Fiction Predictions: Ballard's Electronic Wallpaper

The Surrealist Mindscapes of J.G. Ballard

J. G. Ballard (1930 - 2009), known for his prophetic short stories and apocalyptic novels, was a foundational figure in the British New Wave. He ignored tropes like rockets, robotics or aliens, and instead explored the depths of the human psyche and an artificially accelerated evolutionary biology. 

Add to that his flair for surrealism and a gifted writing style, and I can see how his confronting plots and violent imagery fueled controversy, while also producing famous works like Empire of the Sun. 

For today, in the Fiction Predition Series, I want to take a closer look at his 1975 work, High Rise.

This is the third novel Ballard wrote in a trilogy that explores changes in modern society and their effects on human behaviour. In the 70s, at a time when 'advanced tech' referred to 8-track tapes, pocket calculators and electric typewriters, he said:

“... All this, of course, will be mere electronic wallpaper, the background to the main programme in which each of us will be both star and supporting player. Every one of our actions during the day, across the entire spectrum of domestic life, will be instantly recorded on video-tape. In the evening, we will sit back to scan the rushes, selected by a computer trained to pick out only our best profiles, our wittiest dialogue, our most affecting expressions filmed through the kindest filters, and then stitch these together into a heightened re-enactment of the day. Regardless of our place in the family pecking order, each of us within the privacy of our own rooms will be the star in a continually unfolding domestic saga, with parents, husbands, wives and children demoted to an appropriate supporting role.” -High-Rise by J. G. Ballard (1975)     

Now, if that doesn't describe an influencer on TikTok, Instagram, or YouTube, I don't know what would. 

High Rise has been described by Joachim Boazas as 'a virulent strain of Lord of the Flies syndrome' but afflicting adults, instead of children, crammed into an “island-like” building.'

It depicts the trend towards creator economies and influencer culture that leans into social media as an alternative to one-to-one familial relationships, set in an isolate buiding designed only for the very rich.

What could go wrong?

Searching the predicted technology issues first, we find: "Doomscrolling" or "zombie scrolling" can have profound negative effects on mental, emotional, and physical well-being, from increased anxiety and depression to physical symptoms like headaches, eye strain, and poor posture.

But Ballard didn't stop there. He took it to an extreme, horrific to witness as a reader, yet irresistible given his beautiful writing. 

The question today is, was J. G. Ballard a seer? 

I will answer yes, but hope very much to be wrong.

* * * 

About Kim Falconer

The Amassia Series

Kim Falconer, also writing as AK Wilder, has released Crown of Bones, a YA Epic Fantasy with Curse of Shadows as book 2 in the series. 

 Quantum Enchantment

Kim can be found on AKWilder.com, Twitter, Facebook, Instagram and KimFalconer.com. 

Throw the bones on the AKWilder.com site. See you there!

Read Blood and Water, a PNR alt history that will leave you questioning every natural disaster ever endured.

“There is no doubt fiction makes a better job of the truth.” 

From The Backlist: Words Is Your Bizness -- Writing The Blurb

.
We love this post by the wonderful T Frohock on writing blurbs, which is an essential skill in the modern-day author's toolkit.

Definitely a must-read for those pursuing a writing life, and informative for all those interested in it. Enjoy!

Words Is Your Bizness -- Writing The Blurb

by T Frohock

I know a lot of authors tend to think that once they've gotten past the initial query letter, they'll never have to face the horror of condensing their novel into two paragraphs again.

Unfortunately, that is not the case.

With both the blurb and the query, you're trying to sell your novel, which is long and deep and complicated, in just a few words, and I know that is hard. One thing I did that helped me immensely was browse in a bookstore. I wandered the fiction section and jotted down taglines and blurbs that caught my attention. Then I went home and analyzed them.

A good blurb is about communicating the essence of your story to the reader, not the details.

Let's look at mine. This was an incredibly difficult blurb to write, because we were combining three novellas into three paragraphs. Here are a few things I learned:

Know your audience. If I am writing historical fantasy with nephilim, I want to target people who love history and magic. So I will design my blurb around the dates, the conflicts, and the how the magic works.

Nail it with a sentence. The biggest argument that I hear from authors is that their story is too complicated. You're a writer. Words is your bizness. Use them well.

Know what appeals to your fans and zoom the lens of your words on the aspects of your story that will appeal most strongly to your reader.

My Los Nefilim blurb encompasses three novellas with one sentence:

T. Frohock's three novellas--In Midnight's Silence, Without Light or Guide, and The Second Death--bring to life the world of Los Nefilim, Spanish Nephilim that possess the power to harness music and light in the supernatural war between the angels and daimons.

What have I told you in that sentence? The names of the previous novellas, what Los Nefilim are (Spanish Nephilim), how they use their magic (through music and light), and finally the nature of the big picture conflict (the supernatural war between angels and daimons).

Narrow the conflict to the protagonist. The next sentence is:

In 1931, Los Nefilim's existence is shaken by the preternatural forces commanding them ... and a half-breed caught in-between.

Here I center the reader in the time period (1931), because this is historical fantasy. I tell the reader all is not well in the world of Los Nefilim (their existence is shaken), and then I zoom the lens one phrase closer to my protagonist and his place within the conflict (a half-breed caught in-between). The word "caught" indicates the protagonist isn't a willing participant in this war.

Who is the protagonist and what makes them special? Now that I've given the reader the set-up for the world, I tell them about my protagonist:

Diago Alvarez, a singular being of daimonic and angelic descent, is pulled into the ranks of Los Nefilim in order to protect his newly found son.

Diago is not human, nor is he normal by the nephilim's standards (a singular being of daimonic and angelic descent). He is not in Los Nefilim entirely by choice (is pulled into the ranks), but he has a reason to be there (in order to protect his newly found son).

What is the protagonist's conflict? This comes in the last two sentences.

As an angelic war brews in the numinous realms, and Spain marches closer to civil war, the destiny of two worlds hangs on Diago's actions. Yet it is the combined fates of his lover, Miquel, and his young son, Rafael, that weigh most heavily on his soul.

Here I have reintroduced the angelic war and tied it into the Spanish Civil War while alluding to Diago's role in the course of events. I also introduce the fact that Diago is gay (his lover, Miquel) and that the fates of Miquel and Rafael are Diago's primary concern, which adds a very relatable human element to the story.

Sum it all up. The last line sums up the crux of the story:

Lyrical and magical, Los Nefilim explores whether moving toward the light is necessarily the right move, and what it means to live among the shadows.

This sentence refers to Diago questioning his decision to join Los Nefilim throughout the novellas...

 

To read the full post, go here

To catch up with T Frohock, visit her here

A Year of Heroines in Fantasy #3: Brienne of Tarth, Tavore Paran, & Asantir

 
Following my wee hiatus on heroines last month, I'm back again for May and rarin' to talk Brienne of Tarth from the Game of Thrones 'verse, Adjunct Tavore (Paran) in the Malazan Book of the Fallen series, and Asantir from m'own The Wall of Night quartet.

Brienne of Tarth, GoT series

All three are warriors in their respective societies, but not magic wielders as well -- unlike Aerin, Elfrid, and Malian, in my first Heroines post. So that's the first aspect they have in common -- although their disparities, as well as the qualities they share, are equally important in looking at this particular trio together. 

Brienne, for example, is very much an outlier in a man's world, where women are largely not accepted as warriors and certainly not knighted -- although in the Game of Thrones TV adaptation, which goes beyond the story arc of the books, Brienne does achieve this distinction. 

Tavore and Asantir, by contrast, inhabit worlds where women are as likely to be warriors as mages, and hold positions of power throughout their societies. Yet Tavore, like Brienne, comes from a noble family, whereas Asantir has risen through the ranks to become first captain of her Earl's honor guard, then overall Commander of the warrior House of Night.

On the other hand, both the honor guard role and loyalty to a leader -- in Brienne's case, Renly Baratheon, and in Asantir's the Earl of Night -- ties these two heroines closer together. Early in the Game of Thrones storyline, Brienne is chosen for Renly's elite Rainbow Guard, although her later path is more that of a knight errant, seeking to find and protect the two Stark sisters, Sansa and Arya. 

The Wall of Night series (USA)

When readers first meet Asantir in The Heir of Night (Book One), she is already captain of the Earl's Honor Guard, and unlike Brienne, she stays within her House's chain of command, and advances to command its armies. In this sense, her path is closer to that of Adjunct Tavore, who leads the Malazan Seventh Army throughout most of the ten-book Malazan series.

Tavore and Asantir are also more alike in personality than Brienne. Both are confident in themselves, keen minded, and experienced and successful soldiers. Brienne is equally adept as a warrior, but lacks Tavore and Asantir's confidence -- although, like them, her arc in the HBO shows her not only becoming a knight, i.e. recognized for her fighting prowess, but also commanding a wing of the army that faces the Night King. 

A major difference between Tavore, as opposed to both Brienne and Asantir, is the question mark over the sacrifice of her young sister, Felisin, to further her own rise in the service of the Malazan Empress.

Malazan #1

Asantir, however, is renowned in Night for her unwavering honor, loyalty, and duty, while Brienne is equally unswerving in her loyalty to Renly and in keeping faith with her pledge to find and protect the Stark sisters.  

As a woman following a warrior path, Brienne breaks the conventions of her society, yet in her knightly conduct and service she upholds them. In this sense, she may be something of a paradox, but otherwise, what you see with Brienne of Tarth is unquestionably who and what she is.  Conversely, with both Tavore and Asantir there are always hidden depths -- but a diversity of Fantasy heroines just adds more zest to the genre fun. 

The Wall of Night series (UK)

.

Prior Posts: A Year of Heroines in Fantasy

February: Aerin, Elfrid, & Malian of Night
March: Yeine Darr & Rowan Birchmoon

~*~

About Helen Lowe

Helen Lowe is the award-winning author of Thornspell and The Wall Of Night fantasy series, as well as a poet, blogger, and lover of story. She has recently completed writing the final book in The Wall of Night series, which is now with its publisher.

Helen posts regularly on her “…on Anything, Really” blog, monthly on the Supernatural Underground, and tweets @helenl0we.

Fiction Predictions: Mary Shelley on the Ethics of Creation

Eko illustrates Frankenstein

Two hundred years ago, a masterpiece of Gothic fiction was written by a young woman named Mary Shelley. Her story of Frankenstein, the Modern Prometheus, paved the way for the horror and science-fiction genres, and is often cited as the foundational myth for modern AI ethics. 

The Book

When it first hit the press, the book became a terrifying and radical view of what can happen when sentient life is created de novo, sans the usual hundreds of thousands of years of evolutionary steps to acclimate. 

I mean, one minute you are dead body parts with zero self-awareness, and the next you're a free agent, rejected and despised by your creator, left isolated, lonely and eventually vengeful.

It all starts with Victor Frankenstein, whose studies in philosophy and chemistry (controversial topics in Shelley's day) had him obsessed with creating 'artificial life'. But when he succeeds, just like the myth of the Sky god Uranus, he is disgusted by his creation and fearful of his own power being usurped.  

Written in 1818, Frankenstein predicts the storm of ethical, social, and existential concerns arising from scientific advancement. In this way, her novel warns against technology outrunning wisdom and responsibility.

Was Mary Shelley a seer?

I think yes, especially the way the creature in Frankenstein parallels modern artificial intelligence (AI). Here's the breakdown:

 AI for Story Generation - Isamu Isozaki

Responsibility: Victor Frankenstein becomes obsessed with the "how" of creation while neglecting the "why" and/or the aftermath. He abandons his creature the moment it comes to life. This is mirrored by the 'move fast- break things' approach to technological development and the race for General AI.

Rapid Learning: Frankenstein's creature is not born evil; he learns by observing humans, only becoming "monstrous" after being rejected by his creator. Large Language Model AI learn by processing vast amounts of human-generated data. If that data is biased or if the AI is left without moral curating, it can become a digital version of the creature's "mis-education".

Uncontrollable Creations: The core fear in the novel, and in the myth of Uranus as well, is that the creation turns on its maker. This parallels modern fears that an AI’s intelligence will surpass human control or act in ways that are indifferent to human safety.

In the end, the novel asks if a being made from "parts" can have a soul or rights, just as we might argue whether a machine that flawlessly imitates human thought deserves "personhood" or moral consideration.

Did Shelley Foresee Bioengineering and Competitive Exclusion?

Intentional or not, Shelley spotlights the moral concerns that arise when science attempts to create life. More than that, her work is often cited in discussions around cloning, transplants, and competitive exclusion -- a concept in modern ecology describing how invasive species or technologies can destroy ecosystems

Ethics and Morality

The most profound prediction is the warning against pursuing a goal without considering the consequences.

Victor Frankenstein is not a mad, unhinged scientist, but a very reckless one. He is in control, but seemingly without strong morals.

Do you think this relates to corporations and governments racing to advance AI under an ethical banner of gaining power, control and dominance?

I am left with how Shelley's novel emphasises that the disaster is not caused by the creation itself, but by Victor abandoning his creation, failing to love it and raise it 'right'. 

Something to think about . . .

xxKim

* * * 

About Kim Falconer

The Amassia Series

Kim Falconer, also writing as AK Wilder, has released Crown of Bones, a YA Epic Fantasy with Curse of Shadows as book 2 in the series. 

 Quantum Enchantment

Kim can be found on AKWilder.com, Twitter, Facebook, Instagram and KimFalconer.com. 

Throw the bones on the AKWilder.com site. See you there!

Read Blood and Water, a PNR alt history that will leave you questioning every natural disaster ever endured.

“There is no doubt fiction makes a better job of the truth.” 

From The Backlist: "Supernatural Sidekickin' " by Kim Falconer

 .
We do love us a backlist post -- and this one from Kim Falconer is Grade A! We invite you to read on and enjoy. :-)

Supernatural Sidekickin'

This month, I want to explore the qualities of a 'good' sidekick/wing woman/man, what traits they have, their roles in the storytelling and how to write them.

Buffy -- & the Sidekicks!

What Sidekicks Are Good For

Back story: A well written, three dimensional sidekick can help with back story, allowing the reader to see and hear about things that came before page one without wading through heavy exposition. We see this in Star Wars with the sidekick Chewbacca, where his adventures in the past with Han Solo help shape our understanding of the man. Also in the sidekicks C-3PO and R2-D2. We learn much about the world through their commentary.

World Building: The sidekick can represent a culture or social group as Gimli and Legolas do in Lord of the Rings. Gollum, a 'minor' character, but with a major goal, provides a talking point for the long and complex history of the ring. What life was like in the past, the roots of the hobbits as a people. He is kind of an 'anti-skidekick' to the anti-hero Frodo.

Contrast: The sidekick can have different values, ethics, goals and motivations, making for a contrast to the main protagonist. Damon Salvatore in The Vampire Diaries, for example, hasn't much of a moral compass. At all. His buddy Alaric Saltzman, however, does, and watching that friendship grow is a measure of the main character's arc and emotional evolution.

Alaric & Damon

Humor and wit: The protagonist has to be pretty serious at times, playing it 'straight' as they work out how to fight the baddy, retrieve the lost treasure and save the day. The sidekick, however, is free to use wit and humor at times when the hero cannot. We see this in Buffy the Vampire Slayer with Xander (one of Buffy's many sidekicks). She may be in deep emotional angst and he can pop a one-liner that lifts the moment without throwing away her feelings.

Xander & Buffy

Throw-aways: Similar to wit and humor, there are times when a scene is too intense, deep or meaningful and the sidekick can be just the one to lighten it all with a 'throw-away' line. Clive and Ravi do this on iZombie when Liv is too deep into the fact that she is dead, turned into a zombie and has to eat brains to survive. It can turn a scene around in a flash.

Liv, iZombie

Freedom of Speech: The sidekick can say things the hero might be thinking, or wish they could say, but can't. In the Quantum Enchantment Series, Rosette has a sentient familiar, a temple cat who links with her telepathically. She might be having a conversation with a mentor or rival while her familiar does a running commentary on the whole thing, adding a new element to the scene.

The "Quantum" series

Sympathy: The hero may also relate to the sidekick in ways they can't to others, allowing the reader to gain more compassion or understanding. This works especially well for main characters that are not fully sympathetic. Eric Northman's compassion for his progeny, Pam, is an example from True Blood, aka Charlaine Harris's Southern Vampire Mysteries.

Eric, True Blood

Writing the Sidekick

The first question to answer when developing a sidekick in the story is why are they there? They have to move the plot forward, be part of the part of the story. They also have to have their own GMC - goals, motivations and conflicts, internal and external. In a shorter work, these won't be explored to a great depth, but with novel length stories and series, there is room for these subplots to be woven.

...

To read the full post, click here

To check in on Kim, go here.

A Hiatus On Heroines...Just For Now!

 .
The life authorial has gotten a tad busy, with the 'b' that is for bustle, buzzing around ('like a blue-ass fly' as our Aussie friends like to say :D ) and beavering away!

So much so that I cannot do the heroines justice for today, so I'm calling a heroines hiatus until after the Easter holiday, and its aftermath, is done and dusted.

Instead, for both those who are set to enjoy a break and those who are continuing as usual, here are a few photos from "inside Middle Earth", aka Aotearoa-New Zealand that I hope you will enjoy. :-)

From great high mountains...

...via meetings with remarkable gardens...

To a shining sea.

About Helen Lowe

Helen Lowe is an award-winning novelist, poet, and lover of story. With four books published to date, she has recently completed the final instalment in The Wall Of Night series, which is now with its publisher, HarperVoyager.

Helen posts regularly on her “…on Anything, Really” blog, monthly on the Supernatural Underground, and tweets @helenl0we.

From the Backlist: Reluctant Heroes

Art by tsaloka on Pixabay

Welcome to another post in the Supernatural Underground Backlist Series. Today's feature is from the powerhouse author Amanda Arista. 

AND! If you are lucky enough to be in Texas in April 2026, she is giving an all-day, immersive workshop there, at the Texas Two–Step Writers Conference.

It's designed to help writers gain clarity, confidence, and momentum in their stories. You don't want to miss this chance to meet her in person.

Meanwhile, this gem of insights into 'reluctance' is from her March 2014 post titled: "But I don't wanna," said Every Hero Ever

Be sure and read to the end, to see how it might apply to you. 

We hope you enjoy it!

*** 

"But I don't wanna," said Every Hero Ever

by Amanda Arista

 

Year of Living Heroically #2 - Refusing the Call

Today is especially fitting to write this post as it is currently 19 degrees in Dallas Texas. If there is anything that will make you refuse the call of an adventure, it is cold feet.

On a hero's journey, refusing the call highlights what exactly the hero thinks about himself. They are not just saying, "No I don't want to," but more along the lines of "I'm afraid because of ..." That dot-dot-dot is the real part of themselves that they will have to overcome in the adventure ahead.

My favorite case in point is our man Luke Skywalker, who refuses to go with Ben Ken-obi by saying, and I'm flagrantly misquoting, "No I can't go with you. I have to stay on the farm with Uncle Owen." He's not really saying that he has to stay on the farm with his Uncle. What he is really saying is that he is afraid that he is not awesome like his father and he's just a lowly farm boy. Once the farm is removed from the picture, literally, he spends the rest of the movie trying to become awesome like his father. Sort of.

In romances, this might look a little different. For Violet, in Diaries of an Urban Panther, her refusal highlighted her fear of getting close to someone, because all of her loved ones had died. So she refused to believe that the boy liked her at all. He was just saving her skin, over and over and over. Violet spends the entire book learning to open her heart to other people. 

 

Keep Reading . . .

 

Lear More about Amanda and her wonderful books . . . 

 

* * *

Thanks for dropping by! We hope your 2026 Fire Horse Year is off to a great start!