Robert Zubrin

Full Verbatim Transcript:

[00:00:02.320] – John Knych

Hello, today we have Robert Zubrin with us, the founder of the Mars Society. He is also the author of The Case for Mars, published in 1996, and numerous books on the exploration and settlement of Mars. He is also a nuclear engineer by training. Robert, thank you for being here today. My first question is: what are you working on now, and why are you working on this despite all the challenges of settling Mars?

[00:00:31.920] – Robert Zubrin

I’m currently working on some defense technology that I cannot discuss. It involves balloon systems. However, balloons can also be used to support and advance the exploration of Mars. I believe they should be used for that purpose.

[00:00:52.000] – John Knych

Balloons could assist with aerial exploration, correct? They could carry cameras, ground‑penetrating radar, and other sensors. Operating only a few kilometers above the surface would make them roughly 100 times closer than a satellite orbiting at 300 kilometers.

[00:01:20.150] – Robert Zubrin

So there’s all kinds of details you can see with cameras, ground pénétrating, radar can go much deeper, because a radar return signal goes as the inverse fourth power of the distance. So there’s a lot we could do with balloons on Mars.

[00:01:36.560] – John Knych

Excellent. And in your book, The New World on Mars, which is your most recent publication, 2021, you cover a wide range of practical challenges, solutions. And I read, too, that you’ve done nuclear engineering as well.

[00:01:55.300] – Robert Zubrin

Yes, I have.

[00:01:56.540] – John Knych

You made a discovery of how carbon dioxide… Of nuclear rocket using indigenous Martian fuel.

[00:02:05.880] – Robert Zubrin

This question is-Yeah, using carbon dioxide as propellant, yes. And I really should have been nuclear, rocket using indigenous Martian propellant. But NIMF sounded cooler than NIMF, so I called it fuel.

[00:02:23.760] – John Knych

Yes, the space world likes their acronyms. So you obviously probably know about KRUSTY, right ?

[00:02:33.040] – Robert Zubrin

Yes.

[00:02:34.020] – John Knych

How do you think KRUSTY will be used with Mars settlement ? Do you think what NASA has accomplished already is enough for providing all of the power needed ? How do you Will there be another iteration of Crusty ? Do we still have a long way to go for how nuclear power will work on Mars ? Are we close ?

[00:02:54.260] – Robert Zubrin

Well, KRUSTY is much too small. KRUSTY played a very useful role in getting NASA back into the nuclear game. Then, the person who made that possible, his name was David Postman, who was from Los Alamos. He said, Look, here’s the simplest way to do a nuclear reactor, a small one, and we could do this straight away. They did. But really, to do NASA’s design reference mission, you need a reactor with 30 kilowatts. To do Mars Direct, vous besoin de 100 kilowatts. To do Musk’s Mars plan, you need 600 à 1 000 kW. Et donc, vraiment, le 100 kilowatts reactor is what would be good. You could use it for Mars Direct, it would have a margin against NASA’s mission, and you could use groups of them to accomplish Musk’s mission. As far as I can see, there is no such programme that has been initié with the required goals, and drive, and deadlines, and funding to do that. So they need to get going. Yes.

[00:04:10.220] – John Knych

So it’s necessary, it needs to get bigger, the nuclear reactors, that will be Yes, they do. Excellent. So you mentioned must plan. This is a current event question. What are your thoughts on the recent SpaceX pivot to the moon ? Do you think it’s necessary ? Do you think that it’s a distraction ? What’s your view on that ?

[00:04:32.480] – Robert Zubrin

I think from a technical point of view, what he said was nonsense. We’re not going to make AI satellites on the moon. I think what he did was something to help juice his IP CEO of SpaceX and XAI. And a number of space companies are doing this. They’re trying to allège that the fact that they have rockets will provide the tickets to Treasure Island. Because look, AI is the Treasure Island, People are going to make a lot of money with AI in the near and medium term future. It’s what today compared to, say, the internet of the late ’90s. What you want to do is say, Well, yes, AI is the treasure island, and the rocket is the way to get there. But I don’t really think that business plan makes sense. It’s certainly much easier to put AI data centres on the ground. In terms of for them, it’s easier to generate power on the ground. So I think that, frankly, that this is part of Musk’s propaganda for his IPO.

[00:05:43.920] – John Knych

So do you think he’s still actually focused on Mars settlement, in that he’s just talking about the moon to, as you said, juice up the IPO ?

[00:05:52.700] – Robert Zubrin

I think what he’s focused on is making Starship fully operational. That’s what he’s actually focused on. And of course, that is something that gives you the ability to… I mean, if you wanted to do AI satellites, you would just launch them with the Starship. You wouldn’t build a lunar base with Starships and then launch them from the moon. That’s absurd. And that also gives you the ability to build a Mars base. NASA wants to build a Mars base. And that gives you the ability to build a Mars base or a Mars settlement. So there really is… I think his current focus, right now, is making the Starship fully operational. And what you do with the Starship, once it’s operational, you have options.

[00:06:38.440] – John Knych

Excellent. Robert, before this talk, I’ve read a couple de books that are critical of Mars settlement plans, because I wanted to have a balance. And my next question is, of all the criticisms of Mars settlement, which one do you find the most aggravating ? Meaning, the one that you think, look, we’re going solve this, we’re going to figure this out, because there was a driving optimism in your book that pushing new frontiers, it’s what humanity does, it’s what we have to do to continue to be innovatives. I’m sure you’ve received tons of criticism for your view of all of it, which bothers you the most ?

[00:07:22.560] – Robert Zubrin

The Wienersmith’s book, which was The City on Mars, or A City on Mars, which is by far the most successful of the anti-Mars books, and also a completely dishonest book. They present problems that have ready solutions, and don’t mention the solutions. More importantly, the fundamental thesis of the book is, they say, there’s absolutely no point in settling space. No one can have a better life by settling space, and no one can make money by settling space, so it’s not going to happen, and therefore, it needs to be banned. Now, if it wasn’t going to happen, why does it need to be banned ? They are demanding government action to prevent something that they say est impossible. Now, furthermore, they adopt this ridiculous argument that they got from a guy named Dudny, qui dit que loin de l’inviter l’avenir, le settlement de la Terre espéciale va endanger the human future, the settlement of space will endanger the human future because the Martians will start hurling steroids at the Earth and kill us all. I mean, this is just nuts. Ok, now, obviously, OK. First of all, they argue that there can’t be Martians because Mars settlement is impossible.

[00:08:50.480] – Robert Zubrin

But then let’s talk about, OK, but could the evil people in the military decide to out into space and get hold of astroïdes and use them as weapons of mass destruction ? Well, I’ve actually had, over the course of my career, a fair amount of dealing with the military, and I can tell you what they want in a weapon system. They want a weapon system that has readiness, that if you want to use it, you can use it. Now, they want a weapon system that cannot be misappropriated by the enemy, so it has to be secure. They want a weapons system that is secure, so that if you want to use it, you can use it. Now, they want a weapons system that cannot be appropriated by the enemy, so it must be secure. They want a weapons system that can have the advantage of surprise, meaning that the enemy does not know what is coming. They want precision. They want to destroy the enemy.They don’t want to destroy us at the same time that they destroy the enemy. They want to be selective. The asteroid weapon system has none of these attributes. It’s exactly the opposite. If you diverted an asteroid to go towards the Earth, it would take years to get here.

[00:10:02.840] – Robert Zubrin

On its way there, the enemy could go there and divert it, and it would only take the slightest diversion to take an asteroid that was headed towards the United States and make it head towards China instead, or vice versa. This is a weapon of mass destruction that is easily misappropriated by the enemy to be used against you. It’s not secure. It doesn’t have readiness. It doesn’t have security. It is certainly not precise. It comes in with enormous destruction. The asteroid that killed the dinosaurs, destroyed the Yucatan, but also almost the entire rest of the Earth, too. What’s the point of that ? What was the other feature that it needed to have ? Readiness, security, precision ? I forget. But surprise. No. They know it’s coming years in advance. Even if they didn’t have spacefaring capability, you send an asteroid that’s going to hit China in four years, they have plenty of time to nuke you. Because they can do that in an hour, while your weapon takes years to reach its target. It is an absolutely absurd weapon system. Yet, they do this to say, We have to stop people from going into space because this could bring about the destruction of the Earth.

[00:11:32.330] – Robert Zubrin

So A, it’s impossible, and B, when they do it, it will cause the destruction of the Earth. So this is just crazy stuff. It’s completely dishonest and quite destructive. Frankly, the Wienersmiths know better, because unlike some of these other people who were juste journalist, who would just say the first thing that came to their mind, the Wienersmiths spent some time going to space conferences. They heard a lot of people, they read a lot of books, and they willfully ignored what they knew.

[00:12:02.700] – John Knych

Yes, that was very critical of that book. It’s somewhat cathartic hearing you rip it apart, because, first of all, the tone also was très condescending. You read the book, it’s like, oh, well, we were space enthusiast, but there’s all these things that are wrong. But, yeah, no, I thought the argument of the asteroid, people have… We have nukees on planet Earth, and we haven’t nukeed everything yet. Robert, another major difference between your book and the Wienersmith’s book is, in your book, there’s this epic quality of… One of my favorite lines was, We must joyfully embrace the challenge of launching new dynamic pioneering branches of human civilization on Mars, so their optimistic impossibility defying spirit will continue to break barriers and point the way to the incredible plentitude of possibilities that urge us to write our daring, brilliant future among vast reaches of the stars. Like, inspiring, epic prose. My question is, have you always had this sense of the philosophical argument for settling Mars, or has it developed over time ? Meaning, I was very surprised going into your book, I thought it would be very OK, here’s how we make oxygen on Mars, here’s how we do it.

[00:13:36.080] – John Knych

But it was often very historical, epic, philosophical. Have you always had this view, or has it developed over the years ? And if it has developed, how has it developed ?

[00:13:47.540] – Robert Zubrin

Well, it’s developed in its technical detail and strength as I became more knowledgeable. But I would say the basic viewpoint here is It’s developed in its technical details and strengths, as I’ve become more knowledgeable. But I would say that the point of view here is something I’ve had for a little while. Okay, it’s not original to me.This was fundamentally the point of view of space-age science-fiction. It’s the point of view of, or even before that, Heinlein. It’s the point of view of the original Star Trek series. The question is, do we have a Star Trek future or do we have a Soylent Green future ? These are the two possible futures that is being offered in the imagination of literature. And they’re both possible, actually. I prefer the Star Trek future. I prefer the open future.

[00:14:55.580] – John Knych

Yes. I was happy, too, reading near the end of your book, you talk, you really attack the finite resource fallacy, that many people believe there’s just finite resources, and they don’t understand that we figure out new ways to do innovative things with resources. How often have you encountered that critique, and have had to refute it, whether in Mars conferences or space conferences ? Is it a fairly common attack, that you see people making, that You have to go, Look, no. Oil used to be this negative thing in people’s land that they were disgusted with, and then it became black gold. How often do you counter the finite resource fallacy ?

[00:15:44.180] – Robert Zubrin

Well, the finite resource argument, well, it’s always been around in one sense or another, it goes back to Malthus. I have written an entire book, which you guys might want to read, called Merchants of Despair, which discusses the history of anti-humanisme, because that’s what the Finite Resource Thesis fundamentally says. If you say that resources are finites, then all people are, in fact, enemies of each other, because we are competing through finite resources, and all Nations are enemies of each other. Any alliances between Nations are like the alliances in the hunger games, where a couple of the players might temporarily ally to form a gang of three rather than be alone. But at the end of the day, one of those has got to kill the other two. Do we really want to have a hunger games world in which only one can survive ? And then, even then, not for long. You see, look, this is an extremely destructive thesis, but it has a beneficiary. The beneficiary are tyrants. Why ? Because if human aspirations must be crushed, someone must do the crushing. So it’s for your own good, you see. Furthermore, since we are faced with a world of enemies, we must be strong, and therefore, we cannot tolerate dissent.

[00:17:19.840] – Robert Zubrin

This is basically, in other words, the justification for tyrannie is the putative inevitability and necessity for war. The idea that war is necessary and inevitable is because resources are finites. The finite resources benefits the militarist thesis, which benefits the tyranst’s thesis. Therefore, you see, intellectuals that expound this thesis will never lack for sponsors, because it benefits the ultra-powerful. It benefits those who want to be those who are empowered to crush and limit human aspirations. It is precisely the subversion of that thesis, the need to subvert that thesis, which is why we, most critically, must expand into space. Look, Hitler, and I believe I quote him in the book, said, at one point, he said, The idea of perpetual prospérité et plenty, through science, est un plan pour dévider le sentiment de la naissance de la prudence et le bienfouissement, c’est un planète judiciaire. Il y a un planète judiciaire qui explique l’éliteur. Il n’est pas un planète judiciaire, mais il dévide le sentiment de la science. War, and that is why it must be promoted. That is why. Ok ? And so, far from endangering the humanity with increased probability of war, human expansion into space is necessary to undermine those whose existence depends upon war.

[00:19:11.220] – John Knych

Je me souviens de cette part dans ce book, que ça a à voir avec le pouvoir. Les gens veulent se sentir en pouvoir, ils veulent se sentir dans leur position, et que ce point de vue leur permet de faire ça. Robert, je veux bien que je me souvienne de cette question que le lisateur a posée, qui ne pouvait pas le faire aujourd’hui. Matthias, c’est une question qui est en leur position. And that this viewpoint allows them to do that. Robert, I want to make sure I don’t forget this question that a reader asked, that couldn’t make it today. Matthias, this is another current event question, that I don’t know if you’ll be able to answer it, so you can say pass, if there’s any conflict. But are we currently in a géopolitical space race, again, between the US et China, for that part of the moon, that’s, correct me if I’m wrong, but that there’s water, that there’s a small area on the moon that’s very, very highly desired. And the Artemis mission is being pushed because the US wants to be back there before China. Do you agree with that ? Do you think it’s partly true ?

[00:20:16.120] – John Knych

What’s your view of this ?

[00:20:18.300] – Robert Zubrin

Well, I think it’s partly true. I think that NASA has used that vision as a way to try to motivate Congressional support for Artemis. That is, posing it, we are in a race with China, etc. Now, actually, we have already beaten China to the moon by half a century. Now, to decide to run the race again, to me, is inadvisable, simply, from the point of view of gaisemanship. But sure, that’s out Now, in fact, and the amazing thing is, despite the fact that we were able to go to the moon 56 years ago, we are having problems going there now, so much so that there is every probability that China will, in fact, beat us on a return to the moon. It’s not a sure thing. Chinese aren’t super people. They make mistakes, too. But it’s certainly up for grabs. It’s up for grabs.

[00:21:34.840] – John Knych

What problems are you aware of that the Artemis mission currently has ?

[00:21:41.840] – Robert Zubrin

Oh, well, the Artemis program is completely incohérent. They have not built a coherent set of hardware. They haven’t built things that, look, that fit together. Look, what they did with Apollo was, says, We want to be on the Moon within eight years. What’s a plan that will enable us to do that ? They came up with the Lunar Orbit Rendezvous Plan. They said, Therefore, we need the Saturn V, the command module, and the Lunar Excursion Module. The command module commandé, et le module de l’excursion, et le module de l’Ordre de l’Ordre aversion module have to be sized to be able to be launched by a Saturn V and insert into low Lunar Orbit. It was all done as a coherent plan. The Artemis, on the other hand, you have five distinct programmes, each proceeding in its own way. They’ve built five primary pieces of flight hardware that literally do not fit together. They don’t. You can’t do a lunar mission. The lunar orbit gateway has nothing to do with anything. They have SLS and Starship, two competing boosters, neither of which could deliver the Orion capsule plus the Blue Origin National Lander into lunar orbit with enough propellant to come home.

[00:23:09.320] – Robert Zubrin

In fact, they can’t even deliver the Orion by itself into lunar orbit with enough propellant to come home. The Starship could function as a complete round trip system by itself, but the mission architecture is extremely unwieldy. It requires 14 starships launches, first launching the starship, then launching a bunch of tankers to fuel the starship to go to the gateway, and then launching a bunch of starships to fuel a tanker to go to the gateway to refuel the starship there, and then three more like that, and then you can do the mission. It’s C’est un peu crazy. Simplification would have been to have the National Lander use the same methane-oxygen propellant as the starship, and so you could use the starship as an orbital tanker to fuel the National Lander They’re going up and down. But they didn’t do that. They made the National Land to have a hydrogen-oxygen propulsion system, so it’s incompatible with the Starship. Nothing here is compatible with each other. Basically, the architecture is unworkable and they’re going to have to… Well, they could do it with the Starship alone system, which basically ignore the rest of the hardware, but with an extremely unwieldy architecture.

[00:24:30.000] – Robert Zubrin

Or they could build what I call a star boat, which would be a small lander using the same propellence as Starship, and that would make the thing work. But they didn’t do that. So it’s a mess. They have a flight architecture that is vastly more expensive and less capable than the one we had in Apollo.

[00:24:54.200] – John Knych

Yes, I recently saw Jared Isaacman speak, and basically, I don’t know if you read this or saw this, but extremely critical of Boeing and the bureaucracy that is currently a part of NASA. Are you optimistic about Jared Isaacman and him changing or cleaning up this mess, or do you think this is just a problem that is just going to keep on being an issue ?

[00:25:21.400] – Robert Zubrin

Well, I think Jared Isaacman is a very good person. I think he was a good choice for NASA administrator, but he’s operating with within an insane political environment. You compare the political environment now to that of the early, the mid ’60s, when Apollo was done, where you had bipartisan support for achieving national objectives. You had a patriotic président who had been a PT boat commander. World War II, and now we have this insane situation, extreme corruption. The people that Trump did deploy into NASA to reform it, the DOGE, did a wrecking operation. They actually attempted to destroy the part of NASA that does work well, which was the science directorate. And fortunately, there’s been some congressional pushback. The Mars Society and the Planetary Society got together and mobilized to convey to Congress that they had to stop these Stoich cuts. And right now, it looks like about three quarters of them have been stopped. About one quarter of them are going to happen. So the net effect is going to be significant destruction. It’s just not going to be total destruction. This is the environment within which Isaacman is operating. The Trump administration despises this bipartisan.

[00:27:02.880] – Robert Zubrin

So anything they build will unquestionably be destroyed once the political power shifts.

[00:27:15.140] – John Knych

Yeah, the political situation is unfortunate, to say the least. To go from current event, geopolitical, down to back to the technical. Previously, with these book talks, we’ve had Kim Stanley Robinson speak, and he mentioned reading a case for Mars as research for his red Mars, or for his Mars trilogy. But what was interesting during that talk, and that was surprising, is that he’s actually shifted in his view of Mars settlement, in that the one detail he gave up, which I want to ask you about, is, he said, look, they discovered pertulates, I’m thinking of pronouncing it right, pertulates, in the soil.

[00:28:00.780] – Robert Zubrin

Or perchlorates, yes.

[00:28:01.950] – John Knych

Perclourates. And the soil is poisonous, so Mars settlement is off the table. I’m summarizing what he said. And in your book, A New World on Mars, you mention washing the soil. So my question to you is, how complex is that ? Will it take tons of energy ? Do you know of any research that’s in that realm ?

[00:28:28.780] – Robert Zubrin

Well, look, okay, if we’re talking about greenhouse agriculture, you can just wash the soil that you use, okay ? And there’s also forms of greenhouse agriculture that don’t even use soil, hydroponics and aéroponics and such. But that’s not a fundamental problem at all. If you’re talking about planetary transformation, the first thing we will do when we terraform Mars is warm the planet by producing greenhouse gasses. This will cause the water that is now frozen in the soil or in glaciers to melt, and it will evaporate and come down as rain, and that will wash the soil. If Mars had an active water cycle, the perchlorites will be washed out, and also the peroxides will be destroyed. That’s what’s going to happen with that. Now, that’s not to say that there won’t be work in turning Martian soil into farms once you have a Terraformed planet. But I got to tell you, there was a lot of work turning Earthsoil into farms. Because, there isn’t a single patch of fertile soil on earth that nature doesn’t have other potential uses for it than allowing a farmer to use it. In fact, it is without the very active and constant intervention of a farmer, any piece of land will rapidly be overrun with what we call weeds, but basically, competitors to what we want.

[00:30:17.020] – Robert Zubrin

So, food does not come naturally from the land. Food comes from farmers, and it comes with the process that involves a lot of work.

[00:30:27.760] – John Knych

Yes. I found that compelling in the book, your argument that, look, we’ve always been artificially manipulating land, and with fertiliser, and clearing land. It’s always been part of, just a human une expérience, de mold the land in our environment, to serve our needs. And yet, I’m not sure if it was your book or a different book, where people talk about… People used to go in boats to settle the new world, right ? And I think it was the city on Mars that critiqued this analogy, because they said, look, they still had air to breathe, whatever, whatever. But they also didn’t have the technology we have now. I think often, when people attack the new world exploration analogies, they don’t acknowledge that, look, we have technology that people didn’t have in the, in the 1500, 1600s. Robert, another book I read to prepare for this talk, it just came out. It’s called Becoming Martian by Scott Solomon. I don’t know if you’ve heard of this book.

[00:31:41.400] – Robert Zubrin

I’ve heard of it, but I haven’t read it.

[00:31:43.280] – John Knych

It just came out a week ago. And he’s actually friends with the authors of City for Mars. And he’s critical, but I think he falls between you and the Wiener Smiths in that he ends his book with like, look, it’s going to happen, it needs to happen, but we should be cautious in these areas. But he made a very interesting argument très intéressant à la fin de l’écriture de l’édition de l’édition de l’organisme. Il dit: Nous avons la technologie that if we find that radiation, microgravity, it makes it impossible for women to have babies, or there’s just tons of cancers on Mars, that we should gene-edit all humans before going to Mars. What are your thoughts on this, potentially, potential path for it.

[00:32:33.360] – Robert Zubrin

Well, here’s what I think. I think there will be Martian settlements before there is active gene editing of the kind that you’re describing. However, I believe that, first of all, that there will be many different settlements on Mars by people with very different ideals and notions of what is right and wrong and so forth. I believe that while some of them might view gene editing as a repulsive form of eugéniex, others might believe that it is a very practical and necessary technology, and they should take advantage of it. So some people will probably do this. In other cases, it won’t be done by design, but by natural selection. Whenever people move to, or any animal or even plant moves to a new environment, it tends to reoptimise for the new conditions. So there will be… Evolution will take its course. Now, of course, if it’s allowed to go naturally, it will go slow. If people decide they’re going to use gene editing and say, Look, taller, thinner physique is more ideally designed for Mars. Let’s just promote those genes and suppress the others, and they’ll go ahead and do that. Certainly, some of these things will be driven by practicality, and others of these things will be driven by fashion, what people consider beautiful, which changes from time to time, it really does.

[00:34:35.960] – Robert Zubrin

Right now, well, this is not a biological thing, but among a lot of young people, they do piercings and things which I think make an otherwise beautiful young girl look ugly, but they think it makes them look more beautiful. And apparently, some young men do, too, or It wouldn’t do it, but in my day, it wouldn’t have. What I’m just saying is there could be a fashion for pointy ears or blue skin. In fact, right now, there are people who dye their hair blue or green, which at one time would have been considered crazy. But people think blue hair looks really cool. Well, there’s probably a gene for making hair blue without dye, and maybe it’ll get promoted. You watch Star Trek or similar things, or Star Wars, and they depict a future in Which there are aliens who look pretty much like people, except they have certain unusual features, and Balkans, Klingons, and so forth. Well, I think it’s extremely unlikely that if we go out to other planets, interstellar space, and we find intelligent beings there, that those that evolve there will look that close to people. In other words, I think there probably are various intelligence species in the galaxy, but evolving totally independently of us, I think they will look a lot more different from us than, say, Balkans do compared to humans and Star Trek.

[00:36:24.300] – Robert Zubrin

On the other hand, if humans go out and settle other worlds and diversify,, either by natural selection or by self-editing, driven either by necessity or fashion, I think it’s quite possible that 2,000 years from now, when you have a gathering of people from lots of worlds, it’ll look like the United Federation of Planets, with people, basically, but with the various appearances that diverge considerably from what we see on Earth today.

[00:36:58.280] – John Knych

Yes, I agree. Scott makes a compelling argument that, look, if we’re going to go to Mars and beyond, humanity will change. And he’s actually an evolutionary biologist, and he says, look, this is what’s going to happen. Robert, our next talk will be with a young woman named Alyssa Carson, who wants to be the first woman on Mars. I don’t know if you’ve heard of her ?

[00:37:24.660] – Robert Zubrin

Yes, I have, actually.

[00:37:26.000] – John Knych

Yes, she will be doing a talk with us, and I’m reading her book now, Ready for Liftoff. And my question to you is, if someone wants to be a part of the first wave of Martian settlers, what would you recommend to someone who had that aspiration ? Meaning ? What field should you study or how should you prepare yourself ? Are there technical or scientific fields that need progress before we can settle ? How would you…

[00:37:59.800] – Robert Zubrin

Well, look, if someone wants to participate in early Mars missions, they’d be well-advised to study engineering. Or certain areas of natural science, such as geology or even microbiology, things that are going to come into play early. Or actually, there’s going to be a lot of use for people on Mars that aren’t college engineers, but rather are good mécanics and such, electricians, all these sorts of practical hands-on skills. To the extent we have engineers, we’re going to want most of them to be more like old-time shipper or railway engineers. That is, engineers who don’t just know the theory, but they’re good with the wrench. Now, at one time, if you look at the early settlement of America, well, of course, the people who were most useful on the first voyages were sailorsers, navigators, naval officers, and such. Then you get people like carpenters, and Then you get people like farmers, when you want to actually build farms in New England, people who are good at farming and become really good, and maybe a doctor or two. But in the next generation, all of a sudden, school teachers are in demand, and eventually, orchestra conductors. Who’s welcome in America today ?

[00:39:49.440] – Robert Zubrin

Well, people of every useful profession and artistic profession, and you name it. But it took a while to get there. This is how I anticipate. But if for answer to advice to people like Alyssa Carson, I would advise them to study engineering.

[00:40:12.680] – John Knych

Yes, because I was going to ask you, of course, we will need engineers, nuclear engineers, who can not only know how a enlarged KRUSTY will work, but if it breaks down, like what- Well, yes, the initial ones will be people who can know how to operate it and what its limits are and how you might repair it and how you might deal with failures and so forth.

[00:40:39.760] – Robert Zubrin

But eventually, you’re going to have people on Mars who can design nucléaires. Because, actually, un nucléaire réacteur that’s optimised for Mars will be a bit different than one that’s optimised for Earth. It could be substantially different, actually, especially if the Martians decide to go for breeder reactors, so as to limit the amount of uranium or plutonium they need to import. Eventually, we’re going to want to have Martian nuclear engineers who can build a design and build fusion reactors. We go from the immediately practice to the more creative to the theoretical. And this is all part of the progression.

[00:41:23.860] – John Knych

Yes, I enjoyed in your book, too, this… Imagining how the types of people who will want to go to Mars will be very specific, and most likely extremely creative and intelligent, and that will have this, almost like Silicon Valley, innovation pool that will be happening, in the first Mars colonies. And I also like that you imagine education, too, where it won’t be like formalized education, that very soon, les children will have apprentice-type educations, because there will be an extreme shortage of labor. Could you talk a little bit more about your vision of education on Mars ? How it will- Well, here’s the thing.

[00:42:14.460] – Robert Zubrin

Okay, I think, for example, if we take a look at the education we have today, it’s a great thing, but there are a number of shortcomings. That is to say, we have built a society that is exclusionary. And so, an educational institution, for example, in certain professions, you really need education to do what you do. There are sophisticated engineering calculations, sophisticated calculations that require engineering education. There may come a day when a large system…It has a number of defects as well. That is, we have constructed a society which is exclusionary. A college education, for example, in some professions, you really need the college education to do what you do. There’s sophistication engineering calculations that require engineering education. Although the day may come where a creative person making use of artificial intelligence can do good engineering, up to a point anyway. Frankly, I like to be able to check computer calculations myself. But who knows ? But at least if we look at how things are now in the United States, there are professions, well, certainly, medical doctors, that require an advanced education. But there are numerous other professions, where you require the college degree as an admission ticket, but it is not actually necessary to do that profession.

[00:43:49.660] – Robert Zubrin

What the college education is functioning as is the poll text. It defines the difference between middle class and lower class. The officers come from the college-educated. The enlisted men come from the high school or less, and so forth. This is really not a good thing. You’re imposing a tax of four years, say, for a bachelor’s degree, of being out of the workforce, so you’re not earning money, and instead, you’re having to pay tuition. In general, you’re also deferring maturity. Since you’re postponing income earning years, you’re also postponing child rearing years and so forth. This is overall negative. It’s an enormous cost that’s being imposed on individuals and on society. Now, furthermore, and by the way, and even high school, involves taking people aged 14 through 18, and Isolating them, for the most part, from the workforce, freeing them of any adult responsibilities, and not just freeing them, but blocking them from adult responsibilities, and not just freeing them, but blocking them from adult responsibilities. It’s like a reservation for adolescents. I once heard a lecture by the famous psychiatrist, Bruno Bettelheim, in which he discussed the issue of why our teenagers today so crazy. He said, It is because you have people who are actually biologiquement designed to be adults at this point in their life, and they’re being told they to remain children.

[00:46:01.720] – Robert Zubrin

And so they act crazy. And bored.

[00:46:07.800] – John Knych

And they’re bored.

[00:46:09.120] – Robert Zubrin

They’re bored, and they’re being kept on a reservation. They say, OK, what mischief can we do while we’re stuck on this reservation ? So this is why I believe that youth on Mars will be given more adult responsibilities early. I mean, you might call it work study, where they only spend four hours a day in school and four hours helping around the greenhouse or the repair shop or something, or acting as interns on an engineering team. The person you cited with this new book about Becoming Martian, I haven’t read the book, but I saw a tweet that he did where he claimed that I was proposing child labor. I am not proposing child labor. I am proposing that work and productive activity, be work study, if you will, be made a part of education starting at an earlier

[00:47:45.000] – Robert Zubrin

J’ai juste read a tweet that he said.

[00:47:47.300] – John Knych

That’s surprising. I don’t remember you mentioning it in the book, accusing you of saying that it would be the work of life on Mars. But maybe I thought it was just a matter of detail. I haven’t read the book, I just read a tweet.


[00:48:25.010] – Robert Zubrin


I think it was… I knew most of what it was just from reading other Mars stuff. I think it’s really degraded to denaming. I think it’s really degraded to denaming. Microbes. Human beings can’t exist without microbes. Microbes do a substantial part of our digestive processes.

[00:48:35.980] – John Knych

But if we grow up in Mars habitats, and we don’t have that exposure to the microbes that we have on Earth, will we see more non-communicative diseases, meaning more asthma, more Crohn’s disease, because our bodies just don’t have that flow between microbes that we have on Earth ?

[00:49:02.160] – Robert Zubrin

I can’t answer that. I don’t have the medical knowledge, but I would say there would be a very substantial microbial biome on Mars, because it’s inside of us and we pass that on to the other person. You know, that’s not the case, that’s not the case, that’s not the case, that’s not the case, that’s not the case, that’s not the case, that’s not the case, that’s not the case, that’s not the case. But in human history, adults, like people, cannot digest milk. Children can, but adults cannot. But Americans, who have been here for a couple of generations, can. Because they have picked up the microbe that Caucasians have that gives us the ability to digest milk. So they have this ability. There are many traits that humans have that are not in the DNA you received from your parents, but in the software. that you also got from your parents, but is readily replaceable, which includes the microbiome. Il y a very good book on this by a biologist named Edward Young, Y-O-N-G.

[00:50:27.530] – Robert Zubrin

I recommend it to your book club, by the way. It’s a great book. It’s called We Contain Multitudes. It’s about the role in animals between their own DNA, the hardware, and then this much more easily replaceable software, if you will, of the microbiome that is within them, and which you do get your start from your mother, but it can be replaced. He discusses various species of rodents. One lives in the désert, the other lives in the forest, and they’re actually the same in terms of their hardware, but their microbiome is different. And so one can eat a cactus, and the other can’t, but you could take one, and if you infect it with the microbes that the other one has, it becomes capable of eating a cactus.

[00:51:19.260] – John Knych

Very interesting. Yeah, the example that Scott uses, well, two things that I learned. The microbe environment in the International Space Station is very similar to the environment in a home. Meaning, they took swaps of both, and it’s very similar. But there are cases of astronauts having dormant virussez, waken in the international space station. And he also mentioned this study, which I never heard of, which was, looking at two villages in Russia et It’s very similar. But there have been cases of astronauts with dormant viruses, which have been reported internationally. He also mentioned this situation, which I had never heard of before, of two villages in Russia and Finland where people were… It’s the same, but the Russian village was much more rural. People were much more in the woods, while the Finnish village was more developed. And they saw that the Finnish population had much higher incidences of allergies, asthma, that type of thing. So there’s still a lot we don’t know. But I agree with you that our bodies, I’m sure if you move someone from the Finnish environment to the Russian environment, their bodies would adapt to the microbiome.

[00:52:31.920] – John Knych

Yes.

[00:52:32.840] – Robert Zubrin

We’re going to have to go soon. So if you got a final question you want to ask ?

[00:52:38.470] – John Knych

Yeah, two final questions, both of them short. I’ve been seeing, Robert, you’ve been posting images, on social media, of people wearing space shirts. My question is: what other Mars projects are you working on?

[00:52:59.000] – Robert Zubrin

La société Mars, qui est un entreprise que je dirige, a deux stations à Mars analogues, un en train de travailler autour de la Balloon ? La Mars Society, which is a nonprofit that I lead, runs two Mars analogue research stations, one in the Utah Desert, in which we actually have a French crew in right now, and the other one in the high Arctic, which we operate during the summer. And they do practice Mars missions there to try to learn what exploration, tactics, and technologies will be the most useful on Mars. So we’re doing that. Mars Society is doing a lot de things. We’re going to have our next international conference by the way, in the Los Angeles area in October. The exact place and dates to be announced fairly soon.

[00:53:38.020] – John Knych

Excellent. And then last question, this is a two-parter, and it’s personal. I’m trying to learn everything I can about Martian settlement and science. What’s a book that me and other people in the group should read, if we want to learn even more beyond your book ? And then, secondly, I asked you about nuclear engineering. I’ve been teaching myself nuclear engineering and learning about Crusty To go to the next level with that path, what should be studied, what book should be read ?

[00:54:07.980] – Robert Zubrin

Ok, well, I could give you two. First of all, on Mars, they should read The Case for Mars. Ok. And on Nukes, they should read my book, The Case for Nukes, which you can get on Amazon, on either paperback or Kindle.

[00:54:21.860] – John Knych

So I haven’t read The Case for Mars, but is it The New World on Mars ? I thought The New World on Mars was taking those concepts and expanding on them, or can they be read as two separate ?

[00:54:35.420] – Robert Zubrin

They can be read as two separate books. The Case for Mars was originally written in 96, and then it’s gone through several editions and updates, the most recent one in 2021. It is, How can we get humans to Mars in our time ? It’s a how book. The New World on Mars is, What can we create on Mars ? How do we get there and what can we make of it ? Those are the deux books. I think you’ll find the case for Mars very interesting. It’s actually my most successful book. Then on nuclear Encore, lThe case for Mars is very interesting. It’s my biggest book. And then, on power, the case for nights. I’ll show you. Okay.

[00:55:18.120] – John Knych

Also, in the case for nukes, you dig into the nuclear type of power that would be needed. Excellent. But within that book, do you have discussions on the nuclear power that would be used for powering Mars settlements ?

[00:55:33.760] – Robert Zubrin

Yes, I do. Although most of the book is about nuclear power for Earth. Ok.

[00:55:39.580] – John Knych

All right, wonderful. I really enjoy this conversation, Robert, and thank you for your time. I’ll share it with the group. I’ll send you a link of the video.

[00:55:51.240] – Robert Zubrin

Yeah, please do.

[00:55:52.340] – John Knych

Thank you. Thank you pour all the work you’ve been doing, and best of luck in your research, and have a great day.

[00:55:59.470] – Robert Zubrin

All right. Thank you. Mars Tomorrow. Bye-bye.

Mary G. Thompson

[00:00:01.18] – John Knych

Hello everyone ! Thank you for being here today. We are talking with Mary G. Thompson and the book one level down and to begin Mary we like to ask the author about the origin of the idea. But I saw in the afterward that the origin for this book came in 2012 at a conference where you heard about the simulation theory. Can you talk with us about how it went from that idea to publication?

[00:00:31.21] – Mary G. Thompson

Yeah, I mean, I didn’t start writing anything about it at that time. I mean, I was writing the other stuff. So I mean I started writing that I can’t remember what I started by this is because this is so, but I was much later than that. But that you know that I went to this conference the North East conference and science and skepticism. I’m not sure. I don’t think this is still doing that they were doing it virtually during Covid. I don’t think that done it for the last years, but if they are doing it again. I highly recommend that you have to have talks about random and you know about science and skepticism. But there was a panel people were talking about this. The theory that if we ever create a genuine simulate the universe with all the information needed to create a real universe that that would be an indication that we are in the simulation, because then that would mean that there are more than real universe. But I mean it speculations you could nobody can prove that you are in the block.

[00:01:27.02] – Mary G. Thompson

If you write it you, you realize how I postulate how we might prove that we are in the simulation and you know that has none of this saw that has happened in the book is ever happened to me. So as far as I know you can’t prove it it, but I had it in the back of my mind for a long time and eventually that’s how things happen. They just kind of light and suddenly they turn into an idea years later.

[00:01:51.18] – John Knych

Excellent. Thank you. And also Mary this will be a round-table discussion. So will move to The brand and buy real quick before he has his question. There was a lot of he’s got it good for. There’s a lot of world. There’s a lot of southern world building for such a small novella like so that religion politique, but we could get into that later in you.

[00:02:20.14] – Brandon

Yes ! Yes ! Thank you. WE really appreciate you taking the time to talk to us. So I did I did enjoy this it pretty quickly. So it’s only at the level, of course, but that it was quickly past, and I had some really interesting ideas. So I guess my first question is since it is kind of what ? What would you like I mean ? How long does it take you to write this ? And could you just gonna gonna take us to your Writing process and all that.

[00:02:59.06] – Mary G. Thompson

I mean it started with it was gonna be a short story. It started with a short story that was gonna be about it was gonna be about a colony that went into a simulation and it was the story the short story was going to be about somebody who was outside and had to take care of it like everybody else want to be somebody had to be left behind that was my first idea for story, and then I wrote a longer piece, which was like about ten thousand words and I was called the technician and it was about Nicholas and it was from his perspective and he went into the simulation and math, and I said that the company is and I couldn’t I couldn’t it and so I decided to write the concept from L.A perspective and that turn it into a completely different. I mean the story is pretty similar all the others that he has a much happy ending than the other piece in the short piece, which has never been published he leaves without help in her, but you know that there was a good work for I feel like the blog or something is the more like hope and happiness.

[00:04:06.15] – Mary G. Thompson

You have to have this kind of like a little bit of a rule. Maybe not totally, but I feel that way. So yeah. I mean, I think the reason that I really learned from this is like to explore and try different things and think about which is the most compelling. You know I still loved Brian from the perspective and I thought about potentially really different thing from his perspective to but you. So I don’t think this is how long to write it’s kind of hard to say, because it went to somebody I mean I I I think I started it like I don’t even remember it may have been like twenty twenty one or something like that twenty And then you know I don’t know. I can’t I can’t tell you exactly how long but I can tell you. I went through a bunch of different hydration.

[00:05:03.06] – Brandon

So you’ve been working on it for several years before it would.

[00:05:07.13] – Mary G. Thompson

Not like full time right ? Yeah yeah. But you know what goes to my group. And then you know and then I was trying to sell the short story, and then I wrote it and I had people reading it and you know all of that stuff.

[00:05:22.02] – Brandon

Thank you.

[00:05:24.05] – John Knych

Thank you, Mary Jane, and if you don’t have a question of you can always pass, but and.

[00:05:33.05] – Jenn

Thanks for being here with us. I thought it was really interesting how you sort of just give these tantalizing hints and what else is going on in the colonies of how that he is keeping people online with the people who are. You talking about how you different from Nicholas perspectives. I wonder if if you could write a bonus chapter from someone else perspective would it still be Nicholas or would you someone in the quality of life round and what else is going on there ?

[00:06:06.24] – Mary G. Thompson

I mean, you know I expanded on the character within the calling from the story, so he. Wasn’t really in the the story version. So I mean, I think her situation is interesting cases like when I wrote from Nicholas perspectives. It was all about his moral dilemma of like the contract requires this and like all this problem what happens if you was to do this and so she has an interesting moral dilemma and that she knows that she helped, but she doesn’t help as much as she could write and that I love those kind of dilemma. So maybe I would write from her perspective, but.

[00:06:51.09] – Jenn

Thank you. That’s really interesting.

[00:06:55.11] – John Knych

And again. If you don’t know you can put it up to you.

[00:06:59.17] – Virginie

I have a little question. But I I hope my English is not too too bad to do so much. Thank you very much for being with us tonight. I wanted to know I’m ninety one of the book. You will care what the universe is like it only matter if you can explore it and I wanted to know what are your thoughts on space travel, especially and in particular, Uh. Mars colonisation. I would like to know your opinion about this if you are.

[00:07:38.18] – Mary G. Thompson

I think that it would be great if we could colonise mars, but like everything else that we should do. we should do it with intelligent and purposes, not just to do it. I I don’t know I mean, I know there’s a lot of debates about whether we should be going out personally and we should be just friends and better robots to do our exploration and I as a sci-fi writer and of course I want to see people go, but it’s not a replacement for nothing is gonna be a replacement for earth, right ? I always get frustrated when I see when I read stories where are like people go out and leave earth for like unbeatable plant because earth has been destroyed and I’m like what was God ? I don’t think it’s better than earth, right ? UM so I know I’ll be back, of course. Magically. There’s have plenty of whatever it. I don’t know. I guess I think we should do it. But I don’t think we should do it just do what I think we should be careful what you could I mean, I don’t think it’s that and reasonable to imagine everybody that goes there for a colonies like with Elon Musk dying with year, whatever it.

[00:08:59.03] – Mary G. Thompson

So I don’t know I used to think that I would go. But I don’t think I would go anywhere.

[00:09:08.14] – John Knych

Thank you. Thank you for being here. I know if I said that before, but I would like to the Nicholas Carter and in the afterward you rock that you had this idea for the Nicholas prospective universe of a couple of men and their dogs who can’t leave on the planet and I red and afterwards, and I would have loved to have had that side plot in the story of my question is I agree with with Brandon that the past was really good and but at the there were so many things that I wonder if you wanted it to be a novel. It was it with your editors was there any conversation like you want it to do more, but they said no keeping the novellas.

[00:09:58.09] – Mary G. Thompson

Of the opposite. Well I originally like after I decided that I was gonna rewrite the story from Alice perspective. I thought this is gonna be a novel and so I wrote basically to have to where the end of the novella is and then I had kept going and then it just felt completely different because the turn of the book is completely different after she escaped. And so it was like almost it really was like a completely different, but it was about her like it was gonna be about her training to be a technician yourself in all this, so that happens to her outside right. And I was like this is not. This is no longer a story about somebody who is suffering from this depression and has to escape its now It’s just complete, it was just completely different and don’t feel it and so I wrote the ending made it and so that’s.

[00:10:49.20] – John Knych

What is your decision to go.

[00:10:52.06] – Mary G. Thompson

Yeah yeah. And I know like that some of the criticism. I’ve got in his people. Think it should be right and there is to be. There is the beat like this is the perfect link and should have been there is too many threads or whatever. And so I don’t know like I think it’s always. It’s just kind of her sometimes to decide what’s best like I feel like if I had done it as a novel the way I was thinking originally which would have been this would have been part one or two would have been life outside and I would have been what she came back. That’s what I was thinking and then it just it just don’t feel right and I feel like the reader would have been told from being in the world of L.A. To been confused about how everything have changed and so yeah, It was a decision that I made to do it that way.

[00:11:39.11] – John Knych

And so you still have part two and part trois. Just around right.

[00:11:43.17] – Mary G. Thompson

Now. I had started writing it and you know I just felt I I stop it that I thought this just doesn’t feel right and that’s what I went back in the end. So that it worked as a whole piece.

[00:11:56.11] – John Knych

Okay, Thank you if you have a question.

[00:12:02.10] – Brandon

Um yes, we know you can hints that at the world building beyond the story like there’s this I feel like there is this could be kind of a history of the. Things and other plants and there is some history with the world and so I wonder like the do. I know you said. You did this from a short story, but did you like some worldbuilding that you down ? But you had no intention to put in the story of just like an encyclopedia that you have to refer to his That’s it. That’s all you have come up with.

[00:12:43.18] – Mary G. Thompson

All I don’t. I definitely don’t do like a big world, bubble and like that I know some readers do that they do like a big a whole lot of world building before they right. I don’t really do that, but I mean, there is definitely stuff that I thought of that you know it’s not. Maybe you didn’t make it on the page, but not like a whole big giant other piece of world building. I don’t think thank you.

[00:13:15.05] – John Knych

Thank you back to gen.

[00:13:18.23] – Jenn

Yeah. I know I’d love to read more of L.A. Story. And he would you like to continue on with part two and three and maybe one day, we’ll see that in print or your kind of satisfied with that and that’s it or maybe return to this world like a different part of this world.

[00:13:42.11] – Mary G. Thompson

I mean, I would love to. But you know I sold out as one, but right. And so it’s not really that common are like useful to write this. It’s so as a series because then you don’t really have a publish or for it. So I definitely had to have thought of concept for school and I wasn’t really thinking about going back to that. That now, but it’s something that I’ve certainly thought about cause as they said I do have some of that return and there’s a lot in the world regarding the the world of the technicians and the company has been so yeah, I would like to know, but I don’t really see the path to it right now, because I don’t have the publisher for it. I mean, I have an even talked about it would be so it’s not like you know it. Just this is something that because it was so good as one book.

[00:14:36.03] – Jenn

Off. Okay. Thank you.

[00:14:40.22] – John Knych

Like you give back to Virginie.

[00:14:46.02] – Virginie

Yes, I had enough. It’s pretty related to my first question because on the page night of the book you. You know if people found out what was possible there would run the entire universe and I’m was wondering. Whether you were optimistic or pessimistic. About humanity future.

[00:15:10.22] – Mary G. Thompson

That in the context of that line. She’s talking about people. I’m taking things out of simulation that like make everything crazy and you know suddenly like you’re the river next door is popcorn or whatever you know. But but I’m optimistic. Yeah. I’m optimistic. I don’t think that we’re gonna. I don’t think there is gonna be the kind of a pop up that you are often sit and books for your end up like with people who have or whatever it CAN I mean things get bad and things get better it like I think that we’re gonna make it. But you know, unfortunately, people are still people so and I like to write like dark right and. But I think it’s kind of my way of getting out like baby. It’s my way of working to my. If you are getting out the stress of some real life events or whatever, but I. I actually I’m much more optimistic in reality than I am in my book. Human nature.

[00:16:13.19] – John Knych

Thank you so much and before Mary that you. You first have the side of the idea at the conference in two thousand twelve, and then I was a short story and I grew up at this time. Are you are there any books or movies or are about simulation that informed this world because I felt when I was at first attracted me to this book was I just like thinking about simulation and reading about Syfy that has to do with simulation, and I thought you did a good job of making it Believable and how the how the people living with in the simulation where there are where there are movie their books that you thought of creating the world.

[00:17:02.18] – Mary G. Thompson

I don’t think so I mean yeah, I don’t know I mean, I think that is sometimes it’s hard to tell like what you’re influence ? Are you don’t really know ? What’s in the back of your mind ? But there was not like a specific book or movie or anything.

[00:17:20.18] – John Knych

Because I would like to take like the whole idea of like the technician in the corporation like creating it and and even the sort of the ability of data to create and by have that much power like that was your own imagination, not like pulling from from specific places.

[00:17:40.16] – Mary G. Thompson

I’m not that I’m aware of. As I said like you. You know I read a lot of stuff like so who knows right ? Who knows what kind of influence me but. Yeah, I mean the regional idea for just it came from like trying to set up a moral dilemma for Nicholas. And what you know what he would find there that would be expected expected to just come and find. People basically just living their lives right like they plan to and so I just thought it was more. It’s just more interesting and emotional to think about the person that there and led to me thinking about him like somebody mentioned that one About how if you, if you can’t leave that it doesn’t matter it like you can create all the simulation that you want people in human can create any simulation they want if they have the many to do so but if you’re trapped inside and none of that matter and I think we all feel that way sometimes maybe I feel like we’re all trapped in our little simulation that we have much less control over, then we like to think.

[00:19:00.05] – Mary G. Thompson

You but it’s really hard to talk about influence because I usually I usually would not be able to tell you as far as like my fictional influence like I could tell you sometimes functional influence for a lot of stuff, but yeah. I don’t know it all just around my head and turn it up.

[00:19:18.11] – John Knych

I think it’s in the computer. That’s controlling all right.

[00:19:23.12] – Mary G. Thompson

Yeah. I mean who knows what It doesn’t matter from my perspective right. It doesn’t matter to us, whether where you are not in this week and somehow level up and get out of it and you know by the mortal which would be great.

[00:19:41.08] – John Knych

Thank you. If you have a question.

[00:19:46.03] – Brandon

With so you said, You didn’t really have any specific influences for this story, But can you talk about like your favourite authors like like you do have ? Peter ? What is here ? He said. That in the matrix ever did so I mean ? Do you like Peter ? What do you have other ?

[00:20:10.02] – Mary G. Thompson

I do like Peter what ? Yeah, I read the revolution and all the like that went along with that. Yeah. I mean, I like I like I like all of you know I right in children two and so I I And I really quit. I guess you know. It. And. I don’t know it’s hard to say whenever people ask be with my favourite books or authors. Are I just like free like I like and. I don’t know I don’t know I’m having trouble coming up with something. I’m sorry.

[00:20:50.20] – John Knych

That’s what he was actually talk with him before and how you have.

[00:20:56.03] – Mary G. Thompson

I don’t know him personally, but I get you know I got that blurb, but yeah, I mean that the freeze-frame evolution. I thought I was really interesting and so that’s the the series that are red and his, and you know I like that high concept, you know it even if if it’s sometimes a little bit confusing are difficult to understand. I would rather be that than than something that more simple just because it makes you think about stuff and say ? Yeah ! I mean a lot is like you know I read about the nonfiction. So I do read a fair amount of science fiction. Just kind of randomly a lot of like. I feel like a lot of what you read is pretty random, but.

[00:21:39.13] – Brandon

So that they don’t read science-fiction while there writing do you read Science-Fiction while you are reading.

[00:21:48.19] – Mary G. Thompson

I I I I won’t read a book that wasn’t the same topic like I wouldn’t read like if I was writing the book about the simulation, I wouldn’t go out and read other books about the simulation like you know, and you know what time I wrote the book of contemporary book about a girl who were two girls were kidnapped during the time was that there was a new story about some of the Cleveland clinic. My story came out and I was like well, I’m not gonna read about this story like I didn’t want any more information like once I start reading, you know so, but I don’t feel, I don’t feel like that matter the other science fiction because there is so many different concepts and stuff like it’s not going to really matter what I’ve been and that it was like the exact same topic. Yeah.

[00:22:33.12] – Brandon

Thank.

[00:22:37.04] – John Knych

You if you have a question.

[00:22:39.19] – Jenn

Hum hum. So do you ever feel protective of your caractère or if readers are particularly hard on them. Let me explain like I’m thinking about that. He does pretty monstrous things he’s the villain. But also he’s gone through this really unimaginable loss that kind of sparks. This is there is part of you that things like we should feel little bit bad for him or not.

[00:23:14.12] – Mary G. Thompson

I mean.

[00:23:14.22] – Jenn

You.

[00:23:15.16] – Mary G. Thompson

You feel I’m interested to know what you feel about that I mean, I think it’s always whenever somebody like in the real life to you. It’s like that. Maybe it’s not an excuse for your behavior. So I feel you gonna hate that you can take that if you want I have sympathy for him. Then you can I mean, he is probably not happy either right. But I don’t have that much sympathy for him. I guess.

[00:23:43.12] – John Knych

It is that why you start to jump into the way you choose to have the reveal of his the loss that the experience was at the end like that you are not have sympathy for him because as it I thought as the reader if I had known in the biggest in the beginning. He’s like the right this. This war of the faceless monster right. He’s just this antagonist. That’s like him. And you commented on in the in the question and the in the afterward. Did you have that decision ? The do you want to keep the reveal of his lost to the end, because you want to him to remain that. That the antagonist that he was.

[00:24:26.13] – Mary G. Thompson

I don’t really remember thinking about it earlier. I mean if I’m thinking about it now like because it’s all from this perspective. She doesn’t know that and I’m not sure it would make sense for her to know that earlier because Samantha was delighted when she was like I can’t even if there’s something like that so. I don’t. Yeah. I don’t think I really thought about putting earlier, but that’s interesting that you say that like I now I’m thinking about it. I don’t know if it would be better to have him be more sympathetic from the beginning. I don’t know, but I guess when I was thinking from her perspective. What information it would make sense for her to have at the beginning.

[00:25:15.04] – John Knych

T’inquiète. I jump the the circle and you have a question. Where do you want to pay as ? You can hear you can hear me now.

[00:25:28.15] – Virginie

I don’t have any questions. I’m.

[00:25:32.23] – John Knych

Okay, okay. So marry you ? I saw in your bio that you received the MFA in in in why writing correct like your meaning of your writing courir. You were writing for for children. How did you make this transition to writing a novel ? That’s for adults was it smooth did it was at first for kids. And then you know you changed what was that and also the two of you can expand and what what is it like to get it in and sort of children’s writing like what was that programs like.

[00:26:16.11] – Mary G. Thompson

You would just start with like the first, my first book that was published with which is the horrors for children about a boy was trying into this world like and when I started writing I didn’t that was before I was published. I didn’t know anything about the job. I thought I was really just the levels and I I learned about the rules and I learned that because of the age of the character in the town that it was right. So that’s how I got into it and my agent suggested what I was. I was gonna go to the program when I was applying to a bunch of programs and she said how does this program in writing for children at the new school and so I ended up going there and it was it was great. I mean one of the great things about that program is that it’s more commercially focussed than the traditional MFA. So like that the traditional MFA in fiction like it’s you know I mean, I don’t want those of us in the children program to think that they’re just like they are not on plot and being published right and so in this program, we had instructors who were published authors and who were who knew about the industry and they have good feedback and we all are interested in being published in children and so we give good feedback to each other and really busted all of our skills, and so it was a really good experience and so what people are thinking about doing ?

[00:27:43.17] – Mary G. Thompson

I would definitely just like a girl like they think there’s one size fits all where it is as I don’t know how good. It is like. It’s the one that when you’re doing something like people are focused on getting published as opposed to like. I don’t know some people who were doing the production of pictures program is kind of think that that’s like. I don’t know it’s like beneath them to worry about that or something like we all want to be published right. So when not all of it because I wish you were here is something. I don’t want to trash people who do it ? But I just thought it was really helpful to do that the children when there’s a couple other one to the people who have good experience with so yeah, I’m glad I did that one. And so there are more of the questions than that you want.

[00:28:34.05] – John Knych

And then the transition to one level down.

[00:28:37.22] – Mary G. Thompson

Decided to start reading some sort fiction inside and always been interested in doing sci-fi. And now I was always the Syfy reader has the kids and I was you now, I started out trying to write which turned out to the children’s bucks and I wrote children’s sci-fi and so I was always interested in in safety and so I started riding the short fiction which has developed into my longer function in adults, and you know I just I loved just reading different ways like there have different conventions in town and content and with cities, of course. There’s something you can do that you can’t do in children and vice-versa and so so different outlet.

[00:29:25.09] – John Knych

Thank you. If you have, I have a question.

[00:29:30.01] – Brandon

So if you are going to create a simulation. What would it look like what you ? What’s your ideal Simulated world ?

[00:29:40.21] – Mary G. Thompson

No. I’m not about this a little bit. I think you are one of the things I explore in the book and I think I talked about this. The afterward it’s like we like to think we’re creative and interesting, but like I said I did the same thing for breakfast every day and I do and it’s hard to imagine like how crazy do you want your life to be ? Especially because you’re in something. You’re gonna be in for ever right ? So do I want it to be my life, but just like glow up. Or do I want like a world with flying unicorn and chocolate ripper ? And you know who knows what I don’t know right ? Every robot is around the world handing out flowers. I don’t know what. I don’t know I was say it. If it was me. I would not create a world where there was still like physical pain the way that the calling you and I won’t let you down, but I feel like you get bored with anything if you’re there for ever, which was why you know you and the the the the people with their dogs that get sick of each other.

[00:30:42.15] – Mary G. Thompson

After a while and it’s like that was the idea that people in this world can just create. If they can pay for it, they can create the universe basically retire and instead of dying and you know it. I don’t know if you would get sick if your dog after two hundred years, but. I are your husband or your wife or whatever I feel like it’s hard to pick something that you would want to be in forever. So I guess if it was able to me, I would pick something that you could change, but I also feel like you need like we need challenge like we can’t just. Like if if you created a utopia, you would have it right, You would have having no challenges and nothing to work for our care about when you get up in the morning. Kind of like the last week. I’ve been stuck in my house. Cause of the snow white. Yeah like like I feel like we’re back in Covid times and I’ve had already and it’s only been so.

[00:31:50.01] – John Knych

I was gonna ask you to stuck as well in the us. Yeah.

[00:31:56.04] – Brandon

It’s now, but there’s a few days where you are.

[00:32:02.21] – Jenn

Now we still History of over here and yeah. The dogs are struggling the duck won’t come out of the house. It’s not above freezing. So I’m in Pennsylvania.

[00:32:17.02] – Mary G. Thompson

I’m so we don’t get that much. But it’s still not really possible to go out.

[00:32:29.13] – John Knych

All right back to change if you have a question.

[00:32:34.08] – Jenn

I’m gonna pass it all this time.

[00:32:37.02] – John Knych

Virginie. You’re good the I’m good.

[00:32:41.21] – Virginie

Thank you. John. Even it’s pretty late in Paris. It’s midnight now. So I’m.

[00:32:49.11] – Mary G. Thompson

Appreciate your dedication and coming in.

[00:32:52.20] – Virginie

My little sun is a little take my four years old sun. So it’s very excited to be with you tonight. So I want to. thank you again.

[00:33:04.14] – John Knych

For the simulation of. The this is similar to the children’s your background. I’m reading books also read that you were here for seven years five of which you were at the eyes of you being. You’re in for your writing at all of you pulled material from those experiences or.

[00:33:31.05] – Mary G. Thompson

You know a little bit like I mean one of the things that you do is where is the right the law and so I think it helped somewhat with that with him like reading clearly. I guess our cet argument. I guess in a way actually my next book has bit of contracts in it. So that’s the first time I’ve like like really used it so and so I guess I can say yeah. Now I have used it and I think you know and make my book. I’ve heard about the kidnapping. Amy Chelsea staci d and I thought about the legal aspects of this situation, you know that so informed what I wrote and in the other contemporary the world. I also thought about that I probably think about it every time I write something you know I thought about in this book. I thought about the contractual issues about you know how he’s they’re not supposed to highlight the contract. They’re not supposed to move people and they’re paid for it all those were legal issues. But yeah, I mean I kind of a kind of have had fun like definitely my next book is called precious children’s but clones and.

[00:34:55.14] – Mary G. Thompson

It’s coming in september first and it’s There’s a contract involving the production of the clones and the adoption, and so I had some fun with that, so it’s nothing. It’s over wasted that you learn and your life is the.

[00:35:17.01] – John Knych

Way back to Brendon if you have questions.

[00:35:22.22] – Brandon

About like the whole publishing process so like you. You write this you finished with you. Do you said it ? And then they are there in between like you can’t go through the whole process of getting published.

[00:35:40.15] – Mary G. Thompson

This one is a little bit different than normal, but the normal process I mean it’s not that before I guess the process is you write it if you have an agent. Yeah, you get to keep a step. If you don’t have an agent, then you have to carry agent and find somebody to represent it Usually who work on it with your agents. And then they send it to the publisher in this particular case. I have worked on it with like a lot of my friends. I had others you know other friends. Read it worked on it and so I didn’t work on it with my agent and she said it is up to date, but yeah. I mean usually you got to for me. My friends, my better readers are are really important. I think it’s really the most important step for me is having people from my friends in community that are willing to read and I read their work to and we give each other feedback, cause those other authors are really the people that know the joy of the best and can help you the most and my agent usually help to but this and it is a novel.

[00:36:47.09] – Mary G. Thompson

It’s like not, you know usually it’s not a big deal for agency. So I’m just like I can you and this after I have worked on it for all right Time before we send it.

[00:36:59.21] – Brandon

So does the publisher, send it back for any it or do they do They just take it as is where.

[00:37:07.01] – Mary G. Thompson

There is usually always. I think all my books are at least one round with the editor. This one was a little bit lighter than the usual. But I did it now usually there’s one round where they give you some of the next round. It’s like a little bit few things and then you go through the proofreading process. Copywriting content editing and copy editing, then proofreading. So it’s like yeah. That’s it. That’s long. It feels very long. But that’s the process.

[00:37:43.01] – Brandon

That you get the title for it.

[00:37:47.19] – Mary G. Thompson

This title came about like the original title was constrained element. That’s it. That’s the title. It’s the The publisher didn’t like that and so I had to come up with the new title, and I had it coming up with the different title than then when they were down and when we won’t go to the time to make the cover and I wasn’t super happy with it, but I wasn’t really what else to do when it came time to do the cover. The cover designer was coming up with the cover for that title, and so then we can’t have changed the title like close to like and publishing timeline. It was close to the last minute right before we had to have the cover down and this was one of the titles that I had brainstorming when I was brainstorming titles and I was like what I went down and everybody was like yes, that’s it and I’m very happy with it. In the end, it work out great, but I came down to the wire kind of to find the right title for it.

[00:38:39.18] – Brandon

I think I like it.

[00:38:44.18] – John Knych

And the cover looks good to eat that was was.

[00:38:47.21] – Mary G. Thompson

And that’s what I was super happy is like something about Having the different title made it better made it. You know I guess easier to come up with the great designs that she and up coming out with.

[00:38:58.23] – John Knych

Even the constrained element is good though I like I like that one as well.

[00:39:03.08] – Mary G. Thompson

I’m glad you like that one two, yeah. There was a place in the book where she they should be referred to them self. There’s something that it was that I was made in the book and I ended up changing it now it’s the title changed so. So what are there any more ?

[00:39:21.04] – John Knych

The jump in case. I don’t think you have any questions where there any other push back with the editor was a pretty smooth meaning things you wanted to add or or or take away. Was it was fairly smooth with the process with the editor for this or you.

[00:39:42.08] – Mary G. Thompson

I was pretty smooth. I didn’t I don’t remember the beginning with any of the comments that wasn’t like a lot. It wasn’t that much. That means that she had on this one. So yeah. I don’t remember when I usually don’t have any disagreement like usually when somebody be a book from you. It’s because they get it right. And so if they have comments usually they make the book better like I think it’s. I think it might be one time when I had somebody were I really disagree with their comments and I wondered why the person about the book in that case because you know usually the experience is like you, they like it because they get it whatever so yeah. It was a good experience.

[00:40:27.13] – John Knych

Thank you. The I know we talked before about you know how they were different sparks their different parts that might have been able to be expanded if you wanted to the one at first started reading it and I learned that I was stuck as a As a fifty fifty fifty years old and in the. Apartment me wonder like that I mean that you’re right to be in this little girl’s body for the years that you did you think of some of some expressing that torture with like more like more sins of just like her just being trapped. I guess like the. I ask ask it because I just thought the. That’s it right and and or did you feel so in the pool of the plate that like. OK, she’s got to be, she’s got to get out.

[00:41:37.01] – Mary G. Thompson

And I think this is there has to be a balance because people get depressed and tired of like somebody constantly being there has to be a balance between seeing, what’s wrong and seeing how they’re gonna get out of it. So yeah, there is certainly other things I could and put in there. But it, I didn’t think I was necessary this song, I was able to show what about it was and that she really need to get out of it.

[00:42:06.01] – John Knych

All we have one more one more question. And this is also a sort of career slash informed writing questions, but so you have got it and children’s writing and your love, but I’ve had that you’re also like a librarian now. Correct.

[00:42:23.09] – Mary G. Thompson

Yes. Yes.

[00:42:24.17] – John Knych

Does your work help your writing ? Do you learn things on the job that you applied or is it fairly partitioning that you have.

[00:42:33.15] – Mary G. Thompson

I mean I have and I don’t think that I’ve really used anything. I think that kind of tips into my work like when I am I used to work at the end of trust division. I thought I don’t work there any more but I used to. I wrote something which has not been published in which I made it was like near future and I made like jokes about company stuff and like I don’t think I would have done that if I had never worked with the business of this kind of tips and you’re into your mind. So yeah, It’s like I was like I know that you really wasted. But I don’t see that I don’t see that are particularly in my writing. It’s more like you know. It’s something I enjoy doing that leave me time to do my writing basically.

[00:43:21.16] – John Knych

Thanks. Thank you and you mentioned before that your next book is coming out in september about clothes. Are you really staying in the city ? Who’s that is that.

[00:43:34.24] – Mary G. Thompson

I mean You want to keep reading ? If you know I’m still trying. I’m still trying to write some young adult As well. But yeah. I mean, I have this book coming in september which I’m excited about I’m not just because I got to write contract for it. But I was going to something I’ve always wanted to do.

[00:43:58.17] – Brandon

So that was gonna be adult or is that I’m gonna be.

[00:44:02.17] – Mary G. Thompson

It all yeah. It’s also good to be september first. And yeah, and I’m working on full length. All right now that sci-fi and I’m trying to get it. It’s like super close to the point where I’m gonna send it to my friends to read. So I definitely keep plans to keep doing adult sci-fi. Because it’s fun and yeah.

[00:44:32.14] – Brandon

It is science-fiction. You’re your preferred, John. And you said you want some before you like sci-fi or what What’s your favorite ?

[00:44:42.04] – Mary G. Thompson

I think you know I can see my next book to be sci-fi. So it’s got the concept. But the town is more and I like both like. I’m not really fan of light Mystical type. I like things to be explained within the world. You know I don’t this doesn’t have to be real. But I think I’ve always wanted, I’ve always wanted and I don’t want it to just be like you know. WE don’t know what’s happening right ? So I always I like that kind of him. So I plan to keep reading some of that. And. Hum. Yeah. But I mean that I really like playing with the concept. I feel like and see if you get to you get the kind of things on and the way that you don’t get to and others right now, she’s trapped in the body of the five year old, and she is in the simulation and the whole world of simulation, and you know space travel and right and everything. And so you get to really packed full of ideas where if I’m reading the contemporary which I also enjoy.

[00:45:57.24] – Mary G. Thompson

But you are stuck with the real world, which makes it easier to write because you don’t have to make up the world. But then you also don’t get to make up the world. So there’s.

[00:46:10.23] – John Knych

More constrained elements.

[00:46:13.14] – Mary G. Thompson

Yes, we are. Currently are.

[00:46:19.20] – Brandon

Yeah yeah. I’m I’m a big hard reader. So I thought this book was really interesting. Because you can get around that hard sci-fi because if it’s in a simulated universe, you can do whatever you want.

[00:46:35.12] – Mary G. Thompson

You cope me. Oh yeah, I mean I enjoy like real hard sci-fi where there is real and stuff to it because I’m not that I don’t know. I don’t know that so so that makes it interesting to me. But for me as long as it makes sense within the world. And I mean if you’re making up for future technology. Is it easier than if I was trying to make up what is gonna happen tomorrow with. The space travel or whatever I’m not. I’m not, I’m not the person that is gonna write the space travel to use in five years, but because I feel like for that I would need to really know all of the right, and I don’t know and I don’t want to write something that it’s like totally out of my league. So my strength is like speculation and thinking about fun stuff and like the ideas and not so much the hard So I hope people who like the hard sci-fi kind of joy, but I guess.

[00:47:44.14] – John Knych

Great lakes Mary any other questions before we go.

[00:47:52.17] – Jenn

With one, we talked about the cover for this book. How much input do you have with the cover design ? Do you have any ideas or can you suggest change or is that just sort of presented to you ?

[00:48:09.07] – Mary G. Thompson

Well, well, thank you. I’ve been great about asking my opinion like for my precious children and they gave me several different mockup. So I picked the one that I like the best and to me. It was obvious. I was like Oh my gosh like this is the one right. And so with this one what they send me the cover with the previous title and I didn’t really like it and I was I don’t think this gets the turn right. And that’s what we start talking about the title everything so I appreciate that because not all publishers are willing to do that like sometimes they just give it to you and I’ve been really fortunate in that I’ve always gotten that I liked just given to me. But you know you see that are bad and you’re like. Oh my gosh, you did that the author and so so I feel very lucky that I’ve had the good experience and I’m the designer and it’s really good and yeah. So if you are, I don’t know where you guys readers as well no, I’m not.

[00:49:20.09] – Mary G. Thompson

Usually when I use and I talk to people like people are like readers. So that’s it. It’s kind of cool to talk to people that are actual readers like.

[00:49:31.10] – John Knych

We are The. Word for its only. Leaders that we just for readers have read and don’t write.

[00:49:47.17] – Mary G. Thompson

That was before I am so I don’t know if you can become a writer without reading. But I know some of my friends say that they don’t read that many books. So I don’t know.

[00:49:59.18] – John Knych

You know, but it is there is the quality lower like amongst the.

[00:50:05.00] – Mary G. Thompson

I don’t think so I mean we everybody red books where we were younger and then people like you know, which is kind of sad, but I feel I mean, I have to put fr and to making the time now it feels way more than I used to when I was younger. But I don’t know if it’s the same for you, but I feel like I have to really work to set the time and like I have my good reads goal every thing Tu peux me to make sure. I get those are all just feel like. I’m a bad reader or something I feel like it reflect on me. You as the reader to if I have already books, so I try hard to read.

[00:50:48.13] – John Knych

It that’s all I got anyone else if any questions.

[00:50:53.01] – Brandon

So you said you had it coming out September first can you reveal the title for that one or have your.

[00:51:00.14] – Mary G. Thompson

Children and we’re doing the cover all in like a which are two awesome when it’s easy and yeah, It’s about it’s about parents riches parents, It’s the near future, they and their children like for thousand times and farm out the the extra the other family and the future like people and children are they need children, But then when they can copy, they just take another body and copy the memory into the other body. So it’s about the mother who is morally justifying that she is doing this and then you have the perspective of the kid who are thinking something completely different than what you think they are thinking, which is one of the theme of the book that you might not know what your child was going on and your children mind, and it was really want to be able to write kids and teenagers from the perspective from the perspective of a novel, because there’s something that you have in the way, so I was able to kind of run with the the voice of the teenagers. Perspective in the adult book and I enjoy the writing the more you because she is she think she is a good person and he’s morally justified, but I hope that you’ll think that she is right for you.

[00:52:22.22] – Mary G. Thompson

Oh yeah. So I’m excited about that.

[00:52:28.18] – Brandon

And you all I’ll be on the lookout for that.

[00:52:34.22] – John Knych

It’s alright. Well, thank you very much Mary. You will share it will share this video with the group and I’ll share it with you, two and all time about children and appreciate you’re taking the time and and the best of luck and happy reading and writing.

[00:52:51.15] – Mary G. Thompson

Thank you, I really appreciate it. It was fun, I hope you. I don’t know I hope you get out of the snow of you that are dogs in and where Jack. Where are you ?

[00:53:02.20] – John Knych

I’m. I’m in Paris. So I’m not know now.

[00:53:06.20] – Mary G. Thompson

Just thought it also really cool that we have people from different areas where I didn’t know I didn’t realize that was going by people from Paris. That’s really cool.

[00:53:20.11] – John Knych

I think you have have a good. Have a good night. Bye bye.

[00:53:23.21] – Orateur 6

Bye bye.

The Rocket Science of SpaceX’s First 3 Failures and Incredible First Success

(5 minute read)

(Thank you to Eric Berger and his book, Liftoff, my principle source for this essay)

In this year of our technological overlords, 2026, SpaceX as a company is going public. It is estimated to be worth $800 billion. The achievements of SpaceX have single-handedly brought down the cost of sending objects into orbit by a factor of five. Let’s look at how this all happened, through their initial failures and first success:

Once upon an imploding star, in May of 2002, Elon Musk founded SpaceX. Five months later, in October of 2002, Elon Musk received $175.8 million from selling PayPal. Now he had a significant chunk of Monopoly money to design and build rockets.

After a failed trip to Russia to buy missiles (ICBMs), in which the Russians laughed in his face, spit on his shoes, and tried to rip him off (they originally wanted to charge $8 million/missile, but during negotiations suddenly raised the price to $21 million/missile), Musk and SpaceX spent the next three years developing the Falcon 1 rocket. He hired the best engineers possible. A typical query by a propulsion chief, during an interview, was making sure the candidate knew how gas behaved in the intense environment of a rocket engine. The Merlin engine development occurred entirely in-house. SpaceX funded its own remote launch site at Kwajalein Atoll in the Marshal Islands:

Failure 1: March 24th, 2006

Failure Time: ~33 seconds after takeoff

Cause: A small B-nut which had not been properly tightened on a kerosene fuel line. John Hollman (Launch operations) and Eddie Harris (structures engineer) had removed and reattached this B-nut to access an igniter valve that needed rewiring. This aluminum B-nut [cost: $5] on the fuel pump inlet pressure failed, not only due to improper tightening, but because of inter granular corrosion cracking; corrosion from sea salt spray on Omelet (the island) the night before. The B-nut ignited and triggered an engine fire. NBC News headline: SpaceX rocket failure traced to bad nut.

Back to the drawing board. One year passes…

Intermission: The ablative nozzle caused SpaceX hell.

It is made of something akin to fiberglass, the ablative fabric is a resin mixed with silicon fibers. The fate of SpaceX was hanging on these [ablative] chambers. $30,000 a pop, manufactured by another company, prevents nozzle from melting from super hot flames. They had to do “basic pressure test” after “basic pressure test,” $30k after $30k. With chamber after chamber, the ablative coating would bubble, then crack. Musk had an idea: perhaps if they applied epoxy to the chambers, the sticky, glue-like material would seep into the cracks, then cure, solving the problem. Musk stayed up all night, missing an Xmass party and ruining a $2k pair shoes, with workers applying epoxy to the engine chamber. Didn’t work. The exhausted engineers and technicians working all night with Musk still admired his “willingness to jump into the fray, and get his hands dirty by their sides.”

Failure #2: March 21, 2007

Failure Time: ~5 minutes after liftoff

Cause: Residual Thrust after Engine shutdown, caused state separation failure

The main engine shut down normally, but there was remaining thrust that pushed the first stage into the second stage of the rocket. The stages collided instead of separating. The vehicle lost control and was destroyed. Hans Koenigsmann, Vice President of Flight Reliability for SpaceX, acknowledged that he and everyone else had missed the threat of residual thrust.

The shutdown dynamics weren’t fully modeled. Basically, when you test a rocket engine on the ground, the ambient air pressure is 15 psi, so if the rocket chamber has a pressure of 10 psi due to residual thrust, you just don’t see it in the data.

In the vacuum of space, however, with rocket hardware so close, even a minuscule thrust is enough to force a catastrophic collision between stages.

One year, five months pass…

*Flight 3 was delayed, however, because of a crack in the engine skirt due to courier driver hitting a pot hole when delivering it between airports.*

Failure #3: August 3, 2008

Cause: The first stage re-contacted the second stage, again caused by excessive residual thrust, but worsened by timing and “software control logic.” The engineers just couldn’t test the problem adequately on the ground.

The engine thrust tail-off lasted longer than expected. Separation occurred too early. The First stage clipped the Second stage. The Second stage spun uncontrollably.

A single line of code had derailed the rocket.

Since only a single line of code had caused the failure, Musk pushed for the next attempt A.S.A.P.. This was their last chance; they only had the hardware left for one more rocket and six weeks to launch it. For Flight Four, all SpaceX had to do was add four seconds to the time between main engine cutoff and stage separation. However, there was a chance that there would’t be a Flight Four. In addition to the time crunch, Musk’s money was running out. Tesla was on the brink of collapse amid a global financial crisis. I broke my ankle falling through the roof of a school. Musk’s marriage was falling apart. In September of 2008, after eight years of marriage, with 4-year-old twins and 2-year-old triplets, Musk filed for divorce. He was vomiting at night from the stress, as his entire fortune from PayPal had been invested in these two companies ($100 million into SpaceX, $75 million into Tesla), which both teetered on the edge of bankruptcy.

Normally, the parts of a Falcon 1 would be shipped from the U.S. to the Marshall Islands by sea, wrapped up like this:

But this sea transport took 2-3 weeks. SpaceX didn’t have that time. A rocket, their last chance, was flown from the U.S. to the island in an Air Force plane (C-17). But the manual provided to SpaceX, concerning how the plane operated, was outdated, and the descent and depressurization rates for C-17 on the charter flight were significantly more aggressive than the figures provided in the manual.

As the C-17 lost altitude to land, the LOX tank of the rocket (liquid oxygen fuel tank, which only had a small opening, a one-quarter inch fuel line that went though a desiccant so that no moisture got into the rocket) suffocated, and the rocket imploded. The crew heard “loud, terrible popping noises.”

The last rocket of SpaceX was crumpling. The SpaceX engineers’ faces went white as ghosts. One engineer started crying. The structure of the rocket “caved in, one loud ping after another, as if some giant were slowly squeezing a beer can.” They rushed to the front of the craft.

The pilots had a decision to make. They had a $200 million aircraft with two dozen lives and an imploding rocket aboard. They were thinking it would be safer to just open the plane’s large rear door and jettison the unstable rocket into the ocean below. (They would have done this if the SpaceX engineers weren’t there.) But the SpaceX team said, “Increase altitude, climb back up. We’ll fix this.”

“By the way,” the pilot said, “we only have thirty minutes of fuel.” The SpaceX team had ten minutes before the aircraft would restart its descent. They had to solve this problem or SpaceX as a company was toast.

The SpaceX team in the C-17 went back to the rocket and started pulling all manner of knives out of their pockets, then began cutting into the white shrink wrap over the rocket.

They needed more tools. The C-17 “loadmaster” gave them a tool chest: it contained a flathead screwdriver and a single crescent wrench. This, at least, allowed the technicians to open a couple of small lines. But to adequately equalize the pressure inside the rocket with that of the cargo bay, somebody needed to open a large pressurization line leading into the liquid oxygen tank. This could only be accessed by climbing into the rocket’s interstage.

The rocket continued to implode, thousands of feet above the ocean. All hell was breaking loose. Zach Dunn stepped forward.

“I’ll go in.” He turned to his friend, Mike Sheehan. “If the rocket starts to blow, pull me out.” He held a wrench and crawled into the interstage. Darkness surrounded him as he moved slowly, deeper in, along the wall. Sheehan’s hands held on to Dunn’s ankles. As Dunn moved, sharp components lining the exterior structure scraped his back, and the tank continued to pop and ping.

Dunn reached the pressurization line and managed to use the wrench to twist it open. To his relief, he heard air whooshing into the rocket.

“Take me out!” Sheehan yanked Dunn back across the tangle of pressurization lines and valves, which ripped into Dunn’s body.

The rocket hissed as it repressurized. Before the engineers’ eyes, the metal stage began popping back into its cylindrical form. Did this mean the rocket was a lost cause? The aluminum skin had never been intended to flex like this, as a rocket should never be exposed to higher external pressure.

“We all thought we were done,” Chinnery said. “The tank had imploded. We were devastated.”

A few days later, a tiny camera attached to flexible tube, known as a borescope, was inserted through a sensor port into the first stage to assess the damage. About ten engineers crowded around a tiny screen as the probe snaked around inside the LOX tank. A baffle had been torn out of its bracket.

“That was the moment,” Dunn said, “when we knew for sure the rocket needed surgery and that we were screwed.”

Chinnery estimated it would take six weeks to take the first stage apart, inspect the damage, fix it, test it, and get back on track to launch. Chinnery presented the plan to Buzza. Buzza and Thompson shared it with Musk.

“Elon saw that and went off the frickin’ deep end,” Thompson said. Six weeks was too long. SpaceX didn’t have six weeks. Realistically, SpaceX did not even have a month before its funding ran out. Musk believed the rocket could be made functional.

There was no time for quality control or meticulous records. They did not have six weeks. They had one.

Back in Hawthorne, Texas, Thompson and Buzza grabbed all the hardware they might need (such as baffles, clips, and fasteners, and much more), then loaded Musk’s Dassault Falcon 900 jet down with supplies on Saturday. (Musk was busy at Tesla, sleeping on the factory floor, the Tesla Roadster production line was failing repeatedly, especially the transmission: he had pumped his last remaining $20 million liquid cash into the company, in order to pay suppliers for the next few weeks, but if Tesla didn’t receive $40 million from investors in October, the company would fail. If the Flight #4 didn’t work, confidence would fall, and investors were unlikely to give any more cash to Musk).

On Monday the Falcon 900 jet landed in Kwaj, but there was a skeleton airport crew that checked the flight in, and allowed Buzza and Thompson to check out, but told them that they couldn’t unload their plane until the next day. There was no time to wait. Buzza and Thompson drove down the road outside the airport, noticed an open gate near the jet, drove their truck through the gate and up to the plane, and unloaded the cargo themselves.

On the island there was a thrumming whirlwind of activity. An engineer’s emergency room flooded with structural-engineering patients with gunshot wounds. To support the one-thousand-pound engine, Ed Thomas had fashioned a makeshift platform from some wooden blocks. In the span of a single hour, they had stripped the rocket and put its engine on blocks.

Broken slosh baffles were replaced, welds inspected, lines straightened. Within less than a week, they buttoned the first stage back up.

“We knew full well that if anything failed, it was game over,” Thompson said. But in a week a small group of engineers and taken apart a rocket, then put it back together. That’s incredible and unprecedented. This process takes NASA months, without the pressure of a financial guillotine about to the chop off the head of the organization. Then again, this story reminds us: pressure in the brain, rather than a LOX tank, can be good.

After pressure tests, which went well, they bolted the second stage on to their first stage. Then the launch team rolled the entire rocket, the very last Falcon 1 hardware they had to use – out to the launchpad. By the last week of the month, they were as ready as they were ever going to be. It was all or nothing.

Flight #4: September 28th, 2008:

Success. Falcon 1 became the first privately developed liquid fuel rocket to reach Earth orbit. SpaceX was awarded a $1.6 billion Commercial Resupply Services contract with NASA. Thanks to…

(Delayed stage separation)

(Added settling thrusters)

(Improved shutdown modeling)

(Update flight software logic; i.e. they fixed that single line of code)

Peter F. Hamilton

(The follow transcript below was machine-generated, and we all know that A.I. can often be a dumbass, so please excuse the errors as I clean them up.)

[00:00:01.730] – John Knych

Hello everyone! Welcome to a book talk on Salvation with Peter F. Hamilton. Peter does not need an introduction. He is a celebrated British Scifi author who has had a long career publishing tons of books since 1987, I believe. And the books that we will be focusing on today is the Salvation Trilogy, which were published I believe in 2018, 2019, and 2021. My first question to you, Peter, is about the origin of this trilogy. How did you conceptualize it? Do remember how you started to write it? And what was your your origin idea?

[00:00:44.600] – Peter F. Hamilton

There was no one idea, there’s never one idea that sparks all of this. It’s all a combination of themes and ideas. I think probably the main one I’m thinking of now is: the trust people place in others these days and how misplaced that is a lot of the time…when you’re in this sort of post-truth era that we seem to be in… who do you turn to in times of crisis…those of the kind of things that are quite big throughout the book. Yes.

[00:01:20.770] – John Knych

Excellent. Moving on the Brandon.

[00:01:25.300] – Brandon M.

Thank you Peter for being here. 

[00:01:29.260] – Peter F. Hamilton

I can see my books in the background there.

[00:01:31.690] – Brandon M.

Yeah yeah.

[00:01:34.030] – John Knych

He’s got the best book case right now.

[00:01:37.150] – Brandon M.

So my question is, I really like the portal technology. You came up with and you creeted this economy around these portals. We use for terraforming. It’s waste disposal, transport, transportation in all kinds of that. That so I think so this whole The changing society around it. So can you tell us a little bit about how you came up with this portal, think and like the ways that like. How did you come up with how all the ways that it could affect society and all just kind of your world building process. I guess, that sort of thing,

[00:02:18.570] – Peter F. Hamilton

It is I mean, it’s a very on the whole whole thing that you have to have you have to have both sides and now remember this, you have to have both sides of the whole together to start with, and then you have to transport one, but it’s always an instantaneous movement between the two. So you don’t have faster than light travel, but you do when you when you’ve taken at home all out another. Way and you’re traveling at relativistic speed. It will take two years to get one of the portal there. But then you can just step through Instantanée. So it’s that kind of transport system. So what I do from there is just kind of look out how that will affect the economy ? I mean it’s not unique, I mean. Larry Niven and space University has a different version of it, but he and I love this story and them back in the seven days. And it is here again. I had really thought through the value and work and how it would affect people and when you when it is so cheap to go anywhere a lot of barriers in society, we will collapse which will become one way towards a monoculture, which I don’t think it’s a good thing from the point of view and all that kind of thing so transport costs are kind of what I’m not here, become minimal.

[00:03:55.870] – Peter F. Hamilton

You don’t take transport if you’ve got it if you need fresh water in the Sahara, which I think was one of the things they were doing it. From the antarctic you just wait and see and all the way through it. It’s easy, it’s cheap and easy and when you have that level of technology things can really start being done that you can’t consider today, it’s like dumping all out of ice in the middle of the Sahara or think it was the Australian Dazed and the book of stuff like that. And then it’s just that they transport. Introduced in salvation where I mean it gets up in the morning in Glasgow and walk to work which is in London. I think and it’s basically if you’ve ever seen the London tube map it’s not the map that has everything in the relative position to each other is the line of the line. The train goes down is just the line with the space one after the other. You don’t need to know where they are in the physical relation to each other. That’s just what you get on the tube.

[00:05:08.370] – Peter F. Hamilton

That’s the next time. You get off. So it’s exactly the same principle is that there was one section. They make me cut from the book, which which was in that very early periods, which I was trying to explain how everything is connected through networks, which are then connected to each other and I think I think it was the one that there is one of the lines. There is in the circle. So the station are out in the circle in real life, but because they are back to back to each other through the portal link. It’s just the straight line line. So if you stand into one. You can see the back of your head because the portal are connected in the circle, but there are only projects in the straight line at which the editor said. I think we’ve had enough details and it’s just gonna confuse people. So yeah, it’s stuff like that you can ship anything around for minimal costs. So you can finally all the dirty infrastructure machinery manufacturing of world or somewhere horrible that it isn’t gonna matter you can clean up the world with by dumping incredibly toxic crafts that we’ve produced with the last two hundred years, just get rid of it once and for all all of which will will shape and change the economy, so it all in every step of the idea.

[00:06:35.390] – Peter F. Hamilton

I had like what will we do with waste with toxic dumps that we’ve got the day that we’re just bearing in the land or something we can just get rid of it and make the world a better Ecological and to leave in.

[00:06:52.330] – John Knych

Thank you.

[00:06:53.860] – Brandon M.

Thank you.

[00:06:55.390] – John Knych

You enjoyed the of what you did with the portal and the investigation of investigation of that graphic crime where they were like. That was satisfying. Use of the text and moving on to Noemie.

[00:07:14.440] – Noémie

Yes, I’m sorry. I didn’t remove my my sound. I’m going to ask you more general questions. If that’s okay with you. I have read all your books so far except for this. I haven’t actually read the last one. I’m so sorry, I was alive, but I found that the writing of the characters changed the low through the years and salvation stayed in my mind because it was very different and the way you would characters into the plot and into the story was very different. CAN you explain why the shift if there was a conscious one.

[00:07:49.120] – Peter F. Hamilton

Of my writing has progressed over the years. I’ve been doing this for years now. So I’m getting better at it. The the thing that made it is the first book of salvation was the structure of the story which for those of you that I haven’t read it. It’s the five people going on a journey to investigate and en alliant spacecraft and each of them tell the story on the way which I’ve seen before in Dan Simmons, Hypérion and I thought this is a fabulous way to introduce us to a new world science fiction team in everything like the portal system has to be explained and it does it without too much too much. I have enough dump kind of narrative. And I wanted to do that for years, but I knew very well that everyone would go. Oh yes, he’s just copd down and which is actually goes back to show. So it’s what I did on the Canterbury Tales. He had this pilgrims going in the age of the history and I was then when it was published two thousand fifteen or something.

[00:09:08.300] – Peter F. Hamilton

I was at the point in my my career where I did I really do not care If people just say I’m starting from Simmons and enough that were comment on it when it was published. But like I said I didn’t care because it is such a perfect way of introducing the science-fiction story. So that’s that’s why there was that big shift. I like to try and do something relatively new each time, which is what I’ve written in so many different universe if you like I mean, I have I think I think I want to. And I really right back from the start. I did not want to be the guy who is written by two books in one universe. I just I just couldn’t be myself and I wanted to explore other concepts and other ways of doing things, which is why different university of been created through it my career, so so of evolution and I wanted to do something new. I thought that was a great way of being the character in the world of science-fiction, and I stand by that it is other people are now friends to use it.

[00:10:15.640] – Peter F. Hamilton

So yes, that’s it, that’s how it happened.

[00:10:18.370] – Noémie

Okay. Thank you so much welcome.

[00:10:23.710] – John Knych

To Jenn and also for those who just arrived like that. If you don’t ask questions, you know how to ask you can just say so.

[00:10:32.650] – Jenn

I saw the feature in the book feels really familiar and reliable even know so much has changed. How do you go about keeping a world so recognizable and still transforming it completely.

[00:10:48.770] – Peter F. Hamilton

AM I trying to resonance, which is strange world to use, you know who has this amazing job easily rushing around and fire, but is still got relationships issues and is still worried about money and is still in need time off and all this kind of things which we do all related to is just his job is different, but everything that spin out from his job is the same and is recognized Bill today in all things are still going wrong. People are not doing what he wants to the politics doesn’t agree with him and half of it. We’ve got this, we’ve got this, so I try and build in the the every man and the every woman and to all I have to have somebody to have this kind of character, I help in most of the books because space opera used to be the big dramatique conflict between the good guy and the bad guys and was all very exciting and adventurous and more interested in in the little people underneath. I mean what the big conflict is is fabulous and when it’s over changed what changed the guy who wasn’t in the big battle scene and wasn’t on the front line there.

[00:12:10.180] – Peter F. Hamilton

How they supported have they not supported ? What’s going on All that has all that is essential to me and I think to put in the little guy story, and that is another way. I can get people to related to them by taking them as when they were when they were first introduced. Salvation we took a ride through this transport system, which gives you an idea of what can happen in this world, but it was, it was somebody going to work every morning because he’s got to because he needs money to pay the money in the bill and everything so yeah, It’s that combination of what we used to. In this exotic setting and I think blending. The two is such a good way of introducing the world as well.

[00:13:02.130] – Jenn

You and felt really natural your world building and like you said. It wasn’t that was just sort of the way. They’re telling your story and going about their lives. It was very natural. Thank you.

[00:13:14.730] – John Knych

Thank you. I saw Jane do the post that she is immediately ordered. The second one. Thank you just finished the first one who ordered the yes.

[00:13:24.240] – Jenn

But I don’t want you want to feel like. They can’t ask ask questions about the next, but I understand that there might be. Spoiler.

[00:13:31.350] – John Knych

Spoiler. If you want going to do it. Spoiler. Alright moving on tout tempsen.

[00:13:43.760] – Orateur 6

Cinq Over you this world but to me that it seems like that you really build them from scratch first and then you had things in. I just wanted how you build up the stories to build up the entire world to start with or do you think about the caractère or the problem or the plot will come together.

[00:14:07.610] – Peter F. Hamilton

I want to say yes, but it starts with as I said the idea of the trade, whatever I want to do so I’ve got the idea of the main problem that people whatever it is and which I think ok well, if it wasn’t what is a kind of invasion Story So what kind of technology and science and society, what we have that will stand a chance to fight against this. So it’s that kind of level. You gotta have that level of to be obvious in science fiction weapons that we have power have we have. WE have we struggling for energy all that kind of thing so that kind of the society will what kind of world will that it into and we are going to have slightly Startrek universe where every planet is habitable or are we gonna get a little bit more real you know and you can find a world that has the right condition, but we’re gonna have to therefore, it is changing and then do we have people Who do know you can’t do that we got to keep in worlds pristine for example, you know that will be a part of society.

[00:15:23.570] – Peter F. Hamilton

If we have to get out there and start turning the universe into the earth. So yeah, That’s all those Together and then when you work out the industrial level. Well, what kind of finance is available in that which leads to use the politician and what kind of functions ? I’ll be what works and what what the people want and they shouldn’t have. Social media developed and do something even more around us. All this kind of thing and you’ve got that world now. So who’s gonna leave it ? So I’ve just said I want my every man and every woman in it and what kind of job. They’re gonna do and they’re gonna be proud of this problem. And it just that’s when it starts literally coming together organically. So you come up with the world is all the people in it. You just have to pick the right one to tell the story through. And I make my choice of every man, you know in and it was. Very part of this big company. What was the company called the transport Company.

[00:16:31.010] – John Knych

Connect. Connexion.

[00:16:32.450] – Peter F. Hamilton

Connexion. Yes. So there is a lot of people that which helps explain it at which is another introduction to the kind of world. It is so it all come together like that it all come together very organic and then you start feeding them into the okay, You’ve got your good guy. The side kick. Maybe just be very crud about it and that so they are placed in the story and and then and only then do I start writing and of how I’m gonna tell the story. So the world building is very much first and that is built around what the issue ? What the problem or the plot is going to be then. Then you pick the caractère.

[00:17:15.230] – Orateur 6

Thank you.

[00:17:16.250] – Peter F. Hamilton

You are welcome.

[00:17:17.420] – John Knych

Thank you for that. Peter Alright. Moving on the team.

[00:17:21.440] – Orateur 7

And I’m good afternoon what I like about the book is the underpinnings of the science within and often. I thought of think of it is potentially a sign of actuality if humanity. Keep going. Rather than science-fiction. Are there any of go to contemporary journals of science ? Sources. You read regularly to give you some spark of ideas for developing that so the concept of futuristic thinking, but is potentially achievable by humanity.

[00:17:50.950] – Peter F. Hamilton

Yes and now I mean, there is some research in so many areas. It’s impossible to keep out the front of it if when I’m putting the world together, I need a specific technology or idea. I will try and read it. But it will only have to be at the pop science level. I mean the true is for me is you don’t learn about science from science fiction, but it is the application of the technology interests me most like like we’re dealing with the salvation. This instantaneous travel the effects that will have on us how we get around how we can do stranger things without thinking about it and want to think it is specifically years ago. Six years ago There was I help put together with the science fiction writers they are at Calum fusion research plants in oxfordshire. So we all went along trips too long to date and look around the fusion center and also the reaction engine, which are building and inbreeding. So we do kind of look at things like that and see how they can be applied and how they will grow.

[00:19:03.300] – Peter F. Hamilton

It’s not in the salvation books, but the the books before that’s the Commonwealth. I had what I called organic psychiatry tattoos. WE found was just basically a tattoo on your own your hand and that it came about very very simply because it’s this. This extrapolation that science-fiction of taking something like mobile phone, which we didn’t have when I was a kid have got small and small or more and more powerful following more law, but also tattoos which again were not around in my youth. They were the preserved cells, basically and that has exploded across society. So I just do not combined the two which seems perfectly logical to me at the time. So that’s how I’m kind of the angels. I look at this thing is. Where is it now ? What was it ? Where is it now and where can I push it to him and and then when it’s that good, how it is affecting society. So that’s the kind of process. I’ve got to do that the question.

[00:20:11.730] – Orateur 7

That was lovely. Thank you.

[00:20:16.800] – John Knych

Thank you. Thank you, Peter Criss. You have a question or would you like to you.

[00:20:27.980] – Orateur 8

Will be very quick cause I am a work. I shouldn’t be doing this but. I’ve been snake. I just always find I’ve just finished salvation of red Exodus as well as well as the Commonwealth sargas and I just love where the character and the dynamics from so of the police side and the detective side comes from and and have noticed that you’ve got a bit of that in salvation. Obviously, it’s very heavy in the Commonwealth saga as well as this is there any of the place where that it comes from like that. I don’t know what to do you have family and like the police force or is it just like the just the detected in the newer kind of settings. I really enjoy it.

[00:21:12.110] – Peter F. Hamilton

Thank you very much. I always think that it again. Like this the story structure and salvation. This is On a trip together and telling their stories. Detective stories to my mind are a very very good way of introducing a science-fiction world. Because you’ve got to send your detective down and to those mean streets and have him searches around so there for he gets a good lift. Good look around the world is and that’s the way to tell the story. That’s the way to explain the world to the reader again. Avoiding the big dumps. You know it’s the same thing. I know I’m always getting accused of writing books in the far too big if I was doing a contemporary work. WE will get up in the morning get to the airport and fly to somewhere. That’s three sentences in salvation. How he gets up and how it gets to work for you, because you need to be told this but Because it is so it’s the same thing with the detective, He’s looking up and down on the streets what you can find.

[00:22:26.180] – Peter F. Hamilton

How does it get there was there for him to see ? How do I do this job in those circonstances ? So I just think it’s a great way of telling the story plus I really like thrillers and detective fiction as well. So good for me.

[00:22:44.060] – John Knych

And you cry two people in this talk, take two or are participating from work. So thank you for taking the risk.

[00:22:53.030] – Peter F. Hamilton

Of his work related to it will help you.

[00:22:58.310] – John Knych

So now, we’re back to the beginning. So my question. Peter Piggyback theme question which has to do with your technology. So the right you have a question to your right very naturally with the Rich world with everything from data splashing across tarsus lance the telomeres treatment to 3D printing Asteroid mining, nuclear fusion of all the technology of writing about which have you encountered in the real world ? Where you’ve been the most surprised at its progress meaning you know who said the team that you don’t sort of actively write with a lot of science, but just to being in the world. What technology has have struck you as like Wow, That’s it. That’s progress in a way that similar to my books that is surprising.

[00:23:52.480] – Peter F. Hamilton

And I’ve got to say that that time when we want to look around. And it’s just saying and they all the knowledge. It is always in the future. Well actually that allows us to see that it’s hopefully a lot more than that. I’m not talking next year, but it’s the progress. I’ve made is quite astonishing in the technology ? They have is quite astonishing. It’s not cheap. Well, well will get the commercial fusion in the next twenty years. I don’t know, but it’s it changed my view of it to understand that I believe that is gonna be the energy. So we’re gonna be using when when will runs out so yeah that I would say I mean well, we’re getting it also the more thing about computing. It is. It is it is in capacity and have in every month. It’s I don’t know what they are now that’s just going. There is gonna have to be limits that at some point when you get down to the wire that can only take one electrons at the time quantum quantum is there is going to be a plato and that we’ve come ridiculously forts in just the last ten Now we’re getting into the cubic computing and all that kind of thing, But I think we’re all I think we’re all most of the platform that I’d love to be wrong, but that also has come along to create profound degree and it’s coming out of the research lab.

[00:25:32.420] – Peter F. Hamilton

Now we will see in the application of any way. This is this thing about what is it gonna hamper creativity ? And I’m not sure that it goes. I don’t think you can hear and creativity plus there are a lot of benefit in the coming along with the use of various diseases and everything with which will be made easy by whether it will hit the silver bullet at some point. I don’t know but yes, that’s the kind of things I will keep an eye on it when I said I think I don’t need it if the story is featuring a specific technology, I will try and ride up on that so I don’t get to many of complaint projects where I think it’s going.

[00:26:21.760] – John Knych

Thank you all right back to Brandon.

[00:26:25.690] – Brandon M.

You will have to agree with some other side with the. I really like the detectives and science fiction. You’ve done, you’ve done with that. Thank you so my general space travel and you’ve had this amazing career writing space opera. So what do you think realistically And knowing that space travel is is incredibly hard to do. Do you think you will ever leave the solar system realistically.

[00:26:58.780] – Peter F. Hamilton

Not with any technology. It’s gonna come across gonna be developed in my life. Time I love Myself and all Reynolds and learn and stay in people like that are all of the same generation. WE grew up with Apollo Skylab and the space shuttle. And then nothing happened. I mean that there has been up there fifteen years even something like that and it’s done so the amazing science and we have learned a lot of engineering about it, but the actual moving and from what we had been talking about artemus, maybe in twenty-seven, but then I was I was when we first landed on the moon and the technology will be very very different from the engineering point of view, the the kind of space launch system. WE have now are far more sophisticated. They are becoming very risibles cheaper to get out there. It’s what you put up. There is is the looking at the moment. It’s still very expensive for human spaceflight. Now I’m gonna put this without getting criticism. I admire Musk attempt to get to think he is somewhat stating it from what we’ve learned from the SS and the kind of medical biological problems human encounter, just going into what it is is bad and that if you are going to miss.

[00:28:37.700] – Peter F. Hamilton

You be coming back, you’ll be have to be fucked up to dialysis because your kidneys will not that kind of time. There is also the radiation exposure. The problem is actually traveling outside the magnétosphère huge and so what we have learned a lot, but it’s not necessarily been good news. WE have to get around all those systems all those issues and problems To get to more and maybe I will see that in my life time actually traveling the wonderful place to go by Jupiter with this moon and see if there is life under those days and stuff like that would be what I think further than that. I’m not gonna see it. Maybe we will start, Maybe I will deliver us in a few years, who knows that would be one thing playing into another lovely, but I’m optimistic for the very long term. Note I think the right of progress for space travel has not not going to have, I was hoping when I was younger, but it that way.

[00:29:50.590] – Brandon M.

Thank you for that I asked. Robert Charles Wilson the same kind of his will send von Newman replicator or Space probes out of the solar system instead of people.

[00:30:06.870] – Peter F. Hamilton

Yeah, That’s a long way in the future when you gonna get stuff down to the molecular level when you can literally build cells that will be an enormous shift in in how it will affect society. I mean for the start of bullshit any kind of problem. If you can a sample of living, so so yeah, that that he’s probably right about that and you and you come out with the nation or any of the other wonderful science-fiction. You put your mind in the in the storage and grow yourself in your body when you get to the new planet. Of those kind of personality with looking at the use in several hundred years time. I don’t think I don’t think I’m gonna see it.

[00:30:57.030] – Brandon M.

Will.

[00:30:57.720] – Peter F. Hamilton

Be happy to prove wrong.

[00:31:02.020] – John Knych

Bien que Peter Brandon. I am optimistic about my hair and our life time. I think will will send you.

[00:31:08.200] – Peter F. Hamilton

I will see some of them on nose.

[00:31:11.410] – John Knych

And we’ll quick before we moved to Noemie. There’s a book that came out the us at two years ago by saying all the problems which you just lifted Peter about like radiation liver problems, but I was thinking when people left you up to go to the new world right. There was scurvy and both they don’t know what was there ? There was wilderness. There was problem but people still went right now, we have technology and and ways to do with it. So I think we’re.

[00:31:39.850] – Peter F. Hamilton

The european expansion. If that’s what we want to call it. I was only technology driven that we could build the ship good enough. There is also an economic reason behind it. I’m not sure. There’s no reason to go to it. It’s purely scientific which is where the funding problems in it ? It would be delightful to go there and research stuff. It’s gonna be very expensive even with risible. Super rocket.

[00:32:09.390] – John Knych

Yeah. I think we’re quick and I think that’s why SpaceX is going public and if anybody heard that but it.

[00:32:15.330] – Peter F. Hamilton

Is very well as well we all accounts.

[00:32:18.690] – John Knych

Billion and billions of dollars all right for that quick corruption all right and to and.

[00:32:25.740] – Noémie

Thank you. I’m watching you do a lot of research about the technology and the science. You want to use is there one or multiple, maybe that you have researched a lot and couldn’t wave into your story and some ways all that you really want to use at some point, but you have to go into it yet, maybe ?

[00:32:44.400] – Peter F. Hamilton

Yes ! It’s very very clever and his ideas of consciousness. I just just got it here somewhere I’ve been reading up and it cause I thought it would play into my. New stuff. Where is it completely lost in having said that sorry ? It’s a bit of the theory of consciousness and he has received it at the moment space time is something that holds consciousness. WE are little blob of consciousness in space time. His series is that it is consciousness that creates space time. So it’s what we have now and I can’t get my head is done the matter of heaven. And I just can’t get my head around that at the moment. I’m sure it will be very useful to me when I do. But at the moment I’m yeah. It’s kind of well out there, but it is genuine Angel of Research. So yeah.

[00:34:00.100] – Noémie

That’s interesting. Thank you so much. I have to look it up to you.

[00:34:05.140] – Peter F. Hamilton

I should know his name. I’ve been doing a lot of proofreading. So my mind is his blank on that kind of thing and I’ll try and remember before the end of the end of the podcast.

[00:34:21.160] – John Knych

Back to Jenn

[00:34:24.640] – Jenn

I have questions about the character in Salvation was there was there one that you had the most fun reading or that you, they were your favourite. Maybe when you were reading the book.

[00:34:39.490] – Peter F. Hamilton

It was. I think the the kids in the future that have been brought up to it. I think the name Layla you and. I think they are my two of every man and every woman for that I’m in that she’s not she’s not a hero in the get out and have a big punch up to save the universe trip. She is doing but she’s the need for it. I’m very very conflicted and is actually completely in love with the friends. And I guess you that was there kind of my favourite there. I think in that that series rather than the ones. WE were following a lot in salvation itself. WE do follow them more in the second and third books and and what she does so in the big way to help resolve the whole crisis by going against the grain. I mean that is that is a classic. I do you like it is the rebel with a cause so yeah. She was she was fun to write. She was interesting to write I put it through hell and a lot of ways, but she she would be my standard I think.

[00:36:03.440] – Jenn

Tanks. I’m looking forward to the next few books. Okay.

[00:36:08.540] – John Knych

Thank you. Thank you, Peter. I would not have just that I would I would have just one of the one of the five interesting all right and two of.

[00:36:20.270] – Orateur 6

The kind of similar to previous questions about why you draw inspiration from with the science. How do you develop this ADN lifeform or the ecology of plant life ? If it’s so different from what we know in real life is there anything that has inspired it one that really stood out to me was this and from Right ? Just so weird but where there’s no direct or obvious kind of parallel in our world or what we’ve seen before. So how do you come up with this.

[00:37:02.740] – Peter F. Hamilton

Thing that I mean ? I grew up in the seventh where we had star trek, which was man in very good rubber masks with the bad guy, but but they were not necessarily even alien itself as you understand what the xenomorphes are about it ? They just killing machine so I wanted something that was so big and so powerful you can’t fight it. But what is it doing what it does and deliberately didn’t ensure that in the book. It’s just there and it was that it can also came out of one of the threads. I was building People who are on the opposite side you politically or radiological is why can’t they just say the things my way ? Why they are wrong all the time. What do we have to do to make them understand and where is because they think exactly the same thing about you and there is this and it’s getting worse, Obviously, you are having at the moment, but there is that I don’t know why I don’t understand why why why and that was what the answer is obviously doing something which is very important to them and whether it’s whether it’s a kind of colonization or their version of terraforming.

[00:38:25.530] – Peter F. Hamilton

WE don’t know, but they see us Why Why are they doing it ? And there is no thought you never can get somebody on the experiment and politics from you to change the mind. You can come to compromise, but to do that you’ve got to understand them. And they just don’t so I thought that is the real thing that is the absolute otherness. Which I mean what are we going to see when we get out there ? It’s not gonna be all wonderfull. Things and we get fusion power and they get all of medicine or something like that. That’s it. That’s it now, that’s not real. So when we get out there. It’s going to be something that you can’t talk to you can’t understand can’t. Can’t go around. That’s what I absolutely loved about this. And I’m really really proud of them.

[00:39:24.830] – Orateur 6

Is there amazing ?

[00:39:26.360] – Peter F. Hamilton

Thank you.

[00:39:28.160] – Orateur 6

Thank you.

[00:39:31.160] – John Knych

Thank you. Moving to team.

[00:39:34.580] – Orateur 7

At the British author to enjoy. I’m incorporating weaving in British location within your books and purposes living in the room and being a fan of the detector side of the great North road is one of my favourite books of years, I’ve been able to relate in the UK to the location of the road is very rewarding rather than all by the best in different countries, and this is where I mean.

[00:40:01.630] – Peter F. Hamilton

I was born and grew up in living in rutland for a very long time I think and rutland for those of you didn’t know is the smallest country in the UK. I have run out of rutland place names. I’ve just have used them all around my family comes from new Castle. So I was up there lost in the city and the seven days. And I did go up there and so to walk with those mean streets that the detective would just to get the correct geography in my head and to understand that. It starts with the body being dump into the time and I’ve I have I walked along the time to find out the best place to drop the body and into the time, and it is next to the time of this as I said and which I loved the art and that so yeah, I know that it was very much deliberate very much that those of the real streets if you encounter a street name, there is there it exists, which is nice to do with you in science fiction is something that you can go, and it is not that anybody will be you can do the great North of Newcastle if you wanted to and it is something again.

[00:41:16.600] – Peter F. Hamilton

It is this basing stuff on realities and extrapolation. I used to live in a very very old house. It was built in sixteen where was at work and developed into the real right and then it had me in it right in science fiction and I think well the building is still the same, but the use of change so much that that’s son extrapolation. Again you learn to extrapolation. And if you need that grounding, which is what the great white was new castle in what is it about time ? So yeah, I’m getting it right was very important to me.

[00:41:58.130] – Orateur 7

And great thank you. So how is changing in the last thirty years ? I’ve been around here and then looking that be further is nice again for yourself as the reader extrapolations to work past yourself.

[00:42:09.650] – Peter F. Hamilton

Yeah yeah.

[00:42:14.330] – John Knych

Thank you. Moving back to cry. If you can escape work or secretly.

[00:42:23.060] – Orateur 8

You can secretly escape escape are just thinking of you mentioned. The the kid in the future and everything and I keep to get in the name of the day Bâtiment. But it kind of reminds me of what you write in us. With regard to the celestial because that kind of so of evolved further from humanity. And I just like si do you sometimes take certaines troupes ou in your books of the idea of love as you go from the book is like the wormholes for me because I want the Commonwealth saga and kind of how I love it. Let’s go back into it. Which is why I like the salvation, But it so is that something that you Do you so of take the concept of all. This is this is really enjoy writing about this. This is really interesting. CAN I so of expand that somewhere else kind of thing you. I have to.

[00:43:33.460] – Peter F. Hamilton

Try and do something new every few I think the Commonwealth is some of fully explored. Now what if I come up with an idea that will be in the Commonwealth and all right it again. I think you’re talking about the omnia in salvation. That’s what it could be. A way.

[00:43:58.890] – John Knych

Is.

[00:44:02.820] – Peter F. Hamilton

The day where we came about as part of the big time for the salvation. Was this what you put your trust in people the world were very good. Very liberal idea of how we get equality and the day cycle through male and female cycles. I think the banks did very well in the culture as well to the degree and so you know When you start with the quality when you get rid of the inequality between sex and gender to start with him, but then they became very very prevalence and which points it seems to be a liberal idea and became doctrine and you can’t get out of doctrine without being a rebel and then you get found on by the authority and all that basically, it was an example of the road to hell being with good intentions is because it was that is what became limiting to the survival of the human survivor from earth, and is that they they all went off and their various directions. They will develop new plan to build build the weapons and go and fight the bad guys, but they are doing it because that’s what they supposed to do that was what the doctor said and and that is why they were doing so badly.

[00:45:29.780] – Peter F. Hamilton

So yeah, That’s how that kind of idea filters in there is what I wanted something. This is great. This is gonna have so many problems, but then it has its own self created the problem of something is is so far so good. It never seen the lost in the original state for me and it does become intolerant people become people who are the morphological. They are the more intolerant, they become and because they so this is us is the future, the way forward. Then they stuck to it for two rigorously and I’m going, but there is something that that I don’t.

[00:46:17.890] – John Knych

Think you cry. So this will be the number people have to be my last question. So well, I’ll go around the go around the Horn. One more time Des so pills is not the first of years that are red and something that struck me is that you ? Thank you so much you so much in right there. And you mentioned a couple of times and this took the different inspiration like the Hyperion, Chaucer, Hyperion. But also the the culture of the omnia is being similar to the culture. But you can take a little bit further with the analysis of them, the question is and with the other authors. This do you read ? Are you ? Do you keep up to date on contemporary sci-fi ? WE won’t have Alastair Reynolds for one of these talks and he said that in the eight early days. It is possible to read like all the literature. But now Syfy has expanded so much that it’s difficult to keep up and the general, but do you have you over the years to try and there is some authors that you go back to that you continue to read or have you sort of night raid contemporary ?

[00:47:41.030] – John Knych

What would do you ? I guess we are. What are you sure ? You are ?

[00:47:45.140] – Peter F. Hamilton

You are now it’s on the road. Don’t tell him. I haven’t found it all that is part of the problem as I know people like Alistair and Paul and Steve and Adrian Trajkovski and all this are you. So I’m really keen to see what they are doing. But that kind of you are always. I was well red and till the point I started writing with your time shrinks like that and then I had kids and I make it more of this year. To read more than the kick in the problem of I Influenced by. I’ve been there are other ideas and I would have done that. I don’t want them to work. So I do try and keep up. Against this. What the scene is I mean ? I don’t know how many science-fiction writers there are in the world. There’s clearly a lot because like you say that this is so wonderful. These days, there is every night. You can think of and I like it. I meet up with with my friends and convention, but we don’t sit down and flow.

[00:49:03.310] – Peter F. Hamilton

Where’s the direction of science fiction going ? It is everybody writing what they want to which is lovely and so I don’t I don’t see this. It’s going in that specific directions. It’s it’s so multiple these days that we’re going in every direction and I have done other stuff and I could be at the point of which I can do what I want to would in my career, I can I can publish or other stuff as well, but I do like in the space opera and the times and I’m now doing another completely different universe for myself and so I do try to read. It is not as much as I’d like to read and I you and it doesn’t need to people. I know all that I get sent obviously get a lot of books to create and so I read a few chapter one and maybe I don’t go as much as I should do with those books, but it’s all read all as much as is practical.

[00:50:16.560] – John Knych

I would be back to Brandon.

[00:50:20.610] – Brandon M.

Alister is right all of your books.

[00:50:23.820] – Peter F. Hamilton

He has and.

[00:50:29.970] – Brandon M.

It should be an easy one a star Trek or Doctor Who. What do you prefer to ?

[00:50:42.570] – Peter F. Hamilton

Probably. Star Trek. Doctor Who. Doctor. Who is John Pertwee. And that’s how I grew up with him. And it is and I always was intended for all by diplomatic a younger audience. Time of life. I don’t really fit into it. I don’t think I know a lot of people who still love it my age. But I’m a kind of and I have seen the new doctor who I haven’t put time of side to see the new doctor The same in search of what I’m just starting to watch the strange new worlds and I haven’t seen all I mean, I was I kind of water when you did I think that I didn’t see much and which I because I didn’t have the time. So I’m in my final answer is Star Trek awesome.

[00:51:45.600] – Brandon M.

Thank you.

[00:51:48.450] – John Knych

I want to know. For her last question.

[00:51:52.920] – Noémie

Do you have a book or a plot our character, you would have written differently now than when you first did it is there is there something, you would have changed and you would like to change if you could maybe.

[00:52:06.900] – Peter F. Hamilton

I’m gonna give you that is pretty much all of them and we had this. I think this was about the question. I don’t think my writing has changed and the one thing I haven’t done very much of my old stuff. I’ve had no name but the little snippets. I have read some of it is how you worry about. I’m not going to be that good again. And then you switch to the next beat, which is God. Why did I write that ? So I think if I had an infinite amount of time, I would rewrite them all and they will be there to be different. But it’s always I think there’s something that I used to write which are two crude. I think for now another stuff. I’m really pleased with so I stand by it all. But if I was wondering if I started back at the morning star rising now, I think I will be quite a different book. I was still have the same flow. But I think it will be. I think you will be quite different.

[00:53:06.320] – Peter F. Hamilton

I’m currently writing something which I’m determined to make it a good news for everyone and I seem to be doing a lot more time than used to doing the revision every day cutting is really ruthless with cutting at whole paragraph and lines and trying to make it a little bit of each paragraph a little bit more precise and so I think that all comes out different again to the lost books. So whether people see this as progress. I don’t know, but yeah, I would I would rewrite a lot. Yeah yeah.

[00:53:43.960] – Noémie

That makes sense. Thank you so much. I have to go for work. But I just want to take a quick moment to see you. Thank you so much for giving us the opportunity to talk to you and to ask questions. It’s always very precious those moments and I hope that we will have you again someday and thank you for all the time. You take to write your beautiful stories. It’s it’s the best gift. You can give you a lot of people like us. So thank you so much and thank you for inviting us again. Thank you have a lovely day.

[00:54:13.810] – John Knych

Have a good day. Excellent en tout, J’en.

[00:54:21.930] – Jenn

Passe. To the next person.

[00:54:24.900] – John Knych

And to time.

[00:54:28.920] – Orateur 6

Out of all of the worlds and caractères that you’ve written what would be the crossover that you would like to see.

[00:54:37.980] – Peter F. Hamilton

Hmm between my universe. Hum hum. Oh, that’s it be on the spot. Hum. I think I think I think I would be like to see. How how would get on in the fall and dragons world from the Commonwealth ? WE get done in the fall and dragons world. I think that would be a very interesting crossover. It can’t be done. But putting here there are there. I don’t do multiverse of the multiverse of putting her there would would be interesting.

[00:55:27.200] – Orateur 6

Thank you. Welcome and thank you for all of our questions.

[00:55:31.790] – Peter F. Hamilton

Thank you.

[00:55:35.390] – John Knych

Great moving to team.

[00:55:39.170] – Orateur 7

Well known for your sweeping and that you have to stop the time. There are there printed ? What’s your Outlook on something like that ? This is the one of the great North road. You see that as you know. It’s gonna be a single book is that we have a break in the time to take a breeder or or you are you always fearful ? You start off with a single book, but you think you might be tempted to go to the second to a third one that wasn’t the initial intention.

[00:56:05.960] – Peter F. Hamilton

I wish I had that planning skills to help you see the thing is salvation is salvation, salvation and signs of which is one story. It is split in two three days, some days and cliffhanger there, but it is one story time with the night down, which is about. It. It’s one book technically. So it is just the question of Where do you split ? Those kind of stories. This song is just physically. Where do you want it ? But I do you like that when I’m writing in the name. It is a stand-alone and the one after that is probably gonna be a stand-alone. Whether it’s me realizing. I’m running out of time and I need to get these things and it is a huge commitment to do trilogy. Now that those kind of thousands pages books and I’m going back to I’ve learned a little bit more about writing to become a little bit more precise. So I can’t see possibly I can see some Dewalt is coming. I can’t think I’ve ever been going back to the kind of night stone and void trilogy again.

[00:57:28.200] – Peter F. Hamilton

I think that help me to it, but I think that kind of stuff.

[00:57:35.040] – Orateur 7

Thank you.

[00:57:36.060] – Peter F. Hamilton

Welcome.

[00:57:40.110] – John Knych

Back to cry.

[00:57:43.500] – Orateur 8

Hello. Yes, sorry about the last question. I think we just did just did it all and on a more fun one of your characters that you have created and with or without you have created the law who would be one that you would like to go on like, you know on a lunch with or go out for a drink me personally. I would be from a Because I think he’s l’arriou, but who would be like the one. You could go on like for a mail or for for a drink. Who would it be.

[00:58:21.890] – Peter F. Hamilton

Since you.

[00:58:23.690] – Orateur 8

Are really ?

[00:58:26.960] – Peter F. Hamilton

Why would you think ? Yeah Absolutely.

[00:58:30.680] – Chris

No no no no.

[00:58:34.760] – Peter F. Hamilton

Osez ! Osez ! I would like. To be scary.

[00:58:43.220] – Chris

Yes. Yes. Perfect. Again. I’ll just what everyone else is said. Thank you very much for your time and for for you know the the story that you have written and how they are and I’m really looking forward to the second part of the saga. I think that comes out later on this year and will not the next year Thank you very much. I.

[00:59:15.280] – John Knych

Think. Thank everyone for your great questions and thank you for being here. I really enjoyed this discussion. So the last thing we always do Peter and we were right on the do our time. Oh yeah. What do you working on now you are working on the standalone. If you want to share more about south of what the next project is and then also I shoot out if there is a living author who or other than in house of Suns, but someone who is living who you respected and read and what we could.

[00:59:50.320] – Peter F. Hamilton

Do it from one cinq. 101 This one is going to be interesting. I think it’s coming out of this is the proof of it is called the infinite state and there is it is fairly space opera and. Yes ! Yeah yeah It’s good. I like it a lot the society of fighting against is quite horrific. But it’s a good battle to be had and some interesting stuff in their as well. Yeah yeah that will be my my one of my recommended day every month. But that they have could be with that when you’re wonderful.

[01:00:43.560] – John Knych

Thank you, Peter. This has been, it’s been a great talk. So this is recorded. I’ll send you an email with the link to the the video and have a great day. And thank you everyone for coming. Enjoy the conversation.

[01:00:56.580] – Peter F. Hamilton

Thank you.

[01:00:58.290] – Tim

Thank you. Thank you.

[01:01:00.390] – Orateur 7

Thank you.

Robert Charles Wilson

[00:00:03.110] – John Knych

And everyone. Thank you for being here for a discussion with Robert Charles Wilson and his books spine and we will jump right into the discussions. So thank you for being here. Spain was your thirteenth novel and my question is the two part number one CAN you share with us the origin of the book here you came to the idea of how you came to write it and also why you are writing it Did you know it would be so successful because it was the two thousand six Hugo award winner. That’s really and you know how that process was like, but where you surprised that it was so successful.

[00:00:39.830] – Robert Charles Wilson

Well, it’s it’s been about twenty years now at that time out. So it’s a little how to create my mind when I was writing it, but. You know some of the team and there I’ve been addressing since I first started writing one of my earliest books was a book called the harvest which was about the. Extraterrestrial Century arrived on earth and offer everyone immortality. So the idea of what we might expect from a more advanced Civilization. How that would interact with our own biological nature ? These things have had been on my mind for a long time. So it seemed like a natural book to write at the time. Now, I did not know that it would be lucky thirteen. I did not know that when I wrote it. It was just my next book and I was in my books. I’ve been doing well, I mean I’ve just before I write my editor Described me is that that I think a successful writer. So what because I’ve been doing reasonably well and. Many of them have been translated and published overseas.

[00:01:53.780] – Robert Charles Wilson

But I have no idea that would take off the way it did It is exactly make mainstream bestsellers in North America, but it is so well and persistently and it is received the ultimately received the Hugo award and was published overseas. It was translated more broadly than any of my other books had been so yeah, It’s access to all that want. It was a gradual process and I could acclimate to it. But it came as a welcome to me.

[00:02:35.900] – John Knych

And before it would want to. Brandon. I’m pretty I’m very certaines that Gabriel is French and live in Australia and I think Spain had a successful in France and I’ve seen the French readers talk about it online. Alright. Thank you wanted to Brandon.

[00:02:54.140] – Orateur 3

Yeah ! Thanks again for Here we always when authors and talk to us.

[00:03:01.550] – Robert Charles Wilson

Not my pleasure.

[00:03:02.960] – Orateur 3

So I guess my is so a lot of this. It seems like tyler is kind of almost the secondary. Caractère de Jason. Jason, He is the one. He’s the one in charge of he’s making all the plan the strategy to deal with this. So why did you use to write the point of view of Tyler ? Instead of Jason.

[00:03:31.160] – Robert Charles Wilson

Again. I have to write the years of this one and I should see that I think this is the usual among others. I’ve finished the book, I put it the side and don’t look at it again. I’m always on my next work. And I haven’t literally haven’t looked at or any part of the spine, except for the usual public reading of a few paragraphes In the last decade, so it’s a little difficult to answer some of these questions, but I have always been attracted to the idea of looking at some of larger than life caractères. Through the eyes of someone much more down to earth. And I think that’s what I was doing with the relationship between Tyler and Jason. It also been kind of claustrophobique to spend a lot of time inside Jason had so I thought Tyler had a more interesting of broader point of view you could look at different from from different angles. I guess that’s the best. I can say thank you.

[00:04:35.590] – John Knych

Thank you and it’s before he moved to the gene is almost like a parallels between your reflecting on this book from twenty years ago and now in the book the director are reflecting on the right what happened decades before their childhood that is interesting parallel You.

[00:04:56.710] – Orateur 4

Are also thanks for being here. I really enjoy the book. So this might be another one. It’s hard to answer. WE don’t find out much about the hypothetical during the course of the book. And I was wondering when you are reading. It did you have like this concrete idea of what they were in your mind, And you just didn’t want to tell the reader or was it more nebulous for you to.

[00:05:20.320] – Robert Charles Wilson

All I do remember that one of the things I wanted to do with the structure of the book was to. Buy a bunch of questions at the beginning and answers them one by one. I felt like building a suspension bridge between the beginning and the end of the book. So yeah, I think that play it and I did that it create a certain kind of intellectual suspense at least after I was trying to do so that I had a fairly firm idea of I wrote that book a little more than some of my others. I didn’t have a really strict outline as to how was I was gonna let myself improvise a little bit. But in terms of the outline of the book and where it was going into the picture is where and what the what the hypothetical were in those were pretty fairly fixed in my mind, but I started writing.

[00:06:13.460] – Orateur 4

Thank you.

[00:06:15.920] – John Knych

With you, babe. Brian. Gabrielle, you see you did something that you have any reason to have a question. Now. Gabrielle. Gabrielle. Question. Okay. Back to me the again. If you can this just like I said. No problem. WE can I can move to another question. But to continue with the theme of the hypothetical am I found it. I found your explanation of the spine and why was happening and deeply satisfying Meaning. It is as a sci-fi reader when you are right thing about alien’s right. There are so many ways, you can go wrong or destroy the ability of the of the book to do as a sci-fi writer is that always have the ability like a goal of years like extreme ability and that allow the review of Spain really focused on how this is a literary. It’s really like. It’s not alien Shooting laser out of the sky is that always been a team for you or was that new with with this book ?

[00:07:27.970] – Robert Charles Wilson

Oh, no, I think I think that’s always been the same for me. The idea of it. I always liked stories and that explored something extraordinary by putting it in the context of the ordinary or the familiar with the recognizable, and that was something I tried to do with the most of the books I’ve and you know it is far from the only way to write a science-fiction story and this is certainly not the only legitimate way to write the science-fiction story, but it’s it’s the way. It’s a kind of story. I’d like to read and it’s a kind of story. I’d like to write so so that that aspect of it can naturally to me. I think.

[00:08:08.980] – John Knych

Thank you to.

[00:08:13.900] – Orateur 3

All let me maybe it’s more about the present day, but also and what so you can have you can’t talk about a little bit about how space travel and conventional space travel is extremely difficult. Kind of the sun is von Neumann at the space instead. So what ? What are your thoughts on like today’s space travel technology with SpaceX and. NASA and the state of all that I mean. Do you think you think WE have you have the chance to get back in the space ? I mean what you are. What would you think you’re on space travel realistically.

[00:09:02.360] – Robert Charles Wilson

Where obviously, I don’t know, but it seems to be that the eu the exploration of the solar system has been ongoing for many years robotics and we will be achieved an enormous amount we’ve got a lot of knowledge about the solar system. WE live in over my life time in the amount of when I was born at the time when people want you whether they were here and now when you know what I knew what people speculate that might be rainy. And over the course of my life time will find a lot of that stuff so certainly the robotic exploration of the solar system has been enormously successful it With every increase in our technological capacity it becomes easier to do that. The man in the exploration of the solar system is is a much more difficult propositions, but it is it really is only a technological challenge I expect date sooner or later in the us. WE really do something dreadful to ourselves that that that will happen. Whether we will ever really calling the solar system that is impossible for me to say it depends what drives this And why we were doing it and what we do and what we’re looking for and whether we get it.

[00:10:21.840] – Robert Charles Wilson

But if you’re talking about Interstellar travel. It’s worth. It is all. You know. Interstellar travel is the device. The science fiction readers like to use because it’s a way of exploring questions. You couldn’t really explore it as a practical proposition that is extremely unlikely. Why would you travel to other stars where you have to be ? You would need longevity and Curiosity. And and better technology that we have. I’m assuming that the speed of life is of living is this is a feature built in our universe and how fast we’re gonna get to anywhere outside of our own solar system. So but the idea of a. Machine exploring the galaxy machine can be extraordinarily patients if there is soft replicating machines. There’s nothing that would I have seen the calculation somewhere that could cross the galaxy in something like ten thousand years and. Even at the end of something reasonably short of the speed of light. So if any civilization want to put that it into the progress of the day. They can do that I suppose we might be able to do it and a century or so we’re here, but the question is why would you do that I mean if you are driven by Curiosity a human life time isn’t long enough to see the results from that.

[00:11:58.800] – Robert Charles Wilson

On the other hand. I’m not a big believer in the idea of uploading consciousness in the machine, but if that were a practical proposition or something something like human consciousness consciousness could be carried out to other stars and long enough that we could afford it for curiosity that won’t be satisfied for century of millennia. So you know, and you know that that could make it happened what kind of exploring the idea and in the published novels. I’ve just my mind is just started something for the summer, the I returned again and I take for the third time in my career to this idea of. machine intelligence in the galaxy, so it obviously. I can only guess that the ability of it.

[00:12:53.940] – Orateur 3

Thank you. That’s really interesting.

[00:12:58.230] – John Knych

And I see before we moved to you. And I see in the chat. Gabrielle, you can’t talk with his camera, but he he wants to ask you to describe your side categories. If you have to I guess place yourself in the in the general is really interested to have him described this category even if even if the world is awful. I don’t know if it means world is awful world is useful. So you how would you describe your your category ?

[00:13:27.150] – Robert Charles Wilson

I’m not sure, I’m not sure exactly what you mean by categories.

[00:13:34.770] – John Knych

I’m not sure maybe or Un if. If it wasn’t mind all these questions to be like in what authors ? Do you read and like ? Where do you see your place and in the in the case of. Of science-fiction.

[00:13:53.970] – Robert Charles Wilson

Where I. I I grew up and classic postwar science-fiction and those influences with you. So all the usual name. There are working there, you know in my Cranium. Heinlein Asimov in all of those names. There is there. In in terms of writing about it and how to approach the story from where I was actually enormously influenced by Stephen King and I started reading Stephen King when when he was a brand new paperback and the Rotary racks and I followed found everything sense and what really struck me about that was the way the way you could use. In the town of the generation to get inside your details to get inside a protagoniste head and to bring it to life on the page. I think he’s better and bring it to life on the page and sometimes bringing settings to life on the page than any other reader, name and in fact it very seldom right anything, you can describe a science-fiction, but the approach to take is the transportable and I’ve tried to use some of that in my writing.

[00:15:16.950] – John Knych

Thank you So I have you read all books like that you found his career. Thank you.

[00:15:23.790] – Robert Charles Wilson

It’s pretty much. I mean there might be something here and there is that I haven’t read. But I’ve gotta have got a book in another room with his books on them. And he did me when I’ve never get him. But he did my big favor shortly after spin came out as he he made in the book and he was ready for entertainment weekly at the time. And he did you buy ? He was, he was listening, he was a list of best western readers about mystery writers best writers and he he for him apparently, I was the best science-fiction writer and he promoted and promoting spin was afraid to be calling by the best science-fiction writer was not necessarily. I don’t like that and I don’t know what else who would but in terms of promoting my work. It was, it was an enormous favor to me and it was nice suddenly feel recognized by someone. I had been used to all those years and to realize that he had been playing the amount of attention to my work to.

[00:16:28.950] – John Knych

Thank you and my copy of spin. There’s a Stephen King. Stephen King on the back pressing. Raising your work.

[00:16:37.220] – Robert Charles Wilson

That would be.

[00:16:39.200] – John Knych

Wonderful alright if you have a question or you can pass.

[00:16:44.300] – Orateur 4

I want more questions. So you write about intelligent species across the Galaxy inevitably just burning themselves out and make me think about the drake occasion and maybe how long intelligence BCS or intelligent civilisations might existe before that happens and I’m wondering if you feel like that that is in the ability like you or for humanity or maybe any other potential civilization out there or do you take a more positive view ?

[00:17:18.290] – Robert Charles Wilson

I take it that of the diagnostic view it. Is becoming clear that that evolving the kind of Intelligence. If you want I used to make it possible to create a technological society doesn’t necessarily included the kind of intelligence you need to manage it and to avoid over stepping yourself and over stepping. Ecological limits and doing yourself are in the process. Clearly it’s possible not to drive yourself into extinction. Not the drive for species, not to drive itself and. WE could be dealing with this much better than who we are. So if if there are multiple technological civilization out there, I would that at least some of them find a way around the roadblock and and traps, but the roadblock and trap or real too. But in terms of the Drake. I mean in terms of the Fermi Paradox, the question of if they have those of the civilisations existent. We’re here we are and we. Are really suspect that they would not be present in ways that we could readily detect necessarily. And they might not announce themselves to it to us for any number of plausible reasons so I’m kind of agnostic on this subject of.

[00:18:51.950] – Robert Charles Wilson

Interstellar Civilization as they may not if they do exist. WE might not be able to detect their signatures and they may not be used to show themselves to us are there for their protection or for our so it’s an open question which makes it interesting for me. Use of science fiction writer.

[00:19:11.780] – Orateur 4

Thank you.

[00:19:14.420] – John Knych

Thank you alright. I’ll see you are there any questions from Brian Gabriel now. The. End of this question is like a Research questions page one hundred eighteen, you are talking about more and then Tyler brings like the martian. Read more like the actual book is how much if you can remember from twenty years ago, How much where you are researching more and what we have learned about our solar system at the time and how the types of riders that incorporated that into your writing are where you are specializing. How much as your research research relates to your writing at the time.

[00:20:02.840] – Robert Charles Wilson

Of research and what to the book, not necessarily the subject brightly. So was looking at the idea of terraforming Mars. And again because that wasn’t the central point. I didn’t go into it and great details. The reason the reason I’ve made in the Kim Stanley Robinson is that I just ? I don’t know at the time. It seems to be there is that you need to write science fiction week end to forget that there’s other science-fiction world week end to our science-fiction universe where there people don’t write science-fiction. So I wanted to acknowledge that there is a literature on this that pré-existe whatever I wrote and it just seems that kind of pleased to me and that you are at the time. You know we research is interesting things that can be you can do it like a black hole or or you can neglected, you know and come up with it and your products, but so I tried to strike a balance, but sometimes the research has its own rewards. Sometimes it’s the struggle. It depends on the subject.

[00:21:18.710] – John Knych

Thank you before moving back to Brandon. I see you have questions about your writing routine. You share with What does your your writing routine ?

[00:21:28.730] – Robert Charles Wilson

Is it’s changed over the decades ? I’ve been working on it. It took a certain month of discipline the first to how you know the traditional device back and I started was to try to write a day. If it’s just you can’t throw it out the next day, but it establish the routine and keep the discipline and I tried to do that, but I mean, I was working day job for much of that time to do. So it wasn’t always be there were a few period of my career when I would start writing for time. And I couldn’t really like it wasn’t a conçu to recharge ma batterie. It wasn’t because what they call writer’s block. It was just I would because of other issues in my life or or for no reason that all I would say things that the work of side for for a while I have my first. my first published story came out in night in seven years old, but I didn’t publish anything else is still. A part of that time, I was reading and just looking away what I wrote occasionally.

[00:22:38.440] – Robert Charles Wilson

I would be something that would be rejected, but I was all that time I was learning by writing and learning by other writers to understand what they were doing trying to get a more look at it from the creators perspective and see how it worked so none of that was wasted time I think but I mean you know in general and and these days. You know I’m gonna be something next month and. Of the writing and publishing environment is so different from what I want was that I don’t discipline myself away I used to figure. I have another book, but whether that provide to be the things I will see I’m taking it a little more of these days.

[00:23:26.630] – John Knych

Take it back to.

[00:23:31.490] – Orateur 3

You. So I want to do with Jacques about researching of you. I have you done a lot of research for that one.

[00:23:46.400] – Robert Charles Wilson

Of the. The new book was. It came out of interest and I’ve had for many many years in the since I’ve been doing the research for it. For decades. There were specific areas where it had to look at specific questions, but since it was a book that play the mystery and play the things that I was already fascinated by. I didn’t have to do a lot of specific research for that particular book now.

[00:24:21.490] – John Knych

Que oui. Jeanne. If you have a question or you can pass. Thanks all right and I don’t think Ryan or Gabrielle has the. One of the things I loved about Spain is there were many intimate moments between the caractère really deeply moving, especially with Jason. I mean the relationship between Jason and Tyler et Tyler. The passing of Tyler mother I found deeply poignant. Do you might not be able to ensure this because of two years ago, but do you try and do you put personal life details into your books because it felt so felt so real that I can’t help wonder, you know that had you had a loved one passes away while reading the book. Do you try to keep your personal life ? Completely out of your your story ? You are what is what was the balance of your personal and and engineering in this war of the real in the relationship between the director.

[00:25:38.030] – Robert Charles Wilson

I can’t imagine not using my personal experience and my writing I mean that that is part of a really, of course you transform experience and take them apart and put the back together in different shape of my father died when I was night in its kind of a vulnerable. I was was for me. And he was a protracted. He died from lung cancer was a protracted death and he died at home so And I became one of the caregiver for him so going through that of that. Wasn’t available experience. And yeah, it’s what I think one of the privilege is that you can take often sometimes deeply disturbing the experience and make something make out of them. If I can use that world. Of course those experiences play in the writing of. The day they often do there’s a. In one of my blind like there is the scene where one of the character is. His father asks for a if you get what it was exactly a photographe or something like that that. That you wanted to see and this is his sun doesn’t want to that he’s getting rid of the photograph is no longer exist and.

[00:27:26.620] – Robert Charles Wilson

And that. That was exactly what happened with my dad ? He had made of a home recording at some point of himself with the before I was born of him with my brother and sister, and he wanted to hear that in his in his last days and I had put it in a box and give it away the box at some point, and it was a hour of experience and I’ve been looking for it and that I couldn’t find it, but I knew I knew what it happened to it. And you know so you know what you do is something like that you know it. It’s it once you did it again. You know for you the place that you can find a decade of experience that you might not otherwise be able to write consistently about all about it. So yeah yeah, of course your personal life comes in your right thing. I think you’re writing the most superficial possible. You have to draw in this kind of experience.

[00:28:37.710] – John Knych

Thank you. Yes before moving into the person who just arrived. Yeah ! I want you again. It’s so it’s rare in sci-fi to have died for me. Like the emotional go punches of the moment between caractère. Tenderness loss. Love and Spain. Had it all I mean and to have that have that be with the art of love at the end of the world of all of you to have to have it will be with us. It is extremely rare. Enjoy it all right. Hello ! Welcome. CAN you ? It is this. Are you ? Virginie. Virginie. Friends. Colleagues.

[00:29:21.540] – Orateur 5

Yeah ! I’m fatty benaribi. I’m a mathematicians. And I’m calling of Virginie.

[00:29:27.990] – John Knych

Welcome to everyone in my my wife. She worked with someone who really in the science-fiction. So I shared with them the link. Do you know who Robert Charles Wilson is would you like to ask a question or just back and and.

[00:29:45.540] – Orateur 5

You are sorry for for the rising sun that I u I actually read in many years ago and I loved it. Love the whole trilogy and so yeah. I particularly enjoyed how you conjugated the how you join the scientific aspects and the sociological aspects like how the society evolves from its consequences of the scientific constraints and the whole end of the trilogy was really ? Yeah ! It was really a shock and I don’t know how much I can spoils You can everyone and read the whole body. You are the whole, the whole part with time travel and and how to connect people from several timelines to their personal backstory, you are really human backstory. It really interests me and I try to write myself and I see is what ? It is of inspiration. So thank you. And maybe if I have a question it would be. How do you ? Have ? How do you do you ? Do you see the science ? More as the strength to to create a story around or something like an inspiration or where you think of the story first and think of what the science ?

[00:31:30.660] – Orateur 5

I could I like to think about interactions between science and literature fiction. So I’m we’ll be really glad to hear if if if if it has already been said before. Sorry for.

[00:31:52.050] – Robert Charles Wilson

What if if I was the question was whether how I thought the science and the human story which comes first the. Sorry anyway I. Will I mean for me ? There’s always there is there is the big idea that there is there’s always the big idea that makes it an exciting science-fiction story, which is involved some kind of scientific speculation where you know in this case about. It is about what technological civilizations eventually produce and what the consequences are on the galactic sky, but the question is always ask yourself and what are the human consequences of this ? What does it mean to you know the person out the window. There is looking down the street and. How does it play into our human experiences ? Hum. Hum. I used to say that. That the real question science fiction is not not how well the future by but how our how might the future be what what will it feel like you know what I mean ? The scientifique question is how do you travel to the the science fiction ? Question is what it like when you get there ?

[00:33:35.220] – Robert Charles Wilson

You know what you do there ? Are you lonely ? Are there other people ? You know ? How can you see the stars at night ? Are you underground ? Is it claustrophobic ? How does it feel like a transcendence ? Where does it feel like ? I love those are human question that you ask about scientific subject. So that’s a century the approach. I take I hope that is the question.

[00:34:03.720] – John Knych

So I think. I lost the the take it back to me for the question. Is that I’m not jumping anyone ? Because this question is actually back and what you just said babe ? Did you know this would be a trilogy when you started writing because the ending definitely left open possibilities or what is the success of Spain that then you are you ready to say look ? This should be the trilogy or did you know going into it ? That is that it had a trois possibilités.

[00:34:39.120] – Robert Charles Wilson

Now now, I wrote at the standalone and I think it’s still works as a standalone. I was in all about the possibility of following it up and I was. I was open to that suggestions. I’ve never been completely happy with the the two Because to be honest. I don’t think they did what ? What ? What did you mean ? I’m not. I’m not happy with them. But I don’t know. I would never touch the book like spinning, but if I had a if I was given the opportunity to go back and look at the walls. I would probably do something with them. But you know you’re right what you’re right and that’s what it is so.

[00:35:33.290] – John Knych

Right back to brandon. If you have, I have a question.

[00:35:39.470] – Orateur 3

You can you can you on how the publishing industry is over your career ? And do you think it’s hard now to publish or is that you are now like what you are your thoughts and that ?

[00:35:55.940] – Robert Charles Wilson

It’s changed dramatically over the course of my career. I mean when I broke in the field. Basically, there was a big audience for treating science-fiction. And there were published in magazines trying to beat that the mind. And if you had any kind of time and all you would be welcomed. I published a story with a who. Is everybody there ? I can’t hear from here. I am very early in my career before I had published in I saw the story two. Isaac Asimov, Science-Fiction magazine by the editor was Sean McCarthy. And it was only my second published story. This was like a night in two or three. And I’m only did she publish the story that Sean McCarty When she moved to. Write to me and said. Do you have a novel ? I’m really like to look at the novel from you. And so I lied and said yeah, I’m working on it right now. So I came up and that was the genesis of my first story of my first novel which was called the hidden place, which was published way back and I’m so yeah, that that situation, which I think you know obtained for.

[00:37:28.580] – Robert Charles Wilson

The fifties sixties, the seven days the advice to stay in the night is there was a big audience and and publisher is looking to feel it all of what I look around now. I see is a lot of people computing for attention publishers computing with each other for for an audience readers computing with each other for attention people desperate to to find a way to get people to know what I’ve written and to respond to it and and the audience. Maybe I don’t know what it is. I don’t know if it shrinking, but the reasons that have the audience everything now. The audience is usually I think and there’s a and of course we have so much media science-fiction. Now, it is easy to say the appetite for science-fiction. What ever opening you are looking at a magazine. So. It’s a very different situations and I think it must be a very uncomfortable one for people trying to break it with the field right now and yet people still do it and you know you still sit and interesting books been published and finding it.

[00:38:37.250] – Robert Charles Wilson

So it’s certainly not impossible, but the kind of ease with which I found the career in the field. It doesn’t seem to get it anymore, Unfortunately.

[00:38:56.600] – John Knych

Yes, thank you, Thank you. Thank you. Yes ! Yes ! I just saw that I’m Gabrielle. Ryan Asking about your writing influence. And then Gabrielle asking about him with some distance. Now looking back at blind lake and anything about the book of their structure ideas. Would you see different today ? So yeah. Influence and looking back at blind lake. Do you see it ?

[00:39:25.940] – Robert Charles Wilson

Differently today Looking back at blind Lake. Specifically.

[00:39:29.720] – John Knych

Yes.

[00:39:31.100] – Robert Charles Wilson

Oh well that goes even farther back, then and so I don’t know I mean there’s uh uh uh every book. I write was kind of provisional. I mean, I was the best book. I can write at the time. I think I’ve learned a lot since then I’m reading is a profession where you keep learning. I can do a lot of those books. box in the. Right now, but I wouldn’t do it now. Those of the books are right because of the person, I was then and with the skills that I had then I can’t think of a specific specific than that to say about blind lake. As far as influence has got you know I already in the story of postwar science-fiction and Steven King that I am I would like to go in there because. In those few books that he wrote that are considered science-fiction classique and a lot of his short stories pretty much invented a lot of the tropes. WE use and are still exploring. I mean, he was at the time when those those ideas were out there and there was the idea of the geological past and the possible future of political and technological.

[00:40:50.750] – Robert Charles Wilson

But the victorian were through their telescope for the first time. And he grabbed that low-hanging fruits and and he he would at our story like the time machine seemed to be so so perfect and that it is it delivers that science-fiction rush so direct directly. It. It. It. It takes a miracle time travel which is not scientifique at all. But it was the miracle to explore and current ideas about the possible future of the geological. Over the past time and cultural evolution over time and biological evolution over time. And I think a lot of science-fiction. I loved it has that that kind of structure. Where you know where there’s an obvious miracle. Interstellar Travels says that we use this device for you not going somewhere. You can’t really got literary and using that for some really substantive. SPECULATION and that is something I really tried to do with my eyes yet to be published book is too. It’s very well and then I said that it takes a community of people and put them literally forty years in the future.

[00:42:21.820] – Robert Charles Wilson

On a transfiguré Earth and use that for some. You know it’s a story. It is there. It also explore some speculation about what the deep future might hold for us as a species. I love that kind of fiction. So I would have to put well, it’s one of those influences.

[00:42:45.370] – John Knych

Thank you and then in the shade having. How people reacted to the pandemic information speculations the science world, not fully understanding it, etc. And the psychology impact of it. How do you feel about how you wrote the psychology impact of people in Spain because for me the sci-fi premisse felt so terrifying and I think this I felt some pandemic echoes or reading Spain and how you discuss the political menu, you know and what I loved you did to his people is also just continuing to leave their lives because what else can they do right ? If you have their economically limited, right ? You just keep going to work. So how are you ? How do you feel about what you want ? You were observed in the pandemic and how you wrote Spain with how people reacted.

[00:43:43.600] – Robert Charles Wilson

Yeah, I get that resonance and make sense to me. Ah ! I guess I was just. It just seems to be a realistic way of humans and the way we don’t understand. Or or or rush to cope with things. WE don’t understand why try to explain the way things. WE don’t understand or try to ease our discomfort with things. WE don’t understand and we do that politically emotionally culturally for better for worse. Oh yeah. So that’s the kind of thinking that when in the spine and and I can’t say I’m gratifying. This is the cause of that and in the pandemic or in contemporary politiques. But yeah, you know and I don’t think I took a new approach at that way. I think we’ve seen how people historically have they are not dealt with the CATASTROPHIQUE. I didn’t have any particular in mind and I write the book, but I have had enough history to do all those things you know in in in our culture and other cultures at time. So yeah.

[00:45:05.530] – John Knych

Thank you. And then I hear your passing in this way. To go back to Paris if you have. If you have a question. Of the list. But if you have a question.

[00:45:24.190] – Orateur 5

To go back to spin like if I take the example of the initial initial problem de de de de spherical force field around the earth you you put this in the in the story and you explore the consequences of it Notably scientifique consequences of it like if there is such a forced field and time flows differently. What would they simply to this this and that and at some point you need you need to stop making this cooking with her physical laws because at some point you have to break the physical lose it like with time travel or anything else. My question is when and how do you decide ? Okay, now, I’ll say this is magic U opposed to I want to go to explore if the rest of all physical laws remained the same with this would like this. This and this so how do you decide when to take this is magic ?

[00:46:39.670] – Robert Charles Wilson

A eu By magic in terms of technology. Is that what.

[00:46:47.380] – Orateur 5

Exactly like saying ? Okay, you could see if I. Time travel, then the space, the space, I was before will disappear so. Pressure of air will will go rush out and this is like a real physical consequence of an Unreal happening the time travel so same for the spine of or any of your books. When do you decide okay ? And now I don’t need to u to be realistic in the sense anymore.

[00:47:25.300] – Robert Charles Wilson

I think it’s just the ability. I mean the idea of the. Of the spine bubble that surrounds the earth is obviously not something I will ever expected to happen. I have no idea, whether it would be technologically possible. I really do it. But. Given that I think one of the ways to create ability or very similitude is by addressing some of the question around it. About how it affects how it buffers between. What ? If time were passing that slowly on earth the exterior universe will look extraordinarily energy and how would you buffer buffer against that of it ? So I mean, I can’t all those questions of technology. I don’t understand but be raising them and suggesting the possibility of something. I just take it creates a greater level of possibility of various similitudes. It is it is of course, it’s magic, but it is less like magic it to it being a technological process rather than a arbitrary magical when I guess I could say that.

[00:48:47.130] – John Knych

This is shifting back to your development by the. This might be me reading into spin and create my own interpretation of it and I’ve only spend the only. I’ve had of years. So I’m not sure if I’m about to ask you down in other books, but I I kept wandering while following Giants, Jason and Tyler that they were representative of larger forces like that page one hundred ten I wonder if Jason represented the health of Civilization because I know he was getting to do with Spain, where you are just to remember just giving them this creative director that you and I wanted things to happen to them or was there a plan that you wanted them to represent and other things in the book like broader teams or did you just go into it ? Just these are the factors that things are going to happen to.

[00:49:52.510] – Robert Charles Wilson

Well to take represented different possible reactions. To the spine. There are other resistance and I hate you pointed out some of those and you’re not. I did not deliberately those out. But they seem to pop out of the text and time to time. So you make the most of it make the most of what you find the right thing is a process of discovery and so that. That. That was part of the discovery process and writing the book. But there was those some of those echo and resistance and were not something that I had in mind when I started writing the book.

[00:50:41.070] – John Knych

Thank you alright. Let’s do final round around the round table and do you have ? I have a question to ask.

[00:50:51.750] – Orateur 3

So I know Alastair Reynolds is said that he he doesn’t really science-fiction. He doesn’t read much more, especially when he is writing. So my question is Do you keep up with the current science-fiction books that comes out ? Do you have my favourite ?

[00:51:11.430] – Robert Charles Wilson

I have following way behind I have found way behind partly for that reason. I don’t like to read other science-fiction books while I’m writing and since I’m generally writing. Partly because the field is gotten. So that it’s hard to keep track. Partly Because so much of my reading has been devoted to non-fiction. You know if I’m reading history of science. It’s something that is something that helps to generate ideas and play is back in my work. So no, I have to confess. I have not keeping up with the field. I mean I fell in love like I said before I fell in love with postwar science-fiction and I keeping up with the field up till the turn of the century up and maybe. I was still keeping up with it. But now this thing nothing is the last thing you live here and there and enjoy them, but it’s been sporadic and very powerful. So I can’t really speak to current science-fiction with any authorities.

[00:52:24.600] – Orateur 3

Do you have books ? I would like to recommend to us.

[00:52:30.630] – Robert Charles Wilson

Oh gosh. Oh my gosh, I know nothing springs to mind at the moment. I’m sure it is as soon as we finished this discussion and turn off my computer titles will appear to me. But are the tip of my tongue. No.

[00:52:48.480] – Orateur 3

Thank you.

[00:52:51.390] – John Knych

I think you have two questions in the chat from. From Gabriel and Ryan. So this is back to the blind lake, so Gabriel said which one of the mystery and blind lake is whether the observation system itself have some kind of intelligence is to know whether you were exploring this idea that complex system can create their own agency like and I were you doing that with which blind lake or or no yes.

[00:53:21.930] – Robert Charles Wilson

I can I was playing with the idea all that was able to think of it as I and any modern sense, but there had been some ideas about how algorithmes creating algorithmes and coming up with results were unpredictable and sometimes indéchiffrables in the way that often modern I will so I had this, I had the idea of this sort of some sort of. Quantum télescope for a better world hooked up to some sort of what we would now and artificial intelligence system that would consistently refine refine images. To the point where in the center of practice of the book. WE could literally observed in daily life on the planet outside of our solar system. The planet circling all the stars. WE could observed in such details that we could take a look at what ? WE could take a look and try to decipher what what was going on there without being able to Using visual information, but this is happening by a process that was itself difficult to understand so the same time people are trying to understand life on this world. You have to ask questions is this really happening or is this just one is it a hallucination as we would say it now ?

[00:54:47.540] – Robert Charles Wilson

So yeah and given what we know now about that kind of process. It would be fun to revisit that idea to be honest, but I did I did with that what I could at the time.

[00:54:58.250] – John Knych

Thank you. Yes ! Gabriel feels vindicated. He said I knew it great and then before moving to I want it to echo Branden said before about Alastair Reynolds because we discussed we had to discuss with him and he said something similar to you and that when he first started out in the Syfy field, he felt like he could read everything that he was aware of everything that was being published, but is just expanded so much that now it’s it’s an impossible task and even if and said he could feel like it could be uptodate and scientific progress. But now there is just were drowning in in in information. Alright, Ryan is one thing that really impressed me and Spain was how your narrative spend decades and they were obvious great changes taking place globally you cover this element in such a way that you gave the broad Strokes and let the readers imagination run with the morsels that you gave you’re not getting stuck in the needs of the details and I agree with this year you moved to cross time very smoothly and he was wondering how you made those decisions in the writing process and was it deliberate decision to keep the navel as aerodynamic as possible.

[00:56:12.200] – Robert Charles Wilson

Again I. Must have that is now I don’t know I don’t remember too much about the process except I had this idea of trying to create. The structure was at the idea was to for the first half of the novel, I would have question big and small one after the other one after the other and at the point of the novel. I would begin to answer them the small question and big question. One after the other and the conclusion. I had not attempted to do that you have particular structure with anything. I’d written before. I don’t even if you call that the structure or a strategy, but it is very large in my mind when I was imagining reading the level of blocking it out of my head. So and I think that helped me bridges, not only the range of ideas and things in the book, but also the period of time that it that it was so I guess what ? But that’s the best answer. I can give you is that that’s what I was trying to do when I wrote it.

[00:57:23.660] – John Knych

Thank you alright. My last question is very small in the title of Spain. Did you choose to using this title or where you were you happy with it because at one point like this is the the face of the world spine as describing the process do remember. Did you like you to use it ? Or or not.

[00:57:48.950] – Robert Charles Wilson

In my books, I’ve had characterized by the title of the book in Spain was always called spine and my mind. I’ve got another novel called the crown of. The book somebody there is that appear in the present from the future commemoration events that have it happened yet and the cold chronos Chronos this time. Stone Chronos is a combination of great and latin, and that become the popular name for the object and at one point in the book when the director is what I got ugly name for these things. This is it. It’s a terrible name for these things. So I’m the character is often the title of the book of their character. But I was always been in my mind and that I think it worked as a title. That’s it simple short and it is memorable.

[00:58:49.110] – John Knych

Thank you. Brandon. Jane.

[00:59:00.090] – Orateur 5

Euh, il y a un header Model of time travel that you prefer between like stable time loop or multiple timelines that you that you find easier to write stories in all the person of paper.

[00:59:18.000] – Robert Charles Wilson

I’m sorry, I can’t hear that.

[00:59:21.160] – Orateur 5

CAN you hear me now ? Il y a eu Is there a model of time travel that you prefer between stable time loops multiples timeline and search and why ?

[00:59:35.440] – Robert Charles Wilson

The question is about time travel and the. Weather how I approach the idea that the world.

[00:59:43.960] – John Knych

I wish you prefer I guess to explore the types of.

[00:59:50.710] – Robert Charles Wilson

Ideas. Hum hum hum. In terms of you know I mean something about time travel is that time travel travelling through time in the future is perfectly plausible all you have to do is somehow hold still and that the universe change around you traveling in the past is almost certainly impossible because you would have to hold yourself static and understand the entire universe back to where you want it to go. Much more energy intensive than just trying to hold yourself still. It is nevertheless deeply alluring idea I’ve written various versions of all of the time travel stories. I read a book called last year and which traveling did this idea of traveling to the past and traveling to a different versions of the past that you could interact with only two and alternative that it worked with all the year zero or something that way you could interact with that environment without creating the obvious paradox. Time travel paradox themselves don’t trust me that much, they seem to. It’s the subject has been done that I think in the eu nevertheless. it’s the time travel itself.

[01:01:20.590] – Robert Charles Wilson

The idea is just so well, it’s impossible to resist. So I haven’t done a whole lot of time travel, but I have not been able to really know it better.

[01:01:35.350] – John Knych

I think that he has a final question you find your good. Thank you so much for doing this really enjoyed this conversation. I’ll get the transcript. Share it with the readers in the group and we hope to read your your next novel used for the thousand summer of that the correct.

[01:02:03.400] – Robert Charles Wilson

Is great and you guys appreciate it the question. It was. It was a conversation. Thank you.

[01:02:08.680] – John Knych

Wonderful everyone. Have a good night. Good morning. Good afternoon. Good day.

[01:02:13.390] – Orateur 6

Thank you.

[01:02:14.350] – John Knych

Bye bye.

[01:02:15.520] – Orateur 7

Bye.

Hiron Ennes

[00:00:01.18] – John Knych

Hello Hiron Ennes, thank you for being here. Today we will be discussing The Works of Vermin, doing a round table discussion, and will start with Noémie, with your first question.

[00:00:13.09] – Noémie

Yes! Sure. So my first question was: Did some of the ideas that you had for your first book didn’t really find their place in the first book, in Leech, and then they found their final ways into this one, was it something that you had to work with?

[00:00:28.13] – Hiron Ennes

So there were some parts of Leech, that made it into Works of Vermin, but the parts of Leech that actually did make their way into Vermin, were very minor parts of Leech, so for instance: one of the characters in Leech, Helen, in an earlier draft, like her back story was that she was actually really famous cellist from the city, and that got me sort of rolling into: I wonder what music is like in a world like this that has like ended over and over and over again? And like what changes have taken place to music theory and performance and art in general and I sort of like that really small part of Leech; I sort of followed down this bizarre tunnel all the way to the Vermin, and which art is basically just a huge part of life, in their part it; the world.

[00:01:35.00] – John Knych

Thank you now and to Brandon.

[00:01:39.19] – Brandon

Thank you so much for being here really appreciate this.

[00:01:44.15] – Hiron Ennes

Yeah, thanks for having me.

[00:01:46.01] – Brandon

So I guess can you explain like how your world building process a little bit…did you…I mean you have this incredibly imaginative unique world that you’ve built up. So did you build the world first, and then write your story, or did you kind of do it as you were writing the story? You just add more and more of the world? I mean how was your whole process of world building?

[00:02:10.23] – Hiron Ennes

You are so it was sort of intergrated processes. I came up with the general bones of the story of Vermin first. I knew it was going to be in this war of Lush hot wet disgusting city, but that’s all that I really know when I went in and started writing the first chapter and the first chapter the first of chapter of Vermin, changed considerably over a period of three months. I just wrote the beginning over and over and over again because something wasn’t right like originally some of the creatures that the exterminator would go after word of ghost like etherial things that want it all and you know that was two broad I needed to know it down. What sort of what sort of creatures would terrorize the city built in two and three stump. Oh you know, but I’m just gonna I’m gonna keep it the boys. I’m gonna keep it the past and then from there the sort of mafioso like world of computing extermination company of integrated from that idea downward and it was as far as like world building on the over city side to like what happens at the opera ?

[00:03:41.08] – Hiron Ennes

Is it ? You know Is it gladiatorial or not do people make it on the outcome of the story that they see. Those to be sort of arrived at me in the same way where I Something what happened to be like all ? That’s not quite right. And then I leave it for a while I think about it. And then that element the world building with sort of present itself as a solution to do whatever the character were stuck doing. So it was a very very integrated process.

[00:04:16.02] – John Knych

Interesting great, thank you to Jane and also I need to say it loud that doing the roundtable discussion. Anyone does not have a question or if it’s very bad and you can just pass so and.

[00:04:29.23] – Jenn

Thanks for being here. I’ve enjoyed both of your books, so. Environmental collapse is really embedded in English in Vermin, and I was wondering to feel like the environment is kind of a caractère in your books and not just the backdrop.

[00:04:47.03] – Hiron Ennes

Absolutely I think that the environment, whether or not, it’s a Géographique. Or ecological as it was in Nietzsche and I mean and in Vermin to but whether or not. It’s like the natural environment or the natural environment like the system that people build like from the rebels of worlds that comes before are really really integrated into how I like to tell my stories and the the environment itself sort of play the role as a team like in which you know isolation and loneliness was huge. So why would it take place in in in your way ? The same way Vermin is where where is Vermin is about excess and life and arts and culture and and all of these things sort of Evolve with the caractères and because of the caractère. So yeah I think I love to integrate, whatever is happening in the environment. Whether it socio-politico economiques or natural. I’d love to incorporate that into the story and have it with caractère pretty directly.

[00:06:14.17] – Jenn

Thank you.

[00:06:17.00] – John Knych

Thank you and.

[00:06:23.12] – Brian

Thank you both both here because we’re all right when it came out and I think I think about it. Yeah, which is good for a while so my first question on this one, just to go on the world building and so how do you ? How do you decide like when you are going to use it a little bit, but when you’re building the setting. How do you decide which elements too much together because some of the things really felt like in both books that they wouldn’t fit for most stories, because you have this, you know technology of like this kind of world that you can have been discovered even even in Vermin, they said you know they talk about the discovery of the camera like even things like that our technology has been lost and come back there there building their society on top of the ruins of something that used to be there, but then you have you know the culture being built on this, you have you know environment and you have been built into the stump of this great tree and you have this river and you know the past and everything Obviously, how do you decide, which actually will fit for your stories.

[00:07:38.19] – Hiron Ennes

All that’s hard. I think my process I can I think with Sofia Samatar who said that like the way I write a book is I write a book and then delete the person of it and that that was kind of at least in the case for vermine is that I like first draft totally overstuff there were footnotes. There were long rambling acid Victor Hugo about like the like there is all sort of shit in there that I found I was quite delighted in what I was told by my editor today. I got it so half of it half of the things that stay and half of things that got the things that got at first got because they might be contrary to where I want the story to go like I really love and elements, but I’ll be like this exists in this world than it presence like two years Easy of a solution for something is find some situation my caractère find themselves in or if it, if it is contradictoire to the story not necessarily like and celery to the stories because there’s a lot of environment and that’s just sort of like meandering Worldbuilding that I love and I love saying that in books a lot of the time, but there’s a lot that doesn’t necessarily people the story, but it’s not like countries indicated in this in this process, so usually by the time, I give a first draft to someone all of the worldbuilding elements that are included are the one that are not necessarily like totally countries and then from there it becomes like.

[00:09:39.10] – Hiron Ennes

Kill your darlings one by one brutally and over a long period of time. And there have been many darlings that have been cut from this but a lot of things that have said.

[00:09:54.04] – Brian

It’s awesome. Thank you.

[00:09:56.00] – John Knych

Typekit. Brian continue with the worldbuilding theme.

[00:10:00.23] – Hiron Ennes

And go for ever.

[00:10:02.12] – John Knych

Before it before I do after sometimes ask how we discovered them. So I need to shoot out. Peter Watts who is an author we had before you when we ask him. He should we read here immediately said Nietzsche and then Jeanne and Brian had already read and so we were super happy to read your book before it’s related to the public, so that that’s how I guess.

[00:10:27.22] – Hiron Ennes

I love this writing. I I think he’s great, Yes.

[00:10:33.16] – John Knych

We have a question related to the similarity and and and style, but continue with worldbuilding with maybe we get back to that later. So it’s just now how you decide what to keep and that many darlings are killed. When you’re digging for digging and building the world Do you ? Do you read history and people from history ? And I ask because when I came across like a margrave, which I have hereditary title for some prince of roman empire and then soon after a silver writing which has a drinking vessel from Greece. So are you I mean that you study history and this is just there. Or are you reading history ? So like when you’re digging where you find in all this information.

[00:11:19.23] – Hiron Ennes

So when I’m digging, it’s an interesting process particularly for veerman. I mean I guess and it’s because both of these both of these stories takes place like thousands of thousands of years and the future like on sort of like layers of dead society, the same way we live it up layers of. Heroes of Geological time and my goal for putting little bit and pieces of history is to make it sort of delightful incongruous. There are some like I never studied history formally, but there are some factors and some things that I love about the society that have comes before and that are still going on. And. I like to get them in a way that is not historically accurate or in a way that like sometimes like when we look at history from an archaeological perspective. WE can’t really know what these people were using this object for or what significant other things are like WE don’t we can make our best guess, but we don’t really know. So my goal girl in integrating some like anachronistic historical things in Vermin was sort of from that I would like to like maybe they found this or they saw this in a picture that they dug up and they’re like all we want to recreate it because we think it’s beautiful.

[00:13:01.17] – Hiron Ennes

But we don’t know we don’t know what it’s for or you know why why they used to use it so like in the case of the right and it’s something that you like this is the type of your CB in during gladiatorial Oprah battle. You know you don’t you don’t drink from it like it’s just you all of my historical references are anachronistic in the city and they don’t come from like necessarily a deep understanding of history. Because that’s not like my goal is not to accurately recreate historical society, but just like pick and choose from the same way that that we sometimes pick and choose meaning from the past that we don’t necessarily know is through.

[00:13:49.10] – John Knych

Thank you right back. Back to the top. Noémie.

[00:13:53.07] – Noémie

Alright. Thank you. I am very curious about your inspiration. It’s something. I’m very curious. I think with all the authors that we’ve meet when I read Leeds and this book I really thought about China miéville for example with the beat of the fucked-up society that he’s building on top of each other that makes sense. I don’t know if it was something that you thought about but to me gave me this. I thought that with all about Nausicaa as well the Ghibli movie and I thought about Oliver twist and I don’t know if you, you know had inspiration that you draw from when writing the book.

[00:14:28.22] – Hiron Ennes

I think those are good inspiration actually China Miéville definitely someone that I read in my things that was super for me. So pretty the street station is definitely like a very very blatant inspiration for this, I would say. And it also gets compared to it a lot. I have this horrible habits of being inspired by things that I’ve never seen or red. So the reason why I started with Jeff Vandermeer who my love by the way is because someone said that Jeff or someone said that he was like and celery justice meets Jeff Vandermeer and I hadn’t red idea of those things and that I read them and I’m like us. This is great. Similarly I’ve never seen it like I just watch the thing like a couple of months ago. And I’m like Oh, I see I see you, but yeah. I think that a lot of my inspiration, especially for Vermin comes from a very weird Place Perdido Street Station. Definitely one kind of monte Cristo is definitely in inspiration for it as well. And then I would say Jeff vandermeer again.

[00:15:55.24] – Hiron Ennes

But I did it again where I had not red is ambergris trilogy until I was like halfway through Vermin, and then I read it and I’m like. This is also it’s very similar to this as well. So I could I would say that those those inspirations are definitely there, whether or not there are some of like osmose from the environment. So if anyone wants to come perdido street station, definitely and then the ambergris trilogy by Jeff Vandermeer as well just about these super weird city where just how it takes place all the time those are those ten to be like my favourite kinds of books.

[00:16:41.24] – Noémie

When I was describing the book to my husband. I was saying it’s basically Jeff vandermeer made China Miéville. It was like Oh so that’s exactly what you love the most. It was like Yes exactly the book. I was talking to him about this like the last few few days when I was reading it and I was trying to try to understand how it would meet in the middle basically. It was like that’s it. That’s the total opposite of what you’re saying and he was very beautiful, the conversation with absolutely nowhere and it was beautiful, but I’m happy to see that it was the inspiration that I kind of guests. Thank you so much for that I want I want the one. Thank you.

[00:17:24.08] – John Knych

Noemi. How do culture step into us right ? That’s it.

[00:17:28.19] – Hiron Ennes

Yeah yeah. And I would say that is inspired by the thing. Even though. I had seen the thing because I feel like just the idea of it is through so many different like other piece of art that by the time. You get back to like the age which I guess itself is a remake of something, which is best of who is there ? So it’s you know. They’re all floating out. There are not and culture. Culture is our minds and always that we don’t necessarily. We’re not necessarily aware of.

[00:18:06.13] – John Knych

All of you and before moving on the brand. I’m happy that you said to Christo was the inspiration because spoilers for anyone listening. I’m gonna say the end, but ending on the boat. I was like you. This is because you sprinkle little French. There’s little french fries and there’s two and so I hear that was happy I enjoyed.

[00:18:24.22] – Hiron Ennes

Et I want I wanted the running off on the boat think I’m like, ok ? That’s coming straight from Dumas.

[00:18:32.17] – John Knych

It’s timeless until brandon.

[00:18:38.03] – Brandon

I thought the relationship between down and guy was really interesting. There’s this kind of unrequited love going on down seems infatuation would be kind of in the toxique way. I can you took a little bit about how you came up with that.

[00:18:55.16] – Hiron Ennes

I think I think just saying. I guess like some of my personal experience going into this novel inspired that things that I’ve seen between like close friends or not to go into any of details about that, but it’s like it’s kind of a very common experiment experience to I’d like by someone or close friendship where you’re not like quite sure if it’s gonna sort of another into something else if both partie are involved, there were Are saying that happen to different people and evolve and sometimes very interesting and sometimes kind of tragique ways. Automatically I think I wanted a really fucking weird love triangle cause the. This book is basically just like a huge piece of baroque theater of spread over for Android pages and so I took some like obviously like you know it’s very theatrical and a lot of things are lifted from you know classique opera and I love triangle is pretty much and necessity, but I wanted I love trying all that wasn’t between that wasn’t necessarily romantic and wasn’t between like usually it’s between two men and women. The love triangle I guess in between a dude his bunk might and his sister and day and it’s not necessarily romantic love between the three of them.

[00:20:45.03] – Hiron Ennes

But the way that they interact with each other and they are a-changin or not necessarily. Recommended and their needs are not necessarily might and I think that was a fun and interesting thing to explore. And I think that’s that is the source of the the sort of unrequited love between guys and down.

[00:21:11.09] – Brandon

Thank you. I think I read a lot of science-fiction mostly so I don’t see that very often. So that was interesting. Thank you.

[00:21:20.24] – John Knych

Thank you. Brandon. Moving on to if you have a question.

[00:21:25.15] – Jenn

I am so I watch and interview you did about leech and the interview or this question and I’m stealing. It was there is there something you wanted to fit into this book that it didn’t make it and you want readers to know or just something that you really love that just couldn’t fit.

[00:21:45.11] – Hiron Ennes

So many things so many tiny things are used to be a lot more manual entry and they would have like a little footnote for each of them and there were like so many weird bugs that did weird things there was like and and that by you that would make you seen. There was there were just like so many little box that couldn’t quite make it in, but that still leave in your us. And then this one almost well, it’s sort of his halfway there, but headcannon is that the magical girl actually survived ten different apocalypse and it’s a very popular author. Joanna. Now with it stuck around in the form of a little orphan of the details of which I don’t actually go into you, but it’s a magical girl enemy opera and I wish I could have gone into that a little more.

[00:22:59.19] – Jenn

Oh, that’s awesome. Thank you.

[00:23:04.05] – John Knych

Before you got the Brian was that removed the hand that makes you seen. What was the editor’s reason.

[00:23:10.07] – Hiron Ennes

That was that was on me. It was. It was okay, okay. There’s a lot of that are that are derived from these creatures in this world. And I think it was it ended up being when aster and Mallory, and elspeth are in that sort of a Aix-en-Provence nightclub and they’re doing they’re doing the third eye that it was originally seen it like this, but I thought that there might be too many drugs in this world. Cause we already have like that we already have like regular cocaïne, we already have. A lot of different stuff and I’m like there are just too many drugs. I’m gonna narrow this down. Just the third eye that so the sun and sorry man. You got booted. You got it in favour of the mouth.

[00:24:18.09] – John Knych

Thank you on the Brian.

[00:24:22.21] – Brian

A all right so my next one is about the role of violence and the story violence and also potentially that some overlap there. So we have talked about how the story of the very hard heavy world. There’s a lot of you know. There’s a lot of painting. There’s sculpture. There’s the performing is like you know another art form as well. And it seems like the way the people view violence in this world is through almost one hundred pour 100 artistique perspective like they discuss constantly. How beautiful is where you know the persons or even the dead body and things like that. And I was all about that. And then this can be kind of a follow-up or maybe I said I don’t know, but the dictator that they’re extracted from the new the new blog to me. It really seems like that one thing was like that, it was the symbol of like the violence in the world itself with the way, the shape, the shape, the city changed really everything I came in the contact with the left scare it like changed how they were the people who did all of different things and I guess what it was that perfectly just commentary on the role of violence play and society or something like that.

[00:25:52.02] – Hiron Ennes

Yeah so. Yeah about this question of linked together. I think that the. The role of violence, the role of violence. Play in your head is a hundred person spot on it like everything in this world is viewed from the artistic art esthétique land. And I don’t think I don’t think that is too far removed from our own world, because I think that I mean. Not to not to go. So she has to say this. This world is literally about the theatre of war and optics are a thing. And we can also see the beauty in violence sport like Mama Marshall are boxing. There is a strange elegance to really well fought fight and I wanted to sort of extra-plate that this about that we have already have. But don’t aknowledge that a lot of a lot of violence in our our world is esthétique. It is performative. It is like not to go into detail, but what we’re seeing right now the brutality and violence in the United States, right ? Right now that is being perpetual and the city is is it is performed.

[00:27:44.07] – Hiron Ennes

It is a message. It’s not it’s not to any purpose. Besides cruelty itself and to send a message and so that that aspect of violence as an esthétique as a message as something that is performed already exists in our world. But we. When I want it like when I was making the world of Vermin. I wanted it to be acknowledged like here like we the people we lives. WE think about optic sometimes but in you are when you kill people and you are always thinking about optic and how how this ? This action that has very real consequences for human life is sort of secondary of how it looks like. For instance like chanceler gosselin tells his marshals to you no kill a few of that he thinks are you but like don’t don’t be heavy handed about it. I don’t want my rain associated with tastes like that was very useful and I just wanted to see how violence would be Acknowledged and reacted to in a world that that value over material condition or not saying that we don’t value in this world over material condition, but.

[00:29:38.14] – Hiron Ennes

It was sort of like just taking to like the rococo extreme. You know and I think to that and yeah, that’s the way it change people the way it leaves scars the way it is used as essentially explosives and a fumigant and and all these different all these different aspects of what could arguably be Chemical Warfare. Yeah ! I think that exotoxine is very very indicative of like that the distillation of violence itself in this world that makes any sense sorry that was a kind of a rambling answers.

[00:30:21.01] – Brian

Great. Thank you.

[00:30:23.02] – John Knych

Thank you very good question. The. Question is what you want to ask before in relation to the Peter was before I say that this just piggy back off of Brian and your response. It’s a very bleak view of the world. Maybe if we keep stacking society for hundreds of years violence. We’ll just be like that is in your book, right ? Where it’s it’s it’s glorified And it’s not only. That’s not where we’re going.

[00:30:57.10] – Hiron Ennes

To end up somewhere better. I don’t have a lot of hope that we will be and you know that will end up somewhere weird her. I think that however, our society and it’s gonna be weird and stupid that’s all I want to say.

[00:31:12.19] – John Knych

Yes, it’s speaking of weird. So you’re your style hearing. Head Peter Watts its his voice is is like no other. This is very bizarre. There is no cliché and was the same experience with with you. And that there is no cliché that like the first thing I wrote in my notes was that every sentence just feels out of him out of someplace new and there there are a lot of this next to the brand said about like Syfy like a lot of sci-fi novels. Just you see the same same things and I thought you’re still remind me a bit of Emile Zola, except that was Emile Zola like Noemie probably talk more about this. She is actually read him in French like it’s like a suffocating atmosphere years was extravagant like there is this twisted dark right things are grappling and knowing and and it’s and it’s just there’s no clichés so much to you is when your Formulate sentences because with a lot of creators that are in this group and that will hopefully watch this when you creating sentences. Are you consciously crafting each sentence to be cliché or is it a natural unintended process where you you have this world, You have this vision and this sentence just come out unique.

[00:32:39.06] – Hiron Ennes

Oh my god, I wish now it’s it’s very deliberate process. I can spend the entire day on the single sentence. It’s actually quite frustrating. You all I can say is like sometimes all right and look at it and say now I’ve heard that sentences before. But it becomes a balancing act between like not being cliché and not being completely incomprehensible. Cause I think there are a lot of sentences that I’ve never been said. But most of them are junk. And yeah, it’s it’s a process for sure and it’s very very pretty agonizing on my part. So I don’t know if I would recommend it, but it is how you get up and at the end of the day.

[00:33:34.09] – John Knych

So you can’t because something we have something we’ve had some authors that they don’t really revise like I just you know, but you always.

[00:33:46.12] – Hiron Ennes

Pathological in fact. I have a type writer now so that I can not revise well, I’m writing a first draft I. I got it for practical purposes. So I can like actually get through something before I decide I hate it and I want to change and in the end I still do the thing where I write a book and the person of it, but at least having like having the strength of physical piece of paper that like I got to get through it before I go back later with the pen and make things up has been immensely helpful in helping me get something out to begin with because on the computer. I’m just two tempted to write a paragraph and then read it over a thousand times. Delete. Delete. Delete and then we write it from scratch. Meanwhile, it’s been at work day. I have three hundred words on my word document so at least with the writer, I get something out and then I can do that light in the editing process.

[00:35:07.12] – John Knych

The sound of painful. Thank you and.

[00:35:09.01] – Hiron Ennes

It’s all.

[00:35:11.04] – John Knych

I want to take you to write burning.

[00:35:13.24] – Hiron Ennes

Oh God, I’m so about a year and. I’m trying to think of how many hours. It would have taken me to write. Oh God, I wrote at least for for hours a day every day for a year and I’m not going to my head, but that’s it. That’s a lot of time. I hear your story about people like writing. Writing a book and five weeks or whatever and I’m like. Oh my god, I wish I’m so you.

[00:35:52.09] – John Knych

Think you back to me if you have a question.

[00:35:56.01] – Orateur 2

Yes, how does the process of.

[00:35:58.07] – Noémie

Writing a second book compared to the process writing. The first one did you have some sound of pressure because the first one was pretty successful. I guess like people did like it because it was awesome. But it was you know a book that really changed a lot of things I guess for science When you came out and did you have some of pressure or where you like people like the first one ? So I’m good to go. I can be a bit weird and I can do something about something. I wouldn’t have necessarily done in the first book. Did you have things like that going through your head and just going through it again ?

[00:36:32.06] – Hiron Ennes

I wish that I wish that I did. But what was going through my head was performance anxiety and you no fear of the sophomore syndrome where whatever it comes next. It’s invariably worse than what can before. If people hated each than they wouldn’t read my second one, which was bad have people loved which I was afraid they would like this one, which is also bad. So whatever it was, it was bad. I actually so when I signed on It was for two big deal and the second book that he was like a high fantasy sort of music by magic and astrology. Best giant creature fever, dream of high fantasy and I. Wish that I tried to write that during my research year in school and it was an other failure. It was so it was. I don’t think it was bad. But it just wasn’t the right time to write this. It’s like epic fantasy that was running me as I was trying to keep up with it. And I was that this was before the typewriter too.

[00:37:59.22] – Hiron Ennes

So this was me spending that our own words just kind of like. It was a really heartfelt book, Broke it and my soul, I gave part of it to my editor at the end of the year. And he’s like no, we can’t really run with this, So I put that one away I read more about a week and then I started German, and I think at that point having having failed something before it even came out made things a little better when it came to Vermin because I’m like you know what it can’t be worse than the last one. So it was like it was kind of a rollercoaster of like performance anxiety and some sort of like writing with the thought of thought of like. What would say about this like what he like this or like with this section need to sensitivity reader, blablabla. And you know it wasn’t really cool to Writing well and I said that you actually get something done and writing well and since that your writing something that you want to write regardless of what you might comes in the future, you know.

[00:39:20.03] – Hiron Ennes

So it was it was involved process for sure.

[00:39:24.23] – Noémie

Okay, alright. Thank you. I hope that we get to have the music best high fantasy with a fever dream into it. I mean it because it sounds very awesome. So I get it. I guess that’s sometimes we will have this. But thank you so interesting.

[00:39:38.24] – Hiron Ennes

I hope when they see the light of day, but we’ll see.

[00:39:45.02] – John Knych

If you know I’m back to brandon if you have a question.

[00:39:49.01] – Brandon

Yes, this might be a little bit of you not but when I was doing this. It wasn’t about to me that the structure right two different timeperiod that the first is that by design. There was I just not paying attention.

[00:40:07.02] – Hiron Ennes

Now it was by design, it was by design. I used to be a dancer and a lot more opaque.

[00:40:15.21] – Brandon

I just.

[00:40:19.10] – Hiron Ennes

Not know it’s it. It’s hidden.

[00:40:23.09] – Brandon

I love you. So I guess my my question about that is how I feel like they are kind of things and more. So as you go along. Did you write like an outline before the kind of pieces all these together and come as you are the things are revealed. Did you have to outline ? That are you just that’s just how you write it.

[00:40:54.09] – Hiron Ennes

It’s a bit of both like you and this is how I’ve been answering. Every question is like intergrated with each other, but I wrote and I started writing the book I delighted that outline, I wrote a different outline. I wrote a little bit more in the book, I changed that outline. So I feel like I’m learning about this about myself and real time is that everything that I write things to be of my goal was like to have people arrived at that conclusion at different point in the narrative, so I would sprinkle things here and there and make some of my early readers took a long like friends and family. They all read my stuff one of my readers who clearly we share your mind figure it out like with and like the first to chapter and I make like what ? And then like my sister didn’t figure it out and like way down so clearly there are like there are different Different time at which people arrived at that revelations and I kind of wanted to keep that because I think it’s it’s kind of cool to see like you figure it out when and whenever I got the text message.

[00:42:18.24] – Hiron Ennes

I’d be like what part of the book ? Are you And that be like I’m about you know this person of the way through and I’m like. OK ? That’s a good. That’s a good spot. I can I want to build like like a diagram of it like a history of the time. I wish people figure it out I think.

[00:42:34.18] – Brandon

I think I was about half way through it. That’s it. I feel like this will be a good book to read. So I’m sure, there’s a lot of him and there that would you could catch on a second, second Read.

[00:42:50.09] – Hiron Ennes

Here I wanted to write something that had readvalue because I encountered so few of those books like just in everyday life that I don’t know I find that meaning a book that you finish and you’re like how I am going to read. This is kind of and special thing for me. So I was hoping that.

[00:43:08.18] – Brandon

I think.

[00:43:10.12] – Hiron Ennes

Thank you.

[00:43:12.01] – Brandon

Thank you.

[00:43:13.17] – John Knych

Yes, may be here in the point. I wish people discover what’s going on is the litmus test for how they know you. Maybe you know. Yes.

[00:43:22.21] – Hiron Ennes

Yes, They are like how I know you’re all I know all the things I know what they are up to you.

[00:43:30.01] – John Knych

And I don’t share this with Brandon and everyone else, but I went dark and social media for like the last two days to make sure that I finished the book and what make me go there was I opened the good show and I saw Brandon just write the reveals and I immediately I push to the side. I was like that I was cause I could since I could since there was going on, but I think about sixty-five person take two third yeah, but not at me just jumping in alright. Thank you Brandon back to change if you have to have a question.

[00:44:02.15] – Orateur 8

I don’t have a question.

[00:44:03.11] – Jenn

But I just wanted to add to that that. I finished the book and I immediately thought I need to read this again just because I wanted to pick up those things that were sprinkle old through before I realized what was going on and I was just that was a really great feeling. So you think you think.

[00:44:24.17] – John Knych

And we’re quick before he moved to Brian head you encounter in this world for one watching this, but had you encountered this parallel type thing before is that your own construction.

[00:44:40.06] – Hiron Ennes

I have it might be a thing situation where where I’ve seen it before I wasn’t really. It doesn’t really jump out in my mind as something that I’ve seen like. I mean I’m sure, I have someone is doing it. There are a lot of different narratives or they are like to know that meet in the middle of two that meet at the end or something like that. But time is nothing.

[00:45:22.20] – John Knych

I’ve never think pretty and that’s good. But I never seen it done in the way that you did it. I’m just.

[00:45:30.15] – Hiron Ennes

A cool. I’m I’m sure it’s there. But it might just be one of those things you know.

[00:45:40.02] – John Knych

I don’t do you, Brian, if you have a question.

[00:45:45.14] – Brian

Yeah, That’s where I would say that that it felt even if it was something else like the combination of the different elements differently get it felt like something to me. I have a kind of I guess what kind of specific questions in the use of the manual. So we have the manual of this kind of us like it was like bedtime stories to extend and we have no memorizing the manual of all the different entry and how they have been new entry in a while, but then we get all of a sudden. I just a bunch of the story starts picking up. WE first get the one like you knew that they’re like using the produces all these weapons and all these things. But then the outcome of from that is that they have all of these other entry and some of them felt like they were actually potentially kind of Vermin, They were other things that seemed to fit in with what was already in the manual that we knew about, but then other words are like people infected by this people affected by this other product of this other people who worked for this specific company and the manual kind of turned into almost a form of like, I’m going to write a list of my political opponents and put them into this.

[00:47:07.12] – Brian

And now we’re going for him. I guess it’s kind of someone what you thought about you, but was this so more social commentary.

[00:47:17.00] – Hiron Ennes

Yes, it was. It was very deliberate and. Not to settle, but in a city where like extermination and funding of giants. Big things to be like in every day. One way of you know essentially the amazing and eradicate political thought that you don’t like this to just add the people who have those into the manual. So like I think at the end, they had like newspapers like something Certaines. Printing house to the manual and they just add anyone to the manual that they want to run away with so. No.

[00:48:09.05] – Orateur 9

No paroles in the world.

[00:48:11.12] – Brian

Or.

[00:48:12.05] – Hiron Ennes

Not at all.

[00:48:15.20] – John Knych

Thank you Brian before my last question. I’m. Back on the the the parallel structure. You did that we all have considered unique. I think it is presented so so well for for me. Brandon mentioned the group that you’re revealed are almost like nonchalant right ? It’s like you know like it’s like a very soul like. Yep. Yep. Here’s the Here’s what is going on. But the the way that it’s mixed with the society. That’s not only collapsed and his collapsing and it’s built on top of each other. And there are these fantastic elements, right ? These chemicals that change people it just it fits fait de make it felt very plausible for the world that that you built which I think that’s not always true with that type of parallel structures that you got almost feels like a cheesy. It can feel like a cheesy moment if the world doesn’t doesn’t work for it, but alright my my last question. We’ve had a question of authors before which is you just mentioned this talk your research here and I saw online that you.

[00:49:25.14] – John Knych

I don’t have this is true. This could just be a lie online, but that you have you to research with disease or medical stuff. Could you talk about your work outside of writing and if it inform your writing at all you so.

[00:49:39.17] – Hiron Ennes

I am I’m a doctor Now, I wrote like in the the period between underground and medical school. I took that research year, I did actually research on Covid vaccination and development of antibodies after vaccination and all levels of antibodies change over time and like between demographic. And during that research here was when I wrote the the big fantasy that never saw the light of day, and then vermin I wrote during the last year of medical school and my first year of residency, which I would not recommend. I woke up it for every morning to do it. I am now a pathologie residents, so I am. I have one more year of residency and then I’m going into forensic pathology fellowship and then I’ll be a real friends before just after that so two years, Then I’ll be a real doctor. Who will.

[00:51:01.23] – Orateur 2

Not ?

[00:51:07.05] – Hiron Ennes

Be enough. I feel like the stuff that is my writing from my work is more on the story of art lab science side rather than like the death investigation and crime side. But we see that changes in the future is like a sort of shift from you know a research in hospital work and two medical examiners work. So we’ll see where it goes very interesting.

[00:51:36.06] – John Knych

Thank you. And I go out one more person who we had on this group and was also a tort author of Djèli Clark. And you know.

[00:51:45.24] – Hiron Ennes

Everything.

[00:51:47.01] – John Knych

Yes, we actually discover the master of Giants As a group but I bring them up because he works at the historian as a he has a PhD in the history with us that like none of his colleagues are students know that he published scifi. So the question is who you do your other doctors or colleagues know that you have this other life or do you keep it secret ?

[00:52:15.03] – Hiron Ennes

I keep it on the day by day. So I used to be totally secret when I thought I was gonna go into clinical medicine and like my patient can read this. They can’t be like Oh my doctor came up with that there and saying. Hum, but now that I am more in the pathologie. The sort of assumption is that you are in saying if you’re in pathologie, so it’s more socially acceptable to do right weird stuff and pathologie, so a couple of me now and a couple of my Generally like it’s not really conversation piece. Cause it’s usually not to what whatever I’m talking about with them. But if there like what would you do on your holiday ? I say well, I was my book tour. So if they ask I’ll bring it up.

[00:53:13.13] – John Knych0

Thank you.

[00:53:14.05] – John Knych

That was my last question. So any final any final question.

[00:53:20.21] – Brandon

After the recording.

[00:53:23.13] – John Knych

Okay.

[00:53:26.05] – Brandon

Okay.

[00:53:27.20] – John Knych

Noemi. Jeanne. Brian. Any any final. Question. Alright. Well, thank you very much. I’m gonna end the recording in a couple sequence. It was a pleasure hearing you talk about your your process the book. Thank you so much.

[00:53:45.05] – Hiron Ennes

Thank you so much. It’s really fun.

 

Ness Brown

[00:00:01.13] – John Knych

Hello, everyone. This is Ness Brown. Thank you for being here, Ness Brown. Ness is an astrophysicist and also a science fiction writer. And today, we’ll be talking about her debut, The Scourge Between Stars. So my first question for you, Ness. It’s a two-parter. Number one, can you share with us the origin of the book, the idea, how you came to the idea for the story? And then number two, can you share with us a little bit about the publication path? Because I read in the Acknowledgments that you wrote it in a month. And I’m curious to know whether you did that on a deadline with an editor that said, you need to write this fast, or you wrote it and then found a publisher.

[00:00:43.12] – Ness Brown

Thank you so much for the question. I first remember considering this idea all the way back, I believe, at the beginning of my undergrad experience. I was home for the summer, and my father is a huge sci-fi horror nerd. I come by it honestly. And we were rolling through our usual roster of pitch black, Doom, revisiting all of the highlights from my childhood. The worse it performed critically, the better. And I remember briefly flirting with the idea of some scenario, where you have your usual enclosed in a spaceship, something else is on board, the very familiar sci-fi horror scenario. I was curious about adding the element of the hint of cosmic horror, something greater than what we know, something far beyond ourselves, and then the uberhuman element of horror, where we also have just the run-of-the-mill evils, that still, sadly, plague society, and just a story where all of these horrors are competing with each other. And that leads handily into your second question. Excuse me. I did nothing with the idea at the time. I just put it to the side for many years. And then in June of 2020, I found out about an event that Tor Nightfire, the horror imprint, was holding, where they were looking for submissions from Black Indigenous Writers of Colour who did not have representation.

[00:02:40.07] – Ness Brown

So if you didn’t have an agent, you were free to send in any manuscript that you had, and then they would consider it, which is a pretty special opportunity. And the deadline was July of 2020. So I was absolutely staring down the barrel of a really crazy deadline, and I had no book. I just knew I really wanted to try to take advantage of this opportunity. So for four weeks, I essentially wrote for 16 hours a day, just to see if I could meet the deadline, see if I could turn something in. I submitted the story at 3:00 AM, the day that it was due. I just made it. And even though I suspect there are…I think there’s evidence of the fact that it was written in such a short amount of time, but I still dearly, dearly love the book, and I’m so grateful for everything that Scourge has opened, the further doors that it opened up to me. It was a true delight to write.

[00:03:44.24] – John Knych

Wonderful, thank you. Well, there’s definitely an urgency in the story that the reader feels, that when I read the that you read in a month, I was like, oh, yeah, you feel that pull. Thank you. So the format for this Ness is we do just a round table. We go around to each, every one. And if people don’t have questions, I have six questions here, so everyone’s welcome to pass. But we’ll go to Brandon, since you’ve been part of these talks, we’ll go to you for your next question.

[00:04:18.24] – Brandon

Thank you, Jack, for putting together these talks, as always. And thank you, Ness, for being here today. Yeah, I didn’t realize it only took you a month to write. So, you were saying that it seems like you wrote it quickly. I thought there was a lot of world building and backstory, like we don’t see beyond the story. There’s this failed colony, there’s these unknown attacks on the ship. I feel like there’s a lot more world building to it, but maybe there wasn’t. So I guess my question to you is, how much world building did you put into this story? And Is there a lot to it that we don’t see in the story? Or is it just you wrote this as quick as you can, and what we see is what all it is?

[00:05:11.13] – Ness Brown

Thank you very much for this question. This is something that I love to talk about, because I mentioned writing this in four weeks, and I would say that the first week was actually me doing all these calculations to make sure that I got the distances, the speeds, the timing right from here to all à Alpha Centauri. I created names for 300 ships because I was envisioning the original colony effort that went over to Alpha Centauri, was something like 6,000 ships strong, and I wanted to get their structure. I wanted to understand the full detail. I’m not an exoplanetary scientist, specifically, but I did a lot of looking at what have we found out about the surface of Alpha Centauri so far. I would say that there’s definitely a ton of things that I looked at originally. And there were some other elements that had been present in the original draft, such as a little more information about the attempted coup on the ship, and so on and so forth. But part of the publishing process is making sure that on the publishing end, the book fits nicely into not just existing genres, but also existing format, so novella versus novel.

[00:06:33.14] – Ness Brown

I think the original draft was straddling the line between the two, and the publisher was like, Why don’t you slim this down, and we’ll package it that way? I think about 10,000 words got cut in the end, and not everything that I thought about for this world was able to make it on the page.

[00:06:57.08] – Brandon

Thank you.

[00:06:58.24] – John Knych

Thank you, We’ll keep going around the horn. Josh, next question.

[00:07:05.18] – Josh

Hi. Thanks Ness, for joining. It’s really cool. I am equally partial to the failed colony efforts of the futures. So that grabbed me quite quickly in the book. You mentioned about with your dad watching a lot of the… Did you say? The worse it performed, the worse the box office, the better. The three things that came to mind when I was reading was the military-civilian conflict from Stargate Universe, the cosmic horror of Event Horizon, and then a little bit of the colony efforts of Pandora, which I don’t think many people have seen. What were you thinking? Which influences were you drawing on when you were writing this and planning this?

[00:08:08.19] – Ness Brown

First of all, those are great films. I think Pandora is one of my dad’s favorites. One that was really big for me is not a film, but the video game Dead Space.

[00:08:21.06] – Brandon

Oh.

[00:08:22.03] – Ness Brown

Yeah, specifically the original. I love what the remake did, but something about the original really hits I don’t necessarily flatter myself to think I succeeded, but I really was interested in just capturing the feeling of even just walking the corridors is goosebumps-worthy. When I was younger and first starting to play Dead Space, I couldn’t get through 15 minutes playing because my heart was beating really fast. And I guess I the idea of the scenario being so nerve-inducing that… Or I guess what I’m trying to say is, I really like the atmosphere, where nothing necessarily needs to be happening immediately, but you’re in that heightened state. So that was a big influence for me. If I could recapture that feeling in a book, that would be a big milestone as a writer for me. I can’t wait to try again. Were there others? I’m trying to think. Certainly, the generic template of Alien, it’s just so classic and so pervasive, and spaceship horror that you can’t help but elicid the comparison, which is intensely flattering. That’s a great question. I’m certain that there’s a lot floating around there for me. I think the atmosphere of dead space, I think I could feel it in parts with the banging on the wall, and particularly with that bulkhead being where everything comes from and hiding in the walls.

[00:10:18.16] – Josh

So, yeah, I think that worked.

[00:10:20.17] – Ness Brown

Thank you so much. I think on the action side of things, I was also thinking a lot about, in more games, but like Mass Effect. I really love not only Sci-Fi action, but Sci-Fi horror. So I wanted to have a bit of shoot them up in there as well.

[00:10:42.12] – Josh

Good choices.

[00:10:43.03] – Jenn

Hi. Thanks for being here. So you are an astrophysicist, which I think is very cool. How did that inform your writing? It feels very realistic.

[00:11:03.06] – Ness Brown

Did you try to fit in as much scientific accuracy as possible, or did you feel extra pressure if something wasn’t right? Or was it just fun to be able to explore this world with your background ? Definitely a mix of the two, I would say. Thankfully, I had a lot of support in the astro community, from my peers, from professors, from senior scientists, that I knew. And knowing that they would read it, that they meant to support me, was extremely nerve-wracking. But I didn’t necessarily hold myself too stringently, to the need, I guess, to be perfectly scientifically accurate or to represent everything that I know on the page, in part because I’m not always a hard sci-fi fan. Sometimes I really like it. Sometimes I want the former rocket scientist to walk me through the construction of the ship in the story. Sometimes I really want it to be more of what we were speaking of previously, the atmospheric sense. I would say that I don’t think anything that I wrote in the book is anything that a non-scientist, but just really good writer and researcher could write. I think anyone could, but I do think that my expertise helped me do it faster.

[00:12:38.07] – Ness Brown

I think I was able to create this story on the timeline that I did, just because I do have the background. So that was an enormous boom. There were definitely things I was nervous about, on the robotic side, talking technology. I don’t feel the most comfortable in that sense, especially because I’m not even necessarily a theoretical or computational astrophysicist. I’m an observational astrophysicist. So I was dipping my toes in other sub-fields, which ended up being really fun, and I hope to do more of. Cool. Thanks.

[00:13:15.19] – John Knych

Thank you, Jen. We had a… Jen has her child right next to her that just asked a question. Yeah, a baby question. Net, so all right, back to the top. So my question tries to combine all three of Jen, Josh, and Brandon’s comments. We talk a lot about world building with this science fiction reading group, just because sci-fi is just known for it. So you mentioned that in the four weeks of you writing this, the first week was pretty heavy world building. And Josh mentioned that what grabbed him for the book is failed colony effort. For me, it’s arch-ship. I love reading about archips. So what grabbed me for your book was not only the cover, I like novellas, but I just love thinking about how King Mandi could survive on an Ark ship. And I thought you did a great job with sticking with… Not doing too much with details. There’s a line I love, which is, despite ventilation’s best efforts, even though every surface was practically ooozing heat sink paste, it was oppressively hot. I never heard of heat sink paste. My question to you is, in that whirlwind first week of world building, how much did you do of Arc ship research ?

[00:14:43.01] – John Knych

Because I’ve tried it, and it’s like an abyss, right? So many things interact with each other, like the ventilation system, the heat, all that, radiation. You just have so many issues. So how much did you do? How much do we not read? And then, do you plan on doing more ARC type books in the future?

[00:15:05.11] – Ness Brown

Wonderful question. I would say that beyond a critical look at the logistics of this, such as… For example, when I was thinking of these ships, I started looking up the schematics of crew-ships, just trying to see what do we have presently, what mass transportation vehicles do we have presently, and what are the considerations there? Because I feel like… I don’t like cruises. So to me, it feels very similar to being enclosed in a space with very limited resources that you’re very aware of all the time. So I would say that I put more effort in on the logistics, trying to understand the numbers, trying to understand the organization. And then, when it came time to write the generational environment, I deliberately wanted to focus more on the psychological social aspects, since that was something that I was more familiar with. At the time, I was teaching an introductory astrobiologie course at University of New York System. One of the things I talked about with my students was the the inherent issues with generation ship travel, a lot of which, beyond just the logistics of food, air, waste, etc, are intensely psychological and social. There just is not a lot of evidence right now that human psychology and human social patterns can withstand our ship travel.

[00:16:52.05] – Ness Brown

And so I wanted to play into that because something that happens on the way to the colony is, everything works à grève. Our jump tech, our work tech, our Hyperspace tech is working fine. We get there in a minimum number of years. It’s within a human lifetime, I think. But then on the way back, is when everything starts to degrade, and we have to confront the reality of this choice, and it’s not looking good. Everything falls apart. I’m sorry if I didn’t answer all of the questions.

[00:17:29.21] – John Knych

I just realized I forgot the second aspect. No, you did. You touched on this in the book, how do you get future generations to care about the mission that their ancestors started? I thought your choice of, like, rebellion, yeah, it’s going to happen. People are going to say, I don’t… And then, tough decisions have to be made. But, yeah, the one part of the question, though… So, when you were more thinking about how will people get stir-crazy rather than how will this event interact with this processor or whatever, that the social issues concerned you more than the actual functioning ?

[00:18:19.13] – Ness Brown

Yeah, I would say so. And I think the times when I do include a little bit of info about actual ship function, like when we look into the techie space or when we go down to engineering and we’re taking a look at the core or things like that, my main concern with those sceNess was, one, communicating, at least what I know of in my life, of the sense of what those spaces really feel like. So, for example, one thing that many people don’t always know about astrophysics and astronomy, is that it’s a lot of typing stuff up, letting it go, and then waiting for hours, and hoping that it works, and that it provides results that are actually worth analysis. And, while you’re doing that, you can be loaded in un office, with a ton of other grads, or you can be shut in in a space that is really hot, because the Supercomputer Cluster is doing this, or even in engineering. I certainly have not been in a spaceship engineering space, but I have definitely been to mirror labs, which are these really, really vast laboratoires, où les différents scientifiques sont créant les murs pour ces grands télescopes, les Next Generation, les étoiles de base de télescopes que nous mettons.

[00:19:40.21] – Ness Brown

À U of University of Arizona, they have a mirror lab underneath their stadium, and I was able to go there. And it was really fascinating just to see that set up. So as maybe lazy or lacking in scientific integrity as it may be, I think my primary concern was the vibes, so to speak.

[00:20:06.21] – John Knych

Thank you. Yes, in a novella, you bog the reader down with a tangent on too much of the mechanics of it. Thank you. Moving on to Brandon.

[00:20:20.19] – Brandon

Yeah, this is a little bit out there. It doesn’t have anything to do with the book, but just since you’re an astrophysicist, and I’m guessing science fiction fan as well. Do you think, and realistically, that a human being will ever leave the solar system, knowing that space travel is as hard as it is ? We’re not really going anywhere with space right now. So do you think we’ll actually ever leave the solar system ? Yeah, it’s an out there question, but…

[00:20:56.24] – Ness Brown

No, I like it. My intuitive answer is no, for a couple of reasons. One, the power draw of interstellar travel is orders of magnitude higher than interplanetary travel. Interplanetary as it is already difficult for us as it is, prohibitively expensive. So we would have to make a genuinely insane leap in technological ability to get beyond the solar system. I’m assuming, in this question that we’re actually trying to get somewhere and we’re not just going to the heliopause and being like, Oh, we touched outside, let’s go back home. If we really had the destination, the technological advancement would have to be vast. The other issue is that, usually, when we conceive of interstellar travel, it’s purely about increasing our speed, to make it to the next star system before our bodies, before our technology fails. You have to do it quickly. But I don’t know… And I guess my caveat would be, I’m not a space scientist or a rocket scientist, but I don’t know if we have really good ideas for shielding when it comes to rocket design. So once you start going at certain percentages, the speed of light, any collision with anything, even if it’s a really, really tiny meteorite or space dust or whatever, to my understanding, that’s going to punch holes in your ship, which is one of the biggest problems of space travel, any breach at all.

[00:22:39.06] – Ness Brown

I think the technological and the design aspects are too tough, and then add on to some of the psychological social aspects that we talked about before. Maybe that’s too negative, but I guess with my 2025 understanding of where we’re at and where we can go, I think it’s for me.

[00:23:01.08] – Brandon

Thank you for that. I have the same feelings that you do. So thank you.

[00:23:10.01] – John Knych

Thank you, Brandon. Moving on to Josh, or you can pass it off.

[00:23:15.07] – Josh

Between two questions, I think I’ll go with… I might be getting the name wrong. Is it Watson is the Android ? It was Watson. Watson is interesting in that he, she, it… Almost comes across as gaining sentience. Is that part of the point where you were like, I’m a little bit uncomfortable with this, or Was there more research into that ? Because it seemed like he was limited to his own computing power. And given what we’re seeing with AI or LLMs and stuff at the moment, going back to that vast amount of power required, I wondered where that fell on the hard, soft, sci-fi scale.

[00:24:27.12] – Ness Brown

This is another great question. I definitely wanted Watson to continue the underlying conversation in the book about resources. The entire reason we’re heading to Alpha Centauri is because extremely inefficient stratified and corrupt use of resources here on Earth. The cosmic punishment for that is getting to Alpha Centauri and having the situation flipped, where now we’re in a world unlike Earth, which has abundant resources. This is a planet that is nearly ressourceless. Coming from the decadence and the abundance of Earth. We’re completely unsuited, we can’t survive. Watson, I think, to me, was an extension of this conversation on how do we utilize these resources and how does the corruption that we had in resource use on Earth continue to manifest. I didn’t consider Watson as fully sentient because I personally don’t understand what an actual artificial intelligence, a sentient artificial intelligence would look like. I’m only familiar with the most basic entry-level, like neural network, version of artificial intelligence, which I don’t think it necessarily counts. But I did want to showcase a machine whose capabilities are so robust that it does look like sentience, and have that be a really uncomfortable sticking point for the other characters in the novella.

[00:26:14.00] – Ness Brown

I had Watson’s owner, Otto, literally abusing those resources. And in Jack’s case, Watson representing a reconciliation with the idea of resources. So I think maybe similar to the ARC design, I didn’t want to stress necessarily over the technology aspect, because I think we have a lot of projections and predictions about where AI will take us, or what it could look like. And that’s super hairy, and I didn’t want to get caught in the mess. So I definitely wanted to keep it down so I could explore, maybe, more of the philosophical implications of Watson’s presence on board.

[00:27:08.09] – Josh

That makes sense. That’s interesting. I hadn’t thought of it in that term of resources. Yeah, interesting. Thank you.

[00:27:20.06] – John Knych

Thank you, Josh. Moving on to Jen, if you have a question.

[00:27:25.02] – Ness Brown

No, I’m just going to pass it along.

[00:27:30.06] – John Knych

Thank you, because I just had one that popped in my head. This is question/comment in that… And that’s another reason why I’m grateful that you’re here, and that I reached out, is we’ve had a lot of old-school sci-fi authors already on this chat, and I wanted us to talk with someone who’s like, It’s your début, right ? And we could talk about this in the last 10 minutes, but I’m sure you’re working on and dreaming of other projects. But what you just said there, and Jos’ question about knowing your limitation of knowledge with AI and with our chips, and trying to respect that, it’s very different. We talked with Peter Watts and Alastair Reynolds, and both of them came from a time, like the beginning of the Internet, where they could read all the sci-fi books that were available and really get a taste of all the different science. Now, C’est impossible. As a sci-fi auteur, you have to really… Because we progress so much in the last 20 years, if you try to step too far, your ignorance vous apportera. Donc, comment vous… Il me semble que vous avez a conscious effort of being like, I don’t know a lot about that.

[00:28:48.11] – John Knych

I know a little bit. I’m going to not go too far down the sentient conscience. That was just a me ranting comment. But my question to you, this is going down different path, creative process. In the beginning, I wrote down, Father, sister, mother, not present for the protagonist. We don’t see the father until near the end. Did you know, right in the beginning, that you wanted Jack, to just be alone, in a sense? Or did you work on the story and realize, yeah, he has nobody? That decision to not have her family members, how did that play out in your creation of the story?

[00:29:35.20] – Ness Brown

For me, that was deliberate for two reasons. The first was that I definitely wanted the to feel haunted in the sense of there are many ghosts here. And that’s because, just inherently, the idea of trying to establish an exo-colony, it means leaving countless people behind. I definitely wanted the Calypso and the entire Exo Colony fleet to feel haunted by everyone left behind. In my opinion, people who are in Jack’s position, where you understand exactly where the mission is, and it’s not looking hot, I wanted those people to be plagued by this knowledge that they were chosen They were among the privileged few who got to go on this journey. Obviously, they weren’t the oNess literally flying off Earth, but they’re the chosen privileged few on this journey, and they’ve mucked it up, patently, profoundly. Jack, experiencing all of her closest relationships in memory, to me, I really wanted that to evoke this sense of That’s just where everyone is now. Everyone’s a memory. And what you do now has to be for them or in spite of them. And I wanted Jack’s journey from feeling incredibly insecure and feeling incredibly haunted, to feeling like her own person, and like she’s brushed off the ghosts a little bit.

[00:31:22.07] – Ness Brown

That’s the feeling that I wanted to evoke.

[00:31:27.08] – John Knych

Thank you. Thank you. Now, that’s what I’d say. I was wondering how your motivations for just… To me, I just thought like, yeah, it’s a ghost town. It’s a ghost town, emotionally and surrounding. Thank you. On to Brandon. Back to Brandon, if you have a question.

[00:31:45.18] – Brandon

Yeah, sure. You said you wrote this in four weeks and then you submitted it. Can you tell us about your experience from the time you submitted it to when it got published? What was the experience like of actually getting the book published? Did you have to do edits? Was there drafts? How did the cover artwork get done? What was your whole experience of all of that process?

[00:32:14.18] – Ness Brown

Yeah, I love talking about this because it was so magical. I definitely feel incredibly lucky to have been chosen for an opportunity like this. I don’t know how many people also submitted their manuscripts, but it felt amazing to be selected and experience everything that’s happened since. So the deadline for the submission de la lettre de la lettre de mai 2020, je l’ai entendu en septembre 2020. I heard back, December 20. So it’s not a… Well, maybe for some people, that was a very quick timeline. But for me, who had never done anything in publishing before, it was quite a wait, and I was very nervous. But they reached out to me, December of the same year, and then I spent the next something week, some number of weeks, looking for representation. And that was much easier for me than I know it is for other début authors, because when you don’t have representation, you have to shop your book around. For some people, that process will take years. But fortunately, because I already had the book deal in hand, I definitely had more people interested in representing me, and it wasn’t as much of an uphill slog as I’ve heard that it can be.

[00:33:35.23] – Ness Brown

So I was extremely privileged in that sense. The next two years were a combination, first of editing. So what happens is I accepted, had my representation, I signed all these contracts, and then I ended up working with an editor. My editor is Kristen Temple at TOR, Kristen is an amazing human being, definitely go read, essentially, any other person represented by Kristen. She finds incredible talent, and they do amazing things together. For me, I was told that my original manuscript was quite clean, especially for being written in a short period of time, so I didn’t have back and forth edits. It was one big chop, essentially, and then I was mostly good to go from there. Once the draft is ready, that’s when we start bringing in the other specialists, like typesetters. We bring in people. Speaking of the cover, that was one of the most magical parts of the process, because I was asked, do I have anything in mind ? I sent over some pictures, and then I found out that they had gotten Chris McGrath to do the cover, which was insane because I’ve since moved, but I used to have my office where all my books were behind me.

[00:34:57.03] – Ness Brown

And you could see five or six books just right behind in my head that he had done covers for that were in my library. Chris is just a phenomenal artist, incredible at what he does. And that was a highlight for me, for sure. I was definitely fanning out a bit. And then, yeah, leading up to the actual publication, I had someone at TOR, essentially… The word’s coming out of my head. Marketing ?

[00:35:30.00] – John Knych

Publicis, maybe.

[00:35:30.22] – Ness Brown

Publicis. Oh, goodNess. Thank you. I’m a writer, I swear. Yeah, so the Publicis took over and was able to set up exactly events like these, where I had the immense honor and pleasure of talking to other book clubs, talking to podcasters, talking to magaziNess. It was awesome. It was really, really great. And then publication was incredible. They essentially asked me, Are there local bookstores that I like ? I told them the bookstores that I patronize, and one of them, Historia Books in Queens. Since I was living in NYC at the time, they hosted my début. So it was incredible. And now that I actually have other projects that are on the timeline to being published, I’m really excited to do the circuit again.

[00:36:25.17] – John Knych

Thank you so much. C’est awesome.

[00:36:26.24] – Brandon

Yeah. Thank you.

[00:36:28.12] – John Knych

The publishing industry is opaque, hearing you describe that whole process, I’ve never heard that before. So thank you. That was great. Josh, I have a couple questions, but we got to respect the roundtable. On to you.

[00:36:44.22] – Josh

I just have a quick follow up then to that last point about the… Particularly with the marketing. My understanding from other people in the industry been basically that once they got the book out the door, that was it, you’re on your own. So it sounds like they actually gave you quite a lot of support in terms of marketing and publicity. I don’t know that you’d necessarily have anything to compare it with, but is that, in your experience, standard ? Or was it because of this competition or open submission period, that you’d that they were doing that ? Was it related to that, that they were pushing it, or was it just standard, I guess ? If you were able to answer that, I don’t know.

[00:37:42.14] – Ness Brown

I think the things that immediately pop into my mind are that, one, I was getting published, ultimately, under the umbrella of Tor, which is such a huge publisher. They have incredible resources. I think they could afford to do that. I think that people that are getting published at maybe smaller houses, it might look very different, which was something I was aware of at the time, because my thought process, not to be self-déplicating or anything, but my thought process was… This is a lot of attention. I don’t think the book… Yes, I’m really proud of what I did, and I love Scourge, and I’m so grateful for everything it did for me, but I don’t think it’s… It’s not revolutionary. I think it was part and parcel of just being with a bigger publishing house. Then, two, to my understanding, the Imprint Nightfire was relatively new at the time that I was joining them. I think that they were interested in just getting the word out, letting people know that this horror imprint was really taking off. And at the time, if I remember, there was one other space horror book. So I think, jointly, we were two of the books that were coming out, that they were using to represent, here’s our space here’s our folk horror.

[00:39:01.12] – Ness Brown

We ended up being représentatives of that push. I can’t say, maybe, for certain. I don’t have a strong answer to your question, but I think those were factors.

[00:39:13.06] – Josh

That makes a little sense. Yeah, that’s cool.

[00:39:17.15] – John Knych

Thank you, Josh. Ken, you want to pass it off ? Got a question ?

[00:39:26.22] – Ness Brown

It’s all you.

[00:39:27.23] – John Knych

Thanks, Jen. To continue down this path of pretty interesting publishing path for this book, Ness, I know there are a couple readers who aren’t here today that are striving to publish in sci-fi, so I’ll tell them about this talk and that they should listen to this part. But you mentioned that, and this is true, to get an agent using an uphill battle. But for you, it was downhill. And my question is, to me, it seems like it should even be easier than a downhill, because you’re reaching out to agents and being like, I already have a publisher. That’s so rare. It’s basically saying, I want to give you money if you represent me. So my question is, wouldn’t the chips be on… Usually, you’re reaching out to an agent, Hey, I have this idea, but you have a publisher. Were you able to pick and choose your agent ? Or did they try and reach out to you and say, No, look, I’ll do this for you, I’ll do this for you ? What was the agent conversations like ?

[00:40:39.12] – Ness Brown

Yeah, it wasn’t quite a pick and choose situation, largely because agents are also limited resources. I did come across people who, I think, were interested in my project and very, very interested in the fact that it had sold itself. But they already had a lot of clients. Their client list was full, or they were currently representing a sci-fi horreur, and they were like, I am not in a position to double-dip at this time. And that happened to me with an agent that I really wanted to work with because, again, I had so many of her clients’ work on my book shelf, but she was really swamped, obviously. She was a very prolific agent, but she ended up me off to a junior agent at the same agency. And ultimately, it came down between this junior agent at this agency, whose clientèle list included a ton of the people I read, versus a really well-established agent at a super famous agency, lots of big names, like R. A. Salvatore and everything. And I actually ended up going with the junior agent à l’agence plus parce que je sentais que j’avais tellement de choses à l’agence, le travail de ma vie en personne.

[00:42:05.01] – Ness Brown

C’était la chose que j’aime. On a eu une bonne conversation, l’agent et moi. Et j’ai fini par rester à l’agence depuis plusieurs ans. Donc, It was the stuff I really liked. We had a good conversation, the agent and I, and I ended up staying at that agency for several years. So ultimately, it was the right choice for me. But yeah, I would say that it was a little shocking that even after having all the… Everything in my pocket, it still was a little bit of a ordeal.

[00:42:31.04] – John Knych

Thank you. Brandon, back to you.

[00:42:35.15] – Brandon

So I’m a pretty big fan of sci-fi horror, but I feel like as far as books go, there aren’t… It’s been getting better recently, but there’s not a whole lot of sci-fi horror out there. And you mentioned you have a lot of movies you like. Are there any books out there, sci-fi horreur books, that you enjoy and can recommend ?

[00:43:02.09] – Ness Brown

Excuse me. I always give a shout-out to my former agency mate, SA BarNess.

[00:43:11.07] – Brandon

I’ve read hers. Yeah, she’s good.

[00:43:13.22] – Ness Brown

Definitely a good time. I’m sorry, not agency mate, publishing me. Darcy Coates, very famous. I like Sue Burke, the Sémiosis trilogy. I love. Caitlin Starling, I like. Did you read The Luminous Dead ? I like that one because it combiNess space horror with cave horror. Cave horror is so much worse to me. So scary. So that was definitely a really nice space psychological horror. I’m trying to envision what’s on my book shelf right now because it’s not behind me anymore. Definitely those names. I’m also thinking of Casey JoNess, Another publishing mate of mine, I think his debut was Black Tide, which I think is about… It’s Earth-based, but it’s an alien invasion, if I am remembering that correctly. Those are the things that come up right now. I would have to do a little book search.

[00:44:18.17] – Brandon

Thank you. Yeah, I was glad to see that your book came out, and I really enjoyed it. So it was a solid addition to the sci-fi horror genre..

[00:44:32.01] – John Knych

Thank you, Rant. Thank you. And shout out to Sue Burke. She was one of the first speakers we’ve had for this group. She was super kind and interesting. And she told us all about how she came, the origin of the Plant of Simeosis. She saw her plant in her apartment, like attacking another plant, and that was the seed, no pun intended, of the idea.

[00:44:56.20] – Ness Brown

Amazing.

[00:44:57.22] – John Knych

Yeah, she’s a great book. Josh, on to you.

[00:45:03.05] – Josh

I’ll pass. I don’t have anything else on my question list, so go ahead.

[00:45:08.24] – John Knych

All right. I assume, Jen, you’re passing again, unless you… All right, good. You mentioned earlier in this talk, and we’ll wrap it up in the next 5, 5, 10 minutes, you mentioned that your dad is a big sci-fi fan, and that he… I guess I’ll pass that on to you. My two questions: one, did he read your book, and what did he think about it ? And two, did he comment on the fact that your protagonist has this pretty conflicted… Well, so spoiler alert, if anybody is watching, I mean, it’s… Yeah, it’s a rough father-daughter relationship. So can you comment on your dad’s opinion of this, if you read it, and your decision in the book to have what happened ?

[00:45:58.08] – Ness Brown

Yeah, I am I’m really lucky that both of my parents were so supportive. They were with me with every step. As soon as I messaged my dad, we got on FaceTime. He gathered all my siblings and my stepmom, we got on FaceTime, and we talked about the entire process. And then, even my mom, she started handing out the manuscripts just to anyone that came through her office. But you’re right, I was a little nervous to have my dad read it because I didn’t want him assume anything. But I don’t even think he waited for the official draft. I think he was like, Can you just send it to me ? So I sent him my word doc, and he printed it out. He sent me pictures of himself reading through it. And the one time he referenced the Jack and Noah dynamic, he was like, Does this mean anything ? I was like, No, of course not. And then we just proceeded to talk about the story, and he gave me his thoughts, which were invaluable. It was really, really lovely to talk through it with him.

[00:47:05.23] – John Knych

And does he read sci-fi horror as much as you, or is he all sci-fi ? What’s his reading taste, I guess ?

[00:47:21.00] – Ness Brown

I read way more than him, just period. He’s more of a movies guy, 100 pour cent, but he loves all horror. It happens to be that space horror is his favorite. So he was delighted and astonished when I was able to come to him with the news. But I have found that really helpful because I, especially once I went to grad school, was not in a position to really be keeping up with all of the sci-fi horror, or even juste horror en général, that I used to when I was much younger. And my dad periodically texting me, being like, You should watch this. You should check this out. That has really helped me keep pace with the genre, which has been invaluable for storywriting.

[00:48:10.09] – John Knych

Excellent. Thank you. Why am I final wrap question. Anyone else ? Brandon, Josh, Jen, anything else you want to ask Ness ?

[00:48:23.11] – Brandon

Yeah, I mean, I guess I would ask what you’re working on next. I saw you have a fantasy novel coming out ?

[00:48:33.07] – Ness Brown

I do.

[00:48:33.22] – Brandon

Are you making a shift to fantasy or are you going to go back to sci-fi ? What are your future plans ?

[00:48:42.09] – Ness Brown

Yeah, thank you. So in the first place, I am also, simultaneously, one of the great delights of my life at this time, I have been able to write a few pieces for Warhammer 40,000. So very grim dark sci-fi. It’s been so awesome, because this is a franchise that, just being mindful of time, when I got published, I turned to my husband and I said, If I could write for these three franchises, Life Complete. And then a couple of months later, Warhammer reached out and they were like, Are you interested ? I was like, Yes. So certainly not done with sci-fi, or sci-fi horror, or sci-fi, anything grim-dark in that realm. And I have two sci-fi horreur projects on my laptop right now, so I’m definitely coming back. But certainly, I think in all of my projects, space will play some element, because even in the fantasy that’s coming out, hopefully next year, that is actually about an astrologer, which I know that sounds funny for an astrophysicist to be writing about, but an astrologer who works his very corrupt master, essentially, tries to sabotage his master, and ends up unleashing something onto their plane that has been chained away for a long time, and he has to figure out how to clean up his mess.

[00:50:14.10] – Ness Brown

So whatever I write, there will probably always be some element of stars in space there.

[00:50:20.18] – Brandon

Awesome.

[00:50:22.14] – John Knych

Thank you, Brandon. Is there a title yet for that book, or a date, or no ? Is it still too far in the distance for title or date ?

[00:50:32.07] – Ness Brown

The title is The Astrologer’s Demon. It was slated to come out fall 26, but those dates often get moved around. But probably in that area.

[00:50:49.03] – John Knych

Thank you. Brandon asked the what are you working on now question. But my last question to you, Ness, and this has already been touched upon in this talk a little bit, your work as an astrophysicist, is it… Do you get… Because obviously, if you’re in the sci-fi world, And it’s just so cool to have someone who’s a saffer writer and an astrophysicist. Do you get ideas from your work, or do you, in your mind, have a partition, where it’s like, here’s the scientific grind, here’s the imaginary, creativity ? Do you get ideas from your work, or do you really divide the two ?

[00:51:44.04] – Ness Brown

I get ideas all the time. And in fact, I was at my program, because I am getting my doctorate currently. I was at my program’s Friday Lunch seminar a couple of weeks ago, and I saw something in a presentation, and I ran up to the presenter afterwards, and I was like, Can you tell me Can you show me what papers there are about that ? And that was a really productive convo. And I immediately started adding it to one of the story ideas that I have buried pretty deep. So, yeah, I would say the overlap of art and science, and this is something I’m deeply passionate about putting forth in my outreach efforts and in my inclusion efforts, even at my school and through my grad work, the overlap between art and science is way more prominent than people think. And I I think that if we were able to spread that idea broadly, I think a lot of people would find that they have a lot of the scientists and the artists in themselves as well.

[00:52:42.17] – John Knych

That’s a great positive note to end on. You mentioned authors. So we often ask, who should we talk to next ? The authors you listed, like S. A. BarNess, Darcy. What was Darcy’s last name ? Hoots.

[00:53:00.21] – Ness Brown

Hoots.

[00:53:01.12] – John Knych

Would you recommend them as authors that should be getting more attention and be read more ? Who would you… Who would you recommend them as authors that.

[00:53:16.22] – Ness Brown

Definitely those two. Definitely, Caitlin Starling. I think, I mean, obviously, Delilah Dawson is not unknown by any means, but Delilah Dawson is awesome. If you like other types of horreur, Scott Leeds, also at Night Fire, is awesome. Really, really great people that I think you would have super stimulating convos with.

[00:53:41.01] – John Knych

Excellent. Well, thank you very much, Ness. It’s been a pleasure. Great, great meeting you. I’ll send you an email when the video has been uploaded, and I’ll share it with our group.

[00:53:53.06] – Ness Brown

Yeah, thank you so much for inviting me. Thank you so much for the time.

[00:53:57.06] – John Knych

And best of luck in your future projects, Je vous remercie. Je vous remercie. C’était un plaisir. Je vous remercie. C’était un plaisir. Je vous remercie. Je vous remercie. Merci beaucoup. Merci beaucoup. C’était un plaisir. Bon rendez-vous. Je vous envoie votre email quand le vidéo a été publiée et je le partagerai avec notre groupe. Merci beaucoup. Merci beaucoup d’inviter. Merci beaucoup pour votre temps. Bon courage et bon courage à vos projets, le horror, la fantaisie et l’astrophysique.

[00:54:03.18] – Ness Brown

Bye.

[00:54:04.23] – John Knych

Bye. Have a good afternoon.

[00:54:06.09] – Ness Brown

Bye. Thank you.

Peter Watts

(Transcript below)

[00:00:00.00] – John Knych

Peter Watts, Canadian Sci-Fi writer, who has also worked as a marine-mammal biologist. His first novel was Starfish in 1999, which was part of the Rifters Trilogy. And then Blindsight, which we’ll be talking about today, was published in 2006. So first, Peter, can you share with us the origin of the story, which has influenced so many Sci-Fi authors? It’s considered pioneering in how we think about aliens. Can you talk with us about the origin of this book?

[00:00:29.10] – Peter Watts

Well, I was doing a post-doc in Guelf, about an hour north of here. I was reading a book of Natural History essays, edited by Richard Dawkins, who I’m sure you guys all know about. I don’t even remember what the name of the volume was. It was kind of like a Robin’s egg blue, and it had a drawing of a wasp on it. I don’t remember any of the actual essays, but in the afterward, Dawkins was itemizing a list of the various mysteries, the great outstanding mysteries of biology. And one of the first things he mentioned was consciousness. He said: There’s absolutely no reason why you can’t imagine a meat robot that does all the things that we do, but is not aware of what it’s doing, because it’s all just computation. And so what is this? How does it work? What is it there for? I mean, I guess I’m pretty sure the philosophical zombie concept predated me reading Richard Dawkins, but it was indeed my introduction to it. And my reaction was: shit, that’s right. I’ve spent my whole life just taking this for granted.

[00:01:53.19] – Peter Watts

I’m supposed to be a scientist. Why haven’t I wondered about this myself? But I was like 30 years and five days old or something at that point. I had maybe two stories published in thick ass little journals that nobody had ever heard of. So I knew it was way out of my league to even address a question like that. But that’s when I first started thinking about it. And it bubbled away in the back of my mind while I wrote other, less consequential, scientific and science fiction works until, oh jeez, yeah, about 15 years later.

[00:02:32.17] – John Knych

Thank you. And also, Peter, the format for this discussion, we’ll just go around the table, and I’ve told people, if they don’t have a question, they can pass, and we’ll do a roundtable. So we’ll start with Brandon, Noémie, Jenn, Sean, Joe, then we’ll just keep going around. So Brandon, do you have a question for Peter?

[00:02:51.24] – Brandon

Yeah. Yeah, thanks for being here, Peter. Really appreciate that. So I did, I just finished reading Echopraxia.

[00:03:01.09] – Peter Watts

Okay.

[00:03:02.06] – Brandon

At the end of this, you have all these notes and references and everything. So I guess my question is, what is your writing process when you add the science to it? Do you do a bunch of research first and then write the book, or do you write the book, add in your scientific articles as you go, or how does that… What’s your process with adding the hard science part of it?

[00:03:27.06] – Peter Watts

Well, back then, I mean, pretty much from the days of Starfish. Starfish was based to some extent on information that already… I was working on my PhD in marine biology. So there was a lot of stuff I just picked up in the course of getting my degree that inspired Starfish. Subsequent to that, I had a subscription to Science [Magazine]. When the Internet became a thing, dating myself there, but I remember the Internet waking up, I just set up an RSS feed to various science outlets, and without necessarily any goal in mind, I just tried to keep abreast of cool stuff that was happening in science. It has since become impossible to do that. But at the time, I could hang on by my finger nails. And every time I read something in science that was cool, I I would put a little sticky note on it or bookmark it if I saw it online, and I would make a note. So I just, over time, regardless of my project, I was accumulating links and articles that, Hey, this is a really cool thing to stick in a story somewhere, or, This would make a really cool theme or a point of a story.

And, of course, 90% of it turns into just world-building ambiance.

[00:04:55.19] – Peter Watts

It’s like, Well, this is something I’m not going to write a story about, but I’m certainly going to mention it in a bit of throw-away dialogue, so that people think that I’m a great world building connoisseur. So that’s the way it started. When I actually developed a theme, that this is what I want to write, there’s basically two ways that goes down. The first is that I read something, as was in the case of that Dawkins thing, that lights a fire under my ass and makes me think, wow, that’s really cool. I should write something on that. Or, and this has become, sadly, increasingly common, I think, I want to write a story about this. Now, I’m going to try and find some science to justify it. And I start looking around and see… And I mean, don’t take this the wrong way. Science is kind of like the Bible, in that there are so many publications and so many variations out there, that you can pretty much find anything to justify, certainly in terms of a science-fiction story that doesn’t have to pass peer review. You can find stuff to back up what you’re going for.

[00:06:11.13] – Peter Watts

And I mean, There’s, I think, close to 100 different theories of how consciousness works. Oh, my God. Excuse me.

Bobo. [Moves towards cat off screen]

[00:06:22.24] – Peter Watts

Bobo is doing his thing with the cicada here. Could you let this guy go?

[00:06:29.07] – Peter Watts

There you go. Sorry.

[00:06:31.24] – Peter Watts

We were promised a swarm of biblical proportions, right? Like, they were supposed to be like the 11 and the 17 years were supposed to all come out at the same time, and we were supposed to be devoured alive by cicadas. And what we’ve got instead is this weird, splotchy cat who is terrified of cicadas, but will not let that fear hold him back. So he will attack every cicada he finds, even though he’s bleeding with fear every time he does it. And we have to rescue these cicadas, which are really benign and innocuous little guys. I mean, they’re huge. They’ve got…their fronts basically look like the grill on a Buick. Anyway, sorry, where was I?

[00:07:23.01] – John Knych

Science.

[00:07:24.00] – Peter Watts

Science, yeah. If you want to write a consciousness-based novel, you can go with the idea that consciousness is a fundamental property of all matter, like the charge of an electron. You could go with the idea that consciousness is an arena to mediate conflicting commands to the to the skeletal muscles. You can go with the idea that The United States, as a geopolitical entity, is literally conscious. And you will find… You can even go with the model that not all matter is conscious, but that all matter is consciousness, that consciousness is all there is, and that what we perceive as matter is basically the universe’s mother of all multiple personality disorder cases, that bounded metabolisms and so on are, in fact, manifestations of a consciousness that’s walling itself off from itself. You can come up with all these ideas, and you will find peer-reviewed papers that back you up. And that’s okay, because the point of the exercise is not to say this is the truth. The point of the exercise is to say, suppose this was the truth. Where do you go with that? What are the consequences of that? So you can start from any starting point.

[00:08:59.18] – Peter Watts

And in that sense, the 140 references that I stick, the peer-reviewed references I stick at the back of my books, is more like something to cover my ass against nitpickers, than it is… than it is proof against…than it is actual evidence of great insight, because you can find pretty much anything you want, you can work your story around it, and you can find something in a decent peer-reviewed journal that will back you up, and the ironic thing here is that I’m covering my ass against nitpickers because my formal background is in science. So I’m used to going to seminars where the grad students sitting in the back row are always trying to ask questions of the guy who’s giving the Wednesday afternoon seminar, not because they’re curious, but because they want to make that guy look like an idiot. And hopefully this will bring them to the attention of other supervisors and deans who will give them lots of scholarship money.

[00:10:02.09] – Peter Watts

And of course, the ironic thing is that people like that wouldn’t be caught dead reading science fiction anyway, because it’s like one step up from child porn. But yes that is a very long way…that’s almost as long as one of my bibliographies…that is the explanation for why I have a bibliography.

[00:10:22.17] – Brandon

Thank you. I think that’s interesting what you say about conscience. I think we talked with Joan Slonczewski.

[00:10:32.02] – Peter Watts

Oh, yeah.

[00:10:32.22] – Brandon

And she said… You have a cat!

[00:10:35.11] – Peter Watts

You have a cat, too! Lean to one side!

[00:10:38.05] – Brandon

It’s a dog.

[00:10:39.11] – Peter Watts

Oh, never mind. Okay.

[00:10:42.17] – Brandon

Joan Slonczewski was saying that perhaps stones have consciousness.

[00:10:48.01] – Peter Watts

It’s not a… I mean, you’d be kinda amazed at how not batshit that is, both in terms of some of the other theories out there, but also in terms of… There really is nothing in physics that has any room for consciousness. Thank you, Buck. Thank you so much, ahh. There’s like, and I would argue, and I’ve read a few…there’s a bunch of theories of consciousness out there that I haven’t gotten around to yet, they’re playing a shell game on us, they describe computation, they describe that, you know you’ve got, the global work space model, essentially, you’ve got this stage, and you’ve got a bunch of different voices in the brain, some processes, that are all yelling, the one that yells the loudest gets to be on the stage and be conscious. And I mean, computationally, that makes sense. Intelligence is easy to understand in terms of natural selection. You can understand how flexible problem solving and so on is a good thing and how natural selection would promote it. But there’s never a mechanism. Ok, so you’ve got all these different sub-processes competing for attention, and one of them gets to be center stage. You’re still just talking about electricity trickling through meat. So where does that meat wake up? How does electricity… you know hooking, one of my favorite analogies, you basically take a pair of jumper cables and hook it up to a steak, and the steak starts asking questions about consciousness. Physics does not handle that. Physics can handle all the neurocorrelates, but we do not have any physical explanation, as far as I know.

[00:12:39.23] – Peter Watts

And I’m reading an essay right now, or not an essay, a thesis, from a guy called Michael Bennet. I’m going to be going out for drinks with him in a couple of weeks because he’s passing through town. He’s a real up-and-comer in the whole consciousness idea. His background is in A.I., computer science, but he’s basically talking about building conscious machines. And he claims to have solved the hard problem of consciousness. And so far I don’t see how he’s done it. It’s basically, you know another variation of the…you know

If you could model, for a social species, you have to model what the other person is thinking, what the other mind thinking. And then you have to model back, recursively, what your reaction to their reaction is going to be.

[00:13:18.11] – Peter Watts

And having done some simulation coding in my time, it’s trivial to get any computer program that does that. I mean, for fuck’s sake, a thermostat, you can say, is something that’s interacting with its environment and responding to feedback. So all of these theories basically have this step, and then a miracle occurs in the middle of it. And then, coming out the other end, it’s conscious, but there’s still no reason for it to be… There’s no explanation for how that happens.

And so, one of the… It’s reasonable to suggest: Okay, we can’t really explain it…

[00:14:04.17] – Peter Watts

So maybe it’s just a fundamental property of all matter. And there’s a few… It’s called physical panpsychism. And there’s a few theories out there that kinda riff off of that. And when I first heard it, I thought, What a cop-out. It’s just a… You’re basically brushing it under the… You might as well say, magical elves are doing it. But at the same time, when somebody talks to me about the flavor of a quark as a fundamental property, I don’t say: that’s bullshit. I mean, we accept all sorts of things counterintuitively as fundamental properties of reality. So Slonczewski is not entirely… She’s not out in left field when she suggests that rocks might be conscious in a rudimentary sense. If consciousness is, in fact, a fundamental property of matter, and we have a greater level of consciousness than a rock because our matter happens to be arranged in a more complex and emergent way. I’m not going to call bullshit on that because I don’t have a better solution. I hope that’s not the case because I don’t like the idea that every time I kick a rock, I’m causing it pain or whatever. But really, who knows ?

[00:15:25.10] – Peter Watts

I mean, that’s what makes it such a cool thing to write about. Nobody can really say you’re wrong.

[00:15:32.14] – BrandoN

That’s very interesting. Thank you.

[00:15:34.15] – John Knych

Fascinating. Thank you, Peter. All right, moving on to Noémie.

[00:15:40.18] – Noémie

Yes. In both Blindsight and Echopraxia, so you have a range of different characters. Very different mindsets and origins. I just wanted to know, is the story influencing the characters? Or do you, when you start writing, have always like, this character is going to be in this book? What is your process of writing the characters and how they integrate into the story?

[00:16:03.07] – Peter Watts

Ok, well, there’s a couple of ways of doing that. First, you are very kind to not point out that character development is not one of my strongest suits. So thank you for that.

[00:16:16.08] – Noémie

It is. It absolutely is. It is what is so interesting in the story.

[00:16:20.08] – Peter Watts

But my character, I tend to come at these things in a puzzle-solving sense. I want to write a book about the dynamics of a civilization based on its outcast. I want to write a book about the possibility that consciousness is maladaptive. I want to write a book about the logistics of building the star gates, that we always conveniently go out and just discover that the ancients built them for us, so we don’t have to discover how to do it ourselves. And so, left to my own devices, I build characters essentially like chess pieces. They have to illustrate various aspects of the problem that I’m solving. And this was especially the case in Blindsight, because every character in Blindsight actually illustrates, embodies a different type of consciousness. But how I actually do it is: I’m writing a story about a linguist, or I’m writing a linguist as a character, and I realize I don’t know the first thing about linguistics. So I find a friend who happens to have a post-graduate degree in linguistics, and I sit her down and I buy her beers, and I get her drunk, and I poke to her about…

[00:17:50.14] – Peter Watts

It’s okay, so if you were confronted with an alien, what would you do? What would be your… Or how would you analyze the transmissions and so on? And I write everything down. Then, in exchange, I put her into the book as the linguist. I give her the same name, and I kill her horribly. In a lot of cases, What happens is… I mean, people tend to say that… People tend to knock me because I don’t have a great ethnic diversity of characters, although I try to get around that by giving people different surnames, and so on. But a lot of it is because many of my characters are actually friends of mine, whom I kill horribly in my books, because that’s just what happens to any character in any of my books. I tried to write a story once, where there was a happy ending, and the parents had their arms around each other, and they were looking at their sleeping child, and I just about vomited.

I was like, I developed diabetes from all the sugary-sweetness.

[00:18:56.18] – Peter Watts

I just can’t do that. It didn’t strike me. So, yeah, they all die. But if there is personality there, as opposed to a simple chess piece moving in a strategic way to illustrate a thematic point, it’s not because I’m any good at developing characters, it’s because I have interesting friends, and I just shamelessly steal personality traits from people that I know. And so if you do like my characters, you’d get along great with my buddies. Isaac Spindell, from Blindsight, he’s an actual dude. I haven’t actually heard from him in years. But yeah, we called him Buckeroo Bonsai because he was a practicing neurosurgeon. He was a martial arts expert, and he was a writer. He was a cool guy. I wish I knew what happened to him. There was a serious illness in the family last I heard, and he kind of dropped off the grid. But yeah, you can… You know, Rob Cunningham is an actual guy from a video game company. I actually think he’s a bit of a sociopath, but the physical characteristics, the emotional attributes, these are things that I just observe in other people and port into my books as though I am capable of character development.

[00:20:24.02] – Peter Watts

Of course, the problem now is that I no longer do science. I work at home. I’m running out of friends. And so basically, I’m at the point now where I’ve run out of people whose personalities I can steal. And I expect that my character development is going to asymptotically decline over time as more people that I know just die of old age. Hopefully, society will collapse before that happens, and so I can escape that particular fate. We’ve got till, what, 2040, 2050, before the studies say that we’re going to have a global societal collapse. So if I can just hang in there for another couple of decades, I should be okay.

[00:21:15.20] – John Knych

Thank you, Peter. I’ll make sure before I share this with the readers who couldn’t make it today, that there’s a spoiler alert, all your characters die.

[00:21:25.07] – Noémie

Don’t get too attached to anyone.

[00:21:28.08] – Peter Watts

They don’t all… I mean, In fairness, they don’t all die. Some of them spend the rest of their lives in perpetual misery and emotional torture.

[00:21:40.14] – John Knych

Excellent. Moving on to Jenn. Jen, do you have a question, or do you want to pass ?

[00:21:46.03] – Jenn

Yes, I do.

[00:21:47.14] – jenn

I thought it was interesting that you included vampire. I thought their origin was interesting. What made you include a vampire in a science fiction story ? How did that come about ?

[00:22:02.00] – Peter Watts

The answer to that is something that… Everybody out there in thumbnail land, put up your hands if you have heard this story before, how I got the vampire. Nobody else seems to. Brandon, you can go get a coffee. Everybody else. I was a guest at a Con in Edmonton. This was way to help back around the turn of the millennium, maybe just like 2001, 2002, thereabouts. And I had one novel out and one collection of short stories. I had Starfish was out. So I was like, and I was… And Starfish, it had… It was a New York Times Notable Book, and it had a collection of references at the end. Nothing like the bloated bibliographies I went for later, but it had a few pages of reference at the end. I was like, Mr. Hard SF. I had a PhD in science, and I was really cool. They stuck me on a panel about vampires. I didn’t know the first thing about vampires. When did Buffy come out ? There were people talking about Buffy, so this had to happen while Buffy was still on the air, so maybe it wasn’t 2001. Anyway, sorry ?

[00:23:30.15] – John Knych

Late ’90s was Buffy ?

[00:23:33.08] – Peter Watts

Ok, maybe it was. I’m sitting there, and everybody’s talking about various vampires. There was a cheap-ass Canadian vampire police procedural called Night Something or Something Night. They also have the word night in there. Maybe it was Night Night, with the second night being Kniget/Knight, like the thing in the armor. Anyway, I’m just sitting. And I have absolutely nothing to say about vampires, but I start to think, okay, vampires are really dumb. They make no sense biologically. What if I can come up ? Can I maybe cobble together some sort of a half-ass biological reason for some of the things that characterize vampires ?

[00:24:23.19] – Peter Watts

And I’d been reading a book at the time called The Cerebral Symphony by William Calvin, out of Woodshole. And I had learned from that about various aspects of the mammalian visual processing system, Mexican hat waves. It turns out that there are receptor arrays in our visual system that respond only to certain geometrical primitives. They’re a set of neurons that will only fire when they see horizontal lines, or vertical lines, or lines of particular angles, right? And we integrate these arrays that only fire when they see various little things, right? And we take all those various little pieces, and we integrate them further up the visual system into an actual image. But it starts off with us only responding to very, very basic shapes. And this light went on in my head. Supposing that vampire suffer from this mutation, where, when the receptors that respond to vertical lines, and the receptors respond to horizontal lines, when they fire at the same time, this causes some kind of a neurological overload and results in a grand-mal seizure. I guess they call them chronic seizures these days. That would explain the aversion to crosses. It’s not a religious thing at all.

[00:25:45.21] – Peter Watts

It’s a geometric glitch in their visual system. And I blurt this out. And I talk about Mexican hat waves, and I cite William Calvin. And I guess I go on maybe a little too long. It’s maybe 90 seconds for me to lay the whole thing out and explain it. And there’s crickets for about 30 seconds. And then the person next to me says, Yeah, well, I think that Spike would be a better boyfriend for Buffy than Angel because at least Spike’s honest about who he is. And so they never invited me back, and just as fucking well. Oh, look at this. I’ve just got a pop-up reminding me that I have a virtual book club meeting from 10:00 to 11:00. Wait a minute. I even got that wrong. I even set my alarm for the wrong time. Anyway. So, yeah, at that point, it was like, okay, this is kind of challenge, right ? There’s so many dumb things about vampires. But if I can come up with a neurological explanation that’s even semi-plausible for the crucifix glitch, another dog, doesn’t anybody here have cats? Then what else can I explain? My ultimate goal was to… I wanted to…

[00:27:15.20] – Peter Watts

Does anybody remember, back in the ’80s, there was this big coffee table book on gnomes? It was like a natural history of gnomes. It was like you had little line, drawings, and diagrams, and it talked about gnome life cycles and stuff. I thought, I can do this for vampires. I could do the proceedings of the second Biennial conference on the evolution and biology of vampires.

[00:27:39.05] – Orateur 7

And we can make a big coffee table book. And it can be… And my agent hated it. My publisher hated it. Everybody thought it was the worst idea ever. Nobody was going to buy a coffee table book on the biology of vampires. So I just kinda sat there. And then I was writing Blindsight.

[00:27:56.10] – Peter Watts

And as I may have mentioned, characters in Blindsight each illustrate a different aspect of consciousness. And… One thing I was playing around with was the idea how when you… When you are asleep and dreaming, you could say that you’re conscious. Because you’re aware of the dream. But also, when you’re dreaming, you don’t have your critical faculties. So if you see your girlfriend in a dream, and she’s just got one giant hair sticking out of the side of her head, as thick as a tree branch. That doesn’t strike you as at all odd. You’re living this weird… And also, you don’t have a lot of volition. You tend to watch yourself doing things, or you experience yourself doing things, but more as an observer than as a proactive participant. You’re not making these decisions. It’s essentially you’re watching a movie from the first-person perspective. And I thought, OK, that’s an interesting idea, because if consciousness really is a spandrel, if it doesn’t serve any useful function, if it’s just a side effect, then, effectively, dreaming is an illustration of that. You can be conscious of something, but the rest of your brain, the non-conscious part of your brain, is doing the heavy lifting.

[00:29:25.17] – Orateur 7

So you’re sitting there like a parasite, watching yourself behave. It’s a lot like a dream. And I didn’t have anybody in the book that did that. And I thought, you know, a vampire might fit there. You can talk about vampires with parallel processes. They’re essentially like meaty [?] parallel processes. So they can run multiple cognitive thread simultaneously. I mean, in a sense, you could say that every vampire brain contains multitudes because you’d have a different perspective for each. But at the same time, they don’t have any conscious control over any. You have these multiple consciousnesses that are in a constant dream state. Apparently, it’s a little similar to the Indigenous Australians talk of a dream walking.

[00:30:15.18] – Peter Watts

So I thought, OK, nobody wants my vampires. I’m going to stuff my vampires down their throats, whether they like it or not. And so I decided to… And it was… I mean, it was also a joke. I mean, remarkably, there are people out there who think I believe this stuff. I did a PowerPoint presentation from the point of view of a sociopathic pharmaceutical scientist for Big Pharma, who had accidentally stumbled on how to reactivate the genes for vamporism while they were trying to cure certain types of autism. And they were now trying to market vamporism as a product. And I got a I got an email from somebody actually working in the pharmaceutical industry saying: What company do you work for? You are obviously deeply embedded in the pharmaceutical industry because you absolutely nailed their attitude. But yeah, it was like… I had the pre-existing biological template for how vampires might work biologically. I had a vacant niche in the book into which vampires could fit. And there was also just something wonderfully absurd about… I’m going to write a hard science-fiction novel that’s crammed up to the wazoo with hard SF, like with peer-reviewed scientific references, and I’m going to stick a fucking vampire in it.

[00:31:45.19] – Peter Watts

What are people are going to make of that. And in that sense it was just a joke. There were readers who said: ‘Yeah I really liked Blindsight, but boy the vampires just ruined it for me. I could really do without the vampires.’ And then there were others who jumped to my defense: ‘No, no, the vampire is an integral part. Thematically, the book doesn’t work without them.’ Then, of course, there’s other people who say, Blindsight is just crap from one page to the next. But that was it. It was like there were about three or four different reasons for sticking them in. One was just a big middle finger to people who took hard science fiction too seriously.

[00:32:22.21] – Jenn

It’s really interesting. Thanks.

[00:32:25.11] – Peter Watts

Sorry, Brandon. I know you’ve heard it before.

[00:32:30.20] – John Knych

Thank you, Peter. Moving on to Sean.

[00:32:35.20] – Sean

Yeah, thanks. So full disclosure, I’m still a little bit away from the finish of Blindsight, so I can’t ask about endings or any spoilers, but I’ll probably hear a few anyways. I got enough of the way through to have some thoughts, but the main thing that’s coming to mind for me, and this might be a boring question, but you essentially, it seems like, wrote a book where one of the primary characters, plot elements, is essentially like an LLM in some ways. And now, there’s… I mean, obviously, LLMs were out for quite a long time, but now, they’re very much in the public. They’re the zeitgeist, I guess you could say. So I’m curious about how closely have you been following and reading and learning about the latest version of LLM, GPT, and these others ? How much have you, like, reflected on what you wrote in 2006, and like the research that I went into it at the time? And, I’m just curious if you have any… If it’s been top of mind for you, or are you sort of….you’re not interested in that connection or what?

[00:33:48.07] – Peter Watts

Well, the… The research that I’ve done has basically consisted of sitting back and everyday ego surfing on Reddit, And rubbing my hands with glee as people say, Peter Watts was writing about LLMs back like 20 years ago. I’m thinking, yeah, I nailed it. But in fact, the first LLM thing I wrote was in Starfish, which came out in 1999. In Starfish, I had these things called headcheeses, which are basically cultured neurones on a slab. And the rationale for headcheeses in the Riftors Trilogy was that the Internet had become so infested with self-evolving bots and malware, that it was virtually unusable. And so people were sticking these headcheeses as gatekeeper nodes into the Internet at large, because the thing about a neuron culture is it’s constantly rewiring itself. So it’s very difficult for malware that is programmed to hack certain security protocols. It’s difficult for that malware to get a target lock on a headcheese because it’s constantly in motion. And I had…And of course, these headcheeses, because they are basically like human brains, their internal logic is opaque. They learn by operant conditioning. And this turned out to be an absolutely major…

[00:35:26.12] – Peter Watts

A lynchpin of the book, the fact that you’re conditioned headcheeses to do certain things, but that they had internalized the wrong… They had internalized the wrong lesson. Because you thought you were teaching them one thing, but as it turned out, something else always happened in conjunction with this thing you were trying to teach them. And it focused on the wrong thing. The example I used was, there was a headcheese that was running the London underground. And it had basically learned to turn up the ventilators whenever a train pulled into the station and people got out so the people would not suffocate. But what it had actually been keying on was not the sight of people coming out of the tube, but it had been keying on a digital clock on the wall, which happened to coincide with the arrival of the trains. When vandals smashed the clock, it no longer had that triggering stimulus, so it stopped turning on the ventilators and a bunch of people suffocated. That was just one off-hand example that I used. That wasn’t the main thrust of the story. But you had somebody actually talking to this headcheese, and it responded, in hindsight, it responded very much like an LLM would today, right down to the point that it would make certain hallucinations.

[00:36:53.00] – Orateur 7

It would make cute little turns of phrase that didn’t make a lot of sense, but did, if you didn’t think about it too hard. I put a fair bit of thought into that. And that actually seems to have worn, seems to have aged really well, to the point where you actually have headcheeses now, there’s actually a company called Cortical Labs, which has created a mishmash of human and rat neurons in a box, which they are leasing out. They’re actually selling them for commercial applications now. I’m actually in touch with them. I’ve got them on my roller deck because they were actually inspired. They read a paper I did recently in The Atlantic. That’s super cool. I feel super vindicated about that. But yeah, we didn’t… I mean, as you pointed out, we’ve had the large language model template since the ’80s. Nothing’s really changed since then since then, except Moore’s law has allowed us to invest so much more massively, orders of magnitude, more compute in the same old model, so that it just becomes brute force, more powerful, as opposed to a more elegant process…

[00:38:17.14] – Sean

Has anything, a quick follow-up on that. Has anything about this surprised you? Or is there anything about current GPT that you, having done a ton of research and written about it and studied it, is there something new to this that you wouldn’t have expected?

[00:38:33.24] – Orateur 7

I mean, not really. Again, it’s not a… I wasn’t thinking in terms of large language models when I wrote Roarshock [?]. I was thinking about the Chinese room, which was pretty explicitly. It turns out that those are very convergent models. The stuff that’s happened, I mean, it’s weird. I gave a keynote address at a weird AI symposium in Madrid a couple of years ago. And I don’t know anything in A.I.. My formal background is in marine-biology. My PHD thesis was on the biophysical-ecology of harbor seals. the But…you know… One of Geoffrey Hinton’s colleagues gives me drugs. Apparently, I’m quite popular in A.I. circles. This Michael Bennett character I mentioned earlier says that one of his colleagues describes me as his favorite science fiction author who he hopes is wrong. I seem to have… I seem to have thrown a dart over my shoulder and hit a bullseye, or at least hit the board, with no formal expertise whatsoever.

[00:39:57.15] – Peter Watts

I did coding back in the day, because it was just that you had to write your own programs for your doctorate. But I never knew anything about computer science. I was like, the whole…

[00:40:13.01] – Peter Watts

Even my whole AI consciousness thing didn’t even occur to me until I was out of university. It’s weird that I write a series of books set in the deep sea, and while you have people saying, Oh, yeah, You can really tell he’s a marine biologist. He really knows the marine biology. Nobody has been actually inspired, as far as I know, to go into marine biology as a result of reading Starfish. But there’s shitloads of people who have gone into computer science because of the digital ecosystems I described in Maelstrom. There’s people who’ve gone into AI because of what they’ve read in Blindsight. It’s amazing how… It’s almost like the more ignorant I am about something, the more influential I become? I’ve got this theory that, when you are an expert in a specific field of science, you become encrusted with the state-of-the-art dogma of that particular field. Somebody pointed out that Isaac Asimov very rarely wrote stories in which biochemistry played a major role, because his background was in biochemistry, and every time he would come up with a cool idea about biochemistry, his formal training would kick in with all the reasons why it wouldn’t work.

[00:41:41.02] – Peter Watts

And so I think that to some extent, when you actually write a story based on your field of expertise, your imagination becomes strait-jacqueted because your own expertise keeps you from looking beyond the state of the art today and recognizing that there will be a different state of the art tomorrow.

[00:42:01.19] – Peter Watts

But if you have formal training in science, generally, you respect the scientific process.

[00:42:08.04] – Peter Watts

You are capable of more rigorously interrogating assumptions and tropes and things, then you would be if you had no scientific background. So I’m thinking maybe what happens is, by moving from one field of science in which I had expertise, into another field of science in which I had no expertise, but which still respected the same principles of scientific methodology, I could look at things that were more batshit in a particular field, while at the same time, being relatively rigorous in my interpretation of it, making sure that things didn’t actually turn into magic. And so I think there might be an interdisciplinary flexibility in that, maybe, that has allowed me to be more inspirational in neuroscience and AI. I mean, hell, it’s weird. I came out with a story in Lightspeed. It came up just a couple of months ago, but I’d written it years ago. It’s a long story. Et it got some real back stream buzz years before it came out. The co-founder of Neuralink loved it, wanted to take me out for coffee. The founder of Midjourney loved it. And what they didn’t seem to realize was that I was actually writing about all the things I thought were going to go wrong with Neuralink, catastrophically wrong with Neuralink, if it behaved exactly as advertised.

[00:43:45.00] – Peter Watts

The sense I got is that Elon Musk doesn’t have the first idea about how brains work. When he talks about removing the I/O constraints so that brains can talk to each other instantaneously, I think that’s going to result in a catastrophic implosion of identity. And so I’ve written these stories. And so I wrote this story, The 21 Second God, and it was basically about a hive mind gone wrong. And Shivon Zilis, wants to have coffee with me… Because she learned so much about the brain from my science fiction story, again, by a guy who studied harbour seals when he actually did science, which is disturbing in its own right. Haven’t really heard from her much since because I had to say, you do realize I’m writing about your company, right ? Holtzer ? Holz ? David Holz, the Midjourney guy, right ? Also loved 21 Second God, and his aspiration is to build a hive mind. It’s like the classic meme from 2021, where the tech company says, At long last, we have created the torment nexus from the classic sci-fi novel, Do not build the torment nexus. These are torment nexus-adjacent experiences I’m having. On the one hand, it’s super cool to be recognized and appreciated by people who are experts in fields that I have no expertise in, and who I’m just noodling around with my science fiction stories.

[00:45:24.09] – Peter Watts

But on the other hand, it’s a bit disturbing that they seem to be taking the wrong message from my… I’m writing cautionnary tales, and they seem to be taking them as aspirational. I try to keep up with what’s going on with LLMs, and neuromorphic models, and the various hybrids, and so on, I’m certainly no expert. But at this point, I know experts, so I can ask them, and I can make sure I don’t make any egregious boners in my subsequent stories because I just have this vast stable now of actual experts I can ask. But the thing that… Other than the sheer glee of vindication I get from the fact that I do seem to have hit a bullseye with some of my completely speculative and uninformed predictions, the thing that really sticks with me now is how people seem to be taking the wrong take home message from it.

[00:46:26.11] – John Knych

Fascinating. Thank you, Peter. Yeah, Yeah Sean asked the same question I had because…on page 117, you write, But pattern matching doesn’t equal comprehension. And you read all these articles now like, Oh, large language models, are they conscious? And you were way ahead of the game.

[00:46:44.24] – Peter Watts

Yeah, but again, I mean, maybe pattern matching does equal comprehension, because we don’t know what comprehension is, right ?

[00:46:50.09] – Orateur 7

Pattern matching certainly equals computation of a sort. And babies, young mammals, neonates of all species, learn by experience, by pattern matching, at some point, maybe past some critical threshold and something clicks.

[00:47:08.05] – Peter Watts

I mean, the general consensus, Geoffrey Hinton is basically saying at this point, that it’s possible that current LLMs are, to some extent, already conscious. And the consensus, apparently, amongst his colleagues is Hinton is a very smart guy, but he may have jumped the shark with that. But on the other hand, he makes the point that transformer models are essentially neural nets. Neural nets are based, at least loosely, on how brains work. And we don’t know how consciousness arises. So I’m not willing… I mean, the dude won a Nobel Prize for his work on artificial intelligence, so I would not write him off just from that, or just on that basis. But beyond that, people saying, This is not comprehension, this cannot be conscious, this isn’t like us, strikes me as awfully defensive and awfully ill-informed. And it’s not the thing you can say until you can describe what makes us us, why we are conscious, how consciousness works in us. Until you figure out how consciousness works, you can’t, as has been said in this very conversation, for all we know, rocks are conscious to a rudimentary extent.

[00:48:33.23] – Peter Watts

So who fucking knows ? I can’t write anything off. And it’s true that pattern matching does not equal compréhension, but we don’t know what comprehension equals. So, yeah. I just don’t see what good, from an evolutionary point of view, what good comprehension, conscious comprehension, is when non-conscious computation can do all the same heavy lifting. I mean, we had a case here in Toronto, where somebody basically drove across town, stabbed his mother-in-law to death, cleaned up the mess, went back, got caught. He was asleep the whole time. Jury let him off because he was asleep. He did not do those things. Something else in him did those things. It’s called homicidal somnibalisme. There are a few cases of it now. There are people who go out, pick up sex partners, take them home. wake up and say: who the fuck is this strange person in my bed? Because they were asleep the whole time they did it. There’s a guy in Europe who can draw incredibly detailed pencil drawings of entire cityscapes, right down to individual windows, like almost photographic, except they’re done in pencils. But he can only do that when he’s asleep.

[00:50:02.03] – Peter Watts

He can barely scratch his name in the dirt when he’s awake. We tend to cite these things as weird Ripley’s believe it or not stuff. But when you realize that you do the same stuff yourself every day. That most people driving home from work aren’t driving consciously, they are thinking of other things. They are not thinking about the stop signs and the turn signals and stuff, that they’re doing all of this automatically. And when you factor in the fact that neurologically, the computation that makes the decision seems to precede the conscious decision being made. It just seems a lot more parsimonious to say, OK, the decision is made non-consciously, and then somebody sends a memo upstairs to the conscious self, which then reads that memo and thinks that it made the decision, as opposed to simply being informed of the decision. We’ve got pretty compelling neurological evidence that decision making happens anywhere from 7 to 10 seconds before the self becomes aware of making the decision. And so, given that, nobody denies that consciousness is a thing, whether consciousness actually has a function? As far as I’m concerned, the jury is out on it.

[00:51:37.24] – Peter Watts

I think I’m in the minority on this. A lot of other people have reasons for consciousness, but every time I look at possible reasons for consciousness, the question I ask is, OK, maybe, but can you imagine a non-conscious system performing the same operations? And so far, for me, the answer has always been: yes. So even if we do use consciousness for something, consciousness does not seem to be necessary for any operation I’ve encountered so far, other than aesthetic appreciation. And you could make a really strong argument that aesthetic appreciation is maladaptive because we think with our dicks, we get swamped on the glory of the Universe, and a tiger eats us because we’re distracted. Again, I know it’s long-winded and I’m going on and probably not being very focused in my response, but yes, pattern matching is not comprehension, but in response, what good is comprehension ? Do we know?

[00:52:40.16] – John Knych

Thank you. Before moving on to Joe’s question, for the sake of my sanity, I have to believe that aesthetics has some value that’s…

[00:52:48.15] – Peter Watts

This is one of the things that people think that I’m being so grim and so on and nihilistic. But to me, the people who think… I guess I would put you in that category. The people who think that this is an unpleasant interpretation or something that you find unpalatable, you’re not thinking of yourself in the right sense, right ? You think that I am this thing for which consciousness is a waste of time. But you’re not the system. You’re the tape worm living inside the system, okay ? If consciousness is, in fact, some parasitical spandrel, and that doesn’t serve any purpose, then, by definition, it’s a parasite. It’s true that most hosts would be better off without the tape worm in their gut. But at the same time, no tape worm in the long, venerable histories of tape worms has looked around said: You know, I think I’m going to flush myself out the anus because I think my host would be better off without me. I like being a tapeworm. I’m probably too pathological about it now, but at least once an hour, I look around and say, “Wow, it’s amazing to be conscious.”

[00:54:09.09] – Peter Watts

I am perceiving that plant. I am perceiving this cat, shredding my arm because it’s 8:01, and I was supposed to feed them at 8: 0. I am constantly gobsmacked by how amazing it is to just consciously perceive things. And I’m the tape worm. Fine. I’m not going to flush out of the system, even though that probably would make the system itself more survivable. In fact, I’ve started giving talks. I’m going to be giving one next month, arguing that, in fact, the best way to ensure our survival is to stop caring about whether we do survive, because all the things that are responsible for a destruction of the environment are a result of cognitive biases, the inability to internalize future consequences. Cognitive biases, like hyperbolic discounting, kin-selection, cascade effects, all these things that allow us to destroy the environment and realize cognitively, yeah, we should probably stop destroying the environment because it’s what keeps us alive, but we don’t internalize that in the gut.

[00:55:13.22] – Peter Watts

We think about it in the same way that we think about sapient raccoons with gun fetishes in Marvel Cinematic Universe movies. It’s a cool thing to think about, but we don’t believe it down in the gut, the way you would believe you were in danger if a grizzly bear started charging at you from across the field. That is something you would react to, right ? We don’t respond to actual threats because we’re not wired for that. And we’re not wired for that because our brains are designed for survival in a world in which there are short term local problems. And if you don’t solve the local short term problems, you don’t live to the long term. So we have very, very short perspectives. And so, everything we perceive is biased. The line I like to use is that you can either see the world as it is or you can care whether you live or die. You cannot optimize along both axes simultaneously because caring whether you live or die results in all these cognitive biases which result in environmenal destruction.

[00:56:19.10] – Peter Watts

Honestly, if you want to stop destroying the environment, if you want to maintain a healthy environment, you have to do away with all these survival biases that kept us alive back on the Pleistocene, but which are now threatening the planet. You have to stop caring about whether you live or die, and then maybe you will live. I mean, it’s counterintuitive, and I’m probably the only person in the world who believes it, but it also makes for an interesting bomb to drop into conversations like this. I bet you never thought of that before.

[00:56:55.23] – John Knych

Thank you. I’d love to hear a politician say that.

You can see the world how it is or care if you live or die!

[00:57:02.24] – Peter Watts

Yeah, I mean, really, you can do it. There are some indications of how we can do this. There are certain types of brain damage and things that we consider pathologies, which are actually just things that eliminate one or another bias. But what you basically got to do is say, OK, we’re going to save humanity by rewiring human nature into something else. Now, give me a research grant.

[00:57:30.00] – John Knych

Thank you. All right. I keep interrupting. I’m sorry, Joe, if you have a question. Joe, last question let’s hear it..

[00:57:37.07] – JP

No, no, no. Thank you. No, thank you, Peter, for being here. You’re talking a little bit about the flow state, where the climber exits the flow state and thinks about what they’re doing, and then they fall, because they’re no longer back in that fluid system, where everything comes naturally. Their objectivity gets in the way of success, and they fall and die. It’s really interesting. Just think about it. I’m a huge fan. I’ve read your Rifter series. I’ve read your short story, Malak, Malak. Malak, yeah. Yeah, it was a really good read. I wonder if you’re dive certified, is actually my first question. The Rifter series has me wondering if with your biology degree, if you’re dive certified.

[00:58:47.08] – Peter Watts

Yeah, I actually got my C card. I got my Naui card when I was grade 10, I think.

[00:58:53.03] – JP

Okay.

[00:58:53.24] – Peter Watts

And I did some diving in nuclear discharges for a local power utility back when they pretended to care about the environment, and they didn’t. There were some pretty hairy experiences there. These were like the gales of November. You would jump off the boat. You would have to swim for the bottom as fast as you possibly could because the boat was rolling so much that the trim tabs would give you a concussion. You grab a rock on the bottom, and even when you grab the rock on the bottom, the surge is so great that you get picked up and bounced along the bottom.

[00:59:30.20] – Peter Watts

But I have not dived…Shit, I probably haven’t dived since 2000, 2001, and that was just a recreational stuff. In Hawaii. Yeah, I’m way out of practice.

[00:59:51.24] – Peter Watts

Do I even still have my card?

[00:59:53.15] – OJP

I just got to say…

[00:59:58.02] – Peter Watts

There it is! Here’s my Naui card.

[01:00:01.19] – Orateur 2

You’ve got it. Okay. That’s pretty cool.

[01:00:06.15] – Peter Watts

Yeah.

I mean, there were scenes, I don’t know if you remember the scene in Starfish, where they’re just swimming on the bottom, and all of a sudden, this row of teeth just resolves out of the murk directly in front of them. That’s… When you’re diving, especially up in temperate waters. I don’t know where you’re located, but the water is hardly… Off the coast of BC, the water tends to be murky, right ? And there’s killer whales out there, and there are sharks out there, and you’re swimming along, and all of a sudden, everything just goes dark, like something is blocking out the sun from overhead. And it is scary as shit. I have an imagination, and I know the kind of things that are in the water, and you’re swimming along, and all of a sudden, this giant shadow from overhead drops on you. And of course, what it is, it’s a cloud blocking the sun. But there’s that brain stem. Holy shit, there’s like a killer whale coming down. And because the water is so murky, you just have this vision that this is going to be the last thing you see. You’re going to see a shadow in front of you, and then you’ll see these teeth, and they’ll come out almost like a grainy starlight amplification, tactical goggles, that resolution.

[01:01:51.03] – Peter Watts

It’s just a recurring… I won’t call it a nightmare, because I don’t know if I’ve ever dreamed of it. It’s like a waking. And yeah, that’s what I based that particular scene on.

[01:02:03.11] – Orateur 2

No, I’ve never dived. I live in Oregon. The ocean here is scary, but it was very visceral. I’ve taken to watching diving posts and underwater stuff a lot more since reading that series, and I’m just like, wow, that must have got to be on some level. The weird concept that the bottom is the safest. We just don’t have that in 3D non-aquatic life. We don’t think of the bottom as safe. We don’t think of the above as dangerous. It was really interesting to me. But, yeah, that was fascinating. And a tiny little thing about the headcheese – I wanted to go back to was, in Star Trek – Voyager – You’re right. Yes, Voyager, there are neural packs that gets infected by cheese. It was very real. It was very real because if you’re using neural substrate, infection is literally possible.

[01:03:21.22] – Peter Watts

Yup, I stopped watching. Voyager was the first Star Trek series I stopped watching after maybe the first half season because it was just… I mean, give me a fucking break. I thought, okay, hey, they’re basically on the other side of the galaxy now, right ? Finally, we can get away from aliens with wrinkly foreheads. Finally, we can get away with: We can actually deal with something that’s actually alien because it’s way the hell over there, the progenitors or whatever it is that explains why everybody’s humanoid in this part of the galaxy doesn’t necessarily have to matter in the Delta Quadrant or wherever it is. But yeah, it was the same old shit. And the very first episode, you have the weird guy with the funny sideburns and the creepy affection for Kess, and asking if they have water to barter. It’s like, Are you fucking kidding me ? I mean, you’re in space. There are comets, right ? There is more water in an Oort cloud than there is on any given planet. Don’t you guys know anything about science? And I just gave up on it at that point. It lasted seven years, though. I do remember the infected, literally, head cheese.

[01:04:40.24] – JP

I guess in that vein. Okay, so my question is, given that you’re talking about how you’re that far away, it shouldn’t really apply anymore. This is a bit abstract, super abstract, maybe not. But what do you think would happen to the entire field of science fiction? Let’s say a microbe is discovered, let’s say a life-form is discovered, what’s the survivability of the franchise of science fiction if some extraterrestrial facet is provable, is discovered. I mean, how much does it cut the weeds back on what we consider the field of sci-fi? Or do you think there’s, like we’ve been discussing, some underlying undiscoverability that informs this topic that supersede that? Or do you think it would get overwhelmed, I guess? That’s a complex question.

[01:05:42.15] – JP

That’s a really interesting question. I don’t think anyone has asked me that before. And as a result, anything I say now comes with a disclaimer that I’m just pulling it out of my ass on the spur of the moment. So I could be completely wrong. My sense is that there’d be a sweet spot. I think if we discover microbes on Mars, or pond scum on Europa, I think that would boost interest in science fiction. Because, holy shit, there is life out there. It’s pond scum, it’s a microbe, but we now know there’s life out there. What else could there be? It provides an indication that science fiction is not… I mean, it’s a cliché. We got past the science fiction of spaceships and ray guns shit. That’s like the ’60s, ’70s stuff. But you still find it in English departments, I guess. But it’s a vindication of… It’s a vindication of the genre without being a usurper of the genre. There’s an ecosystem under the ice in Europa. That is so cool. What else could be out there ? Now, basically, everything’s back on the table because now we know that extraterrestrial life is a thing.

[01:07:10.05] – Peter Watts

What forms might extraterrestrial life take? On the other hand, if a bunch of intelligent elephants land on the lawn of the White House and vaporize Trump in his cabinet, after the cheering dies down, and after Marjorie Taylor-Green finishes blaming the Jews for it, at that point, I think maybe science fiction would wither away. Because all of a sudden, it’s not a question of, wow, we know there’s life out there, what else could there be? Now, all of a sudden, it’s, oh, We know what’s out there, and it’s mean, and it looks like a giant 20-foot elephant, and it can kick our asses. And at that point, reality becomes a standard science fiction trope. There’s no need to have to speculate about things. Nobody cares anymore, because you now have aliens walking up and down our streets. So I think we’re looking at a narrow curve with a peak. And it’s great as soon as you find some evidence of life. But the more science-fiction reality becomes, the less relevant science-fiction will have. Although, if that was the case, you’d think that we wouldn’t be paying much attention to science fiction now because… We are certainly in an era now where people are now arguing about whether or not our software is conscious.

[01:08:49.01] – Peter Watts

The whole idea of AI has traditionally been a purely science-fictional thing, and now we’re talking about… People can actually talk about personality uploading without being laughed out of the room. So as I say, maybe I’m completely wrong, but that’s my first cut at an answer, and I will probably think about it a little more. Maybe we’ll come into a talk somewhere down the road.

[01:09:12.18] – JP

Thank you so much. Thank you. Thank you. I’ve got to leave this conversation, but I appreciate you so much for joining us today. You didn’t miss a minute. You weren’t even late. So thank you. I appreciate you being here. Jack, thank you, guys.

[01:09:25.23] – Peter Watts

I was kind of late. It was my pleasure.

[01:09:29.19] – John Knych

Thank Thank you. Yeah, thank you. I got to wrap things up, too, because I have a wife and kid who are running around. But I loved, I really enjoy this conversation. Are there are any final, burning questions, I guess someone can throw them out? But it’s been fascinating. I can’t wait to read over the transcript, to be honest.

[01:09:52.12] – Peter Watts

Ok, awesome. I’m glad. I’m glad that I made up for my initial tardiness.

[01:09:57.22] – Brandon

What are you working on next?

[01:10:30.00] – John Knych

Yes. Thank you, Brandon. Two minor things. What are you working on next? Also, do you have any recommendations of living Sci-Fi authors? Because we’ll quick, I need to shout out Adrian Tchaikovsky because he shouted you out.

[01:10:31.08] – Peter Watts

I would shoutout Adrian Tchaikovsky. I would also shoutout Hiron Ennes. I would shout out, it’s kind of like an Edgar Allen Poe-y David Kronengbourg-ian. He wrote a really interesting novel called Leech, which is basically, it’s about a parasitic hive mind, told from the point of view of the parasitic hive mind, infesting people and encounters another parasitic hive mind, also infesting people.

[01:10:46.12] – Peter Watts

It’s like, Shit, I have competition. It’s a really interesting idea. [Who is it?] Hiron. H-i-r-o-n, space, E-N-N-E-S or I-S ? I don’t remember. But the book is called Leech. Seth Dickinson, Xordia, is really good. It’s a big fucking doorstop of a book. It’s been out for a couple of years now. It has passages that viscerally turn to my stomach, but also, really, really interesting conceptually. I think, like the first two chapters, he came up with an argument for free will that I had never encountered before. And my current favorite is Rachel Rosen, who you will never heard of. It’s not science fiction, it’s more like an urban fantasy with biting political overtones about rising authoritarianism in Canada after environmental collapse has presaged the emergence of a magical environment. So you basically have civil servants plotting each other’s… It’s almost like a Charlie Strauss thing, where you have magic being used for the most mundane, grubby political ends. But it’s produced by a micro publisher in Ottawa called Humble Puppy Press, which you can be forgiven for never having heard of before. It’s probably very difficult to get because it’s a small press, it’s a small book.

[01:12:17.14] – Peter Watts

But yeah, she’s written two books in a trilogy called The Sleep of Reason, which I would strongly recommend. But the ones that you will be able to get really easily are the ones by Hiron Ennis and Seth Dickenson, and, of course, Adrian Tchiakovsky. I’ve only read a couple of Adrian Tchaikovsky books, and I thought that Children of Ruin was good. I thought the ideas were really good. I thought that some of the spider cognition was a little too human. But his latest book, Shroud, it’s probably not his latest book. He comes up with a book every two months. But the latest book of his that I read was Shroud, which a hell of a first contact story and has a really, really inventive alien ecosystem. [I love Shroud.] Alien biology, I’ve never seen anything like it.

[01:13:09.04] – Brandon

Shroud is good.

[01:13:10.07] – John Knych

Yeah, he mentioned your influence in his writing of that book.

[01:13:13.06] – Peter Watts

Yeah, well, he hasn’t been sending me any royalty or commission checks, so talk is cheap, Adrian.

[01:13:21.13] – John Knych

Thank you. Then, as Brandon said, what are you working on now ?

[01:13:24.10] – Peter Watts

Oh, right.

[01:13:25.15] – Peter Watts

Okay, well, I’m a bunch of things.

[01:13:28.06] – Peter Watts

I’m doing some video game work I’m doing some stuff I can’t actually talk about because of NDAs.

[01:13:37.18] – Peter Watts

I’m writing another novella in the Sunflower sequence, a sequel to the Free Stream Revolution. I’m working on a screenplay with this hotshot Black cinematographer installation artist called Arthur Jaffe [?], who is basically a science fiction allegory about the Black experience in America involving an AI who identifies as Black and who presents itself as Mickey Mouse. He writes very different stuff than I do. He’s worked with all sorts of people. He’s worked with Stanley Kubrick and Kanye West and Spike Lee. The Kanye West thing hasn’t aged well I guess. I’m working on that. Neil Blomkamp has optioned the Blindsight-Echopraxia stuff. He’s presumably going to be working on something that takes my vampire biology but sticks it into a different context. He’s basically describing it as secaria [?] with vampires. He’s presumably going to be working on that. He’s going to be filming that after he finishes the Starship Troopers Reboot, so that’ll be next year. I’ve just finished a series treatment for Blindsight, which he has also optioned. I don’t know if anything’s going to come à that, but if it does, I will be working on that. And yeah, there’s always omniscience being pushed ever further into the distance because all this other stuff has deadlines and pays better.

[01:15:22.06] – Peter Watts

But yeah, I’m doing a lot, and I’m feeling a little bit overwhelmed. Honestly, I’m afraid that I’m going to produce a lot of crap because it all has to be done by Tuesday. It has to be handed in by Tuesday, not when it’s actually ready to hand in. So we’ll see how it goes. Remember me if… My subsequent work is crap. Remember me as I am now, not as I am about to become.

[01:15:47.18] – John Knych

Well, despite all the projects, we’re grateful for your time and for talking with us. Yeah.

[01:15:54.01] – Peter Watts

No, it was fun.

[01:15:55.04] – Peter Watts

And again, I hang my head in shame about the whole forgetting entirely about you guys thing.

[01:16:00.18] – John Knych

If anything, it’s… I’m always nervous in the beginning, but we were able to just talk about your work and science fiction. So it was a nice introduction, just waiting. So it was fine. No problem.

[01:16:15.06] – Peter Watts

Ok, well, everybody go off and live your lives in the short period of time that we have left to live our lives. I hope when you’re fighting each other over the last tin of spam in the rubble, spare some kind thoughts for me and think, Hey, he saw this coming. He tried to warn us.

[01:16:35.06] – John Knych

He threw the dart. He threw the dart behind.

[01:16:38.19] – Peter Watts

Thank you, Peter. Ok, well, goodbye. Thank you. Bye, everyone. Thank you for having me.

[01:16:42.21] – John Knych

Bye, bye. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you all for being here. Enjoyed it. I really got a run. Au revoir.

[01:16:49.10] – Brandon

Thank you, Jack.

[01:16:50.16] – Noémie

See you guys.