Saved for Later: The Open Book Project

An open source e-reader

image

“The Open Book aims to be a simple device that anyone with a soldering iron can build for themselves. The Open Book should be comprehensible: the reader should be able to look at it and understand, at least in broad strokes, how it works. It should be extensible, so that a reader with different needs can write code and add accessories that make the book work for them. It should be global, supporting readers of books in all the languages of the world. Most of all, it should be open, so that anyone can take this design as a starting point and use it to build a better book.”

Things Are Tough All Over

by Ray Davis

(originally published in The New York Review of Science Fiction) (… and followed by publication of related correspondence)

I have a quarrel and a disagreement with Jonathan Lethem’s “Why Can’t We All Just Live Together?” piece [published by NYRSF, but earlier semi-randomly cut, retitled “The Squandered Promise of Science Fiction,” and published by the Village Voice].

The quarrel is methodological.

Sf and mainstream (or, less flatteringly, “middlebrow”) fiction are both genres. That is to say, the terms “sf” and “mainstream” are used to label loose overlapping bundles of marketing techniques (including bookstore placement and publishing imprints), critical communities (including journalistic and awards systems), and interwriterly influence (including career path options and the impetus of “I can go that one better” challenges).

But rather than treating the genres of sf and mainstream fiction on equal terms, Lethem’s piece reifies the sf genre into a location, a family, and even a flirtatious fearful person. This rhetorical move unintentionally flatters the institutions of mainstream fiction at the expense of the institutions of sf: sf is an idiot leviathan who flings its gifts to the undeserving while “the mainstream” is a list of writers that Lethem respects. Reversing that formula can be left as an easy exercise for the reader.

My disagreement hinges on personal taste.

Both Lethem and I are unabashed supporters of the ideal of the Great Book — it’s an ideal with its share of problems, but let’s leave those for another day — and I share his essay’s unspoken assumption that, for us as readers, it’s a genre’s job to augment our personal lists of Great Books.

Thus a genre might be said to be “worthwhile” if it helps motivate the writing of Great Books: Hammett’s and Chandler’s novels would not have developed without the hard-boiled mystery as market and as field of dispute, and we’re accordingly grateful to the hard-boiled mystery. To take a more painful example, failed crossover Herman Melville may have had mixed feelings about the sea story; still, his works exist because of the sea story.

As far as this begetting chore goes, the sf genre still provides a uniquely demanding and dynamic market for short fiction: I doubt that Lethem would disagree that the quality and range of stories published as sf over the past thirty years overwhelm those of the mainstream. On the other hand, I wouldn’t disagree with Lethem that, for his and my favorite contemporary novelists, intra-genre influences play a lighter role than extra-genre influences.

But a genre is not a passive container. As a set of institutions and communities, it also directs attention. To take an extreme example, I usually refer to Jack Womack as an sf writer and Don DeLillo as a mainstream writer. Now, in what sense is Womack “sf” and DeLillo not, since Womack did not rise from the genre’s writerly community and Womack’s novels are not now marketed as sf? Well, I think of Womack (and Fowler, and Crowley, and Emshwiller) as sf rather than as mainstream because my readerly attention was drawn to them from an sf context rather than from a mainstream context.

In the 1930s, the genre and industry called “mainstream fiction” protected itself less efficiently against Ulysses by legal barriers than by burying a psychiatrist-written review of the novel in the back pages of the New York Times, and the Times continues to bury non-mainstream fiction by treating it as naively unimportant. Since Womack’s (and Fowler’s, and Crowley’s, and Emshwiller’s) novels are currently being published as mainstream, they aren’t rudely dismissed in the way that sf’s Great Books of the 1970s were. But, at least at the moment, neither do those authors receive the ongoing focus (and rewards) allotted to books by the few born-and-bred mainstream fiction stars with whom they might naturally be compared. I doubt that I would have found them as easily if I had started from mainstream sources, and I even have some doubt that their works would exist in so brilliant a form if the writers had maintained careers thoroughly within the mainstream.

I certainly agree with Lethem that these writers should obtain as large and appreciative an audience as possible, and that restricting their work to an sf imprint would only hurt their chances. And I think Lethem would agree with me that successfully publishing a Great Book in the mainstream does not necessarily make for a successfully high-profile mainstream career. Where we probably part paths is in my paranoiac (or at least anti-utopian) extension: that the institutions of mainstream fiction work against the production of Great Books.

Lethem’s list of Great Books is, I think, considerably larger than mine. At any rate, it contains many more books that have received mainstream attention. My guess is that there’s enough of an overlap between his list and the yearly recommendations of the New York Times or the “A List” of the Village Voice that one could fairly say that, for Lethem, the mainstream works: it does a good job of finding, publishing, and drawing attention to the Great Books.

For me, the mainstream does not work. Both Lethem and I cut our critical-readerly teeth on the approved American mainstream fiction of the late 1960s and the 1970s. But, unlike Lethem, I felt that the “interesting” wing of mainstream fiction (most often metonymized by Pynchon, although its giddy egos must by now number in the hundreds) was too intellectually and emotionally feeble to match the pre-1950 Great Books of my personal list. When I surveyed those Great Books, I found that few had received positive attention from institutions of mainstream fiction in their time. Attempting a practical application of this bit of history, I turned to non-mainstream genres in search of contemporary Great Books. And, having been successful, I still turn to them.

(Note that refusal of mainstream attention is not always limited to the Great Book’s own time. Lethem writes: “For the first sixty-odd years of the century, American fiction was deficient in exactly those qualities [i.e., speculation and the fabulous] sf [split off here from American fiction] offered in abundance….” That version of literary history seems based on a canon considerably more conservative than one might deduce from Lethem’s own library. I’d instead say: “American mainstream literary institutions have consistently neglected imaginative writing, including that produced during the first sixty-odd years of the century.”)

As Lethem indicates, sf career plans that include Great Books are unlikely to synch perfectly with the institutional plans of sf and fantasy genre markets. What I don’t see in his essay is any corresponding indication of factors that might interfere with success in the markets of current mainstream fiction.

In Lethem’s essay, “the mainstream” is that place where all can be judged by their writerly merits rather than (as in sf) by nostalgic prejudices. But career-centered lifestyle, exceptional organizational ability, established social position, public speaking skills (and desires), photogenicity, coincidence with well-understood models of fiction, and zeitgeist-friendliness all come to mind as mainstreaming assets lacked by many Great Book writers. I would have welcomed an acknowledgment that the institutions of mainstream fiction have their own histories and prejudices, as well as their own advantages, and that they put up their own obstacles to the production of Great Books.

I agree with Lethem that the sf genre’s markets provide limited freedom for production of Great Books, and that the strictures continue to tighten. I regretfully disagree that an equivalent number of Great Books will appear in mainstream fiction markets as they disappear from a fading sf genre, any more than (to switch media) an equivalent number of Great TV Movies showed up to offset the loss of Great B Pictures. I don’t believe the balance sheets work that way.


Copyright 1998 Ray Davis

The Squandered Promise of Science Fiction

by Jonathan Lethem

(Note, I’m republishing Lethem’s essay here because it seems to be disappearing from the internet. I had to find it on a livejournal page. The original link, listed in The Secret History of Science Fiction [http://www.verysilly.org/lethem/lethems_vision.html] is currently down. -ja)

In 1973 Thomas Pynchon’s Gravity’s Rainbow was awarded the Nebula, the highest honor available in the field once known as “science fiction” – a term now mostly forgotten.

Sorry, just dreaming. In our world Bruce is dead, while Bob Hope lurches on. And though Gravity’s Rainbow really was nominated for the 1973 Nebula, it was passed over for Arthur C. Clarke’s Rendezvous With Rama, which commentator Carter Scholz rightly deemed “less a novel than a schematic diagram in prose.” Pynchon’s nomination now stands as a hidden tombstone marking the death of the hope that science fiction was about to merge with the mainstream.

That hope was born in the hearts of writers who, without any particular encouragement from the larger literary world, for a little while dragged the genre to the brink of respectability. The new-wave SF of the ’60s and ’70s was often word-drunk, applying modernist techniques willy-nilly to the old genre motifs, adding compensatory dollops of alienation and sexuality to characters who’d barely shed their slide rules. But the new wave also made possible books like Samuel Delany’s Dhalgren Philip K. Dick’s A Scanner Darkly, Ursula LeGuin’s The Dispossessed, and Thomas Disch’s 334 – work to stand with the best American fiction of the 1970s, labels, categories, and genres aside. In a seizure of ambition, SF even flirted with renaming itself “speculative fabulation,” a lit-crit term both pretentiously silly and dead right.

For what makes SF wonderful and complicated is that mix of speculation and the fabulous: SF is both think-fiction and dream-fiction. For the first 60-odd years of the century American fiction was deficient in exactly those qualities SF offered in abundance, however inelegantly. While fabulists like Borges, Abe, Cortazar, and Calvino flourished abroad, a strain of literary puritanism quarantined imaginative and surreal writing from respectability here. Another typical reflex, that anti-intellectualism which dictates that novelists shouldn’t pontificate, extrapolate, or theorize, only show and feel, meant the novel of ideas was for many years pretty much the exclusive domain of, um, Norman Mailer. What’s more, a reluctance in the humanities to acknowledge the technocratic impulse that was transforming contemporary culture left certain themes untouched. For decades SF filled the gap, and during those decades its writers added characterization, ambiguity, and reflexivity, helping it evolve toward something like a literary maturity, or at least the ability to throw up an occasional masterpiece.

But a funny thing happened on the way to the revolution. In the ’60s, just as SF’s best writers began to beg the question of whether SF might be literature, American literary fiction began to open to the modes it had excluded. Writers like Donald Barthelme, Richard Brautigan, and Robert Coover restored the place of the imaginative and surreal, while others like Don DeLillo and Joseph McElroy began to contend with the emergent technoculture. William Burroughs and Thomas Pynchon did a little of both. The result was that the need to recognize SF’s accomplishments dwindled away. Why seek in those gaudy paperbacks what was readily available in reputable packages? So what followed was mostly critical rejection, or indifference.

Meanwhile, on the other side of the genre-ghetto walls, a retrenchment was underway. Though the stakes aren’t nearly as crucial, it’s hard not to see SF’s attempt at self-liberation as typical of other equality movements that peaked in political strength around the same time, then retreated into identity politics. Fearing the loss of a distinctive oppositional identity, and bitter over a lack of access to the ivory tower, SF took a step backward, away from its broadest literary aspirations. Not that SF of brilliance wasn’t written in the years following, but with a few key exceptions it was overwhelmed on the shelves (and award ballots) by a reactionary SF as artistically dire as it was comfortingly familiar.

In the ’80s, cyberpunk was taken as a sign of hope, for its verve, its polish, its sensory alertness to the way our conceptions of the future had changed. But even cyberpunk’s best writers mostly peddled surprisingly macho and regressive fantasies of rebellion as transcendence, and verve and polish were thin meat for those who recalled the mature depths of the best of the new wave. Anyway, cyberpunk’s best were quickly swamped themselves by gelled and pierced photocopies of adolescent power fantasies that were already very, very old.

Which brings us to today. Where, against all odds, SF deserving of greater attention from a literary readership is still written. Its relevance, though, since the collapse of the notion that SF should and would converge with literature, is unclear at best. SF’s literary writers exist now in a twilight world, neither respectable nor commercially viable. Their work drowns in a sea of garbage in bookstores, while much of SF’s promise is realized elsewhere by writers too savvy or oblivious to bother with its stigmatized identity. SF’s failure to present its own best face, to win proper respect, was never so tragic as now, when its strengths are so routinely preempted. In a literary culture where Pynchon, DeLillo, Barthelme, Coover, Jeanette Winterson, Angela Carter, and Steve Erickson are ascendant powers, isn’t the division meaningless?

But the literary traditions reinforcing that division are only part of the story. Among the factors arrayed against acceptance of SF as serious writing, none is more plain to outsiders than this: the books are so fucking ugly. Worse, they’re all ugly in the same way, so you can’t distinguish those meant for grown-ups from those meant for 12-year-olds. Sadly enough, that confusion is intentional, and the explanation brings us back again to the mid ’70s.

It’s now a commonplace in film criticism that George Lucas and Steven Spielberg together brought to a crashing halt the most progressive and interesting decade in American film since the ’30s. What’s eerie is that the same duo are the villains in SF’s tragedy as well, though you might want to add a third name, J. R. R. Tolkien. The vast popular success of the imagery and archetypes purveyed by those three savants of children’s literature expanded the market for “sci-fi”, a cartoonified, castrated, and deeply nostalgic version of the budding literature, a thousandfold. What had been a negligible, eccentric publishing niche, permitted to go its own harmless way, was now a potential cash cow. (Remember when Star Trek was resurrected overnight, a moribund TV cult suddenly at the center of popular culture?) As stakes rose, marketers encamped on the territory, for a handy comparison, recall the cloning of grunge rock after Nirvana. Books were produced to meet this vast, superficial new appetite – rotten books, millions of them – and fine books were repackaged to fit the paradigm. Out with the hippie-surrealist book jackets of the ’60s, with their promise of grown-up abstractions and ambiguities. In with that leaden and literal style so perfectly abhorrent to the literary book buyer. The golden mean of an SF jacket since 1976 looks, well, exactly like the original poster for Star Wars. Men of the future were once again thinking with their swords – excuse me, light sabers. This passive sellout would make more sense if the typical writer of literary SF had actually made any money out of it. Instead, the act is still too often rewarded with wages resembling those of a poet, an untenured poet, that is.

Other obstacles to acceptance remain hidden in the culture of SF, ambushes on a road no one’s taking. Along with being a literary genre or mode, SF is also an ideological site. Anyone who’s visited is familiar with the home truths: that the colonization of space is desirable; that rationalism will prevail over superstition; that cyberspace has the potential to transform individual and collective consciousness. Tangling with this inheritance has resulted in work of genius – Barry Malzberg tarnishing the allure of astronautics, J. G. Ballard gleefully unraveling the presumption that technology extends from rationalism, James Tiptree Jr. (nee Alice Sheldon) replacing the body and its instincts in an all too disembodied discourse. But the pressure against heresy can be surprisingly strong, reflecting the emotional hunger for solidarity in marginalized groups. For SF can also function as a clubhouse, where members share the resentments of the excluded and a defensive fondness for stories which thrived in 12-year-old imaginations but shrivel on first contact with adult brains. In its unqualified love for its own junk stratum, SF may be as postmodern as Frederic Jameson’s dreams, but it’s also as sentimental about itself as an Elks lodge or a family.

Marginality, it should be said, isn’t always the worst thing for artists. Silence, exile, and cunning remain a writer’s allies, and despised genres have been a plentiful source of exile for generations of iconoclastic American fictioneers. And sure, hipster audiences always resent seeing their favorite cult item grow too popular. But an outsider art courts precious self-referentiality if it too strongly resists incorporation. The remnants of the jazz which refused the bebop transformation are those guys in pinstriped suits playing Dixieland, and the separate-but-unequal post-’70s SF field, preening over its lineage and fetishizing its rejection, sometimes sounds an awful lot like Dixieland – as refined, as calcified, as sweetly irrelevant.

If good writing is neglected because of genre boundaries, so it goes – good writing goes unread for lots of reasons. The shame is in what’s left unwritten, in artists internalizing prejudice as crippling self-doubt. Great art mostly occurs when creators are encouraged to entertain the possibility of their relevance. Might a Phil Dick have learned to revise his first drafts instead of flinging them despairingly into the marketplace if The Man in the High Castle had been recognized by the literary critics of 1964? Might another five or 10 fledgling Phil Dicks have appeared shortly thereafter? We’ll never know. And there are artistic costs on the other side of the breach as well. Consider Kurt Vonnegut, who in dodging the indignities of the SF label apparently renounced the iconographic fuel that fed his best work.

What would a less prejudiced model of SF’s relation to the larger enterprise look like? Well, nobody likes to be labeled an experimental writer, yet experimental writing flourishes in quiet pockets of the literary landscape – and, however little read, is granted its place. When claims are made for the wider importance of this or that experimental writer – Dennis Cooper, say, or Mark Leyner – those claims aren’t rebuffed on grounds that are, quite literally, categorical.

SF could ask this much: that its more hermetic or hardcore writers be respected for pleasing their small audience of devotees, that its rising stars be given a fair chance on the main stage. What’s missing, too, is a Great Books theory of post-1970 SF: one which asserts a shelf of Disch, Ballard, Dick, LeGuin, Samuel Delany, Russell Hoban, Joanna Russ, Geoff Ryman, Christopher Priest, David Foster Wallace – plus books like Pamela Zoline’s The Heat Death of the Universe, Walter Tevis’s Mockingbird, D. G. Compton’s The Continuous Katherine Mortenhoe, Lawrence Shainberg’s Memories of Amnesia, Ted Mooney’s Easy Travel to Other Planets, Margaret Atwood’s The Handmaid’s Tale, and Thomas Palmer’s Dream Science, as the standard. Such a theory would also have to push a lot of the genre’s self-enshrined but archaic “classics” onto the junk heap.

Tomorrow’s readers, born in dystopian cities, educated on computers, and steeped in media recursions of SF iconography, won’t notice if the novels they read are set in the future or the present. Savvy themselves, they won’t care if certain characters babble technojargon and others don’t. Some of those readers, though, will graduate from a craving for fictions that flatter and indulge their fantasies to that appetite for fictions that provoke, disturb, and complicate through a manipulation of those same narrative cravings. They’ll learn to appreciate the difference, say, between Terry McMillan and Toni Morrison, between Tom Robbins and Thomas Pynchon, between Roger Zelazny and Samuel Delany – distinctions forever too elusive to be made in publishers’ categories, or on booksellers’ shelves.

Of course, short of a utopian reconfiguration of the publishing, bookselling, and reviewing apparatus, the barrier – though increasingly contested and absurd – will remain. Still, we can dream. The 1973 Nebula Award should have gone to Gravity’s Rainbow, the 1977 award to DeLillo’s Ratner’s Star. Soon after, the notion of science fiction ought to have been gently and lovingly dismantled, and the writers dispersed: children’s fantasists here, hardware-fetish thriller writers here, novelizers of films both real and imaginary here. Most important, a ragged handful of heroically enduring and ambitious speculative fabulators should have embarked for the rocky realms of midlist, out-of-category fiction. And there – don’t wake me now, I’m fond of this one – they should have been welcomed.

###

Journal 5-16-20: I need some space, Google

green exit sign

My relationship with Google is entering an “I need space” phase.

This all started when I got a notice across all my Google services saying I’d run out of space. I fall in a strange place in their usage tiers. I was using 270GB, but have to pay for 2TB, which comes out to $99 a year.

I’ve been using Gmail since I had an early invite sometime back in 2002 or so. I thought Google Drive came sooner, but it looks like I’ve been using is since launch in 2012. I tried Buzz, Wave, and was a big fan of Google RSS Feeds.

I was sold on the beginning of the idea of never having to delete anything. Back in 2002, the idea of having all my email available, out of sight but available through search, was fascinating. I could have a database for my life. 

There have been a few times this was useful. A few business dealings that were easier because I had the emails to show where something had happened the way I said it did. I had the names and contact info of all people involved. The amount of bytes those emails take up is negligible. 

I imagine the rest of my gmail account storage is made up of all the advertising emails I stopped bothering to delete. I archived them and felt accomplished because my inbox was empty. I can only recall a few times that I went back to search for a coupon code.

My Google Drive has been useful backup, but I realized that the files I was backing up weren’t anything I bothered to look at again. I’ve realized that I have some real digital hoarder tendencies. I’m always saving drivers, old software, PDF files or articles. I like the idea of being able to go back and find these files, but I never actually do. Or I haven’t yet. I’ve wasted hours collecting these files and saving them. (If you like Alphasmart Neo machines, I have all the Palm software available for them. I have old Linux distros, Mac software when I don’t currently use an Apple products, the list goes on.) As storage became cheaper, I would move these files from drive to drive, and then back them up to Google Drive.

Then Microsoft got me. I’ve been using Word for most of my work editing, and I got a terabyte of storage included with my Office 365 subscription. This was the same price as two terabytes storage with Google, but I only had 270GB in Google Drive. I was wasting money here, so I decided to backup all the Google Drive files to my PC and move everything over to OneDrive.

Throughout my career, I’ve used Google Drive during meetings to open a text file and take notes. I used Google sheets to map budgets or just list tasks, collect information that was best arranged in cells. It’s possible I’d created thousands of these files.

They’re all gone now.

I didn’t realize that the “backup” in Google’s “Backup and Sync” application doesn’t actually backup Google Doc files to your PC. It only saves pointers to your online drive. I’m sure this information was available. I probably read it somewhere. I should have checked the files before I started deleting files in Google Drive.

But I didn’t. And now I’ve deleted most of my digital archive dating from 2012. Not necessarily the random files I uploaded. I lost the files I created in Google Docs. That feels like an extra gut punch.

What’s interesting is that I don’t feel worried about it. I’ve realized that I was never going to look at most of those files again and they probably won’t have relevance on my future life. In a way, the files were always invisible. I was trusting Google to hang onto them for me, and if Google has done anything consistently, it’s take away features they once offered. What do they say about relationships: Pay attention to what people do, not what they say?

There are a few recent series outlines that I lost that will need to be re-written. That hurt, but I also know it’s something I can do again. That’s just time. The other notes and files belong to a part of my life that’s behind me now. 

(I also had the feeling of frustration that I see on seniors faces when technology doesn’t make sense. I thought I understood how to use this, and it didn’t work as I expected. That’s an incredibly frustrating and defeating feeling.)

As I get older, having grown up on the internet, I go back and forth on “right to forget” laws. I remember the rhetoric about accountability, transparency, and moral behavior that would be brought on by always having access to your thoughts and behavior. That’s true for bad actors. For most of us, I think our digital shadow is just a weight we have to carry. One of the promises of the future is reinvention, and that’s hard to do when you can always go back and read the stupid things you said in 1999 on Metafilter.

I’ve also been thinking about writing and creativity when you can iterate a document you created five years ago. I remember reading some writing advice from the seventies, where the author talked about using a typewriter, and how they advised every writer retype the previous day’s last page, just to get a sense of where they were going. They would also retype an entire short story from memory once the first draft was done. That way they had a consistent tone and voice, and anything that didn’t make it into the remembered version probably wasn’t important anyway.

We don’t work that way anymore. The digital version is always there. It’s multiple versions still live in Track Changes. I wonder how historians of the future will study manuscripts or novels to see how changes took place. Will Track Changes make things easier, or will they need to log into special AI-powered machines to even access the old software?

I feel recently like my focus is a window I have to force open everyday. Everything is fighting me to keep the window closed. Notifications on my phone. My toddler. My dog. As I edge the window open, all the junk in my mind is also dragging down the moment of creation. Have I written this before? Should I go search for the file and just work off that? Am I not being as productive as I could be?

I think I’m going to spend more time focusing on the next sentence in front of me. Writing new sentences that become new whole ideas. If I repeat myself a bit, I can go back and look at the finished previous version. Maybe not. Maybe I’ll just keep writing forward.

As far as my files go, I’m going to give OneDrive a shot for a while, since it appears to save everything in Office format as a whole file on my PC. I may look at some other backup provider if I go over 1TB, but that’s a ways off.

I’m thinking about dumping gmail for my personal email as well. I want to delete more and not trust some other party to decide what’s important to me or not. I’ve archived thousands of emails and never looked at them again. It would better if those bytes were just gone. 

I’m still thinking about that.

Thanks for reading.

James

You can email me at james[at]jamesaaron.net.

Image: Unnamed Road, Youxian Qu, Mianyang Shi, Sichuan Sheng, China by @1amfcs

4-15-20 Newsletter

Hello! I hope you’re doing all right.

We’re finally into spring weather in Oregon, so while everyone is stuck at home, at least we can go outside. When you’re on lockdown with a toddler, that’s a huge deal. 

My big news is that Galactic Law 3: Galactic Jury is out. I had a lot of fun with this book and it’s already a #1 New Release. 

 Galactic Jury is here: https://amzn.to/3dHssSs

//Cool Stuff//

The Classic Science Fiction Podcast: Free Audio Short Stories

I’ve started a podcast where I read science fiction and fantasy short stories from before the year 2000. I’ve got a library of thrifted magazines, collections and anthologies that I’ve been wanting to read for a while, so this project is a kick in the pants to get going.

One of the first stories is Duty Calls by Anne McCaffrey. You can listen here: https://www.classicsciencefiction.com/2020/04/13/csfp-002-duty-calls-by-anne-mccaffrey/. It’s from the collection The Girl Who Heard Dragons.

I share whatever info I can find about the author and the story if it’s available. I hope you enjoy!

Thanks for being a reader!

James

jamesaaron.net/books

//Latest SF Art Discoveries//

Depart by Josh Pierce

Depart by Josh Pierce
 


The Song Dynasty, Aidelank Yang

The Song Dynasty, Aidelank Yang


Service Depot by Wadim Kashin

Service Depot by Wadim Kashin

Blood & Thunder by Mark Finn

I’m reading Blood and Thunder by Mark Finn, a biography of Robert E. Howard, the creator of Conan, and I’m amazed at how many letters the young men of 100 years ago wrote to each other. (Also how important being a Texan was to the creation of Conan.)

I’m really enjoying it so far. Bob Howard was a character. A boxer, a dreamer, over shadowed by his parents and especially his mother’s health. Comparing him to the “Lost Generation” writers working in Paris at the same time, his suicide was a real loss to American letters, especially voices from the working class.

I’m also wondering how biographers of the future will know anything about us and our interpersonal communication… with our work locked up in Google Drive and Office 365, and our communication scattered between Facebook, Twitter, TikTok?, etc. all locked behind personal accounts that belong to private companies, how will anyone construct a picture of what it was like to live after the year 2000?

Biographers will need AI to sift through all the junk after paying different database companies for access.

Do video games influence your writing?

How games tell stories, part 1 \\ Luderacy \\

The Career Author Podcast asks: Do video games influence your writing?

And I have to say yes. Big yes.

Do they make me a better storyteller? Well, I’m always working on that.

(Here are some notes I wrote as an answer.)

I turn 45 this year and I finally had to admit that I love gaming, specifically PC gaming. I never had an NES or Gameboy as a kid, but my parents thought there was value in having a family PC, and I back in the day did everything I could to hunt down games. I copied thousands of lines of code out of the back of magazines. I found convenience stores that sold shareware discs beside the cash register, and the obsession grew from there.

It’s funny, because I think of most of Zach’s examples as being console games. I haven’t been able to play Horizon Zero Dawn or Last of Us yet, but I’ve sunk so much time into Fallout, Dishonored, Witcher, Half Life, Portal, Borderlands, Wolfenstein, Prey and all the Bioshocks that they could be second jobs. I recently completed two play-throughs of the Outerworlds, a worthy Fallout New Vegas clone, and now I’m going slowly through Control because I want to savor it.

(I think it all started with a game called Marathon, Bungie’s first game for the Mac, which combined first person shooter with exploration and storytelling that would eventually lead to Halo. The game is open source now as Aleph One and people have been using it to tell stories for more than 20 years.)

I’ve learned so much from gaming in several areas:

1. Milieu and Worldbuilding…

And how they communicate those things to the player, which translates as information flow to the reader in a story. Every game has a crucial first hour of gameplay, where they need to show the player how to interact with the game, and hook their emotions. The opening of Fallout 4 did an amazing job of this (but fell down in key areas later). Witcher 3 has an extended tutorial that serves fans familiar with the franchise while drawing in new players. It also establishes that this will be an adult story with adult characters. People make fun of the opening of Skyrim now that it’s become cliched, but I loved how it dropped me in the world, oriented itself with other Elder Scrolls games, and then a fracking dragon attacks you, setting up the stakes for the game. When I first killed a dragon, that was a satisfying moment set up from the beginning.

Bioshock is the best example of information flow that I’ve seen in any medium. It took me several tries to get the gameplay down, but I kept going back to the game because I wanted to explore Rapture. The hook at the beginning was that good. (Once the game play clicks though, it’s amazing, and as a player I felt just as hooked on plasmids as the mutated residents of Rapture.)

I loved the mechanic of character voices sharing their stories throughout the game, adding detail and richness, and that same mechanic is used in Prey, Dishonored and Control. (Each of these games know that players are drawn to these bits of lore, and often seeing a “lore delivery device” like a file folder in Control, triggers a fight. So you earn the lore, which creates an emotional hook. Beating the crap out of your character to give them a plot point is a great way of increasing reader engagement and getting those emotional responses Zach mentions.

Watching game design videos (Like an interview with Ken Levine where he talks about the mechanic of the Big Daddy/Little Sister in the player’s experience of the world) changed how I think about character/world building. The game play loop of fight/gather resource/explore is something that influences how I think about pacing.. and I think readers respond to the same things now.

2. Plot.

When I learned story, it was what Eric Witchey and Jerry Oltion explained as “A character in a situation with a problem, then try/fail loop in order to move to resolution that either solves the character’s problem or doesn’t and forces change, as they move forward into a new world.” This is the basic game play/resource loop of most major games now. Try/Fail is either the main quest or a side quest, and I often think of plot progression as moving through a game.

Games have rules that should make sense to the player. So do books.

3. Character.

The character must earn everything, just like a player. The story/world is pushing on the character just like the environment/arena forces the player into action. In the best games, hiding in a corner and sniping the boss is always the least desirable way to play. Doom 2016 does a great job of pushing the player into the arena and then reveling in destruction as they gain health only through kills. 

Player power evolves over time in satisfying ways that can also reveal the world/mileu. So do books.

Every game seems to have a point where the player becomes overpowered and the game might be fun for a while, but then my enjoyment drops off and it gets boring fast. I might keep playing for the story, but I usually stop. Same thing with characters. It’s hard to keep power-balance in check in a way that keeps people following the character forward, especially across a series. For me, this is where you build the team, get a ship, add new skill trees for each new level with different try/fail challenges, and then new plot points open up, creating opportunities for new stories.

4. Genre Language/Expectations.

At least in Science Fiction and Fantasy, I could argue that we’re moving into a time when more of our readers have shared experiences through gaming than reading. Games are mass media whether mainstream media wants to admit it or not, and our readers will click with the methods and archetypes used in games. I think many new readers are coming to space opera from the perspective of Borderlands, Mass Effect, Dead Space, and even Doom. I’m very aware of how these games treat commonalities like weapons, armor, vehicles/etc. Halo so overshadows most new Mil SF that it might as well all be fan fiction. You can’t write an AI without someone being disappointed if they aren’t Cortana.

My readers are split between retired folks who came up reading in the 60s/70s/80s (which I wish I had read more of) and younger readers who have played many of my favorite games. I’m always looking for ways to bridge those knowledge bases. 

5. Marketing.

Watching the latest trends in gaming, especially indies, is a good way to think about what you’re going to write in the future and what audiences you want to hit. Indie game developers have the same discover-ability challenges as authors, and try all kinds of unorthodox methods to gain traction. Every 10 cent Switch game on the Nintendo Store is a way to game their crappy search engine, since they’ll rise in the ranks and hang on at full price for a couple weeks after the sale. 

6. Escape.

I play games to experience a new world and to unwind. They’re entertainment. I think the best games evoke emotion, like Bioshock, Fallout, Prey and lately Control but they’re still entertainment for me.

I try to remember that about my books. It doesn’t mean I can’t play with interesting ideas or challenge my characters in unique ways, but I don’t lose sight of the fact that my readers are looking to be entertained. 

7. Gaming Art Books

are some of the cheapest science fiction art books you can find and they’re often amazing. I have a large collection. I flip through them when I’m looking for ideas or need help conceptualizing an area. Many have pages of assets from the game, like weapons, uniforms, characters, etc. The art book for Bioshock Infinite is also a great example of how a project evolves over time and ideas get dropped or changed, just like editing a book.

This article by Andrew Yoder about “The Door Problem of Combat Design” is about how to design an arena to encourage the player to get into the mix and not use the door to cut down enemies… For writers, I think it’s also an interesting way to think about how to challenge your characters, make interesting worlds for them to interact with, and in the end create a more rewarding experience for your reader.