Giant Robots Are Passé

For novels that is… Some who publish young adult books still use them, I suppose. And, graphic novels. Movies, on the other hand, get away with giant robots flying around the sky destroying everything in their paths.

A very smart scientist–an off-the-chart smart scientist–found a way to work around the effects of gravity, the pull of the sun and other space objects revolving around it, and some basic rules of aerodynamics.

We don’t bother to count errors in the science of an action film. Robots can fight on the ground, in the sky and even in space. Spacecraft or other flying machines stop in mid-air so we assume they are equipped with anti-gravity devices. Ordinary machines evolve into superior, “cool-looking” warriors.

It’s exciting…in film.

Unfortunately, if writers do write something comparable in a science-fiction novel today, it would most likely be trashed or sold to Hollywood, but not published traditionally. (Okay, maybe it can pass for a young adult novel, but that’s the market anyway.)

With today’s economic conditions, most any novel dealing with the above would be considered hackneyed by the editors, and I can’t say I’d disagree. Robots, with the exception of microbots and other variants, have lost the top spot in science-fiction genre literature.

Cyber warfare is different. Here we are still dealing with a human-made attempt to create a helpful artificial intelligence and that becomes sentient. What happens after it is created and placed is the story.

So, I broke the publisher’s cardinal rule, knowing that the conflict, war against machines, is passé, over with, and done in. But, I did it anyway. I used the Cyber Bio War as the backdrop for my novel. What my characters experience is an unwinnable war against an evolving enemy with not just some, but all of the resources. Yet, the continue the fight. Humans are and always will be inferior with the usual weaponry, but they will not give up their humanity.

After I extrapolated existing science and societal trends I had to go there–to that world I created. Good writers can break the rules of good grammar in telling a story. Why can’t I explore content in the same way.

In Makr’s Shadow, I broke the rules of the latest publishing trend and paid the price, publishing an e-book instead. But I still think it is worth it.

Robots in science fiction literature seem to be window dressing, an accepted part of future society, but there’s always the exception. A different use, an unusual place. Creative fortune.

However, my “robots” are different. Cyberts, my “robots,” are mobile extensions of a central evolving artificial intelligence. Cyber are not the automatons of the past but a new accepted, sentient species–a race of thinking machines–machines that can do anything a Bio can do, only better.

At the moment, these Cyber are effectively maintaining the planet and pacifying its inhabitants by waging war on dissidents.

We see a lot intelligent machinery in films–especially with the Marvel and DC comic book superheroes. Who else could giant robots fight? Normal humans would be crushed in a minute. The story would read like a metallic Jurassic Park, except there would be no eating the dead. I’ve yet to see a robot that does that. Massive destruction, yes. Eating its victims, no.

Film producers want to create images that astound, not literature that fascinates and discusses the way we interact with our technology. There are a few exceptions like Gravity,  Apollo 13, and a few others that deal with existing technology are still able to do that. Most films that pretend to be science fiction contain little plot or character development.

Now-a-days, most science fiction is about the effect of new science discoveries or technology gone awry, i.e. the atomic bomb. Still, the weird variations get in. You know them when you see them and put the book down, sorry you picked it up in the first place.

The definitions and types have grown far and wide with the interest and imagination of those who read SF. Still, the genre experts (call them publishers) say science fiction literature should focus on the “higher levels” of hard science for the most part; however, some publishers like to throw in fantasy (personal choice?), wars fought against superior alien technology and war’s that end the world, leaving a few survivors. All of these conflicts and situations, too, are obvious and overused.

However, there was a time when robots (uncool now) served in the background and often played a leading role in a novel of ideas. Isaac Asimov started a trend in 1946 when his I, Robot was published. It was also made into an science fiction action film with Will Smith.

Asimov created the Three Rules of Robotics:

1. A robot may not injure a human being or, through inaction, allow a human being to come to harm.
2. A robot must obey the orders given to it by human beings, except where such orders would conflict with the First Law.
3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

For the most part, these rules have been respected by colleagues whenever robots are in contact with human beings.

In Makr’s Shadow was influenced by the work of Isaac Asimov (a highly underrated author) and Kurt Vonnegut, Jr. (a mainstream writer). Both were writers of the literature of ideas. I hope I’ve managed to merge the essence of each, and have done so respectfully.

Unlike Asimov, who wrote science fiction and was delighted by it, Kurt Vonnegut, Jr. denied that any of his fiction fit in the science fiction genre, when all of his novels have elements of SF by definition, and easily fit a definition of SF very well.

It may have been an act, but I think he wanted to be accepted totally in the mainstream rather than appear side by side with that SF trash–genre fiction. You know, the kind that had aliens or robots in it?

Because it’s satire, does that make it mainstream literature. Vonnegut made fun of science fiction in The Sirens of Titan, but if you look at all his books you will find they either fit the definitions or contain elements of science fiction. And, unless he’s poking fun, you won’t see any robots. Ironically, his imaginative and thought-provoking novels make excellent cases for writing soft or social science fiction.

With the exception of Cat’s Cradle (atomic bomb), he uses the soft sciences of psychology, sociology, economics, history, time travel, and alternate realities or universes to make his point, as opposed to the “hard” sciences like chemistry, physics and biology.

In Makr’s Shadow, the ongoing conflict is the background in the same way as Vonnegut’s parody of science fiction masks his underlying idea. That one day we will develop artificial intelligence one day is certain. How we choose to use it will be more important than the development itself.

My dystopian digital novel, In Makr’s Shadow is a rock and roll, roller coaster of action, suspense, humor and character development– highlighted with positive values–and, if you can believe it, an evolving family.

According to Tricia Johnson, The Word Weaver, UK, In Makr’s Shadow is ” a superb read…edge of seat stuff until the very end!!”

And, she should know because she helped fine tune it. The ending is, of course, to be kept secret; however, it can be said the story is more about people than the machines.

“Don’t Read This Book! You’ll Never Look Back!”

Intellectually he knew there was a positive side to these insects, but this was not the time to look for the balance in nature. Instead he focused on the sounds he was hearing to be sure they were truly bees.

If they were truly bees, their wrath seemed to be focused on the two travelers, flying at their faces from time to time. As the chorus cacophony became louder, the swarm’s harassment increased in kind. While Desiree accepted these bees as a part of nature something strange was happening to Harry. For him, the convincing natural music took on a surreal quality, losing its buzz and replaced it with the sound of vibrating violin string blades. The natural music became unreal, too, Harry thought, and familiar. He’d heard this music before in his collection. “The Flight of the Bumble Bee?”

Makr was telling him the bees weren’t real. Why?

True bees were thought to be extinct. Harry knew that they had become extinct in the last few decades when the Bio-polluted atmosphere prevented many flowering plants from attracting their biggest pollinator—bees. Eventually, the flowers adapted, producing an even stronger fragrance, but not soon enough. Both the flora and insects died out, but flowers weren’t the problem now.

Harry thought, maybe they’d bounced back. It had happened before when a species was thought to be wiped out. It only takes a few hardy individuals re-start the population. There could have been some hardy individuals that survived. Like Desiree, he smiled, as he playfully swatted at the bees. But something was definitely not right!

The symphony crescendos and the swarm of bees darting in and out, faster and faster, continuing to assail the two Bios; some bees harassed and retreated, while others seemed to be hovering just slightly out of reach.

“Bees!” Harry picked up his walking pace. “Very large bees.”

“I can see that!” Desiree snapped back as she batted as many away from her as she could. “What do they want? Why are they following us?” She increased the speed of her gait, too, while thrashing her arms about to keep them at a safe distance.

“I don’t know,” Harry said, taking her cue and flailing his arms as well. “Wait a minute…” His thought-blink confirmed what he already knew. They weren’t bees at all, but tiny flying cyberts! “Makr knows we’re here.”

“How do you know that, Harry? Have you seen these before?”

“No, but I can see them as they really are. What do you see?”

“I see bees! Why? What you see!” With a wide-eyed, puzzled look, she answered him as she kept trying to wave the bees away! “Bees!”

“Not bees! Not bees! Cyberts! Tiny cyberts!” Harry froze, powerless to wave or slap at the tiny attackers now that he saw them as flying metal insects. Something held him back. Fear. Sadness. He stopped thought-blinking and saw bees again. Bio bees. He could swing at them now, even batted a few to the ground. They kept bouncing back after he knocked them to the ground. The few that fell were stunned and seconds later crept away unhurt and unnoticed.

“Whatever you’re doing, Harry, is working.” Desiree was gaining respect for this ordinary Bio as he kept battling the swarm of “bees” to the ground. Together, they pelted the bees with their hands, slamming them hard to the ground. More were staying on the ground while others keep flying back at them.

“Gotcha!” Harry exclaimed as he knocked two at once to the ground. As he tried to step on them, they suddenly became metal again. He froze again, unable to crush them under his feet.

A flicker of bright light, a low audible roar and both Harry and Desiree sensed the ground shake. Harry saw his picture of the world change slightly for an instant; for a second, he saw a dreary gray reality in his mind’s eye. It left him feeling uneasy. He was positive Desiree had not noticed it. Why didn’t she notice the shaking, the shudder of their reality? Makr!

The cyberts were bees again. While they were bees, he was happy he was able to knock them down; however, this time, he didn’t dare try to crush them. Some of the bees appeared dead on the ground. At that moment, the rest of the swarm shifted position, moving up and away from them as if withdrawing. The swarm hovered for a moment as if to take one last look before heading away from the duo to the north across the city skyline. Neither Harry nor Desiree saw two of the “bees” that had fallen to the ground and were pretending to be immobilized. These “bees” waited for Harry and Desiree to continue their journey before they flew upward and followed them, staying several yards behind.

While it wasn’t the “Attack of the Killer Bees” that bothered Harry so much, it was the fact that he was powerless to fight them as cyberts—tiny or otherwise, and yet he could fight them if he saw them as Bio creatures. Does that mean he was capable of destroying his fellow man—or woman and not a machine? Not even a toaster. The idea is preposterous but the evidence was overwhelming. Rather than sounding foolish he decided not to share this insight with Desiree. She might send him back Inside and he wasn’t ready for that yet. Not even if he was one of Makr’s pawns.

From E- or Self-Published Book to Audio Book

I am e-publishing my science fiction novel and planning to do the “voice” for the audio book myself.

In the mean time I am looking for a first time novelist who would consider a relative unknown and inexpensive voice actor to narrate his or her book.  I’m more interested in credit than cash, but cash helps.  It could be used to make an even better product since labor is not the factor driving up the cost.

I may be a novice novelist myself, but I’m certainly not a first time narrator or actor.  A connection worth exploring?

Send me some copy.  It’s my voice and approach to your work you are interested in.  I’ll send you a demo based on your work.  I think the narrative voice is important.  Characterization should be there, but not distract; some audio artists become such masters of characters as to showcase them at every opportunity. Not every character should jump off the page–just the significant ones.   As a performance critic and a writer myself I believe in the author’s intent, but I also believe it is possible to bring out the best of intentions in another medium.

I know how to “read” books.  My specialty is interpreting intent and drama.  I call it performance criticism.  So, I’m not just a voice.  Mediocre books can make stellar movies and some movies make horrible books.  Sometimes a book needs some editing for length and for voice delivery.  Reading is not the same as storytelling, but you want it to be close enough there’s hardly a difference.  Really long books simply cost too much as audio books and attention wanes as the ears get tired.  The trick is to bring out the best for the medium and not lose sight of the author’s intention, nor the need to keep and hold an audience’s attention.

Some audio books don’t need “bells and whistles” while others are aided tremendously; some need a particular voice.  Marketers are interested in selling the books in hand, although most will tell you they aren’t.  The reality is that if you change marketers after that first book, they lose your business.  You want your audience coming back for more and consistent satisfaction will keep an audience.  As my psychology professor used to say in dealing with the mentally ill, we do what works to help them.  The result is important.  My professor was talking about different schools of psychology to achieve results.  I’m talking about a different school of thought as well–a different philosophy for doing audio books.  I had to put down an audio book written by a favorite author because the audio artist drew all the attention to him and totally turned me off

There is the side benefit of having an audio link to help market both products.  There are also two products that help sell each other.  And there are two distinct markets in some cases.  Do you know people who love audio books but hate to read?  How about people who hate to read on a computer or video screen, preferring print on paper?  I don’t have statistics on this but I know it’s what some of my friends and I do:  we are more likely to click on an audio link to hear a sample performance than click to read a sample chapter.

An aside though.  I have said I will be doing the audio on my own book.  My problem has never been interpreting my own work but eliminating what may not be totally necessary–the editing.  Do I think authors can benefit from professional editing?  Yes, especially with someone who knows you pretty well and understands your intent.  What about a coach for writers who are not narrators to do their own book?   There are coaches who specialize in coaching writers, and I am willing to coach someone if I feel with coaching the author can pull off a quality act.  

Here’s why some voice over actors don’t do audio books:  it takes a long time to produce and the financial return is less than commercials.  Hidden in the reason may also be the “I don’t have the patience, or the subtlety necessary to pull it off effectively.”  Better to find and stick to a niche.  I love books and acting.  Let’s meld them together effectively.  Personally, I’d rather do the whole story.