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Bite Sized Adventure

4/30/2018

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So, about a month ago, I found myself chatting with my wife (we have a healthy relationship, and I actually like talking with her), and trying to figure out my next steps in this endeavor of being an author. I'd finished my third novel, sent out query letters to agents (since I'd already decided that I'm gonna tackle Traditional Publishing, as opposed to Self-Publishing, for all the reasons you can read in one of my earlier posts), and started looking at ways to make myself a little more marketable. 

After a little back and fourth, we decided I should join Twitter (something I've been putting off for as absolutely long as possible), and re-evaluating my website. If you've looked around, you'll have probably noticed that there isn't much to my site, but until recently, it was even worse. Yes, I have a blog, and a page about myself, and one dedicated to each the genres I write in, but while I have a number of short stories available in sci-fi, and one in urban fantasy, my high-fantasy page was centered exclusively on my first novel that was never picked up and never published. Doesn't sound very smart, does it? The obvious answer was to take it down and replace it with actual content.

Which led me to my Grand Idea (that I borrowed from someone on twitter): write a new short story every month!

What I didn't borrow was the idea that it would be a series, and I'd name it WANTED: Swordsman for Hire. It would be about the self-centered fighter Bram Thunderfist, greatest swordsman this side of the Eonies Ocean, and through his adventures, I'd get to poke fun at some of the conventions and tropes of fantasy and role playing, all the while giving me a chance to continue being creative with a slick writing exercise (and creating a steady stream of that much needed content.)

The first one is already up and is titled "The Job with the Keep and the Lake of Lava", but the following ones will keep to the same basic structure: each story is titled "The Job with...", they all start somewhere in the middle of Bram's adventure, and they all end at the climax with a cliffhanger and the phrase, "You know how it is."

I also thought it fun to come up with the title
of each adventure first, and then try to make a story out of it. And that's where you, the reader, come in. I'd love it if others would start offering up titles for adventures that I could then create a story around. If you'd like to contribute a title, please feel free by commenting to this thread, contacting me via email, or posting to my handle on Twitter (@ndaeodain). 

​I hope you enjoy them, and I'd love to see your thoughts.
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The Dreaded Writing Group (Part 3 of... some) Evolution of Commenting

4/4/2018

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Commenting is VITAL to a writing group.

It seems stupid to say, but anyone who's been in one knows this. There has to be a give and take, and you have to give if you expect to get. It's also one of the reasons people seem to loath writing groups: the feeling of always needing to comment, and never having your work commented on.

When I started the DWG, I wrote up some rules, invited in a few friends, and just assumed that everyone understood that if there was work up, you'd comment on it. Oh, yeah, there was also the fact that I'd been the only one to have been in a writing group at that point, so I was the only one who had an idea what the give and take should look like. 

The result went about how you would expect: not well. 

There were only four of us around that time, and three of us were getting our stuff read somewhat regularly, and one was getting left out by almost everyone, and at that point I realized I needed to create a more substantial structure. My solution was perhaps a bit overboard...

I tried to address this by coming up with a highly convoluted system where we were to all have a status of being Active or Inactive, and then there was a spreadsheet that we all had to reference, and we had to log in all of our commented stuff on a second document and note each work we'd commented on, and in turn I'd take all of this information and fill in the spread sheet so that everyone knew what works had been posted and who'd commented on each, and if they'd all done the appropriate commenting (having read and commented on a small portion of every author's work), they would then be considered Active, and only then would other people be required to comment on your work. Oh, and there was this thing that if there were authors that hadn't been Active since the last time you were Active, they wouldn't be required reading, but if they were at any time since you were last Active, they would be. And a few other complexities thrown in to try to make everything fair.

Simple, right? 

Surprisingly enough, I managed to keep up this level of detail for about six months. That was when I realized that, although it was eminently fair and balanced, it was also a lot of work, and pretty overkill. See, the intent of my group was to be super low stakes (like write half a page, and read and comment on half a page of everyone's work kind of low stakes), and as such, you're not required to be active every week, or even every month. In fact, for a while, I was the only one Active for a good two month stretch. That made all that chart keeping a little silly.

After a bit of deliberating with myself, and others in the group, my final approach streamlined everything. It still revolved around the Active or Inactive system, but vastly simplified. Did you comment on all the Active Authors the previous week? Yes? Great, this week you're Active. No? Cool, then you're Inactive this week and you're work isn't required for others to read. Let everyone know on the Bulletin Board if you've done your commenting. At the end of the week, I check who did, and put them on the Active list. That's it.

I'm actually kinda proud of this system, because I don't really have to do much work to keep it going, and everyone understands where they stand and why.

And now my group has been chugging along for over a year and a half, and we technically have nine who are involved. One is basically a no-show (one of my rules is I don't kick people out, I just occasionally ask if they're still interested in being a part of the group, and inevitably, they say, "Yeah, I'll get back to it soon."), one is kind of a no-show, the majority are in and out every few weeks, and three of us are in damned near every week. I also send out Friday memes as a friendly reminder to everyone that they still belong to a group.

But this is kind of what I wanted: a sense of community, yet still a lot of flexibility, because life is hectic, and writing is hard. I wanted to create a group that would be a gentle reminder that there was a project that each of us wanted to complete, and to just keep plugging along. Because that's how writing gets done: one letter, one word, one sentence at a time. 

Next time: Growing Pains
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My Experience in Publishing (Hint: It's Limited, and Not Terribly Uplifting

3/28/2018

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So you just finished your masterpiece of prose... now what? Well, you have a number of choices in front of you, but primarily two pretty diverse paths.

The first path is the easiest to get going: Self Publishing.

​There are quite a few places to go for that (most notably Amazon), and you can get your work out within a day. While this is rewarding, and you get the largest cut of sales this way, the downsides are sizable. One: the marketing is all you. You have to figure out how and where to advertise and promote your book​ (but to be fair, that seems to be expected of every author nowadays) and all of that is out-of-pocket. Two: you won't be recognized by anyone as 
an author. The various writer's guilds will ignore all that work, and consider you to still be a non-author, and many of the websites and festivals that promote books will be the same. Additionally, whatever you self-publish will also be considered “published” if you ever try to take your manuscript to a traditional publisher. It sucks, but that's how it is.
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The second path is the harder one, takes a lot more time, and is particularly soul-crushing: Traditional Publishing. The basic rundown is: get an agent, get that agent to find a publisher, and have your book published. It sounds simple, but that doesn't seem to be the case for anyone but people who already have fame and/or fortune. The rest of us have to experience it the super-painful way, and make the climb in the dead of winter, uphill, both ways.

The first hurdle (and the biggest as far as I'm concerned, though that's probably because at the time of this posting I still haven't managed to make the jump) is to find an agent. While there are lots of agents out there, they get tonnes of queries all the time, and they're looking for any excuse not to like what your presenting them. It's kinda as if you went to a bar looking for some action, except that everyone there is extremely picky and you happen to be the least conventionally attractive one within five square miles, with the only caveat that you know that people exist who have fetishes, and one of those fetishes might just be for someone exactly like you. Point is, expect to be rejected... a lot.

Having written two previous novels, I've gone through this process several times, collected a nice figurative stack of rejections, and learned a number of things that might be helpful to you first-time submitters, and maybe a little something for those of you in the same boat as me. To start, you'll want a kickass query letter along with some kind of short bio, and different versions of a synopsis (here's a great article that'll help with the synopsis part. http://theeditorsblog.net/2012/07/15/clear-the-dread-from-the-dreaded-synopsis/ ).

Next, do a little research. Find a good twenty or thirty first round agents that are looking for the kind of book you've written (Hint: Young Adult and Middle Grade are huge right now. Regardless, here are two websites to get you started. https://www.agentquery.com/default.aspx   
http://mswishlist.com/profiles/agent/fantasy ).

The one thing that has helped keep me sane and optimistic is my attempt to stay organized. I made a file that lists all of the agents that looked promising, starting with the agency, then agent, the status (SENT or REJECTED), the date I sent it, and how many weeks I should expect before getting a response. The final note I put at the end was a simple “yes” or “no,” indicating if they were intending to respond to my query. (Apparently it's become common for agents to simply say, “I'm too busy to sent you a simple form letter as a rejection, and give you closure out of common decency.” About half subscribe to this philosophy, which I think sucks.) Once you get a rejection (or they haven't responded within a standard timeframe, which almost everyone agrees caps out at about 10 weeks) write them off as “REJECTED,” find another agent, and send out another query. Rinse and Repeat.

An agent is important to this process (I've read a number of blogs detailing the legal advise and expertise in negotiating having an agent will provide you), though you can circumnavigate them in certain circumstances. So, lets say you've gone through every agent you can find, what then? Try to find an editor.

This one is harder. Most of them say they don't accept unsolicited manuscripts, but there are a few that are looking. The other place you can meet both agents and editors are writer's conventions. These cost money, but it's one of the few places you can meet people face to face. And this is where the elevator pitch comes in. Practice it. Memorize it. LIVE IT. Or at least be able to recite it when you get the opportunity.

​And if you've beaten the bushes, buried yourself in rejections, flogged yourself to an inch of your ego's life and still haven't gotten a bite, then your still faced with two options. One: try self publishing; or two: set the manuscript aside, resign yourself to the idea that it just isn't the time for this one, and start the next masterpiece. Maybe that one with be The One.  
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The Dreaded Writing Group (Part 2 of... some): The Value of a Writing Community

3/23/2018

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There's this myth out there of the lonely, solitary writer, sitting in a dark dank hole of a room surrounded by cigarette​ butts and empty bottles of booze, never to see the light of day until they emerge with a honed, polished and genius manuscript. I'm sure it's not wholly a myth. I'm sure there are people who can do that (and I have been known to have an empty bottle sitting next to me once in a while), but I am certainly NOT one of those writers. I don't know about you, but I write stuff so other people can read it, and very seldom does prose pour from my fingertips without either some serious forethought or some painful revision. I recently heard the term "pantser or plotter," meaning do you write by the seat of your pants or do you plot everything out. I'm not going to get into that right now, but either way, a Writing Community can help.

As I'd said before, I've been very lucky with writing groups, and I learned a great appreciation for them over the years which is what I wanted to talk about this week. (I already gave all the ground-work stuff for my Digital Writing Group in part one, so we'll get back to the nitty-gritty of it in a later post.)

My first writing group was a summer project my wife threw together around the time I'd decided I would start on my second novel. As she is an academic, she and her colleagues are expected to write, and, if you see where this is going, the group wound up consisting of me with my fanciful sci-fi piece, a handful of seasoned scholars with immaculate research articles, and one other author who'd been writing for decades. I'd never learned about commenting, or accepting and using criticism in high school, and since I never went to college, I didn't get a chance to learn it there either. This whole thing was exceptionally intimidating. My only saving grace was that my wife had gently coached me on my first novel, and so I'd already begun to understand how not to be defensive about constructive feedback, and an inkling of how to critically read other's work.

The experience was, as you would expect, educational, and it gave me my first insight into what a writing community can do for you. What I didn't really embrace then, that I spout whenever I can now, is that writing is a skill. So is reading, and so is giving feedback. Better yet, learning how to read critically helps make your own writing better, though, of course, the most important part about making your writing better is to keep writing.

My second writing group was a more formal affair. The rather successful author Richard Bausch hosts a yearly by-invitation-only writing group at Chapman University. You have to apply, and he only accepts a handful of authors each spring. I was honored by being accepted, along with eleven others. The format was, what I could only assume, a more standard model than the first group which had wrapped up with only five of us at the end. Richard's group had... well, Richard. He was a moderator that set the rules, guided the sessions, and interjected when he felt like (and boy did he. He liked to talk and tell stories, and really, who were we to say no? My favorite story of his was about revision, or the lack thereof. One of his manuscripts--he didn't specify which--wasn't sitting right with him, but writing it had taught him what he wanted to know about his characters. So, the moment he finished his first draft, he set it aside, and wrote the whole damned thing again from scratch. Which only emphasizes another point I often hear from my wife: writing is thinking.)

My third writing community wasn't really a group. It was a website full of authors called Jukepop, and doesn't exist anymore. Once the powers-that-be deemed you knew how to put a sentence together, they let you provide as much content to their site that you wanted for all the world to see. Anyone with a browser could read your work, and there wasn't really any monetary compensation, though anyone who belonged to the site could comment on your work. In that regard, it was a massive writing group. (It was also considered highly unprofessional by a professional writer I know. "You don't let the public see your work until it's ready for the public to see your work. First impressions are important." After consideration, I agreed and left.) That foray did help me sharpen my commenting skills, but mostly taught me the importance of every member having complete control over their own work. See, when I tried to leave, the staff of Jukepop wouldn't answer my emails. They were happy to have my content, but decided the best way not to lose authors was to ignore an author's request to close their account. I eventually had to go in and delete every chapter individually, and re-title everything "Null." Which, now that I think about would be a cool title for a sci-fi story. (I'm sure it already is.)

The most positive part of that experience was that there WAS a sense of community. There were people who supported what you were doing, and encouraged you to keep going, and, best of all, there were people who read what you were writing. Artists create art for the sake of art. Writers write, dancers dance, painters paint, and one of the greatest satisfactions is when you get to share that with others and it's appreciated. It sure would be nice to get paid for it though. 

That was pretty much my foundation for creating my own writing group. Well, and having a kickass wife who drills praxis, pedagogy, and theory into my head. That helps too.

Next time: Evolution of Commenting
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The Dreaded Writing Group (Part 1 of... some): An Alternative (Though still a writing group)

3/16/2018

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If you're reading this, there's a chance you're looking for a writing group. That's great! Being a part of a writing community is a fantastic way to hone your skills as a writer. It can also cause all kinds of frustrations. I've been lucky, and I mean really lucky, to have been in a handful of really great writing groups. From what I've read online, and of the anecdotal horror stories of other writers, I know this isn't the rule. In fact, the rule seems to be: find a local writing group, meet odd people with poor social skills, seldom get your stuff read, and navigate a handful of bossy people who think they know everything. 

Well, after my good experiences and over the last few years, I've created and been a part of an alternative that doesn't completely negate those negatives, but lessens the impact of them, and still gets your stuff in front of eyes: the Digital Writing Group (or as I like to put it, the DWG (pronounced, of course, "dog")). The down side (if that's how you want to think of it): you create this group on your own, and this blog series is intended to be a kind of "How To."

Now, before you roll your eyes (at the idea of a digital writing group and/or creating it on your own and/or my punny title) let me give you the basics. The premise is: I personally know people who have always wanted to write a book, and they in turn know people I don't that also have always wanted to write a book. Through the use of Google Drive and email, I set up a small network of writers across three states consisting of friends, and friends of friends, to post work, comment on work, and get their work commented on in return. We are now nine, and nearing the limit of the functional size for a group like this.

I know, there are online writing groups out there, and I'm sure they're a good fit for some, but for me, I didn't feel comfortable with the anonymity of them. And really, it's scary putting your work out in public for all kinds of reasons. If that kind of community does sound like something you're interested in, cool. Here's a link to get you STARTED, or just search for "online writers groups" and jump to it. If you're like me, and want to be a little more "personal" in your approach to sharing, know that, like writing itself, my version of the DWG doesn't come easy, takes patience, and takes a bit of legwork. Though now that it's founded, it is pretty rewarding.

If you've heard enough, and are all like, "Damn, I wanna get me some of that sweet, sweet small-community-sharing goodness." I won't make you wait for the opportunity to create your own. I wrote a constitution of sorts containing the goals, rules, and guidelines the group is based on called, appropriately enough, DWG: GOALS, RULES, & GUIDELINES. At the end of that page, I've also posted a sample DWG: Bulletin Board (a group document needed to keep track of things) to illustrate what that looks like.

For those of you who are wondering, "What the hell does this guy know?" I'll give you a little rundown of my own limited experience.

I've been writing with the intent to get novels published off and on for about 15 years now. During that time, I've completed three novels, a novella, numerous short stories, and have collected a solid stack of rejection letters. Also during that time, I have been a part of two wonderful writing groups (not including the DWG), and an online writing community that no longer exists (and was also told some time ago by a professional writer that it had been very unprofessional to be a part of). My wife is a professor of composition and rhetoric, and also the director of a college writing center. Like any good husband, I listen to my wife, and because of that (and from the groups I've been in) I've picked up a whole lot about what it means to give constructive feedback. And through the moderating and creation of my own writing group, I've figured out a good amount of what does and doesn't work in the writing group format I've chosen.

Over the next few weeks, (hopefully a new post every Thursday or Friday) I'm going to share what I've learned.
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Well, the Future has just gotten more interesting...

11/13/2016

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Um... so... the United States election happened. And aside from the epic horror that's been settling in on a large percentage of the world, I have to say, there is the faintest silver lining in all of it. Albeit, a terribly selfish silver lining. 

The most recent novel I've completed and am attempting to get in front of editors is set in the relative near future (2054), and I had to come up with some plausible yet fairly unsavory future events for the next forty years. Things like a global plague infecting food crops, unchecked climate change, the expansion of corporations into global powers, the collapse and reconstruction of the European Union, the thorough evisceration of the working class and creation of a national welfare state. You know, stuff like that.

For a while there (with the election of Obama and quite a few of the progressive achievements we've made) I was beginning to worry that this world I'd created was too dystopian to be realistic. We were moving in the right direction for that world to simply not be relevant anymore (and really, this novel will get published one day, but there's no telling how soon). 

But lo and behold, people have a way to surprise you. The complete dysfunction of our Federal Congress has been doing its utmost over the last several years to hinder any progress on anything, or do any work at all, really, grinding our government to a near standstill. This works for my story. Not bad, not bad.

And that brings us to today... President Trump.

My crap-ass future is all but assured! Sucks for us, but Damn my story is gonna be relevant.
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World Building is Fun (Part 3: Another Final Frontier)

7/5/2015

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So, recently, my wife (and a fellow author on Jukepop, A. L. Ross) convinced me I should take the short story Transmission: End, and turn it into a full-blown novel. Great idea, but as a short story, there was a whole lot I didn't really have to develop, like what the hell the space station Terra Firma actually looked like, or how the different sections might fit together.

And that spurred on a week-long process of making stuff up. This has been interesting to say the least, but this is what I came up with.
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E.G.S.S.T.F - Overview

Extra Galactic Space Station Terra Firma was commissioned on 4048-11-11. A human-only scientific expedition, its mission is to observe ancient radiations with its satellite array of 50,000 probes spread out in a 10 light-year radius. Its placement is in a rare and optimal dimensional peak allowing the observation of an unprecedented amount of the universe from a single location.

Statistics: The appearance of the station is of a tear drop shape encircled by three rings along its axis. The station was specifically built with the same capabilities as a inter-galactic starship, but allowing for a much larger crew and secondary accommodations.
Population 10,062.
Overall Dimensions: 975 meters long, 1508 meter diameter wide


Specific Dimensions:
Station Core: 750 meters tall, 675 meter diameter
Interior gravity orientation for the station core is considered Above Horizon, or simply Above. The surface of the Core is called the Skin and its gravity is the only exception, with “down” directed to the center axis.

The Core is broken down in to four component areas:

Maintenance and Life Support: This section is the lower third of the Station Core, and located just above the central lake. It contains the Base-Fabric Core Generator (which is one of the largest ever made), the Capacitor Arrays (necessary to power the Primary and Secondary Warp Rings), Secondary Complex Matter Generators (allowing for any station repairs or modifications), Circulatory/Metabolic Systems (including air filtration and water filtration), and Central Processing (which houses Esstif and secondary computation systems).


A.T.I.D.U.: Array Tethering, Integration, Distribution and Utilization (typically spelled without punctuation, ATIDU, and pronounced as one word) encapsulates the middle third of the station. Its primary purpose is to maintain and communicate with the 50,000 Observational Array Probes surrounding the Terra Firma. This includes recalling and reestablishing links with drifting or malfunctioning probes.

Its secondary purpose is to distribute all of the amassed data that is collected by the satellites to all of the substations, science quarters and observation decks.

The tertiary concern for the ATIDU is the maintenance of the Entropic Collection Threads and the Cohesion Fields that encompass the station which protects the station from the high entropy state and dimensional shear of their current position. 

In between the Primary Warp Ring support struts, there are three massive repair bay doors. Each of the bays contain a Primary Complex Matter Generator and are capable of housing a single Observational Array Probe. Each can construct a Probe from scratch within a week's time.


Docking Ring: This is a simple two level deck between the ATIDU and the TOD, and just above the Secondary Warp Ring. Polymorphic docking clamps and bridge extend out secure to up to eight visiting ships or to connect to a larger orbiting station.


T.O.D.: Located at the tip of the station's tear-drop shape, the Technical Observation Deck is the bridge of the station. All systems can be routed and controlled from the location, and it has the necessary accommodations to host formal events and official meetings.


Arboretum: 225 meters tall, 630 meter diameter
While technically part of the Station Core, the Arboretum is the only section considered Below Horizon and containing the gravitational orientation accompanying the designation.

A 630-meter radius within the heart of the Terra Firma, the arboretum is the primary recreational location on the station. Roughly 47% of the oxygen supply is created by the 4,615 different flora housed within. The center of the arboretum is a small lake of roughly 100,000 cubic meters. Its shores contain a resort-like area with designated locations for lounging and sport.

The perimeter of the Arboretum is intermittently lined with store fronts and restaurants.


Habitat Ring: 1,395 meter OD, 1305 meter ID, 45 meter diameter thick
4,380 meter Outside Circumference, 4,098 meter Inside Circumference
Capable of housing over 12,000 people.

Designed for comfort, the Habitat ring is structurally situated so as to incur the least resonant distortion (which creates a powerful sense of vertigo for organic sentients) from the Primary Warp Ring.


Primary Warp Ring: 1,508 meter OD, 180 meters wide, 40 meters thick
Capable of generating a warp field large enough to jump the station over 5.8 million light-years per hour (around 1.8 million parsecs) It is the most powerful warp field ever created by the Alliance and is subsequently too dangerous to use at full power within a star system.


Secondary Warp Ring: 795 meter OD, 90 meters wide, 30 meters thick
Dedicated to precision navigation and inter-star-system travel. The secondary ring also provides the basic propulsion for the station . 
And boom, we have a station/starship for our characters to run around in. 
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World Building is Fun (Part 2: Killing off hundreds of millions)

6/14/2015

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In my Sci-Fi world, I wanted to be at a point in history where there was a stark line between the upper and super classes, and the poor classes of the world. I also didn't want the numbers of the human population to be much more than it is today, going contrary to all current projections. 

My solution? The Blight.
The advent and implementation of Vigicore, commonly known as “sludge” and in its dehydrated form “turds,” was a culmination of two major factors. The first of which was global climate change. The development of extreme weather shifts compiled over the years to make the great plains of the U.S. a harsher, more desert-like climate. Boiling hot summers and blisteringly cold winters left much of the farm lands of the mid-west all but unusable.

Which led to the second of the two factors, the genetic modification of the world food crops. Greed was the worst contributor to this half of the equation. Although the development of more resilient plants, both from pests and the weather, allowed these threatened farmlands to continue to thrive over the years, it was this very advancement that was targeted by opposing political entities.

By the time of insertion, October 2024, over 95% of U.S. crops and 67% of world crops were generated by the top three seed manufacturers. These modified seeds produced tough, yet full and flavorful crops in even the harshest of conditions. Needing phenomenally low amounts of water and thriving in the new heat levels, the farms were beholden to the producing companies. For not only were the seeds plentiful and productive, they were also severely limited. The life cycles of the plants from these seeds were capped at one season without the ability for the germinating plants to produce additional seeds. By this model, the three major companies were guaranteed a return consumer base.

The Blight came from Asia. It was tracked back to 12 different countries and hundreds of separate food distributors that supplied the airlines with their on flight meals. The bacteria which caused the Blight was ingested by passengers, gestated within their GI tract, and then spread by unhygienic bathroom practices. It took over 6 months before the first of the effects were detected, and years before it was traced back to its regional origins.

The basic purpose of the Blight was for the engineered bacteria to join the local cultures of a given plant and then begin secreting a designed enzyme that targeted the genetic markers which limit the lifespan of said plant and trigger that marker early. In the wild, this attack might shorten the lifespan of a normal non-engineered plant by several months, perhaps a year. But for the GM plants, the effect was a premature death before maturation. It is assumed the Blight backfired on its creators, because although the original strain had been narrowed to effect the markers of just the top three producers, the bacteria had evolved within a year and rapidly killed off all plants using this limiting technique.

Once the initial stages of the Blight had been confirmed, the governments of the world began an immediate campaign to find a cheap alternative to the loss of fruits, vegetables, grains, and eventually the livestock that also fed off of them. Several companies came forward with scalable plans to grow a complete nutrient and protein substance, but it was ultimately Dolsen International which produced the first viable food substitute, Vigicore.

It was during this time that many countries declared martial law and subsequently outlawed many of the firearms popular during the early quarter of the century. Since then, the price of heirloom seeds has exceeded the price of gold and only those of the superclass can afford a regular diet of fruits, vegetables, grains, and meats.   

Sure, it's a little bleak, but it's a great "what if" that is suddenly very plausible. 
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World Building is Fun (Part 1: Internal Personal Technologies)

5/30/2015

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This is the first of a series (hence the "part one") of various elements within the different worlds I've created, am working on, or will be working on. Like Tolkien and his Silmarillion, creating a solid mythology or technological hierarchy is crucial for a believable world in which your characters live. 

So let's get to it. 

Today's episode is about the development and acceptance of technological components within the body, a huge "ick factor" for a lot of people today, and a hurdle many people can't imaging getting over. 
History of Internal Personal Technology (IPT)

IPT began in the mid 2000's.

Body artists and Trans-humanists pushed the limits of this concept by inserting magnets, RFID chips, and other simple chip sets coated with sterile medical grade plastics into the sub-dermal layers of their skin in order to “feel” electromagnetic fields or gain access to wireless key entries with the wave of a hand.

It was exciting and edgy for this tiny fraction of society, but the majority of the populous remained skeptical, even creeped out by the concept. This perception continued for several additional years until the year 2021. This was the year the medical technology firm Heliomedic commercially released a refined gastrointestinal filtration system intended to help individuals with Inflammatory Bowel Disease called the HX-1 (Heliomedic Extraction System version 1.) The system was profoundly reliable, scalable, and above all, inexpensive.

The FDA trials before the release had created a media storm over the product. Not only did it do what it advertised, those who tested the HX-1 system reported increased vitality and multiple regenerative side-effects. It was touted as the technological fountain of youth.

History's first commercially viable IPT device was a screaming success. Within the first three years, every US health insurance company included the HX line of internal filters in their top tier coverage as a preventative care measure. After only five years and a handful of refinements, over fifty percent of movie stars, politicians and any random millionaire had undergone the outpatient procedure.

Public opinion had changed. A machine brought into one's body was no longer aberrant, it was the norm.

So by the year 2029, when Dr. Shannon Baker, a professor of neuroscience from Caltech, lead a cross-disciplinary team to develop, then patent, the first addition coil, it was greeted with an enthusiastic reception. An elegant device which could wrap around any of the cerebral nerve bundles and intercept, record, or augment the signal passing through.

Finally, the ability to view files without enhanced contacts, listen to music or conversations without ear plants, even smell across the nextnet without clunky atomizers. All delivered by a simple out-patient procedure... and a lot of money.
Future history. Fun, right?
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My Obsession with the Technological Singularity

5/25/2015

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In my approach to writing science fiction (or any fiction for that matter), I love the process of world building: the act of sorting out the basic rules of a story, the laws of magic or the progression of tech, putting them all in their place, and then figuring out where it leads. I know that sounds miserable to some, but for me it's tremendous fun.

In science fiction, there is a tendency to glom onto one advancement or other, then extrapolate the implications to a final conclusion. But if you try to actually take everything into account, and predict where we'll be in a hundred years, modern writers inevitably run into the brick wall of the singularity.

Depending on who you ask, the Singularity will happen within next ten years (no it won't), fifty years (a bit more likely), or two hundred years (only if we plateau soon). And then most people will simply say, "The what-now?"

To put it simply, the Technological Singularity was first proposed by mathematician John von Neumann in 1958 as the event where machines become smart enough to improve themselves at an exponential rate, creating an intelligence explosion that changes the face of humanity. It's called the Singularity, because like a physical singularity (a black hole) all of the rules as we know them fall apart.

That said, the idea has evolved somewhat over the last 60 years. Ray Kurzweil has helped both popularize and expand the concept into being a more holistic event where humanity will transcend into a new kind of being. 

This of course has it's detractors, and has to led quite a few scientists calling it the "Futurist's new religion."

However, one of the most convincing pieces of evidence is one like this: 
Picture
You can find a silly number of graphs like this one online, but they all show basically the same thing. We are advancing at an exponential rate.

That aside, I think one of my favorite personal anecdotal pieces of evidence was from shortly after I'd written Shakespeare's Choice, in which I predicted the Singularity would take place in 2054. I'd presented the story to two of my research biologist friends, and afterwards, the one looked at me and said, "I don't buy it. It isn't going to happen anytime soon, because science has to be preformed by scientists. It takes long hours and years of patience to make a discovery, and this is just too fast."

We agreed to disagree, but no more than six months later, I listened to a science podcast in which a different researcher was discussing his findings. His team had found a protein that did something or other, and was statistically significant in performing in some kind of biological process. The actual discovery wasn't what made me smile. It was the fact that they had made the discovery by a new process in DNA sequencing that allowed them to analyze over forty thousands samples of their protein within the same amount of time it had taken them to analyze only one sample the year before.

What my friend failed to take into account was the multidisciplinary nature of the world we're moving toward. 

And it'll only move faster.

I'm obsessed about the Technological Singularity, because I couldn't write a believable Science Fiction world with out it.  
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