Monday, September 17, 2012

Flash Fiction: The Outermost Gate

Flash Fiction: The Outermost Gate — Blue Ink Alchemy

Courtesy NASA
Participating in the Terribleminds Second Game of Aspects.
One hundred and fifty years of spaceflight innovation, and it's still a pain in the ass to get a decent meal. Commander Ellington grumbled softly as he pulled himself towards the galley. He remembered times back home when just a whiff of his mother's home cooking would make his stomach growl like a hungry lion. "What's on the menu today, Slim?" The technical expert of the construction crew was actually named Vladimir Moroshkin, but being skinny as a beanpole, Ellington had taken to calling him 'Slim'. The physicist didn't seem to mind. "The same as before, Commander. Pre-cooked meats of a dubious nature and recycled water it's best not to contemplate too long." "What I wouldn't give for some decent chili." He sighed, popping a meal in the microheater. "How're things out there?" Slim looked out the porthole at the in-construction Pluto gate. "Main structure is 90% complete, components are in place, and capacitors are holding charges. Crews probably need another few days to get the toll systems and registration servers talking to the relays." Ellington nodded. "Once it's done we'll have gates in orbit around Earth, Mars, Venus, Europa, Titan... am I missing any?" "They just finished the Triton gate, sir." "That's gonna make booking flights confusing. Anyway, where do we go from here, d'you think?" "We'll probably have to break the light barrier properly to go further. Properly, I mean. Not with artificial wormholes." "Does it ever bother you, ripping holes in space the way we do, just to travel more quickly from one place to another?" "No, sir. The technology that powers the gates is completely-" Before Slim could finish his sentence, the station shook. Supplies went flying from the galley shelves. As warning klaxons started going off, Ellington propelled himself to the main console of the small station. Slim was right behind him. "Did something hit us?" Ellington asked as he scanned the instruments for hull breaches and other damage. "Nothing solid. Looks like it was a shock wave. Suit comms are down." "A shock wave from what, Slim?" Ellington looked up and got his answer. In the silent, dark tapestry outside, a violet fissure had appeared. It glowed, blotting out the stars behind it. As Ellington watched, tentacles colored a green so deep it was nearly black wormed out of the fissure and began to push it wide. He glanced at the gate, seeing the men scatter. Looking back, more tentacles appeared, and within the void past the tear in space, Ellington saw piss-colored eyes. Ancient eyes. Eyes full of hunger and hate. "Slim... tell me what I'm seeing." "The instruments are going haywire, sir. I need a moment." "Not sure you've got one." As Slim watched, the thing in the fissure lashed out at the gate, swatting men and women in space suits aside as they tried to return to the station. They were unarmed, and their only means of escape was the ion-powered rocket that could get them to Triton and the gate there could get them home. The journey would be short, as Pluto's orbit this year was closer to Neptune than it had been in decades, which was why the eggheads back home decided to move forward with building the gate. Not that it would matter if the horror pulling itself into reality could also travel through the gates. "Can you tell me anything about the fissure?" "Near as I can tell, it's putting off a frequency of radiation I've never seen before. Radio telescope was the first instrument to zero in on it." "Let's hear it." Reluctantly, Slim flipped the external speaker switch. The control cabin was immediately filled with screaming. If it had been one voice screaming, it would have just been disconcerting. Instead, Slim and Ellington heard a thousand voices, all crying out at once without words, deeply in pain and endlessly, endlessly angry. "Right. Time to get the hell out of here." Ellington turned and went down the central shaft of the station to where the shuttle was docked. He slid inside and did a quick check of its systems, making sure it hadn't been damaged. He caught glimpses of the creature out the windows, but tried to ignore it. He stopped, however, when he saw the gate's capacitors lighting up. He moved back to the shaft and kicked off of the deck, propelling himself back to the control cabin where he seized a handhold. "What the hell are you doing, Slim?" "If I can get the gate to generate a sympathetic counterpoint vibratory radiation pattern..." "English, Slim." "I think I can use the gate to close the fissure, sir." Ellington stared, then looked outside. The thing was even more massive than he'd thought, and it looked like it was still emerging from the fissure. It could easily reach the station with its tentacles, and Ellington feared one would collide with them any moment. He heard people in the upper reaches of the station, clamoring about, probably eager to leave. He didn't blame them. Slim twisted knobs, tapped in commands via keyboard, and finally pulled a lever. The gate sprang to life. Instead of the usual blue color, the capacitors glowed an angry red. Soon the entire gate was alive with that shade, and the radio telescope conveyed a sound that drowned out the screaming. It was a single, reptilian, very pissed-off roar. "Slim? What did you do?" "Exactly what I said! I don't..." From the gate emerged a head that could have belonged to some sort of dinosaur. It was topped with ridges of horns, its scales were the color of blood, and when it exhaled (wait, exhalation in space?) plumes of fire shot from its nostrils. Seeing the abomination in the fissure, it shot out of the gate, spreading leathery wings and reaching out with talons easily as long as Slim was tall. It grappled with the tentacled monstrosity and opened its mouth. Flames washed over the fissure. "Slim?" "Yes, sir?" "I have a craving for popcorn."
Blue Ink Alchemy

Friday, September 14, 2012

Writer Report: Break On Through

Writer Report: Break On Through — Blue Ink Alchemy

Courtesy floating robes
Courtesy Floating Robes
There is something you may not know about the writing process. The rules of writing have been discussed at length in various places around the Internet. But perhaps a semi-unwritten one is that you have to write as much as you can, as fast as you can, even when you don't want to. Writing is, after all, a job, and none of us necessarily want to work every hour of every day. But if you want to finish your shit, you have to work at it, even when the notion is less than appealing. That's what I did yesterday. I felt a little stuck in Cold Streets. I wasn't entirely sure how I was going to resolve a scene. But I sat down, picked an option, and ran with it. 2810 words later I stood up and stretched. The dam had broken, and words were flowing again. I feel back on track, because I made myself write when it wasn't appealing to me. That's what you have to do when you're a writer. I may do some groundwork this weekend for one of the other projects. I'm still trying to decide which one, though. A lot of the preliminary stuff for Godslayer is already done considering the previous drafts, but there will be a lot of changes to come in that. The other project, the untitled sci-fi thing, is very nascent, with only a couple of short stories to work off of for now, but I feel there's a great deal of potential and I'm going to want to explore it. Maybe just jot down some notes? We'll see. Either way I hope to continue to be productive over the weekend. I don't want to lose this momentum.
Blue Ink Alchemy

Thursday, September 13, 2012

Uphill Battles

Uphill Battles — Blue Ink Alchemy

Courtesy University of Northern Iowa Comp Sci Dept
My time management has been pretty borked this week. Things at the dayjob refuse to stay dead, I'm trying to get a moving date set up, and other minor things are messing with my schedule. I've been doing what I can to manage my distractions, but this week has seen me failing more than succeeding. This does happen, more often than I'd like to admit, and I know in the end I'm only hurting my own efforts. But it isn't the end of the world, and right now I'm doing my best to remind myself of that. Even if I continue to get bandied about by a short attention span, I can make next week better. Get out more. Do more exercise. Write blog posts in advance. That sort of thing. Meantime, be excellent to one another. I'll be over here, quietly doing my best to not freak out.
Blue Ink Alchemy

Wednesday, September 12, 2012

Writing Weird Worlds

Writing Weird Worlds — Blue Ink Alchemy

Courtesy Lady Victorie of DeviantArt
I have an unabashed love for science fiction and fantasy. I grew up on Star Trek (the Next Generation, mostly), and C.S. Lewis' Chronicles of Narnia was possibly the first full book series I read start to finish. The ability of a writer to completely transport an audience, be it one reader or a million viewers, to a completely alien landscape populated with outlandish characters is one of the reasons I became a writer myself. And yet, for all of my source material and inspiration in these fields, I struggle to write science fiction and fantasy. My problem is, I believe, twofold. It deals with world-building and pacing. The world-building aspect is not one of building the worlds themselves, no; it's trying to build the world while also telling a story. The world, no matter how expansive or intricate its design, is merely set dressing. It's the backdrop against which the story takes place. And what is a story without characters? Even if there are good characters, though, the pacing problem tends to arise. There's a habit in some writing I've seen in these genres where the action or conversation will stop and description will take over. Tolkien and Martin spring to mind. They're both writers I deeply respect, but man, they can go on sometimes. While some of Tolkien's descriptions of landscapes lead to the breathtaking vistas we see in the Lord of the Rings films, and Martin's in-depth cataloging of grand Westros meals can be mouth-watering, it sacrifices time with characters or plot advancement for the sake of world-building. The thing to keep in mind, as far as I'm concerned, is that these characters who inhabit these worlds do so the same way we do ours. They coexist with wonders and strangeness the same way we do with things like airplanes and the Internet. Imagine if a writer broke up the action in a tense modern thriller or a detective yarn to describe the interior layout of a 747 in detail, or explained exactly how communication between one computer and another works. I personally don't think that story would get very far. While some description is inevitable, especially when it comes to these strange new worlds, I have come to understand that such descriptions should be used sparingly. A quick verbal sketch of something new and interesting may be required for context; I think the description should be made as concisely and quickly as possible. And I don't believe that in-depth descriptions should ever be used anywhere near the opening of a story. Consider the opening of Blade Runner. The scene in which Leon is tested could take place in any modern building. The only hint of sci-fi trappings is the device on the desk. It concerns itself first and foremost with character moments and building tension. Instead of showing off how awesome its effects are, the film paces itself, only revealing as much as it needs to in order to set scenes and move the story along. Jurassic Park is another fine example. It's around 40 minutes before we even see our first dinosaur in full, but the build-up is done so adroitly that we are just as invested in the characters as we are in the spectacle, if not moreso. It's something I'll be keeping in mind as I get myself together for my next large project. How do you feel about writing weird worlds? Would you like to see more description in such tales, or less? What good examples come to mind when discussing these stories?
Blue Ink Alchemy

Tuesday, September 11, 2012

More Writer's Rules

More Writer's Rules — Blue Ink Alchemy

See this? This here is the bearded penmonkey who is, in my mind, the whiskey-soaked Yoda to my whiny Luke Skywalker, the cuss-heavy Stranger to my bumbling Jeffrey "The Dude" Lebowski, the shouty Elrond to my somewhat smelly Aragorn, Chuck Wendig. He's going to give you the secret to successful writing. Lean close. You'll want to get this down. And all over your face.
[tube]http://www.youtube.com/watch?v=RHGDX6CfnaQ[/tube]
(Thanks for this, Chuck! Friends, go visit Chuck's site, buy his books, feed his kid. He deserves it.) Not so hard, is it? So now you have the secret to writing successfully, but I think it takes more than successful writing to be a successful writer. Yes, more rules. And yes, they're still simple.

Rule 1: Follow Wheaton's First Law

Don't be a dick. Period. It's fun to joke and whatnot, sure, but don't look to cross lines or get in people's faces for the sake of a laugh. There's boundaries people have, and if you stay on the good side of them, chances are they'll laugh along with the joke and not consider you a hate-spewing douchecanoe. And if you do cross the line, don't be a dick about it and act all offended. Apologize, find out what went wrong, ensure it won't happen again, even offer to make amends if you have to. I feel like I'm waxing overlong on what boils down to common human fucking decency, but it's the age of the Internet and reality shows, sometimes you gotta spell this shit out.

Rule 2: Be Honest

People are going to ask you stuff. They'll ask where your ideas come from, if you can read their stuff, what your opinion on X is, etc. Be honest with them. Don't blow smoke up the people who don't deserve it, and don't be nice to someone who's kicking a friend of yours while they're down. It's one thing to be honest, though, and another to be overly blunt. Telling someone the flaws in their work is not the same as telling them they suck and should just give up. Basically, be honest, provided you aren't violating Rule 1.

Rule 3: Do More Than Market

Getting your words sold is great. I don't have evidence to back this up, but I'm certain that tweeting and retweeting and sharing the same links and incentives and quick pitches sells more books than simple word of mouth. However (and this may just be me), I find that sort of thing really gets old after a while. If all you have to say day after day is how awesome your books are, I may lose interest in your books. I say, switch it up. Reach out to the community. Jump into fun conversations - or start one. Let people know you're a real human being, not just a marketing bot with your social media login information. Pretty simple stuff, and I'll be trying to stick to these as I write as much as I can, write as fast as I can, finish my shit, make my deadlines, and try really, really hard not to suck. What rules do you think successful writers should follow?
Blue Ink Alchemy

More Writer's Rules

More Writer's Rules — Blue Ink Alchemy

See this? This here is the bearded penmonkey who is, in my mind, the whiskey-soaked Yoda to my whiny Luke Skywalker, the cuss-heavy Stranger to my bumbling Jeffrey "The Dude" Lebowski, the shouty Elrond to my somewhat smelly Aragorn, Chuck Wendig. He's going to give you the secret to successful writing. Lean close. You'll want to get this down. And all over your face.
[tube]http://www.youtube.com/watch?v=RHGDX6CfnaQ[/tube]
(Thanks for this, Chuck! Friends, go visit Chuck's site, buy his books, feed his kid. He deserves it.) Not so hard, is it? So now you have the secret to writing successfully, but I think it takes more than successful writing to be a successful writer. Yes, more rules. And yes, they're still simple.

Rule 1: Follow Wheaton's First Law

Don't be a dick. Period. It's fun to joke and whatnot, sure, but don't look to cross lines or get in people's faces for the sake of a laugh. There's boundaries people have, and if you stay on the good side of them, chances are they'll laugh along with the joke and not consider you a hate-spewing douchecanoe. And if you do cross the line, don't be a dick about it and act all offended. Apologize, find out what went wrong, ensure it won't happen again, even offer to make amends if you have to. I feel like I'm waxing overlong on what boils down to common human fucking decency, but it's the age of the Internet and reality shows, sometimes you gotta spell this shit out.

Rule 2: Be Honest

People are going to ask you stuff. They'll ask where your ideas come from, if you can read their stuff, what your opinion on X is, etc. Be honest with them. Don't blow smoke up the people who don't deserve it, and don't be nice to someone who's kicking a friend of yours while they're down. It's one thing to be honest, though, and another to be overly blunt. Telling someone the flaws in their work is not the same as telling them they suck and should just give up. Basically, be honest, provided you aren't violating Rule 1.

Rule 3: Do More Than Market

Getting your words sold is great. I don't have evidence to back this up, but I'm certain that tweeting and retweeting and sharing the same links and incentives and quick pitches sells more books than simple word of mouth. However, and this may just be me, but I find that sort of thing really gets old after a while. If all you have to say day after day is how awesome your books are, I may lose interest in your books. I say, switch it up. Reach out to the community. Jump into fun conversations - or start one. Let people know you're a real human being, not just a marketing bot with your social media login information. Pretty simple stuff, and I'll be trying to stick to these as I write as much as I can, write as fast as I can, finish my shit, make my deadlines, and try really, really hard not to suck. What rules do you think successful writers should follow?
Blue Ink Alchemy

More Writer's Rules

More Writer's Rules — Blue Ink Alchemy

See this? This here is the bearded penmonkey who is the whiskey-soaked Yoda to my whiny Luke Skywalker, the cuss-heavy Stranger to my bumbling Jeffrey "The Dude" Lebowski, the shouty Elrond to my somewhat smelly Aragorn, Chuck Wendig. He's going to give you the secret to successful writing. Lean close. You'll want to get this down. And all over your face.
[tube]http://www.youtube.com/watch?v=RHGDX6CfnaQ[/tube]
(Thanks for this, Chuck! Friends, go visit Chuck's site, buy his books, feed his kid. He deserves it.) Not so hard, is it? So now you have the secret to writing successfully, but I think it takes more than successful writing to be a successful writer. Yes, more rules. And yes, they're still simple.

Rule 1: Follow Wheaton's First Law

Don't be a dick. Period. It's fun to joke and whatnot, sure, but don't look to cross lines or get in people's faces for the sake of a laugh. There's boundaries people have, and if you stay on the good side of them, chances are they'll laugh along with the joke and not consider you a hate-spewing douchecanoe. And if you do cross the line, don't be a dick about it and act all offended. Apologize, find out what went wrong, ensure it won't happen again, even offer to make amends if you have to. I feel like I'm waxing overlong on what boils down to common human fucking decency, but it's the age of the Internet and reality shows, sometimes you gotta spell this shit out.

Rule 2: Be Honest

People are going to ask you stuff. They'll ask where your ideas come from, if you can read their stuff, what your opinion on X is, etc. Be honest with them. Don't blow smoke up the people who don't deserve it, and don't be nice to someone who's kicking a friend of yours while they're down. It's one thing to be honest, though, and another to be overly blunt. Telling someone the flaws in their work is not the same as telling them they suck and should just give up. Basically, be honest, provided you aren't violating Rule 1.

Rule 3: Do More Than Market

Getting your words sold is great. I don't have evidence to back this up, but I'm certain that tweeting and retweeting and sharing the same links and incentives and quick pitches sells more books than simple word of mouth. However, and this may just be me, but I find that sort of thing really gets old after a while. If all you have to say day after day is how awesome your books are, I may lose interest in your books. I say, switch it up. Reach out to the community. Jump into fun conversations - or start one. Let people know you're a real human being, not just a marketing bot with your social media login information. Pretty simple stuff, and I'll be trying to stick to these as I write as much as I can, write as fast as I can, finish my shit, make my deadlines, and try really, really hard not to suck. What rules do you think successful writers should follow?
Blue Ink Alchemy