Justine Graykin says the topic of Ethics in Speculative Fiction "hit on a central tenet of my writing philosophy." Which is why I am pleased to host her mini-essay on the topic as part of the series on Ethics in SF on Reality Skimming. I am particularly pleased by her mention of Star Trek, an SF series to which I am indebted for my own sense of SF as a means to explore the human condition. Interested in contributing to the Ethics in SF series? Query me at lynda@okalrel.org.
Ethics in SF: A series of interviews, articles and debates on the Reality Skimming blog, hosted by Lynda Williams, author of the Okal Rel Saga.
Justine Graykin is an SF writer, librarian, philosopher, historical archivist and blogger who also loves to read. She is married with two children, too many cats, two dogs and flock of chickens on 50 acres in New Hampsire. She likes to hike, participate in community theater and is a member of Broad Universe. Read Justine's work online: Awake Chimera by M. J. Graykin, published by Absent Willow Review; Works by Justine, including "Archimedes Nesselrode"; and Excerpts from The Elder Light Series. About the last, Justine says, "My best work, that which I feel represents the kind of science fiction I really want to write, has yet to be published. It's a hard sell, but I keep working on it."
Q. Justine Graykin's blog is subtitled "Science fiction doesn't have to be cold to be hard." What does this mean to you as a writer, Justine?
Featured novel by Justine Graykin
Fiction that is based on hard science, that is, things that are theoretically possible given our present scientific knowledge, tends to be tech-driven, it tends to be militaristic, it tends to be dark. It has a feel to it that seems cold. Relationships tend to be one-dimensional sub-plots. Humor is usually cynical or snide (think Douglas Adams) if it is used at all. Hard SciFi is very impatient with warmth. Social sciences are neglected in favor of plots based on biology, astronomy, and most important, physics. If there is a nod to psychology or sociology, it tends to be very analytical, as if fearing it won't be taken seriously.
One of the best and most well-known exceptions to this is the Star Trek genre. It was warm, it was optimistic, it spent time with deep character development and relied heavily on relationships and interpersonal dynamics while playing with the possibilities of real, cutting-edge science. It's warmth made it accessible to people who didn't usually like SciFi. It also made it a target for lampoon and satire (although many of the send-ups are affectionate.) Unfortunately, Star Trek sometimes drifted out of hard science and into "magical" science, in which, in order to achieve a desired the plot twist, they waved the magic science wand, talked some tech, and presto. This, too, makes the genre an object of scorn for real geeks.
I stick to real science in my writing, including the "soft" sciences, and give the stories warmth, optimism and humor. I've made exceptions (shameless magic in "Archimedes Nesselrode" and dark horror in "Chimera") but what I consider the major body of my work follows the philosophy that SciFi doesn't have to be cold to be hard.
Your Turn: Comment with your own reaction to the questions.
Labels: Ethics in SF, Justine Graykin, Lynda Williams
posted by MMilburn at 06:00 permalink
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Reality Skimming continues 4-installment interview with Arinn Dembo on the topic of "Ethics in SF".
I could make a case for both premises. Engaging and sympathetic characters give the audience some investment in the victims of a tragedy and make them care what happens to those characters. On the other hand, ‘bad’ people create conflict, and conflict is the soul of all good fiction. Humans are hard-wired to sit up and take notice when other humans aren’t getting along.
So far as Fort Zombie goes…there are no ‘bad’ people per se among the survivors. Some of the humans you run into will be more likable than others, but the real enemy isn’t your fellow apes—it’s the Rot, the force that animates the dead. Since the Rot has its own malevolent personality, and uses the dead and the dying as a medium for expression, players could work up some serious hate without ever really directing it at another human being. People who stuck with the game through a few updates reported an experience of slowly mounting rage: they really wanted a chance to deliver some payback to an enemy who piled up corpses like cordwood and used blood as spray paint. They wanted to track down the heart of that infection and destroy it. (And if there’s a sequel, they might get a chance to do just that.)
I would certainly agree that authors and audiences have fallen in love with a villain, more than once. Hannibal Lector and his nephew Dexter are probably the most dramatic cases that come to mind. From the anthropological standpoint, I would say that the fascination with serial killer anti-heroes stems from a subconscious desire to impose control and meaning on homicidal madness which is otherwise senseless…and thus, more terrifying.
People want to believe that a man who hunts his fellow human beings can be controlled, channeled, even made to serve a greater good. The fantasy of a serial killer who only hunts the annoying, or who can be targeted and trained to hunt and destroy other killers, is quite appealing. It is certainly easier to cope with this fantasy than the reality, which is that serial murderers hunt like any other animal: they prey on the weak, small and most marginalized or isolated members of the available herd. Modern genre fiction is not all about taming real monsters, though. Vampires, werewolves, fey creatures and fairy tale monsters can have another meaning, especially in the urban fantasy/paranormal romance genre. The “bad guy” mystique is certainly there, but there is a deeper thread running through a lot of this fiction. Once you get past the front cover, you generally find that the vampires and the werewolves in these books are not particularly bad people, or at least not always bad people. Often these characters come across more as symbols of alternate sexuality and lifestyles. They appear frightening and monstrous to “normal” people and outsiders. They tend to be stereotyped by tabloid headlines generated by the worst of their kind. Once you get to know them, however, you find that they are just people. They want love and acceptance, they need kinship and support like any other human being. In this sense I think that the “monster community” in paranormal romance novels is probably a pretty effective metaphor for the social, political and personal issues that might come with homosexuality, transgendered identity, sadomasochism, polyamory or any other alternative lifestyle which makes you “monstrous” in the eyes of the outside world. Some of these stories are about the search for love, friendship, and family (and the limits of tolerance) when you live outside the canopy of the norm.
Labels: anthropology, Arinn Dembo, Ethics in SF, gaming, Lynda Williams, writing vs. gaming
posted by Lynda at 06:00 permalink
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Reality Skimming continues 4-installment interview with Arinn Dembo on the topic of "Ethics in SF".
“Gaming” is a word which covers too many works of art to answer this question easily. You can play to win a game of Tetris or Bejeweled: that’s a very different subjective experience from “winning” an adventure role-playing game like Silent Hill. Or a multiplayer shooter like Battlefield 1943, or a team-based simulation like World of Tanks, or an immersive narrative drama like L.A. Noire. One thing I can say in defense of gaming as an ethical medium: it allows human beings to experiment with actions and their consequences without causing real harm. The player can adopt any role, exist in any environment, explore all available options, and witness the consequences of his or her own actions unfold, all without shedding a single drop of blood. I don’t think it takes a rocket scientist to figure out why a war game is more ethical than a real war, but games can be based on all sorts of other scenarios—running a business, collecting butterflies, solving a murder. In what other medium can we test every recipe without breaking a single egg? Aspire to be heroes or wallow in villainy without any real loss of life, or even significant risk?
Near miss, a screenshot - Arinn Dembo
The concept of “winning” can also be subverted pretty heavily depending on your design. The goal of a game is to “win”, yes, but victory can be defined by both player and designer in an incredible number of ways. Sometimes losing the game teaches us more and affects us more profoundly than winning. Games can wring very intense emotion out of an audience, inspire deep thought, create new interests, teach history and theory in a lot of disciplines…the medium has enormous potential.
A novel is a much more confined and controlled space than a game is, artistically speaking. A novelist gets to plan what the protagonist does next, and the audience is a passive witness to the direction that a character chooses to take. To explore ethics, you pose problems and your protagonist makes the choices that you want him/her to make, in order to make your point. In a game, the player IS the protagonist, and the designer cannot directly control what he or she will do. Your job is to provide them with challenges, choices, and tools: then they play the game and achieve an outcome that they earn. The majority of work I have done in gaming has not been to write scripts or create mission paths, but to build worlds and universes. In Sword of the Stars, I explore ethics in the histories I create, the scenario problems I pose to the player, the conflicts that arise from cultures with opposing values. My personal values do not often come directly into the picture, but I do make a small point indirectly, at times.
As an example: when I was directing the art for the portraits of a future Human race, the gender ratio was 50/50, and the faces were not all white. A very simple thing, but representing real life human diversity in a game universe is not as common as it should be, and real equality and mutual respect in the depiction of human subjects is even more rare. Everyone you see in a Sol Force uniform is a participant in humanity’s heroic future, regardless of gender or skin color. This is not a game which presents all women as sexual objects or victims, and all non-whites as comedy relief or criminals.
Labels: anthropology, Arinn Dembo, Ethics in SF, gaming, Lynda Williams, writing vs. gaming
posted by Lynda at 06:00 permalink
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Reality Skimming continues 4-installment interview with Arinn Dembo on the topic of "Ethics in SF".
Cai Rui is an intelligence officer, rather than a common soldier. As such, his job is to provide the high command with the information they need to avoid war…or, failing that, to win a war as quickly and painlessly as possible. Unlike the pacifists who confront him in the chapel, Cai Rui cannot afford to be a moral absolutist. He sees his species encircled by alien superpowers, any one of which is easily capable of wiping out the Human race. Humanity has presently achieved a chilly détente and signed an Armistice with three other major powers; no one is shooting at anyone right now. Ideally Cai Rui would like to keep it that way, but he doesn’t believe that being unable to defend yourself is the best way to avoid conflict. Instead, he chooses to have faith in the empire, and to throw himself into his work. He tells himself that if he can provide his Director with timely and pertinent information, it could save the lives of millions or billions of sentients.
His message to the graduating recruits who will be entering the intelligence service is a simple one: “know thy enemy”. What he’s trying to tell them is that empathy is a necessary job skill. If these men and women do not learn to understand their galactic neighbors, war is inevitable. The Human race has already stumbled headlong into conflict in the recent past, armed with deadly technology and equally deadly ignorance. Cai Rui believes that humankind needs better information.
My fascination with all things human is central to my life as a whole, including my writing. Anthropology is a paradoxical science—it identifies the universal by celebrating millions of unique cases. My immersion in science has made me see that even my very early work was often about culture contact, the primal encounter with the Other. I’m interested in that liminal zone between Us and Them, and what happens there: war, Creolization, colonization, “going native”, you name it. My most popular story is probably “Monsoon”, which is set in India. My first published story, “Sisterhood of the Skin”, posits the first contact between humankind and a bizarre alien species. Obviously I’ve continued to work extensively with aliens in the Sword of the Stars series as well. When I create an alien species for the Sword universe, I sort through my knowledge of anthropology and pick ethnographic and historical models to work from.
My love of archaeology also inspires a lot of my fiction. “ICHTHYS”, which I published a few years back in H.P. Lovecraft’s Magazine of Horror, emerged from my study of the Roman catacombs and the Primitive Church--subjects which have occupied a good many years of thought and research for me. “Imperial Ghosts” is a science fiction story inspired by the Roman art of portrait sculpture, in particular the portraits of the emperor Tiberius. Humans in the Sword universe occasionally speak Latin as well as English and Chinese, and one of the dominant AI characters in the universe is named Cicero.
Labels: anthropology, Arinn Dembo, Ethics in SF, gaming, Lynda Williams, writing vs. gaming
posted by Lynda at 06:00 permalink
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Reality Skimming is pleased to host Arinn Dembo for the opening salvo of our new feature, "Ethics in SF". Here's the pitch that landed Arinn on this page, included because it is as interesting as her interivew itself, and as an example of how to tell me about why you need to help us in this exploration of Ethics in SF. E-mail pitches to lynda@okalrel.org to feature in future articles. Ethics matter. SF explores. Be part of the dialogue.
Ethics in SF: A series of interviews, articles and debates on the Reality Skimming blog, hosted by Lynda Williams, author of the Okal Rel Saga.
Arinn Dembo has been a professional writer for over twenty years. She has published hundreds of essays, articles and reviews, and her short stories have appeared in F & SF, H.P. Lovecraft’s Magazine of Horror, and a number of anthologies. At present she is the Lead Writer for Kerberos Productions, an independent video game development studio. Her first novel The Deacon’s Tale and Monsoon, a short story collection, are due to be published by Kthonia Press this fall. She holds a degree in Anthropology and a second in Mediterranean Archaeology. Her personal website is http://arinndembo.com/, and she can also be found on the forums for Kerberos Productions on a daily basis http://www.kerberos-productions.com/. You can also find her on Facebook http://www.facebook.com/ArinnDembo and Twitter http://twitter.com/#!/Erinys.
Q: Tell us about your work, your writing and what motivates you creatively.
I’ve been a writer all of my life. Words are a comfortable medium for me, and since my early 20’s writing has also been my most marketable job skill. Even at the most conservative estimate, I’ve written millions of words in the past two decades. At the end of the day, it’s fair to say that I wrote most of those words for survival. But no matter how rigid the guidelines have been, I’ve always tried to bring something personal to my writing.
One of my greatest sources of inspiration is a simple question: “What if--?” A lot of my work is speculative. “What if” has been an important question since my early childhood. When I went into anthropology, I was not surprised to find that the ability to ask and answer hypothetical questions is one of the things that distinguishes Human communication from that of other living things. My fascination with all things human is another creative spark. Anthropology is a paradoxical science—it identifies the universal by celebrating millions of unique cases. My immersion in science has made me see that even my very early work was often about culture contact, the primal encounter with the Other.
Q: How do you, personally, decide whether something is right or wrong? How do characters in your fiction decide matters of right and wrong?
My ethical system is pretty simple. There are three parts that come together, and the first is just plain old culture and nurture. My parents and my society taught me values that I will always find it very difficult to set aside. I was brought up to believe that all human beings are equal, and entitled to equal rights both politically and socially. In 41 years I have never had reason to change my mind on that score. Beyond that core training, my personal ethics compel me to look for both the harm in what I do, and the good that is within my power. In some religious faiths they call this quality “mindfulness”, and it’s a fairly common ethical precept even among non-denominational groups which focus on a cause like environmentalism or animal rights. In general I try to keep my eyes open and recognize when I am part of a problem, rather than part of a solution. And when I see a chance to act positively in the world, whether I have to act alone or simply throw my weight behind someone else’s project, I do it.
Screenshot of character Mateo Lan'Kona by Arinn Dembo
The third component is a healthy smidge of good old fashioned cynicism. There is no one whose viewpoint I am not willing to question seriously, including my own. I use a self-checking mechanism when dealing with issues that I find difficult to sort out, especially if the subject is very emotional. Basically, I take a long hard look at the people who seem to agree with my stance and see if they are the sort of people that I want to be. If I find myself in a crowd of people whose views on other topics are completely indefensible and wrong, it’s a pretty strong hint to me that I am probably not seeing the real implications of my stance on this issue. This technique has helped me fight past my emotional reaction to violent crime and achieve my current position on the death penalty, for example. I realized that the sort of people who supported the death penalty were not the sort of person I wanted to be “hanging around with”, ethically speaking. There had to be something I wasn’t seeing in my pro-death position, and I knew I had to keep looking until I found the error of my thinking. When I’m writing a character who is essentially a good person, I try to apply this same basic structure to that person’s outlook. The fun part is that your characters can come from a completely different context than the author does: different gender, different nationality or ethnicity, even an entirely different species with a whole different set of evolutionary drives underlying their standard upbringing. Being a good alien can pose different challenges than being a good human being.
Your Turn: Comment with your own reaction to the questions.
Labels: anthropology, Arinn Dembo, Ethics in SF, gaming, Lynda Williams, writing vs. gaming
posted by Lynda at 06:00 permalink
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I am guest author on Loconeal Publishing blog, this month, on the topic of setting up plot tensions in order to get a unique and special bang when the tension resolves.Labels: Loconeal Publishing, Lynda Williams, Plot
posted by Lynda at 11:10 permalink
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My husband, David, did an interview on CFIS radio about his music show, UK Memories, and in the process of telling listeners about himself, he recounted how we met and the story of my writing obsession. The link to the interview is on his UK Memories Archive Site where you can also get a listen to his past shows.
Labels: David Lott, Lynda Williams, UK memories
posted by Lynda at 17:34 permalink
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I have a feature on the Edge Science Fiction and Fantasy Publishing facebook page: "Something you may not know ... featuring Lynda Williams".
Labels: Edge Science Fiction and Fantasy Publishing, facebook, Lynda Williams
posted by Lynda at 07:24 permalink
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Lynda Williams appeared on the Storytellers with host John Bell on Monday, Jan 31, 2011.
We talked about the characters, the writing process and the history of the series for a half an hour.
Always a pleasure.
Labels: Avim's Oath, CFIS 93.1, John Bell, Lynda Williams
posted by Lynda at 21:09 permalink
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Clarion blog announced it's 2011 line up for 2011 on New Year's day. I'm tickled to be launching The Writer's Craft feature, running most Mondays, in such great company. Check out Mishell's roster of celebrity columnists including writer Elizabeth Bear and agent Richard Curtis! And don't forget to drop me a line with your questions, suggestions or examples for the Writer's Craft. Send e-mail to lynda@okalrel.org with CLARION in the subject line.
Happy New Year.
Labels: Clarion, Lynda Williams, Mishell Baker, Richard Curtis
posted by Lynda at 12:14 permalink
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Visit the Edge blog for the rest.
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Labels: Christmas, Edge Science Fiction and Fantasy Publishing, Lynda Williams
posted by Lynda at 15:57 permalink
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Received notification, today, of a review by RFF's Valerie Coskrey for book one of the Okal Rel Saga, The Courtesan Prince. Working on draft of the final book (part 10) in the series, tonight. Facebook also brought me a positive "vote" for Fip, the grab rat, from David Juniper who is reading Part 6: Avim's Oath. And Krysia discovered the latin mellitus, meaning "sweet as honey", which she is planning to use for part of a Demoran's name for her third novella in the Misfit series, is also part of the "diabetes mellitus" because ... how embarrassing ... people with this type of diabetes have sweet tasting urine. Oh well, just adds dimensions to the name of her love interest for the irrepressible Victoria D'Ottawa, heroine of the misfit series.
Labels: Courtesan Prince, Lynda Williams, Okal Rel Saga, RFF, Valerie Coskrey
posted by Lynda at 20:34 permalink
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Krysia Anderson, author of Okal Rel Legacies title Misfit Leaves Home was interviewed by the Prince George Free Press.
Labels: Krysia Anderson, Lynda Williams, Misfit Leaves Home, Prince George Free Press
posted by Lynda at 13:46 permalink
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This morning at 7 a.m. I was at my computer recording a page of The Courtesan Prince on Chirbit, checking my writerly e-mail and responding to a lovely "hail" on facebook from the woman who posed for Ann, the character on the cover of the book. It takes me about 20 minutes. Then I work. But I'm taking a break, now, around 11 a.m., to spend 15 minutes posting this -- despite the text-message interruptions from my middle daughter, Angela. I'll work until I get tired, maybe 8 p.m, with a supper break. But tomorrow is Saturday so the family will have crepes for breakfast and listen to myself and Krysia read the next installments in our respective works-in-progress. I'll have to work Sunday. But some evening next week, I'll take three hours off to write the next bit for the following Saturday. Why? Because there will only be so many Saturdays with crepes and I don't want to miss one. And because I work better when I've had fun. I've renounced writing many times in my life, blaming it for other frustrations or discouraged by the difficulties. But cleaning out papers in my den this month it dawned on me -- I've been doing it ALL MY LIFE and the odds are I'll keep doing it until my muse is well and truly done with me. So like others, I'm working for balance. And maybe the self-knowledge to understand the role of creativity in my life so I, and others, can extract the maximum benefit from it with the least angst.Labels: discussion, Lynda Williams, Tina Hunter
posted by Lynda at 11:07 permalink
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Here’s the problem. You have a character out to break the rules — but the reader doesn’t know what’s normal in your alien society. How do you set up behavioral expectations at the same time as you violate them?In the good old days, a writer like J. R. R. Tolkien could indulge in chapters of Shire life before evil intrudes on the squabbles of the hobbits. I believe some set up is still essential if you want the bang that comes from contrast when something extraordinary happens, but modern writers rarely get whole chapters. Like the movies made of Tolkien’s classic epic, we have to establish norms faster.
The Okal Rel Universe in which my novels are set has been called “complex”, “well-thought out” and “original”. Culture clash between groups occurs regularly and a lot of the fun relies on readers understanding the world views in collision. The more ORU people read, the more they get out of it. But how to get them started?
This discussion, hosted by myself and author Krista Ball, invites you to help us explore the peculiarly SF problem of establishing “the norm” of an alien culture in the midst of having trouble-making characters tromp through it. What works for you, as a writer or a reader, and what doesn’t?
Here’s my main pet peeve to get us started: characters who don’t represent their culture even minimally. At best, a work with a seriously different setting can get away with maybe one entirely anomalous rebel. But if that’s the case, there had better be a strong supporting cast who do represent the “norm” for the rebel to interact with. Then the contrast can illuminate not only the norm but the deviation.
Labels: discussion, Krista Ball, Lynda Williams, Writing
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Great poster by artist Michelle Milburn for title challenge match to be featured at the Okal Rel Universe event at VCON, Saturday Oct 2, 7 p.m. Fencing instructors Devon Boorman and Craig Bowlsby will square off in a featured clash of titans. We'll also be giving away character cards, Okal Rel buttons, singing a few Okal Rel filk songs and launching Avim's Oath, Book 6 in the series, by Lynda Williams; as well as Opus 4 collection of stories set in the Okal Rel Universe and Okal Rel novella Misfit Leaves Home by Krysia Anderson.
Labels: Craig Bowlsby, Krysia Anderson, Lynda Williams, Michelle Milburn, Misfit Leaves Home, opus 4, Part 6: Avim's Oath, VCON
posted by Lynda at 15:35 permalink
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Here's me (in the yellow shirt over black top, near the centre) Friday Oct 23, 2009 at the very nice welcome event held for me in the cafe area of Quesnel CNC Phase I building. I started as Associate Regional Director of CNC in Quesnel on Oct 13, which is why I've been a bit out of touch. Still working on getting two-way e-mail going in "the hovel" - the trailer where I'm living while Angela finishes up high school in Prince George. Surrounding me in the picture are staff and faculty who turned out for the snacks and wine, including my new boss Regional Director Bestsy Ives (blue sweater with floral panels on the front, to my right in the picture).Labels: CNC, Lynda Williams, Quesnel
posted by Lynda at 16:53 permalink
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Met new Edge-ite Tina Hunter at Con-Version 25 in Calgary. She's the one with dark hair on the left in this picture of my panel in the "Lit/books/reading" stream entitled "Women who don't kick butt. Can they still win hearts and minds?" Tina has published short fiction with Edge. Sandra Fitzpatrick is the participant on the right. The book she has in front of her is a copy of the first edition of Opus 2 (the 2nd Okal Rel anthology) which she undertook to get signed by the Calgary contributors (including herself). Now it is my job to get the B.C. contributors to sign it and send it on to collector Peter Halasz. I suggested this panel topic based on my experience with Sam O'Pearl, the "girl next door" type of Demish princess who enters the Okal Rel Saga in Part 6: Avim's Oath. Although a princess (meaning she is more than 50% Sevolite), Sam is small potatoes in the Demish hierarchy. And although she is a bit of a tom-boy adventurer in the context of the parochial neighborhood where she grew up, she is way out of her league in that regard on Gelion. But she's fun, resilient and most of all a feeling, breathing character with plenty of life challenges to work through.Labels: Con-Version 25, Edge, Lynda Williams, Sandra Fitzpatrick, Tina Hunter
posted by Lynda at 06:33 permalink
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Had a good visit with family and friends at the Prince George Exhibition earlier this month, where anthology author Elizabeth Woods and I manned the P.G. Library's author table. Not particularly an SF crowd passing through but we had a good time hanging out. Great popcorn. And discovered super-cold ice cream chips.
PS Just back from Conversion 25 in Calgary today, but David Lott's file transfer batch job is hanging on the home network and I'm away again starting tomorrow, so pictures from Con-version will have to wait until the weekend. :-( Met some new Edge people (new to me at least), bought a sword, did two panels, and took pictures to help me remember and share.
Labels: Elizabeth Woods, Lynda Williams
posted by Lynda at 22:44 permalink
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Started working on a facebook page yesterday. Want to consolidate the 'gathering' function online. Come sign up! The URL is http://www.facebook.com/pages/Lynda-Williams/69101973948. David Lott is helping with technical problems. You can reach him at david@okalrel.orgLabels: David Lott, facebook, Lynda Williams
posted by Lynda at 07:28 permalink
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