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Make Annotations with Audiobooks

Like print books and ebooks, audiobooks deserve notations

Photo by Ketut Subiyanto

“The point of being a god is to have the joint running to your specifications.” -Guy Vesten, The Hungry Gods by Adrian Tchaikovsky

This is just one of several quotes I got from the novella I listened to today, Tchaikovsky’s The Hungry Gods (THG). It wasn’t very long — only five hours — and I finished it in one day with a few breaks here and there.

Warning: Although I tried to avoid them, I may have included some spoilers about The Hungry Gods in the following.

I want to write a book review of THG, so I decided to take notes while I listened to an audiobook version of it. Traditionally, annotating a print book requires writing notes in the margins, but how do I take annotations of a book I listen to?

Really, annotating an audio book is not much different than a print book.

Well, one obvious choice is to use a notebook. I chose to use my new toy, a Kindle Scribe. The sticky note feature on a phone works. Or an old-fashioned spiral notebook. The choice is yours.

I ended up having a blast writing down my thoughts as I listened to THG, more so than I thought I would. Using bullet points, I jotted down whatever came to mind. It was easier than I thought it would be. Here is a list of the types of things I wrote as I listened to my audio book. Of course, these categories also work for print or ebooks as well.

Names of characters Every time a character is introduced, I like to write their names down with a first impression of who they are. This helps me keep track of who is who, especially if a novel has a large cast. Example: “Amri wanders a neighborhood of an apocalyptic world. She’s a Rabbit tribe member.”

Thoughts about characters When an epiphany or feeling about a character hit me, I made a note. I had a few thoughts about Guy Vesten, the character who claims to be a god. Example: “Guy seems like an arrogant jerk.” “Guy has good motives but is clueless.”

Quotes Always be on the lookout for quotes either said by a character or that are part of the narrative. Example: “If you want to see tomorrow, you run.”

Theories I jotted down theories about what might happen next, what a character’s motivations might be, or whatever else occurs in my thoughts. It’s fun to look back and see when I’m right — or wrong. Example: “I think there’s something Guy isn’t telling Amri about the return to Earth.”

Questions In the same category as theories, questions about plot and character will arrive. I record them when they come to me. Example: “Is Guy really convinced he’s a god?”

Summaries Maybe not always necessary, but one option is to write summaries of what just happened at the end of a scene or chapter. Example: “Amri captured by Seagull tribe and Beaker; a shooting star distracts Beaker and Amri runs.”

Descriptions If there is a sentence I like, usually I find it is a description of something. For audiobooks, I write the quote in my notebook. For print or ebook, I highlight the text. Example: “… no matter that any crops grown under that poison rain would taste like metal and turn your insides into runny butter. Better sick than starve, though both killed.”

Symbolism When I hear something that sounds like symbolism, foreshadowing, or metaphor, I make a note of it. Example: “Amri, being part of the Rabbit tribe, sees a dead rabbit in the deadly vegetation.”

Themes Sometimes, sentences pop up that sound like possible themes of the story. These are hidden nuggets I like record. I also write down my thoughts of what a possible theme of the novel could be. Example: “‘That was the heart of godhood: knowledge and command.’ Amri’s thoughts, chapter 10.” “This story reminds me of ‘white man as savior’ syndrome.”

Connections to my own life Isn’t that the heart of reading fiction? Making a connection to one’s own life? Example: “Bruce refers to the ‘Dances With Wolves’ movie. I remember seeing that in the theatre years ago in Cincinnati.”

Annotating with a friend One way to do this is to meet a friend at a coffee shop after reading or listening to the same book and compare notes. I’ve had discussions with friends about the same book while out to eat, which is fun. Now, this second method of annotating with a friend is something I haven’t done. But I’d like to. Make annotations in a print book, lend it to a friend, and they add their own notes beside yours. I was inspired to try this by YouTuber Sam Cote and his girlfriend:

Of course, there are many other types of annotations to make while reading (or listening to) a novel. Find your favorites. In my opinion, I don’t think it’s something to overthink; just write what comes to mind. Use colors for different types of annotations. Or symbols. The thing to remember is to have fun.

[andrewmfriday]

Try 555 words a day

Photo by cottonbro studio

As an alternative to NaNoWriMo, I have started writing 555 words a day. That is just under 50K words in 3 months. I have found this to be sustainable because it is one/third of the daily time of a NaNoWriMo challenge. It is more conducive in creating a habit of writing on an almost daily basis. I have made more progress this way, because it is not as intimidating and time consuming as 1667 words a day. 555 words is easy to remember, easy to get to, and of course I write more on most days. But if I only get to 555 words, I am happy with that. This works for me. What NaNoWriMo alternatives have worked for you?

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Small Wins

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Gentle reminder, first drafts are for putting it all on the page and out of your head. First drafts are for telling. Later drafts are for showing. So keep writing that first draft. You've got this.

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From Alien Invasions to Time-Travel Romances

Science Fiction & Fantasy I’ve Read Lately

Somewhere between my third alien invasion and second time-traveling romance, it hit me: I’d been devouring science fiction all year without stopping to process the journey. So, I decided to excavate my reading pile and see what patterns emerged from the wreckage. Here are my thoughts on some recent speculative fiction reading I’ve done:

A Burning in the Bones

By Scott Reintgen

It sounds like a terrible disease: bruising spreading across the body, an unquenchable thirst — and then, the dying begins. Something is deeply wrong in Kanthor. With Ren Monroe and Theo Brood now in charge, they find themselves tangled in a dangerous mystery as they try to uncover the cause of the growing epidemic.

I just finished A Burning in the Bones, the third and final installment of Scott Reintgen’s The Waxways trilogy. While the book starts off as a slow burn, it soon delivers gripping magical battles and high-stakes twists that reward patient readers. The unfolding crisis is seen not only through Ren’s perspective but also through Nevelyn Tin’Vori, a key figure from the previous volume whose storyline continues to expand in fascinating ways.

A third point-of-view character adds even more depth: Mercy Whitaker, a spell-casting physician caught in the heart of the outbreak. Like Ren, she’s determined to find the source of the illness, but each answer only leads to more unsettling questions.

In addition to its explosive magical confrontations — reminiscent at times of Harry Potter’s best action scenes — the book is rich with eerie mystical ideas and haunting worldbuilding. Reintgen doesn’t hold back when it comes to conjuring strange, dark wonders.

The Will of the Many

by James Islington

A friend had been urging me to read this one for ages, and I’m glad I finally did — it’s easily one of my favorite recent reads. Though marketed as YA, it doesn’t feel constrained by the label. It carries shades of Harry Potter, The Hunger Games, and Divergent, but its tone and ambition lean much closer to Red Rising.

At the heart of the story is Vis Telimus, a young man with a hidden past. As the layers of his history slowly peel back, we follow him through the treacherous political landscape of the Republic, a corrupt ruling power. Through a mix of luck and manipulation from benefactors whose motives are anything but clear, Vis secures a place at the Academy — a move that could bring him closer to the revenge he seeks.

The opening chapter lays the groundwork for Vis’s world, but once the plot ignites, the story becomes a whirlwind of mystery, violence, and betrayal. Islington balances worldbuilding and tension masterfully, keeping the pages turning and the stakes high.

Dungeon Crawler Carl

by Matt Dinniman

I’ll be honest — at first, I didn’t think this story was for me. But as I kept reading, it grew on me. I decided to stop overanalyzing it, just have fun, and enjoy the ride. Dungeon Crawler Carl is science fiction with a humorous streak reminiscent of The Hitchhiker’s Guide to the Galaxy — and I usually prefer my sci-fi on the serious side.

Still, sometimes it’s good to live in the moment with a book and not take things too seriously. By the end, I really enjoyed it. I finally understood why this series has such a devoted following, and I’m already planning to pick up the next installment.

Three Body Problem

by Ken Liu

In The Three-Body Problem by Cixin Liu, the story begins during China’s Cultural Revolution, where a secret military project makes first contact with an alien civilization on the brink of destruction. Decades later, mysterious events in the scientific community and an immersive virtual reality game begin to reveal the truth about humanity’s precarious place in the universe. As scientists, soldiers, and unlikely allies piece together the puzzle, they must confront the possibility of an alien invasion — and the moral choices it demands.

Thanks to my wonderful niece for gifting me this book. I don’t usually reach for hard science fiction, but since it was a gift, I decided to give it a try — and I’m glad I did. It turned out to be both fascinating and surprisingly accessible.

I’d assumed I’d need a stronger grasp of physics to follow along, but that wasn’t the case at all. Some sections read in an almost documentary style, with detailed exposition, but I found that added to the experience rather than taking away from it.

How to Live Safely in a Science Fictional Universe

by Charles Yu

In a world where time travel is an everyday service, Charles Yu — both the author and protagonist — spends his days fixing paradoxes and helping clients avoid themselves. Stuck in a rut, emotionally and temporally, he begins a journey through memory, grief, and speculative physics when he accidentally shoots his future self. As he navigates a fragmented timeline inside his TM-31 time machine (alongside his possibly sentient operating system and a nonexistent dog), Charles searches for his missing father — and, ultimately, for meaning.

I enjoyed the first-person narrative throughout this story and the message it offers: the questionable use of technology to create realities. We’re in the beginning stages of the dangers and benefits of artificial intelligence and this story offers some ideas on what can happen when it’s used as more than a tool to assist.

Onyx Storm

by Rebecca Yarros

In Onyx Storm, Sorrengail faces the grim reality that war has truly arrived. The protective wards are failing, allies are turning their backs, and her beloved, Xaden Riorson, is locked in a desperate struggle to avoid becoming one of the very monsters they’re fighting.

For die-hard fans of the series, this third installment in the five-book saga will still deliver the familiar beats and emotional stakes you’ve come to expect. For more casual readers, however, the heavy dose of cheesy, lovey-dovey banter between Violet and Xaden may start to wear thin. Personally, I found this volume less engaging than the first two — the middle stretch felt repetitive, making the journey to the ending a bit of a slog.

That said, the finale is satisfying, and it does enough to keep the larger story moving forward. I’ve read that Rebecca Yarros plans to take a break from the Fourth Wing series after feeling burned out while writing Onyx Storm. I wish her the best and hope she returns refreshed and ready to bring the final two books to an exciting close in the years ahead.

[andrewmfriday]

Back to the War That Made Him

Bandonn FarPacer swore he’d never return to the world that enslaved him to war. Now fate is forcing his hand.

The Consortium Saga: Omnibus is available for preorder.

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In the mood for some action-packed sci-fi? Check out my latest book …

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Should You Add a Prologue?

Photo by Landiva Weber

Five years ago, I did a series called Writing Style Outcasts. It’s been a while since I’ve talked about one of these misfits of grammar. I’ve discovered the question is not why shouldn’t I use them but is when to use them.

I’d like to add prologues to these misfits of the writing craft.

A debate has raged in writing circles for a while. Should a writer use a prologue at the beginning of their novel? Let’s discuss the pros and cons of when to use prologues.

Use a prologue? Yes!

Show key past events The prologue for Venor Vinge’s A Fire Upon the Deep is an example of a well-placed prologue. a human research team unknowingly awakens a malevolent, godlike intelligence called the Blight from an ancient data archive, triggering its release into the galaxy and setting off catastrophic consequences. This event is not the main storyline; it just sets off the chain of events the main characters endure. Without the prologue, the event could have been weaved into the main story, but I feel it would have been confusing to the reader.

Introduce a different voice or timeline In Vinge’s novel, the cataclysmic event happens in a different part of the galaxy. The prologue sets up an event that is ominous and creeping toward the other planets in the galaxy. This creates suspense.

Establish worldbuilding Using A Fire Upon the Deep again, yes, the prologue sets up a science fiction world where technology has gained sentience.

To hook with a dramatic event Needless to say, this same prologue definitely establishes a dramatic event: the destruction of a human colony of scientists. And the consequences are going to be felt throughout the galaxy.

So, it’s easy to say, Vinge’s prologue serves several purposes. Saying that, in the genres of science fiction, fantasy, horror, or any kind of speculative fiction, a prologue is usually not questioned.

Unless …

Use a prologue? No!

Dump information A prologue should never be an infodump. Instead, the writer should weave worldbuilding and backstory into the scenes as the plot progresses. The prologue should not read like an encyclopedia entry. Instead, it should focus on action.

Disguises chapter one The writer should ask, “Can this prologue just be chapter one?” If it has the same time period and characters as chapter two, then it should be chapter one. A prologue should be different from the events of the early chapters of the novel.

Delays story The writer should make should the prologue just isn’t an excuse to delay the true beginning of the story. Remember: the prologue should draw the reader in, not drag them along.

Here’s a litmus test

If a writer isn’t sure whether to include a prologue, here are some questions to ask:

Is the prologue essential to the story?

Does the prologue create suspense and mystery?

Does the prologue give needed context for the rest of the novel?

Will the reader be confused if they just jump into chapter one?

Ultimately, a prologue should . . .

Remember: a good prologue should raise questions, not answer them. Readers want to be intrigued. They want to figure out what is going on.

[andrewmfriday]

how non-writers think writing works: creating a detailed outline and plan, writing each section carefully and weaving in all the different story threads like a master creator, expertly creating a masterpiece with care and precision

how writing actually works: daydreaming that one scene, creating a half-formed plot in a daze all around it, swearing at characters that don't magic themselves into existence, becoming absolutely obsessed with the story for a solid week, it becomes your entire life, you sit down open a blank word document and write approximately two and a half chapters, lose interest, daydream an entirely new idea for a new story, rinse and repeat

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Review: The Will of the Many

My friend kept suggesting this one to me and finally I got around to reading it. Probably my favorite in my recent reading history. It's a YA novel, but it doesn't feel like it. It has aspects of Harry Potter, The Hunger Games, or Divergent, but it feels more like Red Rising.

Vis Telimus has a secret past and the mystery slowly unpeels as he navigates his way as an orphan through the corrupt ruling government called the Republic. Thanks to some benefactors who may or may not be beneficial, Vis ends up at the Academy where he hopes to find revenge.

The first chapter builds up the world in which Vis lives, but when the story takes off, it is a whirlwind of mystery, violence, and betrayal.

The 2nd installment of this series, called The Hierarchy, is coming out soon, November of 2025, and I've already preordered it as an audiobook.

If you like the series I mentioned earlier, you most likely will like this one.

[andrewmfriday]

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Using Scrivener’s Snapshot Function

It's a great way to keep track of your revisions

Photo by cottonbro studio

There are a million ways to revise. And there are a million ways to use Scrivener. For my fiction writing, Scrivener offers flexibility and customization. I have found it malleable to fit whatever writing project I am working on at the time. If you haven’t used it, you would too, I bet.

No, I’m not a commercial for the Scrivener software. In fact, I would encourage anyone who gets overwhelmed with complex software to try Dabble or Novlr. Saying that, I think Scrivener is easy to use if you just keep it simple. The fancier bells and whistles are there if you need them.

One of those fancy bells and whistles is the snapshot function.

But never fear. I have broken down how to use the snapshot function in Scrivener in steps. More specifically, I will show you how I use it to keep track of my drafts for a scene.

What is a Snapshot in Scrivener?

A Snapshot is like taking a photo of my writing before I make big changes. It saves that version so I can look back at it — or even go back to it — later. It’s a safe way to experiment without fear of losing my previous work.

Think of it as Scrivener saying, “Don’t worry, I’ll remember what this looked like before you edited it.”

How do I get started?

You probably already know how to use Scrivener if you are interested in learning more about the snapshot feature, but here is a simple reminder of some of the terms I’ll be using.

The left hand column is the binder. It’s a digital notebook where I see the “pages” of my novel in order.

The middle column is the editor. This is where the magic happens. I compose rough drafts of scenes, outlines and final drafts in this space. I spend most of my time here.

The right hand column is the one that people get scared of. It is the inspector. Today, I am going to talk about just one function of the inspector, that is the snapshot function, and how I use it to keep track of my drafts.

To get started, I create a text document in the binder. I write one scene per text document. For this novel, I’m calling each scene an “episode,” but most of the time I give a scene temporary title. I’ll combine my scenes into chapters later. Write the name of your scene in the field in the binder.

One thing I love about Scrivener is changing the size of the editor and the inspector. My preference is to make the editor and inspector about the same size. You adjust them to your liking.

Following are ten steps on using snapshots to keep track of your drafts. I’ve added a fake scene as an example. You should be able to enlarge the graphics if you click on them.

Let’s go.

1.

I create a new text document for the new scene.

2.

I write an outline or rough draft of the scene.

3.

When finished with the outline, I take a snapshot by clicking on the camera icon on the right column near the top. Then I click on the “+” symbol on the very right. This snapshot will appear in the list with its date. It will be called “Untitled Snapshot.” If you ever want to delete a snapshot, select it and click on the minus symbol next to the "+" symbol.

4.

If I want, I can double click on the title and give it the name of my choice. I’m calling this first listing “Outline.”

5.

Notice when I click on the snapshot title, a copy of the outline appears below in the right-hand column. It is read-only at this point. See step 9 for instructions on how to copy and paste from a snapshot.

If I need to, I can click on the bar above “Episode 44: Investigating the death” and pull the snapshot up so I can see more of it.

6.

Now, I feel free to delete the rough draft in the editor column. I’m keeping the title for the next draft.

7.

With the snapshot of my outline on the right, I can compose the first full draft of my scene in the editor (the middle column). Of course, I may not follow the outline exactly, but I have it as a guide to keep me on track. Using the scrolling bar on the very far right, I can glide up and down the snapshot as I write. That way, I can see whatever part of the outline shapshot I want.

8.

When I’m done with my first draft, I take a snapshot of it and it will appear beneath the listing of the snapshot called “Outline.” I name this new snapshot “Draft 1.” I don’t delete this draft because I’ll probably only make minor changes to it; however, each time I am about to make changes, I can choose to save the current version as a snapshot for later reference.

I can make as many snapshots for a document as I want. Past experience tells me I usually need to rewrite a scene three or four times. Of course, I can totally delete my scene in the editor and start over knowing I have snapshots of everything saved.

9.

If I want to get text from a previous snapshot, click on the snapshot in the list. In this case, I want to get something from the snapshot called “Outline.” I select what I want to copy, right click, and select “Copy” or use Ctrl+C. For Mac users, use the keyboard shortcut Command (⌘) + C.

10.

I paste what I copied into the editor column. I never know when I may need to copy and paste something from a previous snapshot.

Other writing software, like Novlr has a snapshot function. You might want to adapt whatever software you use to write to keep track of your revisions. I’ve discovered it’s always good to have a plan. Never throw an old draft away. You may have to glean a nugget of information from it when you least expect it.

[andrewmfriday]

The Final Destination

How I’m Designing Resolutions for Every Character in My Series

This past week, as I was rewriting scenes for my upcoming novella, Normous, I realized something: I needed to make sure I kept track of where my characters end up at the end of this series.

Was I smart enough to keep track of the character arc for all my characters? Only in my head, which is a bad way to do things. I have the character arcs for my main characters planned out. I even have the resolutions for my minor characters as well.

I just hadn’t written them down.

My fear grew. The fear that I would forget about some characters by the end of the series. So, while I was not smart enough to plan more definite endings for the characters in my series, I was smart enough to create an index of characters, technology, organizations and so on. This index covers the first four books in my series and can be found in The Consortium Saga Omnibus.

Here is what I did: I took the index, which I affectionately call a codex, and made notes of where characters and plot points ended up. In my defense, I already have an idea of what is going to happen, but I should have written this down a while ago. In the meantime, the ideas are swirling in my head. I needed a reservoir to keep my thoughts straight for my book series. Much like Professor Dumbledore and his Pensieve, a magical device where he kept his memoires and thoughts for review.

I am in the process of creating my own Pensieve.

It started when I came back to the outlines of the last three books of my Consortium space opera. I knew the endings for my main characters. I even made a few updates. I was starting to feel overwhelmed. After four books and almost completing the fifth, I felt the need to review the final destination of all my characters, especially the minor ones. So, I took my index and started writing one sentence conclusions to their stories. Most I already knew. It felt good to record their journey’s end. I also realized I hadn’t made plans for some others. My index saved me time, and I was also able to give these characters end point.

As I continue the process, I am also devising the ultimate stops for non-character entities in my series. By this, I mean objects and organizations such as starships, planets, and groups of people.

The fun about completing a character arc for characters is deciding whether they have a positive or negative ending. What kind of transformation did they go through from the beginning of the series? Is their arc a redemptive one? Not every ending will be a happy one, but some of my characters will end up facing new positive challenges.

Another benefit of thinking about the end stories of my characters is introducing any last minute elements now so I don’t have any Deus Ex Machinas. On the flip side, I want to honor Anton Chekov’s rule about placing a gun on the mantle early in the story. I need to use that gun at some point, figuratively speaking.

Are you writing a series? Have you considered what happens to all your characters? Perhaps you prefer to just keep writing and see what happens. Nothing wrong with that. For me, I needed to take inventory, so my series concluded as neatly as possible.

[andrewmfriday]

Body Parts in Fiction

Are your characters or their body parts doing the action?

Photo by Luis Quintero

he other day, I wrote this while finishing a scene: Rax’s hand reached out and pointed toward the window.

I remember reading somewhere to avoid disembodied hands, arms, eyes and other appendages doing the action instead of the character.

So, I rewrote the the sentence with the character performing the action: Rax gestured toward the window.

It was a classic case of the body part performing the action versus the character performing the action. Now is a good time to go over your current work in progress and find instances of this practice of weak writing.

But why is it weak writing? When the character performs the action directly, the writer accomplishes the following:

Maintains a character’s point-of-view

Makes a sentence more succinct

Avoids awkward phrasing

Here’s a few more examples.

Original: Petunia’s eyes scanned the room for danger. Revised: Petunia scanned the room for danger.

Original: Sylvesters feet carried him across the courtyard. Revised: Sylvester crossed the courtyard.

Original: The nurse’s fingers drummed nervously on the table. Revised: The nurse drummed her fingers nervously on the table.

Original: The baboon’s head turned toward the noise. Revised: The baboon turned toward the noise.

Original: The statue’s mouth curled into a grin. Revised: The statue grinned.

After giving all these examples, I want to mention there are exceptions. Take the last one with the statue. I think the original is more effective because it creates a vivid image. Imagine seeing a statue at the museum suddenly smile–no other movement. Creepy.

If an action by a body part evokes a powerful visual, use it. If it emphasizes the action for a more interesting effect, do it.

Here are some examples of using the body part to do the action:

Example: Eriska‘s hands trembled as they packed the suitcase, as if they belonged to someone else. Effect: Creates a sense of disassociation, shock and the surreal.

Example: Zorellin‘s fingers traced the old scar, hesitant and slow, like they were remembering for him. Effect: Suggests more tactile sensations

Example: Kaelith‘s legs refused to move, locking her in place like pillars sunk in concrete. Effect: Personifying the legs aids to the metaphor of legs to pillars.

Using the character to perform the action should be the standard unless a focus on the body part creates a specific effect that helps your story. When it’s done deliberately, for a specific reason, the writer can create wonderful sensory details and figurative language.

[andrewmfriday]

Curse You AppleTV+: You’re So Good

I just had to subscribe to yet another streaming service

I didn’t want to subscribe to AppleTV+. Just one more stupid streaming service to take my money every month. However, I kept seeing all these great science fiction shows on this channel, and some of them were based on books I had read.

My friends kept saying, “Subscribe and cancel when you’re done.” So, I gave in. And I haven’t cancelled it yet, because AppleTV+ keeps churning out great science fiction series. Those bastards.

It’s been a while since I’ve reviewed any science fiction and fantasy shows, so here are some I’ve watched recently on AppleTV+.

Murderbot

A security bot bypasses its governing module and attains free will. If the company that owns him finds out, however, they will melt him down. So, he hides his true nature from the “hippy scientists” who are his latest clients as they research a dangerous planet full of “hostiles.” While the scientists call it SecUnit, the robot has named itself “Murderbot.” Enemies all around reveal themselves, and Murderbot and his scientist clients begin to uncover the deadliest menace of all.

I’ve read a few of The Murderbot Diaries by Martha Wells. They’re the short, quick reads this show is based on, and I enjoyed them. The show has fleshed out the personalities of the team of scientists, as well as the show within the show, called ‘The Rise and Fall of Sanctuary Moon.’ Despite each episode being only 30 minutes, they accomplish a lot.

The subtle comedy of the books comes through brilliantly in the narration of SecUnit, which is performed perfectly by Alexander Skarsgård. His sardonic and monotonous tone cracks me up. The team of bumbling scientists endear themselves to the viewer with their naivety. Murderbot calls them “idiots,” but he has to protect them from the dangers of the world they’re studying. Or does he? He has free will after all.

Noma Dumezweni as Menzah, the leader of the science team, gives an excellent performance. She brings the character from the book to life in a warm and caring way. Menzah offers friendship and solidarity to SecUnit in both the show and the books.

One thing that bothers me about the team of scientists is that they don’t listen to the robot when it warns them of danger. I mean, that’s what he’s there for. Compare this with a classic sci-fi show. When the robot in Lost in Space threw up his arms and yelled, “Danger, Will Robinson!” that little punk scurried away as fast as possible. Over and over, the SecUnit tells the humans to get moving because they’re going to die. However, they are like, “Whatever.” This kind of drives me crazy. Maybe this is part of their nature, and perhaps a deliberate choice by the show’s writers. But I thought they’d learn by the fifth or sixth episode to haul ass when the SecUnit warns them.

That’s the only thing about this show that bothers me. So, if you like Firefly–I can’t believe it’s been over twenty years since that show aired–you’ll find a similar vibe with Murderbot. The final episode of season one is on its way, and I’m eagerly anticipating it.

Silo

Ten thousand humans live in a deep underground tower, a silo, where everyday life is carefully regulated and the history of their culture is kept secret. Anyone who decides to leave the claustrophobic society is free to do so. However, leaving the surface and going outside always leads to certain death. Whatever toxins or radiation exist in the air outside kill these ‘traitors.’

Whenever a rebellion occurs, it is usually squashed by the silo’s authorities. The show begins with a new rebellion, but this one is different. This one may actually overturn the city that has been built on these hundreds of levels below the Earth’s surface.

Silo was the reason I subscribed to AppleTV+ and the first show I watched on that streaming platform. After all, I read the books years ago. I also became a fan of Rebecca Ferguson after seeing her in the role of Jessica Atreides in the latest Dune films. What did I have to lose?

One thing I will say about the Silo show is that they capture the mood of the books. The sound stage is almost exactly as I pictured the scenes in Hugh Howey’s novels. The show and the books do a great job of unpeeling the mystery of whatever cataclysm forced the humans into the underground town.

At a few points, the show was a little slow, but that did serve to help build the rebellion boiling beneath the surface. There is a lot of great acting in each episode. Rebecca Ferguson continues to give great performances in her role as Juliette. Some other familiar faces show up: Tim Robbins plays a controlling leader who wants to keep tradition no matter who dies; Ian Glenn plays Juliette’s estranged father, a conflicted physician; and Rashida Jones plays Allison, who triggers everything in the first episode.

This show does a fantastic job of bringing the novellas to life. Even if you haven’t read them, you’ll appreciate Rebecca Ferguson’s starring role. The first two seasons are now complete on Apple TV+.

Foundation

The Genetic Dynasty rules the galaxy with a solid grip. When Hari Seldon, a brilliant mathematician, creates a branch of science called psychohistory, he proves that the Foundation will eventually fall. Of course, the ruler of this dynasty, a group of clones, collectively known as Cleon I, tries to squelch this nerdy scientist and his disciples. The result? A war that stretches across the galaxy.

Like Murderbot and Silo, I read the novel this show is based on, Isaac Asimov’s Foundation. Now, don’t hate me, but I read the first book in the Foundation series when I was pretty young. I found it boring, but I did finish it. With all due respect to Asimov, one of the best-known science fiction writers of the 20th century, books in the sci-fi category were developed differently back then. They were more plot-driven than character-driven. But I’m getting off track. The show is very different from the book I read. And that’s okay for me, but I’ve read that a lot of Foundation fans don’t like this. Now that I’m older, I plan to give the Foundation books another try.

But, back to the show. Lee Pace plays Brother Day and steals every scene he is in with his smarmy charisma and good looks. His character reminds me of Julian McMahon’s (RIP) character in Nip/Tuck: loveable and sexy on the outside, but dark and crisis-ridden on the inside. The same can be said by the mathematician played by Jarred Harris. Who is the hero in this show? Who is the villain? These two actors do an excellent job of keeping the audience guessing.

As can be expected, a show about a galactic war has a cast of thousands. Lots of fun characters playing science fiction tropes. I recommend approaching Foundation with an open mind and simply enjoying each episode.

If you haven’t watched the first two seasons of this show, now is a good time to catch up before the third season begins soon.

Severance

Employees of a large corporation, called Lumen, offer themselves to undergo a controversial procedure called ‘severance.’ While at work, they only remember their lives within the building, but once they leave the property, they resume their lives at home in the small town where Lumen resides. Neither their work selves nor their home selves remember or know anything about the other. The question is raised: have they become two different people?

To be honest, I felt that way for some of the big companies I’ve worked for over the years, even without a severance package. But enough smart-aleckiness. The premise behind this show raises some other questions: why would any employee want to undergo such a horrific experiment? And why is Lumen even doing these crazy things?

Unlike the other AppleTV+ shows I’ve reviewed in this blog entry, Severance is not based on any novel. I had heard some good things about it, so I gave it a shot. It was a little disorienting at first, but the show grew on me. The idea behind Severance could have been easily confusing to viewers. Still, the show’s producers and writers did a great job of making Severance make sense.

I have seen Adam Scott and Patricia Arquette in other shows, and I appreciate their performances in each episode of Severance. I also enjoyed the characters played by Britt Lower, Zach Cherry, John Turturro, and Tramell Tillman. Two seasons have been released for Severance, and the second one is even better than the first. That second season ends on a fantastic cliffhanger.

If you enjoy dark comedy, Severance has that and more, all in a nicely packaged format.

No, AppleTV+ isn’t paying me to review these shows, and I admit I didn’t want to pay for one more streaming service. In the end, Apple is churning out some great sci-fi, and for genre fans, these shows are well worth the subscription.

[andrewmfriday]

The Art of Using Pronouns

Name-dropping in fiction writing

Photo by fauxels

The other day, I typed out a paragraph for the science fiction novella I’m working on, and I realized I’ve had this aching question for years: when do I use a character’s name and when do I use a pronoun instead?

Are there formal rules for this sort of thing?

When do I use my character’s name and when do I say ‘she’ or ‘her?’ Here’s an example that made me think about it:

“We’re in.” Kessla glanced over at Pichold who sat staring at the bay through the window.

Kessla released a slow, quiet whistle and disengaged the latching mechanism with a thrust of a lever. Bay personnel focused on the front of the long cargo ship which Kessla used to her advantage. With a few jostles of the steering, she maneuvered the shuttle into a shadow of the immense bay among stacks of lonely, metal crates that offered a fort of secrecy.

“Let’s move,” Kessla said.

Two female characters. I had to make sure the reader knows who is doing what. In this case, Kessla. I hope this illustrates the importance of knowing when to use names and when to use pronouns to avoid confusing the reader.

I use a character’s name, their ‘proper noun,’ when I want to:

introduce them,

clarify ambiguity,

or emphasize their identity.

I use pronouns when I want to

be concise,

allow the sentence to flow more smoothly,

or create more closeness between reader and story.

That last item is for close 3rd person or 1st person point-of-view.

One thing to remember when writing fiction, it can’t hurt to balance between using a character’s name and using pronouns. For variety’s sake, throw in the character’s name after using pronouns for a while.

So, the thing to remember: if there could be any confusion which character is doing what, use their name.