Geeky stuff


So Volume 1 is written and I’ve made the decision to publish under a Creative Commons licence and see if I can figure out some way to make money. I’ve now created a video of Episode 1, and I’m just about to create it in Acrobat format.

This has been prompted by the following factors:

  1. The example set by Scott Sigler, who gave everything away and then got publishing contracts on the back of it.
  2. A recent BBC radio programme by Peter Day “Free for All” broadcast on 8 Jan.
  3. The dread of going through the aweful grind of selling myself to publishers.
  4. The fact the I get a million visitors a year at HotU, an asset which I must be able to leverage.

So here goes. I’m planning to produce one video a week (although they sure take a lot of time). Let’s see how it goes.

Warning: this post reveals parts of the story that will appeal to geeks, but it reveals things that some readers might regard as story spoilers.

I’m writing this post as an aid to my thinking as much as for reader’s information. I’ve just started editing Chapter 6, rewriting the work I wrote in spring 2007.

I’m trying to finalise the laws of time-crystallography. Physicists use ‘crystallography’ to mean the science of how crystals form and what structures they take. I use time-crystallography to mean what Sam and other characters can see when they look down a Time Crystal, how Time Crystals in the Macroverse communicate with Crystals on Earth, how the whole thing works.

One of the problems (or you might say the benefits) of writing this story is that I get to decide these rules. It’s a bit like creating the laws of physics for a new universe, only not so difficult. Part of the problem is that I want the scenario to be physically credible and internally consistent. If I’ve understood the folks in the Coventry Writer’s Group, they think you don’t need to be credible or consistent when writing children’s fiction. They say that children will just accept anything. Fill_Up_With_Silence says much the same thing. I guess this means I’m aiming at the adult audience.

This is the spoiler. Essentially Time Crystals are linked to each other, and to Crystals in the Macroverse, by anti-energy strings. That is what holds open the Time Tunnel and allows people to see and hear through Crystals. Each fragment that makes up his cave wall is linked to one of the Time Crystals.

I’m grappling with the problem of how much Sam can see while looking through a Crystal. Flo Swann said that she first understood the time bubble idea when she saw an image of the inside of the bubble as being in colour and the outside as being in black and white. I’m thinking of using this idea and letting Sam see things outside the bubble. (You see how useful it is to have readers comment on your work? Thank you, Flo!)

So my problem is, how can Sam see outside a time bubble if the character holding crystal fragment cannot? It’s not consistent. From the author’s point of view, it would be handy in the early stages of the story if he could see outside, since it would give him greater knowledge than people on Earth, so adding to their sense of him as an angel.

I thought that he might be able to see outside by looking slightly off-centre as he looks into the crystals in his cave wall. Essentially looking down a crystal for Sam is like looking down the wrong end of a telescope. He can see and hear things on Earth. They look small and sound faint, as if they are very far away. He has to look straight down the centre of is crystals to see them. If he looks off-centre he sees and hears nothing.

Or maybe looking into a crystal is a bit like looking into a kaleidoscope? As he tilts his head he sees out of different faces of the crystal? (Twisting his head instead of twisting the collar of the kaleidoscope. Just thought of that. How useful it is to write this blog!)

But the time bubble would still get in the way.

More spoilers. The visual opacity of the bubble is caused by ionisation of the air, at the surface where time stops. Francesco Romani will explain this later in Volume 1. But the real problem is that time is frozen outside a time bubble, so radiation cannot travel outside, so Sam cannot see things outside. How to get round that? I think I (and the reader) must accept that he can, even though it’s physically inconsistent. The same thing applies when he looks into historical crystals. They have frozen time instead of creating it, for example the frozen cow, but he can see through them all right. So I will ignore the issue of how photons travel without time. Or perhaps I can actually find a plausible explanation, since time works differently for photons.

So the only remaining problem is how he can see beyond the time bubble barrier. I doodled using Flash to produce this image:

First version of Crystal Links

Each of the crystal shards that make up Sam’s cave (bottom) is linked to a different fragment on the frozen Earth and in history (top). Also each of these is linked to two others (except the End Fragment).

Note that originally there was only one crystal that Sam could look down, and he could see all the other fragments by looking into it from different angles. (This whole scenario has been through MANY iterations!) That was simpler, but the idea of Sam being inside a cave made of many shards has complicated the picture. At present I imagine the whole bundle of red strings being bundled together with the black strings and lying inside the Time Tunnel like some sort of fibre-optic. That’s consistent with how the crystal machine worked before Michael broke it.

Now I need to work out

  1. how to communicate this model visually to the reader
  2. how Sam can see out of the time bubble that surrounds each fragment (top in diagram)

And so my problems get worse instead of better.

Well problem 1 is a matter of writing skills.

I solved problem 2 while cleaning my teeth after breakfast. I stood up and swayed about a bit, and realised that Sam might see different things as his head moved closer to the crystal, like moving in and out of different focal planes. When he leans forward towards a crystal he sees more.

I imported the blog from Google’s Blogger to WordPress, a totally painless operation. I much prefer WordPress as it allows me to have fixed pages as well as posts. I aim to have one fixed page for the lastest version of each chapters, so I don’t have to keep updating links.

Now all I need is the time to get it looking right! I’ll have to add messages to Blogger telling what few visitors I get to look at this new site.

Ah, bliss.

Note this was written when this web site was hosted by Google’s Blogger. It was to avoid the problem described below that I moved the site to WordPress in April 2008.

I’m updating chapters 1 to 3 with the latest versions. These are not the final versions, just the latest of many revisions.

The trouble with publishing new versions is that comments that people make become disconnected from the original text. I’m chaning the text but keeping the same page URL so taht links still work. It would be better if I created new pages, since then comments would stay with the original text.

Obviously what I need is a secretary who can do all this donkey work. Or perhaps just a donkey. But then is it worth it? Will anyone care about what comments were made on what pages a week after they were made? Apart from me and the original comment’s author.

The major “inaccuracy” in Time Crystal, that is, the major things which are describe which do not actually exist, are

  • the covered Walkway from the Globe to the ATLAS Control Building
  • the ATLAS Observation Room

Both of these items were in the original plans for the ATLAS buildings. In the story Wyken Seagrave imagines that by 2012 both of them will have been constructed, but at the time of writing the story (2007) neither exist.

A minor “inaccuracy” is that the Mercator software does not exist. This is described in the SciSoftA entry in this blog.

Printed the first two copies of Volume 1 over the weekend. The first was posted to George Westbrook. She’s going on holiday and needed some reading material and she couldn’t take an A4 copy so I used Pagemaker (an ancient Adobe piece of desktop publishing software) to create signatures of sixteen pages which I then stapled and hot-glued into a cover I printed. The cover was a little thin so on the second copy I added some blank pages at the start and stuck them to the cover. This also helped to prevent them falling out. The end signatures are typically less well-glued than the centre ones.
Printing these signatures was a nightmare when a blank page went through and I couldn’t work out where to restart printing. Worked it out eventually but not something I want to do very often. I figure the copies cost me about $10 in materials, which compares well with the $40 most printers would want to print that volume of books.
I was quite happy with the result. It’s important because
a) the printed article has a different look and feel than when seen on screen.
b) I’m probably going to offer 50 copies to a sample of seventeen-year-olds for their comments.
Then I started proofing one of these copies and then had the problem of how to update the copy with the new pages and I got in a terrible mess trying to stick the revised pages back in and ruined my beautiful book. I then printed the whole thing again on A4, much easier and quicker, and began proofing that. Came up with some good ideas, such as putting a separator between changes of Point of View.
I also started thinking about fonts and decided the book should be printed in Agency FB and Perpetua. Agency has a nice angular shape which suggests the angularity of Crystal. Perpetua is similar to Times New Roman but much more condensed, so cheaper to print. This will be useful to print samples and if (heaven forbid) I can’t find a publisher for this masterpiece.

Last friday was the 31st of August. On that day in 1969 I painted a not-very-good picture, infatuated with a married girl called Pam and waiting to go to Nottingham University where the not-very-good picture was subsequently shown in a student art exhibition. The key feature of this picture, as I recall, was the hard circle of paint skin lifted from the surface of an old oil-paint tin which I had found in the garage (which I had helped my father build) and stuck to a piece of hardboard. All pretty grimy.

Last Friday was much brighter. I took my wife to Upton on Severn, Worcestershire. It’s a pretty and undeveloped town with a tower that still bears the scars of the 1660 Civil War when Oliver Cromwell took the town. She found a charity shop open so she was happy.

We went because I wanted a map of the Pre-Alps and there is a wonderful map shop there. The walk I had planned along the River Severn was disappointing. We didn’t go far upstream along the Severn from the rusting bridge. The walk is un-used, barren and sterile. We went back over the bridge and walked downstream but, apart from the magnificent views of the distant Malvern Hills and the evidence of the recent flooding caused by global warming there isn’t much to see.

We came back to Coventry via Stratford and we stopped off the Dirty Duck for a plate of chicken salad and chips. Afterwards we walked up to the The Courtyard Theatre where they were playing Twelfth Night and the interval drinks were set out all round the bar waiting for anyone who cared to drink them. I bought a copy of the BBC DVD of the play in the shop and tried to watch it on Sunday evening.

For these past many years WS hasn’t communicated with me. The effort of understanding him never seemed rewarded. I couldn’t see the point of studying him. After watching the DVD three times I’ve changed my mind. I think his plotting is interesting although of course it’s all very dated and driven by unlikely character motivation. Why, for example, would the Viola pretend to be a eunuch and serve the Duke? Such a high-risk strategy is unexplained yet it is key to the plot. If I’d been writing it I would have found a more plausible explanation, perhaps the Duke’s eunuch had just died and there weren’t any more on the island or whatever.

When I was seventeen I spent a lot of time studying King Lear when I should have been learning physics. Anyway I was sufficiently impressed that I’ve ordered all the BBC DVDs, 37 of them for about US$6 each, so I can finally work my way through them when I’m cooking dinner.

He also has the asset that he has the same initials as me! WS.

I probably shouldn’t show you this since it’s from Volume 2 so if you don’t want the story spoilt click away now.

I’ve decided you just can’t beat Flash for storyboarding and thought I’d show you a sample of the type of thing I’m working with. This is frame 10 of a complex scene. I don’t know any other way of working this type of thing out.

I wonder how other authors do this type of thing?

So here’s the image. Might not look much to you but it’s a big help to me!

Writing the new chapter 34, where Catriona finds the tunnel, I wrote it first in Catty’s voice, fast and fluid with lots of ands and no full stops and then gradually converted it into narrative description. This wasn’t planned, it just seemed that I could get more drama out of the description than Catty would be able to give by rushing through. But it seemed a natural way of writing and was how I saw it as I tried to live it through her eyes. I’ve never written anything this way before.

I used TextAloud’s editor to edit the text since PowerWriter insists on putting capital letters at the start of sentences which I didn’t want but mainly because I get tired of highlighting text and pressing CTRL-F10 which is my shortcut for reading aloud.

I cut up Catty’s monologue into phrases and re-arranged them into a slightly different sequence and grouping them into sentences. This also forced me to think through the moment-by-moment description which is so vital in bringing a piece of action to life but which the character would never give when recounting her own story. This is quite hard to write, since you need to see the situation vividly, most of which I’ve got to invent. It’s also not a skill I feel very confident at. I’m forever tinkering with the text, re-arranging bits. I don’t hear the text in my head and then write it down like, for example, Edward Gibbon used to to. Instead I tinker and then have TextAloud read it to me and decide I don’t like it and fiddle some more. Very laborious and time consuming, but hopefully I’ll get more efficient as I gain in practice. I hope so!

So this movement, from character’s to narrator’s voice, seems like a good method of text development. Wonder if I’ll ever use it again?

Not sure if I’m doing the right thing but I’ve decided to publish the map.
I use this to mark important places in the story.

Click here to see it.

So far it’s been private but I can’t really see why it should be.

Warning

I can’t guarantee that looking at this map will not spoil some later parts of the story. On the other hand, it might enhance them.

But at least it proves one thing: everything in this story is real, as far as I can make it, given the limitations that some parts of CERN (for example the Globe of Innovation) may not appear on Google’s map, and other parts (such as the ATLAS walkway) have not actually been built yet (although it appears on certain plans).

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