Tag Archives: H.G. Wells

New Book Alert – After the Martians

That’s right. I’m announcing the upcoming launch of a new book in the What Man Hath Wrought series. It’s called “After the Martians,” and the cover is sensational.

AftertheMartians72d

Here’s the blurb for the book, an alternate history occurring after the events of H.G. Wells’ War of the Worlds:

In 1901 the Martians attacked Earth, but tiny bacteria vanquished them. Their advanced weaponry lay everywhere—giant three-legged fighting machines, heat rays, and poison gas. Now, in 1917, The Great War rages across Europe but each side uses Martian technology. Join Corporal Johnny Branch, a young man from Wyoming, as he pursues his dream to fight for America. Follow magazine photographer Frank Robinson while he roams the front lines, hoping to snap a photo conveying true American valor. Perhaps they’ll discover, as the Martians did before them, that little things can change the world.

Gypsy Shadow Publishing and I are planning for a book launch in early May. You’ll find more news about “After the Martians” here at this website, so check back frequently with—

Poseidon’s Scribe

April 24, 2016Permalink

What a Disaster!

Today I’m exploring the world of disaster fiction. There are many, many stories dealing with disasters, from local misadventures to world-wide calamities. I’ll discuss frequently occurring themes in disaster fiction, as well as the reasons people read it. That might help you decide if you want to write such a tale.

DisasterFirst, no disaster story is truly about the disaster. If you want to write about disasters, try non-fiction. As I’ve said before, fiction is about the human condition, so your disaster story is really about the characters, their attempts to cope with the disaster, and how they grow or change as a result.

I’ll make a distinction between disaster stories and post-apocalyptic stories. In the latter, the disaster has already occurred and people are trying to handle the aftermath. In the former, the disaster occurs during the story. I’ll discuss post-apocalyptic fiction in a future blog post.

Types

Though disaster stories are about people, we can still classify them by the type of disaster that occurs, and there are plenty to choose from. You might think all the best disasters have been taken already and the reading public won’t go for one more disaster novel. You’d be wrong; since the stories are about people, there are always infinitely more stories to write.

Disasters can be natural, as with floods or tsunamis, hurricanes, tornadoes, other significant storms, earthquakes, volcanoes, extreme climate change, asteroid or comet collisions, etc.

The disaster could be an accident, such as a shipwreck, airplane crash, train wreck, industrial accident, etc. A car crash probably wouldn’t count, since the disaster really should involve a large number of people.

There are other disasters that aren’t natural, and aren’t really accidents either. Let’s call them calamities, and separate them into plausible and less-plausible scenarios. The plausible ones include pandemics, terrorist attacks, major wars, economic collapse, and loss of electricity.

The less-plausible calamities (my own risk assessment; yours might differ) include: alien invasion, uncontrolled release of technology (such as nanotechnology, robot uprising, creation of a black hole, creation of a super-disease or super-creature, etc.), zombie apocalypse, “return” of vampires or werewolves, and attacks by menacing (usually gigantic) animals.

Themes

You’ll find some common themes in disaster stories. Here’s a partial list.

• Despite how far humans have progressed, we need reminding we are small and weak creatures in a big, dangerous universe.
• As disaster looms, people will react differently, going through the Kübler-Ross ‘Five Stages of Grief’ at different rates.
• A large-scale disaster will collapse the normal societal structure, and other structures will form.
• A disaster brings together strangers who must form a team with a common purpose, such as survival.
• A main character must overcome a personal fear or other psychological flaw and rise to the situation.
• A former leader cannot cope with the disaster; a new and unlikely leader must take charge.
• Often the protagonist’s main goal is either survival (of a group) or rescue of others.
• There are good and bad human reactions to disasters, and the characters who react badly often (though not always) meet a bad end. For example, preparation is better than assuming an unchanging future; clear thinking is better than panic, teamwork is better than uncaring self-centeredness; natural leadership is better than using a chaotic situation to claim power; focusing on the goal is more productive than blaming or finding fault.

Purpose

Why do people read disaster stories? These are among the reasons:

• It’s a chance to “experience” the disaster in a safe way, without having to endure it for real.
• The stories can be taken as metaphors for how we can deal with the smaller-scale mishaps of daily life.
• The tales can be metaphors for some perceived societal defect, as in H.G. Wells’ War of the Worlds.
• The stories offer lessons in preparation as old as the ant & grasshopper fable.

Conclusion

51aDCvEwjvLI would classify only one of my stories as a true disaster tale. “The Finality” appeared in the anthology 2012 AD by Severed Press. In it, a scientist discovers that time itself is coming to an end, not just on Earth but throughout the universe, and there’s nothing anyone can do about it. But just maybe the Mayans were trying to tell us something about that.

May all your disasters be the written kind; that’s the hope of—

Poseidon’s Scribe

November 30, 2014Permalink

Ex-Out Deus ex Machina

Strange term, that ‘Deus ex Machina.’ All it means is ‘the god from the machine’ and if your story’s got one, you probably don’t want it.

Deus ex MachinaAlthough the concept comes to us in its Latin wording, it dates from the plays of Ancient Greece. Performed in amphitheaters, these plays sometimes featured an actor playing the part of a Greek god, who would descend into the final scene apparently from the sky by means of a crane with ropes. The ‘god’ would solve the play’s central problem by means of magical powers.

Over time, the phrase came to mean the late and unexpected introduction in a story of a character, ability, or object that seems to resolve the story’s conflict in some miraculous way.

     Not Recommended
You’ll want to avoid Deus ex Machina (DEM) in your stories because it’s the mark of an amateur writer. You get positive points for burdening your protagonist with difficult dilemmas to solve. But you lose those points and more when you’ve painted your hero into a corner and you can’t get her or him out without resorting to some external savior entering the action at the end.

The presence of a DEM cheats the reader, who is expecting a story about the human condition.  The reader has, therefore, invested some emotional energy in your protagonist, following that hero along through all the conflicts, both external and internal. The reader is wondering how your protagonist will prevail. To introduce a DEM, therefore, is jarring and disappointing.

     Difficult to Avoid
Sometimes you’re working along with your manuscript and you find you’ve put your protagonist in such trouble that, try as you might, you can’t think of a way out. You like the story otherwise, and really don’t want to rewrite in a way that lessens the difficulty and allows your hero to win the day through innate virtues.

These are the times you might be tempted to call in the aid of a DEM. Again, for reasons noted above, it’s best not to do so. In most cases.

     When It’s Right
In the hands of a master storyteller, DEMs can work in two situations I’ve discovered: (1) when the author is making a larger point, and (2) in comedies.

For example, in Edgar Allan Poe’s story, “The Pit and the Pendulum,” the French army conquers the town, enters the Inquisition, and frees the narrator from his horrible prison. But Poe is making a larger point about life and the freeing of the soul to enter heaven when the clock (pendulum) of life ceases.

In H.G. Wells’ novel, The War of the Worlds, it’s true the invading Martians are defeated by tiny bacteria. But Wells is making a statement about Britain’s encounters with cultures having primitive technology. He’s saying that, but for the microbes, even mighty Britain would have been annihilated.

In Monty Python’s movie “Life of Brian,” Brian is saved from a deadly fall by a passing alien spaceship. The DEM literary device is used here for comedic effect.

     A Final Example
If you’re really, really good, go ahead and use a Deus ex Machina. Otherwise, best to avoid them. Let your characters figure their own way out of their jams.

Hmm, as I write this, I have no idea how to end this blog post.

Enter Poseidon, appearing out of nowhere.
Poseidon: “Silly mortal. Just write ‘Poseidon’s Scribe’ below your other babbling text, the way you’ve signed off every other post.”
Me: “Oh, hehe. Thanks Poseidon. You mean like this:

Poseidon’s Scribe.”

June 8, 2014Permalink