Tom Swift and His Psycho-Subliminal Writer Inspiratron

When I was a young lad growing up in Cedar Rapids, Iowa in the mid-1960s, my Aunt Betty gave me a precious gift, a copy of Tom Swift and His Flying Lab by Victor Appleton II, ©1954.  It was the first book in “the New Tom Swift Jr. Adventures” series which eventually included 33 novels.

The series involves the adventures and inventions of an 18 year old engineer and scientist.  Each book features a new invention and typical titles are Tom Swift and His Ultrasonic Cycloplane, or … and His Electronic Retroscope, or … and His Subocean Geotron.  The series is a continuation of the previous Tom Swift (Senior) series that ran from 1910 to 1941.

Aside from the blond main character with the crew cut, there was Tom’s sidekick Bud Barclay, Tom’s sister (and Bud’s girlfriend) Sandy, Tom’s girlfriend Phyllis Newton, Tom’s father Tom Sr., his mother Mary Nestor Swift, and the executive chef for Swift Enterprises, Charles “Chow” Winkler.  I remember these characters as if I knew them as real people.

Story lines typically involved some trouble somewhere, like a kidnapping, a stolen invention, or some other evil being done in some exotic locale.  Often one of the dastardly countries of Brungaria or Kranjovia was behind it all.  Tom, fresh from some previous adventure, has just invented (or proceeds to invent) some gadget used to save the day.

We are not discussing superb literature here, admittedly.  The characters were stereotypical and lacked depth.  None of them changed or learned anything as a result of the conflicts they dealt with, either within any book or across the series.  Tom himself had no character flaws whatsoever, other than paying insufficient attention to his very tolerant girlfriend.  The writing style was amateurish.  In an earlier post I already mentioned the occurrence of “Tom Swifties.”  Any notion of realism was abandoned in these novels, from the basic premise of an 18 year old being the sole inventor of all the gadgets, to the implausibility of the inventions themselves, to the fact that one young man could be the hero in so many dangerous escapades.

I loved that series, and still do.  I begged my parents for the next book I hadn’t read until I could afford to buy them myself.  I thought about how cool it would be to have such machines and vehicles myself, or to be able to invent them.  I compiled a personal library of about 2/3 of the series.  Decades later, I found my mother had disposed of them, thinking I no longer wanted the set.  That saddened me, but my brother scoured garage sales and helped me rebuild the collection.  Thanks to him, I now have 18 volumes from that series, and 20 novels from the earlier Tom Swift series.

It appears I’m not Tom Swift’s only admirer.  There’s at least one website dedicated to the series, and an active discussion group.

None of Tom’s inventions mentioned were actually built.  Indeed, most are impossible.  But one of his gadgets, a mechanism never actually named or referred to, worked really well.  That’s Tom’s Psycho-Subliminal Writer Inspiratron.  The Tom Swift Jr. series, so loathed by librarians and English teachers, motivated my interest in engineering and in storytelling.   It prompted me to read other things, better books, including the works of Jules Verne.  Tom kindled an interest in adventure and traveling to distant places, and is a big part of why I joined the submarine service.

Please comment and let me know if Tom Swift also inspired you, or let me know what other books of your youth did.  For now I’d like to say thanks for everything, Tom, especially your amazing Inspiratron.  Sincerely,

                                                   Poseidon’s Scribe

 

Writing for Young Adults

Want to write stories for Young Adults?  Hard to blame you.  It’s a large market, and some authors have become successful in aiming for it.  If you, like J. K. Rowling, happen to write a YA story that also appeals to adults, then your story’s market is that much bigger.

Perhaps your purpose in writing YA stories is more complex than a direct desire for money or fame.  One web commenter has suggested writer Robert Heinlein wrote YA (then called ‘juvenile’) novels to shape a young audience, to prepare readers for later buying his brand of adult novels.  If true…wow!  That’s thinking ahead!

Whatever your reason for wanting to write for it, the YA market is an interesting one.  It took until about 1900, several hundred years after the first printed books, for the following confluence of events to make a YA market possible:  (1) the price of books dropped to be within a teen’s budget, (2) teen buying power rose so they could afford books, and (3) teens weren’t working so long and had available time to read.  Once the market emerged, authors began aiming for it.

What are YA stories like, and how do they differ from other genres?  Young adults, as an audience, are leaving the comfortable world of childhood and ready to experience adulthood.  They’re curious about it, anxious to try things.  Fiction gives them a safe opportunity to “try” things in a vicarious way.  They’ve grown beyond simple, moralistic tales.  They crave stories with identifiable, strong but vulnerable characters–complex characters who aren’t all good or all bad.  A good, solid plot-line is more important to them now than it was in the children’s books they no longer read.

In short, YA stories are very similar to those written for adults.  I thought I’d read once where Robert Heinlein had said writing for juveniles (the old term for YA) was just like writing for adults except you take out all the sex and swearing.  I can’t find that quote now, but it would need amending anyway.  Notice Heinlein had no problem with violence in YA stories, and that remains true.  As for sex, it’s probably best to leave out graphic descriptions, but don’t pretend the act doesn’t exist.  As for swearing, it’s my guess that mild swearing is acceptable in YA literature these days.

How do you write for the YA market?  I think it’s important to think back to your own teen years and pull what you recall from those experiences.  Remember when the world was new to you, when all your emotions were intense ones, when you longed to be accepted and wondered if there were others like you, wondered if you’d find even one special person for you?  Pick a protagonist who is aged a few years older than your target audience, either in the late teens or early twenties.  Don’t talk down to your readers; they’re old enough to look up words they don’t understand.  Don’t set out to write a moralistic story of instruction; teens are quick to spot a lecture and, frankly, they get enough of those from their parents.  They’re not about to shell out good money and spend their time reading a sermon from you.

My own reading as an early teenager focused on the Tom Swift, Jr. series published between 1954 and 1971.  After that I primarily read Jules Verne and other science fiction authors, mostly those writing hard science fiction.  Now as a writer, I think all my stories should be acceptable for the YA audience, though I haven’t consciously aimed for it.  My tales have very little swearing.  There is a sex scene (of sorts) in my horror story, “Blood in the River,” but nothing too graphic.  However, none of my published stories feature a teen protagonist.

Good luck with the YA story you’re writing.  If this blog post has helped in any way, or if you take issue with what I’ve stated, please leave a comment for–

                                                    Poseidon’s Scribe

 

 

Can’t You Stick With One Genre, Steve?

Today I’ll explore the reasons why some authors write in only one genre, and why others don’t.  If you’re a beginning writer, most likely you picture yourself staying in your favorite genre.  Don’t be too sure things will remain that way.  When I started, I never imagined I’d write a horror story, or a romance.

Here’s the list of the genres in which I’ve had stories published, along with the stories that apply to each (and yes, some stories reside in more than one genre):

Science Fiction “Bringing the Future to You,”  “Seasteadia,” “The Finality,” “Target Practice”
Alternate History “Leonardo’s Lion,” “Alexander’s Odyssey,” “The Wind-Sphere Ship,” “The Vessel,” “The Sea-Wagon of Yantai”
Steampunk “Within Victorian Mists,” “The Steam Elephant”
Clockpunk “Leonardo’s Lion”
Romance “Within Victorian Mists”
Horror “Blood in the River”
Fantasy “A Sea-Fairy Tale”

Consider things from a reader’s perspective.  With limited funds and little free time, they’re forced to be selective.  They tend to prefer reading in one or two genres, and if two, the pair of genres are often related.  Readers seek good, consistent, and dependable authors.  Once they discover an author they like, they stick with that one for a time.  Readers do not like surprises from authors, either in quality or in change of genre.

From the author’s perspective, there are two needs to satisfy–the reader and the muse.  Many authors seek to make money from their writing, and the only way to do that is to delight a lot of readers.  Other authors write for their muse, their creative mind.  That often causes these authors to dabble in several genres, since the muse is fickle and easily bored by sameness.  Since authors are aware of the preferences of readers mentioned earlier, they will sometimes use pen names when they write outside their main genre.

As you might have suspected, I’ve been writing for my muse so far.  How have readers been taking to my stories?  I get some data from Amazon, but even so it’s hard to tell.  Several of my stories are combined with other author’s tales in anthologies, so sales of these anthologies do not necessarily indicate readers like my stories.  Only a few of my stories are sold as ‘books’ in their own right.  Further, I’m unable to get sales data from Amazon on two of my stories–“Bringing the Future to You” and “Target Practice.”

With the data I was able to gather, I decided to rate my stories by number of sales per year rather than total sales, to account for the different publication dates.  Here’s the list, starting with the best-selling:

Story Genre
“The Finality” * science fiction
“Blood in the River” * horror
“The Steam Elephant” * steampunk
“Within Victorian Mists” steampunk, romance
“A Sea-Fairy Tale” * fantasy
“The Vessel” * alternate history
“Alexander’s Odyssey” alternate history
“Leonardo’s Lion” clockpunk
“The Wind-Sphere Ship” alternate history
“The Sea-Wagon of Yantai” alternate history
“Seasteadia” * science fiction

* published in an anthology or magazine

This suggests I should be writing more science fiction, horror, and steampunk if I want to maximize sales.  However, sales do not always equal income.  The anthologies all paid a single advance, so my earnings from them do not reflect sales.

Still, I’ve decided to continue to follow my muse, and to keep writing under my own name rather than under a pen name.  I’ll keep track of story sales as I go.  If stories in one genre really take off, then it makes sense to keep riding a winning horse.  What do you think of my strategy?  What will yours be?  It might be very different from that of–

                                                                      Poseidon’s Scribe

Book Review – A Time of Changes

I’ve enjoyed other books by Robert Silverberg (Roma Eterna, Letters from Atlantis, and Gilgamesh the King) and so had high hopes for A Time of Changes, published in 1971.  After all, it won the Nebula Award in 1972 for best science fiction novel.  I listened to the Recorded Books version, their Sci-Fi imprint, read by Pete Bradbury.

The blurb for the book stated it takes place on another planet where the use of “I” and “me” or any self-referring pronouns is blasphemy.  For me, that brought to mind Ayn Rand’s Anthem and Yevgeny Zamyatin’s We, both novels about civilizations that forced people to think of themselves only as part of a collective, not as individuals.

But that’s not exactly the case with the planet Borthan, where the protagonist, Kinnall Darival, lives.  It’s a bit more complicated.  In most areas of the planet, people live under a centuries-old Covenant which forbids people from sharing personal thoughts with anyone, with two exceptions.  People may share any thought with a “drainer,” a religious authority who is paid to listen; such unburdenings of personal feelings is meant to be cathartic and bring a person closer to the gods.  Citizens may also share thoughts with “bond-kin;” these are a pair of unrelated people of the same age assigned to each person at birth.  People can share intimate thoughts with bond-kin but never become sexually intimate with them.

If this seems complicated, I agree.  But it seems Silverberg has created a world where love itself is cut in two.  People share sexual love with their marriage partners, but not emotional love.  The only outlets for emotional love are forbidden as sexual partners.

Silverberg fleshes out the world of Borthan in a thorough way, complete with geography, history, myths, and socio-governmental structures.  The tale follows the life of Darival as he finds a drug that can allow people to read each other’s minds, and how he falls from being a wealthy prince to a fugitive outlaw.  I found the Darival character well-drawn, as were all the others.  Despite the complicated premise, the novel is easy to read.  Silverberg has a wonderful writing style–flowing and lyrical and yet precise in meaning.  Pete Bradbury does a fine job with narration.

However, I did find the premise difficult to believe.  The colonists from Earth who’d settled the planet centuries before set up the Covenant for religious reasons, apparently.  But their aim in separating emotional from sexual love is not clear.  Nor is it apparent how the Covenant remains in force even when there are occasional visitors from Earth, so that Borthan citizens become exposed to alternative ideas.  The mind-reading drug is available on a neighboring continent, so (despite the population’s strange disinclination to travel) it stretches credibility how Darival is the first person to try to spread new ideas about love.  Also, it made little sense why the technology of Borthan was at the early-20th Century stage (cars and telephones), despite the story taking place about a millennium in the future.  Lastly, I couldn’t understand the taboo against self-referencing pronouns.  Original architects of the Covenant clearly wanted people to think of themselves as individuals–it’s considered virtue to solve your own problems without burdening others.  So why forbid the use of “I” and “me?”

With regret, I’ll give this novel a rating of 3 seahorses.  See the basis for my rating system here.  I do recommend A Time of Changes, but it is not my favorite book by this author.  If you feel I’ve been unfair, please enter a comment for–

                                                                       Poseidon’s Scribe

Book Review – Counting Heads

As both of my many readers know by now, I listen to books on tape more often than I read them these days.  The latest was Counting Heads by David Marusek.  I listened to the Recorded Books version narrated by Kevin R. Free.  I enjoy good science fiction, and the blurb about the book sounded impressive.  Mr. Marusek has apparently written short stories and I believe this is his first novel, but I have not read anything else by this author.

In a future North America where people can live hundreds of years, and nanotechnology and artificial intelligence have made life (mostly) more enjoyable, artist Sam Harger marries billionaire and soon-to-be-politician Eleanor Starke.  Things go awry when Sam is falsely pegged as a terrorist and the Department of Homeland Security (a future and scarier version of it) alters his body so he can no longer be rejuvenated and he now emits a powerful stench beyond cleansing.  Then there’s a plane crash in which the aircraft seat mechanisms protect his daughter Ellen by severing her head from her body.  Medical science has advanced enough to allow re-growing a body from just the head.  But others are after Ellen’s head, perhaps the same evil folks who caused the plane crash and the mistaken terrorist accusation.

I like the world Marusek has created for this novel.  Most people have robotic “mentars” to aid them in drudgery tasks.  Many people are, in fact, clones, and Marusek goes into some detail describing the various types.  Nuclear families have given way to “charter families” functioning by contract and subject to change.  However, terrorists have created nanotechnology viruses, from which cities protect themselves with shield domes.  Mechanical “slugs” crawl about testing people’s identities, and mechanical bees and wasps swarm around observing things for government or media purposes.  I thought Kevin Free did a fine job in reading the novel.

However, for me, that sums up the book’s positive aspects.  Perhaps as a listener rather than a reader I may have missed something, but it wasn’t clear to me what the central conflict of the novel was.  If Sam Harger was supposed to be the protagonist, then the novel spends too little time following the events of his life, and strays into following other characters.  Sam did not seem to me to be actively involved in resolving the central mystery of the book.  As a result, I found it hard to care about him.  The other point-of-view characters are all more focused on their own lives and I found it hard to care about them or even connect them to the plot at all.  The whole book therefore seems a confusing muddle to me.  Is there really a central conflict in this novel?  If so, what is it, and why do the characters not pursue its resolution with any apparent dedication?

After thinking about this for a time, and after reviewing my definitions for my five seahorse rating system, I have to give this book my lowest rating of one seahorse.  If you’re intrigued by science fiction and want to experience one writer’s thoughts on clones, nanotech, advanced medical science, and robotic animals, you might consider reading Counting Heads, but I recommend looking elsewhere.   However, it’s possible I missed its greatness somewhere; if you’re the person to set me right, please leave a comment for–

Poseidon’s Scribe

 

Pioneers and Giants

For this blog post I’m dividing the great writers into two categories–pioneers and giants.  I define pioneers as those who start a new genre of fiction by themselves, and giants as those who come along later and take an existing genre to new heights and greater popularity.

Here is a table listing a few literary genres and some of the pioneers and giants in each one:

Genre

Pioneers

Giants

Adventure Heliodorus, Homer Edgar Rice Burroughs, Alexandre Dumas, Ian Fleming, H. Rider Haggard, Victor Hugo, Emilio Salgari, Robert Louis Stevenson, J.R.R. Tolkien, Jules Verne
Comedy Aristophanes Douglas Adams, Joseph Heller, William Shakespeare, R. L. Stine, Kurt Vonnegut
Crime Steen Steensen Blicher, Edgar Allan Poe Arthur Conan Doyle, Raymond Chandler, Agatha Christie
Fantasy Homer Marion Zimmer Bradley, Edgar Rice Burroughs, Stephen King, C. S. Lewis, J.R.R. Tolkien
Historical Chariton of Aphrodisias Pearl S. Buck, Ken Follett, Robert Graves, Eleanor Hibbert, James Michener, Baroness Emma Orczy, Ryotaro Shiba, Leo Tolstoy
Horror William Beckford, Ann Radcliffe, Matthew Lewis Stephen King, H. P. Lovecraft, Edgar Allan Poe, R. L. Stine, Mary Shelley, Robert Louis Stevenson, Bram Stoker, Oscar Wilde
Mystery E.T.A. Hoffmann, Edgar Allan Poe Jiro Akagawa, Agatha Christie, Arthur Conan Doyle, Erle Stanley Gardner, Dashiell Hammett, Kyotaro Nishimura, Edward Stratemeyer
Philosophical St. Augustine Albert Camus, Fyodor Dostoyevsky, Hermann Hesse, Aldous Huxley, Soren Kierkegaard, Stanislaw Lem, C.S. Lewis, Jean Paul Sartre, Ayn Rand, Voltaire
Political Plato Edward Bellamy, Benjamin Disraeli, Franz Kafka, Sinclair Lewis, Thomas More, George Orwell, Aleksandr Solzhenitsyn, Harriet Beecher Stowe, Jonathan Swift, Voltaire, Gore Vidal
Romance Chrétien de Troyes, Sir Thomas Malory, Ann Radcliffe Barbara Cartland, Jackie Collins, Catherine Cookson, Janet Dailey, Eleanor Hibbert, Debbie Macomber, Stephenie Meyer, Nora Roberts, Denise Robins, Danielle Steel, Corín Tellado,
Satire Aristophanes Ambrose Bierce, Anthony Burgess, Candide, Joseph Heller, Aldous Huxley, George Orwell, Jonathan Swift, Mark Twain, Kurt Vonnegut
Science fiction Jules Verne Douglas Adams, Isaac Asimov, Ray Bradbury, Edgar Rice Burroughs, Orson Scott Card, Arthur C. Clarke, Robert Heinlein, Frank Herbert, H. G. Wells
Steampunk James Blaylock,  K. W. Jeter, Tim Powers Paul Di Filippo, William Gibson, Bruce Sterling
Thriller Homer, John Buchan Dan Brown, Tom Clancy, Clive Cussler, Michael Crichton, Ian Fleming, Ken Follett, Frederick Forsyth, John Grisham, Robert Ludlum, Alistair MacLean
Urban Robert Beck TN Baker, Kole Black, De’Nesha Diamond, K’wan Foye, J.Gail, Erick Gray, Shannon Holmes, Pamela M. Johnson, Solomon Jones, Mallori McNeal, Miasha, Meesha Mink, Jeff Rivera, Big Rob Ruiz, Sister Souljah, Vikki Stringer, Nikki Turner, Anthony Whyte

You can quibble with the names in the table and that’s fine; I don’t pretend that it’s 100% accurate or complete.  But as I look through the table a couple of things are apparent:

  • There are a lot of genres, and probably more for you to invent.  (I didn’t list all genres, or very many subgenres.)  There will be more pioneers.
  • Just because a genre is old (the pioneer long dead) doesn’t mean new, modern giants can’t emerge.  It’s never too late to be a giant.

In general, the pioneer lays down some of the rules for the genre and takes the first tentative steps within its boundaries.  The pioneer faces the difficulty of convincing a skeptical publisher to take a risk on a book that doesn’t fit in any known category.

But it is the giants who really explore the full extent of the genre and help to popularize it for more readers.

Perhaps one day you’ll be looked upon as a great author.  Which type will you be–a pioneer or a giant?  There’s glory in both.  Which would you rather be?  Let me know by clicking “Leave a comment.”  Hoping to become one or the other, I’m–

                                                              Poseidon’s Scribe

September 18, 2011Permalink

Why I am Poseidon’s Scribe

I write fiction, and most of the time the setting for my stories is the ocean.  When you grow up in the Midwest, the sea is so distant and seems very exotic.  You can only imagine the smell of the salt air, the wind-whipped spray, and the mountainous wave cressets.  Saying the words “ocean” or “sea” is akin to screaming the word “adventure.”

You might read some Jules Verne and some Tom Swift, and become even more enthused about the mysterious depths, and man’s ever-advancing technologies for exploring and living in the sea.  Maybe when you grow up, you might join the submarine service.  That dose of reality might just take the magic out of the ocean, but in your case it doesn’t.  At some point, you realized a muse is begging you to write down all the stories in your head.

Maybe it’s not a muse, though.  Perhaps it’s the ocean itself I hear, the watery echoes of wakes left by all the ships down through history that sailed there, or ripples sent back to our time somehow from future vessels.  If it’s the ocean’s mighty voice I hear, then that makes me Poseidon’s Scribe.

Well, let us say Apprentice Scribe, since I’m still learning the craft.  After all, I’m trying to convert eddies and surf and currents into prose.  Something’s bound to get lost in translation.

The sea is omni-faceted, as it turns out, and my stories now span several genres.  These include historical, science fiction, fantasy, steampunk, and horror.  Not all of my stories take place in a seawater setting, but most do.

I’m glad you’re here.  Look around the shop.  Read some of the results of my scribbling.  I’ll use this space to share thoughts about reading, writing, and the sea.  So long as the ocean keeps whispering in my ear, I’ll keep writing it all down, because I’m…

Poseidon’s Scribe