Read Like A Writer

There are two ways to learn how to write fiction: by reading it and by writing it. Yes, you can learn lots about writing stories in workshops, in writing classes and writing groups, at writers' conferences. You can learn technique and process by reading the dozens of books like this one on fiction writing and by reading articles in writers' magazines. But the best teachers of fiction are the great works of fiction themselves. You can learn more about the structure of a short story by reading Anton Chekhov's 'Heartache' than you can in a semester of Creative Writing 101. If you read like a writer, that is, which means you have to read everything twice, at least. When you read a story or novel the first time, just let it happen. Enjoy the journey. When you've finished, you know where the story took you, and now you can go back and reread, and this time notice how the writer reached that destination. Notice the choices he made at each chapter, each sentence, each word. (Every word is a choice.) You see now how the transitions work, how a character gets across a room. All this time you're learning. You loved the central character in the story, and now you can see how the writer presented the character and rendered her worthy of your love and attention. The first reading is creative—you collaborate with the writer in making the story. The second reading is critical.


John Dufresne, from his book, The Lie That Tells A Truth: A Guide to Writing Fiction

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Showing posts with label Analog Science Fiction. Show all posts
Showing posts with label Analog Science Fiction. Show all posts

Thursday, January 21, 2016

Something Will Turn Up by David Mason

Transcriber's note.
This etext was produced from Analog February 1963. Extensive research did not uncover any evidence that the copyright on this publication was renewed.

Something Will Turn Up

Err ... maybe it had to do with this being a non-Parity universe, perhaps?
Some things can't be simply inverted, after all....

by

David Mason

Illustrated by Brotman


"You, Mr. Rapp?"

Stanley Rapp blinked, considering the matter. He always thought over everything very carefully. Of course, some questions were easier to answer than others. This one, for instance. He had very few doubts about his name.

"Uh," Stanley Rapp said. "Yes. Yes."

He stared at the bearded young man. Living in the Village, even on the better side of it, one saw beards every day, all shapes and sizes of beard. This one was not a psychoanalyst beard, or a folk singer beard; not even an actor beard. This was the scraggly variety, almost certainly a poet beard. Mr. Rapp, while holding no particular prejudice against poets, had not sent for one, he was sure of that.









Then he noticed the toolcase in the bearded young man's hand, lettered large LIGHTNING SERVICE, TV, HI-FI.

"Oh," Stanley said, nodding. "You're the man to fix the TV set."

"You know it, Dad," the young man said, coming in. He shut the door behind him, and stared around the apartment. "What a wild pad. Where the idiot box, hey?"

The pleasantly furnished, neat little apartment was not what Mr. Rapp had ever thought of as a "wild pad." But the Village had odd standards, Mr. Rapp knew. Chacun a son gout, he had said, on moving into the apartment ten years ago. Not aloud, of course, because he had only taken one year of French, and would never have trusted his accent. But chacun a son gout, anyway.

"The television set," Mr. Rapp said, translating. "Oh, yes." He went to the closet door and opened it. Reaching inside, he brought out an imposingly large TV set, mounted on a wheeled table. The bearded repairman whistled.

"In the closet," the repairman said, admiringly. "Crazy. You go in there to watch it, or you let it talk to itself?"

"Oh. Well, I don't exactly watch it at all," Mr. Rapp said, a little sadly. "I mean, I can't. That's why I called you."

"Lightning's here, have no fear," the bearded one said, approaching the set with a professional air. "Like, in the closet, hey." He bent over the set, appraisingly. "I thought you were a square, Pops, but I can see you're.... Hey, this is like too much. Man, I don't want to pry, but why is this box upside down?"

"I wish I knew," Mr. Rapp said. He sat down, and leaned back, sighing. This was going to be difficult, he knew. He had already had to explain it to the last three repairmen, and he was getting tired of explaining. Although he thought, somehow, that this young man might understand it a little more quickly than the others had.

"I've had a couple of other repairmen look it over," Mr. Rapp told the bearded one. "They ... well, they gave up."

"Dilettantes," commented the beard.

"Oh, no," Mr. Rapp said. "One of them was from the company that made it. But they couldn't do anything."

"Let's try it," the repairman said, plugging the cord into a wall socket. He returned to the set, and switched it on, without changing its upside down position. The big screen lit almost at once; a pained face appeared, with a large silhouetted hammer striking the image's forehead in a rhythmic beat.

"... Immediate relief from headache," a bland voice said, as the pictured face broke into a broad smile. The repairman shuddered, and turned down the sound, staring at the image with widened eyes as he did so.

"Dad, I don't want to bug you," the repairman said, his eyes still on the screen, "only, look. The set is upside down, right?"

"Right," said Mr. Rapp.

"Only the picture—" the repairman paused, trying to find the right phrase. "I mean, the picture's flipped. Like, it's wrong side up, too. Only, right side up, now."

"Exactly," said Mr. Rapp. "You see, that's the trouble. I put the set upside down because of that."

"Cool," the repairman said, watching the picture. "I mean, so why worry? You got a picture, right? You want me to turn the picture around? I can do that with a little fiddling around inside the set ... uh-oh. Dad, something's happening."


The repairman bent closer, staring at the picture. It was now showing a busty young woman singer, her mouth opened, but silent, since the sound was turned down. She was slowly rotating as Rapp and the bearded repairman watched, turning until her face, still mouthing silent song, hung upside down on the screen.

"It always does that," Rapp said. "No matter which way I put the set, the picture's always upside down."

"No, man," the repairman said, pleadingly. "Look, I took a course. I mean, the best school, you dig? It don't work that way. It just can't."

"It does, though," Rapp pointed out. "And that's what the other repair people said, too. They took it out, and brought it back, and it still did it. Not when they had it in their shops, but the minute it came back here, the picture went upside down again."

"Wow," the repairman said, backing slowly away from the set, but watching it with the tense gaze of a man who expected trouble. After a minute he moved toward it again, and took hold of the cabinet sides, lifting.

"I don't want to put you down, Pops," he said, grunting. "Only, I got to see this. Over she goes." He set it down again, right side up. The picture, still the singer's face, remained in a relatively upright position for another moment, and then slowly rolled over, upside down again.

"You see," Mr. Rapp said, shrugging. "I guess I'll have to buy another set. Except I'd hate to have it happen again, and this one did cost quite a lot."

"You couldn't trade it in, either," the repairman agreed. "Not to me, anyway." Suddenly he snapped his fingers. "Hey now. Sideways?"

"You mean on its side?"

"Just for kicks...." the repairman gripped the set again. "On the side...." He set the cabinet down, on one side, and stepped back, to regard the picture again.

Slowly, the picture turned once more, and once again, relative to the usual directions of up and down, the picture was stubbornly, completely inverted.

"It's onto that, too," the repairman said, gloomily. He sat down on the floor, and assumed a kind of Yoga posture, peering between his legs. "You could try it this way, Pops."

"I'm pretty stiff," Mr. Rapp told him, shaking his head.

"Yeah," the repairman said, reinverting himself. For a long while he sat, pulling his beard thoughtfully, a look of deep thought on his face. The reversed singer faded out, to give place to an earnestly grinning announcer who pointed emphatically to a large, upside down sign bearing the name of a product.

"Watching it this way could get to be a fad," the repairman said, at last, almost inaudibly. He fell silent again, and Mr. Rapp, sadly, began to realize that even this bearded and confident young man had apparently been stopped, like the others.

"The way I look at it, like, there's a place where science hangs up," the bearded one spoke, finally.

"Like, I don't want to put down my old Guru at the Second Avenue School of Electronics," he added, solemnly. "But you got to admit that there are things not dreamed of in your philosophy, Horatio. You dig?"

"My name isn't Horatio," Mr. Rapp objected.

"I was quoting," the repairman told him. "I mean, this is a thing like, outside material means. Supernatural, sort of. Did you cross up any witches lately, Pops?"

"Oh, dear," Mr. Rapp said sadly. He shook his head. "No, I haven't ... er, offended any witches. Not that I know of." He regarded the inverted picture for a moment. Then, as the repairman's words began to sink in, Mr. Rapp looked at him apprehensively.

"Witches?" Mr. Rapp asked. "But ... I mean, that's all superstition, isn't it? And anyway ... well, television sets!"

"They used to dry up cows, but who keeps cows?" the bearded one said ominously. "Why not television sets? Like, I happen to be personally acquainted with several witches and like that. The Village is full of them. However—" He rose, and stalked toward the set, his eyes glittering in a peculiar way. "You're a lucky one, Daddyo. Back in my square days, I did some reading up on the hookups between poetry and magic. Now, I'm a poet. Therefore, and to wit, I'm also a magician. On this hangup, I'm going to try magic. Electronics won't work, that's for sure."


"But...." Mr. Rapp was not quite sure why he disapproved, but he did. On the other hand, the repairman appeared to be very definitely sure of what he was doing, as he peered into the back of the television set.

"Have you ever tried ... ah, this method before?"

"Never ran into any hexed TV sets before," the repairman said, straightening up. "Don't worry, though. I got the touch, like with poetry. Same thing, in fact. All magic spells rhyme, see? Well, I used to rhyme, back before I really started swinging. Anybody can rhyme. And the rest is just instinct."

He had been scribbling something on a notepad, as he spoke. Now he bent down, to take another look at the back of the set, and nodded with an air of assurance.

"The tube layout," the repairman told Mr. Rapp, exhibiting his notebook. "That, and Ohm's Law, and a couple of Hindu bits I picked up listening to the UN on the radio ... makes a first-class spell."

Mr. Rapp backed away, nervously. "Look, if it's all the same to you...."

"Don't flip." The repairman consulted his notebook, and moved to stand in front of the screen. The picture showed a smiling newscaster, pointing to a map which indicated something ominous.

"Cool, man," the repairman said. "Here we go." He lifted his hands in an ecclesiastical gesture, and his voice became a deep boom.

"6SN7, 6ac5, six and seven millivolts are running down the line, E equals R times A, that's the way it goes, go round the other way, Subhas Chandra BOSE!"

Afterward, Mr. Rapp was never quite sure exactly what happened. He had an impression of a flash of light, and an odd, indefinite sound rather like the dropping of a cosmic garbage can lid. But possibly neither the light nor the sound actually happened; at any rate, there were no complaints from the neighbors later on. However, the lighted screen was certainly doing something.

"Crazy!" the repairman said, in awed tones.

Mr. Rapp, his view partly blocked by the repairman, could not see exactly what was happening on the screen. However, he caught a brief glimpse of the newscaster's face. It was right side up, but no longer smiling. Instead, the pictured face wore a look of profound alarm, and the newsman was apparently leaning far forward, his face almost out of focus because of its nearness to the lens. Just for a moment, Mr. Rapp could have sworn he saw a chair floating up, past the agonized expression on the screen.

Then the screen want gray, and a panel of lettering appeared, shaking slightly.

OUR PICTURE HAS BEEN TEMPORARILY INTERRUPTED. NORMAL SERVICE WILL BE RESTORED AS SOON AS POSSIBLE. PLEASE STAND BY.

"I was going to give you a bill," the repairman said. "Only maybe we better just charge it up to customer relations."

The letters remained steady on the screen, and Mr. Rapp studied them. They were right side up.

"You fixed it," Mr. Rapp said, a little uncertainly. "I mean, it's working. I ought to pay...."

"I goofed," the repairman said. He picked up his tools, and moved toward the door. "Like, I won't mention it to anybody if you won't. But I goofed, all right. Didn't you see the picture?"

"But whatever you did ... it worked," Mr. Rapp said. "The picture's right side up."

"I know," the repairman said. "Only somewhere ... there's a studio that's upside down. I just goofed, Pops, that's all."

He closed the door behind him, leaving Mr. Rapp still staring at the immobile, right-side-up message on the glowing screen.

The End.

Monday, January 18, 2016

The Untouchable by Stephen A. Kallis


Transcriber’s note:

This story was published in Analog, December 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.

THE
UNTOUCHABLE

By
STEPHEN
A. KALLIS, JR.

"You can see it—you can watch it—but mustn’t touch!” And what could possibly be more frustrating … when you need, most violently, to get your hands on it for just one second…

THE man finally entered the office of General George Garvers. As the door closed behind him, he saw the general, who sprang from his chair to greet him.

“Max! You finally came.”

“Got here as soon as I could. I wager half my time was taken up by the security check points. You are certainly isolated in here.”

“All of that,” agreed the general. “Have a seat, won’t you?” he asked, indicating a chair.

His friend sank into it gratefully. “Now, what’s this vital problem you called me about? You weren’t too specific.”

“No,” said Garvers, “I wasn’t. This is a security matter, after a fashion. It’s vitally important that we get technical help on this thing, and since you and I are friends, I was asked to call you in.”

“Well?”

“I’m afraid I’ll have to make a story of it.”

“Quite all right by me, but don’t mind if I interject a question now and then. Mind if I smoke?”

“Go right ahead,” said Garvers, fumbling out a lighter. “Just don’t spill ashes on the rug.

“This all began on the Third of May. I was working here on some top-security stuff. I had suddenly got the feeling of being watched. I know it seems silly, what with all the check points that a potential spy would have to go through to get here, but that’s just how I felt.

“Several times I glanced around the office, but of course it was empty. Then I began to think that it was my nerves.”

“You always were a bit of a hypochondriac,” observed his friend.

“Be that as it may,” continued Garvers, “it was the only explanation I had at the time. Either someone was watching me, which seemed impossible, or I was beginning to crack under the strain.

“Well, I put my papers away and [p 61] tried to take a short break. I was reaching into my drawer where I keep magazines when, so help me, a man stepped out of the wall into my office.”

“What? It seems as if you just said a guy stepped out of the wall.”

“That’s just what I did say. It sounds crazy, but let me finish, will you? I’m not kidding, and I’ll show you proof later if necessary.

“Anyway, this bird stepped straight out of the wall as if it had been a waterfall or something, but the wall itself was undamaged. The only proof I had that he had actually done it was the fact that he was in my office, but that was proof enough.

“To put it mildly, I was thunderstruck. After jumping to my feet, I could only stand there like an idiot. I was so shaken that I couldn’t speak a word. But he spoke first.

“‘General Garvers? he asked, just as if he had run into me at a cocktail party or on the street.

“I told him he was correct, and asked him who he was and what he wanted. And how he got into my office.

“He identified himself as a Henry Busch and explained that he was acting in behalf of a good friend of his, the late Dr. Hymann Duvall. Have you ever heard of Duvall, Max?”

His friend twisted his face in thought. “Can’t say that I have, off-hand. But the name seems to ring a bell somewhere.”

“Well, anyway, he said that Duvall had perfected an invention of great national importance shortly before his death and asked Busch to deliver it to the government if anything should happen to him. Then Duvall died suddenly of a heart attack.”

“And what was this invention?”

“Isn’t it obvious? A machine that would enable a man to walk through walls. And Busch has no idea how the thing works, other than the general explanation that Duvall gave him. And Busch was poles apart from Duvall. They were friends from college, but not because of professional interests. It seems they were both doublecrossed by the same girl.

“Duvall was a brilliant but obscure nuclear and radiation physicist. He was one of those once-in-a-lifetime fellows like Tesla. He was so shy that he didn’t bring himself to anybody’s attention, save for a few papers he published in the smaller physical societies’ magazines. It was only because he had inherited a considerable amount of money that he could do any research whatsoever.”

“Hm-m-m. I seem to remember a paper about wave propagation in one of the quarterlies. Quite unorthodox, as I recall,” said Max.

“Could be. But anyway, about Busch.

“Busch majored in psychology at college, but took special courses after he graduated and took a Master’s in English. He has written two novels and three collections of poems under various pen names. At the time of Duvall’s death, he was working on the libretto of an opera. He has had no technical training, unless you want to count a year of high school [p 62] general science. So he wasn’t too much help in explaining how Duvall’s instrument works.

“And, just to make matters more juicy, Duvall kept no notes. He had total recall and a childlike fear of putting anything into writing that had not been experimentally verified.”

“And this machine, how is it supposed to work?”


Garvers got up and began to pace. “According to Busch, Duvall devised the instrument after stumbling into an entirely new branch of physics.

“This device of Duvall’s is a special case of a new theory of matter and energy. Matter is made up of subnuclear particles—electrons, protons and the like. However, Duvall said that these particles are in turn made up of much smaller particles grouped together in aggregate clouds. The size ratio of these particles to protons is somewhat like the ratio of an individual proton to a large star. They seem to be composed of tiny clots of energy from a fantastically complex energy system, in which electromagnetism is but a small part. Each energy-segment is represented by a different facet of each particle, and the arrangement of the individual particles to each other determines what super-particle they will form, such as an electron. Duvall called these sub-particles ‘lems’.

“Busch says he was told that a field of a special nature could be generated so as to make the individual lems in the particles of matter rotate in a special way that would introduce a ‘polarization field’, as Duvall called it. This field seems to be connected somehow with gravity, but Busch wasn’t told how.

“The upshot is that matter in the initial presence of the field is affected so that it is able to pass through ordinary matter—”

“Hold on,” interrupted Max. “If a device can do that, then the user would immediately fall towards the center of the Earth.”

“Just you hold on. You didn’t let me finish. A single plane of atoms, at the base of the treated object is the point of contact. It remains partially unaffected because it is closest to the ‘gravetostatic field center’, which I guess is the Earth’s center of attraction. This plane of ‘semi-treated’ atoms can be forced through an object, if it is moved horizontally, but its ‘untreated’ aspect prevents the subject wearing the device from falling through the floor.

“Busch demonstrated this device to me, turning it on and strolling through various objects in this room. Think of it! No soldier could be killed or held prisoner. And—”

“Now hang on,” objected Max. “Let’s not run away with ourselves. He may have perfected a device that would enable a soldier to avoid capture, but there would certainly be other ways to kill him than by bullets. Let’s see now: suppose that the enemy shot a flamethrower at him. The burning materials might pass through him, but he would be cooked anyway. Or poison gas—”

[p 63]
“Hm-m-m. As far as gas goes, I suppose a gas mask would be necessary. Busch doesn’t know about the breathing mechanism, except that he had to take breaths. But as far as fire or radiation goes, the man’s protected. If the radiation is either harmful by nature or by amount, the field merely reflects it. It is something called the ‘lemic stress’ of the field that causes the phenomenon.

“That’s why we need your help.”

Max scratched his head thoughtfully. “I don’t understand.”

Garvers looked pained. “When Busch had finished his demonstration, he carelessly tossed the device on my desk. The thing skidded and hit my paperweight so that the switch was thrown on again. So now the device and my desk are both untouchable.

“Go over to the desk and try to touch it,” said Garvers dryly.

His friend got up and ambled over to the desk. There he saw a small black box resting near a paperweight. Its toggle switch was at the “on” position, and it was lying on its side. He tried to pick the box up, but his hand slid effortlessly through it as if it were so much air.

Well!” Max said. He passed his hand through the desk again. “Well, well. Are you sure Busch told you everything?”

“Busch! He honestly wants to help and we have taken him through the mill. Pentathol, scopolamine and the like; hypnotism and the polygraph. We’ve dug that man deeper than we have ever dug anybody before.”

“And have you conducted any experiments of your own?”

“Certainly. That’s what is so frustrating. We try to X ray the thing, and we don’t get a thing. We bombarded it with every radiation we could think of, from radio to gamma and it just reflected them. We can detect no radiation coming out of it. Magnetic fields don’t effect it, nor do heat and cold. Nuclear particles are ignored by it; it just sits there thumbing its nose at us. And we can’t even wait for it to run down. According to Busch, the power requirements of the thing are funny and once the field is established, it takes no additional energy to maintain it. And the collapsing power remains indefinitely until it is time to turn the machine off, but it’s unreachable by any means we have.

“It’s pure frustration. There’s no way we can analyze it until we can handle it, and no way we can handle it until we can turn it off. And there’s no way we can turn it off until we have analyzed it. If it were alive, I’d think that it was laughing at us.

“Do you have any ideas?” asked Garvers hopefully.

“Nothing that would help a solution at present,” said Max. “But do you remember the legend of King Tantalus?”

“Slightly. What about it?”

“Well … if he were here,” said Max thoughtfully, “he’d … sympathize.”

THE END