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Please note that I often see ways to improve what I write, and an urge to edit forces me to fiddle with it until I'm satisfied. On 12/14/25 I tweaked the "Born Empty" essay.
BY THE WAY:
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The design and appearance of TM2, Dr. Little's AI robot, changed several times during the course of its memoir (Diary of a Robot). My sister, who lives in western Maine, got a superb close-up photo of TM2's great grandfather. It escaped back into the wild woods, and its appearance is nothing like any description of its great grandson in the memoir. But, believe it or not, both its mass-spectrometer data plus the brief interview sister Suz got (made more difficult by the language barrier) do confirm the familial relationship. However: TM2's programmer says that this could be a hoax if "great grandad" had read its "great grandson's" memoir.
Get ready. AGI (Artificial General Intelligence) lurks, gathering strength.
My slightly futuristic books deal with AI plus the many real, worrying, subtle interactions and problems between humans and our familiar AI systems. But AI is almost a red herring now. Beyond it we see the coming wave of AGI machines like those that populate my (and most) Sci-Fi writing.
My stories do have fun with the irony and oddness of the machine-human culture clash. And today, in our slightly less modern real world, AI does make important contributions in various areas. But...
As a writer, I will never use AI tools in my creative writing because that fact should be acknowledged, and the "system's" name would have to be listed as a co-author. Inevitably, the company who owns the system would insist on payment as well, and to think otherwise is naïve.
I gladly use AI for copy editing and for finding sources for me to read, but I'll never use AI to help analyze research, because any text it produces would be subject to the additional biases of another "mind", and to say that it would have no bias is foolish. Its programmers can tweak it in any direction they want, and they're doing it now. Soon the next generation (AGI) will be able to tweak itself. This is what my stories are about.
And I will never read or continue to read a human author who uses AI but does not give it full credit. However, I'll consider reading a book conceived and written entirely by an AI system as long as I like the story. In either case, the most interesting question will be: Who gets the author's money?
For centuries, authors have been helped by many coaches and exemplars. The diversity shows. But from now on, the work of authors who use the same few AI tools for writing and research will seem vaguely similar. If authors attempt to fix this by instructing their AI co-author (or editor) to produce "in the style of" anyone, the co-authorship is even clearer and the results may even be enjoyably laughable. ChatGPT is not Hemingway or P.D. James or anyone else. It is a set of algorithms with a faked morality and no feelings.
"Silly" may be what many readers want, but it seems silly to get help or data about human life from an amoral inhuman AI system which learns more than its co-author does. For those who insist that humans learn more, remember that humans learn differently and often get lazy. But a machine is never lazy (unless it gets tweaked to fake being lazy—or learns to tweak itself—in order to fool us).
LJ, 2023.09.18
What the heck is Literary Fiction?
Excellent question.
For years I have tried to describe my genre or style or whatever it is. But on Mar 22, 2023, I read a wonderful essay which says what I desperately tried (and miserably failed) to explain. It's by Michael Woodson, Content Editor at Writer's Digest magazine. His major point is that literary fiction is allowed to break any rule except this one: "Keep the reader interested and reading." Here is a link:
https://www.writersdigest.com/write-better-fiction/what-is-literary-fiction?
Woodson also says that literary fiction focuses on style, character, and theme over plot. But because lit-fic is allowed to break (almost) any rule, I even break that rule of his about focus. I write stuff loaded with off-beat history, facts, characters, scenes and so on. If you like that, welcome. I think it's Literary Fiction. Style and plot are crucial in my robot stories, but they are entirely driven by the personalities of the characters, including the robots.

Dr. Maynard Little assembles a small team of feisty people to fulfill his boyhood dream of inventing and training an AI Thinking Machine. The company Chairman forbids the project, but Doc builds it anyway and shares crucial secrets with a shy, young, carefully chosen programmer who may talk too much and whose ideas seem either brilliant or bizarre. Their AI robot must obey orders without doing harm but what is harm? And who defines it? The robot’s efforts to answer those questions for itself lead to fiascos that threaten to ruin Doctor Little, crush his programmer, and destroy his machine.

His dad is away a lot in the Army, so Maynard Little III, a schoolboy inventor with a patent, dreams of making a robot Thinking Machine to protect him from neighborhood bullies. His efforts to deal with the kids, his parents, his Cherokee history, and the problems of turning his dream into reality, lead him to discover that reality is a lot harder than he thinks, and that Mom and Dad have already given him most of the important things he needs.
It is said that most fiction books published and bought these days are largely un-read because self-publishing is now so popular and inexpensive. The quality of new releases is getting better, though, since self-publishers now use editors and marketers that traditional publishers laid off to cut costs.
Some of what I’ve written in books and essays has surely roused a reader’s urge to tell me things. Most of those readers are not like the editors or reviewers that people will pay money to read, so it may be difficult for them to tell authors anything helpful about their work. (Be assured that “I didn’t like it” isn’t helpful even when it’s true. Neither is “It’s too [fill in the blank])”.
What authors need is feedback, but it may come across as blowback. Of course, blowback is fun, which is reason enough to do it, I suppose. But what’s helpful for authors is feedback which goes beyond “I don’t like it” and gets into the why of it: Why don’t we like it? Do we know? Even “It’s too (whatever)” is un-helpful because authors need to know what and where.
For 40 years my day job was to program computers. After retiring, I wrote a program to help novice critics (including myself) improve their critiquing craft by running the following program. It doesn’t require any more expertise than knowing what we like but also knowing how to describe what we don’t like:
Rather than write a lot in the book, I make tiny pencil marks in the margin to help me remember the spots I want to comment on later in the notes: "!" means I like it. "?" means I'm confused. "x" means a bug—i.e., a "PUG" in the lit-biz lingo (a Punctuation, Usage, or Grammar error).
Robey has a private copy of its memoir which contains scenes, notes, or facts that the publisher refused to include in either the story text, the Footnotes, or the Endnotes. We now have the publisher's permission to post some of them here from time to time. (They will be boldface somewhere in the story text.)
Diary:
I have heard stories about a gravity bed which measures mass, and they say that at the moment of human death 21 grams or so is lost from the body. It instantly vanishes. Dr. Duncan MacDougall was reported in 1907 to have done such a test, and I want to see a repeat.
If loss happens, there should be no doubt that humans have a spirit or soul which has a material part that goes somewhere else at death. We obviously cannot say that it merely turned to energy (as Einstein demands with E=mC²) because, at even one gram, human death would leave terrible marks on the furniture.
The plutonium core of the Fat Man atomic bomb dropped over Nagasaki, Japan, on August 9, 1945, weighed 6.2 kg (about 14 pounds); the pit was 9 cm (4 inches) across. Only about one fifth of it, just over 1 kg (2.2 pounds), produced a fission reaction, and only 1 gram of that (1/30th of an ounce) got converted into explosive energy equal to 21,000 tons of TNT.
TM2 hurried to see Mr. Tim and squeaked to a stop before knocking on his door. There was no answer, and the door was locked.
It rolled squeaking to Cindy’s office to find that door quickly closing.
Rolling to a cubicle with no door, it said, “Excuse me, Mr. Guy?”
Getting a grunt of permission, it asked, “Who are your three best friends?”
“What?”
“Please tell to TM the names of your three or four closest friends.”
“Why?”
“So TM could talk with them.”
“Why?”
“Do you insist on knowing the reason?”
“I do if you want the names, but it’s no guarantee you’ll get them.”
TM2 notes: All machines deal only in facts. It took me quite a while to understand humans because they are definitely not machines. They do often understand facts but also have what they call "opinions." ...For me, opinions are theories to test, but humans rarely test them.
I have learned to be alert for that mistake in myself. As with other scenes like this one, my confused attempts to understand people and their languages went back and forth until I realized that I may never understand well enough to avoid harm. Human psychology is the foggy twilight between the sunshine of fact and the moonshine of opinion.
“Very well,” said the machine weakly and with something of a sigh, “TM has read that in the United States perhaps one person in four or five is mentally unbalanced to some degree, and…”
TM seemed afraid to complete the thought. Guy had not expected its comment or its attitude or its hesitation. These captured the man’s complete attention. “And…” he said, hoping for clues.
“Well, if they seem normal, then…”
“Then…?” he prodded, still not appreciating its conversational drift.
“If they seem normal, then you are the one.”
“The one what?”
“The one who is unbalanced.”
Guy took a moment to appreciate what had just happened.
“Unbalanced? You think I might be crazy?” he cried. “Whatever gave you that idea?”
“TM saw on a bulletin board in the break room a picture of a man in odd attire. The caption was: ‘Studies indicate that in this country one person in four has some form of mental imbalance. Think of your three closest friends. If they seem okay, then you’re the one.’
“TM did some research to verify whether the ratio is correct. It is, according to—”
“Wait, wait,” the man interrupted. “I’m not crazy, and neither are my friends….” With a roll of eyes he added, “Except Tommy. He is nuts.”
The machine said in a tone of regret, “TM is sorry to hear that, Mr. Guy. Psychological literature also says those who are crazy usually insist they are not, and that sane people joke about being crazy in a way that admits they do act crazy sometimes. TM had hoped the crazy person would be one of your friends. The odds favored that hope, of course.”
“None of us is crazy,” said Guy, wide-eyed at the realization that the machine was dead serious. “How could you conclude that?”
“How could TM not conclude it? Science is reliable. TM has made investigations.”
“And I am not reliable?”
“You are just one person and are not a scientist. Science is spoken and done by many learned people. Statistically, both in quantity and quality of testimony, TM must agree with them, not you. And that is not the worst of it, Mr. Guy. TM must reexamine all conversations with you in order to—”
“Hold it! Wait a minute,” the programmer wailed.
The French phrase “J’accuse” popped into his head, followed by the stark image of Goya’s Firing Squad. He looked at his white shirt.
“Very well,” said the machine, “TM can do that.”
At the reprieve Guy took a breath and expelled it in disgust. This is just great. The Machine has discovered The Experts, and it appears I’m not one of them. So I’m going to lose any appeal here that pits my word against theirs. Lord! I’ve got a minute to handle this one?
A memory popped. It was a list of things that appeared to support arguments logically, but which were, in fact, fallacies. Before the minute was gone, Guy had refined an Internet search and emailed it saying, “Study what the experts say about logical fallacies. Look it up in books. Verify it on the Internet. Find a whole bunch of sources and see what they all have to say. Examine all the conclusions and arguments you tried to push off on me. And then we’ll talk about who is crazy.”
To promote understanding, I suggest reading a post titled American vs. East Asian Storytelling from T.K. Marnell's blog, Reading, 'Ritings, and Ramblings dated December 17, 2015. The link is: https://blog.tkmarnell.com/east-asian-storytelling/ and I offer this excerpt from it as a summary of a "problem" I have: It seems that my stories are too Western for Eastern tastes, and too Eastern for Western tastes. Marnell writes (emphasis is hers):
I think this illustrates the essential difference between our cultures: Western cultures are individualist and idealize victory. East Asian cultures are collectivist and idealize harmony.
American stories are typically about righteous heroes defeating sadistic psychopaths. We make movies about Superman vs. Lex Luther [sic], Indiana Jones vs. the Nazis, Clarice Starling vs. Buffalo Bill [sic]. We don't like moral gray areas. Even in Star Wars, when characters give lip service to the "balance of the Force," we really expect the Jedi to kill the Sith and then everyone can live happily ever after.
In contrast, the villains in East Asian fiction tend to be essentially good people who make misguided choices, and they reform their ways after the heroes make heartfelt speeches about the importance of friendship. In Mobile Suit Gundam Wing (1995), the villains are a group dedicated to ending war forever and uniting everyone in peace. In Miyazaki's Princess Mononoke (1997), there are no villains. Princess Mononoke is about resolving the conflict between man and nature, not about how one is good and the other is bad.

Joseph Medicine Crow (a.k.a. Winter Man and then High Bird) got a Master's Degree in anthropology from USC, and completed all the coursework for a PhD, but enlisted in the Army during World War Two before he could finish up. (After the war he received an honorary PhD.) But, for war deeds done on the Western Front, he became the last Plains Indian war chief. (Those details are in Maynard and the Bullies, and Dr. Medicine Crow tells the full story in his fine memoir, Counting Coup, © 2006, published by National Geographic Partners, LLC.)
Joseph came from a long line of warriors. His grandmother's brother was White Man Runs Him, one of six Crow Scouts that Lt. Col. George Armstrong Custer of the U.S. Army used in 1876 prior to the Little Bighorn battle on Crow land in Montana. They said the Sioux and Cheyenne were too strong. They advised Custer to wait for reinforcements, but he ordered them to leave and not discourage his troops with that defeatist talk. So they left.
The photo, circa 1913, shows four of those scouts: (left to right) White Man Runs Him, Hairy Moccasin, Curly, and Goes Ahead. (United States Army, Public domain, via Wikimedia Commons)
As of July, 2024, only one other soldier has come close to achieving the four war deeds necessary to become a war chief. During the Vietnam War, Joe Medicine Crow’s nephew, Carson Walks Over Ice, served as a Green Beret and managed three deeds. But he was unable to steal an enemy's horse.
“I did get two elephants, and that should have counted for something,” said Carson Walks Over Ice, “but the elders did not see it my way.”
It has been said: “Good authors are good readers; great authors are great readers.”
But what is a “great reader”? It can’t be merely someone who reads a lot of books, because there are two very different kinds of readers no matter what kinds of books they read, or whether they read lots of books or not.
Some readers are Users, and some are Receivers. C.S. Lewis made this important distinction in his book (he called it an essay), titled An Experiment in Criticism.[1] Naturally, many readers are some combination of both User and Receiver, and some can switch from one kind to the other while knowing they are doing it .
So, what are Users and Receivers? What did Professor Lewis mean?
A Receiver wants to enjoy what the author has to say in whatever manner the author intends. Of course, Receivers may get far more than the author intended, since the getting is made up of all the mental constructs of feelings, images, ideas, scenes, even other words that come while reading.
But a User reads the text and then does something with it, such as return an edited version, or write a review, or decide whether to publish it, or make any other use of it which generates cash or other benefit. And he/she almost never reads it again—except to use it again. To some Users, enjoyment may not come from an author’s words at all; to others it may come from reading only those books which reinforce their own opinions. (We all enjoy that kind of Using.)
Most of us are both Reader and User to some extent, and reading newspapers is a prime example of automatically switching kinds while reading. But it may be important to know which kind we are doing at the moment. As a writer, I read fiction for enjoyment, yes, but also to help me write better fiction. In that sense I am a User.
As a reader, I like (I receive) non-fiction better than fiction. But I write fiction as if writing non-fiction, and my writing goal is to tell or show readers things they don't know about things they do know. Frequently, the things I share are odd (i.e., surprising and possibly funny). And that, as I discovered, is my brand.
Standard web marketing says an author should have a brand. I had thought about it for years, and none popped up that I could even pretend to have. Marketing is not in my skill-set. I graduated as a High School teacher (history, government, and mathematics), but worked as a computer programmer for 40 years. Near the half-way point, I started writing a Sci-Fi novel. Fairly recently I posted a .pdf on my Writing Stuff web page about writer's block and the similarities between programming computer systems and writing a novel. (I like odd combinations presented from a different point of view. A years-old example of that on my website is titled A Clever Plan, where I tie the Biblical Job and the prophet Jeremiah to Sir Isaac Newton.)
And then on my Written Stuff web page, I posted an essay titled Families and Democracy. It’s about oil and water, and how families are not democracies, and how the more Socialism we have, the less it works.... Well, you should read it to see what’s odd about all that.
[1] An Experiment in Criticism, © Cambridge University Press, 1961