Better the Second Time Around

Creating an entirely new Mars-focused fictional universe has not been quite as difficult as I expected it to be.

I’d been toying with a few concepts for the past several months, and really started getting good ideas while on vacation – primarily about a “noodle incident” that creates the setting for the future history, a number of consequences in the fictional “present day”, and a few of the principal characters. So much came to me while hiking that I had to buy another notebook at Tesco to keep up.

I spent a few days after I got home working out a modified three-act structure that I think will make constructing the plots of the new novels a little easier. But rather than jumping right in to building the plots for a new trilogy, I got distracted by fleshing out the fictional infrastructure. The two play off of each other in interesting ways – I have three documents open at the moment, in which I’m capturing and integrating elements of the future history’s timeline, a large number of characters central to the trilogy (primary, secondary, and tag characters alike), and technological, social, historical, and other developments that happen between “now” (the point of departure) and then. It’s quite entertaining to see how each builds off of the others and suggests new ideas that might not have occurred to me had I tried building the plots first.

While I have a lot of pieces of plot, they haven’t snapped together yet. I can see it coming, though, and it’s got to be more efficient than putting a plot together and then doing the worldbuilding around it to make it work. The latter led to a lot of dead ends with the novel plots in the old project, requiring in some places some contrivances that would have stretched credulity.

In contrast, I hit on the idea of the “Dispatches” as a way to use and extend the worldbuilding that had been done already for the old project, letting the elements of the fictional universe suggest the stories. This worked very well, I think, as most of the Dispatches I outlined had plots with solid, organic endings from the outset.

The one thing that does chap my ass about this is all the things that I predicted in the old project’s future history that then materialized in the real world (browse the entries under the “Life Imitates Art” category for a small taste of these). Maybe I’m good at projecting trends and foreseeing innovations and their consequences – but maybe I’m not, and just got lucky the first time around.

As more comes together, I’ll start laying out here what that future history looks like, the key events and technological developments that shape the next forty years. I’ll also change the site name and update the layout once I decide what I want to call the new project.

Silas Hudson on Intellectual Objectivity

The assertion of objectivity or neutrality is often an attempt to have it both ways, to split the difference between what one wants to be true versus what what one knows to be true. By taking a position in the middle, or not taking a position at all, one can at the same time avoid having to accept the latter and having to give up the former.

Silas Hudson

Back to the Quote Mines

Holidays are over, family has gone home, and I’ve handed off the time-consuming part of my job to a new hire – time to pick up where I left off.

Easing back into things, I spent a half hour or so every day this past week extracting from my commonplace books anything that could serve as a Silas Hudson quote. The original idea was to publish it as a standalone piece akin to Heinlein’s Notebooks of Lazarus Long.*

Whether or not that happens, it will at least be a useful background resource. Much of the material ascribable to Hudson concerns technocracy, a personal hobbyhorse and one of the themes of Book 2 and especially Book 3.

The unexpected part of this side project is discovering that I have plenty of material to do the same for both Aaron Jacobsen and Martin Beech and the themes they represent. It’s an imposing amount of material to sift through: 30+ commonplace books and 1800+ index cards. And then there are all the books with margin notes…

* – Looking at the fulltext on the Baen website, I see I’m going to have to fisk it at some point. Long’s “wisdom” seemed a lot wiser when I was lot naiver.

Silas Hudson on Innovation

“Innovative people respond to incentives, just like anyone. You can’t punish them for innovating or taking rational risks and expect them to continue to do so. Nor can you merely deny them the rewards, recognition, and returns for their efforts without creating an atmosphere of indifference which is every bit as stagnating as an openly hostile one.”

Testimony before the House Science, Technology,  and Space Policy Subcommittee, March 13, 2046

Life Imitates Art: EuroSpace Edition

This has some striking relevance to certain events at the beginning of Ghosts of Tharsis: Astronauts in Europe ask for their own independent crew spacecraft

In fact, Ivanka has a thought along these lines, just before…very bad things happen:

“While Europe is still at the forefront of many space endeavors, such as Earth observation, navigation, and space science, it is lagging in the increasingly strategic domains of space transportation and exploration,” the manifesto states. “Europe’s Gross Domestic Product is comparable to that of the United States’, but its joint investment in space exploration does not reach even one tenth of NASA’s.”

Russia has the Soyuz crew vehicle, China has the Shenzhou spacecraft, and NASA has SpaceX’s Crew Dragon. Moreover, within a few years, the US space agency should add the Orion spacecraft and Boeing’s Starliner capsule to its fleet of human spaceflight vehicles. India also seeks to develop and demonstrate a crewed transportation system to low Earth orbit within the next two years.

So where does that leave Europe?

She’s not any happier about being part of an also-ran team than these manifesto-writers are. In her case, though, it’s because all that money that could be lavished on a European space program is being frittered away on corruption.

There’s a Story Here

I don’t know what it is, but I can imagine a dozen of my own:

If you take away the ray-gun rifle and the gas giant in the background, it’s a retrofuturist take on the climax of our (eventually upcoming) story, “The Olympian Race”.

(Unfortunately, I found this several years ago and don’t recall now where it came from.)