A to Z Flashback: 2012 -- Fiction to Reality

This year, 2014, is my third "A to Z," which would make 2012 my first one. There are a lot of you around these days that weren't around back then, so I thought -- Okay, actually, my wife thought. She said to me, "Since everyone seems to really like your theme this year (which, again, was her idea),you should do a post highlighting your previous A to Z themes." Which, um, were also her ideas. Yeah, she throws ideas at me all the time; some of them stick. -- I would drop an extra (Sunday) post in case any of you are interested in seeing what I've done before. So start at the beginning, right?

Well, not that beginning... that's too far back. Just the beginning of my participation in "A to Z," which was this:

The A to Z of Fiction to Reality

See, there's a link there, so you can go read the intro post if you want to. And here's a list of the topics I covered of things that started out as fiction, started out in some author's mind, made its way onto some paper, worked its way into some reader's mind where it poked and nudged until that person made that thing, that thing that was just made up by someone, into something that is real, something that works, and, often, something that has changed the world. There're all linked, so, if you see one you think you want to know about, you can just go directly to that one without having to wade through all 26. But, you know, if you want to wade through, or swim in, all 26, feel free to do that, too. Oh, and don't be shy about commenting on any of the old posts if you feel so lead. It's not like commenting expires or anything.

A -- Artificial Intelligence

B -- Bertie Bott's Every Flavor Beans

C -- Cyborgs

D -- Driverless Cars

E -- Exo-suits

F -- Flying Cars

G -- Genetic Engineering

H -- the Holographic Interface

I -- the Internet and the Invisibility Cloak

J -- Jekyll and Hyde

K -- Klingon

L -- Lasers

M -- Moon Landing

N -- Nanotechnology

O -- Opton

P -- Platforms

Q -- Quantum Communication

R -- Robots and Androids

S -- Snow Crash, Second Life, and Submarines

T -- Tom Swift and the TASER

U -- Ultraphone Ear-Disc

V -- Virtual Reality

W -- Wonka

X -- Xenobiology

Y -- the Yeast-Beast Machine

Z -- Zero Gravity and Zombies

NOTE: I did eventually read Snow Crash, prompted by how often it came up while doing research for this series, and I would never recommend it to anyone. You can read my review here.

Brave New World (a book review post)

"Murder kills only the individual--

and, after all, what is an individual?"

"What is an individual?" may be the central question of Brave New World. What is his worth? To himself? To society? It's an interesting question, especially within the context of Aldous Huxley's novel and his world of mass-produced "individuals." Individuals who have been conditioned to be just like everyone else. [Yes, you may now say, "We're all individuals!" "I'm not!"]

The mass production of people, identical people, is a fascinating concept, and Huxley handles it in a way that is, frankly, amazing. Especially considering that the ideas he was dealing with hadn't really been invented yet. Especially the genetic engineering part, which is not what he calls it, but the concept is there. Basing it all around Henry Ford's assembly line transformed it into a vast social commentary which, evidently, didn't meet with much favor in his day. [Ford was still alive when the book was published in 1932, and I wondered about how he felt about Huxley's use of him in the book, but, as far as I could find, Ford never commented on it. I have to wonder, especially considering the initial reception of Brave New World, if he even knew.]

The real temptation here is to not talk about the book at all but to talk about Huxley and the context from which he was writing, about how he had wanted to be a doctor and his very scientific mind, which you can certainly see in the book. Not just in the science he talks about in creating people (which, yes, is fictional, but was probably quite plausible from 1930), but in all of the things he envisioned: helicopters, immersive television (which may be just around the corner), and social controls involving government-sponsored drug programs.

The book threw me right at the beginning. It starts out with a tour of the Central London Hatchery and Conditioning Centre, and that's exactly what it is, a tour of the facility and, thus, the world setting for the reader. We follow a few of the side characters around for a bit before we are finally introduced (quite a ways in) to one of the major characters, and we're introduced to him through the eyes of "normal individuals" who see him as an odd one. We wouldn't necessarily see him that way but, once we've gotten to know the conditioned people, we're able to see him as someone who doesn't quite fit into "normal" society. And to say more would be to start spoiling the story, and I don't actually want to do that.

One other interesting bit is that the book was known as an "anti-utopian" when it came out. It's interesting to me in that the term "dystopian" already existed; it just wasn't in common usage. But Brave New World may be the best example of an actual dystopian novel that I've ever seen, from a literary standpoint, that is. Dystopian being something that looks utopian but has something sick or rotten at its core. That's actually part of the core of this book, too. Society is stable and people are happy. What have they had to give up? Individuality. Or, as it is put at one point (and this is a bit of a spoiler), the freedom to choose to be unhappy.

It's an interesting question, especially in a society that values the right to pursue happiness. If you were offered the option of a happiness, even artificial happiness, and all it meant was giving up the right to choose to be unhappy, would you do it? Would you choose a place that is basically a land of perpetual happiness and pleasure if it meant giving up the things that differentiate you from other people, because, after all, it is the things that make us different that make us unhappy. The things that set us apart. Sure, they are the things that make us who we are, but they are also the things that cause unhappiness in us. Too short? Too plain? Imperfect teeth? Too dumb? Too smart? Not a problem. None of them.

Unless, you know, someone gets too much alcohol in your blood-surrogate.

[Most significantly, especially after finding out that Brave New World is not supposed to be Huxley's best work, I want to read more of his books. That's the mark of a good author, I think, when you put down a book and immediately wonder what else the person has written.]

How To Be... a Writer (an IWSG post)

"Write what you know."
How long has that phrase been going around? Forever? Close enough, right?

Some people say that's bad advice, but writing about things you know nothing about is a sure way to end up with bad writing. For instance, it's clear that George R. R. Martin writes about a lot of stuff he has no clue about, which is fine for other people that have no clue about it, but, when you get to someone who does have a clue, the writing comes off as, well, stupid. Like the whole ravens as couriers thing. That's just dumb. Clearly, his thought process was, "That would be cool," but ravens aren't that kind of bird. They don't work like homing pigeons. And, sure, you can say, "Well,  in his world they are that kind of bird," which is fine, but, then, why call them "ravens"? [And, yeah, I'm picking on Martin because he can take it (he's mega-rich), but I strongly object to doing something in your writing just because it's cool if it's also stupid and/or wrong (like the Emperor going down into the arena at the end of Gladiator: That was stupid and historically inaccurate).]

My advice is to always write what you know, if for nothing else, so that you don't come off looking stupid.

Here's the good news, though, it's easier, right now, to be a writer than ever before in history. Even just 20 years ago, doing the research you would need to do to write anything could be a laborious and time consuming prospect, not to mention that, in some cases, travel might be required. I mean, if you want the setting of your story to be Paris or Egypt, it might be a good thing to know about those places, right? That's part of why authors so desperately needed advances. Sometimes, delivering the product required money to do the research. But not anymore...

Today... well, today, you can know anything. Seriously. But, wait! There's more! Today, you can know anything without ever leaving your home! How amazing is that? And that... That was the whole point of my "a-to-z" theme this year.

If you want your protagonist in your shiny, new novel to be a brain surgeon, you can do that. You can find out everything you need to know about it without having to actually find a brain surgeon to tell you. If you want your main character to work for the CIA, you can do that, too. If your character discovers ancient ruins, you can have all the info at hand that you need to present that in a realistic way. Even if it's unidentified bones. If you're writing sci-fi, you have, at the touch of your fingers, all of the latest information from genetic engineering to warp technology. Or, if you're writing historical fiction and you want to have knights in shining armor, you'll know not to set it during the First Crusade or include King Arthur.

Just as a personal example, when I was writing The House on the Corner, I frequently used Google Earth to cruise around Shreveport to remind myself of details about locations that I needed for the story, even things that didn't necessarily get stated explicitly in the book (like the name of the diner they have breakfast at). You can make any place as real as being there that way. It's really rather amazing.

Being a writer has never (NEVER) been easier.

Not only is virtually any piece of information you might need to know a few key strokes away, but there is no longer the need to wait at the gates of the Giants anymore. Those giants aren't so big after all. In fact, the publishing industry is more akin to the wizard of Oz. No, not the book, the dude. That dude behind the curtain that's acting all scary and powerful, but, you know, he's just a dude, and the thing that's been between you and publishing your book is just a curtain.

It's just a curtain! There's no magic. No gate keeper. No special power or insight. All you have to do is pull back the curtain and step through. Wait, maybe, that is magic!

It's the magic of the Internet.

If you're writing fiction, there are no more excuses. You can do it all. Wait, let me say that again. You can do it all. Oh, wait, one more time. You can do it all. You can do it all! (yeah, so I lied; that was twice)

Really, the only thing standing between you and being a writer is, well, yourself. Which is not to say that you can just throw some crap onto some paper and be done with it (although there are certainly plenty of people that do that), but, if you work at it, if you practice, if you read, if you read a lot, and you practice some more, writing that is, if you practice writing, and you practice writing a lot, you can be a writer. All of the information you could ever need is at your disposal, be it about monsters or being the voice of god.

So... just... get out there and do it. Work on it. Be it.

[This post has been brought to you by Alex Cavanaugh's IWSG.]

The A to Z of Fiction to Reality: Genetic Engineering

I'm going to call The Island of Doctor Moreau the first instance of genetic engineering in fiction. It's not really presented as such, because DNA research was still in its infancy. Understand what I'm saying here, the book by H. G. Wells came out in 1896, and DNA research was in its infancy... first discovered in 1869; although, no one really knew what it was. Yet. Still, there is no other real explanation for what Moreau is doing in the book, even if that wasn't Wells' point with the novel. Really, he was making a statement against certain types of medical research (specifically, vivisection) which were somewhat horrific and accompanied by great amounts of pain by the "patient." Wells seems to have opened the door to the idea of genetic engineering, at any rate, as fiction throughout the 20th century has been filled with all sorts of genetic engineering and enhancements. The book itself has had many, many adaptations and spin offs.

Genetics and genetic engineering have become one of our modern bogey men, so much of the fiction surrounding genetic engineering has to do with how "playing God," how messing with the natural order of things, will lead to our eventual downfall. Or to a world we don't want to live in. Examples:

Gattaca: A society that revolves around the genetically engineered. Genetic discrimination is pervasive. Valids, those that were born through genetic manipulation to be superior, are the only ones that can qualify for professional positions in society. The in-valids, those born through traditional means, are seen as weaker in all ways and are relegated to menial positions.

Resident Evil: Genetic engineering leads to a zombie apocalypse.

Brave New World: Well, I'll get to this one, later (in a separate post), but this is a book tightly wrapped up in genetic engineering while claiming not be genetic engineering (because it wasn't known, yet, as with Moreau; however, it's clear in concept what is happening).

Of course, the other major example of genetic engineering is in super hero stories and super soldier stories. I'm not even going to bother listing these as there are so, so many. Let's just say they are rampant. Even the clones in Star Wars are genetically engineered.

The first real bit of genetic engineering happened in 1973 with some bacteria. But it was followed up in 1974 with mice. Since then, we've engineered all sorts of things. The food industry does extensive research in genetic engineering; although, people aren't, yet, mostly, at a point where they want to eat food that they know has been altered. However, we tend to have no problem eating, say, cows that have been fed genetically altered corn.

It's even hypothetically possible, at this point, that we could start doing things like choosing the eye color of a baby before it's born. Of course, that's wrapped up in all kinds of ethical arguments, but "they" do think they can do it. If they were allowed. Or, maybe, they have done it, and no one is saying anything about it.

The big thing for me, though, and why I'm taking this back to The Island of Doctor Moreau is that we can do things like

Those are zebrafish. Normally, they look like

They've had genes from coral introduced, and they are commercially available as pets and have been since 2003.

Malaria resistant mosquitoes have also been developed and could prove a huge boon in areas of the world where malaria is a leading cause of death. Trials have shown a reduction of malaria by 80%.

We also have glowing cats:

But these aren't yet available as pets.

Other significant plants and animals that have been genetically engineered:

Venomous cabbage: It's been engineered with scorpion venom in its leaves as a defense against caterpillars, but it harmless to humans.

Goats with spider silk milk: Yes, these goats produce spider silk in their milk which can be used to produced bio-steel. Did you know that spider silk is one of the strongest substances we know of? Stronger than Kevlar. We just can't get enough of it from spiders, but we might be able to from these goats. Or, maybe, we'll end up with Spider-Goat!

Cows that fart less: Why? Because cows are one of the world's leading producers of methane gas, a major cause of global warming. If we can make cows that fart less, we can reduce methane emissions.

I could go on, but there's no need. This stuff is real, but it all started in the pages of a book by H.G. Wells at the end of the 19th century.