Tag Archives: Ray Bradbury

Your 3 Distinguishing Words

Using computers, you can measure peoples’ writing. You can compare recent bestsellers to books that didn’t sell well.

One man with interests in numerical analysis and literature tried just that. Ben Blatt wrote Nabokov’s Favorite Word Is Mauve: What the Numbers Reveal About the Classics, Bestsellers, and Our Own Writing. Megan Gambino interviewed him in this post.

Blatt analyzed books by many bestselling authors of the 19th and 20th Centuries, looking for patterns of word usage. He compared the practices used by these authors to the practices recommended in writing classes (and in blogs about writing, like mine). Among his findings are the following:

  • Advice: Keep your opening sentences short.
    • Finding: True. The bestselling books start with short sentences more often than not.
  • Advice: Don’t open with the weather.
    • Finding: False. Many bestselling books do.
  • Advice: Shun adverbs.
    • Finding: True. The bestselling books tend to include fewer adverbs.

He also set out to discover whether American authors write in a ‘louder’ manner than British authors. That is, do American author cause their characters to yell and scream more than British authors cause their characters to do? That answer is yes.

I found one aspect of Blatt’s research of particular interest. He analyzed what words some authors used more than others. For Jane Austen, the words civility, fancying, and imprudence showed up a lot. John Updike used rimmed, prick, and f**ked more than most. As you can guess from the title of Blatt’s book, Vladimir Nabokov favored the word mauve. Nabokov associated numbers, letters, and sounds with colors, a symptom of synesthesia. Blatt found Ray Bradbury used spice and smell words more than most.

These findings intrigued me. If someone performed a numerical analysis of my own published works, what would that reveal? What words do I use more frequently than other writers do? If you’re a writer, are you curious about that aspect of your own work?

If someone crunched the numbers for your writing and told you your three distinguishing words, what would these words say about you? Nabokov’s mauve pointed to his synesthesia. Bradbury’s spices brought him back to the smells of his grandmother’s pantry. If you knew your distinguishing words, would they surprise you? Delight you? Disgust you?

After knowing them, would you own them and seek to use them more in future stories, or disavow them and expunge them from your vocabulary?

One thing’s certain. Considering just my blogposts alone, my two most distinguishing words must be—

Poseidon’s Scribe

March 12, 2023Permalink

The Ray Bradbury Challenge

“Write a short story every week. It’s not possible to write 52 bad short stories in a row.” – Ray Bradbury

Bradbury said that in 2001 at The Sixth Annual Writer’s Symposium by the Sea, sponsored by Point Loma Nazarene University. Let’s call it the Ray Bradbury Challenge. (The first part, I mean, not the challenge to see how many bad short stories you can write in a row.)

Would you take that challenge? Could you write one short story every week for a year?

The challenge is part of the larger context of his talk. It’s worth watching the whole 55-minute video. His speech included great pieces of writing advice, and I’ll address those in a future post.

Bradbury thought it best for most beginning writers to start with short stories, rather than novels. (How I wish I’d done that when I started out!) He reasoned that the short story form trains you to focus on one idea, to compact your words. Moreover, every week you’ll complete a finished product, a tangible output.

It might seem a daunting challenge, but let’s break it down. Typical short stories run 1000 to 7500 words. That’s an average of 150 to 1100 words per day, though you’d more likely write a first draft at high speed and spend the rest of the week editing it.

By contrast, the NaNoWriMo challenge drives you to an intense burst of activity for one month (November), during which you must average almost 1700 words per day. Ideally, the end product is a 50,000-word novel, but in most cases, it’s an unpublishable one.

Bradbury’s challenge helps you form the daily habit of writing. It allows for—even expects—that you’ll enjoy concentrated, focused bouts of feverish, unconstrained flow, followed by periods of calm, dispassionate editing and revision to round out the week.

Moreover, his challenge grants frequent glows of happiness, satisfaction, accomplishment. Each week you affirm you’re a writer.

Think about the probabilities implied by his challenge. You’ll write no fewer than 1 good story out of 52. If you spent each year writing a novel instead, how long might it take before you wrote a good one?

Some might object that readers don’t read short stories, and publishers prefer novels. Perhaps, but you could do what Ray Bradbury did and publish themed collections of related short stories—so called ‘fixup novels,’ as he did with The Martian Chronicles, The Illustrated Man, and others.

Consider accepting Bradbury’s Challenge. You could write one short story a week for a year, couldn’t you? Even if 51 of those stories turn out to be terrible, you’ll have spent time learning the craft and discovering your voice. And you’ll have at least one good story to submit for publication.

I know, I know. You’re asking if I, Poseidon’s Scribe, am so willing to foist a challenge on others, would I be willing to accept it myself? Maybe I will set aside a year to do that sometime. Right now, I’m working on two novels. I’ve already written over eighty short stories, and had three dozen of them published. Though the writing took many years, I could claim I accomplished the Bradbury Challenge in slow motion.

If you do accept and complete the Bradbury Challenge, remember that all credit goes to the late Ray Bradbury, not to—

Poseidon’s Scribe

July 3, 2022Permalink

Jules Verne Found Alive!

French author Jules Gabriel Verne, born on this date in 1828, has been found alive at the age of 192. Reports of his death at age 77 in 1905, and accounts of his subsequent burial, apparently were in error.

Remarkable though it may seem, there is simply no other way to explain the large number of people, still today, who’ve undergone life-changing experiences after contact with Verne. This list includes people who became:

  • Astronauts or astronomers after reading From the Earth to the Moon;
  • Submariners, undersea explorers, or naval architects after reading Twenty Thousand Leagues Under the Sea;
  • Geologists, spelunkers, or cavers after reading Journey to the Center of the Earth;
  • World travelers or circumnavigators after reading Around the World in Eighty Days; and
  • Engineers, scientists, or fiction writers after reading any of Verne’s works.
Monument to Verne at the Jardin des Plantes in Nantes

I can see you’re not buying it. Okay, Skeptic, there’s an entire Wikipedia page devoted to the Cultural Influence of Jules Verne. It lists the following people who claim to have been inspired to pursue their profession by Verne: astronaut William Anders, undersea explorer Robert Ballard, undersea explorer William Beebe, astronaut Frank Borman, polar explorer Richard E. Byrd, speleologist Norbert Casteret, undersea explorer Jacques Cousteau, cosmonaut Yuri Gagarin, rocketry innovator Robert Goddard, cosmonaut Georgi Grechko, roboticist David Hanson, astronomer Edwin Hubble, submarine designer Simon Lake, astronaut Jim Lovell, French General Hubert Lyautey, inventor Guglielmo Marconi, speleologist Édouard-Alfred Martel, explorer Fridtjof Nansen, rocketry innovator Hermann Oberth, aviation pioneer Alberto Santos-Dumont, polar explorer Sir Ernest Shackleton, aviation pioneer Igor Sikorsky, rocketry innovator Konstantin Tsiolkovsky, and rocketry innovator Wernher von Braun.

There’s a similarly long list of authors who drew inspiration from Verne. Ray Bradbury said, “We are all, in one way or another, the children of Jules Verne.”

There exists a group known as the North American Jules Verne Society. Seriously, are you likely to have an active fan club on a different continent 192 years after your birth?

Yes, Verne is still alive, if not in body, at least in spirit. Very much in spirit.

Cover image for 20,000 Leagues Remembered

You, too, can join the list of those who’ve been influenced by Verne. You can write a short story and submit it for inclusion in the upcoming anthology 20,000 Leagues Remembered. I’m co-editing it, along with Kelly A. Harmon of Pole to Pole Publishing. It’s scheduled to be published on the 150th anniversary of the publication of 20,000 Leagues Under the Sea this coming June. Here you can see the cover image we’ve selected. For more information, and to submit your story, click here.

Happy 192nd Birthday, Jules, wherever you are. Today, in raising a toast to you with a glass of French wine, countless Verne fans around the world will be joining—

Poseidon’s Scribe

February 8, 2020Permalink

Writing Inside the Box

The problem with life is there are too many constraints. There are too many limits, too little money, too few resources, and never enough time. And that’s the good news.

Good news? Lest you think me crazy, I’ll explain.

A wonderful blog post by James Clear inspired this post, and I encourage you to read Clear’s article, too.

If Theodore Geisel (Dr. Seuss) could constrain himself to write a children’s book using only fifty different words and come up with Green Eggs and Ham, then constraints may help you as well.

As discussed in Clear’s post, constraints (whether self-imposed or not) force you to think creatively, to find unusual ways to get things done within the limits.

As a fiction writer, you’re always imposing constraints on your characters, particularly the hero of your stories. Your protagonist is always racing against the clock, striving to get out of some trap, fighting to get free of a bad relationship, or otherwise burdened by severe limitations. With the usual options denied, your hero must become inventive in coming up with ways to resolve problems.

What about you? While writing your story, do you face constraints? Yes. I’m sure you have a word limit, even if only a vague one.

Other constraints include the tone of the narrative (once you’ve chosen that, you shouldn’t deviate), genre norms, a desire to stay away from stereotypical characters, character speaking style, the story’s Point of View, etc. Other constraints you might choose for yourself include vocabulary limits like Dr. Seuss’ story, an upper limit on readability index, a dislike of certain words or phrases, and thousands of other possibilities.

Perhaps the most constraining limit of all for any writer is time. You never know how much time you really have and you can’t buy more of it. You can’t take an infinite number of years to finish your story.

As one extreme example, consider the way Ray Bradbury wrote Fahrenheit 451. With two small children at home, he sought a quiet place to write. At the library, he could rent a typewriter, but had to feed it a dime every half-hour. That would be a dollar every half-hour today. They say ‘time is money’ but imagine feeding money into your laptop all the time. No wonder Fahrenheit 451 is a rather short novel.

Constraints, whether imposed by the universe or by you, force you to optimize, maximize, and prioritize. They force you to choose some things and forego others. They force you to think beyond the normal, to consider bizarre alternatives, and to invent new methods.

Perhaps there’s no use complaining about constraints, then. We all face them. Just maybe, they’re bringing out your most creative impulses. Instead of complaining, accept them. Face them. Figure out ways to deal with them.

I’ve accepted the box I’m writing in, but it’s uncomfortable and my joints stiffened up. Now I’m stuck. I hope someone can reach in and help—

                                                Poseidon’s Scribe

January 27, 2019Permalink

What’s Silkpunk?

You thought this blog-post was the last word on the various ‘punk’ subgenres? Wrong. Meet the new member of the punk family: Silkpunk.

Author Ken Liu invented the term Silkpunk to describe the genre of his latest novel, The Grace of Kings. In this post, he defined silkpunk as “…a blend of science fiction and fantasy…[drawing] inspiration from classical East Asian antiquity. My novel is filled with technologies like soaring battle kites that lift duelists into the air, bamboo-and-silk airships propelled by giant feathered oars, underwater boats that swim like whales driven by primitive steam engines, and tunnel-digging machines enhanced with herbal lore.”

This newest member of the Punk Family is unlike the others in that it’s not represented by a power source or engine type. Perhaps, though, in a metaphorical way, it is. The Silk Road was a trade network from China to Europe that empowered China.

Congratulations to Mr. Liu for coming up with the term Silkpunk. However, with all due modesty, I must say, stories of that type are not new. My own story, “The Sea-Wagon of Yantai” belongs in that genre as well.

In my tale, it’s 206 B.C. and China is torn by warring dynasties. A young warrior, Lau, receives orders to verify the legend of a magic wagon that can cross rivers while remaining unseen. He encounters Ning, the wagon-maker in the seaside village of Yantai. Ning has constructed an unusual wagon that can submerge, travel along the bottom of the Bay of Bohai, and surface in safety—the world’s first practical submarine. Ning enjoys the peace and beauty of his undersea excursions; he won’t allow the military to seize his wagon or learn its secrets. Lau must bring the valuable weapon back to his superior. In the hands of these two men rest the future of the submarine, as an instrument of war or exploration.

My story was inspired by vague references I’d read about someone inventing a submarine in China around 200 B.C. A second inspiration for my story was Ray Bradbury’s tale, “The Flying Machine.” One of his lesser-known works, it’s a wonderful short story, and would certainly qualify as silkpunk, with its kite-like bamboo flying machine with paper wings.

Another silkpunk story that predates the invention of the subgenre’s name is “On the Path,” by fellow author Kelly A. Harmon. Within it, Tan is a farmer, following the path, when the seal on his soul-powered plow bursts, releasing all ghosts from its reincarnation engine. The ghosts flee to Tan’s tangerine groves, reveling in their freedom. One of the souls is Tan’s deceased uncle, Lau Weng, and Tan must offer hospitality. Souls laboring in the reincarnation engines grow more solid as they work off their past lives’ debts and prepare to be born again. Freed from the engine, Lau Weng and his ghostly compatriots rely on Tan and his wife Heng to support them. Caught between death and re-birth, Lau Weng will do anything to remain alive. Tan is honor-bound to provide hospitality, but must feed his family, too, and he can do nothing to stop Lau Weng. Everything changes once Lau Weng takes over Heng’s body.

Thanks to Ken Liu (and others), silkpunk may well catch on in popularity in North America and Europe. Here are four reasons why:

  1. Like steampunk, silkpunk comes ready made with its own aesthetic, with fascinating clothing for costumes, and a characteristic look for gadgets, etc.
  2. Silkpunk is a completely new world, ripe and wide open for writers and readers to explore.
  3. To Western readers, silkpunk will seem exotic and enthralling.
  4. For Western readers, silkpunk represents a chance to learn about new cultures and different philosophies.

Will Silkpunk someday rival Steampunk in popularity? I don’t know. I’m a writer. If you want a psychic, don’t call—

Poseidon’s Scribe

March 4, 2018Permalink

Dear Ray Bradbury

I just had to write to thank you, thank you, for the great times, the pleasures of reading your work.  There’s no sense letting a little thing like your death in 2012 prevent me from expressing my gratitude, is there?

220px-Ray_Bradbury_(1975)_-cropped-Sorry, I haven’t read all your books and stories.  I’ve read less of your canon than I have of Jules Verne’s, Isaac Asimov’s, or Robert Heinlein’s.  But, oh, the few of your books I digested left lifelong mental imprints:  Something Wicked This Way Comes, Fahrenheit 451, Dandelion Wine, The Illustrated Man, Now and Forever, and The Martian Chronicles.  In high school, I read your short story, “The Flying Machine,” and my recollections of it inspired my story, “The Sea-Wagon of Yantai,” written decades later.

At one point, you declared you wrote fantasy, not science fiction.  In my view you blended the two.  You made science sound like fantasy.

Moreover, your flowing style of writing contrasted with that of the hard-science fiction writers.  Their stories conveyed a love of machines, of science.  Yours proclaimed a love of word imagery, of the magic of English, of poetic prose.

The authors of hard science fiction told me tales of technical detail.  You sang me stories of marvel and wonder.

I guess I’m trying to say that I write more like those other guys, but wish I could write like you.

On occasion, you related a particular memory from when you were about twelve.  At a carnival, one of the performers known as Mr. Electrico touched an electrical sword to your nose which made your hair stand out.  You claimed he told you, “Live forever!”

In a very real sense, Mr. Bradbury, you will.  Thanks again.

                                                            Poseidon’s Scribe

December 22, 2013Permalink

Drunk and in Charge of a Bicycle

Years ago, while reading Zen in the Art of Writing by Ray Bradbury, I was struck by a memorable passage.  He’d titled the fourth chapter “Drunk and in Charge of a Bicycle.”

After stating that he’d read how other authors found writing a difficult chore, Mr. Bradbury wrote:

Zen - BradburyBut, you see, my stories have led me through my life.  They shout, I follow.  They run up and bite me on the leg—I respond by writing down everything that goes on during the bite.  When I finish, the idea lets go, and runs off. 

That is the kind of life I’ve had.  Drunk, and in charge of a bicycle, as an Irish police report once put it.  Drunk with life, that is, and not knowing where off to next.  But you’re on your way before dawn.  And the trip?  Exactly one half terror, exactly one half exhilaration. 

Always fun to read Bradbury; even his nonfiction hums with an electric rhythm.  But today I thought I’d examine his metaphor a bit, since it has stayed in my mind for at least a decade.

Drunk on bicycleI understand why it appealed to Bradbury.  First, the phrasing is a bit odd to American ears, and he often sought interesting new ways to express ideas.  Second, I’m sure he had a distinct mental image of what it would be like to be drunk and in charge of a bicycle.  That idea of going somewhere but not knowing where; the wobbly, weaving way you’d be ever on the edge of falling.  Bradbury saw that as being akin to his writing experiences.

Third, I’m sure he enjoyed the concealed contradiction, the playful paradox, inherent in the words “drunk, and in charge.”  There’s no doubt the bicycle rider is going where the bike goes.  If arrested, there’s no doubt whom the police would hold responsible.  But who, after all, is really in charge?  If you’re drunk, as Bradbury says, with life, then you’re in the grip of events beyond your “charge” and it’s your stories that are leading you.

That muse of yours, then, is the one in charge.  You follow where she beckons even when that way seems outlandish or bizarre, because she’s never steered you wrong before.  You’ve no idea where you’ll end up, and the notion of ceding control leaves you with that mix of half terror, half exhilaration.

But when you submit your story before the squinty eyes of the editor, when it’s picked over by readers and critics, where is the responsibility then?  It’s only your name on the story; the muse has vanished, gone on to her other affairs.  Like the drunk bicyclist trying to explain himself to the constable, you can’t point the finger elsewhere.

When I set out to write about this topic today, my aim was to poke holes in the Bradbury’s metaphor, to state that my writing experiences weren’t like that at all.  Especially the half terror part.  I was going to create my own metaphor for my writing life.  I wanted to capture the godlike act of creating a world, of designing the initial conditions, then winding up the characters and letting them go, interacting and confronting their problems.  All the while, that godlike me would be taking notes, watching these wind-up characters’ every move.  If I did my creative job well, readers would enjoy the result.  If not, well, back to the drawing board to create another world peopled with other wind-up dolls.

But instead of condemning Bradbury’s metaphor, I’ve praised it.  From his grave, he laughs at the irony of it.  I thought I was in charge of this blog, thought I had it all planned out.  Now I see I’ve been drunk and in charge of a bicycle, in the grip of other forces.  Yet the one person responsible, the name at the end is—

                                                    Poseidon’s Scribe

March 10, 2013Permalink

Book Review – Something Wicked This Way Comes

Ray Bradbury died June 5th of this year, a day this universe lost a literary giant.  I just finished reading Something Wicked This Way Comes for the first time.  I have read some other Bradbury works, including Fahrenheit 451, Dandelion Wine, The Illustrated Man, Now and Forever, and The Martian Chronicles.  His short story “The Flying Machine,” in part, inspired my story “The Sea-Wagon of Yantai.”

I listened to the Recorded Books version performed by Paul Hecht, ©1962 by Bradbury, renewed 1997, and ©1999 by Recorded Books.

The novel takes place in a Midwest town in the month of October sometime in the early to mid-1900s.  A traveling carnival comes to the town and strange things happen, including the disappearance or alteration of some townspeople.  Two boys and one of their fathers start to believe the carnival is evil and try to find a way to deal with the problem.

That synopsis sounds inexcusably bland, and doesn’t at all convey the magical experience of reading the book.  Bradbury’s works are always poetic, alliterative, and metaphorical, and this novel is no exception.  You find yourself swept along with the cadence of the words, caught up in whatever web Bradbury chooses to weave, and you’re glad of it.

The work deals with eternal themes of good and evil, as well as old and young.  With the first, he examines the weapons wielded by forces evil and good.  With the second, he explores the absurdity of the old wanting to be young and the young yearning to be old.

No one better expresses that delight, playfulness, curiosity, and sense of wonder of being a young boy in a Midwest town, than Ray Bradbury.  I was once such a boy and can relate.  The details he recalls and sensations he can–with lyrical prose–rekindle, resonate within me.

I’m not sure whether to classify the novel as horror or fantasy.  Perhaps it’s a horror…poem?  In any case, I loved it and give it my highest rating of 5 seahorses, the first work I’ve reviewed to have earned that rating.  Do you disagree with my review?  Leave a negative comment and you may find out “by the pricking of my thumbs, something wicked this way comes,” and that something is–

                                                  Poseidon’s Scribe

 

August 4, 2012Permalink

Hook ‘em, So You Can Reel ‘em In

How will you begin your next story?  The beginning, called the ‘hook,’ is important.  These days readers don’t have much time.  Other things like TV, video games, and the Internet compete with your story for their attention.  If your first sentence or paragraph doesn’t grab them, they’re on to doing something else.

Here are some examples of great hooks used in novels as chosen by the editors of American Book Review:

  • Call me Ishmael.  Moby-Dick, Herman Melville 
  • Marley was dead, to begin with.  A Christmas Carol,  Charles Dickens
  • It was a bright cold day in April, and the clocks were striking thirteen.  1984, George Orwell
  • You don’t know about me without you have read a book by the name of The Adventures of Tom Sawyer; but that ain’t no matter.  Adventures of Huckleberry Finn, Mark Twain
  • Someone must have slandered Josef K., for one morning, without having done anything truly wrong, he was arrested.  The Trial, Franz Kafka
  • Mother died today.  The Stranger, Albert Camus
  • There was a boy called Eustace Clarence Scrubb, and he almost deserved it.  The Voyage of the Dawn Treader, C.S. Lewis
  • He was an old man who fished alone in a skiff in the Gulf Stream and he had gone eighty-four days now without taking a fish.  The Old Man and the Sea, Ernest Hemingway
  • It was a pleasure to burn.  Fahrenheit 451,  Ray Bradbury
  • The cold passed reluctantly from the earth, and the retiring fogs revealed an army stretched out on the hills, resting.  The Red Badge of Courage, Stephen Crane

These beginnings work well for several reasons.  They give us an early idea what the story will be about.  They establish the tone of the story, and something about the attitude of the narrator’s voice.

But most of all they seize our attention and compel us to want to read more.  What gives them this quality?  It’s hard to find a common attribute just by looking at them.  They seem to appeal for different reasons.

Writer Darcy Pattison has grouped the different beginnings into categories.  This is helpful since one category might work better for the start of your story than another.  Knowing the category can give you a starting point for developing your hook.

Many of the beginnings in the list start with a sense of the ordinary, and then give the reader something that clashes or is jarring somehow.  We’re left with a puzzle, an oddity, a question that can only be resolved by reading further.  So read on we must.

Those without that twist added to the ordinary seem to possess a different quality.  They settle us in, set a mood, fluff up our pillow, put on some appropriate music.  We’re now comfortably in the story, transported to the author’s world right from the start, and now that we’re there we might as well read on to see what the place is like.

Each of these beginnings without exception is easy to read.  None have rare or difficult words to stumble over.  All have rhythm, and almost poetic brevity.  Not a word is wasted.

How do you write an opening like these?  Heck if I know; these are some of the best ever written.  Ask one of the world’s greatest authors.

With that task added to your to-do list, perhaps we could set our sights a bit lower for now.  How do you write an effective story beginning?  For one thing, it takes time and many trials.  The beginning is the hardest part to write, usually takes the longest, and usually involves the most revisions.  You might decide to skip the hook and come back to it later as the story evolves.  You might like to write a first version of the hook knowing you’ll revisit it over and over.  In any case, be prepared to spend the time and thought to craft it right.

To learn much more about how to write story hooks, read Hooked by Les Edgerton.  What an invaluable resource!

With regard to beginnings, we’ve reached the end.  Remember to check back at this site next week for further ramblings about writing by–

                                                                 Poseidon’s Scribe

March 4, 2012Permalink

The Stories behind the Stories, Part I

In these blog entries I’ve usually refrained from shameless promotion of my own stories, but today will be different.  However, since my purpose in these blogs is to offer help to beginning writers, I’ll couch my blatant self-advertising as instructive, educational matter.

Hundreds of cards and letters and e-mails have been pouring in asking me one question.  Well, maybe dozens.  Okay, maybe it’s just a question I’ve been hoping others would ask me:  “Where do your ideas come from?”  I explored the topic last year, but today I’ll trace the origin of the ideas for each of my published short stories.  Perhaps in reading through these, you’ll see how ideas can occur any time and for any reason; good story ideas will come to you, too!

“Target Practice.” I wrote this story in 1999, and I honestly don’t remember what the inspiration was.  Back then I was in the midst of writing a novel, and I took time out to write this story and submit it for publication to a wonderful anthology, Lower than the Angels.  I think I just wanted to see if I could create a truly hopeless situation and figure a way for my protagonist to resolve the problem.

“The Steam Elephant.”  Seven years later, as I mentioned here, I was inspired by the book The Mammoth Book of New Jules Verne Adventures, edited by Mike Ashley and Eric Brown.  It contained short stories written by modern authors as tributes to Verne.  As a Verne enthusiast, I was thrilled by the book, but disappointed to find no stories echoing Verne’s two-part novel The Steam House.  I decided to write my own, and it was published in Steampunk Tales #5.

“The Wind-Sphere Ship.”  I’m not sure why, but at some point I must have been pondering why steamships weren’t invented much earlier.  After all, the power of steam was known to the ancients.  The Greek inventor Heron (or Hero) developed a steam toy in the first century A.D.  This suggested an alternate history story.  Gypsy Shadow Publishing put this story out in e-book form.

“Alexander’s Odyssey.”  I’ve long been fascinated by the history of submarine development.  One tale held that Alexander the Great descended under water in a glass-windowed barrel.  I  wondered how the sea god, Poseidon, would have reacted, and the story wrote itself.   It was first published in the anthology Magic & Mechanica and then later (in a longer version) by itself in e-book form.

“The Sea-Wagon of Yantai.”  I continued my quest to fictionalize, in short-story form, the development of the submarine.  I found tantalizing references to the Chinese having developed a submarine around the year 200 B.C.  However, I couldn’t find any details.  I figured that left me free to write the story as I wished.  My story was also loosely inspired by Ray Bradbury’s marvelous story, “The Flying Machine,” which I’d read in high school.  Eternal Press published my story.

“Seasteadia.”  Knowing of my interest in the sea, a fellow writer in my critique group sent me an article about the concept of seasteading.  I decided to write a series of stories about seasteading’s possible future.  “Seasteadia” is the first, and so far the only published one, and it appeared in the anthology Aurora of the Sun.

There are more, but I’ll save those for next week’s blog entry.  The point is, a writer’s story ideas come from many sources.  Who knows where your next story idea will originate?  After all, your creative mind works differently from that of–

                                                                Poseidon’s Scribe

February 19, 2012Permalink