There is growing concern that the proliferation of generative AI will remove humans from the equation of creativity because eventually most art will be AI-generated images based on previous AI-generated images until all art is simulacra with no connection to reality. But in a way, this has already happened—before the invention of AI art.
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In this post I wrote about my experiences using ChatGPT to write fiction, ultimately concluding that AI is better at non-creative writing than creative writing. I will now use ChatGPT to further prove my point. AI was much better at generating the following nonfiction blog post than generating any fiction stories. I’ll let ChatGPT explain why:
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There was much hype on the internet upon the release of ChatGPT, OpenAI’s free-to-use text-generating artificial intelligence program based on a Large Language Model (LLM). You can write any prompt, and ChatGPT will instantly produce grammatically correct text—of just about any type (fiction, nonfiction, poetry, etc.). Some worry this could spell the end of human writers. It is admittedly impressive what GPTs can produce—though it is still limited. As an experiment, I tried writing several fiction stories with ChatGPT. I have literally thousands of story ideas, more than I could ever write myself. So I figured I’d take some of the lesser ideas at the bottom of my queue, those I’d probably never get around to, and let the AI write it for me—if it could.
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Storytellers often defend their work that is criticized for a poor ending (cough-cough LOST) by claiming that the story or plot didn’t really matter—it was about the characters all along. This is a cop-out. The most important part of any story is the STORY, not the characters, and a story is not a story without “The End.”
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The genre of “true crime” is growing in popularity in the form of documentaries and podcasts that cover real crimes pulled from news headlines in detail. There are also fictionalized movies and television series about true crimes. I am not especially interested in true crime, but it is the fictionalized narratives about real crimes that interest me least. Fictional crime stories are better—or have the potential to be better—than true crime stories. The difference between them can best be seen in two of director David Fincher’s films about serial killers: Se7en (1995) and Zodiac (2007).
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The book The Shifting Realities of Philip K. Dick: Selected Literary and Philosophical Writings features several interviews and essays by author Philip K. Dick. In the following excerpt, PKD gives some helpful advice on worldbuilding for science fiction writers.
Continue reading“This world must differ from the given in at least one way, and this one way must be sufficient to give rise to events that could not occur in our society — or in any known society present or past. There must be a coherent idea involved in this dislocation; that is, the dislocation must be a conceptual one, not merely a trivial or a bizarre one — this is the essence of science fiction, the conceptual dislocation within the society so that as a result a new society is generated in the author’s mind, transferred to paper, and from paper it occurs as a convulsive shock in the reader’s mind, the shock of dysrecognition. He knows that it is not his actual world that he is reading about.”
Philip K. Dick on worldbuilding a science fiction story
Which better reflects an individual’s intelligence: their spoken words or written words? Most people might initially think writing because that is how the most intelligent ideas are spread: in books. But, essentially, speaking is to writing as taking a test is to taking an open-book test. When writing, the “book” is every book ever—the entire internet: Google, Wikipedia, academic papers, etc. All of human knowledge is at your fingertips.
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“If one feels the desire to transform oneself and to speak from other bodies and souls, one is a dramatist.”
— Friedrich Nietzsche
Point of view is a question every fiction writer must decide on when telling a story. When reading others and writing myself, I prefer the first-person perspective. It lets you get inside the mind of another person and see life from their point of view. No matter who they are or what they’ve done, you can’t judge them. You need to have empathy for all people, even the worst-seeming people on the outside.
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I am starting a Substack newsletter devoted exclusively to my short fiction. (I will continue to post nonfiction on this blog.)
Time Zone Weird is a place for fiction located on the frontiers of sci-fi, philosophy, futurism, and horror. If you’ve read my short fiction, you can expect more of the same.
To begin, the majority of TZW content will be an ongoing science-fiction satire series titled “Future Fake News.”
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Thomas Ligotti has become one of my favorite contemporary horror writers. Like my favorite contemporary science fiction writer, Ted Chiang, Ligotti writes exclusively short stories. Both writers have never published anything longer than a novella. In this excerpt from an interview, Ligotti explains why he has not and never will write a novel:
Continue readingI think it’s safe to say that I will never write a novel. The reason is this: I really don’t like fiction, and novels are what fiction is all about. The only fictional works that I’ve ever admired are those which have their formal basis in essays (Borges), poetry (Bruno Schulz), monologues (Thomas Bernhard), or all three (Poe and Lovecraft). I want to hear a writer speaking, not see a movie in my mind that takes days or weeks to get through rather than 100 minutes or the time it takes to watch a multi-part mini-series. Why would anyone want to read The Silence of the Lambs when they could see the movie?
– Thomas Ligotti interviewed by Mark McLaughlin at Horror Garage
T.Z. Barry 