Writing only looks easy. But it can be learned.

Writing isn’t something you can sit down and do without training. It only looks that way.

Spot my title in the middle...

Spot my title in the middle…

I’ve noticed, of late, various posts and comments around the blog-o-sphere along the lines of ‘my book is good, because I got positive comments on Good Reads (or Amazon, or Smashwords), so why did an agent say it was terrible?’

Or ‘I got positive comments on Good Reads, but the agent said the book needed this-and-this-and-this…’

Why? There’s no soft way to say this. Fact is that neither writer nor on-line reviewer actually knew what constituted a good book – meaning not just an abstract measure of quality and authorial competence, but what’s required for a specific market.

Agents do. So do commissioning editors.

What’s happened is that the aspiring writer’s sat down and thought ‘I want to be a writer’ – usually, meaning ‘novellist’. They’ve then churned out a novel. Which is, of course, an absolutely wonderful achievement and ambition; and all power to their writing arm. But writing, like every skill, has to be learned – and the four stages of competence apply, absolutely, to writing. I’ve said it before, but it deserves repeating:

1. Unconscious incompetence – you don’t know enough to realise you don’t know what you’re doing.
2. Conscious incompetence – you realise how much there is to learn.
3. Conscious competence – you know what you have to do, but it’s a conscious effort, mechanical.
4. Unconscious competence – it’s become part of your soul and your writing soars.

Going from start to finish takes a million words and about 10,000 hours. There are no short cuts.

Yes, some authors have an aptitude for it – but what this means is that they start off as a talented ‘unconscious incompetent’.

Does that mean giving up? Au contraire, my friends. It’s a challenge; and it’s a challenge that can – must – and will be met.

Training helps. So do writing groups. But the real progress comes from the doing – the hard yards; and the reality is that, until you’ve accomplished at least a sizeable fraction of that million word/10,000 hour learning curve, all writing will be just that – a learning curve.

Equally, it doesn’t mean stuff written along the curve is unpublishable. Quite the contrary – but I guarantee you’ll look back on it later and know you can do better today.

That always happens anyway – learning never stops, even when you’ve become unconsciously competent and writing has become part of your soul.

Copyright © Matthew Wright 2014


Shameless self-promotion:

Also available on iTunes: https://itunes.apple.com/nz/book/bateman-illustrated-history/id835233637?mt=11

Nook coming soon.

Buy the print edition here: http://www.batemanpublishing.co.nz/ProductDetail?CategoryId=96&ProductId=1410

The science behind this year’s blood moons

Well, the first ‘blood moon’ of 2014’s come and gone. I missed it – the night sky where I live was socked in with 10/10 overcast at an altitude of about 200 metres.

US Navy photo of a total lunar eclipse in 2004, by Photographer's Mate 2nd Class Scott Taylor. Public domain, via Wikipedia.

US Navy photo of a total lunar eclipse in 2004, by Photographer’s Mate 2nd Class Scott Taylor. Public domain, via Wikipedia.

Still, I’ll have another chance on 8 October. And another on 4 April 2015. And a fourth on 28 September that year.

Although unusual, it’s not a unique occurrence to have four eclipses in quick succession. Technically they’re known as a tetrad.

The reason why eclipses are a bit erratic is interesting. A lunar eclipse is simple enough – the Moon passes through the shadow of the Earth. The reason lunar eclipses don’t happen every 27 days, as the Moon orbits the Earth, is because the Moon doesn’t always pass through the shadow when it’s ‘behind’ the Earth relative to the sun. It would if everything was lined up flat on the same plane – but it isn’t.

In fact, the Moon’s orbit is tilted relative to the ecliptic – the plane in which Earth and Sun orbit. The tilt varies between 4.99 and 5.30 degrees. The two points at which the orbit intersects the ecliptic are known as ‘nodes’, and they move around the Moon’s orbital path – technically, ‘precess’ – at a rate of  19.3549° annually.

For an eclipse to occur, the node (‘ascending’ or ‘descending’) has to coincide with the point where the Moon would pass through Earth’s shadow (which is on the ecliptic). That happens every 173.3 days. An eclipse is possible at that time, though again, the orbital mechanics don’t always mesh exactly.  There are more factors than just ecliptic and orbital angle. Earth’s shadow has a dense part (umbra) and a less dense part (penumbra). Sometimes there is only a partial eclipse. Sometimes it’s total.

Colour photo of the Moon taken by the Galileo probe in 1990 - a view we never see from Earth. The - uh - 'dark side' is to the left, fully illuminated. NASA, JPL, public domain.

Colour photo of the Moon taken by the Galileo probe in 1990 – a view we never see from Earth. The – uh – ‘dark side’ is to the left, fully illuminated. NASA, JPL, public domain.

The interlocking mechanisms of orbital mechanics – the way Earth, Sun and Moon all move in a complex dance of planes, angles and distances – means we end up with circumstance where strings of lunar eclipses – like the current tetrad – cluster. Between 1600 and 1900, for instance, there were no tetrads. But this coming century, there will be 8 of them.

So why red? The answer is one of the reasons why science is so cool. If you were standing on the Moon during a lunar eclipse, you’d see the Earth as a dark circle rimmed with fire – the light of every sunset and sunrise happening on Earth, all at once.

It’s red because of Rayleigh scattering – the way that the atmosphere scatters particular frequencies of light. I won’t repeat the explanation here – check out my earlier post.  Suffice to say, when sunlight passes through a horizontal thickness of atmosphere, the red wavelengths are what emerge – and those red light wavelengths refract into the shadow of Earth, lighting the Moon in blood-red hues.

So when you see a ‘blood moon’, what you’re actually seeing is the reflected light of every sunrise and sunset on Earth, all at once.

And that, my friends, is the really neat thing about those eclipses. Harbingers of doom? To me it’s cool science, on so many levels.

Copyright © Matthew Wright 2014


Shameless self promotion:

Also available on iTunes: https://itunes.apple.com/nz/book/bateman-illustrated-history/id835233637?mt=11

Kobo http://store.kobobooks.com/en-US/ebook/bateman-illustrated-history-of-new-zealand

Nook is coming soon.

Buy the print edition here: http://www.batemanpublishing.co.nz/ProductDetail?CategoryId=96&ProductId=1410

How to grab your readers with a killer opening line

Call me Ishmael, but I figure the oldest and dumbest cliche in the how-to-write industry has to be the one about opening lines.

William Shakespeare, the 'Flower' portrait c1820-1840, public domain via Wikimedia Commons.

“Was it the proud sail of his great verse”? - public domain via Wikimedia Commons.

Of course, that’s because opening lines work. They drag the reader, kicking and screaming, into the words. And it’s true for all writing, not just novels. Journalists have to master the technique from the get-go. So do bloggers.

The opening line has to grab the reader – emotionally. It can do that by posing a question, or creating a sense of unfinished business. ‘In a hole in a ground lived a Hobbit…’

What’s a ‘Hobbit’? When that line floated into J. R. R. Tolkien’s mind, around 1930, he didn’t know either. He had to write the novel to find out.

However, that experience of having a killer opening line first off isn’t too common. Usually they have to be wrestled into existence. That, I figure, is also why writers often sit there with blank page, or a lone cursor winking at them on screen, and – don’t start.

Part of the problem is that we’re not often told how to write one. Recently I pointed out that advertisers have a lot to offer.

But there’s also the fact that – often – the writer won’t yet know exactly what they’re drawing the reader into. Tolkien didn’t – he had to write The Hobbit to find out. Most of us, though, have ideas when we start, but can’t quite figure out the way that translates into the starting words. So try this trick: don’t write one. Today’s age of word processing makes it easy to start writing without that first line, then back-fill. Often the line will pop into mind as you go along. Indeed, that first line might be the last thing you write into the work.

What does an opening line demand? It must:

1. Grab – by posing that question, often perhaps built around an emotion. The book opens with a character crying. Why?

2. Hold – by making that question compelling. Why should we bother with this character crying? What’s different?

3. Draw – pull the reader on. This means the second line has to be equally as ‘grabby’. And the first paragraph.

The trick is to make all this happen in ways consistent with the style and tone you’ve chosen for the book – not to have that first sentence hanging out there as an over-written, over-constructed device. Even though it is, when it comes down to it, exactly that.

Do you ever have trouble with opening lines? Have you ever read a book and been hooked from the get-go? I’d love to hear from you.

Copyright © Matthew Wright 2014


And now, some shameless self promotion:

It’s also available on iTunes: https://itunes.apple.com/nz/book/bateman-illustrated-history/id835233637?mt=11

Nook coming soon.

You can still buy the print edition here: http://www.batemanpublishing.co.nz/ProductDetail?CategoryId=96&ProductId=1410

A sneak peek inside my ‘Bateman Illustrated History of New Zealand’

A few weeks ago an e-book edition of my best-selling Illustrated History of New Zealand was released by David Bateman Ltd.

Wright_New Zealand Illustrated coverYou can buy that by scrolling down and clicking on the link below. Go on, you know you want to…

Today I thought I’d share some of the pages of the print version.

History, to me, is more than simply recounting past events. It is about understanding the shapes and patterns of life –  exploring how they led to the world we know today. From that, we can understand more about where we are – and where we might go. It is, really, about understanding the human condition.

Sample of p 104. Click to enlarge.

Sample of p 104. Click to enlarge.

For these reasons history must be about people –  their thoughts, hopes and moods. About how they responded to the world they found themselves in. The colonial-age journey to New Zealand, which the sample pages I’ve reproduced here describes, brought that human condition out in many ways; a three month transition between old and new, a rite of passage in which they could shuck off the old world and more fully embrace the dream of the new.

Sample of p.105. Click to enlarge.

Sample of p.105. Click to enlarge.

On these pages I’ve conveyed some of the thoughts of those settlers – click to enlarge each page. The poignancy of the journey was deepened, for many, by tragedy; children, particularly, were vulnerable – and often died, something the colonial government deliberately addressed in the 1870s. That’s covered elsewhere in the book.

The opportunity to write something as big as my Illustrated History of New Zealand – big in the physical sense, big in terms of being an interpretative history of an entire nation – is rare in the career of any author.

Sample of p. 106. Click to enlarge.

Sample of p. 106. Click to enlarge.

The opportunity to then re-write it, ten years on – to re-visit, re-cast, re-think, extend and renew – is almost non-existent. That’s particularly true here in New Zealand where the number of qualified historians to have written large-scale interpretative general histories of the country, solo, in the last 60 years, can be counted on the fingers of one hand.

Sample of p. 107. Click to enlarge.

Sample of p. 107. Click to enlarge.

These samples have a copyright notice added to them. Pictures, forming part of the design collage, are from the collection of the Alexander Turnbull Library.

My Illustrated History of New Zealand is on sale now in bookstores across New Zealand, or direct from the publisher website. Scroll down for the e-book link.

Copyright © Matthew Wright 2014

Some shameless self promotion:

It’s also available on iTunes: https://itunes.apple.com/nz/book/bateman-illustrated-history/id835233637?mt=11

Nook coming soon.

You can buy the print edition here: http://www.batemanpublishing.co.nz/ProductDetail?CategoryId=96&ProductId=1410

Writing isn’t an automatic skill…but you can learn

There are three things people usually imagine they are better at than they actually are.

My Adler Gabrielle 25 - on which I typed maybe a million words in the 1980s.

My Adler Gabrielle 25 – on which I typed maybe a million words in the 1980s.

One of them is driving. We all think we can out-drive The Stig…don’t we? Another is writing. The third? Er…well, anyway, today I’m going to look at the idea that because someone did high school English, they can write.

A lot of that flows from the western supposition that a writer’s skill set is defined by expertise in subject matter. The writing itself? It’s an assumed skill. That was certainly the case when I was studying history at university, where everything was taught about the subject – and nothing about how to express it (which is at least half the challenge).

The fact that writing, itself, is a learned skill – just as in-depth and hard to master as history, or any of the sciences – doesn’t often surface. But it is.

The thing is that high school writing skill fully equips most of us to get by in the ordinary world – to write those postcards, those letters or emails, or whatever. But it’s at the start of the skill scale for professional writers. It’s ‘unconsciously incompetent’ – the first level. The point where people don’t know what they don’t know.

That’s why so many imagine they’re better than they actually are. ‘I learned to write, so I can just do it’.

My wife ran into this when she did a course, a while back, on writing childrens’ books – presented by one of New Zealand’s top kids’ book writers. Most of the aspiring writers there had just retired and envisaged themselves ‘becoming writers’ as their retirement career. They were full of questions about contracts and what size of advance to ask for.

No no, the presenter insisted. First you have to learn how to write.

Ripple of shock through the room. Nobody had thought of that. They could write…couldn’t they? Actually…no.

These people, you see, were at that ‘unconscious incompetence’ stage.

There are three steps after that – ‘conscious incompetence’, where the writer gets a handle on what they have yet to learn, then ‘conscious competence’, where they’ve learned it but need to think through every step. Then – finally – ‘unconscious competence’, where the skills have become part of your soul.

The distance from start to finish is about 10,000 hours or one million words. There are no short cuts.

But it’s do-able, and the rewards are tremendous. Not financially (trust me!) but certainly in terms of satisfaction.

I think so, anyway. You?

Copyright © Matthew Wright 2014


Some shameless self promotion:

It’s also available on iTunes: https://itunes.apple.com/nz/book/bateman-illustrated-history/id835233637?mt=11

Nook coming soon.

Buy the print edition here: http://www.batemanpublishing.co.nz/ProductDetail?CategoryId=96&ProductId=1410

Science says we’re all doomed. Neatypoos.

We’re all doomed, apparently. A NASA-backed science study says so.

Artists impression of a GRB. Zhang Whoosley, NASA, public domain, via Wikipedia.

Apocalypse: if Earth’s hit by that white beam, we’re dead. D-E-A-D. Dead. Artists impression of a GRB. Zhang Whoosley, NASA, public domain, via Wikipedia.

That’s more credible than stupid ideas about Mayan calendar dates (the world ended on 21 December 2012…didn’t it?) or the teachings of the Hermetic Order of the Golden Dawn (world’s end in 2010), or the deranged spoutings of former French pharmacist, Michel de Nostradame (1984 or 1997, depending on how you read it). I could go on…

We don’t have to look far to realise why this happens. Human fear of apocalypse seems universal – and as old as humanity. Stories flow through mythology. It’s cross-cultural; most societies seem to fear sudden destruction of all they know.

Certainly it’s rife today. We have the irrational doom-sayers – the ones who think it’ll happen tomorrow, without warning, let’s say courtesy of four ‘blood moons’ (that’s this year, apparently). Or we have the rational ones, who use mathematics to show that current civilisation is teetering on the edge.

That’s where the NASA-backed study comes in. Drawing on ancient Rome and the Mayan experience – when an apparently robust society suddenly collapsed – they’ve concluded that modern global civilisation is on the same course. The causes, apparently, are to do with iniquitous income distribution and climbing resource usage.

The idea’s not new; Jared Diamond pointed out, in Collapse, that humanity has a habit of exploiting environments to the ragged edge, then destroying them.

Eta Carinae. NASA, public domain. Click to enlarge.

Eta Carinae. NASA, public domain. Click to enlarge.

Couple that with meta-stable systems (systems that look stable, but actually sit in an easily disturbed equilibrium) and you have a recipe for trouble. A lot of the socially mediated systems we create do this, and that, in essence, is the current problem. Apparently. But I wonder.

It seems to me there are two sides to this. First, there’s our apparent common fear, as a species, that doom lies just around the corner. We all seem to think that way – the ‘apocalypse’ keys directly into our psyches in ways that other ideas don’t. Look at the popularity, today, of post-apocalyptic stories. It’s not just built into Western cultural philosophy. Indeed, it seems to be hard-wired into us.

That thinking gives credence to studies like the NASA one. It also cultivates idiot scare-mongering about mystery rogue planets. But where did this sort of thinking come from?

I have my suspicions.

The irony of all the scaremongering silliness is that from the science perspective we are staring down the barrel of a very real apocalypse in the form of another Carrington Event. But it never hits the popular doom radar.

The other issue is the credibility of the argument that we are, in fact, on course for doom by our own mis-doings or constructions. Longer term, I think we are. It’s obvious; humanity can’t keep on expanding without limit, exploiting resources and polluting the planet forever. We have to find another strategy. But I think we’ve already seen this one coming.

However, as for the idea of a catastrophic collapse – the abrupt demise of the social, political and economic systems on which western (and, of course ‘developing’) civilisation pivots? Somehow, I doubt it’s on the cards. Mostly.

Is belief in the apocalypse hard-wired into the human condition? How did that hard-wiring happen? And how can we think reasonably – dare I say ‘rationally’ – about it when we’re apparently hard-wired not to?

Your thoughts?

Copyright © Matthew Wright 2014 

Coming up: Apocalypses galore, writing tips, and more…

The dark secret behind better book sales

People buy books for a lot of reasons. The main one is the emotional response they get from reading. And that’s true of non-fiction as well as fiction.

The way books should be sold, cover out (the best way to display them). I wrote this one...

The way books should be sold in shops, cover out (the best way to display them). I wrote this one…

But that isn’t the only reason. Why buy this book and not that? Why buy at all? A lot of it, it seems to me, flows from word-of-mouth. And that in turn boils down to one factor – discovery.

I would say ‘discovery’ and ‘quality’, but I can’t help thinking that Fifty Shades of Grey rather gives the lie to the notion that ‘quality’ is a factor.

Discovery is everything. Sometimes readers take a punt on an author they know nothing about, but have just stumbled across. But that still demands discovery. If your books aren’t known at all, they won’t sell – which sounds like one of those idiot ipso-facto statements, except it happens to be the biggest hurdle any author faces these days. Discovery. Going from zero to almost-zero.

It’s hard. Social media equips everybody with the same tools. It’s hard to be heard above the ‘noise’.  Everybody’s self-publishing, spamming themselves across Twitter.  Why should a potential reader click on this one – and not another one? Or any of them.

Combine that with the new age of e-convenience – where a lot of book-buyers buy even hard copy books from the comfort of their home PC – and you’ve got a lot of weight riding on whatever internet presence you can scrape up.

Advertising outside that paradigm helps. Sometimes. But that’s hard too. Back in the late 1990s, my books were being advertised on TV, in major print journals – even the Woman’s Weekly (it was a bloke book on engineering – the idea was that wives would buy it for their husbands). But even under that old model it was hard. Publishers back success. An established author will attract a good deal more advertising clout from their publisher than an unknown one.

That, I think, is why J K Rowling’s last ‘Harry Potter’ novel was splashed all over Wellington buses at around $6000 a shot, and my non-fiction history books weren’t.

Can you do anything to tip the odds? Sure. My take:

1. Professionalism counts. Sometimes, that also means paying for professional skills where your own skill set lacks – proof-editing or cover design, for instance.
2. A solid and positive social media presence. You’re an author. Your social media presence is your brand, and it takes a lot of effort to build up. Don’t break it by doing something stupid – like blurting what you really think of Politician X, or ‘flaming’ people, or pulling sock puppet tricks.
3. Actually, despite the way Fifty Shades of Grey burst upon us, quality DOES count.
4. Hard work pays off. No really.

And, of course, there’s always that indefineable – dumb luck. You can set everything up, get everything geared to go – and still, things have to go your way. But that’s life generally, isn’t it.


Copyright © Matthew Wright 2014


Shameless self promotion bit: My Bateman Illustrated History of New Zealand is available as e-book from Amazon. Go on, you know you want to …

It’s also available on iTunes: https://itunes.apple.com/nz/book/bateman-illustrated-history/id835233637?mt=11

Nook coming soon.

Buy the print edition here: http://www.batemanpublishing.co.nz/ProductDetail?CategoryId=96&ProductId=1410

Do you have a writing group…like Tolkien?

Most writers, I realised the other day, hang out with writing groups. Or at least other writers.

Inside the Eagle and Child. Photo: A. Wright.

Inside the ‘Eagle and Child’. (Wright family photo)

J R R Tolkien, for instance, was part of a group called the ‘Inklings’, who met in a local Oxford pub – the Eagle and Child, known locally as the ‘Bird and Baby’Every Tuesday from 1939 until 1962 they’d go there to drink beer, swap stories – and read their tales to each other.

Imagine that – C. S. Lewis, Roger Lancelyn Green, Owen Barfield or maybe Lord David Cecil were the very first people in the world to experience The Lord of the Rings  – and they heard much of it in Tolkien’s own voice, as he sat there reading them the manuscript.

Tolkien himself was one of the first to hear passages from Lewis’s Narnia series. How awesome is that? Two of the greatest fantasy writers in the twentieth century, hanging out in the same pub and reading each other’s stories.

My key-ring from the Raffles Writers Bar. Complete with the original wrapping (yes, I am a writing nerd).

My souvenir key-ring from Raffles. Complete with the original wrapping.

During the early twentieth century other writers congregated in Raffles hotel, Singapore, to the point where there’s a Writers Bar, which (in its original location in the lobby) was frequented by the likes of Ernest Hemingway and W. Somerset Maugham. Its denizens were usually well lubricated with gin, tonic and Singapore Sling, invented around 1910 by Ngiam Tong Boom in the Long Bar on the opposite corner of the building.  Alas, this literary enclave came to a sharp end with the Second World War. But the spirit lingers. Did I say ‘spirit’? I did, didn’t I.

I made the pilgrimage to the Writers Bar in 2001, sans the cocktail.

Established writers usually veer into shop talk – the scale of the latest advances or gossip about editorial changes at Publisher X. I know that’s how my chats with other writers go, when I catch up with them. Which, unfortunately, isn’t often. I know plenty of writers and publishers, and it’s always good to have a yarn. But it’s hard to find time to get together.

Besides which, a lot of what I write is history – which, here in New Zealand,  is owned by viciously hostile in-crowds. Someone once described the behaviours of the military history crowd, particularly, as akin to circling piranhas.

Instead I hang out mostly with mathematicians and science types. And talk about my original interest, which isn’t history… it’s physics.

Do you have a writing group? How often do you meet?

Copyright © Matthew Wright 2014

Coming up: More writing tips, geekery, science and more. Watch this space.

The Big Bang theory wins again. So does Einstein.

It’s a great time to be a geek. We’re learning all sorts of extreme stuff. There’s a team led by John Kovac, from the Harvard-Smithsonian Center for Astrophysics, who’ve been beavering away on one of the fundamental questions of modern cosmology. The secret has demanded some extreme research in an extreme place. Antarctica. There’s a telescope there, BICEP2, that’s been collecting data on the cosmic background temperature. Last week, the team published their initial results.

Timeline of the universe - with the Wilkinson Microwave Antisotropy Probe at the end. Click to enlarge. Public domain, NASA.

Timeline of the universe – with the Wilkinson Microwave Antisotropy Probe at the end. Click to enlarge. Public domain, NASA.

The theory they were testing is as extreme as such things get and goes like this. Straight after the Big Bang, the universe was miniscule and very hot. Then it expanded – unbelievably fast in the first few trillionth trillionths of a second, but then much more slowly. After a while it was cool enough for the particles we know and love today to be formed. This ‘recombination’ epoch occurred perhaps 380,000 years after the Big Bang. One of the outcomes was that photons were released from the plasma fog – physicists call this ‘photon decoupling’.

What couldn’t quite be proven was that the early rate of expansion – ‘inflation’ – had been very high.

But now it has. And the method combines the very best of cool and of geek. This early universe can still be seen, out at the edge of visibility. That initial photon release is called the ‘cosmic microwave background’ (CMB), first predicted in 1948 by Ralph Alpher and others, and observed in 1965 by accident when it interfered with the reception of a radio being built in Bell Laboratories. That started a flurry of research. Its temperature is around 2.725 degrees kelvin, a shade above absolute zero. It’s that temperature because it’s been red-shifted (the wavelengths radiated from it have stretched, because the universe is expanding, and stuff further away gets stretched more). The equation works backwards from today’s CMB temperature, 2.725 degrees Kelvin, thus: Tr = 2.725(1 + z).

The COBE satellite map of the CMB. NASA, public domain, via Wikipedia.

The COBE anisotropic satellite map of the CMB. NASA, public domain, via Wikipedia.

The thing is that, way back – we’re talking 13.8 billion years – the universe was a tiny fraction of its current size, and the components were much closer together. Imagine a deflated balloon. Splat paint across the balloon. Now inflate the balloon. See how the paint splats move further apart from each other? But they’re still the original pattern of the splat. In the same sort of way, the CMB background pattern is a snapshot of the way the universe was when ‘photon decoupling’ occurred. It’s crucial to proving the Big Bang theory. It’s long been known that the background is largely homogenous (proving that it was once all in close proximity) but carries tiny irregularities in the pattern (anisotropy). What the BICEP2 team discovered is that the variations are polarised in a swirling pattern, a so-called B-mode.

The reason the radiation is polarised that way is because early inflation was faster than light-speed, and the gravity waves within it were stretched, rippling the fabric of space-time in a particular way and creating the swirls. Discovering the swirls, in short, identifies both the early rate of expansion (which took the universe from a nanometer to 250,000,0000 light years diameter in 0.00000000000000000000000000000001 of a second…I think I counted right…) and gives us an indirect view of gravitational waves for the first time. How cool is that?

Albert Einstein lecturing in 1921 - after he'd published both the Special and General Theories of Relativity. Public domain, via Wikimedia Commons.

Albert Einstein lecturing in 1921 – after he’d published both the Special and General Theories of Relativity. Public domain, via Wikimedia Commons.

What’s a ‘gravitational wave’? They were first predicted nearly a century ago by Albert Einstein, whose General Theory of Relativity’of 1917 was actually a theory of gravity. According to Einstein, space and time are an entwined ‘fabric’. Energy and mass (which, themselves, are the same thing) distort that fabric. Think of a thin rubber sheet (space-time), then drop a marble (mass/energy) into it. The marble will sink, stretching the sheet. Gravitational waves? Einstein’s theory made clear that these waves had to exist. They’re ripples in the fabric.

One of the outcomes of last week’s discovery is the implication that ‘multiverses’ exist. Another is that there is not only a particle to transmit gravity, a ‘graviton’, but also an ‘inflaton’ which pushes the universe apart. Theorists suspect that ‘inflatons’ have a half-life and they were prevalent only in the very early universe.

There’s more to come from this, including new questions. But one thing is certain. Einstein’s been proven right. Again.

Copyright © Matthew Wright 2014

Coming up: More geekery, fun writing tips, and more.

Essential writing skills: we all need to write Tolkien’s appendices

One of the ways J R R Tolkien broke new ground with The Lord of the Rings was through his massive back-story, partly published at the end of The Return of the King in the form of appendices.

I had to prone to take this picture. 'Get up,' She Who Must Be Obeyed insisted. 'People will think you're dead.'

I had to go prone to take this picture of The Hobbit artisan market in 2012. ‘Get up,’ She Who Must Be Obeyed insisted. ‘People will think you’re dead.’

That story was better there than interspersed through the text – ‘information dumping’ is the biggest turn-off to readers – but it underscored the sheer depth of Tolkien’s master-work.

In the 1950s it was unusual for this sort of thing to be published. Tolkien, of course, re-defined the genre and now the notion of back-story has become passe. Authors are almost expected to be able to have a complete world behind their story, to create chronologies, maps, gazeteers – even to provide swatches of cloth for their characters’ clothing.

Few, I suspect, can ever get the detail that Tolkien did, without an equivalent amount of work. He began crafting Middle Earth in the trenches of the Western Front. That framed a good deal of the darkness in his mythos. His world also grew from the languages he developed – two full languages and several partial constructions. And it grew from repeated iterations – endless work, which he put into it in university holidays, of evenings, even scribbled on the back of old exam papers. Lines like ‘In a hole in the ground lived a Hobbit…’ expanded into – well, I don’t need to repeat that story, do I?

It would be difficult to repeat such a tremendous construction. But we can approach it, and I think every fantasy story deserves to have a fair back story.

That’s where e-publishing comes into its own. One of the ways to sell books these days is to have ‘extras’ available online.  And what better place to put the back-story than as extra tales, stories and appendices online?

It’s a thought. What do you figure?

 Copyright © Matthew Wright 2014

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