Tag Archives: ideas

Plumbing the Well

Accessed from http://www.wga.hu/frames-e.html?/html/r/rembrand/26group/05group.html

The Nightwatch by Harmenszoon van Rijn Rembrandt (1642).

Last week I wrote about how ideas come to pass. This week, I’m going to examine a current short story which I am working on. Its tentative title is The Affairs of Catherine Hill, Incorporated. Mostly because I like titles that are more than one word in length.

The source of this story actually came from my desire to write something in the near future that isn’t a cop drama. Cop dramas are pretty ubiquitous in modern media. If it’s not superheroes cleaning up streets, then it’s the rugged and persistent police force in such wonderful things as CSI, Criminal Minds, Law and Order, Castle, Almost Human, Skorpion, Bones, Rizzoli and Isles, Blacklist, Person of Interest, Dexter, Foyle’s War, Midsomer Murders, Hawaii Five-O, NCIS, The Mentalist, Murdoch Mysteries, New Tricks, Republic of Doyle, Rookie Blue, Sherlock, Elementary, The Listener, True Detective, White Collar, Death in Paradise…

Needless to say, it’s a lot. I understand the appeal. It’s an easy format, very monster of the week that doesn’t require a lot of memory on the part of the viewer. Relationships aren’t particularly complex and you can really jump in at any point you want in the series because the status quo is necessary to maintain for both the format and the setting. Police departments don’t undergo rigorous changes and upholding the rules is their job. You watch one cop drama and you’ve essentially seen them all. There’s comfort in the familiar. There really isn’t a lot of variation in their presentation.

It’s also the easiest, most convenient way to work in action for a modern setting. Unlike fantasy, modern society is known for being safe and stable. You don’t really have bandits striking in the night to burn down villages and create heroic orphans. You also don’t have dragons who inherently need slaying. If you’re going to get the violence and action of a fantasy flick, you’re going to have to explore crime. And the people who would lead lives that interact in a relate-able way is the police officer. Every day, according to the TV universe, is an action packed struggle with the elements that are undermining the very structure and safety which allows the viewer to watch from the comfort of their home after a long day at work.

So, yeah, I understand the police procedural. I even wrote a short story with a police officer since it was the easiest way to work in a protagonist to explore the mystery I’d developed. But I’ve always argued that the strength of speculative fiction is its ability to take us on journeys beyond the ordinary. Science fiction and fantasy are great at taking old concepts and looking at them in different ways. Or simply jumping off into entirely different ideas.

Thus, I wanted a future story that wasn’t following a police officer. Ok, I thought, what else is fun? Well, I’ve always enjoyed espionage. It’s a genre that’s sort of been on the decline. So, I have a natural interest in that subject and it’s something that could use a fresh look. Alright, I’ll write a futuristic spy story.

Then I asked myself the niggling problem. How does the future change the face of espionage?

Therein lies the rub. And the fun. The future. What sort of future would we be seeing? I ruminated on the various directions I could take. I decided I wanted to have a future very different from our own. I mean, society has changed dramatically over the last hundred years it is silly to think that it would stay the same for the next hundred. What society driving factors would I take to change the face of society? Well, a current issue we face today is the economy. There were elements I could take from there.

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Sampling Officials of the Drapers’ Guild by Harmenszoon van Rijn Rembrandt (1662).

Corporatism is a pretty omnipresent factor in the modern economy. We’re getting large companies that control greater and greater shares of the market. Consequently, they exert more and more political influence in the public sphere as they’re able to turn their massive profits into lobbying for laws and changes that benefit them. What were to happen if we took this to its extreme?

I began to envision a corporatocracy. Instead of individuals electing representatives to a national body, it would be corporations electing their spokesmen in order to negotiate for more favourable laws for their interests. I had this thought that, given in America corporations are recognized as individuals, what if Monsanto decided they wanted to run for office? If they were large enough, they could “convince” their employees to vote for them and insure they get the position. Surely, if one corporation did it, others would follow suit. And the cost for elections is so enormous in the United States that corporate sponsorship is mandatory for anyone with aspirations for Washington. So what if the corporations simply cut out the middle man?

Well, public office would simply disappear. What could civil servants truly hope to do in the face of these huge economic powerhouses? But what would this mean for the little guy? How would people be handled by this shift? This isn’t big government we’re looking at but big corporation.

I then remembered my time in Japan and how the face of business was changing over there. At one time, it was socially expected that a young man would get hired on with a company and that company would, essentially, take care of him for the rest of his life. Unlike in the United States, there was extremely little job changing. Perhaps this would become the new normal. Companies still need people at some level to keep them running. And if the government isn’t going to provide the basic necessities (because it doesn’t exist) then companies could offer them as incentives to keep their workers.

I was beginning to broach upon medieval serfdom. In my research for my novel we hunt dragons. I came across the surprising information that the relationship between liege and serf wasn’t entirely as one directional as I had believed. There was a defacto contract between ruler and ruled. The ruler was expected to provide safety and sustenance (in the face of poor crops and droughts) to their farmers and in return the farmers provided a (hefty) tax to their protectors. Should a ruler fail in his duty to his farmers, there were in many places recourses that the serfs could take to protect their livelihood. This often manifested as taking the lord to court with the greatest threat the farmer could leverage was the freedom to remove their self from their lord’s protectorate and seek out a neighbouring realm which he could work and live.

This structure would work incredibly well in the case of my rising corporations. The company a person worked for would be their entire structure. It would set their laws and protections as well as the rewards and compensation for their efforts. As long as I was a member of a company, I was safe. I would essentially sign my life to these corporations for their benefits. Had I no affiliation, I would have nothing. Someone commits a crime against me and I would be forced to shoulder the financial burden of paying the police to track them down and prosecute them. I would have to be the one to pay for that criminal’s prison sentence. I would ultimately have to cover the damages that were done. But if I were an employee, all of that would be taken care of by my company.

It was medieval servitude and I liked this association that the future of our current business practices was ultimately our past.

There was a further wrinkle, however. I felt that public interest wouldn’t ultimately die to the Cokes and IBMs of the world. I could see professions living on if they incorporated themselves. It was the rebirth of the guild system. Once again, the parallel with medieval economic structure was perfect. And its explanation for its recurrence was simple and elegant. Instead of being gobbled up by the burgeoning medical fields, the doctors and surgeons would unite and form their own corporation. They would hold exclusive right to practice, train and sanction official doctors. If companies wanted their service, they would have to pay for them. In this manner, the doctors could insure that healthcare didn’t fall to the rich. If they were in charge of their own services they could have humane scales of payment depending on an individual’s income. Company members would have to pay out the nose because they could. Unemployed people could pay in service if they had no credit to their name.

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The Anatomy Lecture of Dr. Nicolaes Tulp by Harmenszoon van Rijn Rembrandt (1632).

Thus, the labour force wouldn’t entirely disappear but would play the same game as the corporations.

But how would this be enforced? What would stop the big business from gobbling up the smaller?

I knew I wanted some national body to draw parallels with our current democratic governance to highlight how different the world had become. With everything revolving around the almighty dollar, I realized that the principle organization would have to be a bank. Only that institute would hold the interest of all the various companies and fields that would arise. Every company would want to be able to influence loan rates and inflation. Most importantly, the bank would have the power to settle inter-company disputes.

For the one niggling problem I had with my set-up was I couldn’t explain how the justice system would work if two different company employees did harm to each other. They, after all, lived by different laws set by their employer. Thus, the solution had to be an independent voice who held the ability to punish severely any group that did not co-operate. The bank then became more than just a place every company could deposit their money at the lowest possible risk. It was a place that held the power to remove a company from the economic structure and deny them the unified currency which every company would trade. It also had the ability to allow the Guilds to thrive. For the bank would recognize any account it approved as a valid company. If every company had a vote, then the Guilds could certainly insure their persistence through sheer solidarity and numbers. They could vote for the bank to give loans to labour start-ups in order to dilute the power base of the big business. But it’s a double edged sword. Should those companies fail to pay back their loans, then the bank would take shares from their company. Once the bank owned all a company’s shares, they would be dissolved and belong to the bank. Of course, there is nothing that would stop those people from trying to open a new account… save the bank and its voting base itself. And on a council that would be very willing to buy and sell votes, spending on an already failed venture seemed a losing proposal.

Needless to say, this world is starting to come together.

The Wellspring of Ideas

“Where do you get your ideas” no one ever asked me. But I have read a number of interviews with successful authors and that is a frequently recurring inquiry. Some day, I would like someone to ask me it. But until that day comes, I’ll just pose it to myself and pretend it was someone else that was interesting.

Accessed from http://www.wga.hu/frames-e.html?/html/m/memling/2middle3/15allego.html.

Allegory with a Virgin by Hans Memling (1479-1480).

The fun thing about ideas is that they sort of spring from nowhere. The process of writing and creating is an exciting adventure which I’m never one hundred percent sure where it will go. There may be some writers who know exactly every detail of their story, development of their character and exacting quirk of their locations before ever putting word to processor or pen to paper. I am not one of those people. I very much fly by the seat of my pants. That first draft is much like the first read. It’s thrilling and mysterious. There are twists and turns and unexpected surprises. Characters say and do things I would not have predicted. Betrayals are committed and more questions than answers arise.

However, I don’t want to paint a picture of absolute chaos and anarchy. It would be completely misleading to say that I didn’t have some grasp of the narratives that I create. Generally speaking, there is a core idea or theme which I want to explore. Often, this means I know how the story is going to end and much of the journey is dragging my characters, kicking and screaming, to that final point. But this final destination isn’t the seed of my idea. Usually it’s the result of preliminary research, rumination and organization. I’m thinking of my stories well before I’m actually working on them.

So that’s three paragraphs of skirting the question, “Where do you get your ideas?” My most recently completed short story is thematically exploring the concepts of self and the existential question of what makes us individuals. Course, when you read it, it’s not likely to come across as some heavy handed philosophical musing. For the most part, it’s presented as a silly cop drama. The theme was the plant which germinated from the seed. And the seed itself which I planted for Buddha, was I wanted a person to discuss his host’s umbrella stand made from a human leg.

That’s it. That’s really the starting point for that short story. The idea for it was drawn when perusing the contents of Ingrid Newkirk’s will. She’s the president of P.E.T.A and desires to have her body, upon expiration, to be chopped up and dispensed in a manner that continues to bring awareness to her viewed cruelty and exploitation of animals. In particular, she wanted to send India an umbrella stand made from her foot. When reading that, I got the thought “What would it be like for someone to walk into an office and see a foot just lying there on the ground, ready for an umbrella.” It was this absurd picture of a person faced with a seemingly atrocious display of human cruelty that was treated so nonchalantly that got my wheels turning. My mind, honed on lateral and logical explanations for inexplicable situations that arose from improvisation, began churning through a long chain of events that could make this stupid conversation about a token foot possible.

And a story was born.

Accessed from http://www.wga.hu/frames-e.html?/bio/b/bosch/biograph.html.

Triptych of Garden of Earthly Delights by Hieronymous Bosch (1500).

Thus, ideas for stories come from unexpected places. If anyone had passed my Ingrid’s will and said, “Read this! It will give you a great idea!” I would have laughed at them. Likewise, the idea for the Clockwork Caterpillar came from a rather unassuming angle. While Derek was living in Ottawa and on my many visits, he had a tradition of taking me to one of the many museums located in the nation’s capital. One time we went to the science and transportation museum with Felicia in tow. She had never been before, you see, and was excited to cross off the last of the major museums from her to-do list. It was cold and wintery and I was mostly happy to be inside though this museum was no R.O.M or Science Centre. They had some rather maudlin exhibits covering dry topics like the creation of morse codes or telegraphy or the Canada-arm but nothing that really grabbed my interest.

That was until we headed up the old transportation wing. We entered a rather large warehouse which was basically a storage room for old trains. I thought nothing of them, I’ve seen trains before. My brother even had a toy train set when he was little that I’d play with when he wasn’t around. But Felicia, she just lit up at the sight of the enormous engines. She was laughing and crawling all over them like a child in a candy store. I laughed at her: not for her exuberance but because my sister also has a silly thing for trains. I’m sure Kait’s appreciation of them is partly based on a long running joke but to see two unrelated women overjoyed for an outmoded vehicle amused me. It got me thinking and wondering what it was about trains that they appreciated that I didn’t. I thought perhaps it was a sense of freedom and exploration coupled with an older time full of charm and simplicity.

Suddenly, the gears were working again. I could see a woman back in colonial times looking up at the enormous machines and pondering the direction of the future which they would chart. I imagined the allure of such a machine and the power and wonder that she who lived on it would experience. Slowly, the Red Sabre was taking shape.

It’s a similar kind of story for some of my other creations. Some of them were more theme focussed. I knew with Eternal September and Pasithea Reassembled that there were two sorts of phenomenon I wished to criticize. With Pasithea, it was the hollowness of the club scene which strives for some emotional connection on shallow and superficial levels with individuals. I wondered how that institute would change as our technology and cultures changed. On some level, I felt they wouldn’t. No matter our progress, we’d still have judgmental opinions and biases against strangers. We’d still show insensitivity and cruelty. And thus, I envisioned a scene between two women in a dank and grungy bathroom where one was going to steal the dress right off the other.

Accessed from http://www.wga.hu/frames-e.html?/html/e/eyck_van/jan/02page/26barbar.html.

St. Barbara by Jan van Eyck (1437).

As for Eternal September, it originally brewed up from my disappointment with the world building of another work. There was a video game that was designing a space exploration experience filled with various alien races. Unfortunately, one of those races I found really lack luster. Their design seemed mostly to be “Let’s take Japanese culture and make the people fish!” It frustrated me because science-fiction is so good at exploring different ideas and for an organism so vastly different from our own to develop to our technological level would have a very different perspective to society than we would. These aliens did not. And so my mind began to wonder “What would they look like? How would this impact their vision of the world and the development of their culture.” Eternal September was the product of those musings. Course, as I was writing a short story, I dropped the alien physiology and so that change alone necessitated a whole slew of other changes to the story structure. However, the initial ideal–that these people worshiped Essentialism–was maintained and the consequences of a society based around those views was formed.

There’s really a story behind all my stories as I’m sure there is for every other writer. It’s a curious process of spontaneous happenstance and self-reflective musing that culminates in these exacting pieces of work. I love the process, I wouldn’t trade it for anything else. And though no one else is really interested, I always enjoy the journey it took for ideas to come to life.