Searching for Real, not Reels

I recently saw a video of a baby penguin, and quickly shared it with others, claiming “how adorable” the animal was. But very soon I realized I’d made a mistake: the baby penguin was, in fact, not real. It was AI-gen.

Artificial intelligence—AI—seems here to stay, for better or for worse. With the rise of both evaluative and generative AI, the integrated use of technology in our works of ‘creation’ is already more or less accepted as a given as our society continues along these trends.

What I wonder, though, is not so much the use and abuse of AI, but the shedding of technology. More and more—at least within my own algorithmically-shaped feeds (which are themselves an issue, creating parallel realities for different users)—do I see content creators proclaiming to rid themselves of ‘smart’ technology and going back to analog, or at least to ‘dumb’ phones and such.

As more AI-gen videos flood the internet and reality becomes harder to discern, I believe that people are going to rely more on either older content, or on books and other printed material, for verifiable truth. What better way to feel confident that what you are engaging with is based on direct human creation rather than artificial duplication, than something published years before the first current-form AI videos dropped. We will turn our attention more to provenance, seeking a known and verified chain of authorship, labor, and historical context. We will be searching for what is real.

I’m seeing the idea of brain-rot circulating through the internet, even in my limited and simplified use of social media, and the narrative that to read much (books, it seems) is to be ‘ungovernable.’ Even younger people are embracing being bored. What this reads as to me is the recognition that technology has hit its everyday usage limits in our lives and, at least for a segment of our society, we desire simplicity and a reclamation of our human intelligence. It feels more like a quiet revolution, an unwinding of what our modern technology has wrought, reverting to less integrated and more simplified routines.

AI feels like it is taking over without our consent. From the Gemini overviews of documents in my Google Drive, Google gmail summaries of email chains, to even WordPress, where I am writing this post, AI is interruptive, disruptive, and inescapable. As AI is shoved further down our throats, it won’t be a wonder when we reach our choking point and turn our backs on it.

I also wonder whether all of this is in part related to the in-built distancing between user and technology. With the loss of haptic sensations, like buttons that depress when pressed, the clicking of dials fiddled with, the weight of mechanical feedback, I think our brains are begging to be able to interact with the world again. Our minds do not like disconnecting from the things our bodies, especially our hands, interact with, and we do not, in fact, enjoy outsourcing our thinking. Perhaps our brains are not only tired of constant and sensory-deprived stimulation, but are longing to (literally) feel the world push back again.

All this to say: as our ennui and distrust of technology increase, I do think we will shed it and return to more analog-based sources of information. Books, archival catalogs, and the ‘old internet’ will be where we search for our truths, rather than the ‘new’ internet, where origins are unknown, and even content itself cannot be trusted to be real.

By: Rania Hanna

It’s been a while: world on fire, creative work, and upcoming comic

Hi friends. It’s been a while.

Honestly, I haven’t had much energy lately to post much of anything, not the least of which a well-thought out blog post that’s worth sending out. Arguably, I don’t have the energy to write this one, but I’ll try to put down my thoughts regardless.

It’s been a horrible year. The world seems on fire, in some places, quite literally, including in Palestine/Israel, Syria, Turkey, California, Oregon, and other places. It seems the entire world is ablaze literally, and certainly, figuratively.

Palestine is under 22 months of siege, genocide, Israeli-engineered famine, and, as scholars are saying, a holocaust. Syria is under attack by Israel, including in Damascus and in southern Syria, where Druze populations are. Lebanon is precarious, with ongoing threats of attacks from Israel. Never mind our perilous situation in the United States, with Trump’s orders to send in the National Guard into DC, of which I saw groups of 3 or 5 roaming the National Mall and metro stations just two weekends ago.

It’s a scary time, and that’s not even going into the assaults on women, queer, Indigenous, Black, and other lives in America alone.

(BTW, there’s a bookish auction ongoing to raise funds for immigrant and trans rights, through August 27th).

With everything going on, I’ve continued to write, but I feel a bit…dead…inside, like I’m mostly a shell of a person right now. Creatively, I’m still doing work, but I can feel both body and mind slowing down, grieving, and, frankly, retracting, even as I try to reach out to people more. It’s a fine line between staying informed, trying to do work that can contribute to a healthy society, and protecting myself from the constant onslaught of horrible events. No wonder my recent Youtube watches have been on nomading through the US in a car, finding a couple acres to build a homestead on, and relaxing book recommendations coupled with homemade pastries and teas.

I have a few projects I’ve been working on, including a few novels, and one semi-memoir/social commentary on Arab-American discrimination and racism. They’re in different stages of creation, some I’m in the throes of edits for, others I’m still doing research for.

However, a short spread in a comic issue is coming out, a story on imperialism’s actions on collective memory and the rewriting of history. The story comes out in Planet Comics: Book Six, which you can back on Kickstarter. The work has hit full funding, but if you’d like a copy, feel free to back the project. It should come out in November-ish of this year.

Here’s a bit on my piece:

Rania Hanna (author of The Jinn Daughter), Erin Dodge and Ari Pluchinsky bring us the single-issue story, “The Archivist of Al-Azrakh”!

Sample page from “The Archivist of Al-Azrakh”

Signing off for now, and maybe for a while,
Rania

Bestseller Formula: heart, mind, and guts

Becoming a bestseller would be many an author’s greatest fantasy. But, is there a formula?

Some would argue that focusing on becoming a bestseller is like shooting yourself in the foot–you’re not going to become something you’re chasing after by focusing exclusively on that object you’re chasing. That is, focusing on writing a bestseller means you’ll be too concerned when writing on how to make that book a bestseller that you’d ultimately fail because you’re focusing on the wrong things.

Others argue that there are distinct features of bestsellers, characteristics that make it “easy” to understand what makes the book and readers tick, and lands that book on a bestseller list.

In doing some research on what makes books bestsellers, and reading up on expert opinions, I found an NPR article that seemed to distill bestseller features into a 12-item list. Here are some features of that list:

  1. The book focuses on some major issue of its time, e.g. race in Gone with the Wind, or politics in The Hunt for Red October. 
  2. Broken or fractured families and relationships
  3. Protagonists who are outsiders to whatever society they live in or what to become part of.
  4. The American Dream, whether praised or condemned, is a motif of the books.
  5. Secret societies, e.g. The Da Vinci Code, and even Twilight, with its secret vampire societies.
  6. Wishful thinking, a la Fifty Shades of Grey.
  7. Power to connect with readers through mind, heart, and gut. That is, you have to appeal to the intellect, the emotions, and the senses of readers. This, I’d say is the key.

Doing some more research, I found an article listing out what John Baldwin discovered of bestsellers. He was struggling, but was determined to write a bestseller, and took to studying books that had already made the list. What he found was that bestsellers tended to have these characteristics in common:

  1. The hero is an expert. It could be magic, weapons, love, whatever the book centers on.
  2. The villain is also an expert.
  3. The villainous parts of the book have to be seen from the villain’s POV.
  4. The hero has to be backed up by experts of other fields. This makes me think of the show, Arrow, where the main character, Oliver, has a team made of up Felicity Smoak, John Diggle, and others that come on as the show proceeds.
  5. Those on the team must fall in love with each other, at least one couple.
  6. At least two of those on the team must die.
  7. The villain has to turn his attention to the team, away from his original intentions.
  8. Both the hero and the villain have to be alive to battle each other in the sequel.
  9. Any deaths have to progress from individuals to groups. You can’t say that xxx amount of people died in the plane crash; you must start out with “Jack and Jill died as the plane exploded,” and then move on to the group as necessary.
  10. When the plot begins to stale or hit a block, kill somebody off.

However, this list can be applied to both bestsellers and selling failures. At the end of the day, it is creativity, uniqueness, and a melding of genres into a mix that make the best books. I think the more human the book, the better. Human can mean different things to different people, but the more relatable, the more emotional, the more depth, and the more expression a book contains, the better it will be enjoyed for generations to come.

*Note: This article was originally published on January 12, 2016.

Revision is re-envisioning

There’s nothing akin to the agony of editing your book. This suffering goes beyond the whole “kill your darlings” because, at least for me, I’ll gladly kill my darlings if it means saving my book.

No, the agony for me is the one thousand and one revisions my book has to go through. I already did one revision, which was a sweep of the book, pulling out scenes and sentences, and adding new ones if I saw fit. It was more of a holistic approach, which I completed in a week.

However, the next two weeks are going to be me focusing on dun dun dun: setting. The setting that I apparently failed to convey when I wrote my first draft. The setting that I’m going to have to describe beautifully if I want my book to work. The setting that I’m not sure how to describe.

However, to keep sane I think the best approach I can take to my editing is to do a number of revisions, each time focusing on one aspect:

Revision 1: Holistic: Go through the book, reacquaint yourself with the details and the scenes, and try pulling out what doesn’t work. Gut your work. Kill your darlings, or if that’s too gory a thought for you, lay your darlings to rest in a beautiful silk-lined casket and set them out to sea. Focus on sentence structure, grammar, punctuation, so that when you move on to other revisions, you aren’t distracted by those sorts of things.

Gut your work

Revision 2: Setting: Weave the senses into your book. Don’t overdo it, but make your reader feel, with all their senses, your scenes. Focus more on adding in sound, sight, temperature, touch, color, tactile experiences, wetness, dryness, humidity, solidness, softness, dampness, harshness, anything that brings your world to life. Describe something as being chestnut-colored instead of brown. Describe the sound as tinkling instead of light and airy. Describe the feel of the cliff under her hands as she climbed it, instead of saying only that she grunted. Make the setting active, interacting with the characters, or having the characters interact with it. Don’t just have the setting be a backdrop that is barely noticeable. Bring out the life of your setting. View your setting as its own character, and I think you will do well.

View your setting as its own character

Revision 3: Focus on the emotions of your character. Now that you have the setting down, make sure your character responds to it. Your character’s setting should challenge them, interact with them, push them, reward them, punish them, twist them around and make them dizzy. Make your character a part of the setting, and make the setting a part of your character. Have your characters and their setting hold hands. Focus on events: how do your characters behave? Do they only react? They should do more than just react to events; they should create events, change events. Emotions fuel your character. Emotions and actions are your character. Your character is nothing without emotion, unless your character is all about not having emotions.

Have your characters and their setting hold hands.

Your character is nothing without emotion, unless your character is all about not having emotions.

Revision 4: Focus on plotholes. Are there any? Does everything make sense chronologically, assuming time works in your book as it does in our world. Is your plot fluid? Your plot should not only make sense, it should be interesting, have twists, and bewitch a reader.

Your plot should not only make sense, it should be interesting, have twists, and bewitch a reader.

Revision 5: World-recreation. Make sure your world fits in with your setting, and that everything is interactive. You could probably do this during the setting revision, but it should be its own focus at some point. Is your world a sprawling expanse, or s single room in a lonely house? Either way, make sure that your world is interesting for both your characters and your readers. Interesting doesn’t have to mean unique or out-of-this-world. It could be boring, really, in the sense that you character is bored by their world. Regardless, make your world alive for your readers and interactive with them. Your world should be a reflection of your characters’ behaviors. That is, your world should not be separate from your characters, but a part of their feelings and actions.

Your world should be a reflection of your characters’ behaviors.

Revision 6: Be a seamstress. Bring all the pieces together. Do another holistic revision. Do all the pieces fit together? Have you woven your strands with golden thread? If not, it’s back to step 2.

Revision 7: Let it sit. I think letting go of your story, even if only for a few weeks, is a revision in and of itself. By letting it sit, and moving on to something else to clear your mind, you’re letting your brain distance itself from the details so that when you come back to your story, you can look at it with fresh eyes and from a big-picture perspective.

Let it sit.

Revision 8: Read through your book, and holistically attend to all those previous steps mentioned. It’s holistic in a way you haven’t done before, even in step 6. This time, you’ve spent time away from your MS and can focus on the bigger picture and the general themes of your story, your characters, setting, and everything else you should have already attend to, but can now do with fresh eyes and mind. Give your book one more holistic revision, and focus on the big picture. Remember that revision is re-envisioning.

Remember that revision is re-envisioning.

*Note: This article was originally published on January 19, 2016.

**Header image courtesy of Google images.

My beta reader likes my first draft!

I am so happy! A wonderful beta reader I’ve hired before has always had a lot of (very useful) critiques about my manuscripts in the past. But since I started a new book, I decided to send her the first 25 chapters of my manuscript.

And she had wonderful news about it! This came in perfect timing because I’ve been feeling down about my book all week, and last night, ripped out the last 12 chapters I wrote.

But her words are motivating me to take back up the keyboard and type on!

Here you go! I am beyond impressed by this piece! You’ve improved so much, it’s like a different writer! (Your last work was good, don’t get me wrong, but this is on a whole other level.) If I were an agent and saw these first pages, you better believe I’d want more. It’s so clean, too. I am just raving about this. Up until the final two chapters, I had almost no complaints. Keep up the good work!

Make no mistake, she gave me TONS to work on, so I have my work cut out for me. But her words are so uplifting, especially as I usually hire a beta after I’ve completed a manuscript. This time, I decided to hire midway so I don’t waste time doing the wrong thing for 50+ chapters and 300+ pages. I’m so glad I did.

Reading World Fantasy Books

In case you haven’t heard, in 2012, Ann Morgan read the world in a year. She compiled a list of all the countries of the world, and chose a book from each country to read, expanding her literary prowess.

I wrote a post regarding her excursions, and my own decision to follow in her steps.

Now, I’m here to forge a new path, by reading fantasy novels from around the world. I plan to do what Ms. Morgan did, but focus on fantasy stories, rather than any other literature. Since I am a fantasy writer, this makes sense.

I am skipping the US and UK, since I’ve already read fantasy books from those countries, and no fantasy books have come out from Vatican City, as far as I know.

Update: It’s been difficult finding fantasy books from some countries, so I am expanding my search to science fiction and horror.

  •  Afghanistan
  • Albania
  • Algeria
    • Invaders of Dreams: Djamel Jiji
  • Andorra
  • Angola
  • Antigua and Barbuda
    • Redemption in Indigo: Karen Lord
  • Argentina
    • Kalpa Imperial: The Greatest Empire That Never Was: Angélica Gorodischer
  • Armenia
    • Ani Hovhannesyan (Anina): Bureaucrat
  • Australia
  • Austria
  • Azerbaijan
  • Bahamas
    • Infestation: Tanya R. Taylor
  • Bahrain
    • QuixotiQ: Ali al Saeed
    • Dragon Tooth: M. G. Darwish
  • Bangladesh
  • Barbados
    • Redemption in Indigo: Karen Lord
  • Belarus
  • Belgium
    • La Guerre du Feu: J.H. Rosny
    • The House of Oracles and Other Stories: Thomas Owen
  • Belize
  • Benin
  • Bhutan
  • Bolivia
  • Bosnia and Herzegovina
  • Botswana
  • Brazil
  • Brunei
  • Bulgaria
  • Burkina Faso
  • Burundi
  • Cabo Verde
  • Cambodia
  • Cameroon
  • Canada
    • Eileen Kernaghan: The Alchemist’s Daughter
    • Clem Martini: Feather and Bone: The Crow Chronicles
  • Central African Republic
  • Chad
  • Chile
    • Ygdrasil: Jorge Baradit
  • China
  • Colombia
  • Comoros
  • Congo, Democratic Republic of the
    • Everfair: Nisi Shaw
  • Costa Rica
  • Cote d’Ivoire
  • Croatia
  • Cuba
    • The Island of Eternal Love: Daína Chaviano
  • Cyprus
  • Czech Republic
    • Labyrint (Labyrinth): Pavel Renčín:
    • Aberrant: Marek Sindelka
  • Denmark
    • Alex Uth: Marskens konge
  • Djibouti
  • Dominican Republic
  • Ecuador
  • Egypt
    • El3osba: John Maher, Maged Refaat, and Ahmen Raafat
  • El Salvador
  • Equatorial Guinea
  • Eritrea
  • Estonia
  • Ethiopia
    • Who Fears Death: Nnedi Okorafor
  • Fiji
    • The Fantasy Eaters: Stories From Fiji: Subramani
  • Finland
    • En tunne sinua vierelläni (I Don’t Feel You Beside Me):Tiina Raevaara
    •  Unenpäästäjä Florian (Dream Releaser Florian): Jani Saxell
    • The Core of the Sun: Johanna Sinisalo
  • France
  • Gabon
  • Gambia
  • Georgia
  • Germany
  • Ghana
    • Tail of the Blue Bird: Nii Ayikwei Parkes
  • Greece
    • The Odyssey: Homer
  • Grenada
  • Guatemala
  • Guinea
  • Guinea-Bissau
  • Guyana
  • Haiti
  • Honduras
  • Hungary
  • Iceland
  • India
  • Indonesia
  • Iran
    • The Wrath and the Dawn: Renee Ahdieh
  • Iraq
    • Ahmed Saadawi, Frankenstein in Baghdad
  • Ireland
    • Skulduggery Pleasant: Derek Landy
    • Tokyo Gothic: David Conway
  • Israel
    • Sequoia Children:Gon Ben-Ari
    • Nuntia (Frost): Shimon Adaf
    • Central Station: Lavie Tidhar
  • Italy
    • Scarlett: Barbara Baraldi
    • Black Flag: Valerio Evangelisti
    • Forget me, Find me, Dream me: Andrea Viscusi
  • Jamaica
  • Japan
    • Spice and Wolf : Isuna Hasekura
    • Dragon Sword and Wind Child: Noriko Ogiwara
    • Hard-Boiled Wonderland and the End of the World: Haruki Murakami
  • Jordan
  • Kazakhstan
  • Kenya
    • Wizard of the Crow: Ngugi Wa Thiong’o
  • Kosovo
  • Kuwait
  • Kyrgyzstan
  • Laos
  • Latvia
  • Lebanon
  • Lesotho
  • Liberia
  • Libya
  • Lithuania
  • Luxembourg
  • Macedonia
  • Madagascar
  • Malawi
  • Malaysia
  • Maldives
  • Mali
  • Malta
  • Marshall Islands
  • Mauritania
  • Mauritius
  • Mexico
  • Micronesia
  • Moldova
  • Monaco
  • Mongolia
  • Montenegro
  • Morocco
    • Mirage: Somaiya Daud
  • Mozambique
  • Myanmar (Burma)
  • Namibia
  • Nauru
  • Nepal
  • Netherlands
  • New Zealand
    • The Dragonslayer’s Apprentice: David Calder
  • Nicaragua
  • Niger
  • Nigeria
    • The Famished Road: Ben Okri
    • My Life in the Bush of Ghosts: Amos Tutola
    • Akata Witch: Nnedi Okorafor
    • Rosewater: Tade Thompson
    • Lagoon: Nnedi Okorafor
  • North Korea
  • Norway
  • Oman
  • Pakistan
  • Palau
  • Palestine
  • Panama
  • Papua New Guinea
  • Paraguay
  • Peru
  • Philippines
    • Patron Saints of Nothing: Randy Ribay
  • Poland
    • Wit Szostak: Chocholy (The Chochols)
    • The Witcher
  • Portugal
  • Puerto Rico
    • United States of Banana: Giannina Braschi
    • Dealing in Dreams: Lilliam Rivera
  • Qatar
  • Romania
  • Russia
    • The Scar: Marina and Sergey Dyachenko T
    • Mariam Petrosyan: Dom, v kotorom… (The House Where…)
    • Simbionty (The Symbionts): Oleg Divov
    • S.S.S.M. (The Happiest Country in the World): Maria Chepurina
    • Padeniye Sofii (The Fall of Sophia): Yelena Hayetskaya
    • Day of the Oprichnik: Vladimir Sorokin
    • Shadow Prowler: Alexey Pehov
    • There once lived a woman who tried to kill her neighbor’s baby: Aludmilla Petrushevskaya
  • Rwanda
  • St. Kitts and Nevis
  • St. Lucia
  • St. Vincent and The Grenadines
  • Samoa
  • San Marino
  • Sao Tome and Principe
  • Saudi Arabia
  • Senegal
  • Serbia
    • Kosingas: Order of the Dragon: Aleksandar Tesic
  • Seychelles
  • Sierra Leone
  • Singapore
  • Slovakia
  • Slovenia
  • Solomon Islands
  • Somalia
    • Olondria: Sofia Samatar
  • South Africa
    • Lauren Beukes: Zoo City
  • South Korea
  • South Sudan
  • Spain
  • Sri Lanka
  • Sudan
  • Suriname
  • Swaziland
  • Sweden
    •  Lilla stjärna (Little Star): John Ajvide Lindqvist
    • Udda verklighet (Odd Reality):Nene Ormes
    • Vännerna (The Friends):Lars Jakobson
    • Let the Right One In: John Ajvide Lindqvist
  • Switzerland
    • Conspiracy of Calaspia: Guptara Twins
  • Syria
    • Breaking Knees: Zakaria Tamer
  • Taiwan
  • Tajikistan
  • Tanzania
  • Thailand
  • Timor-Leste
  • Togo
  • Tonga
  • Trinidad and Tobago
    • Bloodspell: amalie Howard
    • A wave in her hand: Lynn Joseph
  • Tunisia
  • Turkey
  • Turkmenistan
  • Tuvalu
  • Uganda
  • Ukraine
    • Vita Nostra: Sergey and Marina Dyachenko
    • The land of Stone Flowers: Sveta Dorosheva
    • The Stranger: Max fREI
    • Kaharlyk: Oleh Shynkarenko
  • United Arab Emirates
  • Uruguay
  • Uzbekistan
  • Vanuatu
  • Venezuela
  • Vietnam
  • Yemen
  • Zambia
  • Zimbabwe Yuri Herrera