A Distant Blue Light, chapter: Acceleration and Naz's backstory

Michael Bickford

Lost Coast Writers, Redwood Coast
Joined
Mar 12, 2021
Messages
69
Location
Humboldt County, FarNorCal

A Distant Blue Light (a novel)​

Part One

0 Launch

{Opening four pages previously posted.}

0.1 Acceleration
Naz and Del have just been boosted into a solar orbit that will bring them to a contracted six years at an asteroid mining station.
They were already a couple. For this extended mission they have entered into a marriage contract.
Chapters 0.11 and 0.12 recount their dream-like acceleration experiences—first Naz's, then Del's—which include their backstories.
1.2 Del will be posted next.}

0.11 Naz

This is really starting to bug me. Moments into the burn, and sweat has swamped her gloves. Now more spreads out from her solar plexus, below her breasts, and between her legs. Most of it pushed by the burn to the small of her back where it waits to be absorbed, some pooling in her navel. Naz imagines it pressed into her bellybutton under the force of the Gs they’re pulling, a dark pool, vibrating. She grits her teeth, trying not to act on her inclination to swear at Maira.

“OI Command, check my LESS. It’s a ****ing greenhouse in here.”

“Roger, T5. You are putting out more Joules than usual, Naz. Understandable. This is an especially big burn.”

“OK, Mom.” She slings the epithet, but only raises the slightest pause in Maira’s efficient communication style. Maira has heard it all from Naz before and doesn’t have an opinion on maternal feelings.

“Liquids Evac will catch up with your prodigious perspiration in approximately forty-five seconds. Sooner if you relax. Let the suit do the work, Naz.”

“Easy for you to say, Maira, but thanks.” Maira is actually nothing like Naz’s bi-polar mother. Naz is grateful for Maira’s boring stability, but seldom expresses it in more than the occasional conciliatory tone. She relies on Maira more than she likes to admit. Maira, for her part, notices and notes all Naz’s emotional responses, but reacts to them only when they impinge on Naz’s performance. This seldom happens.

Naz loves takeoffs, launches, and accelerations. She isn’t about to let a minor discomfort interfere with her adrenaline enjoyment. But the excess moisture in her suit is bothering her. Counterintuitively, and against all training, she pushes back on the rising Gs and strains against here belts, intending to fire herself up so she can feel the sense of release that follows as she relaxes. This has worked for her before, and it does now.

Settling deeper into the e-foam, she starts in on a song. “Blackjack n palm sweat on a Saturday night...” The lyrical connection and vocal fry on the tune of an old song brings a smile and eases her further. Eyes shut and relaxing into the burn, she opens up. “I’m leavin’ Las Veg–a–a–as...”

A sudden, unfamiliar self-consciousness invades Naz’s vocal reverie. She shifts her head slightly, stiffening to keep the Gs from twisting her neck, and shoots a challenging look at Del, expecting him to be giving her raised eyebrows for the inappropriateness of her outburst. They both know it’s being relayed throughout the system, but singing—or even howling—during a burn aren’t things Naz has ever worried about, both being proud parts of her legend. Now, though, she has a real partner—something new to her. Del, she sees, has dived immediately into sleep. Too keyed-up to ever fall asleep without chemical assistance, Naz is somewhat jealous of Del’s ability to knock himself out at will, even though she doesn’t really like to sleep.

“That’s gonna take some getting used to.” Her whispered self-narration, something she’s done since she was a girl, is also being broadcast to Maira, OI Command, L2 Control, and anyone else in orbit or on the surface tuned to their frequency. She knows these inter-orbital accelerations are so routine people outside the Orbital Industries system seldom monitor them, but the thought of an audience is part of the excitement, so Naz always imagines a throng of listeners—especially on the surface.

A lot of space monkeys let pharmaceuticals ease their burns. Naz takes hers straight, pumping adrenalin and singing. Even during sleep shifts she takes the meds only when she has to get her required six-hour minimum, preferring controlled daydreams to the helplessness of sleep-dreaming. Captain Nazareth Colton likes to be in control.

She reaches her right hand out to Del. Her glove, now mostly evacuated of excess sweat, touches Del’s encased left hand for a lingering moment, but knowing how deep he goes when he wants to, she pulls it back and her hands resume their usual rhythmic tapping to her soundtrack. “Used to go up to Barstow for the night... da-duh-da—da—da... Find some mm-mm trucker...” Each word of the song becomes harder to sing than the last, dropping in pitch and tempo, lyrics mumbled as the acceleration increases. Like always, she is losing her fight against physics. “Demonstrate his...dah-dah-dum... Now... mmm-mmm... far enough away... so... I’m...’’ Exhausted, she can’t even whimper the chorus, let alone belt it out as usual. As the Gs approach their max, she finally lets herself be still. Her roiling mind seeks old familiar paths to wander.

“It really is Saturday night back in Palmdale,” she whisper-thinks, only the vocal fry remaining of the singer she’d been impersonating. A spray of neon signs flashes across her memory on the verge of unconsciousness. “Palmdale... ****ing Palmcaster. Just what I needed.” She smiles the pulled-tight lip-line of the gravitationally challenged, enjoying the full-body vibration generated by the engines. At the edge of a memory-dream, she tries to nod her head in agreement with herself, satisfied with the visions of her life that are flooding in, but the G-forces have immobilized her. Sounding drunk, she laterally lisps, “A g-plaish to ge-the hell out-uh. Tha-wsha a good wa-out.”
~ ~​

The ranch house, trailers, and outbuildings that comprised the Colter compound were the only buildings remaining in miles of city blocks at the southern edge of the what had been Edwards Air Force base—now known as the Mojave Interplanetary Spaceport. As the spaceport grew with the explosion of space industries, Palmdale-Lancaster—Palmcaster, as locals came to call it—had thrived along with it. Long before Naz was born, the twin cities had become one of the largest urban centers in California. But out in the Redman area, where Wayne Colter and his extended Christian clan took their refuge, it was still empty desert—huge squares of sand, sage, and saltpan blocked out by cracked and crumbling streets on which little had ever been built.

From her brothers’ stick-fort on the southwest side of the Colter compound, little Nazareth Colter liked to watch the glass high-rises of Palmcaster; sparkling and flaring in the desert morning, sheltering in the afternoon shadows of the desiccated mountains, and glowing blue as the lights came on below the red western sky. At night she saw the city as a cluster of craggy diamonds in the distance, competing mightily with the cascade of the Milky Way across the clear desert blackness to the northeast. Naz remembers many nights too hot or too tumultuous with family trauma for her to try to sleep anywhere but the fort, shifting her gaze over and over from the city to the sky, weighting their magnificence in her wondering mind.

Naz’s great-grandfather, Henry Colter, the first Old Man, had bought the place at just the right time, and at the worst time possible. Caught in a catch-22 of federal laws, the land around the spaceport was zoned for agriculture, but federal security laws prohibited certain activities within two miles of the old Edwards boundaries—activities required for farming in the high desert: no heavy machinery or new buildings, no new road construction, and no pumping water from the Antelope Valley aquifer. The land had been subdivided into half-mile squares for the development the city had anticipated outside the growing aerospace hub, but they became ghost blocks when the new federal laws came into effect.

The last in a long line of hot-potato buyers and sellers of the rapidly devaluating blocks, the Old Man, took the burn. The price was rock bottom because the feds were just about to make the land legally unsalable in perpetuity, except to the government—at a loss. The feds, as it turned out, didn’t have any interest in owning the buffer zone just outside the space port. They controlled and patrolled their own tract of insulating desert, full of old runways, hangers, and Quonset huts. For security reasons they didn’t want the industrial agriculture that enclosed the twin cities on their northeast to grow right up to their razor wire. A buffer of fallow, privately-held land was the least expensive solution. They crafted the laws to ensure that their additional security zone was maintained by the cities of Palmdale and Lancaster and by Los Angeles County. Owners, like the Coltons, sparsely spread around the port’s perimeter, paid no property taxes, and the feds leased the easement to their water at a rate designed to keep them satisfied with zero rights to develop their property and no viable sale options.

~ ~ ~ ~ ~ ~ ~
 
Last edited by a moderator:
Michael, please don't forget the limit in Critiques is 1500 words -- this chapter you put up was well over double that. I've removed the excess so this is now at the limit, but I'd always urge members to post only up to 1k per thread when they're wanting feedback, particularly if they've a mind to be putting a number of threads up, as it's usually the case that the longer the piece the fewer critiques are received.
 
For me, unfortunately, I am waiting for the plot line to kick in. I often find it useful to write backstories for characters, but I do not include the backstories in the actual tale; I use them to get myself in the mindset of the character and understand how the character will react in situations that I put them in. I feel this opening is getting a little heavy on details and past history before I have been given a reason to care about the character.

I think you have a strong feel for the characters you want to present and I am a little curious about the situation into which you want to put them. Getting thoughts down on paper is important to solidify them, but perhaps the opening for the reader will actually occur a little later when the start of some crisis starts to arise. Definitely keep writing and then go back and use a critical eye to determine where the best opening is for the reader.
 
Thanks, Wayne Mack.
I know this is slow developing and that I am concentrating on characters. It's a full-scale novel and this posting is just a third of the first chapter. After I have the characters in place in their lives and in the world as I build it I may very well rearrange the sequence along the lines you suggest.

Even so, in the end it will not be an action or plot-driven story, but a character-driven one. In this way it is not typical of the genre. I am interested in the social and psychological changes of the future and how personalities, personal concepts, and social personas fit into my conception of that future social world, as it is altered by technology. Rather than the physical tech—which I will be exploring as well, of course—I am interested in that part of technology that is the most personal to people—their clothing, their sleep, their dreams, their ways of expressing who they are through art and personal communication. How will relationships and sexuality be different, how will each person's relationship with themselves change from what it is today—how will motivations and emotional structures in our lives be altered when the fundamental orientation of human life changes direction. I think you will see by the end of the first chapter that the crisis is in their relationship and in the understanding and preservation of their individual personalities in the face of such drastic change. How will we have relationships, sex, children, and family and social lives when we are no longer living on the surface of the earth?

So I hope you will follow me with this as it develops. If physical crises arising out of typical dangers like wars, crime, natural disasters, alien attacks and the like are required for folks to care about my characters, then they're not going to care. Dangers and intrigue will ensue, but my interest is more in putting humans in a radically different day-to-day environment and seeing how their humanity persists and develops. For me it's not "How will my heroes survive or prevail?" and more, "How will their relationships—to one another, themselves and humanity as a whole—survive, and how will they have to change, as everything around them changes, to make survival possible and desirable?"

Thanks for giving this a read and response. I hope you'll read on as I post more.
 
So Micheal, I enjoy your character Naz she seems stern and quite flamboyant. I can tell you have a solid sense of her as a character which is appealing to me as reader and I can feel myself wanting to invest into getting to know her more as a character from her dialogue. But for me the appeal of investment started to fizzle out, I don't think there was enough of her dialogue. Also towards the end of this section too many information dumps pulled me further away from what you have said you wanted to be a character-driven piece.

In my humble opinion I think maybe it would be advantageous to start your first few chapters with Naz (or Naz and Del) in some form of conflict with more dialogue. Give us more character, grip us into them so we have no choice but to care for them.
I think bread crumbing some of the information dumps and really honing in on the personalities of these characters you have a clear understanding of would work better. The reader will empathise with the characters more, care about their relationships and want to see their development/reactions to the radically different environments you talk of.

Also all the backstory and information on world building you've created is important, I think just sprinkles of it to start, then you can spread it on thicker when the reader is invested so that it is interesting then as well as important.

I hope my opinion helps in some way.
 
My two cents (if they're worth even that much):
I thought the prose was solid, and appreciated going deeper into the mind of Naz and her backstory. The section did read a bit slow to me; a few lines were either redundant or felt like they added nothing of their own to the passage. In my opinion, it seemed like you could trim it a bit and still achieve your desired effect. If you want to reread the passage looking for places where you've stated the same thing multiple times and cut out the excess I feel the passage will read a lot faster.

For example:
Counterintuitively, and against all training, she pushes back on the rising Gs and strains against here belts, intending to fire herself up so she can feel the sense of release that follows as she relaxes. This has worked for her before, and it does now.
A sudden, unfamiliar self-consciousness invades Naz’s vocal reverie.
Sounding drunk, she laterally lisps, “A g-plaish to ge-the hell out-uh. Tha-wsha a good wa-out.”
These sentences felt to me like you could cut them in half and retain their meaning; a lot of them include multiple adjectives or adverbs that provide the same feeling.
There were a few ideas that you repeated multiple times (Naz liking the feel of the acceleration, what they say being broadcast) that might also be candidates for trimming in places.

Random thoughts:
Maira has heard it all from Naz before and doesn’t have an opinion on maternal feelings.
Maira, for her part, notices and notes all Naz’s emotional responses, but reacts to them only when they impinge on Naz’s performance.
With the rest of the passage seeming firmly entrenched in Naz's point-of-view, this felt like a dip into omniscience that otherwise felt out of place and pulled me out of the passage.

Like always, she is losing her fight against physics.
Exhausted, she can’t even whimper the chorus, let alone belt it out as usual.
These sentences (almost right next to each other) appeared to me to contradict each other.

Captain Nazareth Colton
little Nazareth Colter
the Colter compound
Owners, like the Coltons,
This read to me as either an inconsistency or a typo.

I hope I've helped in some way. Keep writing.
 
I liked the first part, though, if I look at it through the lens of things that have been taught to me, there are some issues
  1. A lot of description and backstory
  2. Is this advancing character/backstory/plot? Perhaps a bit of character, but very slowly
  3. Third person present tense is a bit jarring
The second part was also interesting, though very descriptive.

The writing reminds me of classic SF where there would be long tracts of exposition and explanations, building a world, very classic omnipresent third person narrator.
 
So Micheal, I enjoy your character Naz she seems stern and quite flamboyant. I can tell you have a solid sense of her as a character which is appealing to me as reader and I can feel myself wanting to invest into getting to know her more as a character from her dialogue. But for me the appeal of investment started to fizzle out, I don't think there was enough of her dialogue. Also towards the end of this section too many information dumps pulled me further away from what you have said you wanted to be a character-driven piece.

In my humble opinion I think maybe it would be advantageous to start your first few chapters with Naz (or Naz and Del) in some form of conflict with more dialogue. Give us more character, grip us into them so we have no choice but to care for them.
I think bread crumbing some of the information dumps and really honing in on the personalities of these characters you have a clear understanding of would work better. The reader will empathise with the characters more, care about their relationships and want to see their development/reactions to the radically different environments you talk of.

Also all the backstory and information on world building you've created is important, I think just sprinkles of it to start, then you can spread it on thicker when the reader is invested so that it is interesting then as well as important.

I hope my opinion helps in some way.
Thank you Lawrence Twiddy.

This is a useful response. I agree that once I have written out the larger chunks that I'm working on that they will need to be reordered and integrated with an eye to reader interest. There are some action points to come, any one of which could work as a more engaging opener. For myself, I'm starting with their lauch and going foreward, back, shifting from her to him, foreward, back, shifting again, repeat, etc. I'll need to reshuffle at the end of part one. Part two will be more linear, backstories and world-building being mostly completed.
I'm glad at this point that people see my character. I'm interested in every little thing she does, but I know her story front to back, so I get that I will have to bring readers up to my understanding of her, and whet their curiosity with some striking actions on her part. I'm not sure which one to choose at this point. Her idiosyncratic approach to launch/acceleration was, I think, revealing, but not griping enough. I will in the end go with something that puts her and Del in more direct danger. I am not typically drawn to overt, life-threatening danger as a means of revealing character, but I know most readers are. I get your point and will be going in that direction.

Hope you'll read on as I post more. I appreciate your POV and how you express it.
Thanks again.
 
My two cents (if they're worth even that much):
I thought the prose was solid, and appreciated going deeper into the mind of Naz and her backstory. The section did read a bit slow to me; a few lines were either redundant or felt like they added nothing of their own to the passage. In my opinion, it seemed like you could trim it a bit and still achieve your desired effect. If you want to reread the passage looking for places where you've stated the same thing multiple times and cut out the excess I feel the passage will read a lot faster.

For example:



These sentences felt to me like you could cut them in half and retain their meaning; a lot of them include multiple adjectives or adverbs that provide the same feeling.
There were a few ideas that you repeated multiple times (Naz liking the feel of the acceleration, what they say being broadcast) that might also be candidates for trimming in places.

Random thoughts:


With the rest of the passage seeming firmly entrenched in Naz's point-of-view, this felt like a dip into omniscience that otherwise felt out of place and pulled me out of the passage.



These sentences (almost right next to each other) appeared to me to contradict each other.





This read to me as either an inconsistency or a typo.

I hope I've helped in some way. Keep writing.
Thanks so much, Sule!
Good stuff!
I always over-write at first and you have pin-pointed most of the egregious examples. It is always so nice when an attentive reader can help with the weeding that I know will be needed. Sometimes I really like the nice yellow flowers on the weeds, but out they must go! Thanks.
Yes, I have changed her last name a couple of times—incompletely, it seems. I don't see her former name anymore, myself, so thank you. Her name is Colton, as from coal town. Old working class.
I'll adjust the Maira parts. She IS in effect omniscient herself, but I have to remember it's not a two-way thing. Naz can only know what Naz knows. Those observations are ones that Naz would share, but I'll need to write them more from her POV to keep it tidy.
I'll be using your smart suggestions when I rewrite, so I hope you'll keep an eye out for future posts. I'll do the same for your posts. I hope you will enjoy where the story is going, and come to like my odd space couple as they figure out themselves, each other, and their mission.
Thanks again.
 
I liked the first part, though, if I look at it through the lens of things that have been taught to me, there are some issues
  1. A lot of description and backstory
  2. Is this advancing character/backstory/plot? Perhaps a bit of character, but very slowly
  3. Third person present tense is a bit jarring
The second part was also interesting, though very descriptive.

The writing reminds me of classic SF where there would be long tracts of exposition and explanations, building a world, very classic omnipresent third person narrator.
Thank you, msstice.
Yes, you've found me out! I'm old. And old-school. I write a lot of poetry and I like Steinbeck much more than Hemingway.
It's all character and backstory right now. The plot is that they have been launched on this mission and that they will be one another's sole companions for several years. Things will happen, I assure you, but I'm laying out the foundations right now. I may very well rearrange the action and open with a sequence that happens later, but I can't write it in that order.
Hope you'll follow this process in as I post more.
Thank you for the kind response.
 
Thank you Lawrence Twiddy.

This is a useful response. I agree that once I have written out the larger chunks that I'm working on that they will need to be reordered and integrated with an eye to reader interest. There are some action points to come, any one of which could work as a more engaging opener. For myself, I'm starting with their lauch and going foreward, back, shifting from her to him, foreward, back, shifting again, repeat, etc. I'll need to reshuffle at the end of part one. Part two will be more linear, backstories and world-building being mostly completed.
I'm glad at this point that people see my character. I'm interested in every little thing she does, but I know her story front to back, so I get that I will have to bring readers up to my understanding of her, and whet their curiosity with some striking actions on her part. I'm not sure which one to choose at this point. Her idiosyncratic approach to launch/acceleration was, I think, revealing, but not griping enough. I will in the end go with something that puts her and Del in more direct danger. I am not typically drawn to overt, life-threatening danger as a means of revealing character, but I know most readers are. I get your point and will be going in that direction.

Hope you'll read on as I post more. I appreciate your POV and how you express it.
Thanks again.


I look forward to reading more especially the action parts you mention, I know you said you don’t typically reveal character through danger/conflict but that is when characters are most vulnerable and relatable.
Chuck Naz into some high intensity conflict see how it feels (y)
 
Sorry, overall this did not work for me. The opening part of 0.11 deals with the mission, but it seems to me mainly about the astronaut's tendency to sweat - really not interesting, and the temptation to skip is irresistible even though I tried to read it twice.
The backstory part is an easier read and more interesting, but it remains a backstory. Unless the backstory is going to be the real meat of the novel, do we need so much backstory at this point?
Even so, in the end it will not be an action or plot-driven story, but a character-driven one. In this way it is not typical of the genre. I am interested in the social and psychological changes of the future and how personalities, personal concepts, and social personas fit into my conception of that future social world, as it is altered by technology.
I think this is the root of the problem. I encountered a similar issue with a fantasy novel offered for criticism elsewhere, in which a group of characters undertake a journey together for mixed reasons, and most of the chapters are about conversations and what is going on in the character's heads. There was little dramatic action or sense of a significant overall goal. When I pointed out that, for me, the story was unexciting and aimless, the writer responded that he was trying to write a fantasy novel rooted in character rather than dramatic action.

I think this is a mistaken premise and that if one tries to write a genre novel based on character only, it isn't going to work. There are plenty of (successful) genre novels where the characterisation is very good, but in each case there is also a dramatic story. There is no lack of dramatic events in the "Game of Thrones" series, and no lack of dramatic action in a Kim Stanley Robinson novel, for instance.
The "literary" novel is generally considered to be about character. If your yen is for something more, there are other genres which can deliver both character and a good story - the thriller (Gone Girl), the spy story (anything by John Le Carre), the detective story (the Cormoran Strike books by 'Robert Galbraith' ). Then there are novels with a historical theme. "Birds without Wings" and "White Chrysanthemum" are both brilliant, (and heart-rending) but they have ongoing stories that the reader will want to follow.
Returning to the literary novel, I am currently reading one by Elena Ferrante, "The Story of the Lost Child" where the primary interest is the emotional lives of the characters. But one does want to know how things turn out for them. And what does the title refer to? Do Elena and Lila rebuild their friendship? Does Nino turn out to be a sh*t? Will Elena find happiness?

What I am saying is that it is not enough to develop your characters; you need to have a story and make sure the reader engages with it. Otherwise you won't have a superior SF story, you will have an inferior literary novel.
 
but it seems to me mainly about the astronaut's tendency to sweat - really not interesting

As we all know linking a piece of writing is very subjective. I just want to insert here that I forgot to write in my critique that I liked this part the best. I'll tell ya why. This description put me in the spaceship with the character in a high-G liftoff. I felt it. I could smell the stench. I haven't thought about being smelly, sweaty and icky wet during take off before, but that's probably pretty realistic.
 
Sorry, overall this did not work for me. The opening part of 0.11 deals with the mission, but it seems to me mainly about the astronaut's tendency to sweat - really not interesting, and the temptation to skip is irresistible even though I tried to read it twice.
The backstory part is an easier read and more interesting, but it remains a backstory. Unless the backstory is going to be the real meat of the novel, do we need so much backstory at this point?

I think this is the root of the problem. I encountered a similar issue with a fantasy novel offered for criticism elsewhere, in which a group of characters undertake a journey together for mixed reasons, and most of the chapters are about conversations and what is going on in the character's heads. There was little dramatic action or sense of a significant overall goal. When I pointed out that, for me, the story was unexciting and aimless, the writer responded that he was trying to write a fantasy novel rooted in character rather than dramatic action.

I think this is a mistaken premise and that if one tries to write a genre novel based on character only, it isn't going to work. There are plenty of (successful) genre novels where the characterisation is very good, but in each case there is also a dramatic story. There is no lack of dramatic events in the "Game of Thrones" series, and no lack of dramatic action in a Kim Stanley Robinson novel, for instance.
The "literary" novel is generally considered to be about character. If your yen is for something more, there are other genres which can deliver both character and a good story - the thriller (Gone Girl), the spy story (anything by John Le Carre), the detective story (the Cormoran Strike books by 'Robert Galbraith' ). Then there are novels with a historical theme. "Birds without Wings" and "White Chrysanthemum" are both brilliant, (and heart-rending) but they have ongoing stories that the reader will want to follow.
Returning to the literary novel, I am currently reading one by Elena Ferrante, "The Story of the Lost Child" where the primary interest is the emotional lives of the characters. But one does want to know how things turn out for them. And what does the title refer to? Do Elena and Lila rebuild their friendship? Does Nino turn out to be a sh*t? Will Elena find happiness?

What I am saying is that it is not enough to develop your characters; you need to have a story and make sure the reader engages with it. Otherwise you won't have a superior SF story, you will have an inferior literary novel.
Good thoughts. Thank you, Cosmic Geoff.
 
As we all know linking a piece of writing is very subjective. I just want to insert here that I forgot to write in my critique that I liked this part the best. I'll tell ya why. This description put me in the spaceship with the character in a high-G liftoff. I felt it. I could smell the stench. I haven't thought about being smelly, sweaty and icky wet during take off before, but that's probably pretty realistic.
Thanks msstice.
Something more about that. I am looking for ways to show what is happening with characters without dialog. I know it's poular to use dialog as a way of showing rather than telling, but my problem is that most such dialog seems stilted to me—not the way people really talk to each other. Seems like a lot of dialog used to show inner thoughts and reveal information or as a shortcut to backstory is silly in that realy people don't explain things to one another that they both already know (just so now the reader will know). Dealing with Naz sweating and being impatient with the system she's locked into is a way of letting the reader see—as they will come to know—that she, like the original astronauts depicted in The Right Stuff, were pilots and did NOT like being on auto pilot, (let alone a human cog in an AI system, as Naz is!), referring to themselves as test monkeys and wanting to take control of their vehicles manually—actually hoping something goes wrong so they can. Naz is a hands-on pilot who is fronting for an AI system for personal and other reasons to be revealed. I'm glad you got a whiff of that in the acceleration description. I was hoping the extreme contrast between her acceleration response and Del's would be a tip-off as to the biggest conflict in the piece, which is within their relationship. I believe relationship conflicts are far more engaging that physical danger conflicts, though the latter can be used to highlight and deepen understanding of the former. After all, people comit suicide because of relationships, so physical danger, to my mind, takes a backseat to emotions generated by relationships.
Thanks for your thoughtful response, and to all the other readers and responders here.
I am dropping another section today and hope you will all follow. As I said above, this is not the final order of things, just the order in which I'm writing it.
 

Similar threads


Back
Top