If I could get paid for the settings I’ve imagined, I’d be retired now. I’ve spent more than one November bouncing around a world I’ve imagined, looking for a story.
Perhaps the most extreme example of that was Remembering Topstar. The setting is awesome. It’s a planet, you see, that’s quite a bit warmer than ours, so that only the poles can support life. At one pole there are people. They don’t know day and night, they only know seasons. Eventually they start to wonder what (or who) might be at the other pole.
I wrote it as an adventure story, and I think that was the right call. But it never found its mojo.
Metal is rare (a colleague suggested the planet’s sun be a red giant, an older star, which would mean there was less iron around when the planet formed). The traveling party brings with it a massive Foucault’s Pendulum to measure their latitude, and it represents an immense investment, comparable to us building a Superconducting Supercollider.
As the party moves south, wind and rain and jungle and creatures that live in the jungle get very, very, nasty. Then there’s the entirely devastating moment when the scientists with their pendulum tell you that you’ve barely left your front porch.
What a great place to put a story! Maybe I need to imagine that setting, then imagine Jules Verne growing up in that setting, and then write the story he would. A science fiction adventure story written by someone who lived on that world.
Then there is Glass Archipelago. Miami, not long from now, when southern Florida is under water. Some of the towers have fallen, providing breakwaters protecting the remaining ones from the ravages of the superstorms that sweep across the Atlantic. Each tower stands as a city-state, ruled by a feudal overlord.
The oceans are almost completely dead of complex life; algae blooms have grown to just be the new normal and the water has no oxygen. While you might think aquatic mammals would still be all right, none of them are vegetarian, not even baleen whales. They all are gone.
The buildings make their living harvesting algae and sending it off to processing plants on the new US coastline, hundreds of miles away.
Not too far under the ocean’s surface the city of Miami still exists, and there’s a good living to be made scavenging. There is another culture, the rafters, who live on giant rafts and make a living skin-diving for loot.
There are naval bases, nuclear power plants, medical research facilities, and on and on, all now lying under the ocean. Also, some of the algae produces serious hallucinogens.
My attempts at a story in this setting so far centered on a rafter, and I’m pretty sure that’s a good vector. Special bonus: living in the open on a raft her whole life, she’s got pretty serious claustrophobia.
Which brings us to Math House. Isaac Asimov once imagined a science he called “Future History”, in which the movement of large enough populations could be predicted statistically. The great Hari Seldon predicted the fall of the Galactic Empire and using Big Math created the conditions for the following dark ages to be as short and benign as possible.
But what if the Galactic Empire had discovered Future History first? Would they not use it as a tool to prolong their dominance? Would not statistics become a tool of the oppressor?
Yeah, that’s probably not a hypothetical anymore. In the Math House world, math unsanctioned by the government has been outlawed. When math is outlawed, only outlaws do math.
There are the titular math houses, underground hideaways where the art is advanced. When the cops bust them, they do their best to convince the authorities that they are just watching the (required) television and doing drugs. Drugs are not legal, but they are sold by extralegal government arms, and not buying drugs will put a red flag in your file.
The math houses advertise themselves to potential members by posting elaborate puzzles embedded in graffiti. The clues will be scattered all over the city and it will take some serious math to work it out. If you can solve the puzzle and get to the right door with the right greeting, you have proved yourself worthy.
There are tiers to the math houses; finding the truly elite houses requires “publishing” through graffiti something new or innovative.
The best part of this world is that the cops who hunt the math-heads have to learn a lot of math. Eventually each of them realizes that their own success puts them on the suspect list.
Seems like a story in this world almost writes itself. Apparently not for me.
I’m not sure this one belongs on the list. The world is blasted. The Armageddon wasn’t (entirely) nuclear, it happened when wizards went into a bare-knuckle brawl and wiped each other out, along with the planet. Now there is almost no fertile soil and crazy-ass creatures roam the spaces between, starved to the point of insanity.
Now there is just pain hunger and the occasional artifact, showing up when it is least welcome.
I did start to put a story in this setting, or at the very least a character study. The narrative gets rolling with what I have only now realized is the only actual human in the story dying.
Everything is poison. Everything is dead. Everything wants to kill you. Which is all just the way of things, no big deal, unless you are motivated by love.
This year’s effort. Although I found some story possibilities late in the process, this is one of the most complete worlds I have ever built. Earth is gone (probably), and the last of humanity are really expensive hitchhikers riding alien battle fleets.
The core observation is that reptiles are much better-suited for interstellar space travel than mammals are. In this world, reptiles can be put into cryosleep, allowing them to slumber through the years of interstellar travel, while mammals, and humans in particular, must live through those years.
It creates an entirely different view of time between the two allies.
Why do the reptiles go to the extravagant expense of having humans on their ship? Because when shit gets crazy the mammals can burn brightly and reveal solutions. The reptiles, with their long view, are consumate strategists, but humans are the master tacticians. Decades of planning will go into each battle, but once all the shit is going down, having a mammal in charge is an enormous tactical advantage.
I’ve been led to believe that George Washington was a great planner and logistics guy. However, word on the street is that he really sucked at adapting his plans as the battle unfolded. In my story, the lizards are like George Washington, and the partnership with humanity has given our favorite reptilian conquerors a massive advantage over their also-George-Washington rivals. The humans bring a fluidity to battle they have never known before.
Every human on those boats is there to help their hosts win battles, and negotiations, and perhaps, (unofficially) political rivalries. Every human is measured by the service they can provide to the ship. Perhaps fifteen percent of conceptions reach adulthood, and that’s just the way it is.
As a setting, it’s a tight, closed world where tiny things become big things, and so the powers that be work overtime to prevent the tiny things. Seems like a volatile world to write a story in. Volatile means interesting.
If you need a place to set your action, call me.
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