Saturday, August 23, 2014

Book Review: The Puppet Masters by Robert A. Heinlein



Those not familiar with Robert A. Heinlein’s work or libertarian ideas might not see the value in one of his works, a book called “The Puppet Masters.” The book was published in 1951 during a time which science fiction, as a relatively new genre, had captured the imagination of a nation. Many stories took place in the future in which technological advances were expected both to ameliorate and introduce problems.

Whereas science fiction writer Isaac Asimov was primarily interested in finding out the answers to questions that he posed in his own works, Heinlein instead was interested in exploring ideas of human self-governance, individual will, and personal liberty. These are the themes “The Puppet Masters” uses.

The story revolves around alien creatures called slugs. Not much description is provided for them, perhaps intentionally. They hail from a moon called Titan, which orbits the planet Saturn. Throughout the course of the book, it is revealed that the titans (as they are called) tried to establish a foothold on the planet Venus, which human beings had colonized. In 1951, it was not known the Venus had an exceptionally thick atmosphere that crushed anything which tried to enter it in the same manner that submarines are crushed by water pressure when they go too deep into the sea.

The purpose of the slugs is primarily to live off human beings, apes, dogs and cats. Their purpose is not entirely clear. They provide what they call a feeling of nirvana to the host organism, whose actions are controlled in every way possible. The slugs are essentially a metaphor for socialist, government control, one which the characters in the book admit must always be guarded against- even if they think they’ve gotten rid of it for good.

The process of discerning possessed people from non-possessed involves taking off most, if not all, of one’s clothes. This has the effect of turning a military base into a nudist colony. The slug hide within clothes. When no clothes are worn, they can be clearly seen. This is another way of saying, “the socialist is always among us. The only way to find out who he is and where he may be found is to bare our souls, one to other.” Only by stripping naked, intellectually, can one discern the difference between an individualist and a socialist.

In an odd- though expected- twist, the authorities in the story call for an abridgement of civil liberties in order to combat the problem. Heinlein’s president, though nothing like the dictator presidents of today, nevertheless anticipates the authoritarian, autocratic leaders who tend to rise to the top by means of their status as political celebrities.

The final solution- kill the slugs. Eradicate them. A slug, in this book, represents the idea of socialism, which controls a man against his will. The goal is not to kill the man but to kill socialism itself. It is simply a question of whether humankind can retain its free will or whether it shall be subject to dictates that deprive people of their liberty. To defeat the slugs- socialism- requires all the energy and passion human beings can muster. Heinlein describes them- it- as a pernicious enemy which must be stopped at all costs.

“The Puppet Masters” is not merely a fun science fiction story to read on a Friday evening. It is a treatise on personal liberty in the form of a story- though the story is so well-crafted that the ideas don’t really appear unless they are sought for. It can be enjoyed either as just a story or as a complex philosophic commentary.

Tuesday, August 19, 2014

Understanding Creative Puberty

Anyone who wishes to be a creative writer- that is, a writer who produces fictional works- must go through a period in which their work is generally not very good. This is usually the starting point most authors have. No one, however talented as they may become, begins knowing how to write a bestselling novel, or a short story that is in great demand. If this were so, then the task of writing would be an easy one. Great stories would be a dime a dozen and therefore cheaply acquired. The necessary maturation process a writer goes through makes his own work valuable in the long run by reason of such work becoming ever more scarce the more he improves his craft. Thus, it may be said that improving one’s own writing is improving one’s own potential for profit.

This process is somewhat akin to that of a person’s matriculation during years of puberty. A human being, however advantaged or disadvantaged at birth, nevertheless begins life as little more than a wailing lump of flesh, incapable of looking after itself, prone to injury and accident, easily susceptible to sickness. Compare that condition with that of an adult: an adult, it may be presumed, is capable of looking after himself, has developed a strong enough immune system to ward off most diseases, can withstand shocks and perturbations, and in most cases need not rely upon the care of others.

To suppose that some people are “born to writers” or that only certain people can be writers while others cannot is the same as supposing that some babies are incapable of fully maturing into adults. It makes little matter that one process happens naturally without the permission of the person who experiences it, while the other is the result of practice, acquiring knowledge, patience and lots of hard work. The end is essentially the same: a writer starts off producing fiction not suitable for public consumption in the same manner that a person starts off being unable to form cohesive speech patterns.

As a result, it seems clear that statements to the effect of “not anyone can become a writer” are fallacious, if not absurd. Writing requires practice, as with anything else. No one who takes training courses on how to throw a baseball expects to become a major league baseball pitcher overnight. Nor should anyone who first takes up a pen, or opens a word processing program, expect to write a manuscript capable of earning them a comfortable living on their first try.

That people give up due to frustration, or an inability to overcome writer’s block, is not an indication that only some people can write. At best, it is only an indication that those individuals who did not succeed at becoming good writers were unable to do so. The potential may have lain within them, stifled by any number of factors, or kept hidden inside, never let free by means of self-education. A crucial step in a writer’s maturation process may have been missed, such as getting feedback from an editor, attending a writing seminar, or anything else.

Just as there are conditions the human body can have which impair physical growth- such as osteogenesis imperfecta, a condition which prevents the growth human bones and thus the human body- does not render some people capable of becoming normal, fully-functioning adults, so too does not a lack of success from some writers prevent others from succeeding.  Indeed, a condition such as the one described here may be cured at some point in the future. A statement declaring it impossible for physically disadvantaged people to overcome their disadvantages does not take into account the work that doctors, pharmacists, nurses, and all sorts of medical professionals do every day to add to the knowledge of their profession.

So too is it a fallacy to say that a struggling writer cannot overcome his disadvantages through the means of hard work by learning from the example of writers who have come before him, who offer their knowledge to the public. A pessimistic statement made against certain people to become writers is a statement against individual human will, which history has shown can overcome any number of difficulties. It is a statement which says that it is impossible for human beings to produce ever more stories of quality for ever lower prices even while that very process appears to be occurring: more stories are being produced than at any other time in human history, some at less cost than a fast food meal.

However, while I believe that anyone can become an writer, it is not a process that is easy, or at first profitable. Writing is a vocation which is often done on the margins of one’s life, a discipline taken off to one side, a consumption of an individual’s discretionary time away from the business of making money and accumulating wealth. There is no guaranteed path to success for a writer. Indeed, writers can toil in obscurity for years before being “discovered.” The famous authors of the world are by no means representative of the individual writer who must continually toil away at his craft, either by reason of his passion, or to meet his obligations.

The most common result for a writer is to be relatively unknown. This is a natural process which forces writers to increase the quality of their work in order to make more money from it. If this were not so, then anyone could be a writer spewing out any kind of drivel they please. The market for fiction has allowed the best writing to rise to the top, while the rest of it, howsoever good it may be, is less well-known, less famous.

There are, in fact, thousands upon thousands of unknown writers churning out words in the hopes of making a living with their craft. It is very likely that these people were told that their work was impractical, or that they weren’t any good at it. It is very likely that when they attempted to publish their works, they were greeted with rejection slips or, more commonly, outright silence. Some writers give up without an audience. Some press on, determined to make something of themselves, come what may. It is these writers who persevere through all difficulties that we generally recognize as being successful.

Yet, it must be said: if every writer would realize that they have the potential for greatness inside of them, would not they continue along the path they have chosen, regardless of whether people liked their work or not? Perhaps when people say that only certain individuals can become writers, it is this very statement which discourages writers from pursuing their dreams, leaving all future creative efforts unfinished, their dreams scattered to the wind.

I am here to tell you that anyone can become a writer. If you are willing to put in the work, if you are willing to weather the storms that will come your way as a writer, if you are willing make yourself as a person better suited to the task of writing, then you can do it. Just as each baby has the potential to become an adult, so too does every adult have the potential to become a writer. The talent already lies within you. It’s just a matter of finding it, honing it, and using it.

Monday, August 18, 2014

"How to Write Fiction" Free Sample!

Hello friends, for the next two days, I am offering my book, How to Write Fiction: Wrangling with the Written Word free on amazon.com. This book is intended to help writers become better at their craft. I deliberately  made it a short book so that writers don’t have to spend all their time reading it. They can read it in the space of a few hours and then get back to doing what they love, writing.
Today, I thought I would share a sample of my book. This sample is the whole of Chapter Seven, which is called “Write What You Know.”
There is a saying in the literature world: “write what you know.” This means that, as an author, you should write fiction based in some part around your own personal experiences. By inference, it also means that your writing should reflect the accumulation of your knowledge. If you want to write about police officers, but don’t know a lot about them, you’ll have to resort to research. Research is a great way to learn more about your subject. It has a way of making fiction sharper, more in focus. It also reduces the glaring errors that police officers would see if they read your book.
Remember: four thousand fans of a book don’t guarantee its success; one critic can hurt the book’s chances enormously.
But, if you write about what you know, the more you know, the more you will be able to write about. An author, of all the people in the world, must be well-versed in a variety of subjects. An author should not assume knowledge of any subject where knowledge does not exist, either through experience or learning. In consequence of this, I have made it my business to read as much as I can about everything I can during my time as a writer. I have read physics books, nature books, economics books, philosophy books, psychology books, sociology books, anthropology books, history books, political books, biographies and, of course, fictional books.
All of these books have added to the knowledge I now possess. For example: I can describe a bell curve, and why it behaves the way it does. I can tell you why bitcoin is very, very difficult to counterfeit. I can describe the life of Gaius Marius, who was consul of Rome a record seven times. I can tell you how gravity works, why the sky is blue, and what causes the wind to blow.
These facts, when taken separately, may seem entirely meaningless. When put together in a story, they give the author an undeniable authority that comes from knowledge of a wide range of subjects. This does not mean that the author is free from making mistakes, even with all he knows. It simply means that everything he has learned becomes part of the stories he writes.
As a result, my recommendation to any author seeking to improve their craft is: read as much as you can. Read everything you can get your hands on. Don’t shy away from complicated subjects. If your brain isn’t impaired by a medical condition, you can go from being a part-time cashier to a professor teaching trigonometry. Though you may find some subjects more difficult than others, difficulty and impossibility are not the same.