Text LLMs

Not despite but because I’m a writer, I’m looking more at text AI LLMs/models and using them. Why? Well, we have to go back to Leopold Stokowski, a legendary conductor who supposedly saw one of the first sound mixers and went “uh, so what do you need me for?” He of course then got to work studying and using them, knowing he couldn’t be left behind from this combination threat and opportunity. Image AI generators have been beautiful for me because they didn’t overlap. Writing ones do overlap, which is why I’m finding them interesting.

Part of the reason (besides knowing they’re just a rich man’s autocomplete dependent entirely on inputs) I was less panicky about AI is because my family has lived through a lot of creative technical changes already. Musicians may not like and not use synthesizers if they can help it, but they have to know how they work. Same for writing.

Squishy WW3 Issues Part 1

So the World War III 1987 blog just posted “The Squishy Problem Facing World War III Writers“. And come on, there’s no way I can not write a post in response to that. Here goes. The original blog is in Italics. I’ll start with the opening.

World War III novels, movies and even blogs are as diverse and imaginative as their authors choose to make them. Even in instances where multiple works of fiction examine the same hypothetical theater or overall conflict there will not be many similarities throughout the bulk of the novels. Different writing styles, plots and points of view are guaranteed to keep the reader fixed on a uniquely original WWIII scenario brought to life in novels.

I would somewhat disagree with this. Yes, on a micro-scale they can be different on paper (ie, it turns out very few involve invading Iceland!). But even by the standards of cheap thrillers, it’s a very small and very narrow genre. This is not an insult. It’s just how it is and how a “normal” reader will look at them.

But when the final chapters and plot conclusions roll around, it’s a totally different ballgame altogether.  And so emerges the root of a squishy problem.

You see, the majority of popular NATO-Warsaw Pact, Cold War World War III novels, movies and other types of fiction end in either nuclear war or the overthrow of the Soviet general secretary and politburo just moments before the Kremlin decides to launch an all-out nuclear strike on the US and Europe. Other novels and fiction incorporate aspects of both options in their concluding chapters, creating an ending that is somewhat different from those above, but lacks the creativity to be considered entirely new and exclusive.

Ok. I’m going to argue that this is the most realistic and sensible part. Because the loser is likely to go nuclear. And if not, some plot contrivance is necessary to stop that. I guess you could have some kind of negotiated surrender, but I can understand why readers wouldn’t find that very satisfying. The alternative is either a Red Army-style clean OPFOR win or just making a horrible squash, the latter of which is not exactly appealing.

The squishy problem facing writers of the World War III genre is similar to what Zombie genre has found itself confronting in recent years: How to make an age old topic fresh and appealing when a good part of the audience or readership already has a good idea of how it is all going to end?

Good question and one that I will definitely come back to.

NaNoWriMo Announcement

So, I’m going to be doing NaNoWriMo. You might see fewer posts on this blog during that time because of obvious changed priorities. I feel confident because when I wrote the Smithtown books and The Sure Bet King, I was able to write at a pace that met the equivalent of the NaNoWriMo goals.

As for the subject matter of the book, while I want to keep a lot of the exact details hidden, I will say this: I’m going to be using NaNoWriMo to be my first step into the pool that is the Larry Bond-style “big war thriller.” I figured the format works well for taking a step towards something new, and I’m really, really excited to take a crack at a genre I frequently love to read and made this blog to review.

500 Post Special: On Criticism

Fuldapocalypse has reached five hundred posts. To mark the occasion, I figured I’d do a post on something that was the reason this blog even exists at all-criticism. Here goes.

  • Critics have the right to be as sneery and abrasive as they want in their reviews. As a writer, I’ve found valid points which I’ve incorporated from harsh, bad-faith reviews. The signal can be separated from the noise. Even as a reader, one of my favorite authors I found from a harshly negative review.
  • Writers have the right to ignore criticism they consider invalid. If you’re writing a literary romance and someone complains that the book doesn’t have enough explosions in it, you know that’s not what you’re writing.
  • However, both should ideally hold themselves to a higher standard.
  • Some works of fiction lend themselves more easily to criticism than others. This is why I have such a big insistence on creative control over what I review here. I don’t want this to become a chore, and knew that if reviewing was mandatory, it’d lose its quality.
  • The ideal work to review is something that’s flawed in an interesting way. Something flawed in an uninteresting way is arguably the worst type of fiction to review.
  • Perspective matters. My absolute favorite Bill James essay of all time, Inside Out Perspective, is a beauty. The difference between inside and outside is the difference between getting angry at one repetitive World War III timeline after another that you don’t see much direct criticism of on its website, and realizing that there are more action hero thrillers released in one month than there are conventional World War III stories overall-even with the most slanted accounting.
  • Basically, from the inside, you see things as being bigger than they actually are.
  • I’ve said repeatedly-being a critic has not made me a better writer in my eyes, but being a writer has made me a much better critic. Me the writer has written things in my books that me the critic would denounce if done by someone else.
  • Remember: Sample size matters. A lot.
  • Fuldapocalypse has been eye-opening, enlightening, and a lot of fun.

The Yearly Blog Year In Review Post

So 2020 happened. The worth of this blog in getting me through a lot of stress this year cannot be overstated. It’s been an amazing experience. What’s also been an amazing experience is seeing just how me becoming more broad-minded about fiction has manifested. What might have been exactly the sort of thing I would dismiss with a firebreathing sneer. Now I read and enjoyed it. I’ve been reading and reviewing far more alternate history than I had in the past as well.

I also feel comfortable with how I stopped the Creative Corner. That blog was becoming nothing but filler posts for the sake of a perceived obligation, and I found that once I made the conclusion post, it just felt right to concentrate entirely here.

There’s two book series I read this year that really stand out. The first is John Gilstrap’s Jonathan Grave series, which happened at the right time. I was having what I call the “D-Day Effect” where something big and covered you’ve previously dismissed becomes novel simply because you haven’t experienced it. This has happened to me and “grocery store books”, and this series was proof that some mainstream successes are deserved.

Of course, the second and much bigger series is Kirov. This is weird. Not just in its “three mediocre Final Countdown/Axis of Time knockoffs turning into a combination of wargame lets play and time travel soap opera” content, but in how I enjoy it without necessarily recommending it for others to read. But I enjoy it nonetheless, and love how I took so much to a series with a ton of jumping Steel Panthers Characters, wargaming lets plays, and World War IIIs (plural). Knowing that I embraced a series that, before the beginning of this blog, I would have done nothing but sneer at has warmed my heart.

However, there’s also been a bittersweet side to this blog, and that’s in seeing a lot the distant vistas close. Seeing the conventional World War III subgenre at its limits and piecing together what happened to the “Men’s Adventure” fiction that seemingly disappeared after 1990 can be fun, but it can also evoke a feeling of “that’s it”? Then there’s also seeing that some pieces of fiction are just easier and more interesting to actually review than others, even if they’re both equally fun to read. If the blog goes in the direction of those, so be it, but I feel obligated to bring that up. While I obviously haven’t completely dropped them, a “51%” thriller just isn’t as good to review or analyze as an ambitious, conceptually interesting work.

This brings me to the announcement. My answer to “what do you do if you’ve seen all there is of conventional World War III?” is “Write your own take on it.” So I’ve started writing my own supernatural/weird-tinged conventional 1980s World War III novel.

This concludes my 2020 posts on Fuldapocalypse.

400 Post Announcement

For the 400th post on Fuldapocalypse, I decided to use this occasion to finally get around to something I’ve been wanting to do for a while-links to the ebooks that I’ve written.

You can see all my ebooks, from the early novelties to my Sea Lion Press novels, on the My Books page on the top of the blog. Enjoy!

Me and NaNoWriMo

I like the concept of NaNoWriMo. It’s just a shame that it happens at the worst possible month for me.

  • I have seasonal affective disorder, or at least what feels like it. So this time of year, regardless of what else happens, is extra-stressful for me. This is a problem because…
  • The hard truth is that I’ve found writing actual books to be (understandably) stressful, even if ultimately rewarding, while writing reviews is stress-relieving and fun. This is made worse by how I’ve found it very, very hard to read for pleasure while I’m in the middle of writing a book.
  • So doing something in November is the worst for me.
  • However, I have written at a similar pace to NaNoWriMo before. My two Sea Lion Press thrillers are only slightly-to-somewhat shorter (The Smithtown Unit is 45,000 words and Box Press 41,000), and they took a little less than a month to write. I probably could have gone over the word limit in the time limit if I pushed a little more. But there’s the issue in that I don’t want to make what should be a fun hobby too forceful.
  • Finally, I should note that I do get motivated to write when I find, for whatever reason, I’m not reading as much anyway, taking away the biggest disadvantage. This was the case when I made Box Press. I was in a reading slump so I figured-hey, why not write? And I did.