Tag: writing

‘True North’

by Shelt Garner
@sheltgarner

The one book that has been my guiding light, my true north throughout the years and years I’ve been working no this thriller is The Girl Who Played With Fire. I’ve studied it every which way.

It took me forever to figure out its structure and, in fact, it wasn’t until I learned it was mean to be one huge novel with its successor that I understood what what was going on. (The two novels are connected by a cliffhanger.)

I bring this up because I’ve printed out the first act of the novel so I can edit it and it’s kind of long at about 63 scenes. (I have no idea how many words it is, I go by scenes, not word count.) But The Girl Who Played With Fire’s first act — if you include a longish prelude-like part is about 70 scenes, so I don’t feel so bad about it. And I’m still at a point in the process when if I somehow get an editor they could probably figure out how to cut a lot from the first act.

Once I read over the first act, then I’m going into the first half of the second half and that’s where I have to begin to bring in the second draft of what was supposed to be the second novel in the series. I’ve decided to make the first book in the series a more traditional murder-in-a-small town novel as opposed to something that is clearly just setting up a bigger universe.

I still have A LOT of work to do, but I’m feeling pretty confident that I will be in a position to query the novel in about a year, maybe. Of course, my life could totally be turn upside down by this or that unexpected event — and I’m going to be really old to try to get a first novel published — but, lulz.

There is also the issue of the name. I have pretty accessible name I want to use, but it’s so generic that I’m SURE someone else has already published a novel by that name. I have a more unique name, but it’s not as accessible and at least one person has rolled their eyes when I told them what it is.

I just don’t know on that front. I think for the time being I’m going to assume I’m using the less accessible name unless I get an agent and they tell me it just won’t sell.

You Have To Believe, Sometimes

by Shelt Garner
@sheltgarner

I just have to believe when it comes to this novel. I have all these other novels I want to work on, but the central passion project is something I have to just believe in.

The main reason for this is I’m using a lot of the structural elements of Stieg Larsson’s work — multiple POVs within chapters being one of them — and I keep feeling insecure about that. That’s why I think of this novel as a passion project — I really need a back up or two that will be more marketable in a traditional manner.

Sometimes I just feel really meh and don’t do anything for a few days because what I really want to do — which is to focus exclusively on the passion project — I know I probably shouldn’t do. I need a backup plan, but I just sometimes don’t feel like it.

Ugh.

Trying Something New With The Novel

by Shelt Garner
@sheltgarner

All my huge decisions with this novel, which has taken me years and years and YEARS to write, have happen on the fly — I just randomly decide to change everything.

And the latest edition of this happening is no different. After a few days of struggling with rewriting the novel, I decided to make a bold move — I’m turning it into a traditional murder mystery. The only way to do this was to lop two thirds of the novel off (at least in word count) and make the second half of the second act the first act of the new version of the novel. I don’t know how much of the old third act I’m going to be able to save, but it probably is a fair amount.

This idea also works things actually happen in this part of the old novel, unlike most of the earlier part of the novel which is just a lot of people sitting around, talking, waiting for something to happen.

So, I think I MIGHT be able to go through what I’ve been able to salvage of the old version of the novel at a pretty fast clip — maybe . Then the hard work begins because I’m going to have to rummage around and find the murder-in-a-small-town stuff I’ve already written that I was saving for the second novel in the series.

My biggest concern now is that, lulz, the trick ending isn’t going to be as satisfying as it should be, given audience expectations. But I think I can probably think of SOMETHING to make the ending more engaging, one way or another, I just have to actually get to that point of the project so I can do it.

So, in general, the point of this phase of things is to just write and develop as fast as possible so I can think seriously of querying in about a year. I also continue to have half a dozen other ideas that are rolling around in my head that are really good.

Why It’s Taken Me So Long With This Thriller

by Shelt Garner
@sheltgarner

A number of things have happened over the last nearly-decade of development and writing I’ve been doing on this thriller to delay things.

One thing is I really have had no idea what I was doing and so I made just about every mistake you can think of along the way. What’s more, I was doing all it in a vacuum, so I had no idea if anything I was doing was any good, other than what my gut might tell me at any particular moment.

Another thing that happen was I kept spinning off novels or re-imagining the whole thing in a new way to the point where I was pretty much starting over. So, in a sense, I’ve actually written a number of novels over the years, just no one novel was good enough to actually query.

And, as if to stress this point, last year about this time I did, in fact, finish a novel. But none of the usual suspects that I gave my novel to over the years liked it. The biggest complaint being it was too oversexed — a lot of people did not like the new stripper element that I’ve put into things.

But AI has come to the rescue, to some extent. I’m really leaning into AI to help with development with the latest version of the novel. I hope to wrap this version up by spring 2026, if I haven’t been pushed out a window by ICE or the FBI for ranting about what a cocksucker Trump is. (It could happen, the way things are going.)

Anyway. I finally believe in the novel again and I’m pressing forward. I have half a dozen other novel and short story ideas, but none of them really have made me all that excited. Or, at least, not excited to the point that I want to work on them instead of the thriller.

So, we’ll see.

Focusing On The First Chapter Of The Thriller At The Moment

by Shelt Garner
@sheltgarner

I’m finally throwing myself back into the novel, the first of what is hoped to be a six novel project. I keep expecting to read in the trades that someone has stolen a creative march on me, because I’m taking so long with this novel but…lulz…this novel is so personal that maybe I’m in luck.

I’m really leaning into AI to help with development of this draft of the novel. I’m trying to use as little AI generated copy as possible — I’m only using AI for development.

But I’ve got to hurry up. I can’t just spin my wheels forever on this project, I have to produce something, anything sooner rather than later. Yet, I back to believing in this project with all my heart, which is what I need to actually get it done before I drop dead.

There’s No Magic In My Life At The Moment

by Shelt Garner
@sheltgarner

Things are kind of meh in my life at the moment. For much of the last year, I had an excess of magic in my life for various reasons. Now, nothing. Things are very “normal” and I feel rather centered and fine.

But…not magic.

The only magic I think I can get is what I generate on my own through my writing. That’s it, that’s all I’m going to get anytime soon. And, thankfully, my writing has, in fact, started to rev up again.

I have a lot of ideas, but, of course, all I’m doing at the moment is just working on the same thriller I’ve been working on for years now. The hope is, of course, that once I finish this first novel that the other five novels in this project will move a lot faster.

That’s the dream, at least.

Actually Getting Concrete Work Done On The Novel Again

by Shelt Garner
@sheltgarner

I’ve finally gotten out of my nearly-year-long slump and begun to do concrete development on the novel I’ve been working on for years now. I’ve really been using Gemini 2.0 Pro a lot to advance my development.

I’m hoping to zip through this new draft to the point that I can begin to query no later than, say, about a year from now. And this is happening in the context of no only a recession coming and a Singularity coming, but me hoping to work on other stuff as well because I know a shoe is going to drop in about a year.

What that shoe is, I ain’t tellin at the moment. But it’s a big one and it’s going to throw my life up in the air in a big way that I simply won’t be able to avoid. It’s directly Trump related — of course — and it’s kind of put just the type of squeeze on me that will force me to get out of neutral.

But I’m really trying to use this unique situation I’m in better. It’s not going to last forever and I really need to show that I appreciate that more.

‘Ho Hum’

by Shelt Garner
@sheltgarner

Every once in a while, I’ll stop out of the blue and think, “Wow, ROKon Magazine is a bonkers story.” I’ve written a document about all that bullshit — Somehow — but I still, to this day, have a lingering hope that someone ELSE will see what a great story it is and want to do something with it.

But, as it stands, I just am going to use what happened to inspire me in my own art. And, yet, wow, just wow. The crazy things that happened from late 2006 to early 2008 in Seoul with me and the late Annie Shapiro at the center of it all — wow!

I Finally Found A Use Case For AI When It Comes To My Actual Writing

by Shelt Garner
@sheltgarner

I use AI a lot for development of my writing, but almost never for the writing itself. And, yet, just recently, I came up with a funny novel idea that I realized AI could help me with — it will potentially be my “funny” writing partner.

My thinking is, I can use the ability of AI to be funny to punch up the novel which is innately humorous, but, in a sense, too complex for me to juggle both being funny and writing the novel itself.

So, if I actually decide to write the novel — which is debatable at the moment — I will use it to help me make the novel actually funny. I will still write everything, but I will bounce funny ideas off of the AI to see if I can actually do something cool with the idea.

Are We Heading Towards a ‘Kiln People’ Future? The Looming Shadow of AI Agents and the Fate of Real Connection

David Brin’s 2002 novel, Kiln People, paints a fascinating, if unsettling, picture of a future where people routinely create temporary, disposable copies of themselves called “dittos.” These clay golems handle the mundane, the dangerous, and even the emotionally taxing aspects of life, while the “originals” remain safely at home. Sound familiar? While we’re not firing up kilns to bake clay clones (yet!), the rise of sophisticated AI agents is raising a chillingly similar question: are we about to outsource our lives to digital “dittos,” and what will that mean for human connection?

The promise of AI agents is seductive. Imagine a tireless digital assistant that manages your schedule, filters your information, answers your questions, and even handles your social media interactions. No more overflowing inboxes, tedious tasks, or awkward small talk. Your perfectly curated digital self, represented by your agent, would navigate the world with flawless efficiency. Sounds great, right?

But Kiln People provides a potent cautionary tale. In Brin’s world, many people become so reliant on their dittos that they effectively withdraw from real life. They experience the world vicariously, through the filtered senses of their disposable copies. The risks are numerous:

  • The Erosion of Authentic Experience: Just as ditto users lose the richness and immediacy of direct experience, over-reliance on AI agents could diminish our own engagement with the world. We might become passive consumers of curated information, rather than active participants in our own lives.
  • The Atrophy of Social Skills: If our agent handles all our social interactions, what happens to our ability to navigate the complexities of human relationships? Will we lose the capacity for empathy, conflict resolution, and genuine connection? The “digital muscles” of social interaction could weaken from disuse, much like the Spacers’ physical muscles in Asimov’s Robot series.
  • The Rise of Digital Solipsism: Imagine a world where everyone interacts primarily through their personalized AI agents. These agents, designed to cater to our preferences, could create extreme filter bubbles, shielding us from diverse perspectives and reinforcing our existing biases. We risk becoming trapped in echo chambers of our own making, a kind of digital solipsism.
  • The Loss of Serendipity and Spontaneity: The messy, unpredictable nature of real-world interaction is often where the magic happens. Serendipitous encounters, unexpected conversations, and even uncomfortable moments can lead to growth, learning, and genuine connection. An overly curated, agent-mediated existence could eliminate these vital experiences.
  • The Question of Identity: In Kiln People, the line between the original and the ditto blurs, raising profound questions about identity and consciousness. While AI agents are not sentient (yet!), our dependence on them could still raise questions about who we are and how we define ourselves. If our agent manages our online persona, our communication, and even our relationships, how much of our “self” remains authentically ours?
  • Vulnerability to Manipulation. A ditto is a copy of your own self, whereas an AI Agent could be influenced and trained by outside actors. This is perhaps an even greater risk than presented in Kiln People.

Beyond the Kiln: Finding a Balanced Path

The point isn’t to reject AI agents entirely. They offer incredible potential to improve our lives, increase efficiency, and even enhance certain aspects of communication. The challenge is to find a balanced approach, to use these tools consciously and intentionally, without sacrificing the essential aspects of human experience.

We need to:

  • Prioritize Human-Centered Design: AI agents should be designed to augment our capabilities, not replace them. They should encourage real-world interaction, critical thinking, and diverse perspectives.
  • Cultivate Digital Literacy: We need to educate ourselves and future generations about the responsible use of AI, the importance of balanced engagement, and the potential pitfalls of over-reliance.
  • Foster “Digital Wellness”: Just as we prioritize physical and mental health, we need to cultivate a healthy relationship with technology, setting boundaries and making conscious choices about how we engage with the digital world.
  • Preserve Spaces for Unmediated Interaction: We need to actively create and protect spaces for face-to-face interaction, community building, and shared experiences.
  • Hold the creators of these AI Agents responsible. If the agent is not acting in your best interest, then whose interest is it acting in?

Kiln People serves as a powerful metaphor, a warning from the future. It reminds us that technology is a tool, and like any tool, it can be used to build or to destroy. The future of human connection in the age of AI agents is not predetermined. It’s a future we are creating now, with every choice we make about how we integrate these powerful technologies into our lives. Let’s choose wisely. Let’s not become a society of people living vicariously through our digital “dittos.” Let’s embrace the richness, messiness, and irreplaceable value of real human connection.