Good thing it didn’t plunge into the Atlantic off the coast of France…
Good thing it didn’t plunge into the Atlantic off the coast of France…
Forbes has a short piece on the ethics and practicalities of having babies on Mars: Birthing Babies On Mars Will Be No Small Feat.
They cover the core reasons why having children (at least for the first fifteen or so years of settlement activity) is a taboo in the Ares Project universe: mainly, there’s no telling whether it will be safe to do so, and in small commercial settlements, babies and small children will consume scarce economic resources without near-term economic return. This originated early on in writing In the Shadow of Ares in the need to explain why Amber Jacobsen was still the only child on Mars after almost fourteen years of settlement activity, and the more we thought about the reasoning behind such a taboo the more real-world sense it made (and the more influence it had on her character and the story, especially the coming-of-age subplot).
Of course, in Ghosts of Tharsis and “He Has Walled Me In” we show that this taboo is starting to break down. This happens in large part because several of the settlements are large enough by the time these stories take place to absorb the economic impact.
[via Transterrestrial Musings]
Contrary to science fiction tropes, it takes more than a drop from one atmosphere to vacuum to do it. But it’s happened: Byford Dolphin Diving Bell Accident
Came across this while looking for information on the effects of the more likely 1-to-0 atmospheres depressurization for a scene in Ghosts of Tharsis. (Not really a spoiler, since you won’t see it coming.) It’s both horrifying and fascinating at the same time, and coincidentally led me to an account of the Piper Alpha disaster, which also has some bearing on events in the book.
Impressive. Now, imagine a few dozen of these happening. At the same time. I just drafted that scene last weekend…
I find it a bit surprising that this sort of thing (to various magnitudes) happens about 200 times per year. Not that it should be all that surprising, considering it probably happens on Earth as well – the rocks just don’t reach the surface thanks to our atmosphere. Surprising because one tends to think of Mars as a completely dead planet, where nothing much happens.
As we continue to explore and eventually settle the place, we’re bound to find out it’s nowhere near as dead as it seems. Something important to keep in mind with regards to writing fiction set on Mars – your characters are likely going to have to outrun a water outburst or dodge a meteoroid every now and then, and who knows what else.
Work continues on the sequel to In the Shadow of Ares, tentatively titled Ghosts of Tharsis. We have the book fully outlined, in detail, with the prologue and a bit of the first act boilerplated. Amber and Ivanka get new friends, Amber gets a little more than she expected from her first off-Mars trip, and in yet another example of life imitating art in the Ares Project universe, electronic/data security (and indiscriminate violations thereof) are a significant element of the plot.
Just before Christmas we finished the first draft of a short story set in the Ares Project universe. The story takes place between the two books, and involves a different character with rather different problems from Amber’s. Oh, and it’s an homage to H.P. Lovecraft…
Given how straightforward it was to write up the short story, I’m making it my goal to turn out at least three more Ares Project short stories this year. We’ve got a long list of ideas for these, including one gimmick that lends itself to an ongoing series of related stories. I’m also making a goal to publish Ghosts of Tharsis by the end of the year, if our work schedules permit it.
Sarah Hoyt offers some advice on cover design for independent publishing: Of Covers and Sales.
I’ve never been entirely happy with the cover for In the Shadow of Ares, mainly because it’s a landscape with no explicit connection to the events of the novel. This is mainly the result of wanting to get the thing out the door without further procrastination – I was worried that if we looked around for an artist and went through that whole process, it would involve another six months of fiddling and dawdling.
So, I did it myself.
It’s attractive, but the problem is that it tells you nothing about the book itself and perhaps gives the impression that it’s meant as a mainstream rather than young-adult book. When it comes time to publish Ghosts of Tharsis, if not before, we’ll have to redo the cover — there are only so many suitable pictures of Iceland-as-Mars in my photo archive, so if we can get some of our stories and sequels finished, we’ll quickly run out of those options anyway.
Summer movies are often described as formulaic. But what few people know is that there is actually a formula—one that lays out, on a page-by-page basis, exactly what should happen when in a screenplay. It’s as if a mad scientist has discovered a secret process for making a perfect, or at least perfectly conventional, summer blockbuster.
Not just because it explains the poor quality of Hollywood writing of late, nor that it made me feel like a sucker for having paid to see some of these formula-based movies, nor that my vague suspicions about the plots being formulaic to the point of predictability turned out to be have a basis in fact No, it’s that just as we’re finishing up the detailed outline for Ghosts of Tharsis (aka Book 2, aka The Sequel) after a prolonged delay, I discover that our outline follows the sequence of Snyder’s template almost perfectly.
Which is unintentional, I assure you. It’s been through so many changes (including a recent retooling of one of the villains, with significant consequences for the plot) that it could only have gotten this similarity by coincidence. Yes, admittedly, we follow Syd Field’s three-act storytelling structure, but as the article says Field’s approach is more general while Snyder’s is essentially a paint-by-numbers approach.
I suspect that despite being overused or too zealously followed, Snyder’s template isn’t simply a contrived or otherwise arbitrary way to tell a story, in the sense that it’s just one of many possibilities but one which Snyder picked and systematized. More likely, his structure reflects one particularly effective way of telling stories, one which maintains tension and interest by springing surprises and emotional ups and downs on the reader, and which has evolved and refined into a pattern over time.
The problem is not that there’s this pattern for storytelling, it’s that it appears to be taken as the only such recipe and is adhered to so diligently that every movie seems to be the same story distinguishable only by differences in the setting, character, and marquee names. Slavish adherence to a formula (down to actual page numbers) limits the opportunity to include real creativity, and as the article notes, can actually drive plot elements and character behaviors that make no sense.
Really, I’m not too put out by the resemblance of our outline to this template. It’s entirely coincidental, for one thing, and it follows only the general sequence and not the portioning out of page counts. Plus, we blatantly violate the Finale and Final Image sections so as to set up the third book, so there’s that…
Watching this, I had to wonder what it would have been like had NASA done something like this with a Saturn V first stage back in the day…
What I find especially interesting and useful about SpaceX’s Grashopper effort is the applicability to Mars landers and (later on) surface-orbit shuttles – which is probably the long-term point of the exercise, given Elon Musk’s interests. If you picture this vehicle spread out at the base a bit more into a conical shape, you’ve got the Ares Project ERVs. Scale them up a little bit more from there, and you’ve got the MDA’s surface-orbit shuttles. Add an Orbiter-sized payload bay, and you’ve got the new cargo shuttles which will make their appearance early in Ghosts of Tharsis.
Of course, the obvious problem this technology poses for In the Shadow of Ares is that this testbed is actually a better pilot than Daniel Martinez. Granted, he had no alternative under the circumstances but to deactivate the autopilot and land Odysseus himself (and succeeded), but his accuracy was somewhat less impressive than what’s shown here.