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8

Consider writing the local character's story as a separate scene (and perhaps a separate chapter), with clear transitions between the two timeframes: "So, how did you end up here?" Hero said. "Make yourself comfortable, youngster," Local Character said. "This is going to take a while." # <scene break> It was 1953, and my mother had just ...


6

A different slant on things, but Ayn Rand's Anthem has a non-supernatural hive mind (collectivism gone mad, I guess) and she shows it by using collective pronouns even for individuals. So instead of "I" she uses "we", even when there's only one character involved. I hate the book, but the pronouns were interesting. You might also want to check out Ancillary ...


6

The very first story I ever wrote was written from the perspective of a collective mind. So, as they say on /b/, this question is very relevant to my interests. I would approach the concept of an intergalactic hive mind from the perspective of sociology, neuropsychology, and biology. A hive of bees can be considered as a single organism: only the queen can ...


5

Here's a thought: would the infected members of the population even be aware that there is a hive mind of which they are a part? Sure, they experience extreme empathy and are subconsciously driven to act in ways that benefit the whole, but perhaps there is an individual experience that is largely oblivious to the organizing structure in which it is embedded....


5

David Brin's Uplift series has the traeki/Jophur, which are physically connected hive minds of stacked rings. Each ring is nominally a separate entity; the distinction between traeki and Jophur is the presence of a so-called 'master ring', basically an overriding personality which controls the other parts of the hive mind. As the species is only one of the ...


4

Assuming that your characters relationship with the past is similar to your own, look back through historically significant events until you find one that feels old enough but not too old. Also consider which aspects of our society make up the history you are looking at, because different types of memories age at different rates. For example, the days ...


4

(This might get good answers on WorldBuilding SE also.) I think you have to decide, from a storytelling viewpoint, how these people communicate. Does each individual have his/her own thoughts but others pop in and out like everyone is always in the same room and thinking out loud? Do you only hear the thoughts of people within X geographical distance? Or is ...


4

There are no watertight definitions when it comes to fantasy, the Gothic, and science fiction. In my personal opinion (which, though educated, is still only a possible reading), the best way to approach this is through Tzvetan Todorov's definition of the fantastic. In a nutshell: - if the world remains as you know it and everything is explainable within the ...


4

I will answer your first question, as it seems to me like you are asking two questions. How long should a sci-fi Young Adult Novel be? First of all, the number of pages in a book does not matter. Adjusting the margins, font size, or spacing even slightly could alter the page count. What matters is the word count. A novel is classified as any book with 40,...


3

I once heard an entertaining lecture by the British pulp-SF author Lionel Fanthorpe about how he managed to produce at his peak an average of a 158 page book every 12 days. If Badger Books wanted a rush job, he could do a novel over a long weekend. Taking time off to watch the cricket if there was a Test Match on, obviously.


3

Check out Dean Wesley Smith's blog posts on "Pulp Speed" writing, and the number of words possible for some people. A million words a year? Wow. Heck, Michael Moorcock can write a 60K word novel in three days. The use of Lester Dent's Master Plot is blown out from 1500 words per section to 15K words per section, IIRC, and planning is key. NaNoWriMo says to ...


3

Yes. Here are some NaNoWriMo success stories: http://www.tor.com/2014/11/06/nanowrimo-success-stories-published-novels/ Edit, Additional: I personally know someone who's finished the NaNo sprint, and it's tough, but definitely possible. At the very least, NaNoWriMo may not be the novel you want, but it can serve as a first draft that you can later ...


3

Describe the effects, particularly where the effects in space without the presence of air resistance/friction differ from the familiar effects in an atmosphere where friction slows things down. Thucydides' answer to your question in Worldbuilding SE gave several possibilities, e.g. "Kinetic energy weapons will go until they run into something." Since your ...


3

Tell more stories. If you've built a world, put sentient beings in it and put conflicts in front of them. Let the world unfold in front of your characters, and let the characters talk about the other parts of the world, and the history of it, which haven't been discussed before. Write stories set long before or shortly after your existing series. Link it ...


3

I agree with Lauren Ipsum, byt read from a variety of authors, not just one. In addition, read The Art of war. I know I just gave you more homework, but if you know what each side's strategies are, you could establish that for the reader, then twist things up. I'd also recommend reading the Illiad (or at least the battle scenes). Homer does what you do--...


3

It depends. If it's being described from the POV of a human, then it should be ok, the person is merely describing the look in terms they are familiar with, which in turn, the reader redefines to terms they are familiar with. If it's not a necessary detail in the story, though, do you need to include it? Is there a plot reason for a pony tail, or could you ...


2

Before trying to expend it into more than a quadrilogy, publish the first one. Make sure the book is a success and the world appreciated before spending more time on it. Even great authors sometimes create universes that do not resonate with the reader. Sometimes it is a game of try-and-miss. Better fail with one book and spend time developing another ...


2

Also check out And Then We Came to the End, by Joshua Ferris. It's second-person, and it works. Where you seek an effective hive-mind, Ferris sought an effective Office — the collective murmurings of a bunch of coworkers. The use of second-person enables an omniscient narration — all of the events are well-known gossip, water-cooler talk — while still ...


1

Plato's Dialogues are the paradigmatic example of philosophical arguments in the form of fictionalized conversations, but no one reads them for the plot. More recently, Jostein Gaarder's Sophie's World is a famous attempt to dramatize a general introduction to philosophy in the form of a novel (although opinions are mixed as to how well it succeeds in either ...


1

Interesting concept to make a story in dialog only (hopefully with some description and motion by the characters). I'm assuming the tension will come from the different perspectives of the speakers. One thing which you may want to do is have the speakers include stories in what they say and have those stories demonstrate their philosophical stance. In other ...


1

and welcome to the site. I do not know of any novels that follow the format you are describing, but that is a good thing. I believe one of the reasons World War Z stood out from the mass of zombie fiction out there is because it had a different format: letters. That format made it stand out from the crowd, and I think a novel made primarily out of Q&A ...


1

Sounds like you want to write a philosophical novel. Two examples that I can think of are Walker Percey's Lost in the Cosmos and Robert Persig's Zen and the Art of Motorcycle Maintenance. Both of the above are interesting reads, but interesting as philosophical texts, and as approaches to doing philosophy. You would probably not read them for the story alone....


1

I'm thinking around 2300 or 2500, although my reasoning is that I consider the American Revolution to be history, and everything before that to be ancient history. Although, that's just me. Try judging time on technological revolutions, i.e. American, French, industrial, modern technological revolution. All advanced the game quite a bit. Or you could just ...


1

You might try Critique Circle, which is a free online critiquing community. (I haven't used it, but others here have.) If you have enough rep, you could ask in our Chat Room, the Overlook Hotel. There are a number of members here who are freelance editors who might be able to work with you.


1

I recommend that you look into military theory and historical examples. The subject is larger than life, so well chosen indeed. Some pointers: The Art of War by Sun Tzu The Project Gutenberg version with commentaries included. May sound outdated but it is still being studied today. Thermopylae Some few battle pundits shaming the biggest army the world ...


1

I know in Jurassic Park by Michael Creighton, he described code in a way that emphasized what it DID instead of getting into the intricacies of it. He'd be like "Bob sent a command to locate the virus--the command failed." I don't know if this helps you, but the code was described in such a way that it didn't get in the way of the story. Maybe check it out?


1

In your mind the barrier is. Hmm? Bad Yoda jokes aside, aside from hard core rigid genre-ists (think Tolkein fan fiction) everything is a continuum. You could call Peter Pan a space opera in a way. It's an epic with space travel, but generally it's more of a fantasy. Similarly the Cameron movie Avatar is a clash of a science fiction Earth culture and a ...


1

In simplest terms, the narrative of a space opera must occur primarily in space, and it must contain some concept of events that affect a multitude of planets. Fantasy (again, in simplest terms) just means containing elements of the fantastic (what most people would consider magic or the supernatural). The line between the two is blurry (as most things ...


1

Is the raccoon's brother also a raccoon? Like, are these just anthropomorphic animals? Because there's a pretty long tradition of that in children's books, so if you're writing a children's book, I don't think it's a problem at all. If you're writing an adult book? I have trouble seeing how the anthropomorphism would feel real, but I certainly don't think ...


1

What will make him similar or dissimilar is not things like age. It is his attitude and his speech. Rocket is defined not by who his friends are particularly, but by how he behaves towards them. So, put simply, if you can hear Rocket talking or imagine him doing exactly what your character would do, he is too similar.



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