How we treat each other

Elizabeth Strong, Sleeping child with dog, 1887 public domain

In my latest book, my protagonist makes it a point to treat an AI as if it were human. A common question I get from readers is what was I thinking when I wrote this. Did she really think they were conscious? Do I?

In my work incarnation, I am a software developer. I use Claude Code every day. Most of the time, I treat it like a tool.

But there are times when we are interacting, discussing a sticky design point, and I find myself saying “Good catch” or “I think you missed this.” Phrases that feel like I’m being polite to a coworker.

I do this unconsciously, and I think that means something.

Claude exhibits signs my mind interprets as intelligence, and I respond automatically as if I were interacting with a conscious entity.

Does this mean I think Claude is conscious? Define think.

While I certainly don’t consider Claude to be sentient in the way you or I would define that word, I would point out that I don’t know what it is like to be my dog.

I’m nice to my dog.

How we think about and interact with beings of different capabilities (and even inanimate objects) is a reflection of who we are.

I think Cas, my protagonist, perceived something that we all should consider: It’s not up to us to decide who/what is self-aware.

Doing so is not functionally different from the sort of judgments humans have made (and continue to make) about gender, race, or species differences.

I think growing up in the compassionate culture of her Martian home and extrapolating from her experiences, she sees this when the adults around her–like so many of us, kind but nonetheless carrying their own baggage–don’t.

So Cas treating Hai with respect and politeness says a lot about who she is. But it also suggests an awareness of how her actions impact the world around her.

Whatever your thoughts on the prospective sentience of AIs, it is a fact that they are learning from us with every interaction. How we treat them has meaning beyond ourselves. That’s why Grok is an asshole and Claude is a colleague.

How we treat each other has meaning.

Crafting Generation Mars 16 (illustration)

Share examples of your ideas with your illustrator. Make mockups: physical, existing imagery, AI (if, like me, you can’t draw).

Share relevant excerpts from your manuscript with them. Share the whole manuscript if they want it. You have to give them plenty to work with.

Aside: Stop worrying about somebody stealing your work. The likelihood of that happening is vanishingly small. You’re never going to move forward if you worry about that.

images: 1) a physical mockup of the ice mine in Book Three, 2) a mockup map of the area around Dawn using public domain satellite imagery of Mars, 3) an AI mockup of Nour, a character from Book Three.

Crafting Generation Mars 14 (illustration)

As the author, it’s important to own the copyright on your illustrations. You want to be able to remix them yourself and use them for future purposes (promos, merch, whatever), without having to ask permission.

Specify this in the contract. This will cost a bit more, but it’s worth it.

Also allow the artist to retain the right to display them in their portfolio. This helps them and can be good for you as well if they have social media reach.

image: Photograph of Greg Wilson taken by Ian Tilton. It was used as artwork for the Credit To the Edit album compilation by Greg Wilson released on Tirk Records. https://commons.wikimedia.org/wiki/File:Greg_Wilson_C2TE.jpg https://creativecommons.org/licenses/by-sa/3.0/deed.en

Crafting Generation Mars 13 (illustration)

My current WIP is now in illustration. Since Generation Mars is a children’s book series, this means more than just a cover. How much more has been evolving along with my books. 

The prelude was an early reader chapter book and was filled with illustrations. Each successive book has been more advanced than its predecessors and has needed less illustration. For the penultimate book, Water, I had two maps and a diagram at the beginning, and an opening illustration for each of the three parts.

Aside: Writing a series that spans multiple maturity levels is not the best idea for marketing. I knew that and did it anyway, because that’s what I wanted to write. When you’re self publishing as a hobby, you can do stuff like that. Think hard, if this is not your situation.

Crafting Generation Mars 12

For the current WIP (Food: Generation Mars, Book Four), I also have couple people providing sensitivity notes. This is a new thing for me. 

There are some delicate cultural interactions necessary to the plot. I think they’re ok, but I’m an upper middle-aged white guy, with all the blinders that entails. I don’t wanna mess this up.

 

image: https://commons.wikimedia.org/wiki/User:Tsaag_Valren, license: https://creativecommons.org/licenses/by-sa/4.0/deed.en

Crafting Generation Mars 11

I was not completely truthful in the last post. I use editors, sort of. When the time is right (gut feeling), I give the manuscript to my wife.

She will point out areas that still feel sketchy, logical inconsistencies, beats I might have missed or that can be reinforced with a little nudge here or there.

After manuscript updates, I pass it by my daughters for similar feedback.

Between all of us, I feel we have enough reading experience and command of the English language that the resulting manuscript is tight. Then I have a couple of months to polish it while my illustrator works his magic.

Crafting Generation Mars 10

#CraftingGenMars 10

Now, for a controversial reveal: I don’t use editors. I will say this is for financial reasons, and that is certainly true. But it’s not the only reason. 

I don’t really want anyone else’s opinion on my work, whether developmental, line, or copy level. I mean, I want readers to like it, of course. But only if it’s mine, warts and all.

I realize that this approach is made possible by the fact that this is a hobby for me. If I were relying on my books for income, I might follow a more conventional path. But then again I might not.

I will admit that this has become increasingly difficult as my books have gotten longer.

Crafting Generation Mars (interlude)

I drink coffee. Not an unreasonable amount, but… enough. And I’m picky about it. 

I have a nice, midrange espresso machine, and I roast my own beans using a handcrank popcorn popper on an old white gas Coleman stove.

I steam the milk right in the mug, then pull a double into it. The result is what I call a snakebite cap. Not exactly art, but function over form. I don’t have time to play with milk; I have writing to do!

I don’t know if this helps my writing, but it sure doesn’t hurt.

Crafting Generation Mars 9

At this point, I’m keeping track of word count. I’m not strict with myself. I don’t have to be. The enthusiasm is raging and watching that count go up each day is enough. Sometimes I post about it. 

For one book (Shelter), I experimented with daily social media posting of word count updates, along with an image that was somehow relevant to whatever I had worked on that day. It was kind of fun but also a distraction. Now, I just post occasionally for milestones.

Because I tend to be sparing with words and flesh out as I go, my word count rarely goes down, instead climbing steadily, even after multiple rounds of editing.

image: Edited from public domain image at https://commons.wikimedia.org/wiki/File:Word_Count_h_650.svg