Category Archives: Short Stories

Coming Soon: Dispatches from Mars

In addition to the full draft of Ghosts of Tharsis, we have several stories in the works, more Dispatches from Mars by freelance journalist Calvin Lake, author of “Anatomy of a Disaster”. While that story was written tongue-in-cheek as a satire of several “sci-fi” tropes (notably the fiery redhead stock character and the annoying cat-fetishism of SF writers, indulged in by hacks and masters alike), it was the first use of Lake and his Dispatches as a framing device through which we could explore elements of the Ares Project universe that wouldn’t fit into one of the novels. We have at least ten of them outlined, with two substantially completed and one now finished and out for review. I’ll throw in a bonus description of a fourth story that has a full detailed outline, because I’m generous like that.

  • “True Crime” (working title)
    • Lake investigates an incident at Redlands Automation (makers of, among other things, the science pins mentioned in In the Shadow of Ares and “He Has Walled Me In”). When celebrity science popularizer Silas Hudson and his producer are murdered while visiting the settlement, order threatens to dissolve into mob violence as the settlers improvise justice for the killer. Eyewitnesses recount the murders and the dangerous days that followed – but are any of them telling the truth?
    • The story tackles a surprising number of themes for a 22,000 word short story, including:
      • The nature of science popularizers like Bill Nye and Neil Degrasse Tyson. Silas Hudson is their inverse, in that he’s actually brilliant in his own area of expertise and has learned through embarrassing experience to consult with experts in other fields before talking out his ass. He’s philosophical, he’s engaging, he shares credit with other experts, he’s earnestly curious about the way the universe works, he’s everything you could ever want in a science popularizer (apart from being dead).
      • The problems of civic order and justice in a frontier settlement where there is no established law and order. This theme is meant to be explored in depth in a different Dispatch and in the third novel, but here you get a glimpse at what can happen when there are no formal methods for dealing with serious crimes.
      • The invisible threat of “the crowd” in small, isolated populations like space settlements. We draw on Charles Mackay and Gustave le Bon to show how “extraordinary popular delusions” can spread as a social contagion and grow rapidly out of control and out of all contact with reality.
      • The unreliability of personal accounts of crimes and other dramatic events.
      • The value of sticking to the truth over taking the easy route of lying, which can be dismayingly tempting even to scrupulously honest people under certain circumstances – one seemingly small lie can snowball into tragedy.
      • A variety of recurring themes in our stories, such as the “baby taboo”, immigration on bond/contract, the protection of scenic places, commercial development, the practical operations of a Martian settlement, “facers”, etc.
    • This story is complete and out to our test readers for review and feedback. I expect we’ll have it published in the next 3-5 weeks.
  • “Pipeline”
    • Lake shows us the single largest development project on Mars undertaken to-date, and the colorful businessman behind it. His attempt at obtaining an interview with Jedediah Thoreson leads to an unexpected journey through Thoreson’s past and Mars’ future.
    • There are a few parallels to Gay Talese’s “Frank Sinatra Has A Cold” here, but the development and outcome of the story are very different.
    • The main themes here are free markets vs. anti-business zealotry camouflaged as environmentalism and humanitarianism, the importance of a clear vision to a large project, how large projects might be organized and funded on Mars or the moon, industrial development and future industrial technologies, and how people aren’t always who or what they seem to be.
    • Despite our original intention that “Anatomy of a Disaster” be non-canonical given its farcical nature (remember that it was first published on the blog as an April Fool’s joke), there is a cameo appearance by one of the characters from that story, and Thoreson Polar Water itself is mentioned in that story as a reference to this (future) Dispatch.
    • I especially like the narrative substructure of this story. Describing it here would reveal a lot of spoilers, unfortunately, so readers will just have to uncover it for themselves.
    • This story is around 80% written out from the detailed outline.
  • “Marineris”
    • This Dispatch describes the First British Trans-Marineris Expedition. An eleventh-hour leadership change initiates an escalating spiral of bad decision-making. Initial successes despite bad choices lead to hubris and eventually catastrophe.
    • The feel and certain elements of the story are modeled on the exploration missions of the Heroic Age of Antarctic Exploration, and specifically Mawson’s account in Home of the Blizzard. While none of these real-world expeditions went awry for the reasons shown in “Marineris”, those reasons are exaggerations of various leadership and mission planning flaws those early explorers experienced mixed with the authors’ own real-life leadership experiences.
    • The main themes in “Marineris” are of course leadership and the planning and conduct of complex missions. In particular, why you don’t put gamma males in charge of anything, ever, and the importance of sticking to a plan, preparing for contingencies, and not overextending yourself. Other themes include the practical elements of such a mission (i.e.: an architecture by which settlers on Mars might pull it off), the stultifying dead-end of technocratic socialism, team dynamics under reckless and incompetent leadership, the thrill of discovery, and the majesty of wild nature (even when it seems to want to kill you).
    • This Dispatch introduces a special-purpose hopper which will figure prominently in both Ghosts of Tharsis and “The Olympian Race”, and shows the origin of its name (it being the only named hopper in the MDA fleet). It also ties in to an unnamed Dispatch in which Lake buys a second-hand rover and runs into unexpected company on his way back to Port Lowell.
    • This one is currently about 70% written from the outline.
  • “The Olympian Race” (detailed outline complete and ready to write)
    • Lake relates the dramatic true story of two “gentlemen explorers” vying to be the first man to reach the top of Olympus Mons. Each thinks he has an insurmountable head-start over the other, only for their rivalry to converge at the end in a deadly all-out race to the summit.
    • This Dispatch is more an action story than a big-theme story. It’s a character-driven mixture of extreme sports and crime caper (remember that the MDA forbids all unapproved access to the Wilds, i.e. the lands outside of the settlement tract, which includes Olympus Mons and all approaches to it).
    • For crossovers, it’s the only Dispatch we’ve outlined so far in which The Green makes an appearance, and as noted above, it features the special purpose hopper from “Marineris” (as well as another key piece of hardware used on that Expedition).

Review: Analog January/February 2018 Issue

Several hours over the holidays spent putting my and my cousin’s old Analog issues into archival bags made me curious about what I might have been missing over the ten years since I cancelled my subscription.

Little, it turned out.

I picked up a copy of the January/February 2018 issue a couple of weeks ago. Reading it reminded me why I ended my subscription back in 2008: the magazine had turned to crap. This issue was largely unreadable crap, which in what little I did manage to read showed  many of the Analog themes I mentioned in my previous post.

Here are my immediate reactions. This is a little rough, as I have time at the moment to type up my notes but not to write up more detailed analyses of each story – not that it would matter:

  • Artwork: the cover is a mess of lurid colors, cartoonish, amateurish, no depth, does not compare well with the average cover of the early 1960s. As I observed to Carl, the background looks like a bunch of livid green poops swirling around a mushroom. The central figure looks oddly misshapen, and not in the kind of exaggerated pose feminists love to mock in SF and fantasy art – he’s just ineptly drawn; the interior illustrations were lousy, too, being too “busy”, poorly composed, crudely sketched, or clumsy 1995-vintage Photoshop pasteups.
  • Editorial: I knew it was going to be about Trump before reading it, or even looking at the title; Schmidt does manage to get to the second paragraph before making it obviously about Trump, but the first paragraph is an emotionally overwrought and sensationalistic lead-in to it; the language throughout has a similar childishly ominous tone: “frightening”, “disturbing”, “darkest chapters in human history”, “feared”, etc.; wrings hands over Trump’s “election is over”, apparently not recognizing the similarity to Obama’s comments in 2008 that ‘I won’ and ‘elections have consequences’; offers new explanation of “consensus” which confuses is and ought with regards to scientific process, and ignores the politicization that corrupts this process (alternative opinions and dissent are met with angry screeching and denunciations and bad-faith dismissal, not a collegial review of the evidence and logic behind them); usual criticisms of people who disagree with his stance on global warming, etc., as being ignorant and anti-science; actually makes the assertion that scientists tend “to try to avoid getting involved in politics”, which he immediately follows up with a rent-seeking appeal for more public science funding; overall, the editorial is saturated with science fetishism and the science cargo-cult mentality; Schmidt is utterly clueless when it comes to persuasion – ‘If we just harangue these morons enough, they might see a glimmer of truth despite themselves, and come around to our enlightened way of thinking’; he concludes by name-dropping Carl Sagan because of course [makes wanking gesture] – but with a hilarious lack of self-awareness, the quote he uses is a condemnation of the public education industry…of which Schmidt earlier reminded us he was/is a part; there’s really nothing new or interesting here, it’s just a stew of the same threadbare talking points blabbered by every fucking-loves-science leftist on these subjects for the past thirty years.
  • “The Quantum Magician” by Derek Kunsken – wastes no time involving the wave-particle duality metaphor cliche; utterly boring first page; “puppet theocracies”? actual puppets? really?; made it through two pages before giving up, nothing caught my interest, no hooks to draw me in.
  • “The Journeyman” by Michael F. Flynn – swords, feudalism, pretentiously unpronounceable names, kilts, probably other cliches if I’d manage to read the whole thing; larded with goofy “exotic” words serving no purpose but exoticism; not only unpronounceable names, but also weird names and kennings; really disappointing as his “Eifelheim” (published in Analog) is one of my favorite short stories;I’m out.
  • “Hobson’s Choices” by Mary A. Turzillo – starts off with “hip” tea namecheck (character doesn’t just drink tea, of course not, but some exotic type with an erotic name); weird art references; overly-technical dinosaur references; one page in, no idea what the story is or where she’s going with all these calculated-to-impress references; Volvo namecheck; does not read as SF at all; I give up.
  • “Ten and Ten” by Alan Dean Foster – scientist cultism, but otherwise not a bad story.
  • “Margin of Error” by Paul Carlson – not bad, but does slip in a gratuitous political reference to “national popular vote”.
  • “One to Watch” by Andrew Barton – overwrought sentimentality; another gratuitous mention of an ‘exotic’ tea (“Pu-erh”); gratuitous use of non-western name (Anh) with no further gender or ethnic information to give it any signficance; human apocalypticism theme (we’ve had the bomb for 70+ years now, get over it); tone is moody, negative, despairing; finished it (it’s only two pages) but remained unclear what the point of the story was.
  • “Air Gap” by Eric Cline – pretty clever; felt like it was going to be yet another typical pink-SF humanity-sucks story, so I didn’t see the twist coming at all.
  • “Home on the Free Range” by Holly Schofield – a meandering exploration of a bunch of idiots trying to set up a farm on another world they know nothing about; unrealistic characterizations and scenario; skimmed, nothing made me care, so I gave up.
  • “When the Aliens Stop to Bottle” by Ian Watson – gratuitous mention of the ‘wage gap’, incoherent plot, nonsensical aliens and situation, unrealistic character (in)actions.
  • “Two Point Three Children” by Marissa Lingen – potentially interesting premise, but she goes nowhere with it after introducing it; felt promising but incomplete.
  • “The Dissonant Note” by Jeremiah Tolbert – to say I hated this story is an understatement, I hated it almost as much as the story I mentioned in the previous post about the weepy mother shaming alien killbots with her emotional incontinence; if “The Journeyman” had goofy gratuitously weird names, this one had names that, while they fit the context of the story, were so annoying that I could not get past them to comprehend the story; they were annoying precisely because of that context, which involved yet another threadbare SF trope: the noxiously twee use of musical terminology and musical thematic elements; I tried, but it was unreadable – I can’t even remember what it was about beyond a power struggle between two women who may have been dolphin consciousnesses hosted in robot bodies living in a stereotyped matriarchy where everyone communicated by singing and had musical notes for names and used robotic lobsters as IEDs.
  • “Endless City” by David Gerrold – confusingly, this one was actually the best story in terms of the skilled use of language (Gerrold’s been writing for fifty-odd years, so you’d expect that much at least), yet it too was a meandering mess in terms of plot; it’s a murder mystery whose first few pages serve as a vehicle for gratuitous insertions of, shall we say, the author’s personal interests and preoccupations; the perspective shifts between the real and virtual worlds are poorly executed, leaving one confused as to whether the protagonist we don’t like or care about is in meatspace, the Matrix, or both at the same time; the intuitive leaps are an (I assume unintentional) parody of Holmes and Poirot stories, and the resolution of the mystery is disappointingly trite; reading it left me feeling both shortchanged and strangely dirty. (It will surprise absolutely no one that in his bio at the end, Gerrold dines out yet again on “The Trouble with Tribbles”.)
  • “Blurred Lives” by Adam-Troy Castro – gets off to a bad start right at the beginning with characters named “Draiken” and “Thorne” [cramp-inducing eyeroll]; I tried to read this one fairly, but ended up skimming it, then giving up; what I did read appeared to be an exercise in stream-of-consciousness writing, or some other “experimental” structure, I don’t know – it was a sketchy, present-tense narration of the actions of two characters that seemed to have no point.

Didn’t bother with the science fact articles, because they were rarely ever interesting or useful back when I read Analog regularly. And do I even need to say that I avoided the “poetry” entirely?

I’ll admit that I went into this exercise with a negative attitude, and that that definitely influenced my perceptions of the writing. But even with that confessed bias, I was still appalled at just how bad it actually ended up being. As much as the writing quality declined through the 1990s and early 2000s, I would judge that it has continued on the same trajectory in the decade since I last tried to read an Analog. It was so bad that I simply couldn’t make myself read most of the stories all the way through, and a couple I couldn’t even force myself to skim. The issue currently sits on the bookshelf next to a stack of issues from 1969 – the older ones look intriguing, but this one I am tempted to burn rather than archive with the others.

Honestly, how does this garbage get published by a major science fiction magazine? And how does that magazine stay in business when it publishes such low-quality writing and artwork for twenty-plus years and counting?

 

Dispatches: the Writing Technique

Carl and I came up with Cameron Lake, a freelance journalist visiting Mars and documenting its people, events, and culture, as a medium for using interesting elements of the Ares Project universe that we didn’t have room for in books or stories. And then we sat on the concept (and about two dozen story ideas) for about two years, until we got the idea to do Anatomy of a Disaster as an April Fool’s Day gag.

And that went well. That experience led in turn to my taking on a personal challenge while on vacation this summer to spend the ten weeks after I returned producing ten detailed outlines of new Dispatch stories. (I finished with #8 yesterday, with ten days to finish the remaining two.) I’ve settled into the following technique or method for this, which seems to work quite well – start with a new document, and the kernel of an idea:

The Gimmick: write out in 1-2 sentences what the core idea of the story is – the gimmick, twist, gee-whiz technology, character quirk, whatever the inspiration for the story is.

The Summary: in one paragraph, explain in simple language what the story is about…that is, how the gimmick manifests in a plot.

Discussion: this is the brain-vomit or stream-of-consciousness part – brainstorm about the plot, characters, setting, twists and turns, science fictional elements, etc. using bullet points to document what you think up; use this section to document any relevant research you do regarding these things; it’s a catch-all, so keep it open-ended and unstructured, and don’t worry about dead-ends (you might use them later somewhere else); explore variations on the mechanics of the story, how characters relate, and the logical consequences of actions and any technology used; profile your characters, how they think and act, who they are, what the look like – ditto any relevant social structures or trends; this is also the place to document any peripheral thoughts or expand on an idea relevant to the story but which might bog down the Structure or Working Outline sections below – for example, thinking through a character’s backstory at a level of detail that informs his presentation in the story but isn’t shown in full, or working out the real-world ramifications of some technology that appears in the story, or explicitly documenting something that will affect or should be cited in related stories in the fictional universe.

Structure: as you brain-dump in the Discussion section, you’ll get a clearer idea of the story you want to tell and how its plot should work; here, use a numbered list to arrange the steps of the plot in order; treat each line item like a summary of one chapter; raid the Discussion section until you have captured all the high-level elements you want to use and have them ordered into a coherent plot that flows from one section to the next; if any character dialogue suggests itself at this point, I’ll document it in this section; explicitly establish here how the story ends (I try to make up a tentative last line for the ending), so that you know your destination.

Working Outline: once you’re comfortable with the quality and detail in the Structure, copy and paste it at the end of the document; at the beginning of each line item insert a tentative chapter title (useful even if the finished story won’t use them) and a simplified one-line summary of the chapter; break the copied text for each chapter into sub-bullets (the simplest way to do this is to make each sentence in the copied text into an individual sub-bullet); work through the outline, adding, reworking, and reordering the sub-bullets and chapters to make the story flow and show the action and ideas you want it to include; to keep from getting bogged down in minutiae, use placeholders for character or place names you haven’t already chosen and mark any technical details for later review unless they are essential to know in advance (i.e.: the plot hinges on them, vs. they’re generic enabling devices or part of the setting); when you gut-feel that the story is sufficiently organized, make a rapid pass through the whole Working Outline changing all of the sub-bullet text into the proper tense, making it read like actual prose where possible, and turning it into dialogue where relevant.

I’ve gotten to the point now where about half of the story is written when I’m finished outlining it, in that most of the sub-bullets are sentences in draft form and ready for editing. (In the case of these ten outlines, I then send it to Carl for his input). Finishing it then involves doing more research to fill in the missing details, reworking particulars to make both of us happy with the story, and finally polishing the text into its final form.

In practice this results in a really long document for a mere short story. The Gentlemen Adventurers, the outline I finished yesterday, originated as an idea only last Monday and a blank-sheet document on Wednesday. In the intervening 8 days I produced a document of 20,150 words, 3,835 of which are the Discussion, 5,570 are the Structure, and 10,700 are the Working Outline. Obviously I didn’t actually write that many words from scratch, as the Working Outline started as a copy-paste from the Structure – in the end, recognizable copy-paste accounts for about 40% of the Working Outline. The number also doesn’t account for two chapters which still exist only as extended summaries, as they will require research to flesh out in detail.

I started in this morning on the ninth of the ten Dispatches, which will be a comedy of errors concerning the first British Trans-Marineris Expedition. Beginning with a roughly 200-word Gimmick and Summary, the Discussion so far brings the word count up to 2,670 words. Not bad for about an hour and a half of writing before going to work. Unfortunately, in this case it’s all context and social trend backstory – I haven’t even started in on the details of the failed expedition yet…

 

Reminder: New Ares Project-Related Mars Stories on Kindle

At $0.99 apiece, they’re steals. Why would you not buy them both?

He Has Walled Me InHe Has Walled Me In

Recently recovered from a crippling illness, Leon Toa sets out on his first solo trip to Port Lowell. For any other Martian settler it would be a routine drive, but for Leon it’s a chance to rebuild his battered self-confidence and demonstrate his regained independence – both to his fellow settlers and to himself. When unseen forces interrupt his trip deep in an unpopulated and unexplored network of canyons, he must uncover the truth about his past before what’s left of his future runs out. An homage to H.P. Lovecraft’s “Within the Walls of Eryx”.

 

Dispatches from Mars – Anatomy of a Disaster: The Mars Environmental Works Catastrophe and the Death of Margaret Steadman

In this Dispatch, freelance journalist Calvin Lake explores the unlikely truth behind the worst industrial accident in Martian history: the destruction of Mars Environmental Works. Going beyond the bare facts and curiously self-interested evasions of the official Mars Development Authority inquest report, Lake’s account uses exclusive eyewitness and survivor interviews to paint a fuller picture of the catastrophe of April 1, 2050. A pun-ridden spoof of several science fiction tropes.

The next short story will be another of Calvin Lake’s Dispatches, this one concerning entrepreneur Jedediah Thoreson and his North Cap Water Pipeline project mentioned in Anatomy of a Disaster. Unlike that story, Pipeline will be a serious treatment of its topic. The Dispatches will be a series of essays on various aspects of life on Mars in the Ares Project fictional universe, written by fictional freelance journalist Calvin Lake (who will also play an important role in the upcoming Ghosts of Tharsis).

“He Has Walled Me In”

Just a reminder, our new Ares Project universe short story, “He Has Walled Me In”, is available on Kindle for only $0.99: “He Has Walled Me In”

Recently recovered from a crippling illness, Leon Toa sets out on his first solo trip to Port Lowell. For any other Martian settler it would be a routine drive, but for Leon it’s a chance to rebuild his battered self-confidence and demonstrate his regained independence – both to his fellow settlers and to himself. When unseen forces interrupt his trip deep in an unpopulated and unexplored network of canyons, he must uncover the truth about his past before what’s left of his future runs out.

The story takes place (like another short story we plan to have finished in the next couple of weeks) in the period between In the Shadow of Ares and Ghosts of Tharsis. While it doesn’t feature Amber Jacobsen, it does give readers a glimpse into life in the other Martian settlements and shows some of the technology available to the settlers – and how it can be used for both good and ill.

New Short Story: “He Has Walled Me In”

He Has Walled Me In - Cover ImageTired of waiting for the sequel? Wondering when or if we’ll ever be done with it? (We will, still working on it.) Well, here’s a little something to tide you over: “He Has Walled Me In”

Leon Toa sets out on what for any other Martian settler would be a routine drive to Port Lowell. When unseen forces interrupt his trip, he must uncover the truth about his past before what’s left of his future runs out.

To give a bit more detail, our protagonist’s trip is as much a business necessity as it is a personal one, meant to rebuild his self-confidence after he survives a disabling illness.  A static discharge damages his rover en route, and he is lured into a life-threatening mystery he must think his way out of.

The story takes place in the Ares Project universe at the time of In the Shadow of Ares, and was inspired by H.P. Lovecraft’s “Within the Walls of Eryx” (no spoilers – the two are quite different). At 15,000 words it’s a fairly long short story, so you get your money’s worth at $1.50.

 

See? We Told You So

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]

Work Update and New Year’s Resolution

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.