Review: The Day of the Triffids

I’m a huge fan of Science Fiction, particularly post-apocalyptic fiction, and think I’ve read the best the genre has to offer. That said, I always bypassed one book on assumptions that were to be proved wrong, and I guess others have made the same mistake.

I knew about The Day of the Triffids by John Wyndham long before I eventually picked it up to read. A clunky television adaptation sticks in my mind from childhood and a couple of recommendations from friends who I flatly ignored. I told myself, “Plants taking over the world is silly. How can it be anything other than a glorified B-movie?” I even checked the cover on Amazon to confirm my unfounded suspicions. Of course, this cosy catastrophe is far beyond the short pulpy description I had in my mind and after a few pages I was hooked.


The first person narrator, Bill Masen, is a triffidologist who works with the carnivorous plants. The story begins with him in hospital after his eyes were splashed by triffid poison. He misses a beautiful green meteor shower due to his bandages, and avoided suffering blindness like the majority of the population. From here, with humans at a disadvantage, the triffids take advantage of the upended natural balance and attack. The opening scene in the hospital is definitive and has echoed through subsequent apocalyptic fiction, notably the film 28 Days Later and the TV show The Walking Dead.

28 Days

The book was originally published in 1951 and its old charm and quaint language immediately grabbed me. Masen sees a doctor dive head first out of a window and his immediate reaction is to light a cigarette. When he eventually makes it out of the hospital, his first port of is to a local pub for a stiff drink. He’s also unsure about the origin of triffids but suspects they were engineered by the Soviet Union.

There’s a wonderful section where Masen wanders through central London and witnesses the full impact as society unravels into chaos, particularly a part where he meets a blind man who is happy at the turn of events. The man suffered from the disability before the shower and now feels his parity in the world restored.

Masen saves a woman who also retained her sight, a successful novelist called Josella Playton, from a man who is forcing her to be his guide. Playton missed the meteor shower while at a wild party and they immediately strike up a friendship that is central to the story. They discover a group of survivors planning on heading for the countryside to build a stronghold and decide to join them. This isn’t an A to B bullet-fest where our hero has smart quips or rescues damsels in distress. The story takes a sober look at how a group tackles the problems of surviving in a world that is increasingly not their own, and some of the village scenes outside London are a tremendous throwback to a quieter era.

Walking Dead

As Wyndham leads Masen through the events, he gives an interesting insight into human behaviour, how different people reacted under extreme circumstances, some good, some bad, and some misguided. The lifecycle of events is logical and well treated as triffids slowly take over the nation and hunt for survivors, increasing in number and surrounding any safe haven. I also enjoyed the philosophising around the future of humanity by various characters, particularly Coker at Tynsham on the changing role of people and the roles that both sexes needed to adapt in order to survive.

Without giving away spoilers, the book has a satisfying conclusion and gives the remaining characters hope for the future. I highly recommend it anyone who loves post-apocalyptic fiction and hasn’t read it yet, happily admit that I got this one wrong for years, and nearly missed out on a genre-defining classic.



Darren Wearmouth spent six years in the army before pursuing a career in corporate technology. After fifteen years working for large telecommunications firm and a start-up, he decided to follow his passion for writing. His first novel was the best-selling First Activation that he later sold to Amazon‘s publishing imprint, 47North in a two-book deal. Darren is a member of the International Thriller Writers Group and the British Science Fiction Association, and currently lives in Manchester, England.


The Brink of a New Age of Discovery

Do you remember those old posters from the 1950's that had people in flying cars and robots doing the dishes? It must have been an exciting time. Test pilots had just broken the sound barrier, followed by a breathless rush into the dawn of the Space Race that led to the moon landings just 66 years after the first time Orville and Wilbur Wright flew the first airplane. At that time, nuclear power seemed ready to offer limitless cheap energy, and the boom of microelectronics was just beginning to dazzle.



What happened to my flying car? While it's true that electronics have gotten smaller and faster beyond the wildest of imaginings of 40 years ago, it's also true that the 747 airliner first flew in 1969, and that's probably the same plane you'd take to fly today. Same speed, same altitude–the 747 was an amazing feat in the 60's, but by now we were supposed to be vacationing in the vast donut space stations of Arthur C. Clark's 2001. And speaking of 1969, that was 47 years ago…if we went from the first airplane to the moon in just sixty years, fifty years after that shouldn't we be taking warp-drive spaceships to Betelgeuse? What happened?

For instance, what about dark matter? This is the stuff that makes up about 90% of the mass/energy of our universe, but so far physicists have only been able to narrow it down to (a) massive subatomic particles that we're literally swimming in although have never detected, or (b) primordial black holes that invisibly glue together galaxies. So 90% of everything is either something subatomic or something unimaginably massive and large. That's a pretty big gap for something rather important.


Or how about eels? If you live in North America or Europe, you've most likely encountered an eel in your local river. Yet all North American and European eels originate from a single source, the mysterious “Sargasso Sea” somewhere in the Atlantic Ocean where eels spawn each year and migrate outward. Despite knowing this *has* to exist, not one person has ever witnessed a spawning eel, or found the location of the Sargasso Sea that has to exist.


Two obvious things that have to exist, and yet we've never seen them. I believe this is called faith. So keep the faith, my friends, because our future is fast approaching.

Just a few years ago, I remember feeling depressed when NASA made tired-sounding announcements of sending humans to Mars in thirty or forty years. Ho-hum, ho-hum. And then this week, SpaceX makes a surprise announcement saying they plan to send an unmanned Red Dragon capsule to Mars in 2018 (TWO years from now, not twenty), and in September of this year will they will release serious plans for colonizing Mars. Holy Buck Rogers! And this comes just a few weeks after they butt-landed a rocket on a floating drone ship in the middle of the Atlantic. Does this sound like something from a science fiction book? Cause it's not. This is happening, folks, not to mention the slew of other private space enterprises going on.

In other news, big corporations are now creating their own endemic artificial intelligences–witness Siri from Apple, Alexa from Amazon, Cortana from Microsoft, and reports of just about every major hedge fund in Connecticut starting up their own AIs to run their core businesses. It's not quite the android Replicants of Mr. Philip K. Dick, but it's more than halfway to HAL of 2001…and pair this up with the walking robots from Boston Dynamics. And speaking of AI disasters, when Microsoft recently unleashed Tay–Cortana's AI cousin–free and unfettered into the world a few weeks ago, within hours she became a Hitler-loving racist asshole, which I feel perhaps doesn't bode well for humankind over the long term (bear fealty now to our robot-AI overlords before it's too late).

But this isn't the big news. No. The big news, I think, is that we're on the brink of TOE–and by that I mean the Theory Of Everything. Without getting stuck in the details, for the last forty or so years, we've been stuck with quantum-electrodynamics theory on one side (the merger of quantum, electromagnetics, and strong and weak nuclear force theories) and gravity-relativity on other, and never the twain shall meet. Nobody has been able to devise one coherent physical model of our universe that includes the four fundamental forces together with quantum theory–but I think scientists are on the brink of a breakthrough (witness the discover of a new, previously unsuspected particle by the LHC) that may create a new fundamental picture of reality.


How can this possibly affect us?


But “quantum theory” only really emerged in 1924 as a discipline unto itself with Heisenberg and Schrodinger (it did exist as bits and pieces in the 1800's, but only hints of something unconnected), and at the time, sitting on a steamship deck and sipping your coffee, you might have been excused from wondering what possible application it could have. Fast-forward sixty years, and it fueled the technical underpinning of the electronics boom that has birthed the Internet, AIs, and worldwide instantaneous communication networks.


What could a new theory of the ultimate nature of reality make possible? I have no idea, but I'll bet you that in fifty years it will be something amazing that we can't even imagine now. Tired old NASA is even funding a serious research project into faster-than-light travel–the idea isn't to really travel faster than light, but to bend space (and thus time) to punch holes through it. The physics say it's possible, but the energies required are either vaster than a hundred suns, or not much at all–what's needed is an understanding of the real physics behind the ultimate nature of our reality, and our lab-coated friends may just be on the edge of supplying it. So dust off your Mars suit, boot up your personal AI, and step onto that warp-drive spaceship, because the future is fast approaching.

But I doubt we'll ever find out where eels come from.

Adventures in Hybrid Publishing

The changes that have occurred in publishing over the past decade are pretty remarkable. I first wrote this post for Simon and Schuster about a year ago, and even more has changed in publishing in that time.




Authors are no longer restricted by the old rules of publishing. You don’t need a literary agent or a traditional publishing deal to get your story into reader’s hands. E-readers have helped fuel a revolution, where an unknown author like Hugh Howey can become a New York Times Bestseller almost overnight. From Wattpad to Amazon, publishing has never been easier. But that doesn’t mean one method is better than the other. It simply means that authors and publishers have more options.

Three years ago, when I was still a purely self-published author, New York Times bestselling author Bob Mayer told me that hybrid publishing was the future. At the time, I didn’t even know what that meant. But, that’s exactly what I became; by mixing and matching the strategies that worked best for me, I became a hybrid author. Two years later, with a series traditionally published under Simon451 (a digital-first imprint of Simon & Schuster) another series I’m self-publishing, and a third acquired by Blackstone Publishing, I found the right balance of freedom and control to survive as a full time writer.

My publishing story started about four years ago. I had an unpublished manuscript that I’d been working on for years. I thought about querying agents or sending the book to a small press but after some consideration I decided to go with what seemed like the least painful method — I decided to self-publish.

This was one of the most important moments of my career. It opened a door to the world of self-publishing and while that novel didn’t do all that well, it paved the way for my next book, Orbs. Using the marketing knowledge I’d gained from my first novel and the advice of fellow self-published authors, I was able to successfully launch my second book. Two months later, Orbs was a breakaway hit on Amazon and a number one bestseller that attracted the attention of several publishers including Simon451.


Now I was faced with an important dilemma. I wrestled with whether to continue to self-publish or make the leap to traditional publishing. It wasn’t until I asked myself an important question that I found my answer — what could Simon451 bring to the table that I wasn’t doing for myself?

Sure, self-publishing allowed me the freedom of getting my stories out quickly. I had control over the marketing and price. But there were still obstacles preventing me from reaching the audience outside of Amazon. I thought a traditional publisher could help tear down those walls and help me reach those readers. But in addition to that, with professional editing and copyediting I would be able to improve my technical skills as a writer.


Nick typing


For that reason I decided to sign with Simon451. I knew that with the power of their editing and marketing teams my books could potentially reach an entire new level. My writing would improve and my books would reach more readers. Simon451 did just that. They put my Orbs series on every major e-reader platform, and their superb editing team has made me a stronger writer. Starting in July of 2016, the books are coming out in paperback.

After signing with Simon451 I came to see the other side of publishing. My old editor calls the e-book revolution the Wild West. More publishing options means more authors. That also means more competition. In order to survive in this environment I knew I needed to adapt. I needed a flexible model that would allow me the freedom to get books out faster while having the support of a major publisher on other titles.




That’s why I returned to my roots after I completed the Orbs series by self-publishing the Extinction Cycle series. All five books are number one bestsellers on Amazon and the audiobooks are too, with Extinction Horizon hitting #1 in the audible store in 2015. This new series has allowed me the ability to self-publish every four or five months. In a little over a year, the series has sold over two hundred thousand copies.

While writing the Extinction Cycle series I was also writing a new trilogy called Hell Divers. With the success of the Extinction Cycle, my agent was able to sell Hell Divers to another traditional publisher, Blackstone, the same company that published the Extinction Cycle audiobooks.

I get questions all the time about how to survive as an author in the constantly changing world of publishing. My answer is to go hybrid, if you have that opportunity.  By keeping one foot in the self-publishing sphere, I’m able to maintain the breakneck pace necessary to compete with other eBook authors, and by keeping the other foot in traditional publishing, I’m able to work on slower-burn projects that might need extra attention like Hell Divers.




My ultimate goal is the same as most authors: to have my books in print and on bookshelves. There isn’t anything I can think of that’s much better in life than holding my book in paperback. But the path to print publication requires skills learned in both worlds, the skills I learned as a hybrid author. Now that is happening with both Orbs and Hell Divers.

Publishing is continuing to evolve every day, providing endless possibilities for authors to bring their stories to life. Ultimately, I believe Bob Mayer is right. Hybrid publishing is the future for many. It may seem unconventional right now, but with the ever-changing landscape of publishing authors will be required to adapt in order to achieve their goals, just like I have.


Nicholas Sansbury Smith

Nicholas Sansbury Smith

Nicholas Sansbury Smith is the bestselling author of the Orbs and Extinction Cycle series. He worked for Iowa Homeland Security and Emergency Management in disaster mitigation before switching careers to focus on his one true passion–writing. A three-time Kindle All-Star, several of Smith's titles have reached the top 50 on the overall Kindle bestseller list and as high as #1 in the Audible store. Hell Divers, the first book in his new trilogy, will release in July 2016. When he isn't writing or daydreaming about the apocalypse, he's training for triathlons or traveling the world. He lives in Des Moines, Iowa, with his dog and a house full of books.

If you'd like to hear more about Nick's books, you can join his spam free mailing list here:

Interspecies Communication

I first met Sammy Davis, Junior, when I was nine. At the edge of the kitchen counter, he waited, a gray house lizard—what we in the Philippines called butiki. No bigger than my father’s index finger, half of him was a thin, twitching tail that tapered to a point.




Sammy Davis was a similar specimen of Hemidactylus frenatus that my mother and father discovered long ago in their first apartment near España Boulevard in Manila. He had kept the moths and mosquitos at bay, and so they’d tolerated, then befriended him.

Now, several years later, my father approached Junior, making a series of clicks with his tongue, his hand outstretched with a pinch of boiled rice. My mother continued nibbling at her steamed chicken while my seven-year-old brother watched with a kind of stunned, frightened look in his eyes.

Still clicking–a quick click-click-click, pause, repeat–my father carefully set down the pinch of rice about two inches away, while the lizard watched with rotating eyes.

It took about half a minute while the lizard twitched his tail, swung his head first this way, then that–before he darted forward and snapped up the rice, swallowed, then darted away down the vertical side of the counter.

Triumphant, my father offered another pinch of rice.


Junior poked his head over the edge, scrambled to the rice, and gobbled it up.





Koko, a lowland gorilla trained by Dr. Penny Patterson, is said to comprehend over one thousand signs from American Sign Language and to understand and respond to a spoken vocabulary of over two thousand English words. Beyond that, Koko is reported to have invented her own signs to communicate new thoughts: for example, describing a ring by combining “finger” and “bracelet” into the new word “finger-bracelet.”




Kanzi, a bonobo, has been using a specialized keyboard with symbols on the keys to communicate with the team of primatologist Sue Savage-Rumbaugh, using a vocabulary of six hundred words.




Alex, an African Grey, was shown by Dr. Irene Pepperberg to understand over a hundred English words and could identify various colors and shapes.




A controversial project in the 1970s saw a baby chimpanzee named Neam Chimpsky—“Nim,” for short—taken from his mother just days after birth at a primate research center. Behavioral psychologist Herbert Terrace aimed to raise Nim as a human child, placing him with human families who strove to teach him a form of American Sign Language. Despite a sad end, when researchers attempted to re-integrate him unsuccessfully with other chimpanzees, Nim learned to sign in three- and four-word sentences:

Apple me eat.

Drink me Nim.

Finish hug Nim.

Give me eat.

Hug me Nim.

Tickle me Nim.

Yogurt Nim eat.

Banana eat me Nim.

Me eat drink more.

Tickle me Nim play.




In a NASA-funded experiment with a bottlenose dolphin named Peter, neuroscientist John C. Lilly tried to prove his theory that dolphins could learn language via constant human contact. Over ten weeks, Margaret Howe, his research assistant, spent day and night with Peter.

Dolphins can make human-sounding noises via their blowholes, and Margaret’s goal was for Peter to mimic sounds that he heard.

Over time, Peter could pronounce a rough version of several words, including “hello,” “we,” “one,” “triangle,” “diamond,” and “ball.” His favorites:

Hello, Margaret

Play, play, play

Disturbingly, Peter got emotionally attached to and aggressive with Margaret, circling around her, nibbling her, and jamming himself against her legs. The behavior escalated, and he was quickly re-instated with other dolphins until he had calmed down enough to be re-introduced to Margaret.

Unfortunately, after ten weeks, funding for the project ended, and Peter was shipped to another lab. Without Margaret, he apparently lost the will to live and refused to breathe, sinking to the bottom of his tank in what might be understood as suicide.


Butiki 2


Months later, I’m alone in the kitchen when I hear a clicking beside me.

There is Junior, his eyes two quivering balls of black, his tail flicking, right in the middle of the table.


I throw a rice grain at him, and he runs forward, catching it in his mouth and swallowing. I follow with several more.


Two clicks means “I’m done.” He twitches his tail one more time, turns, and is gone.


Big Ear


On August 15, 1977, astronomer Jerry Ehman was examining data from Ohio State University’s radio telescope, part of the Search for Extraterrestrial Intelligence (SETI) project. He saw an anomaly in the data from the direction of the constellation Sagittarius in the 1.43GHz frequency. Most scientists agree that would be the most likely frequency an alien civilization would use to broadcast a signal. It was so amazing that Ehman circled it and wrote “Wow!” in the margin of the print-out. Up until then, the signal had resisted all explanation. The signal’s strength was represented on a scale of thirty-six intensity levels by the numerals 0-9, then A-Z. The 72-second signal formed a perfect bell curve:


We are here.




Out there, beyond the furthest arms of our galaxy, our radio telescopes broadcast our own signals, our hopes and dreams, in a language we hope someone will understand.

Our spacecraft bear plaques engraved with drawings and symbols of ourselves in a form we hope someone will decipher.

And we listen, straining to hear beyond the noise of supernovae and neutron stars, to ascertain if there is indeed somebody out there.






SAMUEL PERALTA is a physicist and storyteller. An Amazon bestselling author, he is also the creator and driving force behind the Future Chronicles series of speculative fiction anthologies, with 14 consecutive titles ranking at the top of the Amazon SF Bestseller lists, several hitting the overall Amazon Top 10 Bestsellers list. His own work has been recognized in Best American Science Fiction and included in the author community anthology for the John W. Campbell Award for Best New SF Writer.

Samuel Peralta

Samuel Peralta, creator of The Future Chronicles

This article was first published, in slightly different form, as the Foreword to Interspecies

Interspecies, a shared universe anthology


The Butterfly Effect

“Can anyone alter fate? All of us combined… or one great figure… or someone strategically placed, who happens to be in the right spot. Chance. Accident. And our lives, our world, hanging on it.”

— Philip K. Dick


Ray Bradbury’s classic short story A Sound of Thunder is the most reprinted science fiction story of all time. Set in the year 2055, a company offers time travelling safaris to the past, to the Cretaceous Era, to hunt a Tyrannosaurus rex.


The company takes great pains to choose targets that are about to die anyway, since the belief is that changes in the distant past could become an avalanche that changes everything. But despite all precautions, something goes utterly wrong—


Ray Bradbury's "A Sound of Thunder", illustrated by Richard Corben (Topps Comics) 1993

Ray Bradbury's A Sound of Thunder, illustrated by Richard Corben (Topps Comics) 1993


Does the flap of a butterfly’s wings in Brazil set off a tornado in Texas?


Butterfly Effect

Samuel Peralta

Because your father stopped in Strandja park
to point out that whirligig of wings–blue
, he said, Ultraaricia
–you were dazzled forever.

Those wings wafted you here, ten thousand six
hundred kilometres away, to the
University of California,
Davis. Encyclopedia of Insects

in arm, you haul yourself up the stairwell
of Briggs Hall. Your frail sandal spindles on
the threshold–and you trip, a beautiful,
crippled Lycaenidaen specimen,

into the butterfly net of my arms.
Somewhere in Texas, a hurricane stirs.


Ultraaricia anteros

Ultraaricia anteros


Besides the chaos theory reference, my free verse sonnet Butterfly Effect arose from many memories. Of my father writing a scientific monograph on moths and butterflies, and handing me a paper pamphlet of it, when I was young.


Of my fondness for the blue argus butterfly, from the family Lycaenidae, a specimen restricted to the Balkans in Europe.


Encyclopedia of Insects

Encyclopedia of Insects


Of seeing the Encyclopedia of Insects in a library, a bloody huge book.


And memories of the three years, I lived in Davis, California, where I won my first-ever literary prize, and where I first thought I was in love.


MU Entrance, Freeborn Hall

University of Davis, California


So here we are. Where we are now, what language we’re speaking, what foods we eat, what we believe in—all of these are based on a myriad of events happening in the past, just so. Accidents. Coincidences. Chance.


We don’t live in the world of Philip K. Dick’s The Man in the High Castle because the Allied forces were victorious over the Axis powers in the Second World War.


From Amazon's production of "Man in the High Castle" by Philip K. Dick

Amazon's production of The Man in the High Castle by Philip K. Dick


We don’t live in a world where Franklin D. Roosevelt was defeated in his third run for President of the United States, to be replaced by Charles Lindbergh, as in Philip Roth’s The Plot Against America.


But what if? 


Speculative fiction itself is based on asking that question.


What if Pope John Paul I hadn't died after just a month in his office? What if the women's suffragist movement lost their battle for the right to vote? What if Steve Wozniak’s focus had turned to medical technology instead of personal computers? What if the Japanese and United States of America had allied to combat an expected Great Depression? What if Edward Jenner had died prematurely before developing a vaccine for smallpox?




The flap of such butterfly wings would surely have changed everything—lives, loves, the world as we know it.


SAMUEL PERALTA is a physicist and storyteller. An Amazon bestselling author, he is also the creator and driving force behind the Future Chronicles series of speculative fiction anthologies, with 14 consecutive titles ranking at the top of the Amazon SF Bestseller lists, several hitting the overall Amazon Top 10 Bestsellers list. His own work has been recognized in Best American Science Fiction and included in the author community anthology for the John W. Campbell Award for Best New SF Writer.

Samuel Peralta

Samuel Peralta, creator of The Future Chronicles

This article was first published, in slightly different form, as the Foreword to Alt.History 101

Alt.History 101, part of The Future Chronicles series of speculative fiction anthologies


FTL – Science Fiction’s Fudge Factor

Hyperspace, warp drive, folding space…over the years, authors have come up with lots of ways to travel faster than light, a virtual necessity if we are to portray any plausible kind of interstellar civilization.  Yes, you can build a good story even with years of transit time between even close systems.  Generation ships and crews in suspended animation can be interesting, and of course, we can restrict the action to a single solar system.  The Expanse is a great example of this kind of action.  But sooner or later we want to break away from the gentle warmth of Sol and explore the galaxy.  And we need to leave light behind in our dust (cosmic dust) as we do.


This is where the fudging begins.  Without turning this into a physics symposium, let’s just say that even the wildest imaginings of our knowledge of science tell us it is impossible to do this, especially for something like a spaceship full of human beings (as opposed to a few sub-particles).  So what do we do?  We make something up, of course.


Here is where we branch off in options.  Some authors make considerable effort to create systems of faster than light travel that at least seem plausible (they’re not).  Others don’t even worry about it.  They may call it a hyper-jump or a Jaworsky Field (after the fictional inventor), but they don’t even try to explain how it functions.  It can also be a naturally occurring phenomenon, a warp point, for example, or something manmade (possibly by ancient aliens now mysteriously vanished).  But one way or another, we will get the spaceships from system to system.


Sometimes, however, there is method to the madness, though it is often driven by plot rather than science.  For example, look at something like Star Trek.  The Enterprise flits all across space, seemingly unconcerned with refueling or even maintenance, at least unless someone sneaks onboard and scrags the dilithium crystals.  This is a great system when you want your ships to be able to get anywhere, to function at maximum efficiency even when they are lost and cut off.  But what if you want the reality of travel to impose greater restrictions on your space fleet?


Other systems are based on more of a fixed system using point to point travel.  I’ve used warp gates in my Crimson Worlds series.  These largely unexplained natural phenomena allow travel back and forth between two systems that are lightyears apart.  A system like this offers a number of advantages, especially for the writer of military science fiction.  It takes space, in all its three dimensional glory, and reduces it to a series of connections.  It rationalizes battle lines, and it creates a value structure for systems, making those with larger numbers of gates leading to cool places worth fighting over.


FTL systems can also be used to regulate the pace of travel and warfare in space.  Perhaps ships can “jump” anywhere, without the need for warp gates or the like.  But they can only go so far, and then they need to stop and refuel…and possibly have repairs done.  This can drive the plot in a powerful way.  Why is this backwater world so important?  Why are there giant battleships in orbit?  Because it is on the invasion route into the heart of a space empire!  This can be used to create something akin to the “island hopping” campaigns of World War II, as fleets maneuver to secure bases along invasion routes.


So the next time you pick up a new space opera, stop and think about whether there was more than made up science in the author’s mind.


JAY ALLAN currently lives in New York City, and has been reading science fiction and fantasy for just about as long as he;s been reading. His tastes are fairly varied and eclectic, but favorites are military and dystopian science fiction and epic fantasy, usually a little bit gritty.

Jay writes a lot of science fiction with military themes, but also other SF and some fantasy as well, with complex characters and lots of backstory and action. He thinks world-building is the heart of science fiction and fantasy, and since that is what he's always been drawn to as a reader, that is what he writes.

Telepathy – From Science Fiction to Reality

“Any sufficiently advanced technology is indistinguishable from magic.”

Arthur C. Clarke


During the Golden Age of science fiction, John W. Campbell, Jr.’s Astounding Science Fiction was a vanguard in popularizing stories that centered on humans with enhanced mental abilities, and how ordinary society might look at people with those abilities, notably with A.E. van Vogt’s serialized novel Slan and the similarly themed stories that collectively made up Henry Kuttner’s Mutant.


Indeed, the first Hugo Award was given in 1953 to a novel that revolved around telepaths. The Demolished Man, by Alfred Bester, is a police procedural science fiction story set in a world where telepathy has become commonplace, although so-called espers have varying degrees of ability.


The Demolished Man by Alfred Bester

The Demolished Man by Alfred Bester


That this work has become a landmark in the genre is evidenced by nods to his work, as in the television series Babylon 5, where the author lends his name to one of the primary protagonists, Psi Corps officer Alfred Bester, played by the iconic Walter Koenig from Star Trek (whose Vulcans were also able to mind-meld, to share thoughts, memories, and knowledge with others through physical contact).


Today this melding of minds, this staple of science fiction, is coming closer to reality than many of us may realize.


In his book The Physics of the Impossible, Michio Kaku, noted futurist and Professor of Theoretical Physics at the City College of New York, classifies three types of impossibilities. Class III impossibilities are what we normally think of as not possible: things that cannot become real, at least not according to our current understanding of science; these include perpetual motion and precognition. Class II impossibilities include things that may be realizable, but in the far future, such as faster-than-light travel.


According to Professor Kaku, telepathy is a Class I impossibility. These are phenomena that don’t violate the known laws of physics, and indeed may become reality in the next century.


A meeting of minds

A meeting of minds


Never mind the next century—some scientists believe the age of telepathy may be upon us.


The first clue? That people lacking one or more of the normal five senses can now, in certain situations, be given them.


Since the 1960s, around 350,000 people who were profoundly deaf or severely hard of hearing have been fitted with cochlear implants, providing them with a sense of sound where previously there was none. Essentially, a microphone picks up sounds, which are filtered by a speech processor and sent as an electronically coded signal to a transmitter behind the ear. This transmitter sends the signal to the subject’s brain through an array of up to twenty-two electrodes circling the cochlea, which then send the impulses through the auditory nerve system to the brain.


Following European approval in 2011, the United States Food and Drug Administration in 2013 approved for use the first retinal implant. The system uses a video processing unit to transform images from a miniature video camera into electronic data, which is then wirelessly transmitted to a sixty-electrode retinal prosthesis implanted in the eye, replacing the function of degenerated cells in the retina. Although vision isn’t fully restored, the system allows those affected with age-related macular degeneration, or with retinitis pigmentosa—a condition which damages the light-sensitive cells lining the retina—to better perceive images and movement.


Retinal implant

Retinal implant


Similar advances are being reported for the other three senses of touch, smell, and taste.


But what about the sixth sense?


In my own speculative fiction universe, electronically augmented telepaths make use of technologies akin to magnetic resonance imaging (MRI) to associate perceived images of neural activity with a subject’s memory palace in his brain. This is a key point for my conception of the protagonist of my short story Trauma Room, a man who can use augmented telepathy to traverse a subject’s thoughts and memories using the method of loci.


Trauma Room by Samuel Peralta

Trauma Room by Samuel Peralta


Today, functional MRI has actually been used to sense words being thought by a subject, or to discern the images being formed in the brain as a subject watches a movie. It’s still very mechanical, matching monitored brainwave activity with a huge database of impulse responses to benchmark words or images, but it’s the same big numbers principle that enabled the IBM Deep Blue chess computer to win against then-World Champion Garry Kasparov in 1997.


In the same year that The Demolished Man was published, Theodore Sturgeon's More Than Human also came out. It’s the story of several people with extraordinary abilities who are able blend their abilities together and achieve human transcendence. The same theme—of humans transcending ordinary humankind—is explored in Time is the Simplest Thing, by Clifford D. Simak. It can be argued that a similar sort of communal experience—if not transcendence—is already part of our experience, with the spread of the Social Web.


It’s only a matter of time before all the input and output devices we have—keyboards, flat screens, heads-up displays—become obsolete. Why should you have to type or dictate information into a computer, when you can control it directly by thought? Why project information onto your eyes when you could send information directly into the brain? In time, many of us may be direct input/output nodes into the cloud.


Science fiction?


Direct brain interfacing

Direct brain interfacing


We live in a world where cochlear implants are already helping the deaf to hear, and retinal implants are beginning to help the blind to see.


We live in a world where smartphones and connected wearable devices—watches, glasses, health and fitness monitors—simultaneously receive and broadcast information to and about us through the cloud of the Internet.


We live in a world where deep brain stimulation is routinely used in therapies to address Parkinson’s disease, where implants in the brain allow people to bypass a broken spinal cord and move hands, arms, limbs with the power of thought.


Augmented reality heads-up display

Augmented reality heads-up display


In fact, we live in a world where real telepathy has already been achieved. A team at Duke University in North Carolina has, for the first time, demonstrated a direct communication interface between two brains. In the Duke experiments, two thirsty rats are placed into separate cages. They cannot see or hear each other, but their brains are wired together via electrode implants in their motor cortices. Each rat will be rewarded with a sip of water if it pushes the correct one of two levers. In the first rat’s cage, a light comes on above the correct lever to let the rat know which lever to push—but there is no such indicator in the second rat’s cage.


The experiment, then, measures whether, when the first rat pushes the correct lever, it sends a brain-initiated signal to the second rat, which must then correctly interpret the signal it experiences in its own brain, and push the correct lever.


The technology is simple: implanted electrodes capture the signals from the firing of the neurons in the motor cortex, translate them into binary code, and sends the signal—via a wire, wirelessly, or via the Internet to another location—into the electrodes in the other brain, which translates it back into neural signals.


Sheer chance would have the second rat pushing the correct lever 50% of the time. In fact, the rat chose the correct lever between 60% and 85% of the time. This was true even when one animal was in North Carolina and the other was in Brazil.


How much longer before what you read in the following pages is no longer science fiction?


The Future of the Mind by Michio Kaku

The Future of the Mind by Michio Kaku


In The Future of the Mind, Professor Kaku notes, “We have learned more about the brain in the last fifteen years than in all prior human history, and the mind, once considered out of reach, is finally assuming center stage.”


Science fiction writers peer into possible futures, using a literary form of precognition, as it were. And so we follow that grand tradition, celebrating this a new Silver Age of fiction, an age of online publishing and digital books, an age where we are surrounded by wonderment and wonders, where science, in many ways, has become magical.


SAMUEL PERALTA is a physicist and storyteller. An Amazon bestselling author, he is also the creator and driving force behind the Future Chronicles series of speculative fiction anthologies, with 14 consecutive titles ranking at the top of the Amazon SF Bestseller lists, several hitting the overall Amazon Top 10 Bestsellers list. His own work has been recognized in Best American Science Fiction and included in the author community anthology for the John W. Campbell Award for Best New SF Writer.

Samuel Peralta

Samuel Peralta, creator of The Future Chronicles

This article was first published, in slightly different form, as the Foreword to The Telepath Chronicles


The Telepath Chronicles – part of The Future Chronicles anthology series


Worldbuilding in Science Fiction and Fantasy

Worldbuilding.  It’s a term that gets bandied about quite a bit when discussing fiction, especially in genres like science fiction and fantasy, but for all the endless times it is repeated, I think sometimes the importance is overlooked.worldbuilding

It’s very fashionable to say things like, “character development is the important thing,” or “it’s the story that matters.”  And, of course, those things are absolutely essential.  But they’re not the whole story.  Not by a longshot.  Not in science fiction or fantasy.

A work of historical fiction set, say, during the American Civil War doesn’t need worldbuilding…it’s world is the world, and beyond pointing out some historical facts the reader might not know, the author can focus almost solely on characters and storyline.  But science fiction and fantasy demand more.  These stories take place in worlds that are the creations of their authors.  They may be set in the near future, based heavily on the real world, or they may be wildly different (a galaxy far, far away), but either way, the reader needs to understand this setting, and the only way that’s going to happen is if the author fleshes it out.

Imagine a work like Dune, without the immense detail of the empire, stripped of the customs, institutions, and history so carefully laid out by the author.  What is left?  A good story, some well-developed characters?  Yes, perhaps.  But an enduring classic of the genre? Doubtful.sandworm

Or Asimov’s Foundation series…with its galactic empire and its ‘world as one giant city’ capital.  The characters come and go in what is mostly a series of short novellas, but the overall plot of the fall of empire ties them all together.michael-whelan_isaac-asimov_foundation

On the fantasy side, could there be a better example than the Lord of the Rings?  The three books cover little more than a single year’s activity, yet Tolkien’s work wouldn’t be the classic it is without the massive worldbuilding that gives us thousands of years of fictional history interspersed with a few months of real time action.lotr

In science fiction and fantasy, the setting is like a character itself, often as much a part of the story as any hero and villain.  When I think of the books that have resonated with me in my forty-odd years of reading science fiction and fantasy, it is those that offered rich worlds in which I could lose myself that became the favorites I pull out every couple years to reread.

Writers pursuing effective worldbuilding sometimes get blindsided by terms like “infodump,” and efforts to show the reader the true vision of a fictional universe often falter on such endless attempts to oversimplify good writing into arbitrary ‘rules’ and nonsensical little blurbs like, ‘show, don’t tell.’  Should a book start with an encyclopedia-like multi-page blast of pure background information.  No, not usually at least.  But is it important to share the true scope and vision of a fictional universe?  Absolutely.  Do readers want to know about these worlds their favorite authors create?  Definitely.

There is no question that worldbuilding has to be done well, subtly, and not like a tank smashing through the wall.  Information needs to be doled out slowly, steadily, not in one massive torrent.  In a series it can come over several books.  But when it is done, and done well, the rewards are enormous, both to the author and to the reader.  The best fictional universes take on lives of their own, and they begin to feel real, at least to the readers who become ever more immersed in the escape they offer.

As an author, more often as not, I’ll begin a new project with a clearer idea of the setting and the realities of the universe than the characters themselves.  I want my heroes—and my villains and bystanders too—to feel like they’re from that setting, and not some generic creations I cooked up and dropped in…which is why worldbuilding remains the core of my writing process, and always will.

I’d like to add a note on another kind of worldbuilding, the kind that is behind this web site.  This is my first blog post for DiscoverSciFi, and I’m very excited to continue to share ideas and motivations with all of you.  I’ve got a long list of topics for future posts, and I know my co-author partners here do as well.

One of the things I love about participating in something like DiscoverSciFi is the chance to create another way to reach readers.  Authors today have the opportunity to be closer to their readers than ever before, and I think this is a great thing for publishing in general.  I get a lot of emails from fans, and I answer them all.  There is no substitute for input from those who read and enjoy your books, and no better source for new ideas where to take a story than those from fans.  I’m excited to see where this DiscoverSciFi journey takes us.  I’m sure it will be a great ride!

Jay Allan