How to write Hard science fiction with poetic beauty

1. Course Introduction: Hello, welcome to this workshop in hard science fiction writing, how to create stories that are both scientifically rigorous but also poetically beautiful. We're gonna be looking at a range of tools to bring into hard science fiction writing. The beauty and wonder of poetry tools like allegory, tools like symbolism, tools like matter for this talk is based around the fountains of paradise by Officer Clark. So you may wish first of all, to watch my talk on that fantastic novel. You can find that. And all of my other teaching, Damien G water.com, it's science fiction. In the liquid circle. Eternal questions, the story of symbolic thinking and imagination, ideation. Every great story, every great work of science fiction, and every great work pods. Bold and emotional experience. 2. Writing Hard SF: You will see in the middle of my notes on your screen, I kind of space elevator and orbital tower from obviously clocks, The Fountains of Paradise, which I have done a very basic sketch of it, the heart of my notes because we're going to keep coming back to Office, see clocks, The Fountains of Paradise, and to the idea of a tower up to space. A great science fiction idea that we can think about writing lots of different kinds of hard science fiction stories around. What's the problem. At the heart of this workshop? What are we gonna be trying to think our way into solving as a problem? And it's a problem which I think is really important to consider in relation to hard science fiction. Hard science fiction is an amazing art form and full of storytelling. Some of our very greatest stories which we're going to be thinking about during the course of the workshop, have come from hard science fiction. But I would argue that it's also probably one of the hardest, one of the hardest forms of storytelling to do. Rarely, rarely. Well, lots of hard science fiction, these written a small amount is read in a tiny amount, becomes that classic hard science fiction that we remember for years to come like Of see clocks, the founders of Paradise and his other books like 2001, a Space Odyssey and the list continues. What is it? That makes for the very greatest hard science fiction? And that's what we're going to be thinking about today. But to get into that, I want to think about how we think. How we imagine how we crave, how we create, how we tell stories. This has two parts. There are two halfs of us that allow us to be creative. These halves have, they have many different names. If you go into the realm of neuroscience, you'll find them often referred to as System one and System two. More commonly you could call them reason, reasoning, mind and imagination. Or you could call them logic on one hand, and logos and dreams, fantasy and the mythos on the other hand. And this division between these two hops of creative being is something that I talk about rather a lot. And I want you to imagine a circle, small red circle, a big, big blue circles surrounding. Going to bring this up. I'm going to zoom in a little bit closer on the notes. Imagine that circle the small settlement, massive circles around them. That small circle is our reach reasoning and logical mind. The big circle around it is when most of great writing and story telling happens. It happens over a, the imagination in the unconscious, in the mythic dreaming, imagining mind, which is huge and powerful. Hard science fiction, starts in the little circle of logic and reason. Because that's where we start with a story that is hard science fiction. We take an idea from science, we extrapolated into the future. That means we're being super logical, super rational. And then to make great fiction, great storytelling, we have to bring in the tools of the imagination, the tools of the unconscious dreaming mind. And that is absolutely 100% what this workshop is aiming to do. Let's talk a little bit more about hard science fiction. First of all, hard science fiction is a definition within science fiction, which is itself a definition within friction, which is itself a definition with storytelling. So it's quite specialized and you have hard science fiction novels, you have hard science fiction movies. You can say that there are hard science fiction video games. Perhaps what defines it, what we've already said, it is about taking an idea from science and extrapolating it into the future. The near future. Hard science fiction has to happen relatively close to where we are in tying. Because the further we go into the future, the less we can accurately extrapolate hard science fiction ideas. So to really be hard science fiction, it has to be near future the next couple of centuries. So not a galaxy far, far away. Star Wars is generally not considered hard science fiction. Of course, there has to be scientific speculation at the heart of the story, we find an idea that we fascinated by from the science says, and we start to create a story around it. So some of the indicators that we are experiencing or creating a hard science fiction story space suits. Characters, often actors in space suits. There are often quite interestingly colored like orange or blue or yellow, I think to give some interesting design on the screen of films and hard SF television shows. Colonies, colonies on planets like Mars for instance, or moon colonies terraforming. Getting a planner and making it an Earth-like so that we can go on and live on it. Of course, rockets to take us up out of the Earth's orbit or to the Earth's orbit, out of the atmosphere into the orbit. Ships, spaceships, rocket ships, starships that take us from one place to another. Probably the hard science fiction only within the solar system unless it's something maybe like a generation Starship trying to explore other solar systems. Often features are astronauts, scientists, and engineers can feature lots of other characters, but those are very commonly depicted. Solar storms and radiation dangerous events that we encounter in space. There's a few things that you generally won't encounter in hard science fiction aliens. We can't scientifically say very much about aliens, so people will be arguing, but for real cold hard science fiction, it isn't including Aliens. It probably isn't including faster than light drive because we can speculate on that, but we have no idea how it will be achieved scientifically and lots of other typical elements of science fiction, of their enhanced science fiction. This is crucially important to understand all of those scientifically rigorous ideas in hard science fiction are still symbols. Symbols. We know not what they could be symbols of many fingers symbol is when we take her image or it could be an I did. It, it means something to us. It's deep with meaning, but the meaning is best communicated by the symbol. And we're going to be thinking a lot more about. 3. Generating ideas for Hard SF: Symbolism. One of the things I want to get into in this workshop are techniques for people who were very heavily trained in the sciences, physics, mathematics, engineering. People who went to all the good classes at school, got great grades, went off to college, became engineers and scientists. So any other things you can go and do with those great logical, rational reasoning qualifications in training in life. And this is coming to you from person who was, you were doing all of that, was experiencing altered states of consciousness and reading a lot of books, watching a lot of movies, hanging out with people who did the same and talking about them a lot, which makes me much less qualified to do anything useful in the world, other the right stories and teach about storytelling. Because when by storytelling we're trying to take the part of our mind, which does all the logical stuff, which knows how to write, which knows how to edit video, perhaps technical skills, the technical mind and make it work in unison with the dreaming imaginative minds. And I want to give you tools to do that. Tools of symbolic thinking and tools of imagination and ideation forming ideas. And very often, when you talk about how it is, we create ideas that we create two ideas. There are four stages. These are stages that I very often called you-all. There's many different formulations of this, so you'll find them called things like origination. Stage one, research, stage two, incubation stage, foreign formation. Sorry, stage for incubation stage for you. Okay. 1234. I don't have a brilliant logical mind is difficult for me to count to four. No, Honestly I can count to fool, but there's very often these four stages. You can think of them as this. Something in your mind gets an idea to do something. Just like, Oh, that would be cool. I could write a story about rockets going into space. Very broad general example. The next thing you need to do is give your mind a huge amount of data, of information related to that thing. And you're loading the data into your mind as much of it as possible. You might spend a week during this. It's fantastic. We live in times, the Internet where you can find lots of shots information. And then let's say he spent a week doing that. You might spend a few days doing nothing. Doing nothing is an important part of creative ideation because you are incubating all of that data. I often say to my clients, people who commissioned me to write stories or scripts. I've loaded that into my brain. You've rented some space in my creative brain, and at some point an answer will pop out because you never know when it's gonna happen. You might go running. You might be in the buff classically for this eureka moment. But then the moment comes, you have the eureka moment. This is the third stage. Then you get into formation, give it shape and structure, and you do the walk 1234, these four stages, let's talk about them in a little bit more depth. That first stage, where does that come from? Especially the hard science fiction. The idea to do something. You can, you know, we can make all of these suggestions you could subscribe to New Scientist. Good thing to do anyway, I'm reading a story. That story, yes, I calculate for that would make a good science fiction novel a good hard science fiction story. It's not usually the way these things happen, but they're not that deliberate. What there has to be is an element of fascination. There's an idea, you're fascinated with your norming on it. You can't let go of it. Your mind is trying to work out and it's that kind of idea. There's gonna make a really great story because you need that kind of fascination to power you along. To the research phase. Of course, we can do all kinds of things. Now. We have the Internet, we have Google. You can learn about the thinking of a thousand different people on a Reddit thread about what it will take to colonize Mars. You have. The resources to research any ideas. So do it. Google search, read forums, find actual scientific papers, find scientific exploits, shoot them an e-mail. Scientists like nothing more than someone saying, Hey, I'm a science fiction writer, I love your ideas and I want to make story from them. I assure you. Scientists loved that. Go on social media, use platforms like Korra or read it. You're highly intelligent because you want to write hard science fiction. The point is due to research. Then just give it space. In order for a walk, run, hard exercise, go to the gym. Now this has a point because that rational, logical mind, there are physical embodied processes that happen when we're using it. You might find that when you're thinking that way, you are less able to deal with people. We might find that your hunch or not, because your body is activating that side of your brain. If you go dancing, if you enter some altered states of consciousness, perhaps something like video games might not be a great way to do it, but it might happen when you're playing video games as well. You want to be embodied in a different state and relaxed. Then the creator dreaming side of your mind takes all that research and starts doing something with it. Now this is, this is so useful to understand that these parts of your brain and different systems, those of us who are trained, which is most of us to use our logical reasoning brain and loved. We haven't for much about how to bring in that other system. I'm not saying it's literally a hemisphere in your head is just a system in your neurological systems, but a very powerful system. And it's so important to trust it. Because as you're writing the story, that eureka moment happens over and over again, the writer Stephen King makes the analogy of digging up a fossil, writing a good story, good novel, creating good script. It's like you're dusting away the dirt from this novel, from this fossil underground. A good fossil. I hope that's what I said. Because powerful the US, you're unconscious or subconscious, you might call it your super conscious. It has tremendous narrative powers. So it has already dreamed the entire story before it tells you about it, and then it just tells you about it in little bits. So keeping the imagination, the engine of your super consciousness ticking over and working with your conscious, is how we do great writing. But this is helped by form. The fourth stage. We've had idea, research, inspiration. The fourth stage form. Give it a form. We have tools that you can give your story a form wave, and that's what we're going to get into. The tools of symbolic imagination that are going to help you really form your hard science fiction. 4. The Hard SF writer's toolkit - Part One: A story. These are a set of poetic tools to help you form a hard science fiction story that combines both the logical reasoning and the fantasy, the dreaming and the imaginative together into one great story. But when I say poetic, I really don't mean poetry in the sense of lines of verse written down a page. Because in fact, hard science fiction really suits quite claim. Direct. Simple. Prose writing. Fiction and novels in general don't really suit being written as poetry in the same way that you don't want an entire meal of Chicago poetries. Densed language, It's super high energy. 14 lines of poetry and his sonnet, more than enough in one go. And the page after page of writing 400 pages for a novel that's going to tell you a really cool story apart science fiction. You don't want poetry, but you do want poetic tools, tools that bring out the meaning and the symbolism of your story. So let's have a think about some of these. I'm gonna be relating them. The Fountains of Paradise, building a tower to space. So we can think about different ideas for these stories and too many examples of hard science fiction writing or couple of examples outside that area as well. Let's start with character. Of course, every story has characters, nothing unique about that. But a common problem. The hard science fiction, is that the characters very secondary to everything else that's going on. Of course, you want to talk about your generation spaceship, your tower, to space, your colony on Mars in detail. But a key idea to understand about storytelling is that stories aren't about the story. That definitely not about the plot, not the events that happen there about the character of the heart and the story on how those events, how does the story change and transform the character? Let me give you an example from hard SF, Carl Sagan's contact, central character allele airway, who begins the story. A committed, you might even say, dogmatic atheist, and ends having had her belief or non-belief deeply challenged by her experiences. For everything else we learned in that beautiful hard science fiction novel, huge has an analysis of the transcendental number pi on all kinds of other stuff going on. And the building of a Starcraft. Wonderful hard science fiction. As a character who transforms non-belief to some kind of linear maps. At the end, we have to think about the transformations of our characters. Let's think about that story of the tower that is being built up to space. This idea from the fountains of paradise. We have an engineer who is building the tower, but let's make them a real character. Let's not just think about how they're building the towel, but how are they changing and being transformed? What might an engineer be? An engineer might be, Let's say, I don't want to stereotype engineers, but let's say super logical. Then in the building of the tower at each challenge of the building and Ital, they have to be more imaginative. They have to deal better with people. And they become a leader of other people in the building of the tower from kind of logical closeted away scientists who a leader of people, looked at Ash's one of an infinite number of transformations. Also a character's think about perspective. Let's say we're building our tower up to space from a tropical. In equatorial island. Let's look at it from the perspective of an individual, an island, a native of the island who's grown up there and their life is completely turned upside down as all of this money and technology swarms into the island. Different perspective, how about the terrorist being built? And somebody is commuting into space every day I'm back. What is the experience of commuting up and down this tower? A different character is a different perspective on the same hard scientific idea. To match a character. We must also consider the structure, the structure of the story that we're working with. This is another tool and it's very common because of some of the ways that we think about creativity to reject structure. But imagine building a tower to space without plans and the blueprint, just making it up with some super-strong hypo filament. No course. You have a structure and stories have different kinds of structures. You can have a four act play, a a3x Hollywood screenplay, F5 act, tragedy. You can have an episodic drama. And these stories have radically different structures. So try applying a different structure to your story. Here is an example. Neuro Mansa, the wonderful hardest have novel by William Gibson, where essentially the Internet in a form was conceived cyberspace. The idea of entering digital realities, becoming this embodied the, so many wonderful ideas in there. But the structure is the structure of a new art heist in novel. Something like The Maltese Falcon. Characters gathered together to heist to do a bank job free and III, in the case of neuromas. So all of the parts of the story are absolutely in that structure. You can take a structure. You could take your structure from a spy for alarm. You could take a structure of a romance, novel, extract the structure, and apply it to your story. An example of this might be to use an episodic structure. Imagine ala story of the tower up to space. Obviously Clark wrote that as It's something like a five act movie, similar to a movie in a way, if you its, turn it into an episodic drama, let's say an HBO prestige format television show. You'd have a larger cast of characters. And you would divide that storage, let's say 12 episodes. In each episode, along with the eventual story, you'd have a number of character relationships unfolding. Because this is how we map the structures of story. Character relationships, plot events, turning points in the story. You can learn more about story structure and character. In my course, the rhetoric of storing may have 5.5 hours of your time invested to learn my ten years of research into storytelling, you see even as a dreamy, imaginative type, I can do some logical things as well. Another beautiful poetic idea for how to create great hard science fiction writing. The Novum is an idea from dark OSU then who is a critic of science fiction. And he is Latin. Folder new thing. What's the new thing in your story that is creating with this scientific excitement. In the story. The found is a paradise. The new thing is the hyper filament that's at the heart of the story. They super-strong carbon diamond filament. And every character in the story encounters the new thing, the Novum dark OSU and spanking the points of new thing was to create cognitive estrangement. We take an idea, a new thing that is entering the world. And it shows us a new way of thinking about our own world. Great example of the Novum is the planet from the planet of the apes. The Planet of the Apes from the planet of the apes, which is the Novum. By encountering, by learning about the planet of the apes, we see our own world differently. We see ourselves as an evolved species on our way to our doom. Oh my God, you did it. Looking at the Statue of Liberty sticking out of the beach as Charlton Heston dance. You can think about your scientific idea for this poetic lens of the No them, what is the cognitive estrangement that it causes? Let's think about that in the context of our tower up to Space story. Let's say it wasn't built from hypo filament. Instead it is built from force fields, overlapping force fields, walls, very strong invisible walls. What to walls through walls, separate people. We end up in different spaces separated by walls. You'll tau is being built with force field walls which separate people into your story. The idea of being separated, maybe there is a disaster and people who are trapped in different parts of the force field and experience a cognitive estrangement. Now we're gonna move into some of the deeper symbolic areas. First of all, metaphor. Metaphor has a literal meaning. It's when something in the story means something else. That meaning is always consistent and can be absolutely specified. So an example I would give you from hard science fiction of a metaphor is from the wonderful Geoff Ryman and his novel. Whole lot of awards in its day. And air is about new way of connecting people into the information sphere that is just in the end, everyone is automatically connected into this new information is fair a bit like the Internet. This idea comes to a little island and all of the people on the island of slowly absorbed into the air. That minds. This is a metaphor. This is a metaphor for your culture that you live in, taken over being colonized by another culture. The technology of air Internet as a metaphor for colonization, losing the core of your culture. In a story of a tower. You could think of the tower and the people building it as a metaphor for the corporation. Corporations already live in towers. Every big corporation has sodium skyscraper. The top of the tower is being inhabited by executives to the corporation. And then you have the different layers below it. That's a basic metaphor. But the important thing to understand is that metaphors in storytelling have a literal, direct meaning. Quite the opposite of symbols. Symbols is so powerful because of what they are, which is emissaries from this imagination, this unconscious or super conscious. But he's doing the hard work of the storytelling. It gives you symbols and you don't really know what the symbols mean. That's the point of symbols, but they're there and they're very powerful. They are abstract. They don't have a literal meaning. Let's think of a very famous example of a symbol from science fiction. The lightsaber. In Star Wars, of course it's a laser sword. But then sometimes it's a symbol of hope. When Luke Skywalker or re, I won't spoil it by telling you who she is. Re, light that lights Orbitz, symbol of hope, power, rejuvenation. When Luke is first given his father's lightsaber, it's something like a symbol of inheritance or even do inheriting your father's do. And we find out why he's happens to Anakin Skywalker. Again, don't want to spoil that story for anyone who hasn't seen it yet. Metaphors and symbols. Literal and abstract symbols. They're so beautiful but so slippery. Symbols just come to us. We have to trust that they're going to produce something meaningful. So when I was thinking through this workshop, I fought of our tower into space and at the top of it, the satellite that counter weights the tower is, maybe it's stored, it glows and the night it's like a new moon. I don't know yet. That's the symbol. Is this powerful image be an idea? It could be a sound or phrase of music and line of dialogue. A character can be symbolic. Here I have this glowing new satellite in the sky, which could have all kinds of symbolic meanings. Maybe there's a war going on. The planet Earth building It's tower into space. And when the satellite is illuminated and glowing in the sky, It's such a powerful symbol that it brings peace to the planet. Symbols are formative things shape themselves around the symbols that you put into your stories, metaphors and symbols. Let's collect them to get. 5. The Hard SF writer's toolkit - Part Two: Other powerful collection of metaphors will give you something like the subtext of his story. Commonly used phrase, little bit unclear sometimes what it means, what does subtext mean? Let's think about not a science fiction story rarely, Top Gun. Subtext is when the text of the story now a text doesn't have to be words, any collection of symbols, metaphors, words, the symbolic as well. Any collection of words or symbols or a text that can be read. So you have the text of Top Gun, which is about fighter pilot school. Maybe a little bit about masculinity in the text as well. Heroism. The subtext as made famous by Quentin Tarantino, is homosexual bonding between men and love between man. And it's there repeatedly in every shalt and scene of Top Gun from bottles clinking together to the kind of dialogue between the characters. You can look up. The subtext of Top Gun would Quentin Tarantino, and he will make it clear to you. But this is illustrative of the meaning. A subtext is conscious. It's literal. You can point to it. Once you see it. You can't unsee it. Text and subtext, let's say we were to work with subtext in hard science fiction of famous example actually of subtext in science fiction is The Martian by Andy. We're in the Martian. The Martian is based on Robinson Crusoe by Daniel Defoe. When Daniel Defoe wrote Robinson Crusoe, the reason why it's the most translated novel in history, one of the best-selling novels ever still remembered, still studied, still read. Because Daniel Defoe wrote a subtext into Robinson Crusoe. And the subtext is about the alienation of the modern man that lives in the modern world. Post God without a belief in garden in the industrialized world, have cut us off an alienated us from the world. And this was Defoe subtext because the martian is based on Robinson Crusoe also has this subtext in the movie, particularly, Ridley Scott really brings out that subtext in Matt Damon's portrayal of that film. So subtexts there in hard science fiction all of the time. What could the subtext of our, of our giant tower up to space B? Maybe it could be inspired by Top Gun Eros. How the they're holding of such talents. And space rockets and engineering projects manifests the male Eros in the world. And you can imagine how that would play out in the story. Maybe as maybe a slightly silly example, the hard science fiction. But now you see what that tool is. How you can place a subtext into your story. Allegory. Little bit like subtext, but explicitly religious or spiritual. Allegory, talks to us about our longing for higher experiences. A famous allegory in the sci-fi fantasy field is The Lion, the Witch, and the Wardrobe by CS Lewis, in which as lambda lion is allegorically Jesus Christ and He is crucified his sacrificed. And many of the other parts of the story apart this allegory as well, but it's a religious, spiritual allegory. Good example of allegory in a hard science fiction is gravity starring Sandra Bullock, directed by Alfonso quorum. In which this annoyed some hard science fiction people because the laws of physics don't seem to work in gravity. The Space Station and the Space Shuttle don't move like they shouldn't. As this tragedy, as this disaster is unfolding in space with being hit by a meteorite. The allegory is with Sandra Bullock, and Sandra Bullock is, has lost a child and she's grieving. Story illustrates the stages of grief, the spiritual progress. Through grief, am recovery. And when Sandra Bullock course impossibly falls from space down to the earth. This is the rebirth of recovery from green. In the classic spiritual sense of recovery allegory, how can our tower to space be allegorical? There's a famous allegory which applies quite well. Cold. Dante's Inferno, which categorizes the circles of **** and Dante's journey through the circles of ****. And illustrates in them the sections of medieval Italian society. We could do something similar with our tail. Each level of our tower could be allegorical for a different class in modern society. Maybe sadly the working class at the bottom or maybe at the top because they're forced to travel all the way up the tower. But you can see how your allegory might work and create something like a spiritual meaning for your audience. Which brings us onto, may be the most powerful tool in these symbolic poetic toolset, the hard science fiction writers, and that is myth. I teach a whole course on math and science fiction writing because in some sense, all science fiction is mythic, mythic stories for the modern world of science that help us answer the eternal questions of the world. How did creation, again, where did the universe come from? What is it to be a human being in the world? Where will the future take us? Is there a God or as the universe? Merely mechanistic? Eternal questions that are answered through mythic stories to give us meaning. We take myth into our lives. When people believed that the universe had been created by God, which many people still do. Many people don't know. But that belief, it was an absolute, as absolute as believing that it arose from the big bang or fringe forces of evolution. These are the myths that shape our world. A great example of NIF in a hard science fiction is Rodgers or less knees, lord of light, where a group of colonizers who colonized the world. They have high-technology and they taken over the world and they use that technology to make themselves gods. And they manifest as the Hindu deity. And one of them Sam manifestos, the Buddha himself within this world. That's the technology of hard science fiction being used at how a mythic story of God's deep truth. If science shows us one truth of reality, myth shows us a novel. Science shows us a reality that a is made of atoms and fundamental falses. Myth shows us a reality that is descended from consciousness and creates godlike beings who are shots of that consciousness. And in a sense, both of these can be real and the greatest hard science fiction writers like Rogers listening while opposite Clark when he touched on these themes, what are slowly going combines both of these deep while fuse into deep mythic storytelling. Another classic example of hard science fiction met, of course 2001, a Space Odyssey. 2001 a year from the future, or a walls in the 1990's when it was made a Space Odyssey. The Odyssey as a famous mythic story from Greek history, combines together to create a story that showed us the future of humans going into space and then also the future of humans evolving to some higher level of consciousness. How can you combine myth? Let's think about an example with our tau a story. What are we doing? And they can't tear up space. We are creating, creating a new layer of human existence in the orbit above the piano. This is a creation story. Imagine if you're the building of your talent. Echoed ancient myths like Exodus, the creation of the universe, Adam and Eve. Could there be? This is done too much in hard science fiction, Adam and Eve, to people colonized plan that they become new Adam and Eve, let's not do that. Could there be a Cain and Abel in your story that competition between two brothers to build the towel, one who ultimately emerges the Exodus. Can your tau or carry people up from the, from the roof, the corrupter of where they are slave up into the heavens where they find freedom, a new world to colonize. These are ways of thinking mythically about your stories. I think NEF is one of the most powerful tools to take that logical mind and move it into the imaginative and into the super conscious that he's doing so much with the storytelling for us. Final couple of speed. In office, he clocks fountains of Paradise. There's a very deep theme. He's not just writing about the building of a space towel. He's writing about the progress of humanity from the early kingdom of Kali Dasa, who built his fountains of paradise on the mountain that's made there. They build the tower up to space. This is a progress of humanity. These kind of themes that you can build hard science fiction storytelling around and they are of course, infinite. There are many themes. Theme of human progress is gonna be very commonly the conflict between science and religion. Another great theme, the corruption of power. Another great theme. For all of these tools. It's good to use them consciously. At that moment of inspiration as your research I'm thoughts as you have that eureka moment. When you come into the formation, you use these tools, you use FEM, you use men, use allegory, you lose symbolism, metaphors, subtext, structure, character. Finally, the last these tools is in motion. When we have that moment, the idea that we're fascinated by where we started our progress into making a hard science fiction story. That's fascination with the potential for Android life, building a tower into space, developing a warp drive, exploring alien planets, going through a star gate to another world and not being able to return, joining a generation starship. Beautiful know by November, the heart of science fiction stories might be one of those. It might be a more original idea of your own inner fascination. There's also an emotion. It's always there. It could be the emotion of a chief of adventure, could be the emotional of loss, grief. It could be these complex emotions like depression, could be these amazing and emotions like joy. But there's some kind of emotion that fascination in the novel counts from in the symbols you use and the storage character. If you bring the emotion of the surface and really fairly will resonate with your audience. Every great story, every great work of science fiction, and every great work of hard science fiction has palpable emotional experience that we enter into. And you as the writer audience. Thank you very much for joining me in this workshop, writing science fiction with poetic, the beauty. I hope these tools help you to combine together the incredible powers of reason and logic with the wondrous rounds of imagination and fantasy. My name is Damian Walter. You can learn more at David G roots. Don't come. Thanks very much. Goodbye.