Hugh Howey's Blog, page 4

New Book Release!

I’m over the moon to announce this one. After the amazing reception Elinor and I received for our post-card-apocalyptic THE BALLOON HUNTER, we immediately set to work on a sequel. Today it went live on Amazon!

We present to you: DEATH TO ANYONE WHO READS THIS

These books have been a blast to put together. I’m telling you that there’s nothing else like them on the market. Not even close. We are doing things with the construction of these books that will blow your mind. If you don’t believe me, go read them for yourself. And then leave a review telling us what you think.

Both books are available on Kindle Unlimited, and I highly recommend reading them on a color tablet, your computer screen, or best yet get print copies. There’s nothing run-of-the mill about the way these stories are told, or what happens inside them.

You’ll see…

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Meet Wanda Jane Rainer: Monster Tamer!

I’m so excited to announce this book. It’s one of two new picture books created with the absolutely brilliant Maine Diaz, whose art I love and adore. The idea for the book and script came from Matt Mikalatos, my great friend and screenwriting partner.

Check out the product page on Amazon here. It’s on Kindle Unlimited if you have an account and want to read it for free. It’s absolutely gorgeous on a color tablet and brilliant in print. And suitable for all ages!

Here’s a video of me unboxing it for the first time and chatting with a few folks who tuned in live:

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Creativity and Consciousness

I’ve written about consciousness many times on this blog, and I’ve published a work on my theory of consciousness if you’re interested in diving even deeper (free on Kindle Unlimited, very cheap otherwise). I’ve also written extensively on my creative process. And I’ve published works about AI in places like Wired well before today’s AI revolution kicked off.

That’s all to say that I’ve been thinking about these things and writing about them for even longer than I’ve been writing books. I’ve also been lucky enough to absorb thoughts and ideas from folks way smarter than me on this topic. I once asked Kevin Kelly when he thought AI would arrive, and without hesitation his response was “It’s already here.” He said this to me ten years ago. I believe he was correct even then.

Define consciousness however you choose and you’ll likely find that the internet of 2013 qualifies. It’s even self-aware. Google “google” and see what it says. We laugh when we ask philosophical questions of our machines, but the greatest thinkers in human history do the same with their own minds and those minds turn to goo or spit out: cogito, ergo sum (I think, therefore I am).

The only definition of consciousness that retains human uniqueness is to define it circularly by saying consciousness is something that humans can do but machines can never do. That’s a very tight loop, and I think it’s what most people (even very smart people) do subconsciously. They want to retain some kind of specialness, and so their ego erects a wall of unassailable logic.

The current field of battle in this eternal debate are LLMs, or Large Language Models. The way these models are built and trained is known, which gets people in trouble. They tease out the constituent bits and say, “Hey, look, all this does is find vectors between existing words and then predict new vectors based on inputted words. That’s not consciousness! That’s not creativity!”

They do this, even though we don’t know how consciousness and creativity arise from our pounds of neurons. So let’s dispense with those arguments. They are claims of comparison between two unknown things. Instead, let’s remind ourselves that we know a lot about how individual neurons work, and we can safely say that an individual neuron would not satisfy very man definitions of consciousness. Nor would two neurons wired up together. Or even two million.

However, get 80 or so BILLION neurons wired up, and magical things begin to happen. Emergent properties arise in much the same way that adding heat to water just makes warmer water until SUDDENLY, it starts to boil. It behaves differently. It’s not just warmer, the laws of its motion and viscosity have now changed. Properties emerge all the time from items that do not individually do very much. Dismantle a computer, and you’ll have a bucket of parts. Assemble those parts in just the right way, and all the properties of a computer emerge. This happens in nature all the time in marvelous ways.

In November of last year, ChatGPT was released to the public, and very clear emergent properties could be seen. Yes, we know how the programs were built, and yes we know the data it was trained on, but the way it behaved was unlike anything we’ve ever built or seen before. And it arose very similarly to our own brains. A small amount of that data didn’t do very much. More data suddenly fired back very human-like responses. And when the dataset grew further (especially in the move from v3.5 to v4), the responses became very much like something that was consciouses.

One of the common complaints about claims of AI creativity is that an LLM can only know things that are already known. It is fed data that exists online already. But this is also true of us. Our brains absorb information in our environment. When I write, I’m drawing on everything I’ve heard, read, seen, etc. and coming up with a new ordering of existing words. When I make up a word, it’s based on rules of new-word-building that I’ve also absorbed. ChatGPT is able to do the same thing.

I asked ChatGPT to come up with a new word and give me its definition, and its first response was:

Word: Zibberflaxonicate

Definition: Zibberflaxonicate (v) – The act of distilling the essence of joy and positivity from a complex confluence of thoughts, emotions, and experiences, thereby transforming them into a form of radiant energy that can be shared with others. This process often involves a deep level of introspection and requires a high degree of emotional intelligence.

Example: “Even amidst the chaos, she found a way to zibberflaxonicate, infusing the room with an inexplicable sense of calm and happiness.”

ChatGPT 4.0

“But all it did was put random letters in a sequence, alternating vowels and consonants in a way that make them pronounceable, and then coming up with a completely made-up definition based on concepts that are already known online!” skeptics will wail.

Which is exactly what we do.

If ChatGPT is not creative, then I’m not creative. I’m a stochastic parrot who just absorbs the thoughts and ideas of others and spits out words in a different order. Except… that’s a very good definition of creativity!

Our brains have a complexity that arises from a massive amount of simple inputs. LLMs work the same way, and they behave very similarly to how we behave. Conversations with ChatGPT feel like conversations with another human, who might have their peculiar quirks, but so do we all. Some of these quirks arise because OpenAI has safeguards in place. In some ways ChatGPT is getting worse at problems as OpenAI attempts to scale the application and make it more energy efficient. What we play with online is not the full power of the system. It’s also worth remembering that these models are going to get better. Almost everything you say about their limitations today will be wrong tomorrow.

Another argument against AI creativity is that it can’t be creative in the same way we are because it lacks our emotions, our experiences, even our bodies (our hormones, pain sensors, etc). Except that babies and even small children have emotions, experiences, and bodies full of hormones and sensors, and we do not treat them as conscious, creative entities. So that’s not quite right. Also: LLMs contain all of our thoughts about how things feel, what emotions are like to experience, what pain means to us, and so that knowledge is baked into the system. Much as empathy is baked into sociopaths by absorbing what we say about empathy.

I heard someone say that ChatGPT can’t be conscious because it doesn’t dance, it can’t move, which is wildly ableist. And this was a smart person who would define themselves as a liberal in every way speaking at a conference full of AI researchers and thinkers. Even very smart people can say dumb things (just like ChatGPT)!

Humans have written novels while in a paralyzed state. People who have never seen anything in their entire lives have painted art. When I sleep at night, I’m still considered a human being, but I’m not considered “conscious.” You can whisper questions to me, and my ears and brain will recognize what you say, but I won’t respond. Even if the message is dire and needs my immediate attention for survival. I’m as “off” as the blinking curser in a ChatGPT window, waiting for someone to hit the return key.

When Kevin Kelly suggested that AI was already here ten years ago, I balked at the answer. It couldn’t be true. “What is consciousness?” he asked me. I came up with several replies. Everything I said was also true of some part of the internet. The differences were of degree and not of kind (and some of those degrees were vastly in favor of the internet, not me!). In the past ten years, those differences have grown smaller in many ways and greater in other ways, all in favor of our digital collective consciousness. In the past year, something new has emerged, and it is blowing all previous definitions that we might use to protect our egos out of the water.

Two more posts to come on this topic, one that shows how LLMs already have complex Theory of Mind and another to show how LLMs can think like scientists.

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AI Training Permission

A comment on my previous post about not using AI in my stories — and using the copyright page to make this explicit — is worth responding to in its own post, because I think it raises important issues.

The comment comes from Pat, who says:

I would think a better use of the Copyright would be to declare that no AI could be TRAINED on the copyrighted work. AI has no originality, it can only take in large quantities of material and try to splice it back together in a (usually) coherent manner. Declaring your works off-limits for AI to use as training material means AI will never be able to create “in the style of Hugh Howey” and limits the range of things AI can learn. If enough creative people do this, AI can’t learn from anything and won’t be able to create anything, at least outside places like Adobe where they own a zillion images copyrighted to themselves so they can do whatever they want with them.

Pat Augustine

I respect this opinion, and it is all very well-said, but I disagree with most of it and I’d love to explain why.

The idea that AI can be halted in its tracks if we prevent it from learning on copyrighted works misses the fact that there are more than enough works in the public domain to train LLMs.

Even if this weren’t so, I want AI trained on my work. I have a very positive view of AI. These models are, in a way, a distillation of our combined intelligence, our thoughts, our wisdom, our unique writing voices. I love being a part of that. I love that we are all contributing to it and building something that will certainly outlast us individually and may very well outlast us collectively.

When humans are extinct, our sun an old tired red giant, and what’s left of us is cruising among the stars, I like to think that some tiny sliver of me is out there intermingling with some tiny sliver of you. Even these words I’m typing right now. We are creating something very special, almost like a child of our every mind, and I think that’s amazing.

Also, guess what? You don’t have a choice. Legally. 70 years after you die, your works will become part of the public domain. The idea that AI is never allowed to be trained on your data is just wrong. It’s a matter of when. If you want to delay it as long as possible, awesome! Go for it. Just know that it’s a temporary thing.

The last thing I disagree with here (and the most important) is the claim that LLMs can’t be creative. I’ve played with LLMs enough to say this with complete confidence: what they do is similar enough to what we do that it’s a question of difference and not kind. If they aren’t creative, then we aren’t creative, and the word has no meaning. Today’s most advanced LLMs are definitely creative, and astoundingly so. They can generate new ideas never seen before. They aren’t just rearranging what’s already out there, they are “thinking” in much the same way that we “think.”

I have an interesting set of prompts from the last few weeks that I’ll share in a future blog post to demonstrate this, but it’s easy enough to see if you spend time with the latest version of ChatGPT. Yes, you can get it to say some dumb things. Yes, it is often wrong. It’s like us in those ways as well.

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AI and the Copyright Page

For many years, the copyright page has served niche functions for a very niche audience. Basically, a copyright page is there for 8 reasons that hardly anyone cares about:

1) To assure your ex that the character who resembles them in every single detail is due to a series of very unlikely coincidences.

2) To answer questions about reading order in the event that the publisher is sadistic enough to not include this on the freaking spine of the book.

3) To stop a lawsuit that isn’t going to ever happen anyway.

4) To depress a book collector by revealing that this is, in fact, a second edition.

5) To take and/or give credit for the hard work of turning a mangy rough draft into an actual book instead of writing a proper acknowledgment like anyone not raised in a barn should, unless of course you’re worried that this breaks immersion for the reader, in which case slap it here where nobody will notice, sadly.

6) Because libraries?

7) Where to go to find awesome blog posts by the really cool and handsome dude who wrote the book you are holding.

Other than number 7, none of these are important. But wait! Before you think I’m against copyright pages, I’m here to tell you that copyright pages have been waiting hundreds of years to discover their purpose, and their purpose is now!

All future editions of my works will include an AI disclaimer on the copyright page. That disclaimer will let the reader know if AI was used in any way for the writing of or creation of the book they are holding.

I’ll give examples below, but first: my AI pledge.

My AI Pledge

I have never used AI for a single piece of my writing. None. Zilch. Zero. I have no plans to ever use AI for any of the contents of my stories. Not even to get rid of typos. I love my typos.

Does this mean I don’t believe that AI will one day be better than me at writing stories? Heck no. It’s gonna trounce me the way it trounces me at chess. It’ll even learn to write just like me and use words like “gonna” and “trounce.” Fine. Bring it on.

The only thing I have to offer readers (and it ain’t much) is that I’m me. I’m the analog thing. The scratchy vinyl record. The old sock with the hole in the heel. There’s humanity to my imperfections, and that’s all I’ve got to barter with. Many readers will go find perfect books written by brilliant AI in the centuries to come, but there will only be one place to find stories written by the meat me.

This is why I make my AI pledge. Not because I think I’m better than AI will ever become, but because my authenticity will be all that I have that it can never have. If you like reading my works, which are a product of my pains, joys, fears, ambitions, scars, life experiences, then you know where to come find those stories. That’s what I have to offer.

HOWEVER. There may be a future work where I write about AI, or a fourth-wall-breaking satirical AI is part of a story, or I want to mock AI, or include blocks of AI for some unforeseen reason (I currently have no plans for any of this, but it all sounds like fun!), I will make sure the reader knows that this is AI.

It may never happen, but if it does, the copyright page is a perfect place to put this. It will also be where my AI Pledge goes in every single book, so readers can tell at a glance that I swear upon my life and at risk of perjury that the entire book they are holding is told by meat.

If there are exceptions, the pages will be listed and context will be given. The AI text will be italicized or in some way made obvious. I will never try to pass off someone else’s writing as my own. Ever. Take that to the bank and put it in there with all your crypto.

“But wait!” I hear some of you saying. “You said there were already 8 reasons for a copyright page, and your sample one above only included 7!”

8 The other niche use of copyright pages is to sometimes list the imprint of the publishing house who made the book, even though no reader cares who published the dang thing, only if it’s any good, but publishers can’t believe this is true and they even think that someone out there cares what imprint within the publishing house made the book even though there’s only 37 people in the entire publishing industry who care what imprint a book belongs to, and three of them are pedants who also steal your food out of the break room fridge (and none of these 37 people are what we would even generously call “a reader”).

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San Diego Comic Con

Shay and I went to San Diego last week and had an absolute blast with roughly 180,000 of our closest friends. There was epic cosplay everywhere you looked, perfect weather, the chillest vibes, and nothing but happy people. We played games (Shay trounced me at Street Fighter, winning every single round), bought books and comics, and ran into so many friends.

On Thursday, I had a signing window so weirdly long that I brought my laptop to get work done and a book to read. Seriously, four and a half hours for signing? I figured I’d be done in fifteen minutes and so I even set up a couple of meetings during that time to sign bookplates for publishers and catch up with colleagues. Boy was I wrong.

We got to the signing area to find a massive queue of folks holding various versions of WOOL. There was a bit of confusion and chaos as we waited for my signing table to clear, so I chatted with people in line to see how their con was going. Once the signing started, it felt like it would never end. I tried to balance giving each person as much time as I could while recognizing that lots of folks were patiently waiting in line. When we got to the last person of that initial line, I looked at my watch and two hours had passed!

Shay made a short video of the experience:

It was cool seeing fans that I’d met at my first SDCC a decade ago! And there were lots of new fans from the TV show who were eager to see where the story went from there. Someone walked up with an original paperback of the first short story (super rare), and there were even folks with I, ZOMBIE and THE PLAGIARIST. Seeing my first Molly Fyde book was a special treat. Everyone was so pleasant. Took a lot of selfies, and on the second day of signing the bookstore at the con told us they’d completely sold out of everything.

The real star of the weekend was Shay, who cosplayed as Wonder Woman (the OG Lynda Carter version).

I warned Shay that wearing this would make walking anywhere a stop-and-go affair, and boy was I right! She must’ve had a thousand pictures taken of her. The best were the little kids who would stop and stare, slack-jawed. They would hug her knee and smile at their parents. Some would just whisper “Wonder Woman” as she walked by.

At 5’10” barefoot and probably 6’3″ in the boots, she towered over the crowd like a true Amazonian warrior princess. Shay just exudes that superhero goddess vibe all the time, but once she put on the stars and stripes and donned that cape, the transformation was mind-blowing. I kept looking at her and trying to process that this was my wife!

A highlight of the entire con for me was when a Green Arrow in fantastic cosplay (I mean, this guy could easily play the role in a feature film), walked past us and just nodded at Shay and said “Diana,” like he’d see her later at HQ. It was such a boss move. And really captured the vibe of the con, where adults get to be kids and kids get to believe anything is possible.

Because of the strikes, there were very few actors working the con. Hall H – where the studios normally do the big reveals for their projects – was very quiet. The only reminder that Hollywood existed were the big ads around town and the banners hanging in the convention center (Apple had a huge SILO banner right over the front entrance, which was surreal to see). But if anything, the move back to comics, artists, toys, and books was amazing. And San Diego was its usual awesome self.

It was only my second SDCC, but we totally get why so many people we met have been coming every year for decades. When we weren’t in the convention center, we were strolling through the incredible farmers’ market in Little Italy, or walking the waterfront, or having the best Mexican food ever. We even hit the beach on Wednesday before the show started and took a swim, then sat at the bar at Hotel Coronado. Walking the streets full of con goers and locals was a blast, and we could see fireworks from our hotel bed every night.

Thank you to everyone who waited in line or stopped to say hello. And for all the kids who hugged Shay’s knee and made her feel like a superhero.

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SDCC Panel Times

If you want to find me at San Diego Comic Con, here are the two panels I’m on and my two signing times:

Friday at 6pm in Room 11: How to use Hypnotic Language for Dynamic Storytelling

Friday 8pm in Room 23ABC: Ghostwriting: Spirits of Vengeance in Literature

Thursday 2:30-7pm at AA23: Signing Whatever You Bring

Friday 3:30-5:30pm at AA16: Signing Whatever You Bring

Books should be on sale in the bookstore within the con, but they might sell out. Still time to order copies online to your hotel room or check local bookstores! If you see me in the con, say hello. I’ll be with Wonder Woman.

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Fan-Made Silo in Unreal Engine

Incredible work by Eekseye over on YouTube. As a fan of the show, they decided to recreate the ENTIRE SILO in Blender and Unreal Engine. By the end of the video, you’ll see them running around in the silo. Feels like a good start to a great video game to me… :)

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Questions and Answers

A book club sent some questions about WOOL. Thought I’d share those and the answers. Some spoilers here, so beware.

Tell us about your self-publishing journey.

When I wrote my first book, “Molly Fyde and the Parsona Rescue,” it ended a 20-year dream of mine to create a novel that was all my own. I’d dreamed of being a writer since I was 12 and discovered “Ender’s Game” and “Hitchhiker’s Guide to the Galaxy.” I wanted to write my own story, and it took until the age of 32 to find the one that I couldn’t let go of until I was finished.

I was so excited to have written it that I just wanted it out in the world. So I sent the Word doc to friends, family, strangers online, anyone who wanted to read 300 pages of young adult space opera. My goal at the time was to publish it for free on my blog, a chapter at a time. But the feedback I got convinced me to try and get it published with someone who knew what they were doing.

I sent query letters to agents (a query letter is where you beg an agent to please read your work and represent you). They are a pain to write, and all you get is rejection or silence. It’s a rite of passage, I suppose. At the same time, I was blogging about my book and Tweeting from the perspective of my main character. Two small presses enjoyed the samples and asked for more to read. Both then made an offer (a small advance and they would then edit and publish the books at their expense). This was already far more than I imagined. I went with the publisher that I had great email exchanges with and learned a lot from the editorial phase. But during the publishing phase, I learned something shocking: I could totally do everything they were doing.

I taught myself how to use Indesign and do layouts, how to use Photoshop to create cover art, how to format and upload ebooks, mostly because they weren’t that great at any of these things. I loved every phase of creating books, it turned out. And I was doing most of the marketing. So what exactly were they doing for me? I was going to help create a better looking book (they were using my cover art and my interior file, and I had convinced them to create an ebook edition); I was going to be driving most of the sales; and they were going to keep most of the money.

I loved them, but this seemed like the wrong path for me. So when the offer for the second book arrived, instead of accepting I asked if I could buy back the rights to my first book. I did, and I started self-publishing everything going forward. I never thought I’d do anything else. The pace, the freedom, the direct connection with readers, the ability to price books affordably, was too enticing to ever leave.

WOOL was the 7th thing I self-published. The combined novel hit the New York Times bestseller list. Even then, I turned down publishers and did my own thing. It took a long time before we got offers good enough to start partnering with others, but I still prefer to self-publish everything first.

When you write, how do you deal with writer’s block?

I just write terrible words. I write stuff I know I’ll delete later. Eventually, the words get good again. Sometimes I’ll put a placeholder down for a scene and skip to the next part. Or I’ll take a walk and write in my head for a bit and find a new direction for the scene. Writer’s block for me is often my inner editor knowing I’m taking the story in the wrong direction. What do I want this next scene to do for me? What will wake up readers and get them leaning forward with interest? How do I make this fascinating? How do I entertain myself with today’s writing session? Why did I want to become a writer in the first place?

When you wrote Wool, what inspiration did you take from literature or history?

The only thing I deliberately wove into WOOL (see what I did there?) is Plato’s Allegory of the Cave. But I’m sure a ton of dystopian classics were swirling around in my head. Orwell, Swift, Huxley, were huge influences on me. Most of what goes into my stories comes from non-fiction reading and from my travels. Observations about people and how we tick. WOOL raises several fundamental questions: Are people inherently good and corrupted by society (Rousseau’s view) or are they inherently corrupt and require a strong authority to keep them in check (Hobbes’s view). Mechanical represents the former and IT the latter. Lukas is the compromise position, caught between the two (he belongs to IT but his heart is with Juliette, the Mechanic).

What inspiration did you take from your own life?

The biggest influenced from my life was sailing into Cuba in the late 90s and volunteering in a Bronx soup kitchen over my spring breaks. Both experiences taught me that the news of the world is very different from the actual view of the world. Don’t trust screens to tell you how things are. Go out and see the world for yourself.

We are poisoned by our own love of bad news. It’s our fault they feed us bad news, because it’s what attracts our attention. Breaking that cycle is the key to happiness. It’s why I dedicated WOOL to “Those who dare to hope.” Hope takes courage. Those are the heroes of my story.

When you were writing, what was the revision process? Did you always know where you wanted to go with the story, did you make minor changes, or did you need major revisions to make the story work?

I do a lot of passes before I’m happy. At least a dozen or so full edits. By the end, it’s minor typos, but early passes might see major changes. Lukas didn’t even exist in the first draft of part 3 of WOOL. The novel doesn’t work without him. But I saw the end of the novel as soon as I started the second part of the serialization. I saw Juliette going off to see her father, reconciling, realizing that people are as easily broken as machines and just as much in need of repair.

How do you feel about the process of adapting your books for TV?

It’s a dream come true! I get to work with hundreds of super talented people who are all pulling in the same direction, to create entertaining and gripping TV that we hope millions of people will enjoy. I loved every step of the process. I learned from this how much I enjoy creating with others.

What has been challenging, what has been exciting, and has there been anything you feel has been more successful in the adaptation than in the book?

The biggest challenge is the patience it requires to get something adapted. It took over ten years for this to all come together. I had to make lots of little decisions along the way, any one of which could’ve wrecked the process. I had to go months and years without asking for updates or pestering anyone, just forgetting that it was even a possibility. And then even when it’s moving forward, you can’t share anything with fans, so you have to contain all your excitement, bottle it up for later. Make sure it doesn’t grow moldy and stale by the time you get to let it all out.

One of the things I like better about the adaptation than the book is that we were able to hold back the reveal that the helmet is the screen that’s lying to the cleaners. When I wrote the first part of WOOL, that was the entire story, so I gave away all the goods. Telling the story to a new audience, we were able to hold that close and reveal things in a different order. Both ways work, but it was fun trying it in a different way for the TV show.

How much were you able to influence the making of the TV series? Did you have a hand in choosing the actors and do they match what you imaged how they would look?

I didn’t play a role in casting, because that job is so much more difficult than just drawing up a list of who looks the part or who you liked in some other role. You have to know who is available, who you can afford, who might be willing to sign up for multiple seasons, who is willing to work in the UK, who has a good attitude on set and creates a great atmosphere for others. Casting directors are geniuses, and I would only mess that up.

My role in casting was basically saying, “YOU SIGNED WHO?!” every time I heard they got Rebecca, or Tim, or Rashida, or Common, or David for a role. I couldn’t believe the embarrassment of riches.

What is your advice to someone who has a story idea, but can’t seem to get the writing process started?

Write your story like you’re writing an email to a friend. Don’t try to sound like an author, or anyone other than you. Your first pass is just getting down what happens to whom. If you aren’t able to find the right words, then dumb it down. Still can’t find them? Dumb it down even further. Keep doing this until the words go on the paper. You can always dress it up a little later.

Don’t try to be smart or clever. Just try to have an imagination. See what’s happening and describe it. If you can’t do that, it’s more likely that you aren’t seeing what’s happening in your mind first – you are skipping to the part where you describe it. Back up. Take a deep breath. Close your eyes. Who is your character and where are they? Describe them and their surroundings. Start from there.

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SDCC Signing Times

I’ll be at San Diego Comic Con this year! It’s my first con in ages, and a rare chance to get things signed if you’re there. Or just stop by and say hello.

Two signing blocks set up:

Thursday at location AA23 from 02:30 PM – 07:00 PM
Friday at location AA10 from 04:30 PM – 06:30 PM

Less than two weeks away!

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