The Mind of Bryan Lee Peterson

I think I’ll write some reviews of what I’m reading so that some of you might be able to follow what is going in that creates some of my output. I picked this book to read because I like things that start off with obscure science and math and tries to make it accessible to the reader. I’m certainly not an expert in any of these topics, but usually I can follow well enough to get the book on a more than the average human. I am also feeling a little shy on my hard SF background, and I had the money and the book was there and I wasn’t finding much more at the time. Seem fair? I’ll try to give you an idea of what I learned about writing for each book that I review as well.

The plot centers around Ranjit Subramanian, a math student at a university in Sri Lanka. The first act of the book sets up some of the later characters, but I’m going to focus on Ranjit. Plus, I don’t remember most of their names (shows how memorable they were) and I’ve loaned the book out. The second plot-line features a race of super beings called the Super Galactics who decide the humans on Earth are a threat and need to eliminate them. They send some races there to observe while they send in their henchmen. We’ll discuss some of the races of aliens in a bit. The first act doesn’t really do much in reality, so we’ll move to act 2. In the setup parts of act one, a family friend gets into some trouble, and disappears, leaving a family behind.

Act 2 focuses on Ranjit reuniting them, and finding out that he is now working as a pirate. Ranjit winds up as a hostage on a cruise ship, watching the children and teaching them maths tricks. Eventually the ship is liberated, but Ranjit is held prisoner, during which time he solves Fermat’s last theorem. Shortly after he memorizes his proof, his ransom is met, and he is freed. It is worth mentioning that a new weapon is used to fight the pirates, a non-lethal weapon, and this kind of weapon is interesting to the races rushing to destroy the human race, after all, if they can fight their battles without killing, they aren’t a threat anymore.

Act 3 begins with an ethical dilemma. There is a new weapon on Earth and it is used first on North Korea. The weapon is kind of like an EMP which disables all electronics and weapons in a given area. The group that is in charge of this weapon is part of the U.N. Ranjit is asked to be a part of the group by a childhood friend who is now working on codes and the like for some intelligence services. Ranjit decides not to join.

This is the point where I’ll stop giving you plot details because this is where for all intents and purposes, the plot ends. Ranjit spends the rest of the book, something like 60% of it, watching the world as he gets older, has kids, watches the space elevator get built on Sri Lanka, and teaches at a university. And that’s the real problem with the book, halfway through, the main character walks away from the conflict. Had Ranjit taken the job, and been entwined in the ethical issues presented by the weapon, there would have been a book there.

Fred Pohl indicates that by the time the book was handed to him, Clarke was getting spotty, and so he had to interpret and invent a little bit to get the book right. Problem is, the main character is as much of a spectator as the reader. This is emphasized by how much business Pohl had to invent for Ranjit to do while watching. He has problems figuring out how to be a good professor, he reads a lot of newspapers. He has some personal business to attend to. Nothing that makes for an interesting book. You keep hoping that this is just a lull that is leading to something else, but it never does.

Another disappointing element of the book is the aliens. They can fly millions of light years, and then they get here and ask some of the dumbest questions, like “Why do you live in certain areas of the planet, instead of spreading strictly evenly about the world?” Apparently their planet is evenly rosy and beautiful all over.

They also describe some of the aliens and they make little sense. There’s a race called “The nine limbeds” that are so called because htey have eight limbs that they walk on, kind of like a centipede, and one on their butt that they use to do all of the rest of their “business”. I’m tired of the notion that aliens are stranger than we can imagine, and certainly not beings with two arms and two legs like us and every Star Trek episode. I’m more of the idea that there’s a good chance that they are. We evolved this way for a reason, because it is an efficient model for what we need to do to survive. I think there’s a reason that throughout our planet’s history, the larger animals had four limbs, and it isn’t directly related to a common ancestor with four limbs, and the rest of us are just variations on a theme. The menagerie of aliens in this book reads like a spore creature designer on a little too much acid, and not enough good design sense.

So my review of the book is this: a promising act one, no conflict, dumb and poorly designed aliens, flat characters, and a book that could have been much better.

Here’s another couple things to think about.

How much time do we spend researching, and sending submissions out? In the amount of time that would be spent choosing a market, writing a cover letter, getting it bundled up, sent, again and again over and over, how much more could I have written? Quite a bit more. And when a story gets published, how long does it take to actually reach its audience? I had a story once take three or four years to get published. Genres have come and gone in that amount of time. I had even forgotten that it had been placed by then. This submission and resubmission process is similar to what the film industry calls “development hell.”

I lose the familiarity with the current market that I’d have if I kept buying and researching magazines, but I don’t really do too much of that anyway, and I don’t pay much attention to what the market does. I prefer to pay attention to what my mind does. I know, that isn’t what they recommend, but it’s how I work.

Obviously I’m grinding obsessively on this. That’s my personality. I’m going to make a decision by the end of the weekend.

For the short term, I have some time off right now, and have completed a new short story for a collaborative anthology based on my Singularity Diner concept. I’m going to get a few more things taken care of and I’ll be in a good position to move forward again with all of the blogs, podcasts and projects. Would anyone prefer to get everything in one feed? All of the podcasts and writing? I could arrange for that to happen.

Next on the agenda, I have to do a mix-down of “Tev” for the Horror Addicts podcast (thanks to PC Haring for the fast voice recording). I have some essays to upload and record, and I’m finishing up re-writes on The Hidden. Then I move onto Inside, The Singualrity, The End of the World Times, and Walter.

Right now, I’m looking around, and seeing an industry in decline. Publishers are hurting, magazines are declining, and for a writer like me who is trying to break in, it’s looking more and more difficult. I’m going to spend some time thinking about this, but I want to market things a little differently. I would rather get my short stories out to as many people as possible than have them in a submissions queue for months or years. Isn’t that really the point? I’d rather have community than scant dollars, and I’d feel far closer to my audience. Nobody makes a living at short stories anymore, magazines are cutting back on how many they publish, how many issues they are publishing, some sci-fi outlets don’t even publish fiction at all anymore.I have to call out Escape Pod and Pseudopod a little on this one. They have probably the largest following of any of the new media magazines out there, and put out a new story every week, sometimes more, and they seem to do more reprint material than any first-run material. I often hear that a piece was first printed in a magazine in 2002, for instance. That’s a six year old story. In science fiction, genres have come and gone since then. On Pseudopod, I heard a story last week that was plot point for plot point, a throw away excercise from Stephen King’s “On Writing”. Is this really advancing us anywhere? Is this building a new market? Taking the place of the old?

Maybe I need to start a magazine site. Maybe I need to get my stuff up here, and at goodreads.com, and other places just to get my name and work out there. Isn’t that a more direct route to people, a more direct route to following? The down side is that I’m just some other putz putting things up on a site, and I have no professional editors selecting me for their publications. Maybe I should just submit to on-line magazines, with their ability to turn around a story faster, and have no printing costs. That would certainly shorten the times spent in submissions hell.

Maybe I should look at Michael Mennega’s model of offering things for download in e-book form for a slight fee. I need to eat, and my day job sure isn’t paying well enough right now.

What’s my goal? to sell short stories? I don’t really think so. To sell the novel? Closer. To get an agent? That is probably the best thing I could do. In the time frame I’d like to do it in, I won’t even have my first round of submissions back from a print magazine. But if I could say that my stories are up in so many places, being read by so many people, I can demonstrate that I’m very actively promoting myself, which is really probably more important than a couple sales, assuming my novels are good enough to be picked up by an agent, at least more important than having a couple of credits to my name.

This I have to consider. It isn’t the traditional proffesional route, I know, but what would be more effective right now? I’ve never succeeded in doing things the traditional way, and I seem to be doing really well with social media. Maybe that’s just my track. As I consider this, if you could leave in comments some good on-line venues, both public and magazine type venues, I’d appreciate it. I know of goodreads and scribd (my scale book is getting a lot of attention there). Know there’s a couple of good mags that are SF on line, but I don’t know of any horror or fantasy specific magazines. Haven’t done any looking.

As far as the future of here, I’m planning more diary types of entries, and more fiction will come up here soon. I’ll keep you posted on everything else.

In television, the one-hour drama is based on a four act structure. These acts are defined by the commercial breaks in between them, and usually end on a cliffhanger. The series I am working on now started off life as a hour long television drama pitch, and I did quite a bit of analysis of current shows at the time. Your average television scene is two minutes. If you time it, you’ll almost always get a scene break at every two minute mark. The first and second act have about eight scenes each, the third will have six, and the fourth will have ten. I’m sure there’s some marketing reason for this, more so than a writing choice reason. In television, you have to have your four to five commercial breaks.

I think this structure is useful in writing narratives of all sorts. In act one, the protagonist becomes aware of the problem. In act two, the protagonist becomes entangled, and this complicates the problem. In act three, the protagonist tries to solve the problem, and fails, which usually raises the stakes in some way. In act four, the protagonist must overcome all of this to solve the problem.

This formula is what I don’t like with some television shows. I’ll pick on House since it is very popular right now. At first, I really enjoyed this show. The characters were interesting, House was as sardonic as I am, the stakes in the story were very real to the characters in the story. On the other hand, the stories became so formulaic that I could almost set my watch to the patient’s seizures and the mention of lupus. I don’t watch it anymore, but my wife does, so I’m going to flip on my DVR, and as I veg out, I’ll make some plot notes. Then we can go back and do some analysis.

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