Six Books Every Writer Should Read

  1. Understanding Comics: The Invisible Art by Scott McCloud
  2. The Art of Fiction by David Lodge
  3. Solutions for Novelists: Secrets of a Master Editor by Sol Stein
  4. The Turkey City Lexicon (You can find it here)
  5. A Dance to the Music of Time: vol.1: Spring by Anthony Powell
  6. The book which inspired you to become a writer. Ask yourself, what makes it so good?

I also now recommend a seventh book: The Pointless Rules of English.  Read more about it here on my blog.

See Also

A Techy Whinge

A computer needs an operating system. You buy a PC and about 90% of the time it comes with Windows installed (about 8% of the remaining are Apple OS).1  A significant part of the cost of the PC goes on the operating system. Not a problem, Microsoft spends a lot of money developing their software, they deserve to paid for their work (just like I hope to paid for my writing).

The problem arises when you try and choose another operating system. What if you don’t want Windows?

Okay, I don’t do politics on this blog. If you want to know my politics, read my books. Better yet, buy me a pint at a convention and I’ll bore you with them as long as the beer keeps coming.

However, I’m taking a brief break from that rule this week. This might seem a boring techy whinge, and I suppose it is, but it’s important.

I’ve installed Ubuntu Linux, my preferred operating system, on three Windows 8 machines this week. It’s been a tremendous pain, something that was once a very easy job has become a nuisance because Windows does not want to let go of the machine. This is not just a Linux issue, my technicians at work are having trouble installing Windows 7 on new Windows 8 machines.

A lot of people have been rude about Microsoft in the past, sometimes unfairly in my opinion. But I’m about to join their ranks.

Why shouldn’t I install whatever operating system I choose on a PC? I bought the machine, it belongs to me and not to Microsoft, no matter what the pre-installed software seems to think. That’s like the estate agent saying I’m not allowed to choose the carpets or wallpaper for my new house. Or the bank saying that I have to have PPI when I take out a loan (and that didn’t work out so well for the banks here in the UK… )

I feel that we’re at crossroads. So many people are asking me to install Linux on their machines because they’re fed up of the dog’s dinner that is Windows 8. However, the process of installation of another OS hasn’t been this difficult in years. That’s why I’ve logged my experience so far here on my tech blog for anyone who might find it useful.

As I said earlier, this may seem like a boring techy whinge, but there are other issues at stake. For example, here in the UK, Microsoft allows schools to use Office 365 for free. Okay, Microsoft benefits by getting kids used to its way of doing things, but education benefits because even if Office 365 were not that good (and it’s excellent), schools are free to spend the money saved on other things.

Good for Microsoft.  Or so I thought. A few weeks ago at BETT (an educational trade fair) I was told that schools in Malaysia had to pay for Office 365.

Let’s just think about that. Countries who probably need the money more for their children’s education don’t get the free software.

Free, open source software has the potential to make people’s lives better. It helps to level the playing field when it comes to education. That’s just one, minor reason why I use Linux, and one reason why you should. If you’re using it, you’re helping to develop the software so that other people can use it.

That’s one of the reasons why I blog occasionally about Linux. That’s why I’ll be making an effort to transfer more Linux notes across to my tech blog Tony Ballantyne Tech in the coming weeks.

I use Ubuntu Linux, there are many other flavours available. Why not give it a try? If you know someone who uses it, ask them what to do, they’d probably be delighted, if not downright evangelical about its benefits.

In the meantime, you can find out more about Ubuntu here.

Blog Chain: All the Things You Are

Thanks to Chris Beckett – Arthur C Clarke aware winning author of Dark Eden and too many excellent short stories – I’m a link in a chain. The idea is that writers answer four questions on their blog and then nominate one or two other writers to do the same thing. You can see Chris’s answers here.

And here are mine:

What am I working on?

I’m just completing Cosmompolitan Predators! for Aethernet Magazine, after which I’ll begin Dream Paris, the followup to Dream London. I’m also working on a series of stories set in the Recursion universe, the first of which will be appearing in print soon. And lastly, Penrose 3 continues its slow progress towards completion

How does my work differ from others in its genre?

How does it differ? I must admit, I’m more fascinated by the similarities. What is it about a genre that means you can take two very different works like, for example, the Foundation Trilogy and The Handmaid’s Tale and say that yes, these are both SF (even if one of the authors may claim otherwise… ).

As for differences? I don’t write heroes, I tend not to write competent people. I’ve always been struck by a line in a Pulp song “Do you want to see how common people fail?”. Golden age SF featured competent scientists and engineers solving problems. Those were great stories, but the protagonists never struck me as being particularly authentic or representative.

There are problems to be solved in my stories, there is (I hope) fascinating technology, but the protagonists don’t understand how things work, there are no easy answers. I don’t write about sewer operators saving the Earth, I write about how groups of people make a difference, sometimes better, sometimes worse.

Why do I write what I do?

Because that’s the way my mind works. I get ideas all the time and I write them down to be used later, but every so often one idea collides with another and I suddenly get really excited and I just have to begin writing.

How much of the path of a book is made up, and how much is fixed by my experience and personality? I feel as if I’m creating when I write, but often when I rewrite I think of a good idea and I include it, only to find a few pages later that I’d already done that on the first draft.

I think that a lot of writing is just improvising around a well established series of chords. To take a Jazz metaphor, we’re all just blowing to “All The Things You Are”.

How does my writing process work?

Basically, I write something every day. I write down ideas, I write down scenes, I write down conversations I’ve overheard on the tram and then I keep redrafting. I’m always writing in time snatched between other responsibilities, but I still need to book in longer stretches when I can draw things together undisturbed.

If you’re interested, there’s lots more on my writing process here on my blog.

And so that’s me done. Here are the next links in the chain, two excellent but very different writers at two very different stages in their careers:

Philip Palmer is a screenwriter, radio dramatist, novelist and producer. His screen credits include THE MANY LIVES OF ALBERT WALKER and THE BILL. For radio his plays include THE KING’S COINER, BLAME, and THE FAERIE QUEENE. As a writer of SF novels he is responsible for considerable galactic carnage; his five published books are DEBATABLE SPACE, RED CLAW, VERSION 43, HELLSHIP and ARTEMIS. Philip is the founder of Afan Films.

He has a part time role as a lecturer at the London Film School, on the MA Screenwriting course.

Fletcher Moss was an Alderman of Manchester who upon his death over a century ago, bequeathed a beautiful botanical gardens to the people of the city; a noble and generous gesture. This Fletcher Moss has significantly less to recommend him – he’s an Assistant Headteacher at a school in Greater Manchester who needed a pseudonym for the writing he fits in between lesson planning, marking and rattling around the M60 in his second-hand Citroen. The Poison Boy (2013) is his debut novel. The Night Wardens (2015, fingers crossed…) is on the way

Why I Write

I can tell when someone I’m teaching is going to be a programmer, I can tell it by the way they lose themselves when they stare at the screen. They’re not thinking of the syntax, they’re lost in the problem.

It’s like playing the piano. When I’m doing that, that’s all I’m doing. I should say, when I’m doing that well, that’s all I’m doing. I’m not reading a series of notes, I’m not trying to remember what the next chord is, I’m simply playing music.

And that’s what it’s like when a story is going well. Everything just flows, I’m listening in to a group of characters and writing down what they’re saying. I’m not making it up, I’m just writing down what it has to be.

That’s why I write. It’s not so I can read reviews of my books, or to blog about how hard those deadlines are, or to boast about my position on Amazon. I write because when I’m writing that’s what I’m doing.

Creativity 1: Groupthink

On a number of occasions, usually when I’ve been at work, I’ve been part of a group asked to think up a new slogan or tagline.

I’m never exactly sure what people mean when they talk about creativity, but I’ve never known these mindmelding exercises result in it.

First, someone comes up with a slogan, let’s say “Tony Ballantyne Blogs Better”. Then someone else comes up with another, let’s say “Tony Ballantyne Tells it Like it Is!”

So there we have it, two slogans, perhaps not the best ever, but at least they work. Then the group will take sides and argue for their favourite slogan, and it will look as if things are going nowhere…

And then the same thing always happens. Someone will look up with an inspired expression and, in excited tones, will announce they have solved the problem.

“I’ve got it!” they will say, “Why don’t we put the two things together? Why don’t we say Tony Ballantyne Blogs Better to Tell it Like it Is!

There will be a pause and then nearly everyone will nod and declare what a good idea it is. The only two people who won’t agree will be the ones who came up with the original slogans.

Combining the two slogans is not a good idea.

Firstly, the slogan is now too long.

Secondly, it now contains two ideas – one too many.

Now, I quite agree that creativity can sometimes arise through the process of combining two or more seemingly disparate ideas. But I would also argue that joining together two sentences without any thought for what they mean may result in something new, but that’s not the same as being creative.

Six Tips on Submitting a Story

  • If you don’t submit a story, it will never be accepted
  • Read the submission guidelines
  • The editor is always right. If they found your story boring, unconvincing or unoriginal, then that’s their opinion.
  • If you want to know what the editor finds interesting, convincing and original, then read the stuff they choose to publish. If you don’t like it, then you’re submitting to the wrong market.
  • Everyone hates having their work rejected. Every writer has their work rejected. Successful writers are the ones who learn from past rejections and keep submitting.
  • The best thing to soften the pain of a rejection is to be working on your next story

See Also

My Emacs Writing Setup

A few years ago, due to the interest in my post on Writing Tools, I published an HTML document on my Emacs writing setup. 

I continue to use Emacs to write, however I’ve now adopted Doom Emacs. You can read about my Doom Emacs Writing Set Up here.

If you want to know how I plan and plot stories, you may find the document interesting.  You’ll probably find it more interesting if you use Emacs yourself.

A Note on Emacs

I think of Emacs as a text editors’ tool. As I spend most of my life working with text, either programming or writing, I want to do it as efficiently as possible.

It first struck me when I was editing my novel Divergence just how inefficient I was being in pressing the arrow key and waiting for the cursor to get to where I wanted. That got me thinking about the time spent deleting text, transposing words, moving around paragraphs… I realised there must be a quicker way.

And then I remembered Emacs.

It makes sense for someone who spends most of their time manipulating text to learn a group of obscure key combinations. It saves time and increases productivity. Learning to use Emacs properly reminds me of playing Jazz on the piano. I’ve learnt all those chords and runs and fills so that I can use them without thinking when I’m improvising. Likewise, I’ve practiced using Emacs key strokes such as M-f, M–M-c and C-M-<Space> so often I use them without thinking when editing. I rely on M-/ to complete words, and I can’t do without M-h and C-e to select and move around text.

I practice using Emacs because it makes me a more productive writer. If you’re interested, I’ve written up some of those tips and exercises on my Emacs Workout.

Six Tips on Beating Writer’s Block

  1. Go for a walk
  2. This is the age of the word processor, you don’t have to write your story in a linear fashion. Write a later section, one that interests you.
  3. Always have two or three things on the go at once of different lengths. If you don’t feel like working on the novel, have a go at the short story. Don’t feel like fiction? Work on non-fiction
  4. Stop trying to get it right. Just follow a character and see where s/he goes. You don’t have to use everything you write.
  5. Change things around. What if a character was the opposite sex? What if they were younger/older?
  6. Still can’t write? Then take a break. If you’re not enjoying writing your story, then it’s unlikely that anyone’s going to enjoy reading it.

See Also

Concatenation: If Only…

If you haven’t visited the rather excellent Concatenation website before, you might want to take a look: http://www.concatenation.org/

There’s lots of very interesting stuff on there, including… er … me…

New up we have our usual Christmas treat, an extra one of the Nature multidisciplinary science journal, one-page ‘Futures’ short stories that we consider among the best of the 51 published by Nature the previous year. This time it is a Tony Ballantyne short. Tony is the only author to have more than one ‘Futures’ story selected by us each year. In fact this is now the third story we have of his over the years and that should tell you something about his writing. (His novels are nifty too.) For the link to the story see below… ‘Most recently added’.

Recursion

“Overflowing with provocative ideas, Ballantyne’s debut displays enviable mastery of both suspenseful storytelling and technological extrapolation.  Mark him as a writer of considerable promise”

Booklist

“An exceptional first novel.  A new British writer has arrived to join the likes of Hamilton, Reynolds and Banks”

Vector

It is the twenty-third century. Herb, a young entrepreneur, returns to the isolated planet on which he has illegally been trying to build a city–and finds it destroyed by a swarming nightmare of self-replicating machinery. Worse, the all-seeing Environment Agency has been watching him the entire time. His punishment? A nearly hopeless battle in the farthest reaches of the universe against enemy machines twice as fast, and twice as deadly, as his own–in the company of a disarmingly confident AI who may not be exactly what he claims…

Little does Herb know that this war of machines was set in motion nearly two hundred years ago–by mankind itself. For it was then that a not-quite-chance encounter brought a confused young girl and a nearly omnipotent AI together in one fateful moment that may have changed the course of humanity forever

Buy Recursion on Amazon UK | Buy Recursion on Amazon US

Extract

Herb 1: 2210

Herb looked at the viewing field and felt his stomach tighten in horror.  He had been expecting to see a neat cityscape: line after line of silver needles linked by lacy bridges, cool silver skyscrapers shot through with pink tinted crystal windows; artfully designed to resemble the spread of colours on a petal.  Instead he saw… bleak nothingness.  Cold, featureless, gently undulating wasteland spreading in all directions.

Something had gone badly wrong.  Suddenly the cosy white leather and polished yellow wood lounge of his spaceship was not the safe cocoon he had grown used to over the past few months.  Now they would be coming to prise him from this warm, cushioned shell to cast him shivering into the real world, all because he had made one tiny mistake.

Somehow he had made a mess of the code that should have told the Von Neumann Machines to stop reproducing and start building.

Herb’s machines had eaten up an entire planet.


But there was nothing to be gained now by crying about it.  Herb had known he was on his own when he embarked upon this project. It was up to him to figure out what had gone wrong, and then to extract himself from the situation.

He opened a second viewing field next to the first and called up an image of his prototype Von Neumann Machine.  A cylinder, nine centimetres long, with eight silver legs spaced along its body giving it an insectile appearance. Six months ago Herb had dropped out of warp right over this planet, opened the hatch of his spaceship, and stood in solemn silence for a moment before dropping that same machine onto the desolate, rocky surface below.

What had happened next?

Herb liked to pace when he was thinking, and he had arranged his spaceship lounge to allow him room to do so. Two white sofas facing each other occupied the centre of the room.  A wide moat of parquet flooring filled the space between the sofas and the surrounding furniture that lined the walls of the room. The smell of beeswax polish and fresh coffee filled the cabin.   Herb closed his eyes as he ran through the order of events after he had released the Von Neumann Machine- a mental dry run to try and isolate the problem.

He imagined that first VNM turning on six of its spindly legs, lifting them in a high stepping motion as it sought to orientate itself.  The remaining two legs would be extended forward, acting as antennae, vibrating slightly as they read the little machine’s surroundings.  It would have walked a few paces, tiny grains of sand sticking to its silver grey limbs, then maybe changed direction and moved again, executing a random path until it found a patch of rock of just the right composition and then settled itself down, folding its legs around itself to bring its Osmotic shell in contact with the surface.

His thoughts on track, Herb began to pace in a circle around one sofa, soft ships’ slippers padding on the wooden floor.  He was naked except for a pair of paper shorts.  Two hairs grew from his sunken chest; whose pallor had caused the ship’s computer to steadily increase the UV content of the lighting over the past two days, in order to stimulate vitamin D production.  Okay, what next?

In his imagination he saw that first machine, absorbing matter, converting it, working it, and sending it around that half twisted loop that no human mind could comprehend.  Soon there would be two identical machines standing on the rock, their legs waving in an explorative fashion. And then four of them, then eight…

The program was perfect, or so the simulations had told him. When they reached the optimum number the machines should have begun constructing his city out of their own bodies.  Clambering on top of each other using the sticky pads on the ends of their feet.  Herb was proud of the design of those pads: each seemingly smooth foot ended in a chaotic branching of millions upon millions of tiny strands.  Press one foot down and the hairs would spread out, reaching down and around to follow the contours of the surface beneath them so perfectly that they were attracted to it at a molecular level.

Not that any of that mattered now. This was the point where the error lay.  The machines hadn’t paused to build his city.  They’d just gone on reproducing, continued eating up the planet to make copies of themselves until there was nothing left. He opened his eyes again to look at the view field.  Maybe he had only imagined it.

No way.  Herb groaned as the view zoomed in on the cold grey shifting sea beneath.  He could make out the busy motion of thousands, millions of VNMs walking over and under each other, struggling to climb upwards to the surface only to be trodden on and forced down by other VNMs, each equally determined about seeking the light.  Wasn’t that part of the end program?  City spires, growing upwards, seeking the light in the manner of plants?  Herb groaned again at the endless perpetual motion beneath his ship. Everywhere he looked, everywhere the ship’s senses could reach; out to the horizon, down to the submerged layers of machines; it was the same:  frenzied pointless activity.

He paused and felt a sudden thrill of horror. That wasn’t quite true.  Something was happening directly below.  He could see a wave building beneath him: a swelling in the grey, rolling surface.  Thousands of pairs of tiny silver antennae were now waving in his direction.  They sensed the ship hanging there.  They sensed raw materials that could be converted into yet more silver VNMs.  Herb felt a peculiar mix of horror and betrayal.

He croaked out a command. “Ship. Up one hundred metres!”

The ship smoothly gained altitude and Herb began to pace again.   He needed to think, to isolate the error; but he couldn’t concentrate because one thought kept jumping in front of all the others.

He was in serious trouble.  The EA would have been upset enough by the thought of a private city being built on an unapproved planet.  Never mind the fact that the planet was sterile and uninhabited, they would still point out the fact that a city wasn’t part of this planet’s natural environmental vectors.

“We are uniquely placed to manipulate not only our environment, but also that of other races as yet unborn.  It is our responsibility not to abuse that privilege.”

The message was as much part of Herb’s childhood as the smell of damp grass, the dull brown tedium of Cultural Appreciation lessons and the gentle but growing certainty that whatever he wanted was his for the asking.   Everything, that is, but this.  Everyone knew the EA’s philosophy.

So what would the EA think when they discovered that in failing to build his illegal city he had accidentally destroyed an entire planet instead?

Herb didn’t remember setting out a bottle of vanilla whiskey on the carved glass slab that served as a side table.  Nonetheless, he poured a drink and felt himself relax a little. His next moves began to fall into place.

First he had to try and destroy any evidence linking this planet with himself.

Next he had to get away from here undetected.

Then he had to slot back into normal life as if nothing had happened.

Then, and only then, could pause to think about what had gone wrong with his prototype.

The first objective should be quite straightforward.  The original VNM had been designed with anonymity in mind: standard parts, modular pieces of code taken from public libraries.  The thought that someone might accidentally stumble across his planet had always been at the back of his mind. He gulped down some more whiskey and an idea seemed to crystallise from the concentrated alcohol. He prodded it gently.

Of course, so far as Herb knew, no one else even knew that this planet existed.  He had jumped across space at random and set his ships senses wide to find a suitable location.  What if this planet were just to disappear?  What if he dropped a second VNM onto it- one with a warp drive and access to a supply of exotic matter?  Set it loose converting all the original machines, and then, when that work was done, just jump them all into the heart of a star?

Could he do it?

Getting hold of enough exotic matter to build the warp drives of the modified VNMs would be a problem; but his father had contacts, so that could come later.  He had to get away first.

He could do that.  A random series of jumps around the galaxy, eventually returning to Earth.  Enough jumps, executed quickly enough and nothing would be able to retrace his course.

Good.  Now, how about slotting back into normal life?  Would anyone suspect him?  More to the point, would the EA suspect anything?  Their senses were everywhere.  They said the EA could look into someone’s soul and weigh the good and evil contained therein to twenty decimal places, and yet… and yet…

Herb was different.  He had known it since he was a child.  Sometimes it was as if he was merely a silhouette.  Like he was there in outline, but they couldn’t fill in any of the specific details.

If anyone could get away with it, it was Herb.

A gentle breeze brushed his face and he felt his spirits lift. He took another gulp of whiskey and felt its reassuring warmth as he swallowed.  Alcohol and the flooding sense of relief made the lounge resume its feeling of comfort and security.  The plan was good.  He could get away with it.

“I can get away with it,” he whispered to himself, his confidence growing. Another drink of whiskey and that familiar sense of his own invulnerability swung slowly back into place.  Get back home, and he would be able to examine the design of his VNM and discover what had gone wrong with it. He drained the glass and began to stride around the room, feet padding on the wooden floor, energy suddenly bubbling inside him.

“I’m going to get away with it!” he said out loud, punching at the air with a fist, whiskey slopping from the glass held in his other hand. And then, once he was home, once he had found the error in his design, he could find himself another planet.  Build his city there instead.

“I will get away with it!” he cried triumphantly.

“No you won’t.”

The glass slipped from Herb’s fingers.  He spun around and fell into a crouch position; ready to run or fight, though where he would run to in a three room spaceship his body hadn’t yet decided.

A slight, dark haired man with a wide, white, beaming smile and midnight black skin stood on the sheepskin rug between the facing sofas. He wore an immaculately tailored suit in dark cloth with a pearl grey pin stripe.  Snowy white cuffs peeped from the edge of his sleeves; gleaming patent leather shoes were half hidden by the razor sharp creases of trousers. The man raised his hat, a dark fedora with a spearmint green band, to Herb.

“Good Afternoon, Henry Jeremiah Kirkham.  My name is Robert Johnston. I work for the Environment Agency.”

Buy Recursion on Amazon UK | Buy Recursion on Amazon US