Driving Ambition: Where To Get It

Driving Ambition! It’s a novel of murder, labour relations and self-driving cars!

If you want a dead tree version, the link here will take you to the publisher’s website.

If you want a version in pixels, click here for Kindle and here for Kobo, and here for a DRM-free version for those of you who know what to do with one of those.

The audiobook is available here.

For content previews, you can of course read a sample on Amazon, and you can also see me reading Chapter One here.

And if you want to buy one direct from the author– just flag me down at any event I’m attending!

The Colour out of Space Opera: Red And Blue

So, having got the preliminaries out of the way (part one here and part two here, for those of you just joining us), we now get on to some actual space operas, and the things they do with colour.

Last time, I pointed out that structuralist anthropology is quite big on binary oppositions. Male/female, raw/cooked, nature/culture. Well, nature/culture oppositions are quite a big thing in space operas too. This goes back to the ur-space-opera, the First Ancestor: Forbidden Planet (1956), the prototype for Star Trek and, with it, all of American space opera ever since.

Forbidden Planet straight away set up a colour opposition between culture, rationality, technology and science– represented by colours on the blue spectrum: neutral, quiet, calm. Here’s the spaceship:

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Here’s the crew:

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Here’s the city of the Krells:
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However, when we encounter the Id Monster, representing the irrational, natural, emotional state, its colours are on the red spectrum:

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Meanwhile, just look at what the designer is doing here with Robbie The Robot, who, being a helpful robot built with Krell technology, and serving Morbius, the rational scientist who is in fact the calm face of the Id Monster, is on a rather ambivalent position between the rational and irrational, the technological and the natural:
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This particular grammar of blue/technology/rational, red/nature/emotional, has become a huge part of space opera visual culture– to the point where it’s worth noting that in the climactic fight at the end of Black Panther, T’Challa (rational, technological) wears a costume with blue elements, and Eric Killmonger (emotional, natural) one with red elements.

However, as I also said last time– one of the things about these oppositions, they aren’t always interpreted in the same way. In the 1950s, when Forbidden Planet was made, technology is a positive force, emotions are wrong and dangerous, and so our good guys are in blue, and our Id Monster in red. Twenty years later, however, and with people becoming much less certain technology was their friend, and recognising that it’s not a bad thing to be in touch with one’s emotions, we get Star Wars. And guess who’s got the blue:

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And who’s got the red:

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Which is probably why we also get this association in Firefly. Red:

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Blue:

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Once you’ve established that grammar, though, you can start playing with it. In the prequel movies, before his transformation into sleekly technological Darth Vader, Anakin is clearly associated with the colour red:
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The intention here is fairly obviously not to present him as a good guy– he murders a schoolful of Jedi children and tries to strangle his own wife, after all. However, one of the themes of the prequels is that Anakin’s failure to master his emotions is what leads to his downfall. And, by contrast, Anakin’s son Luke, with his blue lightsaber, on his green swamp planet with his little green Jedi master, learns to achieve this control:

 

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So again we have red/nature/emotional, blue/culture/rational, but whether they’re good or bad things clearly depends on the character and the situation.

Similarly, have a look at the poster for Serenity, the movie which wrapped up the story of Firefly:

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What we have here is River Tam, dressed in green, but in front of a rather red and orange explosion. Tam herself is poised, skilled, and controlled: but the result of her actions is always chaos. So here we have nature/culture, ego/id, represented visually in the same character and in the same image.

To sum up: as discussed last week, space opera has a grammar, expressed through the use of colour. But once you understand that grammar, you can use it to say different things– and even convey completely opposing ideas within the same story, as with Anakin’s journey to the dark side.

Next up: Battlestar Galactica, Blake’s 7, and other things you can say with nature and culture.

The Colour Out of Space Opera: What is structuralist anthropology, and why should I care?

So, to recap: this is a blog post series, based on a 60-minute talk I gave in 2018, on how designers working on space operas secretly use structuralist anthropological concepts to establish character and mood quickly and unobtrusively, and to differentiate locations easily. You can read the introduction here.

51uTBkmKh2L._SX311_BO1,204,203,200_By this point, a few people are probably asking what “structuralist anthropology” is, and, yes, why it’s at all relevant. So: this post will be the quick-and-dirty, oversimplifying, explanation (if you want longer and more complicated, I recommend Claude Levi-Strauss’ Structural Anthropology, Edmund Leach’s Social Anthropology, Needham’s introduction to his edited volume Right And Left, and Pierre Bourdieu’s essay The Berber House. Yes, there are a lot of French names there– the reason will become obvious in a second. Please also note that the use of Amazon links is indicative only– I’d encourage you to use your local library if you can).

Structuralist anthropology emerged in the 1950s, initially in France (see my recommended reading list above), but with the UK and other places (such as India and South Africa) following close behind (what about North America? While it wasn’t uninfluential, at the time the US and Canada were largely dominated by an emerging culturalist anthropology developed from the works of Franz Boas and his student Ruth Benedict, so took a slightly different approach. Again, longer and more complicated).

The defining characteristic of structuralist anthropology is, essentially, the idea that culture is sort of like language: that people have cultural traits, but underlying these is a sort of “grammar”, which informs the ways in which people possess and express these traits. The initial idea the structuralists had was to drill down through these and identify what’s universal to all humans. While they did identify some things that seem to be common to all human cultures, the problem was that they were expressed differently, sometimes quite radically differently, all over the place: for instance, marriage, as an institution, is arguably universal, but the idea that “marriage is always (or even usually) between one man and one woman” is wrong, dead wrong, and the idea that every person in a given society should, ideally, be married, is also not a given.

Eventually, having figured this out, the structuralists instead wound up focusing on comparison and context: looking at the different ways different cultures address the issues humans face around the world, though without losing sight of the initial premise about culture as a kind of language, with an underlying grammar.

One key point to raise here is the idea of binary oppositions. Structuralists fairly rapidly turned up the fact that human societies love developing informal classifying systems (what we call “native categories”, and incidentally I’ve written about this too), which often revolve around oppositions between categories: nature-culture, raw-cooked, female-male, left-right, yin-yang, etc. But again: this is complicated and problematic, and these binary systems are far from universally expressed or interpreted (“left”, for instance, is “sinister” in the UK, but “sacred” in Japan). Many of my readers might find that list I just gave familiar and even self-evident, but that’s because my blog stats show most of you are from the UK and the USA, or secondarily from Australia and Canada, where all of those are, well, your native categories.

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An example from the literature is the idea, analysed in an essay by Sherry Ortner, that “Female is to Male as Nature is to Culture”: this spawned an entire (very good) edited volume by Carol McCormack and postmodernist living legend Marilyn Strathern, coming to the conclusion that this wasn’t universal, and, even in places where it is, the meanings of “nature” and “culture” and their symbolic relationships to gender aren’t necessarily the same. Furthermore, that it changes over time: what European people in the 18th century understood by making that sort of opposition isn’t what Europeans mean now.

What has all this got to do with space opera? Hang on to your tricorders, we’re going back in….

 

Worldcon 2019 Schedule

If any of you are coming to Worldcon in Dublin next month, here’s where I’ll definitely be:

Academic track: Decolonising
15 Aug 2019, Thursday 15:30 – 16:20, Odeon 6 (Academic) (Point Square Dublin)

1. Natalie Ingram – ‘History Through Fantasy’s Western Window’
2. Professor Fiona Moore – ‘Comparing Colonialisms in The Terror’
3. BE Allatt – ‘Questioning Mononormativity: Love, Sex, and Relationships on McDonald’s Luna’

So you want to write a SFF stage play

Format: Panel
16 Aug 2019, Friday 13:30 – 14:20, Alhambra (Point Square Dublin)

Writing for the stage uses a particular set of skills. What does it take to create a solid script? How does it differ from any other writing process? What special considerations are needed when including science fiction and fantasy elements? Our panellists will share tips and tricks on adapting between mediums for the stage, how to create believable characters, and how to write great dialogue.

Grappling with the post-colonial in SFF

Format: Panel
16 Aug 2019, Friday 17:00 – 17:50, Wicklow Room-1 (CCD)

Over the last 500 years, cultures and histories have been forever altered by colonial expansion. Although many former colonies have gained independence, their peoples still grapple with the effects of colonisation. Can post-colonial SFF help to heal the past? How do post-colonial SFF authors reconcile the many facets of their identities in their work, and what do they want their audiences to know?

Audio dramas and radio plays

Format: Panel
17 Aug 2019, Saturday 19:00 – 19:50, Liffey Room-1 (CCD)

With the rise of paying markets like Big Finish Productions and Audible Theater, a new era in professional audio theatre has dawned. But how do you go about writing or recording an SFF audio drama or radio play – and are they even the same thing? In this suddenly booming industry, where do you start? And what is the demand for this type of work?

Autographs: Sunday at 12:00

Format: Autographing
18 Aug 2019, Sunday 12:00 – 12:50, Level 4 Foyer (CCD)

Carrie Vaughn, Amal El-Mohtar, Dr Anna Smith Spark , Professor Fiona Moore, Gareth Powell, Paul Anthony Shortt

I’ll also be at the NewCon Press book launch on Saturday, 17 Aug 17:30-18:30, room TBA.

Leadership Lessons from Game Of Thrones: Index

iu-4For your convenience, here’s a handy index to the Leadership Lessons from Game of Thrones posts, in chronological order.

Introduction

Charismatic leadership: Daenarys Targaryen

Transformational leadership: Jon Snow

Transactional leadership: Tyrion Lannister

Behavioural leadership theories: Robert Baratheon

Contingency-based leadership theories: the High Sparrow

Power-based leadership theories: Sansa Stark

Traditional pathways to promotion: Robb Stark and the Baratheon brothers

Alternative pathways to promotion: Ramsay Bolton

The Battle of Winterfell, or How Not To Lead

Toxic leadership: Joffrey Baratheon and Daenarys Targaryen (again)

Gender and ethnic diversity in leadership: the Greyjoy siblings

Conclusions

 

Exciting writing news

I just sold a story to Mad Scientist Journal!

Even more exciting news if you liked my novel “Driving Ambition”:

It’s the direct prequel story that I’ve mentioned a few times, covering Liz’s backstory and the unexpected role she plays in the development of sentience among Things.

Not saying any more– but you’ll be able to read it yourself towards the end of the year.

The Colour Out Of Space Opera: What Is A Space Opera?

The following blog post series is based on a talk I gave at Eastercon in 2018. While normally the talks I give at conventions usually wind up becoming either academic papers or magazine/fanzine articles, this one involves way too much visual content– videos, photos, links to outside sites– to work in this format. However, including visual content and meta-content is of course what blogs do best.

If you’re interested, you can watch a video of the full talk here, and before I begin I would like to thank Caroline Mullan for asking me to give it, and Tony Keen for coming up with the title.

The subject of this series is the use of colour in space opera, and how colour and style are used to cue and direct the viewer, even without them necessarily realising it. According to structuralist anthropology, humans tend to view the world, unconsciously, according to certain classification systems (e.g. nature versus culture, raw versus cooked…), and the colours used in many space operas need direct our minds in certain ways.

Why?

For the present purposes, I’ll be defining space opera as an ongoing series based on or around a spaceship and its travels. If all television series are, to paraphrase the old saying, either Gilligan’s Island or The Fugitive, then space operas are the SF version of The Fugitive: rather than waiting in one place for the action to come to them, the protagonists go to where the action is. This a bit of a rough-and-ready working definition, as there are certain series, like Babylon 5 and Star Trek: Deep Space Nine, which tend to get considered “space opera” despite being based on and around a space station. However, in some ways they are exceptions which prove the rule: DS9 is not only part of a wider, more conventionally space-operatic, franchise, but after the introduction of the Defiant it fits much more in a space-opera mould, whereas Babylon 5, by virtue of being an epic saga spanning multiple star systems, manages to get the distance aspect as well.

My examples here will mainly draw on Star Trek, Blake’s 7 and Battlestar GalacticaStar Trek is in some ways the archetypical space opera; as for the latter two, as well as representing some of the different directions space opera can go in, they are also series that I know something about, having written a book or two on them (that was the word from our sponsor. We can now resume the programme).

The nature of space opera has certain knock-on effects on production. One of them is the need to establish character fairly quickly and easily for anyone new coming in (particularly for programmes like original Star Trek, which don’t follow a story-arc structure but are made up of mostly stand-alone episodes), and even for regulars (as space operas tend to have constantly-changing guest casts). Mood also has to be established quickly, and not too blatantly.

The other main point is that you need to differentiate locations easily and cheaply. If a series is going to a different planet almost every week, building a whole new set is out of the budget even for a series like original Battlestar Galactica (at the time the most expensive television programme ever made). Locations tend to be affected by geographic proximity: you want to film somewhere within easy commuting distance of the studio (hence the frequent use of Vasquez Rocks in Star Trek, original Battlestar Galactica and other California-made series, and Kamloops in the 2003-10 Vancouver-made Battlestar Galactica).

Given this, it’s not too surprising that colours are frequently used to establish character and mood, and to turn a small number of sets and locations into a dazzling array of new planets.

Next post, I’ll be giving you a brief guide to what structuralist anthropology is, and what it’s got to say about all this.

A Blast From The Past

Turned up a surprise on YouTube the other day: apparently, not only did they record my keynote speech at Kristu Jayanti College (Bangalore/Mangaluru) in 2015, but they posted the video on Youtube!

Here’s me talking about anthropology and business, on a hot and humid but rather lovely day.