Guest Post: The Cake is a Truth by Clara Ward

As a writer, sometimes I find myself inspired to write by seeing other writers use a particular device and wondering what I can do with it. Having grown up with Star Trek and the Twilight Zone, and having encountered Babylon 5 in my teenage years, I felt confined by the typically anthropomorphic aliens, particularly the ones that were obvious stand-ins for Russians or Romans or other human cultures. The aliens were usually in supporting roles, and their biology, worldview and motivations were usually within human norms, not counting special abilities. I appreciated these characters and their stories, but I wondered how far writers could push the envelope in adopting an alien perspective. The Star Trek episode “Devil in the Dark” gave agency and purpose to a non-humanoid life form, and works like Lem’s Solaris, showed aliens that can be beyond alien understanding, but I wondered what stories could be told from non-human perspectives and how they could contribute to the genre.

Footfall by Larry Niven and Jerry Pournelle gave me a more expansive sense of what could be accomplished by setting a story within a non-human perspective. The Left Hand of Darkness by Ursula K. LeGuin and “Story of Your Life” by Ted Chiang inspired me to consider reproduction and language that departed from the human norm. They drew me to non-human stories and came to enjoy stories that normalize aliens and de-normalize human experience,

It is important to distinguish between stories that aim primarily to tell an alien story and those that use the alien as a prop in an allegory about human society. While the latter trope is common (“Eye of the Beholder” in Twilight Zone, “Let This Be Your Last Battlefield” in Star Trek, etc.), they can be too neatly prepackaged, so that the audience merely interprets the message, as explained by the human characters, rather than engaging in an alien experience.

Humans, at heart, are pattern detectors; the patterns of our daily lives inevitably become biases and prejudices. We can sometimes erode those prejudices by stepping outside of our usual experience and our usual metaphors for understanding the world (even the phrase “stepping outside” is grounded in human biology). Naturally, an alien world created by a human author will draw from human experience, but the characters’ thoughts and actions should be tangibly grounded in their own environment.

Like Plato leading prisoners out of his eponymous cave, a truly alien story, told within its own worldview, for its own sake, can expand the reader’s experience without framing or explaining the story in terms of a human cultural narrative.

I find that immersing myself in an alien culture without an easy allegory or a human narrative to explain the story can push me as a reader to be cognitively flexible and to understand others without necessarily expecting the experience to translate readily into their own.

So, what would I like to see more of from non-human characters in science fiction, and why? Here are a few ideas (for me, and for any other writers out there looking for a challenge). To show that I’m trying to practice what I preach, I’ll raise a few examples from my recently-completed #NaNoWriMo novel, Elevation, which is told in part from the perspective of an insectoid race.

Sensory systems: Non-humans in sci-fi almost invariably have the same senses as humans. If there is a sensory difference, it usually comes across as a one-off special ability. Other animals on Earth have sensory systems that differ multidimensionally across the senses. There are different color palettes, different ways of perceiving sound, and so on. Once an animal perceives something, it is classified and responded to in the context of its evolutionary history. One needs only consider the diversity of ways in which insects and birds, for instance, use sound and color, to appreciate what we will face when encountering extraterrestrial life. Even trained scientists can fail to appreciate ultraviolet light, infrared radiation, ultrasound, magnetic fields and other sensory cues. It also bears noting that different animals (and different humans) can perceive the same sensory information in different ways.

In my most recent novel project, Elevation, my characters communicate mainly through sound and smell. The use of smell means that ““ particularly in the cities ““ their social world is literally part of the atmosphere, shaping individual character interactions and cultural landscapes.

Communication: How many times do first contacts start with a simple message delivered through a straightforward audio message (such as “Take me to your leader”) without much thought into how the aliens perceive and use human language and how those words relate to their own concepts of the world. A Far Side comic strip parodies this by showing aliens with hand-shaped heads who – as it turns out – do not take kindly to a human attempt at a handshake. “Story of Your Life” explored non-linear communication (expressed well visually) in the movie Arrival), and it raises the question of how else alien communication could differ from our assumptions. How would an intelligent species use smell or touch to communicate?

In Elevation, the characters use their sense of smell to identify individuals socially. As a result, they do not, strictly speaking, have auditory or visual “names’ for each other, which poses a problem for humans trying to keep them straight. This has been a challenge for me when writing dialog and narration, but it compels me to think about the characters’ identities in new ways.

Agency and autonomy: It is important to me that the non-humans are more than talking points for the human characters’ debates. The characters should act in accordance with their own drives, in the contexts of their own worldview. This can be challenging as a writer because human readers will have moral expectations even of non-human characters. However, it is unreasonable to think that characters will act the way humans expect them to or strive toward human morality (which is hardly a monolithic construct anyway) unless led to do so by interaction with humans.

For example, the protagonist in Elevation has had children in the past, but ““ like some Earth insects ““ left the eggs behind after laying them and expresses no parental feeling toward them. Tending to young is driven by pheromones and is seen as a civic duty to the colony rather than a social bond. This is not framed as a statement on human parenting, but as an expression of the character’s drives in cultural context.

Reproduction: One of the primary drives (or the primary drive, depending on who you talk to) is reproduction. Whether or not we as individuals reproduce, our drives and our behavior are a product of the behaviors that led our ancestors to successfully reproduce (or else we would not be here). These behaviors, as they often are in humans, could be shrouded in social norms and mechanisms of social control, but these would be different from human norms.

For instance, in Elevation, the non-human characters reproduce parthenogenetically (through virgin birth) unless the eggs are fertilized by the King, the city’s sole male. Care for the fertilized eggs is done at hatcheries and nurseries near the Royal Palace, so care of larvae by individuals outside the city is seen either as putting on airs or as a desire to create a rival colony with a new king. These forces create social injustice and conflict, but in a way that differs from human conflicts.

In short, I like to explore non-human societies not to understand the human condition better, per se, but as a way of exploring the wider, underlying conditions that are a foundation not only for humanity but for intelligent life in a more general sense. It could be argued that science fiction and fantasy are meant for humans and, as such, that even the non-human characters will be seen through a human lens. I think there is truth to that, but I believe that the more clearly that an author can establish the worldview of all characters, the less vulnerable we are to literary solipsism, where are characters are simply preaching our own worldview back to us.

As we get into the habit ““ as readers and writers ““ of fleshing out alien characters in their own terms, perhaps we will be more vigilant in expecting the same from our human characters. Our concepts of normality, having been stretched by science fiction, might find themselves more capable of accepting the ways that we humans are alien to one another. It will encourage us, particularly in these tumultuous times, to move beyond simple allegories to examine the deeper underpinnings of our differences. I can’t say myself whether my work rises to that lofty ambition, but it is a goal well worth aiming for.

Works Cited
Chiang, T. (1998). “Story of your life.” Stories of your life and others,
117-78.
Larson, G. (2003).The Complete Far Side: 1980-1994. Andrews McMeel Pub.
Le Guin, U. K. (2012).The Left Hand of Darkness. Hachette UK.
Lem, S. (1970) Solaris. Walker & Co (US).
Niven, L., & Pournelle, J. (1985).Footfall. Del Rey.
Roddenberry, G. (1966). Star Trek. Desilu/Paramount
“Devil in the Dark” (1967) by Gene Coon and Gene Roddenberry.
“Let This Be Your Last Battlefield” (1969) by Oliver Crawford and Gene
Roddenberry.
Serling, S. Twilight Zone. (1956) CBS Productions.
“Eye of the Beholder” (1960) by Rod Serling.
Straczynski (1994). Babylon 5. Warner Brothers.

Author Bio: S. R. Algernon studied creative writing at the University of North Carolina at Chapel Hill. He has been published in Nature and Daily Science Fiction, and is the author of two short story anthologies, Walls and Wonders and Souls and Hallows. Both can be found at: https://sralgernon.wordpress.com/anthologies/. He currently resides in Michigan.

Hello. I love, read, and write fantasy fiction. Oh, and I’m a vegan.

When I sell my fantasy novels at Comic Cons, I’ll usually sneak a little reference onto the bottom of my table white board, such as Vegan, or Vegan-friendly. In my mind, this covert signal will draw vegans to my table, whispering, “I am one too. Tell me, sister, about your fiction.” Like that first moment of connection in a dystopian novel. This doesn’t happen. Instead, people skip all the other great things on the board, point right to vegan, loudly state, “Look, it says veggan!” and then laugh. This hasn’t dissuaded me from the attempt. About half of those times, someone will ask, “Vegan-friendly fantasy fiction? What’s that?” They laugh. Then when I start to answer, they leave. Even more often, they point and laugh, then turn away.

In my mind, whenever someone asks what could be vegan about fantasy, it proves to me that they’ve never been a vegan reading fantasy. In addition to a lot of the violence and war in the genre (it’s usually a central component, even outside of grimdark), the best scenes feature someone riding their steed in a fine leather vest to grab a hock of ham. I’m not even sure I know what hocks are, but I have concluded they are key to the development of fantasy heroes. So, you know, my fiction is just focused a bit differently. In fact, I think that diversity and exploration is what fantasy is all about.

I’m not here to get into all of that, though. I’m here to talk about one of Cat’s and my favorite subjects: yummy food. Now, I’m not an authority on gourmet cuisine. Go to a vegan restaurant or check out many amazing online vegan chefs for that. (I’m particularly fond of Richa Hingle.) Hey, I’m not even a great cook. But I haven’t eaten meat in almost a quarter century, so I can definitely speak to “what we eat.” Don’t worry. This is just a quick blog to spark some ideas. But if you don’t mind eating plants, here are five simple foods you could give a spin.

This is a vegan staple, and yet so many people have never even heard of it. First, where to procure?

Any health food store should sell it in bulk, but even a standard grocery store should have a little plastic can of it. It’s rich in B vitamins and is often described with a nutty or cheesy taste. (It’s really a “yeasty” taste but no one wants to say that for obvious reasons.) Online vegans often say to sprinkle it on popcorn, but I find it a little dusty that way. Bloggers always show it on avocado toast, but the avocado doesn’t need it. I use it as a savory seasoning: in soups, in pasta, or even to make a quick vegan mac & cheese. Just get a bag and throw it on or in stuff. It’s good.

I do love a good tofu (I am so serious about tofu), and especially love when I can find local or handmade tofu. But there’s another common plant protein which with you may not be familiar. Seitan is essentially seasoned wheat gluten (or “wheat sausage” if you will), so it’s no good if you avoid gluten or eat gluten-free. Savory and rich, I really think you can’t beat a good homemade seitan. (Despite having more than one young hipster brag to me how much they love “eating Satan.”)

There are all kinds of searchable recipes, and I’d recommend using ones that incorporate lots of rich broth””and beer. (You don’t need the beer; it’s just got a flavor that works really well in seitan.) And if you don’t want to try making it, buy a good brand like Upton’s. It won’t be as juicy from the box, but still hearty and delicious.

I guess I should clarify that I’m a real-deal vegan. Without getting into it, that means I follow a belief system (an ethic) that also influences my diet. Not just a diet. This sometimes creates clashes with various plant-based diets that focus on health or shirk away from processed or commercial products.

No one should eat all packaged products. But if I had to, it might be the Gardein filets! Very likely in your grocer’s freezer too. It’s easy. Bake a couple of filets or tenders, cook a fresh tortilla (I buy ones without lard or non-vegan dough conditioners), and make a wrap with a few greens, some hot sauce, and a swipe of vegan cream cheese or mayo. I’m thinking about it now. Sigh.

“But I’ve had cashews,” you say. “That’s just nuts.” But vegans use them as an easy source of cream or milk. You do really need a high-quality blender (e.g. Vitamix) to make this work, but if you have one, it’s very simple. It’s recommended to soak the cashews first (we soak a bunch then freeze them), but not required. You can make a quick milk just by blending cashews, water, and your preferred sweetener (or not). I use this for delicious fresh lattes, with a touch of maple syrup.

My favorite use is a quick red sauce (e.g. vodka or masala) by blending a handful of cashews, a can of tomatoes (with green chilies, even better) along with whatever vodka or spices you want. That can be poured over pasta, or used to simmer peas and tofu, or to dip that Gardein you bought, or for whatever!

5. Just grab a plant

No, seriously, I’m not trying to get out of a fifth item here, but once you think more about plants, you’ll remember something you haven’t had for a while. I mean, I can’t just name all the plants. What do I eat? Sometimes a quick stir-fry. Other times a sandwich or freshly mashed guacamole. I can make soup dozens of different ways, all delicious and inexpensive. Stock spices. Stock your favorite grains. Simmer veggies in a rich sauce. Add fennel to pasta. Slice okra. Char corn. Glaze Brussels’ sprouts. Make a slaw. Throw in herbs. Or chop hot peppers. Bake potatoes. Add some Miyoko’s cheese or butter.

I could just go on and on, because quick staples I make for lunch are flashing in front of my eyes. Veggies are great! And maybe, like my fantasy heroes, you’ll be inspired to try one this week. If you do, tag me! I’d love to see what you make.

I hope that was fun””and maybe gave you some ideas for your next meal. I know I’m hungry, and since it’s five o’clock here, I’m off to break into that vegan wine. Want to connect? You can find me and my links at edebell.com. And you can check out my upcoming epic fantasy saga Diamondsong there too!

Author: E.D.E. Bell was born in the year of the fire dragon during a Cleveland blizzard. With an MSE in Electrical Engineering from the University of Michigan, three wonderful children, and nearly two decades in Northern Virginia and Southwest Ohio developing technical intelligence strategy, she now applies her magic to the creation of genre-bending fantasy fiction in Ferndale, Michigan, where she is proud to be part of the Detroit arts community. A passionate vegan and enthusiastic denier of gender rules, she feels strongly about issues related to human equality and animal compassion. She is the author of the Shkode trilogy and the editor of the new anthology, As Told by Things. Her latest book Escape (Diamondsong Book 1) is available for preorder now! You can follow her adventures and social media at edebell.com.

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this writing advice and want more content like it? Check out the classes Cat gives via the Rambo Academy for Wayward Writers, which offers both on-demand and live online writing classes for fantasy and science fiction writers from Cat and other authors, including Ann Leckie, Seanan McGuire, Fran Wilde and other talents! All classes include three free slots.