Tag Archives: writing

Wealth, Power, and Social Orders

26 Thursday Apr 2018

Posted by in Economics, History, Politics, Politics for Worldbuilders, State Formation, Uncategorized, Writing

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(This post is part of Politics for Worldbuilders, an occasional series.)

Suppose there were two people on a desert island. One owns a crate of food; the other owns a gun. What is going to happen?

Very shortly, the person with the gun is going to also “own” the food; the other person might be dead, or might be reduced to the level of a slave. (In the immortal words of Clint Eastwood, “There are two kinds of people in this world…”)

This illustrates the fundamental problem of property’s relationship to power: if an actor has a lot of power but little wealth, it will often try to gain more wealth through violence. If an actor has much wealth but little power, it will often try to use its wealth to gain power—if only for self-defense! And this dynamic has played out throughout history, leading to endless cycles of bloodshed and misery.

To survive, as North, Wallis, and Weingast (NWW) argue, groups of people need to come up with some solution to this danger—a way to align the interests of those who have wealth and those who have power. This is called a social order.

NWW identify three kinds of social orders: the foraging social order, the limited-access or “natural” social order, and the open-access social order. Foraging bands deal with the problem of wealth and power very simply: group members have roughly equal wealth, physical strength, and social status. There is relatively little incentive to take more with violence, as the other group members will unite to destroy you.

As we will discuss fully at another time, egalitarian bands use several techniques to enforce social equality: malicious gossip, mandatory gift-giving, and the threat of splitting the group if one faction becomes too powerful, to mention a few. However, these methods do not guarantee success; it often happens that a respected chief is able to accumulate enough personal loyalty, wealth, and prestige that he can gain lasting control over the group, which is passed on to his descendants.

That brings us to the limited-access order, which has been the predominant mode of social organization throughout the history of states. In a nutshell, those with power are also given control over wealth as a consequence, in a tacit agreement between elites in order to minimize conflict between them. In the words of NWW, “By manipulating privilege, interests are created that limit violence.” The most obvious example was European feudalism, in which brigands with large armies “went legit” and set themselves up as landed aristocrats, along with supporting networks of bureaucrats and clergy to help them run things. As NWW put it, “In all natural states, economics is politics by other means: economic and political systems are closely enmeshed, along with religious, military, and educational systems.” One could also look at Soviet-style communism, in which wealth flowed to the regime leaders by virtue of their control over the military and police apparatus.

A key aspect of the natural order was that impersonal law and procedural equality did not exist. The regime was not a neutral arbiter of people’s social and commercial disputes; it existed to defend the privileges of the ruling coalition as a class, and thus your treatment by the regime depended on your personal relationship with the ruler or other elites. As NWW put it, “Personal relationships, who one is and who one knows, form the basis for social organization and constitute the arena for individual interaction, particularly personal relationships among powerful individuals.” This limited the ability for people to form complex organizations, in business or society more generally: if they could not settle disputes internally, the state would not do the job for them and the organization would collapse.

Partly, this was by design. Elites protected the value of their “rents” by deliberately restricting the ability of those outside the regime to organize groups of people. It may seem strange to us, in our society of mass organizations, but in the feudal era it was tantamount to treason to organize an independent guild of craftsman outside of the regime-sanctioned guild, or to have a town of people who swore loyalty oaths to each other. That was why English entrepreneurs needed to petition the Crown for the right to form a joint-stock corporation, for example. And in Communist or Fascist regimes, even such mundane organizations as chess clubs needed to be approved by the regime. In this way, a limited-access regime is able to retain control over economic activity and take its cut, and to prevent possible competitors from arising via new organized groups in the populace.

Again, the natural order is the most prevalent throughout history. It is almost inevitable for those with power to demand wealth, for those with wealth to seek access to power, for the two classes of people to become incestuously intertwined and then to use their power to suppress competition. Think of the relationships in many Latin American countries between oligarchs and generals. Think of the paramount business associations and unions found in much of Western Europe, organized and maintained by the state, which have the effect of protecting incumbents and squelching entrepreneurialism.

The biggest problem with the natural order, however, is that it is fundamentally unstable. If someone becomes too powerful or too wealthy too quickly, suddenly there is a mismatch between what he has and what he (or others) might want. This generally leads to a breakdown of the delicate balance of power in the regime, culminating in violence or even civil war. This is why, argue NWW, autocratic regimes tend to underperform democracies in economic growth over time: because their relatively better performance during good times is outweighed by frequent destructive episodes of civil war and social breakdown.

(This is a crucial reason why dictators need to gain control over their countries’ wealth: not merely out of greed, but to protect themselves from rich competitors. Regime outsiders who strike it rich represent a deadly threat to the regime.)

The third form of social order, the open-access order, is a historical anomaly: it first emerged only a few centuries ago in Britain, as elites gradually transformed their particular privileges into general rights (through a long and subtle process that NWW discuss in detail). This does not merely mean democracy, though Britain and the United States are the chief examples. In the open-access order, elites have no special privileges in law, and military power is removed from partisan politics or the extortion of wealth, becoming a neutral enforcer of the political system; it stays neutral because no single political or business leader has the opportunity to bring it under his or her control.

What distinguishes the open-access order, and what makes it work, is that anyone is allowed to enter politics or business, and to organize companies or political parties or activist groups without the permission of the regime. And you need both parts: political freedom is protected by economic dynamism, as new companies challenge the old leaders and displace them before they get too cozy with the government. Economic freedom is protected by electoral competition and turnover in political leadership, which makes policies that benefit the mass populace relatively more attractive to ambitious politicians compared to policies that benefit a handful of powerful companies. (See the post on selectorate theory.) NWW call this the “double balance.”

It should be noted, however, that for all its achievements the open-access order is profoundly fragile and in danger of backsliding into a natural regime. This can happen in either of two ways (or both simultaneously). First is for the government to become too powerful relative to the economy, in which case it can throttle free competition. Second is for individual businesses to become too wealthy and influential compared to their competitors or the government, which leads businesses and governments to build corrupt relationships with each other, with businesses gaining special privileges and returning the favor by keeping favored politicians in power. To a degree, such backsliding is always present (the military-industrial complex comes to mind, as does the growing political power of Google, Amazon, and Facebook). And the natural tendency is for such collusion to accumulate like layers of sediment over time.

As Mancur Olson warns in his The Rise and Decline of Nations, it is always easier to organize a small group of powerful actors to lobby government for some subsidy, than it is for the mass of the citizens to organize against them. This is because the average person is barely affected by the average subsidy and won’t bother to get involved, whereas the beneficiaries have a great deal to gain. Over time, this tendency results in a steady calcification of the economy and the government, as interest groups accumulate to feast on the populace’s wealth through direct or indirect means. The only way to prevent such decline, Olson suggests mordantly, is for an invading army to sweep away the existing corrupt relationships.

Fortunately, this invasion can be metaphorical. David P. Goldman (AKA “Spengler”) argues that American corruption declined in the 1980s, as the new tech industry displaced the existing corporate titans despite their close relations with government. The same can happen in the political sphere, if a determined political faction dismantles corrupt bargains and is rewarded electorally for it. That is the strength of the open-access system.

But it remains fragile. In the United States, we ought to be alarmed by the unprecedented decline in new business formation in the past decade, and the manner in today’s tech oligarchy is actively stifling competition—even as they exert themselves in the political sphere.

As authors, how can we use these concepts? Here are some points of conflict: growing power brings the temptation to take the wealth of others. Growing wealth attracts violent vultures, or inspires the wealthy to gain power as well. Sudden shifts in power and wealth will threaten to destabilize the balance of power in a society, with war as a likely result. (A brief glance at the history of the Congo will provide many depressing examples.) These tendencies are rich ore for story conflict, and the thoughtful author can build powerful plots from them.

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(And don’t forget, I’m accepting submissions to a fantasy anthology, Ye Olde Magick Shoppe. Check out the announcement and start writing!)

Keeping Power

20 Friday Apr 2018

Posted by in Politics, Politics for Worldbuilders

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(This post is part of Politics for Worldbuilders, an occasional series.)

Fiction writers often create elaborate imaginary kingdoms or galactic empires, ruled by iron-fisted dictators or feckless legislatures or councils of wise elders. Often, however, the politics of such regimes often falls flat. Powerful figures line up for or against the protagonists seemingly at random, or “because the author says so.” While this can be fine, depending on the main emphasis of your story, it would be better to understand the dynamics of political conflict in your imaginary regime, so that you can use it as a basis for creating a compelling story.

But there are many different kinds of regimes: democracies, dictatorships, aristocracies, each of which has innumerable flavors and nuances in their structures. Does an author need to become an expert in all of them to write good political conflict?

Not necessarily. A good starting point would be a general theory of how regime leaders stay in power or get overthrown—simple enough to be easily applied to your story, flexible enough to be relevant to ancient kingdoms, modern democracies, and everything in between. Fortunately, there is such a theory, developed by Bruce Bueno de Mesquita and his collaborators, and known in comparative politics as selectorate theory. It goes like this:

Imagine a Kingdom of Crelia. Its king, Rothgar the VIII, rules over a strong aristocracy headed by nine barons, not all of whom like him very much, and a much larger pool of powerless peasants who pretty much have to suffer whatever comes. Rothgar doesn’t have to worry much about what the peasants think; but he must pay attention to the barons, because if enough of them turned against him, Rothgar could be overthrown and beheaded. Fortunately, he doesn’t have to keep all of them happy all the time—just a fraction of them, let’s say four. Their strength, plus his own, are enough to keep the other five barons in check.

To keep his supporters happy, therefore, King Rothgar keeps their taxes somewhat lower than the other five barons, gives them more privileges at court, and sets royal policy to favor their interests over those of the five other barons, to some degree. (The peasants, needless to say, get milked for all that Rothgar and the barons can get.)

In terms of selectorate theory, the peasants (Residents) have no role in choosing the king. The nine barons, on the other hand, make up the Selectorate—the group of people with the right, or the power, to influence the selection of king. The selectorate is the outer circle; the inner circle, on the other hand, is the Winning Coalition, the four barons who make up Rothgar’s chief supporters.

Rothgar’s survival depends on maintaining his winning coalition. But he need not keep it as the same four barons; indeed, his main leverage over them is the threat of replacing a pushy baron with one of the other five barons in the selectorate. That threat allows him to keep the expense of maintaining his allies down to a reasonable level, so he can keep more taxes to himself.

His threat would be even more effective if he could expand the size of the selectorate, by appointing five or six peasants to the nobility. Now, there are fifteen barons total, and the king still needs only four of them as his supporters. With so many more options to choose from, Rothgar need pay a much lower price to secure his base of support. Any baron that tries to hold out will quickly be replaced by a more cooperative rival.

However, suppose that there are not nine total barons but only six. Then, each of the four supporter barons is in a powerful position; the king will have a much harder time replacing them individually, and has no way to replace them all. They can then extort a heavy price for their support, perhaps so heavy that the king’s own revenue is squeezed and he loses power over time. The same would be true if the king suddenly needed seven barons out of nine, instead of just four. (The country, needless to say, will suffer as spending on public goods drops off a cliff.)

As a rule, if the winning coalition is large relative to the size of the selectorate, it can extort a high price. If it is small relative to the selectorate, the ruler can keep more revenue for himself. At the limit, if you make the entire populace part of the selectorate while only requiring a tiny winning coalition (for example, with a strict meritocracy or an authoritarian party-based regime), then your supporters will have to make do with meager benefits indeed.

In general, therefore, the ruler has an interest in expanding the selectorate to cover a larger part of the population, and the selectorate members have an interest in restricting its size. Likewise, the ruler has an interest in reducing the necessary size of the winning coalition, and the selectorate would want to increase the size of the winning coalition.

You can see these dynamics play out in the political struggles over extending the right to vote. In the United States, for example, it was originally the case that only property-owning freemen could vote, about 6% of the population. Government policy thus tended to favor the landowning class. Over time, the right to vote was slowly extended to most white men, then most men, then most adults. At each step, some who already had the vote feared that their interests would be harmed by the new voters, and fought bitterly against their inclusion. And at each step, the size of the winning coalition grew along with that of the selectorate, and government policy thus changed to benefit larger portions of the total populace.

This brings up an important point. When the winning coalition is small, it can be bought off with policies that benefit itself, even if those policies harm the populace at large (as they often do; it is easy to tax the populace and enrich a handful of supporters). But as the winning coalition grows, relative to the populace as a whole, it becomes more likely that policies benefiting the winning coalition will also benefit the populace in general.

This, argues selectorate theory, is the main reason that democracies tend to be better run (on average) than dictatorships—the ruler must set policies that benefit 50% of active voters at a minimum, instead of a small handful of powerful nobles, generals, or businessmen.

The model can fit any regime you imagine. Communism? The Communist Party membership was quite large, compared to the size of the Politburo; regime figures could be replaced easily, and often were. Banana republic? The key figures are the generals and the main business leaders, who are hard to replace and thus demand a high price for their support. (For more, read The Dictator’s Handbook.)

How can you use this in your fiction? Selectorate theory gives you several points of conflict to focus on: expanding or shrinking the winning coalition, or the selectorate; exactly who gets to be in the winning coalition; policies that benefit the winning coalition and harm the rest of the country, or an effort to change such policies as winning coalitions shift; a ruler who allows his winning coalition to fall apart, so a challenger can assemble such a coalition of her own. You can tune the details to fit your particular setting; but selectorate theory gives you a strong foundation on which to build the political conflict in your story.

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(And don’t forget, I’m accepting submissions to a fantasy anthology, Ye Olde Magick Shoppe. Check out the announcement and start writing!)

Class Conflict, Part One

09 Monday Apr 2018

Posted by in Better Fantasy, Politics, Politics for Worldbuilders, State Formation, Writing

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(This post is part of Politics for Worldbuilders, an occasional series.)

Imagine a small nomadic band of hunter-gatherers, living a carefree existence in the wild hill country—let’s call them the Pandu. They own little property aside from the weapons and tools they carry and the clothing they wear. Let’s even suppose that they practice free love, and that children are raised communally. Finally, imagine that everyone performs the same jobs: hunting, foraging, making clothing and tools, raising children, and making decorative jewelry that looks pretty (we can call these “prestige goods”).

One might think that the Pandu ought to be the perfect egalitarian society, without conflict over possessions or political power. And actual foraging societies do tend to be nearly egalitarian (for reasons discussed in Michael Taylor’s Community, Anarchy, Liberty, among other authors). Still, they are not perfectly egalitarian, even if there are no hard class divisions. Let’s see why.

Let’s say that some Pandu are somewhat better at hunting or foraging than others. Such “Good Hunters” manage to gather enough food in a shorter time, so they can spend more time creating prestige goods—or else they can gather extra food and trade it with others for their prestige goods. Over time, they will have more jewelry than less skilled hunters. At this point, jewelry starts to be not just pretty shiny things, but a sign of hunting skill.

Good Hunters will start to attract more intimate partners because of their greater prestige, or simply with gifts of food or jewelry; lesser hunters will lose out, in relative terms. If the story ends here, we would have a single-class society shot through with simmering tensions and periodic fits of jealousy-driven violence.

Now imagine that successful hunters had the right to eat their prey’s hearts, which grant magical powers and even greater hunting skill. Suddenly, we have a “rich-get-richer” scenario: Good Hunters would soon outstrip their less-skilled rivals, becoming a class in themselves that eventually possesses far more food, prestige, and social attractiveness than the “lower” class. The lower class could still feed itself, but would lack prestige and social standing, and likely intimate partners as a result—and would have no way to catch up, at least not through hunting skill.

Still, both of these classes would have broadly similar interests: they hunt the same game, gather the same foods, value the same goods. So long as interclass jealousy is kept under control, perhaps by social rituals that periodically erase class distinctions, the Pandu band will remain unified.

But suppose that the less successful hunters, recognizing that they cannot compete at hunting, decide to begin farming instead so that they can win prestige and intimate partners of their own. Suppose they are successful, and produce as much food on average as the Hunters do, achieving a broadly comparable social status. How does this change the picture?

For one thing, while the Hunters would continue their nomadic lifestyle, following the game as the seasons shift, Farmers suddenly are tied to a fixed plot of land. Even if they can travel during fallow seasons or even between the planting and harvest time, they would have to return to their plots of land to harvest their crop. Even if they plant multiple crops in multiple locations and circulate between them, they are now less mobile than before.

What’s more, Farmers have to feed themselves somehow while their crop is growing. They might borrow food from fellow Pandu, promising to repay them at the harvest. Likely, they would borrow from the Hunters. But perhaps the Hunters would take advantage of the new situation to demand back more food than they lent.

Suddenly, Hunters and Farmers have opposing interests. Hunters want to be mobile; Farmers less so. Hunters want their rights as lenders upheld, and perhaps to gain additional privileges in the process; Farmers would want to defend themselves against such privileges, or even to deprive Hunters of their repayment.

So what policy will the Pandu band follow? It will depend on the relative strength of each class, the ideological beliefs of the Pandu, and the skill of the band’s mediators or leaders. At all times, clashing interests will pull the band in different directions, and perhaps pull it apart entirely.

Class can go beyond simplistic notions of upper, middle, lower—it can also be derived from different and conflicting interests. And conflict, needless to say, is at the heart of good stories. You can generate powerful conflicts by depicting societies with opposing class interests, and those conflicts will be all the more compelling if your social classes are more than caricatures.

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(And don’t forget, I’m accepting submissions to a fantasy anthology, Ye Olde Magick Shoppe. Check out the announcement and start writing!)

Geography, Travel, and Power Projection

07 Wednesday Mar 2018

Posted by in Better Fantasy, Politics, State Formation

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Years ago, I wrote a post about long journeys in fantasy fiction. It discussed how incredibly difficult long-range travel was, and the profound economic and social effects caused by that difficulty. But I didn’t discuss very much the close relationship between ease of travel and political power.

Remember that in the premodern world, travel on land was extremely difficult compared to travel by sea. It was about as hard to transport a load of grain 100 km over land as it was to ship it from one side of the Mediterranean to the other. Traveling off-road was slow, difficult, and dangerous; there was no guarantee of food, and it was easy to be injured by terrain or wild animals. Even when roads existed, travelers could easily be hampered by bad weather, bandits, or disease.

Why does this matter for politics? We who live in consolidated states sometimes forget that the government’s power is not a given. People generally comply with the government only when they are made to, through enforcement by armed men and the bureaucrats who keep them paid. Where there are no police, and communication with the government is difficult, inhabitants can ignore the law when it suits them. (Even in modern America, there are parts of Appalachia and other rural areas that are renowned for moonshine, drug cultivation, and general lawlessness.)

As James C. Scott lays out in great detail, the first requirement for the consolidation of political power is the ability to control people. That means that a state will generally only extend its rule into areas in which its soldiers can easily travel, in order to extract taxes and plunder and slaves. In Southeast Asia, the focus of his study, large cities were controlled by powerful rulers, but their ability to project their rule into the countryside was limited. During harvest season, the regime’s armies would sweep through the countryside in order to extract grain from the hapless farmers, and in some cases to take slaves. But in the monsoon season, when the roads became muddy lakes and were impassable, a regime’s effective zone of control often shrank to the borders of its capital city alone; the countryside would be beyond its reach.

Similarly, state control often did not extend up into hill country, mountains, marshlands, or other rugged terrain. State rule and so-called “civilized society” would be a feature of the lowlands, while the highlands would be seen as stateless zones of barbarism.

States that wanted to increase their power thus had a strong incentive to move population into arm’s-reach, and to keep them there. Cities were the most prominent example; walls were built not only to keep invaders out, but to keep subject populations in. Peasants were often forbidden to move away from their designated cities, and had to farm plots that were in easy traveling distance. (This was also meant to aid in creating legibility for the state.) Plus, serfs or slaves would be imported and kept under control by force.

On the flip side, Scott writes, people who wanted to escape the coercive state would often flee to inaccessible areas such as badlands, hill country, or marshes. There, they would set up “maroon communities,” or else join with the existing bands of stateless peoples who lived as nomads or foragers. Not that they would disconnect from the state entirely. Until quite recently in human history, a majority of the world’s population was outside of state control, and states depended on trade with stateless peoples to provide them with many of their luxuries (as well as slaves).

From the viewpoint of accessibility and power projection, you can see the tremendous importance that good roads played for imperial powers such as Rome and Persia; or the role that the Dutch and British fleets played in imposing their colonial rule across the seas. Nor was this only an issue in earlier ages; NATO forces in Afghanistan have suffered severe problems suppressing the Taliban specifically because of the difficulty in traveling through the mountainous terrain.

Summing up: power depends (in part) on a regime’s physical access to people. Regimes with better logistics, better traveling technology, and the ability to move their subjects into concentrated zones of control thus could intensify their own power.

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(And don’t forget, I’m accepting submissions to a fantasy anthology, Ye Olde Magick Shoppe. Check out the announcement and start writing!)

So, About That How-To Book on Politics…

06 Tuesday Mar 2018

Posted by in Better Fantasy, Politics, Writing

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[UPDATE: The first volume is published! Check it out.]

Some years ago, I blogged about my plan to write a book about politics for writers, filling a gap in the existing materials on worldbuilding. Most writing teachers focus on details such as the structure of the nobility, or the form of government, or other political features that are actually secondary to the fundamental questions of power, rule, and conflict. I hoped that, using my scholarly background in political science, I could create a guide that succinctly gave authors a powerful tool to generate stories from political conflict.

So what happened?

In short, I’m very badly stuck on how to structure the book.

Basically, there are a series of key concepts that underpin politics: geography, technology (especially weapons technology), the related issue of legibility (how easily a ruler can monitor and tax the peasants), power projection, legitimacy and ideology, and the social order (how wealth and power coexist with each other), to name just a few. Starting with those, you can very quickly drill down to the fundamental type of story you want to tell, and design your world to facilitate that. The problem is that all of these concepts tend to interpenetrate, in a big gnarly ball of connections shooting every which way.

So in trying to essentially give a crash course on graduate-level PoliSci, where does one start?

And if someone wants a checklist for use in worldbuilding, what order would you follow?

I honestly don’t know. But if I keep dithering, the book will never get written, and all you aspiring worldbuilders will be left adrift in a sea of bad fantasy-kingdom pastiches. (Horrors!) My current plan, therefore, is to write blog posts about the various fundamental concepts piecemeal, without worrying overmuch about their order or relationship to each other. I will be collecting these posts, and past posts on related topics, in a new page called Politics for Worldbuilders, which you can see in the top of the blog.

Enjoy!

(And don’t forget, I’m accepting submissions to a fantasy anthology, Ye Olde Magick Shoppe. Check out the announcement and start writing!)

Would Paid Critiques Be Appropriate for the Call for Submissions?

22 Thursday Feb 2018

Posted by in Better Fantasy, Self-Promotion, Writing

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I’ve been thinking about how to make my current anthology project as awesome as it can be. For one thing, I’ve noticed that a number of submissions are by relatively new authors who show a lot of talent, but maybe could use some feedback. The other thing is that I’m trying to figure out attractive swag for the Kickstarter project that we are going to have in a month or two.

Here’s an idea I wanted to run by people: what if authors could pledge, say, $50 to the Kickstarter in exchange for getting a one-page high-level developmental critique of their submission, and the chance to resubmit (as well as the smaller-dollar backer rewards, such as book copies)?

On the positive side, most of that money is going right back to the chosen authors, so it’s a kind of “pay it forward” thing. Plus, it lets new authors improve their writing, which is always a good thing.

I’m worried, though, that people might see it as “pay-for-play,” meaning that the donation would become a stealth entry fee, or that people who donate would have a leg up over those who don’t. That’s absolutely not the case—I want the strongest stories in my anthology, not the ones who pay me a few bucks—but it is true that the chance to get feedback from the editor would make it easier to improve your story to my taste. And I don’t want people to be turned off, or to think that this is a scam.

So I’m asking you. Do you think that this would be appropriate? Or would you feel like this is a scam, or be otherwise turned off? Would you yourself be interested in a critique? How much would you be willing to pay for one? (Bear in mind that most critique services charge much more than $50 for a 20-page manuscript.)

Let me know in the comments. And if this is something you are interested in, be sure to sign up for my mailing list to be notified when the Kickstarter goes live, so you can order your critique.

Under Contract! (Plus, Call for Submissions!)

16 Friday Feb 2018

Posted by in Better Fantasy, Self-Promotion, Writing

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Amazing news—the short story anthology of military fiction that I’ve mentioned before just got placed under contract!

Hopefully, I’ll have more news to report before long. In the meanwhile, it’s time for another Call for Submissions…

The theme for the next anthology is “Ye Olde Magick Shoppe.” Full rules are here, and the deadline is June 1. Your stories must include the buying or selling of magic as a plot element. Be sure to read the full rules, or risk the slush pile.

I look forward to reading your submissions! Good luck!

We Need Your Short Stories!

01 Wednesday Feb 2017

Posted by in Self-Promotion, Writing

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If you have visited this blog since the new year began, you might have noticed a new series of pages in the top menu. It’s part of a new concept I would dearly like to develop, which should provide more opportunities for authors to find paying work as well as giving readers more influence over the books that get written. I blogged about audience-driven book writing at the end of December, and now you can join with me to make the concept a reality.

I am accepting submissions for a new short-story anthology in the genre of military fiction (chosen mostly because it seemed to be underserved, compared to its reader base). The deadline for submission is March 1. Stories should be between 3,500 and 7,000 words long. Selected authors will be paid for publication rights. And in a few weeks, I will be launching a Kickstarter project to raise the funding for publication.

If you want to learn more about submitting your writing, check out the full description and short-story requirements here. And if you want to be notified when the Kickstarter project goes live (whether you are an author or a reader), sign up here. (If you want to suggest a new genre for the next anthology, please do so in the comments below.)

The full vision is for groups of readers to pool their funding, and pay authors to produce the works that they want to read. This anthology is Step One towards fully realizing that vision. For it to work, we need your stories—your talent, your craft, the vivid characters and gripping situations that you want to show the world.

If you have friends who are authors, or who are readers, please share this post and let them know of this opportunity. Again, this is a paying gig—and if the Kickstarter goes well, we may be able to publish stories from more authors than the minimum, making the anthology even more attractive for readers. This is not a zero-sum game; there are no limits. The more people who join together, the more that everybody wins.

Show the world what you can do.

Audience-Driven Book Writing?

28 Wednesday Dec 2016

Posted by in Writing

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I’ve been fascinated for a while by the promise of crowdfunding campaigns to help democratize the world of writing and publishing. For example, many enterprising authors and editors have used Kickstarter to pre-sell their books, reducing the financial risk of self-publishing and possibly attracting a wider audience in the process. Thus, authors whose work might be too quirky for “traditional” publishers have the chance to make their own case to the global readership.

This might be a mere subspecies of the general category of self-publishing, except for one thing: the audience members are not just consumers of the final product, but in a real sense make that product possible in the first place. That changes the dynamic considerably, and it also suggests further possibilities.

If you are an author, you generally have three broad strategies to follow:

  1. Write your own unique masterpiece without regard to whether it will sell. Desperately try to attract the attention of publishers (or, if self-publishing, readers) after the fact.
  2. Formulaically copy whatever hot trend people are buying (sparkly vampires, werewolves, dystopian-cute young-adult, et cetera) and pitch it to a niche publisher (or if self-publishing, niche audience) after the fact.
  3. Weave together existing popular tropes, possibly across genres, to make something familiar yet new. Pitch it to an appreciative niche audience (or if you are lucky, a publisher), after the fact.

(Why do I say “after the fact”? Funny you should ask…)

On the other hand, if you are a reader, you generally have one basic strategy, with two variants:

  • Find an author who has already written something you like, and buy it.
  • Find an author who has already written something you like, and pre-order the next thing.

(Why do I say “already”? Funny you should ask…)

Readers are basically helpless to the whim of the authors; they can only buy what has already been written. Yet many authors are desperate to write things that readers will buy, without necessarily knowing what those will be or how to find out.

On a related point, for authors to be successful in the self-publishing business, they have to be sufficiently competent writers, and be exceptional marketers. If you hate marketing, your only alternative is to try and get a book deal with traditional publishers; and even then, much of the onus of marketing your book is on you. (Admittedly, you do avoid the technical work of laying out and printing the book, or paying someone else to do it.)

I think there is another possibility that crowdfunding has afforded us. Consider the following scenario:

Alice likes the idea of, say, werewolf romance novels in space, but can’t find any to read and does not want to write them herself. She does, however, want to bring “Werewolves in Space” into existence. So she launches a Kickstarter project to fund, not the publication of an already written book, but a Request for Proposal (or a writing contest, if you prefer) for a third-party author to write such a book to her specifications.

One can already pay writers directly to write books to order, on sites like Guru.com or Freelancer; but since in that case a single individual is paying the whole cost, such books are typically written cheaply and are of poor quality. Here, with a Kickstarter, Alice can find other werewolf-in-space fans who like her idea, and are willing to contribute their own money until the total prize is worthwhile for good authors to consider. If Alice manages to raise, say, $10,000, that might catch the attention of skilled author Bob Bodiceripper, who could then submit a proposal. If accepted, he would then write the exact book that Alice and her fellow werewolf fans wanted, but could never find.

Everybody wins. Fans can order the books they want to read, authors can write to known specifications, more books are written and paid for, and more authors get read. And this would not displace the existing channels for writing and selling books either; it would represent a true broadening of the market.

Yes, many fans might pay for embarrassing dreck. But they do that anyway, and letting readers directly influence the types of books that get written may well open the door to new and exciting possibilities that no one can imagine today.

Dramatic Tension: What Went Wrong with Act III of Star Wars: The Force Awakens

29 Tuesday Dec 2015

Posted by in Better Fantasy, Writing

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Unlike my last post, this one will have some spoilers. It’s been two weeks, folks. Information wants to be free!

In general, I enjoyed The Force Awakens when I saw it. However, I noticed during the climax at the end that the assault on the Death Star—uh, no, the assault on the Other Thing—anyways, it lacked a lot of the tension that characterized the original Death Star attack during A New Hope. I was discussing this with a friend the other day, and between the two of us I think we figured out the problem, and what JJ Abrams should have done instead.

During A New Hope, the first two attempts to attack the target failed. Worse, with every X-Wing that was shot down, it became increasingly less likely that the target could be attacked at all, until finally we are left with Luke, by himself, a sitting duck in Darth Vader’s gunsights. Dramatic tension was at a fever pitch, and then the Millennium Falcon arrives to save the day. Seconds later, the torpedoes go in, and we experience a massive rush of relief.

In The Force Awakens, first of all, the time limit has little impact on the viewer. We have seen this before, and giving us an exact (and arbitrary) time limit also drains away the tension until it returns in the final seconds, if even then. Second, the attacking squadrons immediately launch their attack on the primary target, and it fails without any particular explanation—or hope that the next one could succeed. Thus, we viewers realize, the X-Wing fighters actually don’t matter at all in the fight for dramatic purposes, and exist mostly to die gloriously.

So all of the attention is focused on our heroes on the ground—the same ones who have already planted bombs, and are in the middle of a dramatic character moment with a lot of emotion, and emotional tension, but not the tension you get from a race against the clock. At the final moment, time even seems to stand still, working against the larger sense of jeopardy the movie was supposed to create. All the pieces are working at cross-purposes.

What should the movie have done instead?

In the massive preemptive strike launched by the Super Weapon, it takes out multiple targets at once and then shuts down for a long period to recharge. This was a mistake, from a storytelling perspective. Only one of its targets was actually time-critical (the Republic fleet). Destroy that one first, and the others could be picked off at leisure. So what JJ Abrams should have done, is have the weapon fire once, every two minutes, continuously.

That way, every mistake the heroes make, every snag they hit, every obstacle they must overcome, means that millions more people die while they watch, each time the weapon fires again. Even better, it provides a better reason for the First Order to discover the location of the Resistance: when the X-Wing fighters make a panicked jump directly from their base to the Super Weapon, the bad guys can simply plot their path backward over the course of the next five or ten minutes. Then, after having destroyed several targets while we squirm in impotent horror, they can finally calculate the location of their hated enemies, and train their sights on the good guys, chortling evilly.

And then they can blow up.

That would have made for a much more effective Act III. And for the rest of us storytellers, it presents a lesson that sudden explosions are not necessarily better than explosions that we see coming, but cannot prevent.