{"id":8209,"date":"2017-07-22T10:27:12","date_gmt":"2017-07-22T09:27:12","guid":{"rendered":"http:\/\/www.themanchesterreview.co.uk\/?p=8209"},"modified":"2017-07-22T11:06:11","modified_gmt":"2017-07-22T10:06:11","slug":"bluedot-sara-maitland-adam-marek-dr-rob-appleby-ra-page-reviewed-by-usma-malik","status":"publish","type":"post","link":"https:\/\/www.themanchesterreview.co.uk\/?p=8209","title":{"rendered":"Bluedot: Sara Maitland, Adam Marek, Dr Rob Appleby, Ra Page, reviewed by Usma Malik"},"content":{"rendered":"
How to Write Science-fiction<\/em>: Sara Maitland, Adam Marek, Dr Rob Appleby, and Ra Page<\/em>; Bluedot, Jodrell Bank Observatory, Orbit stage, July 8-9 2017.<\/h5>\n

When a Science-fiction writer\u2019s panel kicks off with the sound of foxes howling you know you\u2019re in for an interesting ride. The three men sitting on the front row are in full foxy regalia, and keen to vocalise their appreciation for our writers. Professionals, Sara Maitland, Adam Marek, Dr Rob Appleby take the greeting in their stride, as does our chair, Ra page of Comma Press.<\/p>\n

Ra gets down to business straight away: What should Science-fiction do? What is the responsibility of Science-fiction? Does it have one? Should it? Questions like these are as much a part of the genre, as is the argument on where writers position themselves, in relation to them.<\/p>\n

H.G Wells was very much on the social side, he used science as a metaphor, taking liberties, scientists would protest: story over scientific fact. Something Jules Verne has criticized for him \u2013 he himself was serious in his science research. There has always been this dichotomy between writers and scientists. 150 years as a genre, and the argument for the balance of fact and fiction in science-fiction narratives continues, as our panellist\u2019s spirited discussion will show.<\/p>\n

So what does happen when you pair writers with scientists? as Comma Press like to do. You get electric narratives that pursue scientific theory to the edges of reasonable deduction, and then push beyond those edges into the purely speculative realms of \u2018Yes, but what if..?\u2019 This is where the H.G Wells\u2019s and Jules Verne\u2019s of the Sci-fi world part company.<\/p>\n

Both Sara Maitland and Adam Marek draw on scientific research and theory to inform their stories. Just how much they choose to allow that scientific knowledge to influence, or shape and direct their narrative arcs is variable, as their readings and the following discussion illustrates.<\/p>\n

Dr Robert Appleby is invited to start the discussion. A theoretical physicist, he knows a little something about space travel and the laws pertaining, (his primary research at Manchester University is in the physics of particle accelerators) so Adam Marek\u2019s short story exploring the time dilation effects of space travel and the twin paradox thought experiment generates some excited discussion. For those not in the know, the Twin Paradox is a thought experiment in special relativity which works something like this: take a pair of twins, leave one in settled in a comfy armchair with a cup of tea and a good book (I can recommend Thought X, Comma Press), strap the other twin into a spaceship and wave him off from a safe distance. Space twin shoots off to take a turn through the galaxy before returning home. Back on Earth, the reunited twins discover that whilst Space twin has maintained his\/her youthful looks, Armchair twin has visibly aged. How does one Space twin avoid the same aging rate as Armchair twin? Well, according to Einstein\u2019s special theory of relativity, \u2018time\u2019 as a singular notion does not exist. We all experience time differently, consider an hour spent in an algebra class compared to an hour at the pub with mates (unless you\u2019re really into your algebra, then the latter may be the agony). Now how much Armchair twin has aged, depends on the speed at which Space twin travelled \u2013 we\u2019re talking light years here. Space twin will have experienced, say, six years out in space, while on Earth, ten years may have passed. The effects of time dilation means both twins experience passage of time differently. <\/p>\n

Currently, this effect is only experienced by elementary particles enjoying round trips in a particle accelerator, averaging at a light speed of 99.99999, lucky little devils. <\/p>\n

For us armchair bound humans, stories like Marek\u2019s speculative Lightspeed<\/em> are a glimpse into a future where such space travel at the speed of light is a common experience and the twin paradox is not merely a hypothetical thought experiment, but an increasingly troubled reality for our protagonists. <\/p>\n

Nowak, a lightspeed pilot, is having relationship issues with his wife Martha. For her, the excitement of living on a Space station in an inflatable pod has palled. Her research, investigating the effects of sperm motility in microgravity has not panned out as expected. But Nowak\u2019s passion for his job, which is what keeps them in space, shows no sign of diminishing. The relationship is not helped by the time dilation effects of Nowak\u2019s trips. There\u2019s the long, awkward, phone conversations where the speed of their voices distort and turn the simplest of communications into a major effort. Nowak\u2019s voice is heard at a third of its speed, imagine a simple \u2018hello, how are you,\u2019 slowly elongating like a piece of chewing gum, only to speed up ridiculously the closer he gets to the Space pod. Then there\u2019s the important events he keeps missing, like their daughter\u2019s birthday. Nowak\u2019s promise of \u2018I\u2019ll be back in a couple of hours\u2019, is met with his daughter\u2019s puzzled \u2019T er ysdy\u2019 and his wife\u2019s angry \u2018Yu mssd t\u2026\u2019T\u2019s sndy Hr\u2019. Nowak is left baffled \u2018That\u2019s impossible. It\u2019s Friday.\u2019 But he\u2019s lost three days and not even realised it. The longer his journeys, the more warped time becomes. Counselling sessions ensue (and he hasn\u2019t even mentioned to his wife yet that thanks to his frequent flight missions, his ageing has slowed right down, whilst hers has continued, at a ratio of one and a bit years to four years).<\/p>\n

It\u2019s a great reading by Marek and he finishes just in time for the distinctive sound of an aircraft passing above us to be heard\u2013 it\u2019s perfectly timed \u2013 we applaud.<\/p>\n

From outer space sci-fi, to more familiar home territory, but no less strange for it. Sara Maitland begins with \u2018personally, as a feminist, I believe Mary Wollstonecraft wrote the first science-fiction book with Frankenstein, before all these boys.\u2019 There\u2019s some great follow up repartee between our panellists before Maitland begins her reading, an excerpt from, Dark Humour<\/em> (Moss Witch<\/em> anthology). <\/p>\n

As part of the story, we\u2019re treated to a brief etymology lesson on the word melancholia because \u2018the classicist in Maitland insists\u2019. The story considers what poetry can give to science, and the names, the naming of things, is incredibly important to our protagonists, the theoretical physicist is nostalgic, \u2018all the old stars have names and stories to go with names \u2013 gods and heroes and monsters and…sort of linking, connecting with other real stuff…but now H11 regions…NGC 406. How can anyone love something called NGC 406?\u2019 His partner disagrees, she likes the cold, neatness of hard facts, and besides \u2018This is physics, not poetry; we don\u2019t want metaphors.\u2019 For her, there is enough beauty in thoughts of \u2018H2O molecules huddling closer together as the temperature drops.\u2019 But he wants a \u2018Theory of Everything,\u2019 with the romance of stories. It\u2019s the stories behind the names that create the meanings, the connections. The problem is now all science comes up with for new discoveries is \u2018gobbledy-gook words.\u2019 There\u2019s an unhappy tension, for our protagonist, between the science and the storytelling. <\/p>\n

But, I wonder, what is science, physics \u2013 if not a long speculative fiction in its own way? <\/p>\n

The narrative of our existence is bound up in myths and magic, in thought experiments and the \u2018What if?\u2019 of it all. Science and Story: \u2018Same theory, different language,\u2019 explains Maitland\u2019s theoretical physicist to his partner, \u2018We\u2019re all speculating now, well out in front of our technology or even our facts, our data. That\u2019s why you need stories, images, metaphors; to stimulate and integrate the imagination.\u2019 And this is, really, is at the heart of what our writers are all aiming to do. Dr Appleby explains in his afterword to Dark Humour<\/em>, on how our understanding of the universe\u2019s building blocks has changed over time, \u2018the four humours of earth, air, wind, and fire have been replaced with the atomic picture of protons, neutrons, electrons. They\u2019ve been further refined into four fundamental forces, and a Standard Model of seventeen fundamental particles. We even have the possibility of replacing our fundamental particles with superstrings vibrating in eleven dimensions! But the idea remains the same: there is an elemental story at the bottom of it all, with a finite table of particles, or a finite cast of characters, if you will. We tell the story of our universe through these characters. Their names may change over time, but they are all part of the same story.\u2019<\/p>\n

For Maitland, science is like a prism, \u2018you use science as a metaphor. I\u2019m not very good at thinking of plots. Science, theory, it stimulates a way of working on stories.\u2019 Besides \u2018it\u2019s tough being a witch,\u2019 the science offers a helping hand. <\/p>\n

Marek explains it as \u2018the story is a medium to push past the boundaries of this theory\u2019.<\/p>\n

Ra Page leans forward to ask, \u2018What\u2019s the role of thought experiments? Marek responds simply, \u2018you play games, explore the possibilities, the consequences of the paradox. You look for the limits of the theory\u2019. <\/p>\n

For both Marek and Maitland, as writers it\u2019s about taking these huge scientific concepts and bringing them down to a human level, they look for the conflict. Marek uses the analogy of a particular film scene he remembers has having an impact on his writing process, \u2018in the distance you see this huge explosion take place in silence, but close up, on a balcony what you see is a paper cup slowly falling over. You\u2019re thinking of how it (the science) could go wrong at the human level. I\u2019m always looking for opportunities to punch holes in paper cups.\u2019 It\u2019s not so much then the large, and for most people still abstract, theory but its smaller, more measurable effects on daily lives, the materialistic details you might say, that make the story. <\/p>\n

More questions come from the audience. Fox No. 1 wants to know, \u2018how much has science-fiction influenced Science? Maitland agrees up to a point that it\u2019s more \u2018a collaborative process\u2019 between the two. She illustrates her point with a list of examples from literature, think of the E-book reader, Huxley and test tube babies. The fiction came first, the science followed.<\/p>\n

But also, \u2018fiction writers typically have written stories constrained by the law of science.\u2019 <\/p>\n

Another question posed to our writers wonders if there is a conflict between good science and strong narrative. It depends on individual taste, and personal preferences, on how writers utilise the science, it can go either way. <\/p>\n

The discussion moves into movies. Maitland confesses, \u2018I don\u2019t think I\u2019ve ever seen a science-fiction movie. Oh, wait, I did work on Kubrick\u2019s A1, and then much to everyone\u2019s delight segues into a little bit of Hollywood gossip, before returning to the discussion in hand. <\/p>\n

The ideas in science are enough for Maitland, the specifics of the science, the laws, can be more of a hindrance, than a help, in her opinion. The questions get more personal, and larger: Have you ever ignored science for a good story? Are you responsible for the future? Do you feel an obligation to, a duty to tell the (scientific) truth?<\/p>\n

An earnest Marek goes first and presents a passionate argument for respecting the science. Research is clearly a serious business for him. \u2018Creativity works best with restrictions; it allows your mind to generate stuff.\u2019 Maitland takes a different stance, the complete opposite in fact, \u2018if the sub-particles don\u2019t match, match it to a magic wand.\u2019 Yes, the science is there and yes it has its part to play in storytelling, it\u2019s the catalyst \u2013 but that doesn\u2019t necessarily mean it has to be the driving force of the narrative. Science and the poetry in storytelling are intimately linked. There is something truly fundamental about locating our stories in something bigger, larger. The panel are agreed on this. Think of Einstein, \u2018a moment of genius to change the paradigm of our universe,\u2019 and with it our narratives.<\/p>\n

As for being responsible to the future, \u2018It\u2019s about intention,\u2019 Marek says, \u2018I hope I wouldn\u2019t accidentally write something to inspire someone\u2019s darkness. Reality is a story. A story is defined by the way we choose to tell ourselves about it. Storytelling is like a dark art because you have the ability to change perceptions. There is a responsibility, like the Socratic oath: do no harm.\u2019<\/p>\n

Balderdash<\/em>, Maitland jumps in. Alright, she didn\u2019t actually say balderdash, but her reaction kind of carries the sentiment. What Maitland actually says is: \u2018It\u2019s never crossed my mind, it doesn\u2019t bug me\u2019. I\u2019m beginning to think there\u2019s just a little bit of the devil\u2019s advocate in her, she\u2019s visibly enjoying this, as are we all. Marek and Appleby take it on the chin. They do all agree, however, that the whole Science-fiction genre is very much a moreish thing. Think about it, they ask, who\u2019s bothered with the epic poem and updating it? (apologies to the poets out there shaking their fists) Science continually gives us opportunities to ask that \u2018What if?\u2019 and the \u2018How can it go wrong?\u2019 (cue Jurassic Park, look where all that messing with creation got us). As Maitland succinctly expresses it, you \u2018cannot drain a good form.\u2019 But amidst all this talk of generating narratives out of \u2018what could go wrong?\u2019 there is a caution too from our writers, to be careful not to focus on just the negatives, for we\u2019re moving into a paradigm where we need the hope of Utopia that Science-fiction narratives can offer. That said, as Marek puts it, there\u2019s not a lot of harm to feeling some misery in art either. <\/p>\n

What\u2019s clear by the end of the discussion is that H.G Wells and Jules Verne\u2019s debate is still going strong in this genre, and that Sara Maitland, Adam Marek and Dr Appleby are more than happy to indulge us, and each other with the consequences.<\/p>\n

Usma Malik<\/h5>\n","protected":false},"excerpt":{"rendered":"

How to Write Science-fiction: Sara Maitland, Adam Marek, Dr Rob Appleby, and Ra Page; Bluedot, Jodrell Bank Observatory, Orbit stage, July 8-9 2017. When a Science-fiction writer\u2019s panel kicks off with the sound of foxes howling you know you\u2019re in for an interesting ride. 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