An Interview With Ian Benke
Do the homework required for technical plausibility: Though we use technologies such as Faster-Than-Light travel, and I’m guilty, there are so many tangible innovations we could mine. Daily research overflows with possibilities that beneficial, terrifying and everything in between. In my book, Sol is Not Lost, I explore electromechanical exoskeletons. Considerable ongoing research and development is underway toward providing structure and mobility for those who are otherwise impaired. An arm or leg, for example, is placed inside the device to provide lost functionality. Work continues on neuro-electrical links whereby a person may control such devices easily — improving quality of life.
Science Fiction and Fantasy are hugely popular genres. What does it take for a writer today, to write compelling and successful Science Fiction and Fantasy stories? Authority Magazine started a new series called “How To Write Compelling Science Fiction and Fantasy Stories”. In this series we are talking to anyone who is a Science Fiction or Fantasy author, or an authority or expert on how to write compelling Science Fiction and Fantasy .
As a part of this series, I had the pleasure of interviewing Michael James Scharen.
Mr. Scharen holds Bachelor of Science degree in Physics from Montana State University and a Master of Arts in Physics from Kent State University, OH. He has several years experience in R&D with ceramic superconductor materials and devices as well as two-way pagers and fiberoptics. He has two publications as first author with Nobel Prize winning physicist, J. Robert Schrieffer along with other papers and patents. He has written five books to date and is learning web development including JavaScript, CSS, MySQL, PHP, and APIs in building his
Thank you so much for joining us in this interview series! Before we dive into the main focus of our interview, our readers would love to “get to know you” a bit better. Can you share a story about what first drew you to writing over other forms of storytelling? You are a successful author. Which three character traits do you think were most instrumental to your success? Can you please share a story or example for each?
1. I have the ability to see a work for its important elements while maintaining a vision of the whole. Likely this stems from a more analytical background. Though I do not create outlines, per se, my method is to introduce the main character or characters with small scale conflict with hints as to the direction of more complex confrontations with their antagonists later on. The problems tackled by the main character(s) in pursuing the grander goal(s) grow in scale and intensity as the novel moves toward climax and resolution. As I work, I do a lot of rewriting and editing as well as research into technologies or elements I believe will fill out the story in a meaningful way.
2. In writing, I maintain a focus and determination for seeing a story through. By this, I mean keeping an eye on the big picture while letting minor themes or character interactions run their course with both humor (sarcasm?) and serious philosophical depth. In my books, the primary plot goals intertwine with their related underlying themes. Chief among these is the arbitrary and capricious nature of presumed authority and how to combat it. I see on Twitter, for example, that many writers are obsessed with word count or how many words they’ve written each day. This leaves the impression of striving for quantity when quality and substance is the goal. A reader can easily determine when words are there only to fill up pages. The writing becomes repetitive and boring.
3. I’ve had to see beyond the writing to learn the technical skills required for creating e-books and audiobooks with methods of presentation and marketing on a website. Putting out a book does not stop when the writing is over — it is only beginning. To make my books accessible, I learned to use Sigil — a application for creating e-books in .epub format, then converting them to .mobi (Kindle) versions. In addition, I learned to use Audacity to record and edit each book for a clear, professional result. Presentation of digital products on my website has been an ongoing effort to learn the coding languages required with each added feature for SEO. For example, I had never heard of structured data Open Graph, or Twitter Cards which enhance the ability to be found by search engines as well as how they are presented in a list of search results.
Can you tell us a bit about the interesting or exciting projects you are working on or wish to create? What are your goals for these projects?
My work in progress follows pioneers in the colonization of Mars. The setting is one where stations or settlements have existed for a few generations. The vision is of a Mars Frontier with some amenities but the harsh environment is an ever-present danger with which pioneers must contend. Loosely related to my other books, there exist distinct camps. These are the free Mars Frontier and the compounds created by government entities such as the U.N., NASA, ESA, Roscosmos, etc.. Elon Musk, in his recent presentation, restated that Mars will be incredibly tough and many people will die. I liken colonization to that of North America or Australia both in the harshness of the environment and the motivation of those choosing that life. Elon Musk also stated (many months after my earlier books were written) that ‘No Earth governments would hold sway in SpaceX colonies.’ I am not the only one with thoughts along these lines.
When this is completed, I would like to revisit themes explored in my second book, For the Ages. Namely, that advanced civilizations on Earth existed long before the Egyptians or Sumerians. Ongoing research in this area — though outside the mainstream — has gathered considerable evidence that this is the case.
Wonderful. Let’s now shift to the main focus of our interview. Let’s begin with a basic definition so that all of us are on the same page. How do you define sci-fi or fantasy? How is it different from speculative fiction?
I define science-fiction as a genre with a palpable technological basis for extrapolation of future advancements. Science-fiction takes place in a setting whereby humans must contend with the consequences or circumstances brought about by new discoveries or innovation. This may be the result of their own efforts or other beings. This is not to say that all sci-fi requires a lot of spacecraft and circuitry or that those are central to the story. The drama is in how humans contend with questions never encountered before and their myriad moral consequences. Though I define sci-fi as above, it is more in line with a quote attributed to Robert Heinlein in which the term speculative fiction was said to be coined, “Speculative fiction (I prefer that term to science fiction) is also concerned with sociology, psychology, esoteric aspects of biology, the impact of terrestrial culture on the other cultures we may encounter when we conquer space, etc., without end.”
Nowadays the more widely held definition of speculative fiction is that of a broad category encompassing sci-fi, fantasy, horror, and the paranormal, etc.. It describes stories taking place in settings far from our perceived reality. I’m not sure this is a very useful term. Most police or military action programs are certainly not realistic. We can cite one man armies fighting hundreds or ammunition that never runs out (for the good guys), and the bad guys always missing their shots. This is far from believable.
It seems that despite countless changes in media and communication technologies, novels and written fiction always survive, and as the rate of change increases with technology, written sci-fi becomes more popular. Why do you think that is?
The written word is still a very distinct medium from video. The pace may be slowed down or sped up at the discretion of the reader. This allows one to absorb meanings both overt and subtle. This is not the same as pause and rewind. In video, the picture is always the same but in a book, the picture is in your mind. It can change if one walks away for a few hours or a few years in rereading the same passage. Hollywood special effects do a wonderful job, but try as they might, they can only produce the scene one way. For a book, a thousand may read the same work but the picture in each person’s mind will be unique.
I believe people go to science fiction because as they see the pace of technological change around them, they find the stories more believable. Science-fiction is no longer pulp as folks understand today’s sci-fi is tomorrow’s reality.
In your opinion, what are the benefits to reading sci-fi, and how do they compare to watching sci-fi on film and television?
In reading sci-fi the probability of absorbing the relevant questions and the writer’s thoughts on them is substantially increased. In addition, the number of finer points is generally greater in a book than in a movie — not to say that they are not there. I have seen sci-fi movies for the second or third time and found elements that I had missed. The pace is often too fast to get everything and the action or special effects often overwhelm the most important details. For example, most likely do not understand that the Matrix is a retelling of Plato’s Parable of the Cave. It is what we are living every day.
What authors and artists, dead or alive, inspired you to write?
Robert Heinlein, Orson Scott Card, H.G. Wells, or Arthur C. Clarke would be the most inspirational.
If you could ask your favourite Science Fiction and Fantasy author a question, what would it be?
I would love to have asked George Orwell where his inspiration came for the books 1984 and Animal Farm.
We’d like to learn more about your writing. How would you describe yourself as an author? Can you please share a specific passage that you think exemplifies your style?
I consider myself an author who strives for realism, even in the realm of science-fiction. My technical background longs for more plausible explanations rather than the meaningless technobabble we often get for that genre. At the same time, I love to include jabs at the self-appointed elite and do it with humor and/or sarcasm. In the popular dystopian tomes we’re subjected to year after year, there is often little humor. This passage is from Sol is Not Lost Chapter Thirty-One: No Room at the Inn.
The Mars Frontier was definitely making the connection between government cabal and attacks on their livelihood. But that was what governments were; just small groups of men and women forcing you to pay them. Spontaneously, the signs went back up in the windows in the New Settlements. Government minions were increasingly being refused service. Cars were not being detailed, laundry was not getting done, and repairs were not being made. Surprisingly the shops in the government sector were joining in, and not just on Mars, but in various enclaves about the Earth-Moon and Mars. In those establishments, tips were collected in ingots or Bank of Copernicus notes. French Polynesia was a noted center for non-compliance. There was nothing anyone could do. Government employees were not a protected class — not everywhere.
Two days later the PD Normandie was in orbit over Mars. She had arrived. Ex-president Levoisier ran into Ambassador Detrick and Malcolm Aldrich III only as they boarded the shuttle to the surface and Millikan Center. The meeting was cordial, though, as Levoisier had guessed, he had fallen a few notches in the pecking order and he was treated as such. Letting their snobbish attitude go, he pressed on. “I suggest that you and I meet on the ground once we are settled,” he said to them. “Oh, really? Now why is that?” asked Aldrich. “I have some information I’m sure will interest you and your future plans.” Detrick was not in the best control of himself after their computer controlled fall through the thin atmosphere. “Of course we’ll meet you. We are staying at the Bradbury in the New Settlements. “Ambassador, I’m afraid they won’t let you stay there. Mr. Aldrich, yes, but not you.” Levoisier informed him. “What do you mean, won’t let me?! I’m the Ambassador from the United States!” barked Detrick. “I’m afraid he’s right, Conan, they won’t serve your type there. You’ll have to stay in the NASA dormitories.” Aldrich chuckled. “I’m sorry Ambassador, but I’m afraid you don’t understand the mood toward government employees on the Frontier,” said Levoisier. Detrick shouted, “I’m not a government employee, I’m the goddamned American Ambassador!” Malcolm Aldrich III looked at Detrick and said, “Conan, just look to see who signs your paycheck — I mean your official paycheck.”
Based on your own experience and success, what are the “Five Things You Need To Write Compelling Science Fiction and Fantasy Stories?” If you can, please share a story or example for each.
With regard to Science Fiction, my list would include the following.
1. Do the homework required for technical plausibility.
Though we use technologies such as Faster-Than-Light travel, and I’m guilty, there are so many tangible innovations we could mine. Daily research overflows with possibilities that beneficial, terrifying and everything in between. In my book, Sol is Not Lost, I explore electromechanical exoskeletons. Considerable ongoing research and development is underway toward providing structure and mobility for those who are otherwise impaired. An arm or leg, for example, is placed inside the device to provide lost functionality. Work continues on neuro-electrical links whereby a person may control such devices easily — improving quality of life.
In the case of Sol is Not Lost, we have colonists living on planets with higher or lower gravity. Someone going from Earth to Mars may want to keep up their strength. In this case, the exoskeleton provides resistance to motion simulating Earth gravity. On a planet with higher gravity, the suit would add strength to the wearer. In on case it is used as a temporary jail.
2. Ask new questions or find novel ways to tackle old ones.
One subject I take on in my books is the nature and legitimacy of authority. On the Mars Frontier, there is no government and the people there don’t want one. There is a nearby compound run by Earth space agencies and bureaucracy The Mars Frontier or New Settlements as they are called in my books demonstrate how interaction through voluntary contract serves them much better than the arbitrary force of the State. This includes security, insurance, arbitration (courts & juries), and all the rest. On the Frontier, anyone can prosecute anyone — the only catch is that those folks and their contracted prosecutors have to be on the level. If they are not they will go out of business. Individuals essentially create their own laws by contracting with a security agency similar to bonding. The written agreements controlling their behavior are those they themselves drew up and signed. There is no ignorance of the law when you write it yourself. There is more to the concept of voluntarism and true anarchy, but this is the general picture.
A character in another book develops a strain of Atlantic Bluefin Tuna that are easily identifiable by silver stripes. These tuna run with the traditional Bluefin but cannot interbreed with them. The idea behind such fish, which she then patents, is their protection not by nebulous unenforceable international agreements but the protection of property rights. In this way, she counters the Tragedy of the Commons. Currently there is an organization created to protect this overfished and endangered species called ICCAT, or International Commission for the Conservation of Atlantic Tuna. Many now call this the International Conspiracy to Catch All Tuna.
3. Make the characters three dimensional.
Characters in many sci-fi stories are often near-perfect straight-laced heroes or outright sociopathic villains’. Believable sci-fi should not present characters without inner or interpersonal conflicts. At the same time, those conflicts must not overshadow the main themes but add flavor when a character reacts in ways most people can relate to. The characters should have everyday lives which they cope with in everyday ways. In my book, The Serendipity Factor, one of the protagonists goes into labor — as they are exploring a planet beyond our solar system. Her friend decides to distract her from the pain by brainstorming her desired project to give Mars an artificial magnetosphere! This does not sound like everyday but changing someone’s focus to get their mind off of their discomfort is very human.
4. Add emotion.
The stories with superheroes tend not to have much emotion. Such reactions often help to make a point. I’ll add a spoiler alert here for those who’ve not read the following example from my book, For the Ages. In this story alien artifacts are found on Earth which are extremely ancient. They are not inanimate objects like clay pots or tablets but sophisticated devices. Having been handed around from one human faction or stolen from another for eaons, they are witnesses to history — in sound and video. Archaeologists manage to excite a tablet which replays a battle between Romans and Egyptians taking place more than two millennia earlier. As people watch, men are screaming and dying in full holographic clarity and surround sound. The excitement of the find and its possibilities fades to sober reflection on what was just experienced.
5. Stay away from magic.
It is one thing to create novel technology for a science fiction story, but often we become inundated with technical solutions right at that point where the fat of the plot needs pulling from the fire. This is not solid sci-fi but more akin to magic and fantasy. In my opinion, this is a very lazy way to write in this genre. Probably the worst of these crutches is time-travel. But then it is perfect for explaining away almost any hole in the plot structure. Several popular franchises are the worst offenders for both their technobabble and time-travel tropes. Solutions to problems are whipped out mere seconds before world-ending catastrophe for anything from plagues to super alien weapons.
I do make exceptions for time-travel in cases where it is cleverly done. Some examples would be the movies, 12 Monkeys, Looper, and Bill and Ted’s Excellent Adventure simply because they poke fun at the concept of the very plot-saving contrivance I’ve just described.
We are very blessed that some of the biggest names in Entertainment, Business, VC funding, and Sports read this column. Is there a person in the world, or in the US, with whom you would love to have a private breakfast or lunch, and why? He or she might just see this, especially if we both tag them 🙂
At this moment, the person I would enjoy meeting the most would be Elon Musk — @elonmusk. I saw his interview with Tim Dodd — The Everyday Astronaut. As a former manufacturing engineer I could tell that Mr. Musk has a vision but also ‘gets it’ with respect to manufacturing and design efficiency.
How can our readers further follow your work online?
My website — michaelsbookcorner.com
Michael’s Book Corner on Twitter — @Classic_Sci_Fi
My goodreads.com Author’s Page
Thank you for these excellent insights, and we greatly appreciate the time you spent. We wish you continued success.
Author Michael James Scharen On How To Create Compelling Science Fiction Stories was originally published in Authority Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.