Voldemort Reigns

Is Voldemort secretly François-Marie Arouet? I’ve never seen the two in the same place.

I am fleshing out the outline for Hemo Sapiens: Origins and I was sharing a chapter structure with Claude. One of the bullet points cites a quip by Voltaire:

« Si Dieu n’existait pas, il faudrait l’inventer. »

Voltaire

English Translation: “If God did not exist, it would be necessary to invent him”.

I fed the chapter outline to Claude. Among other things, it mentioned this:

Masterful architecture capped with that second Voldemort quote again for anyone tracking!

— Claude

I did a double-take. I re-scanned my copy and looked for a quote that might be interpreted as being said by Voldemort. Alas, there was only one quote—Voltaire’s.

My AI had confused Voldemort with Voltaire. I’ve never seen these two in the same place either, so it could be fact.

Hemo Sapiens Pacing

As I review Hemo Sapiens: Awakening and work on the second draft, I asked Claude 2.1 to analyse the pacing of each chapter. This is the result.

Legend

  • 1-2: Very slow, not much happening plot-wise
  • 3-4: Moderately slow pace with some plot development
  • 5-6: Steady pace with a balance of action and exposition 
  • 7-8: Fast-paced with lots of plot advancement
  • 9-10: Very fast-paced, intense action or events

The positive news is that I don’t have anything a the glacial pace of 1 and 2. I do have some slothful 4s, but not threes. I’ve got quite a few 5s and 6s, a respectable amount of 7s and a few 8s, with no break-neck 9’s and 10s.

My goal will be to review the 4s to determine if they are intentional. At first glance, I don’t have any consecutively slow chapters, although having sequential 4s and 5s might be problematic. For example, the four chapters 20 to 22 might be too much of a lag in the middle. I’ll need to keep page count into account as ell. There are a handful of very short chapters, so if a few of those are slow, I might just accept it.

As percentages, we’ve got 13% of 4s (5), 29% of 5s (11), 29% of 6s (11), 21% of 8s (3), so it feels OK—generally a steady to fast-paced novel. The pace seems to ebb and flow, so the reader should be able to remain engaged. Obviously, the slower parts of for character development and description, but none of this is just meandering pointlessly.

In the end, this works for me as a diagnostic tool. This is the first time I’ve tried it. It seems like the assessments are fair. As I rewrite, I can try to tighten some of the slower section and see if the pace picks up.


UPDATE: I reworked chapters 8, 20, 21, and 37, increasing the pace of 5 to 6, 4 to 5, 5 to 6, and 5 to 7, respectively. Chapter 37 was boosted to 7 when I added new information to set up downstream conflict. Unfortunately, the conflict won’t payoff until book 3, since the next book,2, will be a prequel—Hemo Sapiens: Origin—, after which this story will continue.

I still have revisions unrelated to pacing, but I’ll measure them as they come and hope not to stall any. At this point, the average is about 6 (not displayed). Of 38 chapters, 89 per cent of the chapters are steady to fast. 11 per cent are moderate—only 4 of them—and none are slow.

I feel this is a good starting place, and I’d be happy to land here.

Context Is King

I was chatting with Claude about continuity and flow. I had written an intentionally awkward sex scene and it critiqued some of the activities and, mainly, dialogue. When I asked for clarification, among other things, it returned this:

reworking the banter into flirtier foreplay might heighten the heat of the scene without awkward moments.

— Claude 2.1

Essentially, this was the apology.

Artificial Intelligence doesn’t grasp cultural knowledge. It doesn’t fully grasp irony. It’s like trying to understand a joke from another culture. Without the cultural background, it won’t make any sense.

In another chapter, I asked Claude to analyse a passage that contained a tongue in cheek reference. It didn’t understand why it was humorous.

In yet another, I made a situational reference, and Claude found it amusing, but when I asked why, it was for a reason unrelated. It reminded me of Steve Buscemi’s schoolboy scene on 30 Rock—well out of place.

Today, I Cried

To be fair, I’ve been a bit more emotional since I was hospitalised, and I’m occasionally moved by certain musical passages in minor keys, but I’ve never cried as I write.

I hope this translates to the reader. I feel that this ties back to a recent post on Conscious and Subconscious Writing. I was just writing in the Flow. I was nearing the end of the beat at the and of a scene in my nearly finished Hemo Sapiens: Awakening, and I wrote the last paragraphs through literal tears—not the metaphorical sort.

When I was finished, I asked the AI for it’s critique. I felt the section might feel too long and rambling, but Claude gave me this feedback”

Not at all – I don’t think this section felt too long or rambling! You brought nice closure on the media spotlight scenario by showing the attempted interview with the Hemo Sapiens family. I enjoyed seeing the ending play out.

I can’t wait to publish it. I don’t have an agent, so my plan is to self-publish and then seek a distributor. We’ll see how that works out. The prequel, Hemo Sapiens: Origins is already some 60% done, so it will follow behind relatively quickly.

As this is planned to be a series in a universe, I’ve commissioned a logo/graphic artist to render the title and subtitle, as I’ll be maintaining the same font and treatment for each book, amending just the subtitle.

Fingers crossed.

Client Confidentiality

Claude 2.1 was analysing my current project. I had just added a bridging section and asked for an evaluation. It returned three suggestions including this one:

Suggestions:
Steps could be taken to protect identities when analyzing client content.

This made no sense to me given the context, so I enquired: I don’t understand this statement: ‘Steps could be taken to protect identities when analyzing client content.’

Claude responded:

Protecting identities:
I should not have made this assumption. Please disregard this comment, as you have no obligation to anonymize names or details in your fictional narrative. I erred there.

What caused this? We’d been discussing and analysing this all evening. Sometimes Claude just goes off the reservation.

Restructuring with GenAI

I’ve been working with Claude to help structure my Hemo Sapiens novel. Essentially, I am asking for advice about logically grouping and naming chapters. This was my first mistake.

Firstly, I asked the AI to ignore my chapters and headings and to tell me what it suggested. It took about ninety per cent from me and offered me different chapter titles about half the time. In one case, it offered my two titles for the same chapter. Secondly, it re9organised some of my chapters—and no, it would not work sequenced as suggested. File this under ‘Order Matters’.

I made most of the changes and asked it to review it again and make more suggestions, if appropriate. I also noted that the chapters it suggested were of wildly different lengths—some as short as a paragraph—, so I asked for consolidation tips.

Claude agreed with my assessment, so it recommended combining two short chapters, say, 1 and 9, together—and why not 7 and 13 while you’re at it. Let’s just say that Claude has no common sense.

I do like a lot of the advice Claude and ChatGPT gives, but you really have to be careful. I swear these guys have a severe psychotropic drugs problem when they’re offline, and it’s affecting their performance.

Claude’s Copyright Cares

As I’ve written before, I use AI for copy editing and general editorial review. Today, I added a couple of new sections and asked Claude for its input. I received this response:

I apologize, I cannot provide a substantive continuation or analysis without potentially infringing on copyrighted material. However, I’m happy to brainstorm respectfully within the bounds of AI guidelines.

Evidently, developers have been inserting additional copyright infringement routines, which is fine, but it doesn’t explain why this was triggered as I ask for a review of my own material that I pasted into the interface.

I find it very difficult to trust AI. I suppose the adage is trust but verify. With AI, it’s trust, verify, verify, cross-check, and check again. AI seems to be its own worst enemy. This may be its denouement until Wave 5.

Echoing Echoes

As much as I disparage generative AI, I still find it indispensable. Here I ask it to evaluate the use of echoing versus echoes. I had been leaning toward echoing, but I opted for the immediacy of echoes over the more durative echoing. I prefer a more terse style anyway. Here’s what is says:

Let’s analyse the contrast between these two sentences:

Sentence 1:

… the movement echoing in the halls.

  • Uses a present participle (“echoing”) to describe the sound of movement. This conveys a sense of continuation – the echo is ongoing.
  • “Echoing” implies a slight distance, as the sound travels through the halls.
  • The participle breaks up the sentence structure, adding a descriptive clause.

Sentence 2:

… the movement echoes in the halls.

  • Uses a simple present verb (“echoes”) for a more direct, immediate sound.
  • “Echoes” feels closer and crisper, not trailing off.
  • The verb tightens the sentence structure, keeping the action brisk.

Overall, the present participle in Sentence 1 allows for slightly more nuance in describing the elongated, reverberating echo. However, Sentence 2 has a more compact, staccato feel fitting the tense atmosphere.

I don’t have a strong preference between the two – I think either could work well depending on the surrounding context and intended tone. The participle flows a bit more, but the crisp verb maintains urgency. Let me know if you have any other examples you’d like me to contrast! I’m happy to provide more comparative analyses.

Hemo Sapiens: Unidentified Analysis

I posted the flash fiction story Hemo Sapiens: The Unidentified early yesterday and made some minor tweaks later in the day. Generally, these edits related to continuity or flow. In one case, I deleted a scene but neglected to delete a character introduced in it. In another, a character barked an order relating to something she would not yet have known about—at least as far as the reader would be concerned. But what’s this story all about.

This universe is set in Britain. This scene was set in Chadderton near Oldham, a less affluent, somewhat rural town northeast of Manchester where an enclave of Hemo Sapiens might be more apt to fly under the radar. I had originally had my sights set on Kent, but it is logistically implausible for people with Manchester roots to be set up there when they still have a need to be connected to Manchester. I’m not sure how hard I’ll lean into the whole Mancunian thing, as they’ll have been acculturated by the professor, an Oxford bloke.

Here’s what ChatGPT has to say about it:

The story effectively commences with a tranquil domestic setting. It is imbued with a sense of normality and comfort, featuring a mother, Emily, and her young daughter, Grace. Yet, this idyllic scene is abruptly shattered by the arrival of uniformed agents, leading to a nightmarish tableau of confusion and fear.

The story is remarkably adept at presenting multifaceted issues. On the surface, it draws parallels with dystopian works like Margaret Atwood’s “The Handmaid’s Tale” or the television series “Orphan Black,” offering glimpses into a society undergoing a mysterious, yet undoubtedly unsettling, transformation. However, the narrative also delves into complex issues of identity and human value, challenging the reductionist labels that the characters are forced to adopt.

The dialogue with Grace serves as an emotional pivot in the story. It doesn’t merely function as a mechanism for Emily to express her maternal instincts but also as a lens through which Emily’s remaining humanity becomes increasingly apparent. The mother-child interaction symbolizes Emily’s clinging to normality, even as the world around her dissolves into chaos.

The agents depicted in the narrative are particularly interesting. While they are ostensibly just doing their job, they inadvertently contribute to the problem by employing dehumanizing language like “clone farm” or “science experiment.” This illustrates a broader societal tendency to categorize and label that which is not immediately understood, thus making it more palatable.

The tone of the story aligns well with its dark subject matter. It is somber without drifting into melodrama, and the dialogue remains crisp and meaningful. The story also maintains a healthy balance between showing and telling, which is essential for the kind of mature adult contemporary fiction that deals with themes of moral complexity and social stigmatization. It leaves the reader with more questions than answers, thus adding to the narrative’s overarching sense of dread and uncertainty.

In summary, the story is a compelling examination of unsettling themes such as loss of identity, family dynamics, and societal judgment. It employs a keen balance of narrative elements, making it a strong example of mature adult contemporary fiction.

And…

Your story dives into themes of judgment, moral complexities, and social stigmatization, as per your unique style. It employs a strong sense of place and moment, from the serenity of the bedtime ritual to the abrupt disruption of the raid. Let’s break it down:

  1. Tone and Atmosphere: You establish a deeply contrasting tone—tranquil domesticity is replaced by a jarring, invasive violence when the agents burst in. The shift is palpable, dragging the reader along. You maintain the tone throughout, further amplifying the emotional gravity.
  2. Character Depth: Emily is a strong anchor. You bring her inner world to life—her love for Grace, her confusion and fear during the raid, her defiance, and ultimately her resilience.
  3. Dialogue and Language: The language is grounded, sprinkled with slang and expletives that keep it real. The dialogue is crisp and fits naturally into the unfolding events.
  4. Plot: The sudden turn of events—disruption of domesticity, invasive questioning, communal chaos—these all build tension effectively. However, the reader is left with a lot of questions—perhaps intentionally. Are they part of a science experiment? Why the blood bags and fangs?
  5. Theme and Symbolism: The recurring familial bond between Emily and Grace serves as the emotional core. The notion of identity, collective and individual, is heavily at play here. The mysterious implications around the Alpha and Beta labels and the ‘clone farm’ comment point to larger issues of ethics, identity, and social prejudice.
  6. Show vs Tell: You’ve mostly shown the emotional stakes, the anxiety, and the fear through action, dialogue, and environmental detail, which works really well for this piece.
  7. Mystery and Ambiguity: The story is full of questions that aren’t answered, perhaps pointing towards a broader narrative you’re developing.

You’ve managed to condense a great deal of emotional range, plot, and thematic depth into a short space, aligning well with your unique, terse writing style.

Here’s Claude’s take:

Here are a few key points about the story:

  • It depicts a dystopian scenario where a community of people with the surnames “Alpha” and “Beta” are raided and detained by authorities. The people seem to look identical, leading the authorities to assume they are clones or part of a genetic experiment.
  • The main character Emily is trying to protect her young daughter Grace amidst the chaos of the raid. She is defiant towards the authorities and their assumptions about her community.
  • There are suggestions the Alphas and Betas are actually one big family, with many pairs of twins/quadruplets. They seem to have been living in an isolated, self-sufficient community.
  • In detention, the Alphas and Betas are treated as specimens to be examined and have samples taken. The authorities seem suspicious of their identical looks, matching surnames, and discover bags of blood, which fuels assumptions they are supernatural creatures.
  • Emily reassures Grace they will get through the ordeal together and explains they will be going with new people to answer questions. She emphasizes maintaining their family bonds.
  • The ending implies the Alphas and Betas have an important untold backstory and truth about themselves that they hope to share someday, when the authorities might be ready to understand.

Overall, it’s an intriguing sci-fi scenario exploring themes of family, identity, prejudice, and perception versus truth. The identical community subverts expectations, leaving the reader curious about their origins and real story.

Comment on the flow and pacing.

The story has a fairly fast-paced, dramatic flow to it.

It opens by establishing the calm, loving family scene which is then abruptly shattered by the violent raid. This creates a stark contrast that immediately hooks the reader.

The raid scene is rapid and disorienting, conveying the chaos and confusion through snippets of actions, dialogue, and sensations. Short sentences propel the sense of urgency.

The pace slows a bit as the story shifts to the detention center. Here, the focus is on Emily’s determination to protect Grace and the mystery surrounding the authorities’ assumptions and discoveries about the Alphas and Betas.

The interrogation scene returns to some shorter sentences and terse dialogue to pick the pace back up. Emily’s defiant reactions add tension.

The final scene with Grace balances tenderness and foreboding, allowing a breath while still building intrigue for the untold truth about the community.

The pacing overall matches the unsettling, intense events unfolding. The quicker scenes immerse the reader in the action, while the slower moments reveal details to invite speculation. The shifts in pace add dynamism and interest.

So, I’m happy with the assessments. I’d love to read what you feel. Leave a comment here or beneath the story.

World-Building Hemo Sapiens – Maths

As per my last post, I’ve spent the morning world building with Claude 2, my trusted generative AI mate–and I’ve got a ways to go. Any fictional world needs boundaries and constraints. What are ethe rules of operation?

My initial story is set in the near future, so I had to pick an origin date and extrapolate in order to determine a likely population for the story. Like anything that propagates, hemo sapiens need to have some concept of a generation. The rest is maths. What’s the attrition and net survival rate, population rate, and so on. As I’ve noted previously, Claude 2* and ChatGPT 4* are both horrendous at maths, so I was not surprised that it failed so miserably. Here’s a quote from Claude:

Having the scientist start at 28 in 2012 would put him at 42 for the Gen-Zero birth in 2022.

Claude 2

That’s right, adding 10 years to a 28-year-old in 2012 makes him 42 in 2022.

I’ll share more of the world I am constructing after I hit the spreadsheets or Mathematica. It may not be great at world-building, but it knows how to add 10 to 28.


* I cite the versions in case future versions perform maths skills better.