from the writing of your original draft. But if you ‘outline as you go’ you may need to not keep some of that original draft’s outline lest it turn your redraft into a mere rewrite.

Rule #3: Fixing is not Rewriting

Rule #3 of Heinlein’s Business Rules for Writing is ‘You Must Refrain from Rewriting Unless to Editorial Order.’ But the problem is, what do we mean by rewriting?

Imagine in the middle of the night you wake up and think that in your day’s writing work you called a character by the wrong name. Or you really need to look up the date of death of Ludwig II of Bavaria before you make him a vampire character in your novel. Or you let your cat help with the typing but now that you think of it you are fairly sure that the word ‘trebuchet’ is not spelled with that many sevens.

You do not need to leave these issues unresolved in order to follow Rule #3. Because fixing is not rewriting. You may fix mistakes, typos, misspellings, errors of fact, and other such things. 

You might also, upon thinking of the matter, decide to develop a rule or system for naming your space alien, elf or dragon characters, even though this will involve changing the names of characters already mentioned in the story. But this is not rewriting. It’s just fixing.

One bit of fixing I had to do was in my starship fiction. I needed to create a system of ranks in the Terran space fleet that was consistent and not borrowed from Star Trek. I wrote down the perfect system for this once— and then lost the paper it was written on. So I had to laboriously create a new, not so perfect system and then go about fixing my story and my notes to reflect the new system.

You may feel the need to write your initial draft of your story with the spell-check OFF, and go through later with it on to fix any spelling boo-boos. This is also fixing rather than rewriting. In fact, Dean Wesley Smith recommends hiring a copyeditor who will find mistakes and wrong words spelled correctly (like using ‘effect’ when you mean ‘affect.’) The story-fixing draft that results from the copyeditor’s work is fixing, not rewriting.

Rule #3: No Rewriting?!?

No rewriting? What is this? Writing IS rewriting, isn’t it? But Heinlein in his five business rules for writers very clearly states “You must refrain from rewriting except to editorial order.”

‘Editorial order’ means an order given by an actual editor. You know, the guy who works for a book publisher or a story magazine who has the power to buy your story. If an editor of this variety says he’ll buy your story if you lose the hero’s girlfriend and replace her with a talking dog, change the unicorn to a dragon, and throw in a time machine, consider it. But as for suggestions given by people who are NOT that kind of editor, feel free to ignore them.

  1. Critique Group Members are Not Editors. They may concoct a criticism only to have something to say. Or to please you since you WANT a critique. Or they may be so wrong that any rewrite you do to their suggestion just weakens or kills your story.
  2. Beta Readers are Not Editors. Beta readers are people you pay— with an Amazon gift certificate or with a promise to beta-read for them— and do not have the power to buy your story. Unless they have a very similar writing mind to yours, they are likely to say nothing that will help. And like critique group members they can lead you astray.
  3. Literature/English/Writing Teachers are Not Editors. Many teachers have never written or sold anything. Even the creative writing teachers who are actual writers and have sold may be putting out the false ‘keep on rewriting’ line so popular among English teachers. A teacher’s suggestion does not trump your instinct of what your story is and is not about.
  4. Book Fixers You Hire are Not Editors. No, not even if they call themselves ’editors’ or ‘content editors.’ Real editors in the sense of the Rule pay YOU— at least if they accept your story. Book fixers are people you have to pay. They are going to come up with a lot of suggestions so you feel you got your money’s worth. These suggestions might be good, bad, or story-killers. 
  5. Agents or Would-be Agents are Not Editors. The kind of agents that YOU as a new or not-famous writer can get are of varying quality, but they are NOT the dudes that handle James Patterson or Naomi Novik. They may THINK that if you turn your cowboy hero into a transgender saloon ‘girl’ they can sell it to a real editor but they may be wrong.
  6. Real Editors who have Turned You Down are No Longer Rule #3 Editors. Sometimes you get a rejection letter which says, not for us, but before you resubmit elsewhere turn your main character into an owl, lose the spaceship, and put more metal into your time machine. But once this editor has turned down your story, the suggestions this person makes just stand in the way of you having FINISHED that story and marketing it.

A major reason for obeying Rule #3 is that it helps you keep Rule #2, ‘You must finish what you write.’ If you declare a finished story unfinished and do another rewrite every time you get a suggestion from a critique group or a rejection letter from a publisher, your story gets farther and farther from being finished.

The worst part about the endless-rewrite culture is for most of us the more we rewrite the more our story becomes conventional, less risky, more boring, more the same as what every other writer puts out. We don’t want or need that!

Writing Advice is Sometimes Not For You

There is a world of writing advice out there, some good, some awful. And even the good advice from writers who know a thing or two may lead you astray. Because some writing advice is Not For You.

The thing is, advice-giving writers have different would-be writers in mind when they give their words of wisdom. A writer who has just read some dreadful manuscripts full of misspellings and bizarre bad grammar may insist that every writer, everywhere, must hire a proofreader to correct a manuscript before sending it out anywhere. And so some ambitious young wannabe writer who has won spelling bees and teaches English grammar in Catholic school as her day job pays a few hundred per manuscript and is puzzled by the fact the the proofreaders she hires seem to be less good at spelling and grammar than she herself is. But she keeps plunking down the money anyway.

You, as a writer, are unique. You may be falling into the trap of creating stereotypical characters, or maybe your characters are so bizarre that no readers can relate to them. A bit of generic writing advice will not be able to solve both problems for the writers that have them. 

Lawrence Block in one of his books on writing led me astray by saying that a writer should start out by writing a novel instead of short stories. He himself started with short stories, but by the time he wrote that book, the short story market had shrunk to just a few magazines— and they paid the same few cents a word they had paid years ago. So, he said, write a novel first.

But a novel is a big project, and I’m sure Lawrence Block’s own first novel benefitted by his own history of writing, finishing and selling short stories. I had a lot of trouble trying to tackle a novel before I’d finished my first short story. That particular bit of writing advice was not meant for me.

The best way to know what writing advice is right for you is to develop some discernment about your own strengths and weaknesses. If writing advice is addressing a problem you don’t even have, ignore it. Don’t worry about it. It’s not intended for you. 

You might also try to become more aware that different working multi-published writers use different methods. Some outline, some don’t. Some intentionally put in foreshadowing and symbols and other things that charm English teachers, others put these things in unintentionally, through the power of their subconscious mind. And some writers need to know ‘plot points,’ while others can complete dozens of popular novels without so much as knowing what a plot point is.

I believe in reading good how-to-write books, at least the ones by writers you have heard of as fiction writers. There is good advice to be found there. Just beware of the advice that is Not For You.

Holy Week greetings from,

Nissa Annakindt


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Matter Replicators in Science Fiction

They had them on the Starship Enterprise— machines that could give you whatever you wanted, from a cup of hot tea to a new uniform to a violin. But the idea goes back even further, to science fiction stories from the pulp fiction days.

The usual idea is this: a machine is invented that can turn energy into ‘stuff.’ Food items, manufactured goods, whatever. And since the cost of energy in these stories is significantly less than the cost of getting items through agriculture, mining and manufacturing, it ushers forth an age of prosperity and plenty.

Unless of course you are a farmer or factory worker, in which case your job is not only gone, but it is obsolete and won’t come back. And since the energy to work the replicators may be cheap but won’t be free, the unemployed won’t be able to eat, except through the charity of the employed. 

But who can be employed in the brave new replicator age? Almost everyone’s job will be gone. Of course some jobs will hang on due to tradition or politics. Public school teachers could easily be replaced by computer programs that won’t leave any child behind because each child will be treated as an individual— which public schools can’t or won’t do— but public school teachers unions are an important political force and source of campaign donations. So schools stay. They don’t even computerize instruction so that the actual school facilities would be only about the schools’ babysitting function. Because unionized teachers, no matter how dreadful, are sacrosanct. At least to the politicians that get money from teachers unions.

But when the vast majority of jobs are obsolete due to replicators, fewer jobs, even union ones, will be sacrosanct enough to hang on long. It’s like horse harness manufacturers once cars were invented and in use. Very few people are employed in that job today.

The jobs that will be booming are in replicator technology. There will be no replicator factories, just a big replicator replicating more replicators and replicator parts. But someone will need to take the newly replicated replicators and put them in boxes to ship to wherever replicators are needed/wanted. There will have to be replicator installers and repairmen. 

Craftsmen will become obsolete. Who will want a custom-made violin when every grade-school kid taking violin lessons can have a replicated Stradivarius? Even the most fashionable artist will have a hard time selling paintings when the customers could buy a replicated Rembrandt or Van Gogh for less. 

When writing a story in which replicator technology appears, you must decide on what the limitations of the technology are. Could you use a replicator to replicate people— perhaps make yourself an army of replicated trained soldiers? Or could you use a replicator to feed all the people of a starving Third World country? Or is replicator food not a true duplicate of the food it is intended to replicate. Maybe a replicated steak is high in carbs and low in protein and fat.

Who controls the replicators in your story world? If you have to be a member of a certain political party or faction in order to have access to replicators, what will that do to society? To democracy? And what happens to people who are on the outside and can’t get replicator access or replicated goods?

What are the social rules limiting what you can do with a replicator? Are there things you CAN do which are not allowed? Perhaps you COULD make an exact replica of the Mona Lisa with a replicator but there are laws and social taboos that would make it unthinkable. Or perhaps the replicator-owning caste doesn’t allow certain rich-people foods, like caviar or exotic mushrooms, to be replicated for the common people.

In the old Soviet Union, the saying among workers was ‘We pretend to work and they pretend to pay us.’ If a socialist (or National Socialist) party had control of replicator technology, could they fulfill the broken promise of socialism and bring prosperity to the workers— or at least the ones that were loyal party members?

And what about working? Replicator technology might mean there were few people who actually needed to work. Would the non-working majority look down on the replicator repairmen? Or would there be an effort to allow the non-working ‘caste’ to die out— either through enforced ‘birth control’ or through more gruesome methods?

How would YOU write a story with replicator technology? What factors do you think are most important? Do you think replicator technology would be more of a blessing or more of a curse? Share your opinion in a comment!


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IWSG: An Aspie Writer’s Take on Social Distancing

Since I have Asperger Syndrome (an autism spectrum disorder,) I have been doing social distancing all my life. I just didn’t know that was what it was called. I just thought of it as being lonely and not having friends and going days and weeks without meaningful social interactions.

This is a post in the Insecure Writer’s Support Group blog hop: https://www.insecurewriterssupportgroup.com/p/iwsg-sign-up.html

While other people are getting frantic when they have to stay home because of that certain virus, my life is mostly situation normal. I haven’t had a job for years and get along on SSI disability (NOT fun,) I live in a rural area and don’t waste my small amount of money by hanging about in barrooms, and after a lifetime of having social interactions with mean and hostile people, I tend not to even try to socially interact any more.

In fact, the main change in my life is in the direction of MORE social interaction. My friends, with a very few exceptions, are not real-world friends but online friends. And my social media accounts are livelier than normal with many people staying home and sharing memes and rumors about the virus all day.

Being socially isolated can help you concentrate on doing your writing work— if you actually do your writing instead of letting your social media become a time sink. I have recently completed a short non-fiction ebook. Unlike my usual open-ended projects that get bogged down and fail, I planned this project to be a small, time limited one. I gave myself 12 writing days to produce a work that would be 12000 to 24000 words long, which I have read is a good length for a non-fiction ebook.

In reality it took me 17 days, the book turned out to be on the long side of the projected length (which is good), and I had to do 3 more days to transform my Scrivener text into something Kindle Create could work with and to design a cover on Canva.

And now the hard part comes. I don’t really know how to do the social interaction part of doing a book launch, and with my SSI income I can’t hire services to promote my book for me. I don’t know how well the book will do.

But I have already started my next two writing projects. One is another non-fiction, this time about a low-carbohydrate/ketogenic way of eating. The other is science fiction, about a starship which is somewhat lost and encounters a planet where the population is keen on dealing in stolen starship parts. I am not sure, right now, if it’s better to try to work on both at once or to do them one at a time to keep focus. What will happen? Well, you can come back to this blog to find out.

Lenten and Insecure-Writer Greetings,

From Nissa Annakindt & her cats and other critters.

A Click-To-Tweet Experiment

This one’s about my new book, ‘Getting More Blog Traffic: Steps Towards a Happier Blogging Life. Click on the blue bird to tweet about it. (If you want to participate in this experiment.)

Tweet: Learn simple and free secrets to get more traffic to your blog https://ctt.ac/O71HU+ #blogging