HER LAST BODY

Hidden Nature by Goro Fujita

Hidden Nature by Goro Fujita

They’d told her of the benefits of cyberization. They’d said she would live forever, learn everything, forget nothing.

But they didn’t tell her that one day she’d be left alone.

Jo wandered through the Facility, scanning the tree roots coming through the walls, measuring their progress. The screws in her legs squeaked with every step. She had two days until the building collapsed. Two days to decide her future.

She turned right into the main hall and gazed at the rows of robots lining the walls, empty shells of chrome and steel waiting for souls that would never come. She walked up to the nearest carcass, her spray-painted fingers falling just short of touching the hull. She could see her face in its polished reflection — or what had become her face, an inexpressive triangle with glowing orange eyes that couldn’t wink, couldn’t frown.

It would take minutes to transfer her consciousness from this rusted body into a new one. Minutes to start anew in a body once reserved for someone else. They weren’t coming; the Great Data Wipe had deleted humanity without so much as a whisper. Jo dropped her arm to her side, pushed a loose wire back into place, and left the room without a backward glance.

Down the corridor, in what had once been the maintenance closet, was her slice of heaven. There were no mirrors, no screens. Nothing to remind her of what she had become. Only a calendar on the wall, to remind her what day it used to be, back when days mattered. It was here that she’d carefully spray painted her body green in an attempt to recover the hidden nature inside. It was here that she’d decided to wear a skirt, because even after all this time it didn’t feel right to walk around without clothes.

And it was here, in the middle of the room, that she was growing her new body. A real body.

Her last body.

She switched to infrared vision and checked the temperature of the shell, sprinkling water across the top to minimise the chances of cracking. Two days left until the building collapsed. One day, twenty-three hours and fifty-two minutes until the body was ready. And that was assuming her calculations were correct; biological data was much more difficult to predict.

Jo cut off the electricity to her eyes to have a moment of darkness, to better hear the steady thump of her new body’s heartbeat. She missed the ability to laugh. The feeling of sunshine on her forehead. The brush of fabric against her skin.

She missed living — and all of its frailties.

Jo poured more water onto the shell, and watched, and waited.

(Cross-posted from the Writers’ Discussion Group Weekly Writing Excercise.)

How To Kill Off A Character

From a reader’s perspective, a death pulls me into the story on a deeply emotional level. Perhaps because it is a safe way to mourn for the little deaths in my own life — the stresses and worries and losses. Or because it feels real, far more than any happily-ever-after.
On Character Deaths

I’ve been thinking about character deaths again — why sometimes they work, and other times they’re off the mark.

A well-planned character death can lift a story out of the mundane, pull at your heartstrings, and catapult the plot into a new direction.

A poorly-planned death will, at best, send your readers into a rage.

So how do you successfully kill of a character?

  • Decide who to kill
    The more prominent a character is, the more considered their death will need to be. A stranger’s death can be a simple plot device; a secondary or main character’s death needs to be more, and cause a greater emotional aftermath on the survivors.

  • Have a GOOD reason
    Don’t kill someone just to shock your readers. A death should drive a story forward, cause character progression, or be the inevitable climax of a downward spiral. If you’re killing someone off simply because you don’t need them anymore, evaluate whether you needed them in the first place.

  • Be 100% certain
    That character isn’t coming back. Ever. Don’t be desperate; none of this “I was reincarnated from my angel form”. So make sure you don’t need them for future scenes and/or that you have a replacement character waiting to pick up the pieces.

  • Make it plausible
    Is it suicide? Murder? Old age? Disease? The death needs to make sense. Is your character emotionally stable (therefore unlikely to commit suicide) or do they love putting their life on the line? If they are murdered, who kills them and why?

  • Foreshadow it
    Don’t kill someone out of the blue; drop clues that it’s on the cards. If your character has a heart attack, show him taking aspirin earlier on. If your character is shot during a protest, include tensions between the police and the public from day one.

  • Don’t be afraid to let go
    Chances are you know who needs to die, and why. Instead of running around trying to save them, let your character fulfill their destiny. Your readers will thank you for it.

How do you kill off your characters — and why?

The Future Of Society

I’ve been binge-reading the Divergent trilogy.

This YA science fiction series has been on my to-do list for a while, and finally, last week, I found time to devour the first two books (no book 3 spoilers, please!).

Since then, I’ve been thinking about how social structure is depicted in science fiction.

Today’s social inequalities aside, the consensus seems to be that — in the future — society will be divided. But how remains up for debate.

Will stratification be:

  • Socioeconomic
    Upper class, middle class and lower class — where money and standing makes the difference. In Above Ground, the richest humans live deeper underground, the poor live closer to danger.

  • Geographic
    Think Hunger Games: your lot is determined by which District you’re born into. Those born in The Capitol never have to take part in the games; those born in Districts 10-12 are bound to be poor.

  • Emotional
    In Divergent, sixteen-year-olds must decide what social group to join based on their strongest personality trait (bravery, selflessness, truthfulness, etc). Exhibiting more than one trait is a no-no.

  • Racial
    Whether this is black vs white, or human vs inhuman. (I’m sure there are examples of this, but I’m drawing a blank! Help?)

  • Gender
    Matriarchal or patriarchal societies as in The Handmaid’s Tale, or more extreme cases like Halfway Human, in which gender is assigned by the government, and the ungendered are slaves.

Needless to say, fiction is drawn towards social stratification. A divided society quickly introduces large-scale conflict into a novel — and conflict is a fundamental element for any story.

But reading science fiction does make me wonder: what will society be like in the future? And how would stratification work in a digital world?

Let me know your predictions (or sci-fi recommendations).

Why People Have Favourites

I always say that my favourite colour is purple.

It’s been purple for as long as I can remember. But I don’t own anything purple, and at work I secretly prefer the red mug. (It’s too late to admit the truth.)

If I stop to think about it, the truth is obvious: I don’t have a favourite.

How can purple be better than green or orange? While I prefer different colours in different contexts, no single shade stands out as supreme. So why do I cling onto my childhood answer instead of owning up?

Some writing advice I once read stated that in order to write believable characters, you need to understand them. You need to get into their skull. Write their diary entries. And list their favourites.

Knowing someone’s favourites is portrayed as an indication of knowing a person. But what does it actually tell you about them?

Perhaps I’m looking at this the wrong way.

Discussing favourites is a conversation starter, a way to find common ground. And, in writing, it’s a way to discover what truly matters to your character.

The important question isn’t what their favourite colour is — but why.

Does your character love red because it reminds them of blood, or because it’s the colour of love? Does green make them think of deathly poison, or of newly grown grass? Pinpointing your character’s thought processes is the best way to get to know them.

And if your character turns out like me, and doesn’t have favourites? At least you know they’re comfortable with ambiguity.

My Top 9 Writing Posts

I’ve been traipsing down memory lane.

What started as a leisurely browse through my archives morphed into a thorough hunt for posts about writing. Once I’d found all my victims, what else could I do but pick out the best?

My Top Nine Writing Posts

  1. 11 Rules For Writing Fiction
    Before learning about characters and craft, there’s one BIG writing obstacle to overcome: finding the time (and motivation) to write.

  2. Putting Pen to Paper
    If you write with pen and paper, you’ll spend less time fussing over the first draft and just get on with it.

  3. Burn Out
    Everyone burns out – and this is where I admitted I had. The post still resonates on a deeply personal level; every time I read it, I feel reassured.

  4. How To Start Writing Again
    The secret to rediscovering the joy of writing is to manage your own expectations.

  5. 7 Ways To Start Writing Again
    If you’ve abandoned a story, how do you get back into the habit of writing?

  6. How To Find The Time To Write
    Ten ways to find 10 minutes to write.

  7. Plotting vs Pantsing
    What’s the point in picking sides?

  8. 11 Rules For Editing Fiction
    Editing is fun. It’s like scrubbing off the dirt from your novel’s little face. But where do you start?

  9. First Impressions
    If the first thing a character does is poo in front of the reader, the reader will think of him as the Pooing Character forevermore.

Clearly, the areas that I struggle with — motivation and productivity — feature the most in my posts.

While I’m not the most prolific of bloggers, it’s reassuring to realise that I occasionally produce more than dribble.

Share your best writing-related blog post in the comments!