Recommending Devon Monk

So yesterday I recommended a writer who's working the edges of publishing, without the Manhattan powerhouse behind her titles ( but she is easily a match for any of those writers).

That post is:
http://aliendjinnromances.blogspot.com/2009/12/is-that-really-you.html

And today I'm going to point you at a writer who's doing Fantasy for RoC, which has become a dominant player in the adult Fantasy field which is toying with the edges of Paranormal Romance, believe it or not. Action Romance.

This is very much like Linnea Sinclair's mixture of Romance with Science Fiction, only with "Fantasy" instead of "Science".

There are fully developed characters with huge, complicated lives, interlaced into the affairs of "wizards" (the movers and shakers of their world). These are people whose actions make a difference, and their personal values and mores will have far reaching ripple effects. They are responsible enough to care and to move with an eye to that ripple effect.

Meanwhile, life brings these intense relationships that just change everything. Every time you turn around, you're tripping over issues your everyday ordinary action hero doesn't have to deal with. These characters' lives are not as simple as say, Indiana Jones' life, or Rambo's.

RoC Fantasy is cultivating this type of story, which is a genre-buster of a mixture, and it's my type of story! I'm so glad it's not so hard to sell anymore.

Devon Monk is going to be a major player in this field.

Here are 3 novels in a series by Devon Monk, and the first 2 meet my criteria for structure, story, and theme so well I've no reason to think the 3rd won't.

Magic to the Bone (Allie Beckstrom)


Magic in the Blood (Allie Beckstrom)


Magic in the Shadows: An Allie Beckstrom Novel

I finished reading Magic to the Bone and immediately started Magic in the Blood, and don't expect to pause until I've finished Magic in the Shadows.

I'm halfway through Magic in the Blood and still love it, though the Hunk-Soul Mate of our kick-ass heroine doesn't reappear until after page 100. Don't worry, the story doesn't sag at all since you know she can't survive this unless he does reappear. And when he does step onstage, Allie discovers something new about him we didn't know before (by using a Reveal spell) that raises all sorts of alarming questions.

For Alien Romance folks who like a solid science-fantasy plot with their relationship story, this is just the right meter. It's not all about sex. But the sex is not gratuitous. The action plot wouldn't hold together without it.

In the Allie Beckstrom universe Devon Monk has created, "magic" is a force or power, somewhat like electricity, that can be captured and distributed by conduits (a utility) beneath the city's streets. There are university courses in business magic. Science still works. Cell phones die in Allie's hands. The attitude toward using magic is scientific.

You "draw on" magic or use it by the usual spells, mantras, and symbols, but USING MAGIC COMES WITH A PRICE.

The "price" is some sort of physical illness or dysfunction that hits with the rebound. It can be magically diverted onto another person, (thematic moral complications there!). For Allie, the worst effect of using lots of magic is that she loses pieces of her memory. In the second book, she's lost a piece of memory that might include having sex with this Hunk -- or not. He knows. She doesn't. He's not telling.

Allie Beckstrom is the daughter (and heir) of the man who owns the patents on this technology. He had several wives after her mother divorced him. The latest, whom Allie is only now meeting, owns a quarter of the business, Allie owns more than half (but hasn't gained possession yet), and the other ex-wives split the rest. (this is sooo Robert A. Heinlien and sooo modern all at once!)

Allie is accused of her father's murder (there's magical proof she did it but she didn't.)

A man her father hired to tail her, (and who her current step-mother separately hired for other reasons) is a potential Soul Mate, our Hunk, but she doesn't know that. They are magically suited to one another very much like a certain kind of pairing of channel and Companion in my Sime~Gen Universe, called Match Mates.

( http://www.simegen.net not included in the 4 titles I have available on Kindle)

This guy is one luscious hunk you have got to meet! Mystery Man Extraordinaire. Allie has almost broken free of being dependent on her father whose morals she doesn't like when this Hunk appears, and she can't figure him out.

From there her life gets almost as complicated as mine!

OK, there you go. Find copies of these novels and devour them.

This is my kind of stuff - neither SF nor Fantasy nor Romance, but all three in nicely balanced proportions, with a main protag with dire and terrible complicated problems that are as much ethical and moral as they are physical (plenty people want her dead).

Allie reminds me of Harry Dresden of The Dresden Files novels that I rave about here and in my review column, but her love-life puts a whole new spin on it.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Plot vs. Story

The moving parts of a piece of fiction are well known to every writer who has been able to sell work consistently to the larger publishers.

Every workshop I've taught in where I've watched other writers analyze student work has shown me clearly that every single writer who has perfected a system (any system -- everyone invents their own working system) for producing completed works of fiction knows these moving parts.

And most really successful writers are self-taught so they have invented terminology for what they perceive and need to manipulate in order to produce salable work.

I've seen the words Plot and Story used interchangeably, with some other word used to designate the Plot when the word "Plot" is used to designate the "story."

It can be terribly confusing for beginners, and I suspect that's why writers are mostly self-taught.

Learning to write is a process of discovery.

Recently, on LinkedIn, I answered a question about whether you write for love or for money, and I said LOVE.

You can only write for love, really, because getting money for your writing is more a gamble, like venture capital. Venture capitalists love what they're doing enough to gamble on it.

BUT -- having love igniting your need to write, your true personality shows through and you land somewhere on a spectrum from utter carelessness of maybe "well writing is an unskilled profession anyone can do" or egotistical "I can do anything without half-trying" all the way down to a choked-up, self-defeating "I don't know HOW because nobody ever taught me, and everything I produce is embarrassing trash."

Well, nobody ever will teach you. But you don't already know how to write if you haven't put in the necessary effort to teach yourself.

And if you truly love what you need to write, and truly need to have that message reach someone you don't even know, then you will be greatly moved to learn the craft of writing, and maybe even delve deeply into the art behind the craft.

Again, your true personality will show through, along with your absorbed values, in the manner in which you approach this task.

You may go to amazon and buy a lot of expensive books on the theory that they will "teach" you. (personally, I'd hit the free local library first) Or more likely today you'll Google up some instructions.

So learning "to write" is a process, and the first step in the process is learning that you don't know "how" to do it. You know how to read a novel, but you don't know how to reverse that process into writing a novel until you've really taught yourself and then practiced what you've learned.

Reading is the first step in learning to write, but it's reading that is very different from the reading that readers do. A writer reads to reverse-engineer the fiction into its moving parts, it's necessary components.

You already know all the unnecessary components of your own story that you must write for love. The unnecessary parts are the really interesting parts for a reader, and it's the payload the writer must deliver.

But the second step in learning to read like a writer is learning to be interested in the VEHICLE that delivers the payload. That vehicle has a chassis composed of these moving parts we've been discussing individually. The same chassis can carry a large number of different genre-vehicles.

Now, in response to questions asked in the comments section of these blog posts, we are going to look at how to connect the moving parts we've examined into a chassis strong enough to carry that payload which you are creating out of love of it.

Writers who muddle their way into the craft and teach themselves to get to consistent, professional (make a living at it) word production eventually discover the nature of these mechanical parts of the composition and discover how the writer manipulates these parts to produce that final, polished work.

But being self-taught, or taught by someone who was self-taught, they use different terms to refer to the parts of the chassis and the connecting links.

So, like everyone else, I've adopted some terms from my teacher, and I've sorted out the moving parts of the composition, and given them names and learned how to mold them into place.

Maybe my terminology will illuminate these interior (necessarily invisible in the finished product) moving parts for you.

So let's see if we can walk and chew gum, juggle a few plates, and spin a lug-wrench at the same time.

On http://editingcircle.blogspot.com/ which is for learning exercises for writers, back in March 2009 Ozambersand raised a question which I answered at length in the comments section of one of my posts.

http://editingcircle.blogspot.com/2009/03/worldbuilding-trunk-ated.html

In July, I posted two explorations of Scene Structure on this Alien Romance blog which now contains over 800 posts, so here is one of the URLs

http://aliendjinnromances.blogspot.com/2009/07/6-tricks-of-scene-structure-part-2.html

That's Part 2, and you'll find the link to Part 1 in there.

In the comments from Part 1 and Part 2 on Scene Structure, one of Linnea Sinclair's writing students, Kathleen McGiver and a new commenter here Sharon, asked about the difference between Plot and Story. ozambersand kindly searched out that bit that I had written in a comment, and here it is for the record excerpted from the comments on worldbuilding-trunk-ated.

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PLOT is the sequence of things that happen, EVENTS. Events must be displayed in a because-chain to make a plot.

PLOT = BECAUSE

Because Obama was elected President, Stem Cell Research will be revived, and because of the research Somebody will be cured of paralysis, and then be elected President. PLOT. EVENTS. BECAUSE.

STORY is what those events mean to the characters emotionally, spiritually, psychologically, or in life.

Story is also linked to Because and is the result or cause (motive) behind (BEHIND) Events in the Plot.

Because Obama fulfilled his lifelong dream to be President, he has discovered that he doesn't know everything and can't do everything at once. Now, he doesn't know why he can't seem to hire enough of the right people to fully staff his administration. "Oh, why are the people I admire tax cheats?" The Events leading to his discovery of the answer to that question is his STORY. The Events themselves are the PLOT.

The BACKGROUND is President and White House and Recession and Bank Crisis and Middle East. Everyone reading the story knows all that.

The FOREGROUND is winning election, choosing and hiring people, admiring people, being admired, spending political capital, making risky choices, living with the HUGE consequences.

Look at a painting, say a portrait -- Mona Lisa. The chair, the blurry sketch of buildings and hills, sky, even her dress is BACKGROUND. The FOREGROUND is her face and hands.

Take a genre - Urban Fantasy - the URBAN part is background, the FANTASY is foreground because you have to explain the laws of magic etc in that universe and to be worth explaining they have to generate plot.

STORY is the character's personal experience and responses to the things that happen - the psychological and spiritual lessons learned.

The story of a man who falls in love with a thief only to discover the folly of attempting to reform her and decides to learn her craft and join her.

The BACKSTORY is all that went on before the plot begins, the things that happened that made them what they are.

BACKSTORY - The son of an ex-Nun and a seminary student who married for Love, falls in love with a thief and learns the folly - etc.

Who his parents were is backstory -- they never appear overtly in the novel, but their presence is in every word he utters, every decision he makes whether he knows it or not. You don't have to tell the reader the BACKSTORY (often it's better if you don't -- that's why you need all these other tools, so you'll have other ways to convey the information where necessary).

But you have to know the backstory to keep everything in the novel consistent and believable.

The B-story is the story arc of a character who is a confidant or intimate-enemy of the A-story's main character.

As I pointed out previously, the B-story character is often the last invented and is a sub-set or factor of the A-story main character -- someone he/she confides in and spills his guts to. In a film, the B-story carries your THEME.

The A Story main character pours out their heart (in a few choice lines) to the B-story character, thus informing the audience what's inside the A-story character that maybe even the A-story character does not know.

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The glue that holds plot and story together is the THEME. I've done a number of posts on theme here, especially in the posts on Worldbuilding.

When the THEME does not glue the Plot to the Story, or bolt it on firmly with lots of grease so it moves nicely, or weld it so it can't move, when the THEME doesn't connect the plot to the story, then the EVENTS in the plot happen, but they don't happen TO ANYONE. The events become meaningless and readers get bored.

When the STORY doesn't change the characters actions, then the EVENTS don't proceed from the story through the theme, and again readers get bored reading about a single character's angst without events that illuminate and change that angst.

A well written composition will have the plot and the story so tightly welded or so perfectly articulated and well greased, that the reader can't tell the difference between plot and story. Each event and each reaction will be both at once.

But to create that effect, the writer has to know the difference.

In addition to doing all that, the World you build to cradle your plot and story has to explicate your theme. It's rooted in your theme. And the fastest, most efficient way to build the right world for this plot and story is to build the world from the theme.

Remember, art is a selective recreation of reality, not reality itself. It's what you select to leave out that makes it art, and that communicates your theme.

Theme is a game you play with your readers.

No two writers do this process of inventing moving parts of a story the same way.

Even a given writer will invent stuff in different orders for different projects. That's called creativity. It isn't a science. It isn't reproducible by other people. It's "magic" -- and its procedures depend more on who you are at that moment than on what you're trying to accomplish.

In other words, how you go about inventing the moving parts that will form the chassis that will carry your payload to your reader depends on where you are on that spectrum I mentioned above. Remember too that you as an individual can move along that spectrum from too timid to too confident, and may in fact rattle back and forth between the extremes during the writing of a particular work. Rattling back and forth may be a sign that the writing is going well!

Yet there are rules. Creating a work of fiction is not random or chaotic. It has a system behind it. Your system. Not anyone else's. (Rattling might be part of your system, but I don't advise teaching that part.)

When your work of fiction is all done, it can be reverse engineered to expose the moving parts and their relationship to each other (glued, bolted, welded).

In fact, most of the enjoyment that a reader gets out of a novel comes from their "kitten-and-ball-of-twine" unraveling of the beautiful, polished composition you've presented to them. But keep in mind, the reader who is not a writer doesn't really want or need to win that game with the writer.

Take Mystery Writing, for example. Readers want to joust with the writer to solve the mystery before the writer reveals all. But if it's too easy, the reader doesn't enjoy the game and won't read that writer's stuff again. If it's too hard, the reader who is not a writer likewise won't enjoy the game and won't read that writer again.

Getting it just right, hiding the moving parts of your composition, is an artform, and a game you play with the readers. It has to be fun or it isn't worth it.

Reverse engineering fiction to understand the story gives one the illusion that one understands the everyday world better. And since it's magic, the illusion can become reality. Magic is done via imagination and emotion, both of which are best delivered via fiction.

The theme is what communicates most loudly to readers, the handle by which they remember the novel and your byline. That's why the title has to be the theme, so they can remember it and recommend it. A theme portrays the world as the artist's eye sees it. A theme can say the world has meaningfulness, or that life has a meaning, or that life is meaningless and futile, or that the world is merely a figment of your imagination.

Fiction that bespeaks a theme that explains a reader's reality with verisimilitude can change the way the reader sees their world, and thus change the story of their life, and thus change the plot of their life as they make choices based on this thematic insight.

Or a work of fiction can just be loads of fun to read and not affect the reader much if at all.

Which way a work affects a reader is not the writer's choice. But it is a sobering consideration when tossing off a trash novel under a pseudonym or as a work-for-hire.

So the writer has to work at inventing and arranging the moving parts and putting them together to make a picture so that the reader can take the picture apart and understand it as pieces.

How can writer and reader work together to have the most possible fun?

THEME

That's the answer to almost everything about writing craft.

Theme is the organizing principle, and it is the subject about which writer and reader are communicating.

So no matter what the sequential order in which the writer invents the moving parts of a work of fiction, at some point before finishing the composition, the writer has to step back from creativity and take a long, jaundiced look at what has been created and exercise that artistic selectivity.

Which pieces to use, which to showcase, which to emphasize, which to show and which to tell can all be determined by reference to the theme.

To find the theme of this particular piece, ask yourself "What am I trying to say, here?" What's the take-away these readers should hold onto?

Do I want to say, "The business cycle can not and SHOULD NOT be eliminated?" Or do I want to say "Recessions and Depressions are a natural part of human commerce and we just have to live with them or commerce will stop."

Either statement could become an "in your face" approach to some non-human culture that arrives in Earth Orbit ready to trade for primitive artifacts like iPods, bound books and quaint little discs called Blu-Ray. (Argsel! You won't believe this! The pictures are all flat! It's abstract primitive art! We'll make a fortune!!!)

A novel, or a series of novels set in a well built world, has to take a stand on some philosophical point, and ask and answer (even if tentatively) a set of questions about that point. A set of questions. Set. They have to go together in a chain like a movie Detective interrogates a prisoner.

So if the plot is a Romance, then the core theme has to be something akin to LOVE CONQUERS ALL. But a specific Romance could say it's a good thing or a bad thing that love conquers all.

Whether it's good or bad depends on, well, for example, if you're the King who needs his Heir to marry fellow royalty for the alliance, but love conquers your plan and the Heir runs away with a peasant, then "love conquers all" is a real bad thing.

The social and economic problems that proceed from that runaway Heir and his heirs could make for a wildly successful series of Action Romance novels. Drop a comment with series that follow this pattern if you can think of any. There are quite a few.

So in the case of the Runaway Heir and his 10 kids raised on a farm, the STORY is that the Heir tussles with his responsibility to the throne and in his final epiphany (in the first novel) wrenchingly decides that his personal revulsion for being King overrides the Kingdom's need for him to be King. And he escapes (from some trap the King created) and goes running off to rescue his Beloved.

That's the story.

Here's the Heir's Character Arc, his story. "I have to become King. I love this Peasant. I have to marry this Princess-Shrew (who's a great manager and ought to be a Queen). I don't want to become King. I would make a terrible King and probably murder that Princess-Shrew. I refuse to marry Shrew. I love Peasant Woman. I WILL NOT ACCEPT MY FATE." That's the story arc, from accepting the fate of becoming King after his father, to rejecting it.

The PLOT is the sequence of events that TELLS THAT STORY.

Now if the story is the arc from accepting fate to rejecting fate, then the THEME (underneath the Love Conquers All theme) has to be something like "Birth is not Destiny" or "I am a person who can make my own decisions" or "Fate is not decreed by God." Or maybe "God Makes Mistakes and I'm One Of Them".

Pick a theme that EXPLAINS WHY the character goes from Accept to Reject to Action.

Using that theme create the PLOT. And don't forget that all this is cast in SCENES.
http://aliendjinnromances.blogspot.com/2009/07/6-tricks-of-scene-structure-part-2.html

But before you break the narrative into scenes, you need the 4 cardinal points of the plot structure (unless you are a pantser today).

Say, for example:

Open - a huge gala PALACE BALL introducing Heir to Princess-Shrew, Peasant serving in the kitchen?


1/4 - Heir causes the Princess to reveal her nasty personality and hatred for the Heir's kingdom and contempt for the kingdom's King.


1/2 - Heir compares the two and chooses Peasant as the better person, tries to get Peasant qualified to become his Queen. FAILS (1/2 to a HEA ending is the FAILURE part)


3/4 - Heir arrives at his long foreshadowed epiphany about his destiny and rejects the Kingdom and his father. Princess-Shrew was right not to respect the King. 3/4 result is that Peasant is imprisoned by King to prevent contact with Heir to force or blackmail Heir into marrying Princess.


END - Heir breaks Peasant out of prison, does something definitive to thwart the ambitions of Princess-Shrew, and Heir and Peasant take a powder, riding off into the sunset to an HEA.

OPENING OF FIRST SEQUEL - the King dies, throwing the Kingdom into political chaos. Nobody knows where the Heir went. He's probably dead. The Bells Toll.

I can already plot out 3 sequels, a multigeneration series, with the original Heir dying at 95 and telling his 30 year old grandson that the grandson is actually the King of Whatever and that's why the grandson has fallen in love with the Queen of Whichever (Whatever and Whichever are your Worldbuilding elements). Royalty is best off marrying Royalty and there's no hiding the fact of Royalty. (That is, the Heir's character arc has continued full circle back to his childhood acceptance of his role in the world).

Note how the STORY is all about "I" and how I feel about things and what I want and what I reject.

Note how the PLOT is "Heir" + ACTIVE VERB

In this plot, "Heir" is the main POV character. "It" is his "story." The story arc is all about what's going on inside Heir, therefore it is his story, therefore he's the main POV character, gets the most lines of dialogue and the most face-time.

Because it's his story, it is his PLOT. The important EVENTS that change the SITUATION are all generated by his ACTION. Every other character's arc and story and plot-moves all support the Heir's story and plot.

The cast of characters has to be organized like that, in heirarchy, to create a neat composition for the reader to reverse engineer. It's easy to organize the characters once you have the themes organized as I showed you in
http://aliendjinnromances.blogspot.com/2008/09/how-to-learn-to-use-theme-as-art.html

Note how both the story and the plot illustrate the THEME. Maybe the theme of the first novel in this Heir And Princess series is "I won't take it any more."

If the Heir's story arcs back (at age 95) to acceptance of his Royalty, then the theme the writer is displaying to the reader, the bit of "reality" the reader "takes away" says things like there is an inherent difference between people because of their genes or the status of their birth parents. Or perhaps it says, the old Greek Myth lesson that you can't escape your destiny, all is foretold at birth. Some of us aren't people, but rather objects on the chessboard. There can be no HEA if you resist your destiny.

How the arc develops and ends bespeaks the theme.

The moving parts of any work of fiction aimed at a wide audience will always have this kind of mechanism. The best writers hide that mechanism beneath layers of flesh and blood.

The exact same mechanism can support literally thousands of tales, none of which even remotely resemble the others, but all of which will delight pretty much the same audience.


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Here are 3 posts I did on THEME

http://aliendjinnromances.blogspot.com/2009/01/shifting-pov.html

http://aliendjinnromances.blogspot.com/2008/09/how-to-learn-to-use-theme-as-art.html

http://aliendjinnromances.blogspot.com/2008/09/what-you-can-do-in-novel-that-you-cant.html

Now everybody run quick and post a comment THANKING OZAMBERSAND for finding this tidbit on plot and story that I had lost.

Jacqueline Lichtenberg
http://www.simegen.com/jl/

QUESTIONING KEL-PATEN

I’m going to filch a page directly from MAGIC LOST, TROUBLE FOUND’s author, Lisa Shearin, and offer to put GAME S OF COMMAND’s Admiral Branden Kel-Paten on the hot seat for the next two weeks. It’s an idea I’ve been thinking of for some time but until Lisa convinced Paladin and spellsinger, Mychael Elliesor to ‘fess up on her blog, well, I had a snowball’s chance in the deserts of Ren Marin of getting Kel-Paten front and center.

It’s not that he’s shy. I mean, a 6’3” human/cyborg fleet officer and acknowledged killing machine shouldn’t be shy, should he? And he did very begrudgingly grant me an interview several years back. Of course, that was an interview with me, his author. Submitting himself to the scrutiny of total strangers is something completely different. Or so he tells me, and not in a happy tone of voice.

However, since Mychael folded, uh, that is, so graciously agreed to respond to questions from Lisa Shearin’s readers, I felt I could put a little more pressure on Kel-Paten. That is, Sass and I could put a little more pressure on Kel-Paten. She has far more sway with him than I do.

So think of what you’d like to ask the indomitable admiral, post your questions here or email them to me via my site, and next Monday I’ll get Branden front-and-center and in the hot seat.

Sound good?

Remember, you can catch up with the some after-the-last-page scenes here and here.

~Linnea

http://www.linneasinclair.com/

And then...another GAMES OF COMMAND scene

Another little GAMES OF COMMAND vignette than ran through my mind (and into the keyboard) after the story "ended" in the book:

Sass was nervous as she stepped into the Regalia’s ready room. Branden Kel-Paten saw that in the way her gaze flicked to his as he rose from his seat behind the room’s long conference table; saw it in the way she was trying not to purse her lips as her mind—-caffeine-fueled, as usual-—worked at light speed. And he saw it in the way she absently fingered the edge of her utility belt, then caught herself and stopped. After three months of living with her on the Regalia, he knew all her little idiosyncrasies and more.

After three months of living with him, he thought she might realize she had nothing to worry about. It wasn’t as if he was going to kill the man following Sass into the ready room. Though the thought did hold a certain appeal…

“Kel-Paten.” Dag Zanorian nodded curtly, the ready room door shutting silently behind him.

Ooh, jealous! Tank’s furry head poked over the table top from where he’d been snoozing on an adjacent chair for the past hour while Kel-Paten went over the latest block of data he snagged from a Concordance cruiser before it escaped into the Void. The furzel’s empathic and telepathic range had expanded in those passing three months and he was never subtle about commenting on what he sensed or heard.

Embarrassing at times in the privacy of the captain’s quarters. But informative right now.

So Dag Zanorian was jealous. Imagine that.

“Zanorian.” Kel-Paten nodded back.

“Sit, Dag,” Sass pointed to a chair opposite his, compscreen already slatted up out of the table top and at the ready. “We’re all on the same side now.” She rounded the end of the table then lifted Tank out of the chair. The black and white furzel thumped down onto the ready room table with a soft sigh. Love Mommy!

Sass swiveled the chair around to sit. Kel-Paten brushed the top of her head with a kiss before she did so, sat when she did, didn’t miss the narrowing of Zanorian’s eyes.

Big jealous!

Sass tapped a white paw in warning. Evidently she heard Tank this time.

Kel-Paten bit back a grin while he shunted data to Zanorian’s screen. “This is the pattern we’ve been picking up in this sector for two weeks now,” he told Zanorian as a private message popped up on his screen: Gloating is unprofessional.

But it feels so damn good, he sent back to her screen with a thought. The Regalia—-being U-Cee-—wasn’t designed with data ports at every comp station for him to spike in. So far he’d only had time to convert two stations in the ready room, one on the bridge and, of course, in the one in the captain’s quarters. The majority of his time was spent bringing the New Alliance fleet up to date with everything he knew about the Triad. It didn’t matter it was now called the Sanctified Concordance. The hardware—ships, station, data systems—were still Triad built. And the personnel—even though they were Ved controlled—were still Triad Fleet crew and officers. The latter pained him. It was bad enough to witness the deaths of some of his key officers. It was worse to watch those still alive, controlled and driven insane by the Ved...

*************************


See, the characters really never shut up. Or go away. I guess that's kind of good. ;-) ~Linnea

Worldbuilding in the grocery aisles

Hybrids aren't just cars that run on more than one fuel source.

There are hybrid animals, and hybrid plants which occur either naturally or with the assistance of mankind, also hybrids in Greek and Roman mythology. Some hybrids are sterile, and some are not. Some hybrids are called after a combination of the father's name and the mother's (father's name first). The mythological creatures do not appear to follow this convention... and in fact, now I understand the convention, my mind boggles over the Manticore (man-lion-scorpion).

wikipedia.org/wiki/Hybrid


The etymology is delightful. According to wikipedia, hybrid comes from the ancient Greek for "son of outrageous conduct."

I could have called my Tigron world's black sabre-toothed tigers ... pangers, or tigthers, but I think that would have complicated matters.

This week, I'm more interested in plant hybrids. For world-building in a hurry --not that I recommend taking a short cut, but sometimes one has to-- a few hours in the grocery aisles can be quite inspiring.

There are some astonishing hybrids available, as well as exotic fruits and vegetables that might or might not have been hybridized. I look at the Ugly Fruit, and I wonder whether it evolved to be visually appealing to anything (assuming that its fruit is "designed" to be dispersed with the assistance of creatures that eat the fleshy parts and eject the pits).

There's something spiny and orange that looks like a cross between a sea urchin and a sea slug, and I'm fascinated by those waxy green globes that come inside a pale green papery looking flower. If you were to change their colors, rename them, and describe them carefully as if you'd never seen them before, you'd hardly need to dream up your own fruits and vegetables for your alien romance's world. And, then there are the roots. You have to be careful what you do with your root vegetables, in my opinion.

How did we ever start to eat root veg? Did we observe a primate and copy them? Did our earliest ancestors' curious gaze fall upon something intriguingly orange, or pleasantly white, pushing up through loose soil? I suppose we do have an instinct (as children) to pull things out of the ground and bite them as an experiment. I'm told that I ate a worm once when I was a toddler! Would your aliens have similar instincts?

Your human heroine has to eat in outer space, so not all her food can be unrecognizable (or she'd have to have major allergy testing) or her gut would not be adapted to handle it. We're accustomed to stories about our domestic pets eating human delicacies which are not natural for them... which their guts are not adapted to handle. I've been thinking about what natural carnivores can and cannot eat, because I want my tigers to play a larger role in my next story.

In fact, having spent several hours reading the ingredients on dry pet food for research purposes, I do have to wonder under what circumstances a dog in the wild would eat corn on the cob. Or rice!

There are some schools of alternative healing thought that claim some of our painful ailments (such as arthritis) are a consequence of us eating fruits or vegetables that we are not adapted for, or to which some of us are allergic. My mother cured very painful arthritic swelling in her hands by giving up all produce in the tomato families. Other people have a problem with potatoes. (Some have a problem but don't know it.)

In Insufficient Mating Material, the hero and heroine are marooned on an island on an alien world, and they have to test food and deal with the possibility that the heroine might not have a tolerance for some of the fruits and vegetables growing there.

Why do I think roots are a problem? Carrots are easy, and you can eat them raw if you want to. Parsnips look like big carrots only white... but you really do have to cook them. Watch out for onions and shallots, because they look like tulip bulbs. There are different roots that look alike. Take ginger root and Jerusalem artichoke. They are both about the shape and size of a small, pudgy hand, with gnarly, stub-tipped fingers, root filaments like fleshy hairs, and are beige-gray.

On our world, some plants do not want to be eaten, especially by the roots (!) so they evolve to be poisonous. What happens in your alien world?

For those interested in research, or obsessed with plausible alien anatomy --and possibly inspired by the fact that a carrot fresh from the ground does not necessarily look "carrot shaped"-- M.I.T. (an eminently respectable place of scholarship) sells --or used to sell-- a to-scale, and anatomically correct poster called "Penises of the Animal Kingdom".

I thought the plural was Penes, but I suppose a few people wouldn't get the point.

And having Googled that, because none of the three of my dictionaries within easy reach gives any guidance on what a proper person should call multiple schlongs, I'm off to pursue other lines of romantic alien research.

Best wishes,

Rowena Cherry
Insufficient Mating Material
"racy, wildly entertaining futuristic romance" ~Writers Write