Writing is inherently frustrating, because it’s a process of condensing imagination into prose”“taking countless colours and dimensions of dreaming and stripping them down to a few crude black and white stick drawings that readers can expand back in their own imagination. It’s like using an asterisk to describe a snowflake”“all you can hope to get across is the basic idea, and the hope that the audience will see something beautiful, even if it’s not exactly what you saw.
I’ve long been interested in the how this works”“not the practicalities of construction and grammar (though those are important)”“but the mental mechanics of winnowing down world into story and back again. As many writers do, I’ve tried a few tricks to get at this”“for example, telling the same story at different lengths while still keeping it interesting, or telling a story entirely in the aftermath of key scenes. When I became an editor, though, it occurred to me that I had an opportunity to study the process more broadly empirically.
The result, thanks to the hard work and goodwill of several dozen authors, is what I’ve now grouped under the imprint Verdage”“books that are, first and foremost, anthologies of great SFF, but that also look at the writing process. The first in the series was Reading 5X5, in which five groups of five authors each approached the same theme, to see how different authors work with the same material. The second, Score: an sff symphony, asked twenty authors to write stories from a common emotional score, so that while the concepts and settings are all over the place, each story evokes specific emotions on a path to goes from joy to despair and back to hope.
The latest installment from Verdage, out 1 August 2020, is Reading 5X5 x2: Duets. For this anthology, I asked five talented authors: Douglas Anstruther, L’Erin Ogle, J. Tynan Burke, David Gallay, and Evan Marcroft, to co-write a story with each of the others, as well as a solo story. The substantive results are everything I expected”“stories of loss and passion, of abandoned alien spaceships, of cross-galaxy revenge, of demonic software and clockwork universes.
Just as interesting, though, is the other purpose of the anthology”“looking at how authors’ voices change when they collaborate. Most of the authors hadn’t collaborated before, and each pair found its own mechanism for doing so”“all different, all effective”“chronicled in authors’ notes at the end of the book. Read any of the authors’ solo stories and compare that voice with how they sound writing with any of the others, and with how that second author sounds solo”“it’s a fascinating study in what makes an author’s voice what it is.
Writing is a careful process of culling and filtering decisions, using a (literally 🙂 ) limited alphabet to convey infinities of universe, emotion, and action. Doing that jointly with another person who pronounces all the letters a little differently can be a difficult process. But the resulting harmony of voices can not only have a unique beauty of its own, but can show us something new about how each of the voices sound on their own. I hope this anthology does that.
BIO:Â B. Morris Allen grew up in a house full of books that traveled the world. Nowadays, they’re e-books, and lighter to carry, but they’re still multiplying. He’s been a biochemist, an activist, and a lawyer, and now works as a foreign aid consultant. When he’s not roaming foreign countries fighting corruption, he’s on the Oregon coast, chatting with seals. In the occasional free moment, he works on his own speculative stories of love and disaster.
This was a guest blog post. Interested in blogging here?
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Send a 2-3 sentence description of the proposed piece along with relevant dates (if, for example, you want to time things with a book release) to cat AT kittywumpus.net. If it sounds good, I’ll let you know.
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Interesting and not much explored areas of writing
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"(On the writing F&SF workshop) Wanted to crow and say thanks: the first story I wrote after taking your class was my very first sale. Coincidence? nah….thanks so much."
~K. Richardson
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Guest Post: Eric Schwitzgebel Gives One-Point-Five Cheers for a Hugo Award for a TV Show about Ethicists' Moral Expertise
When The Good Place episode “The Trolley Problem” won one of science fiction’s most prestigious awards, the Hugo, in the category of best dramatic presentation, short form, I celebrated. I celebrated not because I loved the episode (in fact, I had so far only seen a couple of The Good Place‘s earlier episodes) but because, as a philosophy professor aiming to build bridges between academic philosophy and popular science fiction, the awarding of a Hugo to a show starring a professor of philosophy discussing a famous philosophical problem seemed to confirm that science fiction fans see some of the same synergies I see between science fiction and philosophy.
I do think the synergies are there and that the fans see and value them ““ as also revealed by the enduring popularity of The Matrix, and by West World, and Her, and Black Mirror, among others ““ but “The Trolley Problem”, considered as a free-standing episode, fumbles the job. (Below, I will suggest a twist by which The Good Place could redeem itself in later episodes.)
Yeah, I’m going to be fussy when maybe I should just cheer and praise. And I’m going to take the episode more philosophically seriously than maybe I should, treating it as not just light humor. But taking good science fiction philosophically seriously is important to me ““ and that means engaging critically. So here we go.
The Philosophical Trolley Problem
The trolley problem ““ the classic academic philosophy version of the trolley problem ““ concerns a pair of scenarios.
In one scenario, the Switch case, you are standing beside a railroad track watching a runaway railcar (or “trolley”) headed toward five people it will surely kill if you do nothing. You are standing by a switch, however, and you can flip the switch to divert the trolley onto a side track, saving the five people. Unfortunately, there is one person on the side track who will be killed if you divert the trolley. Question: Should you flip the switch?
In another scenario, the Push case, you are standing on a footbridge when you see the runaway railcar headed toward the five people. In this case, there is no switch. You do, however, happen to be standing beside a hiker with a heavy backpack, who you could push off the bridge into the path of the trolley, which will then grind to a halt on his body, killing him and saving the five. (You are too light to stop the trolley with your own body.) He is leaning over the railing, heedless of you, so you could just push him over. Question: Should you push the hiker?
The interesting thing about these problems is that most people say it’s okay to flip the switch in Switch but not okay to push the hiker in Push, despite the fact that in both cases you appear to be killing one person to save five. Is there really a meaningful difference between the cases? If so, what is it? Or are our ordinary intuitions about one or the other case wrong?
It’s a lovely puzzle, much, much debated in academic philosophy, often with intricate variations on the cases. (Here’s one of my papers about it.)
The Problem with “The Trolley Problem”
“The Trolley Problem” episode nicely sets up some basic trolley scenarios, adding also a medical case of killing one to save five (an involuntary organ donor). The philosophy professor character, Chidi, is teaching the material to the other characters.
Spoilers coming.
The episode stumbles by trying to do two conflicting things.
First, it seizes the trope of the philosophy professor who can’t put his theories into practice. The demon Michael sets up a simulated trolley, headed toward five victims, with Chidi at the helm. Chidi is called on to make a fast decision. He hesitates, agonizing, and crashes into the five. Micheal reruns the scenario with several variations, and it’s clear that Chidi, faced with a practical decision requiring swift action, can’t actually figure out what’s best. (However, Chidi is clear that he wouldn’t cut up a healthy patient in an involuntary organ donor case.)
Second, incompatibly, the episode wants to affirm Chidi’s moral expertise. Michael, the demon who enjoys torturing humans, can’t seem to take Chidi’s philosophy lessons seriously, despite Chidi’s great knowledge of ethics. Michael tries to win Chidi’s favor by giving him a previously unseen notebook of Kant’s, but Chidi, with integrity that I suppose the viewer is expected to find admirable, casts the notebook aside, seeing it as a bribe. What Chidi really wants is for Michael to recognize his moral expertise. At the climax of the episode, Michael seems to do just this, saying:
Oh, Chidi, I am so sorry. I didn’t understand human ethics, and you do. And it made me feel insecure, and I lashed out. And I really need your help because I feel so lost and vulnerable.
It’s unclear from within the episode whether we are supposed to regard Michael as sincere. Maybe not. Regardless, the viewer is invited to think that it’s what Michael should say, what his attitude should be ““ and Chidi accepts the apology.
But this resolution hardly fits with Chidi’s failure in actual ethical decision making in the moment (a vice he also reveals in other episodes). Chidi has abstract, theoretical knowledge about ethical quandaries such as the trolley problem, and he is in some ways the most morally admirable of the lead characters, but his failure in vividly simulated trolley cases casts his practical ethical expertise into doubt. Nothing in the episode satisfactorily resolves that practical challenge to Chidi’s expertise, pro or con.
Ethical Expertise?
Now, as it happens, I am the world’s leading expert on the ethical behavior of professional ethicists. (Yes, really. Admittedly, the competition is limited.)
The one thing that shows most clearly from my and others’ work on this topic, and which is anyway pretty evident if you spend much time around professional ethicists, is that ethicists, on average, behave more or less similarly to other people of similar social background ““ not especially better, not especially worse. From the fact that Chidi is a professor of ethics, nothing in particular follows about his moral behavior. Often, indeed, expertise in philosophical ethics appears to become expertise in constructing post-hoc intellectual rationales for what you were inclined to do anyway.
I hope you will agree with me about the following, concerning the philosophy of philosophy: Real ethical understanding is not a matter of what words you speak in classroom moments. It’s a matter of what you choose and what you do habitually, regardless of whether you can tell your friends a handsome story about it, grounded in your knowledge of Kant. It’s not clear that Chidi does have especially good ethical understanding in this practical sense. Moreover, to the extent Chidi does have some such practical ethical understanding, as a somewhat morally admirable person, it is not in virtue of his knowledge of Kant.
Michael should not be so deferential to Chidi’s expertise, and especially he should not be deferential on the basis of Chidi’s training as a philosopher. If, over the seasons, the characters improve morally, it is, or should be, because they learn from the practical situations they find themselves in, not because of Chidi’s theoretical lessons.
How to Partly Redeem “The Trolley Problem”
Thus, the episode, as a stand-alone work, is flawed both in plot (the resolution at climax failing to answer the problem posed by Chidi’s earlier practical indecisiveness) and in philosophy (being too deferential to the expertise of theoretical ethicists, in contrast with the episode’s implicit criticism of the practical, on-the-trolley value of Chidi’s theoretical ethics).
When the whole multi-season arc of The Good Place finally resolves, here’s what I hope happens, which in my judgment would partly redeem “The Trolley Problem”: Michael turns out, all along, to have been the most ethically insightful character, becoming Chidi’s teacher rather than the other way around.
Bio: Eric Schwitzgebel is a professor of philosophy at University of California, Riverside, and a cooperating member of UCR’s program in Speculative Fiction and Cultures of Science. His short fiction has been published in Clarkesworld, F&SF, and elsewhere. He regularly blogs at The Splintered Mind on topics in philosophy, psychology, and science fiction. His third book, tentatively titled Jerks, Zombie Robots, and Other Philosophical Misadventures is forthcoming with MIT Press.
Guest Post: PJ Manney on GameStop and the Power of Populism
I have many thoughts on the GameStop stock/stonk play. Big movements in complex systems are difficult to write about, because many things that seem paradoxical can be correct at the same time. At different scales or frames, differing takes have validity. So forgive what may seem contradictory. For those not familiar with the topic, let’s start with this @Vox article as the baseline.
In populist movements, the participants are attracted by and manipulated through memetics. We see what begins as a meme becomes hype, then a mass network memetic swarm effect, as happens in the promotion of everything Modern Meme from Bernie Sanders to cryptocurrencies to QAnon.
That the GameStop play has appeared to hurt some predatory shorters and their hedge funds means we will see more #stonk in the future. Success breeds repetition. The latest on r/wallstreetbets is an attempt to wrestle the silver market.
Why did the subreddit readers and social media followers do it? On the face, it’s economically irrational, which is why the hedge funds and investor class didn’t understand it at first. All the investor class cares about is making money above all else. Driving up a stock to protect it from a short will only lose money in the long term. Gamestonk is willing to hold and lose big to make a statement about loving GameStop and hating Wall Street. Reddit’s wallstreetbets subreddit has nearly 4 million self-called “degenerates” alone. And that’s why the Street never saw this coming at first. The combination of paradoxical motivations for this mass behavior is remarkable. Protection, vengeance, anger, fun, gaming, bitcoin play, populism, power, anarchy. One could even say that Gamestonk is the Pokémon Go of 2021. When such a combination of emotional forces can be rallied to a single cause (see the US Capitol on January 6, 2021), anything can happen.
Now add the effect of mass network swarm activity. This can be a weapon, as in QAnon or Internet troll farms. Gamestonk is weaponized investing. When most conflict theorists think of swarms, they think of organization from a single body that sends out many agents of chaos or destruction with a single purpose, coming from every direction. But in this case, so many are in it for the lulz and all those paradoxical motivations listed above, that all they need is a single common interest: take down the Street predators. Everyone has their reasons. They don’t need to be organized.
The Street isn’t a victim. There is no logic behind markets anymore and hasn’t been for some time. Manipulation on all sides, and the decoupling of Wall Street from Main Street, and the end of fundamentals means whoever has the power to define the market does so. And usually, the big institutions run the show and get bail outs when it spins out of control. The only people who suffer are “the little guys.” But when the little guys rally as one? Especially when the world is filled with “money” and no one knows where to put it safely? Anything is possible.
Populism is a powerful and unpredictable political force. It forces reaction or reorganization by the establishment regardless of your position to the cause, because anarchy is the alternative. And institutions hate anarchy. Wall Street wants modellable certainty. No one can predict which way populist-fueled movement will go, because populism is usually about being against something. Not for building a better alternative. See the Russian and French Revolutions, and Brexit as dangerous populism that had ideals but no plans.
But sometimes a plan emerges just in time. See the American or Singing/Baltic States revolutions. Or the New Deal. The reason a populist movement succeeds long after they win is through a combination of cooperation, compromise and construction. We have to build something that benefits most of us, together, to successfully ride through a populist revolution.
If we could get all those people who threw some crypto into the GameStop, AMC or BB&B pots to swarm anew and reorganize healthcare, or law enforcement, or the rest of the predatory financial cycle, that would be something.
PJ Manney is the author of the P.K. Dick Award-nominated (R)EVOLUTION, book 1 in a series with (ID)ENTITY, and the upcoming trilogy’s completion (CON)SCIENCE, as well as non-fiction and consulting about emerging technology, future humans, and empathy-building through storytelling. She was a former Chairperson of Humanity+, teleplay writer (Hercules–The Legendary Journeys, Xena: Warrior Princess, numerous TV pilot scripts) and film executive.