Echoes in the Vacuum: Part II

Continued from yesterday.

Part II

canyons

Image by Snowpeak

The boy started small at first, looking at just Campbell-38. It didn’t look so very different from the photos.

You’re a fool, said the boy to himself. Nobody’s hiding anything. He’s just a crotchety old man who wants everything done his way.

But the second night, he looked at two more worlds that were not on the old man’s list. The third night, four, and so on, until he was looking at ten or a dozen different stars and planets and moons every night, noting them on a pad he hid in his pocket, so he didn’t waste time looking at the same world twice. He pushed the limits of the scope’s power, further and further, until he was spying worlds thousands of light-years distant—worlds no one else could see unless they traveled there themselves by Spacial Disruption. He peered at the swirling neon gases of a nebula. Tracked a comet for awhile.

He didn’t know what he was looking for.

Until he saw it.

It was on Gallun-Z. It was big. Unmistakable.

It was a city.

Actually, several cities, cluttered all over the planet’s land masses. There were honeycombs of winding roads, and bulbous, yet symmetrical structures, and artificial lights twinkling on the night side. And—maybe—movement.

His gut grew tight with excitement and disbelief. Impossible. Yet there it was. Countless men and women had hop-scotched across the universe, discovering strange plants, beasts and diseases, yet he, planet-bound, had discovered what none of them had.

Or what none of them had reported.

It was late, and the man would be in any moment. The boy reset the scope and slipped down the stairs and picked up his broom.

Had the man ever seen what he just had? Did he know?

The boy ached to run home, to search Gallun-Z on the webs and to find out if it had yet been landed by human pilots. But he had to finish his shift—his pointless, sweeping shift—and it was another two hours before he could finally leave.

He typed in the planet’s coordinates. There were, indeed, shuttle mission photos, taken three years ago, according to the logs. He saw craters and mountains and canyons. Nothing else.

He thought for a moment that he had miscalculated, and the world he’d seen was not Gallun-Z after all, but he checked the starmaps and was sure he’d been correct. Surely the S.D. program had discovered it. Yet there was no news of it anywhere.

Someone, somewhere, was hiding an entire alien civilization.

Tune in tomorrow for Part III

Echoes in the Vacuum: Part I

Well, I promised you a sci-fi short, and here it is. It ended up being too long for flash fiction, though, so I’m posting it in five parts.

I’m not sure how I feel about it.

Part I

observatory beneath a starry sky

Image by Chris Samuel

The most powerful telescope in the world was a relic. Once man’s only window to the further reaches of the universe, now a third-rate museum presided over by a pile of rickety joints who had never completed his Ph.D., and the boy he had hired for the summer.

Sometimes in the fall and winter, the train would bring a wash of sixth graders from the local middle school to liven up the place for an hour or two. The rickety joints would lean on the stair rail at the telescope’s sight, rasping the history of the space program over a chorus of whispers, giggles, and bored sighs.

“But eighteen days after its completion,” he said, “Harmon Graham successfully tested the first Spacial Disruption engine. And that,” the rickety joints paused, staring at nothing for several seconds, until some of the children began to snicker. “…Was that,” finished the old man at last.

It wasn’t that modern schoolchildren had lost their longing for the stars; most thought themselves destined to be explorers in the S.D. fleet. But they hardly found it interesting to look through a device at the boring old moon (all that could be seen in the middle of the school day), when on the webs they could find hi-res photos and video of truly distant planets, taken by astronauts who were actually there.

The boy was different. The other kids could try their luck with the S.D. program when they were old enough—he couldn’t. Even the ones who failed the rigorous flight school could save up their pennies and visit the safaris on Kepler-62f. But he could never leave the skin of the Earth.

Of course, there were a lot of things he couldn’t do. By law, he couldn’t be a surgeon. He could never have children. His parents had to apply for special dispensation just to give birth to him.

But the stars were closed to him by more than the law of man. The miracle of technology that gave mankind access to even the most distant worlds in the blink of an eye—that technology would fire in his brain like the seizures that sometimes plagued him. But stronger: strong enough to kill him.

Yet it was the stars he longed for most.

Have you ever craved something you were deathly allergic to? That was the boy and space travel. He sometimes prayed and asked God why he had this longing he could never satisfy. Sometimes he searched the webs for some scientific rationale. But God gave him no answer, and science was indifferent.

When it was his class’s turn to visit the old observatory, and he had stared through the great glass lenses at that daytime moon, he knew this telescope was the closest he would ever get. And that summer, he begged the rickety joints for a job. The old man had frowned at him, his deep wrinkles nearly hiding his eyes.

“No.” He was firm. “Nothing for you to do. Why’d you want to work here, anyhow?”

“Why’d you?” shot back the boy.

“’Cause the past is important,” snapped the rickety joints. “You can’t hold on to what you have if you don’t know how you got it.”

“Teach me,” said the boy. And the old man sighed, flicked his hand dismissively and limped over to the supply closet. He drew out a broom and shook it at the boy until the boy came and took it from him.

“Two rules, kid. One, if you open your mouth, it better be to ask a question. You’re here to learn, not to yammer in my ears about what you already know. Two, no looking through the scope when I’m not here.”

The boy opened his mouth, then closed it and nodded.

“Well get going then.”

So the boy came every night and swept the floor that didn’t need sweeping. Once each night the man tottered in and sat in the chair in the corner, and told the boy how to angle the telescope to see Asimov-5a, or Lutwidge-7. And the boy could look through and see craters and canyons and seas. Soon, the old man taught him the use of the more powerful lens, and he could pick out pebbles in a dried river bed. Hundreds of light-years away, and it was like he could reach out and touch it.

There were maybe a dozen different stars and planets that they looked at over and over. Eventually, the rickety joints would say “aim at Kepler-3b,” and the boy would have to do it from memory.

One night, the boy diverted from the old man’s instructions. He twisted the knob to aim the scope just slightly higher. “Why don’t we look at Campbell-38 tonight? We always look at Kepler-3b, but never Campbell-38.”

The rickety joints shot out of his chair and bellowed. “No! Away from there!” he grabbed the broom and rapped at the boy’s ankles. “You look at no worlds but those I’ve taught you.”

The boy rubbed his ankle. “But why?”

“Because I say. If you want to see Campbell-38, you can find pictures on the webs. Not through my scope.”

So when the boy went home in the wee hours of the morning, he searched the webs for photos of Campbell-38. There had only been one expedition there, but there were plenty of photos. And there were mountains and canyons and strange rock formations. Much the same sights he had seen on the other worlds.

But photos were photos. They could be made to look like anything. What you spied through a lens was the real thing.

The boy knew this.

And he wondered what the old man—and what the entire S.D. program—was trying to hide.

The old man spent more time in the observatory for several nights after that, keeping one eye on the boy as he read his books. But the boy did everything he asked and nothing he didn’t and so the old man eventually left him alone again, to sweep the floor that didn’t need to be swept.

That was when the boy made his move.

Tune in tomorrow for Part II!

87 Authors of the Sci-Fi/Fantasy Golden Age

How well do you know your genre?

I’m on a mission to become better acquainted with mine.

If you’ve ever read Battlefield Earth, you’ve seen the mega list of names to which Hubbard dedicated the book – the Golden Age authors of the magazines from the ’30s and ’40s, such as Amazing Stories and John W. Campbell Jr.’s Astounding Science Fiction.

Though hardly the beginning of the genre, the Golden Age was that sweet spot, when it was just beginning to bud, to find its voice – before the genre grew too big for one person to read in a lifetime.

Though I’ve read a lot of science fiction, I’ve only read seven of these authors. Seven!

I want a better grasp on the classics than that. I’m starting with Before the Golden Age: A Science Fiction Anthology of the 1930s, compiled by Isaac Asimov. These are his favorite stories from when he was growing up – ones that influenced his own journey to writerdom. Some of these authors aren’t on Hubbard’s list, but of course I’m going to read them anyway.

How have you studied your genre? What authors most influenced your writing style? Tell me in the comments!

And if sci-fi and fantasy are your game, take a gander at this infographic. Hubbard’s full list is in text below, so you can copy and paste anywhere (I made myself a little Evernote checklist).

infographic listing 87 authors of the Golden Age of Science Fiction and Fantasy

Click and it can be yours.

And the text version:

Science Fiction & Fantasy Golden Age Authors

He mentions these first:
Robert A. Heinlein

A.E. van Vogt

John W. Campbell, Jr.

And then all these:

Forrest J. Ackerman

Poul Anderson

Isaac Asimov

Harry Bates

Eando Bender

Alfred Bester

James Blish

Robert Bloch

Nelson Bond

Anthony Boucher

Leigh Brackett

Ray Bradbury

Fredric Brown

Arthur J. Burks

Edgar Rice Burroughs

Karel Capek

E.J. Carnell

Cleve Cartmill

Arthur C. Clarke

Hal Clement

Groff Conklin

Ray Cummings

L. Sprague de Camp

Lester del Rey

August Derleth

Ralph Milne Farley

Hugo Gernspack

Mary Gnaedinger

H.L. Gold

Edmond Hamilton

Robert E. Howard

E. Mayne Hull

Aldous Huxley

Malcolm Jameson

David H. Keller

Otis Adelbert Kline

C.M. Kornbluth

Henry Kuttner

Fritz Leiber

Murray Leinster

Willy Ley

Frank Belknap Long

H.P. Lovecraft

R.W. Lowndes

J. Francis McComas

Laurence Manning

Leo Margulies

Judith Merril

Sam Merwin, Jr.

P. Shuyler Miller

C.L. “Northwest Smith” Moore

Alden H. Norton

George Orwell

Raymond A. Palmer

Frederik Pohl

Fletcher Pratt

E. Hoffman Price

Ed Earl Repp

Ross Rocklynne

Eric Frank Russell

Nathan Schachner

Idris Seabright (Margaret St. Clair)

Clifford D. Simak

C.A. Smith

E.E. “Doc” Smith

Olaf Stapeldon

Theodore Sturgeon

John Taine

William F. Temple

F. Orlin Tremain

Wilson Tucker

Jack Vance

Donald Wandrei

Stanley G. Weinbaum

Manly Wade Wellman

H.G. Wells

Jack Williamson

Russell Winderbotham

Donald A. Wollheim

Farnsworth Wright

S. Fowler Wright

Philip Wylie

John Wyndham

Arthur Leo Zagat

 

Death of a Hero

Image by Neil McIntosh

Image by Neil McIntosh

I don’t usually go to the parades. It seems in bad taste. They can thank me if they want, but the it’s-what-anyone-would’ve-done shrug is part of the unwritten heroes’ code.

Besides, it’s just awkward.

But this time, I needed to look into their grateful, shining eyes. I needed to feel I’d done the right thing. I ­knew I’d done the right thing, but feeling it is something else altogether.

I watched from the back of the square, on the darkened threshold of a closed office building. A four-piece brass band was playing strains of the Wonderkind theme song some web-lebrity had written the year before. A black and gold confetti hurricane swirled above the heads of the crowd, who were singing the lyrics like it was some anthem of hope for humanity. A man with a goatee sold t-shirts printed with the silhouette of my mask.

I didn’t make myself known until the speeches began. Two dozen first-graders and their parents sat in folding chairs on the stage. At a sign from the mayor, the first couple stood. The woman stepped up to the podium; I stepped out of the shadows. At first, nobody noticed me.

“My little girl, Madison, is seven years old,” she began. A roar went up from the crowd as I floated into the air. At least two thousand smart phones were raised and pointed in my direction, and I saw my masked face take over the jumbotron. For a moment, I was afraid they would rush me; for a moment, the woman was stunned. But then she kept talking, directing her words to me instead of to the crowd.

“She’s my baby,” said the woman, “And I would have lost her that day if—”

Her husband put an arm around her as the tears drowned the words in her throat, but everyone knew what she was going to say anyway.

And it went on like that, parent after parent, at the podium, telling me thank you, thank you, thank you. Getting all choked up thinking about what could have happened. What they would have been grieving, if it wasn’t for me. But as I kept glancing at my face on the screen—it was unmissable—I never saw the pain leave my own eyes. All I could think about was the couple that was grieving, the one that had lost their baby. The mother who had hugged me when I told her what happened, who said she understood, it wasn’t my fault. The father who nodded his agreement, but who couldn’t look me in the eye because he was thinking the same thing I was. Why couldn’t you save her, magic man? You break the laws of physics all the time. Couldn’t you do this one little thing?

But doing one impossible thing doesn’t mean you can do them all. Gravity may mean nothing to me, but I’m not bulletproof. I can’t shoot lasers out of my eyes.

I can’t be two places at once.

Suddenly, the speeches were over, the crowd was roaring again. I realized I’d sunk quite a bit, and was now hovering just above the ground. Just at the level for the reporters to get at me. The first was a brunette woman with a mini sound recorder.

“Tiffany Starling, Canfield Gazette. In all the years you’ve served our city, Mr. Wonderkind, you’ve never come to any of your own celebrations before. Why this one? What has changed?”

She pointed the recorder at my mouth, waiting for my answer: I just looked at the faces around me. There was some naïve admiration and gratitude, but there was more curiosity, lust for gossip, hunger for scandal and fame.

“I understand a young woman, a Sandra Ellis, was killed on the other side of town around the same time you were saving the bus. There have been rumors that you were in a relationship with Miss Ellis. Is that true, and if so, how are you dealing with her loss?”

Their phones were raised; several steps away, but still in my face, thousands of eyes drinking me in, begging for juicy clips to become their tickets to viral success.

“Did you know she was in danger?” the reporter continued, taking my silence as confirmation. “How did you make the heart-wrenching decision to save the children?”

Heart-wrenching. What a sensationalist cliché. It was true, of course. Truer than anything ever was, but speaking it somehow cheapened my pain. My hand moved unconsciously to the pistol strapped to my leg. Camera phones flashed around me as the crowd took advantage of one of their favorite Wonderkind poses.

Only slightly discouraged by my failure to reply, the reporter tried again. “Seeing the hope and the joy and the…the gratitude all around you, right now, what are you feeling right at this moment?”

That question, I would answer. I drew my pistol.

I shot her in the face.

5 Ways to Build a Detailed World Without Boring Your Readers

Photo by InterdimensionalGuardians. Interesting.

Photo by InterdimensionalGuardians. Interesting.

It’s the year 2053. Earth has made first contact with an extraterrestrial race; socialist aliens who reproduce asexually. You, now a literary giant, are tasked with adapting a sample of Earth literature for the aliens to enjoy. The book is Pride and Prejudice.

You open your well-worn copy to that famous first sentence, It is a truth universally acknowledged that a single man in possession of a large fortune must be in want of a wife…and you break down in tears, realizing this tale of class and marriage will mean absolutely nothing to your audience.

Universal truth, your foot!

Yet this is the challenge science fiction and fantasy writers face every day.

We create whole new worlds to house our stories, then find ourselves struggling to keep up the pace while stopping the action every few paragraphs for a history lesson.

But we don’t have to! With a few tricks of Show, Don’t Tell, we can show our readers a lot about our world without slipping into exposition. The close-up details of our heroes’ personal lives can reveal the big picture of the world they live in.

Like so:

1. Your protagonist’s job

…and the jobs of the people he knows say a lot about your world. If they’re all farmers, your readers see an agrarian community. Make him a moisture farmer in a desert, shopping for robots, and he’s Luke Skywalker. Or make him a starship repairman or a dragon breeder. Whatever the occupation, in one conversation with buddies at the pub about how hard work has been this week and what the government is up to, you can cover:

  • The major industries of your world
  • Who controls them / has the power
  • The biggest problems with society

More useful tools along these lines:

  • Living quarters (cave, tent, cryotube, barracks, fortress?)
  • School/studies (from a blacksmith’s apprenticeship to a mind control science project)
  • News reports (from the town crier announcing the war to a psychic message about falling nanobot stock prices)

2. Your protagonist’s relationships

How was he raised? Does he live with the wife and kids? The wives and kid? Seven generations of his family? Coworkers, classmates, cellmates, refugees? No one at all? This all reveals:

  • The society in your world
  • The structure of the family
  • Barriers between the classes

3. Your protagonist’s traditions

Does he pray before he eats? Does he have to slay a beast to be acknowledged a man? When he attends a funeral, is he watching a body buried, burned, scattered, eaten, or recycled? Do they even have funerals? This reveals:

  • Religion – who they worship, where they came from, where they go when they die
  • History – holidays can be used to reenact important points in history

Traditions can include:

  • Daily rituals: getting up, going to sleep, eating
  • Life events: birth, coming-of-age, marriage, parenthood, funerals
  • Holidays: festivals and fasts

*Pro tip: A liturgy, specifically words sung or recited at any of these events, can be an especially handy way to sneak in detail.

4. Your protagonist’s speech

Language, slang, shop talk, and industry buzzwords are all great tools to both plant clues and add personality to your world. For instance, your can make up your own:

  • Terms of endearment or insult (honey, jerk)
  • Titles (husband, wife, king, priest)
  • Curse words (…)
  • Greetings (hello, hi, good day, hey y’all, yo)

5. Use the appendices, Luke!

Your readers will usually be able to interpret casual references to foreign concepts by the context. But to include more detail, you can always add appendices at the back of the book. Tolkien and Herbert, renowned for their world-building in Lord of the Rings and Dune, both did it. Use footnotes to lead readers to things like:

  • Glossary of terms
  • Translations of foreign words
  • Maps
  • Summary of religion and history

What are some of your ideas for showing your world to readers? Tell me in the comments!

Thanks to Sky for suggesting this topic! If you have a writing question you want answered, leave it in the Suggestion Box!

little green men

Great show-don’t-tell world-building tips for sci-fi/fantasy writers.