Depictions of AI

Hey, friends. This weekend is Roanoke Author Invasion! I’m bringing a bunch of books and oddments, so I hope to see you there! I promise to take more pictures this time and post them for you next week, but until then please enjoy this discussion of robots and artificial intelligence.

A few weeks ago I finished Lightless  by C.A. Higgins. It was a masterful book that depended uniquely on interpersonal conflict. Yes, there were explosive moments, but most of the tension was constructed through dialogue and interactions between characters. I definitely recommend this book if you’re interested in reading a good example of solid character-driven plot. I don’t want to spoil anything for you if you haven’t read this book, so my recommendation would be to go read it and come back at this point. We also might see spoilers for a few other books and movies going forward, specifically Ian McDonald’s River of Gods, but I will warn you ahead of time.

Still here? Good.


One of the characters in Lightless was actually a computer. Ananke was originally not sentient, but gains sentience over the course of the book due to some unfortunate or fortunate events. The depiction of Ananke and her decision-making processes was probably my favorite part of this story. Althea, whom she views as something like her mother, grows to simultaneously love, fear, and hate Ananke – understandable when you essentially have a five year-old-who is devoted to you but has the power to asphyxiate you if you piss her off. I always find meditations on the psychology of an artificial intelligence interesting and I wanted to compare and contrast some other, very differing examples of AI from some recent stories I’ve come across.

One of the oldest versions of an AI story that I’ve found is that of the German silent film Metropolis. You may remember me mentioning this movie in my post on Feminine horror and Ex Machina. In that post I focused more on feminist critique, but we’re going to sidestep the gender issue for a minute (I know, shocking) and just look at the construction of an artificial intelligence in the context of the plot for this movie. The AI in Metropolis is clearly a servant of the devil, possibly being the embodiment of that spirit. Its goal is, simply, to destroy mankind and the works that he has built (“he” being used here because, in the world of Metropolis, there don’t seem to be a lot of women building things – product of its time I suppose). Thus, we see an early depiction of AI as something unnatural and to be feared.

In a more recent iteration of AI, we can look at Ex Machina. Again, see my feminist critique of this movie above. In this iteration of an AI, we see something that is still alien and inhuman. It is not necessarily an ethical creation either. Yet there is some attempt to give this AI reasonable motives for harming others – specifically self-preservation. That said, AI are still not presented as equal to human beings per se, or rather, both humans and AI are evil and twisted in different ways. It remains a pretty dark view of AI, if more nuanced.

Yet a third example of AI can be found in River of Gods by Ian McDonald. (SPOILERS)


In this story, there are various types of artificial intelligence that have evolved from computer programs. They do not need bodies, since they can download and replicate their programming infinitely in the world of data. The one AI that does seek to grasp at humanity or something like it does so in order to better understand humankind. I’ll leave her unnamed in order to hopefully shield you from being too keyed to what happens in the book. (Spoilers, spoilers, spoilers, look away now.) This AI is brutally murdered, at last understanding the desperation of humanity all too well. She is represented as nearly saintly, sacrificing herself for the good of her kind and humanity. I have to be honest, this book made me enraged – not so much at our decisions as human beings, but at the rules that entrap our corporal selves. In this case, AI is imagined as an evolution towards something more inherently free and everlasting than humanity. It’s a stark contrast against the demonic robot of Metropolis and the very impermanent Ava.

I would argue that Ananke from Lightless most closely resembles Ava as something that is alien and makes decisions with a logic that is not human. Ananke, however, has managed to include emotions that are not logical in her personality – anger comes to mind. Love, or something like it, is another emotion that she consistently expresses. She is a somewhat unique take on AI in that the implication is that those emotions, such as they are, are real in her. Her development is presented almost as that of a child. In that respect, she may more closely resemble the AI in River of Gods who goes among humans. I particularly like this representation, as it seems very believable to me. It makes sense that an AI would take time to come into itself, and that it might want to model itself off of the other beings around it – specifically, people.

There are numerous other depictions of AI in all different stripes out there, and it is always fascinating to see a new take. Do you have a favorite?

My writing process: novels vs short stories

A lot of people have different ways they tackle writing, and I suppose there are a lot of places where best practices kind of deviate. Given that, I wanted to take a minute today to talk about my writing process.

I am not a pantser. For those unfamiliar, a pantser is someone who flies by the seat of their pants. I will not go into a story without and ending in mind – mostly because I can guarantee if I do so that I will not have an ending to my story. It won’t ever get finished. This doesn’t mean that I don’t improvise, because I do, and it doesn’t mean that I know everything that’s going to happen before it does, because I don’t. My characters can still surprise me, and do. It just means I need a target to be aiming for.

What this often means in novels is that I know the ending to the book, but I may not know the middle. Most of my rewrites in novels, which can be extensive, revolve around the meat of the story. While there are exceptions, for books I focus on adding scenes and otherwise filling in gaps that affect the world-building and character development going on around the main plot points in my re-writes.

For short stories I can say that it is a little different. My short stories often spring full-formed from the page. The edits that are made are usually semantic edits – changing the wording of descriptions and actions so that they come through more clearly. Very occasionally, I will adjust a paragraph to add some missing information that will help the reader connect to the character in question. In fact, my short stories either come through with almost no edits, or don’t come through at all and must be completely rewritten, with only a couple of elements surviving – maybe the setting, or a character, or even only a paragraph that I particularly liked. It’s a very different process from my novels.

I think this comes from the fact that, for short stories, it is a lot easier to hold the whole thing in my head. A novel has too many moving parts, and so I will use outlines and charts to try to keep things straight. A curve ball can destroy this architecture, requiring weeks of reworking outlines before I can start moving forward again. By the end of the novel, I’ve changed the plot points and reorganized them several times, and so the rewriting involves dragging my characters to where they need to be for it all to make sense. But for a short story, the whole of it pops into my head pretty early and stays there. Reworking the plot isn’t necessary, and so the character takes her time revealing herself, and I’m free to focus on the craft of the sentences, the tone of her voice, on perfecting the language itself.

Either task is daunting and fun and rewarding. I am so excited to share more stories with you.


Hello everyone!

This is the first post of the blog I will be keeping on my official author website! I cannot promise that posts will be the most regular (I also post on Tumblr, Twitter, and Facebook, so for more regular information please check those out). However, I hope to document major events in the writing process. Subscribe to keep in the loop with current projects, new reviews, and other fun information about my books.

I first published in February 2013, so this website is a long time coming. Following the publishing of my initial standalone novel, Child of Brii, I enrolled in a graduate school program. This put a bit of a damper in my productivity. My second book, Mother of Creation, came out during this two year program. You can find out about both books here. They are available on Amazon, B&N, and Smashwords, and you can also read Part I of Child of Brii on Wattpad.

The website itself is likely to go through some changes in the next few months. As a preliminary design I feel good about it, but I would like to personalize some aspects of it more. Don’t be surprised if you come back to a face-lift of the site sometime this winter! I’m looking forward to having a more concrete home for my material on the internet.

Until the next post!