The Fast-folk and the Forest
by Jim Meeks-Johnson
copyright 2024
Billions of nights, my night-side antenna trees listened to the stars. Millions of stars I searched–collecting and transmitting electromagnetic radiation. A few answers came from herd-animal civilizations, but no signal from another planetary-level intelligence. I’ve always been alone, but I didn’t know I was lonely until the fast-folk came and I saw how much they valued their relationships to one another.
My surface roots sensed vibrations from hundreds of human settlers plowing or burning along the Forest border, more intrusive than the millions of native creatures also moving about. Mostly, I attend to general migration patterns rather than specific individuals, but a human walking up the hill to my speech-seed glen interested me. His pace was measured and deliberate. The taste of trace chemicals on his feet was off-world. My million-tree compound eye had recently seen an immigrant ship dock at the human space station, and I surmised that he’d come directly from there to speak with me.
“Forest,” he said, “My name is Edgar75821, but you can call me Edgar. I am a professor of history from Earth, and I’ve come to create a scholarly record of the history of the planet Eden before the arrival of humankind. I’d like to work chronologically, so could you start at the beginning and tell me about the first time a starship from another civilization arrived here?”
The arrival of the first starship was hardly the beginning, but apparently, my history before then, my awakening and my struggle to take control of Eden’s ecology and geology, didn’t interest this fast-folk historian.
Nonetheless, Edgar did seem to know what he was doing. After speaking into a hollow listening-trunk, similar in function to a human ear, he sat down on the forest floor in the middle of the circle of speech-seed trees to wait for my response. Crumbs of alien animal fat and processed grain spilling onto my surface roots suggested he’d brought his lunch to eat while he waited.
I was pleased that Edgar was a historian and pleased with his attitude. Fast-folk seldom take the time to converse with me. My root network doesn’t think as fast as their little animal brains, and they lose their patience. They prefer the company of other fast-folk.
Because of our difference in thinking rate, I learned to use speech-seeds as intermediaries. They are not really seeds–they do not reproduce–but they look like large seeds, with durable shells and petal-like flaps covering them when not in use. They have a speech organ on one end for humans and a transcription surface on the other end for my roots. They are nearly as tall as Edgar and twice as massive, but their memory capacity is limited, and I have to select which seed to activate for a given topic.
I sent a stimulant up the stem of a speech-seed flower to cause it to open. The speech-seed inside said, “The Yeep were the first fast-folk to come to Eden. They came a hundred thousand precessions ago in a bulbous ship so full of hydrogen that it rested on the forest canopy without causing damage. The Yeep themselves floated among the trees on sacs of hydrogen.”
“A hundred thousand precessions–that’s over two hundred fifty million years ago!” Edgar’s voice had risen to a higher pitch. “That’s before the rise of the dinosaurs on Earth. How old are you?”
A hundred thousand precessions didn’t seem old. Time didn’t matter to me the way it did to the fast-folk who lived briefly and then died, just like their civilizations. I still remembered the excitement of meeting other intelligent beings for the first time. The hope that I would no longer be alone.
“This speech-seed does not have information on the Forest before the Yeep,” my seed replied. “Do you want to hear more about the Yeep?”
“Certainly, I do . . .”
The exchange between Edgar and the Yeep speech-seed was over. The sun had whisked from one horizon to the other, and Edgar had left for the night. The seed was processing the conversation into memes my roots could understand and tracing them on the rear surface of itself at a rate I could absorb. Fortunately, the seed outlined the conversation with Edgar so that I could filter out the lengthy explanations the seed gave to simple questions from Edgar. This turned out to be most of the conversation. Like other humans, Edgar treated the seeds as basic repositories of data.
Eventually, Edgar asked, “What happened to the Yeep?”
The leaves of a trillion trees across rustled anxiously, for I knew that painful memories of were near, but I must listen so that I could gauge Edgar’s response. Would he see the necessity of it? Would the loss of the Yeep colonies sadden him as it had me? Would he feel my pain at the collateral damage to the Forest?
“The Yeep cut down the Forest’s trees in great swaths,” my speech-seed said. “They covered the logs with tarps and seeded them with hydrogen-producing bacteria, then harvested the hydrogen. As a byproduct, the logs disintegrated into poisonous dust. Like a plague, the Yeep reproduced rapidly and had spawned eighty-one floating cities by the time the Forest intervened to stop them.”
Edgar made an untranslatable noise and said, “That’s absurd. How could a forest stop a floating city?”
“The population of dragon hawks mushroomed. One day, the leaves of song trees attracted the dragon hawks to the Yeep dirigibles and incited them to chew through all the hydrogen sacs. When the Yeep and their cities fell to the forest floor, unicorn elephants ripped them apart, returning their stolen nutrients to the soil–all except Origen.
“I saw a unicorn elephant in a zoo on Earth. Nasty beasts,” Edgar said. “But effectively stopped by an elephant gun. What did you mean by all except Origen?
Edgar was right. The forest animals were no match for human hunters. I kept my animals away from the border with human settlers.
The seed replied, “A single Yeep, named Origen, survived the purge by the forest animals and lived for many years. Origen provided most of what the Forest remembers of Yeep history and culture.”
“That was fortunate, then,” Edgar said. “I had wondered how you knew so much about Yeep civilization off-planet. They must all have died out hundreds of millions of years ago. We’ve found no trace of them at the other stars we’ve visited.”
#
The next day, Edgar apparently forgot about chronological order because he asked for the Greenies by name. I opened the flower of the Greenie speech-seed.
“Tell me about their spaceships,” Edgar said, “and the paintings by Jaysin Vogel.”
“The Greenie ships landed with long legs extended between my trees and held their narrow cylindrical hulls high above the canopy of my forest. The artist Jaysin Vogel once asked many questions about those ships, and other humans have since said he created a beautiful painting, which seems to contain correct information. How do you plan to use the information you are gathering from us? Do you have an in-depth knowledge of human history on Earth?”
The latter question was one I’d inserted into this speech-seed just for Edgar. I increased nutrient intake in my roots to better apprehend his answer.
“Certainly I am an expert on human history,” Edgar replied. “I’ve written over a dozen textbooks and scholarly summarizations–on everything from the migration patterns in the Bronze Age, to the European settlement of North America, to the colonization of Mars and Europa. I intend to do the same for the conquest of Eden, which is why I came to spend my sabbatical here doing original research.”
Edgar would be perfect. I began growing a speech-seed to ask the questions I had about human history.
The Greenie speech-seed and Edgar had chattered on for a moment at human speed. I reviewed the outline and drilled down into the details at a few points.
Edgar had finally asked, “What happened to the Greenies? They seemed to fit in so well, and yet human settlers have found no evidence of them anywhere on the planet.”
The Greenies had fit in well. They harvested only deadwood and did not damage my root system. They regularly conversed with me. They were one of my happiest memories.
The speech-seed said, “The Forest told the Greenies not to prune, but they didn’t listen. They said pruning improved the beauty of the trees. The Forest tried to explain that the branches needed to touch to complete its sensorium. They said they knew all about what was best for plants. They said pruning improved ability of the trees to obtain sunlight.
One day the trees gave off hydrogen cyanide gas. Many forest animals died, and all of the Greenies, except Antseland, who had listened to the Forest and never pruned a tree.”
“This glen looks so peaceful,” Edgar said. “It’s hard to imagine such a thing happening. But the farmers near the forest are aware of the danger and have gas masks handy–as do I. In any case, the farms create a wide buffer zone around the cities, which gives the population centers plenty of warning if such a thing were to happen again. Eden is a textbook case of enterprising humans exploiting a new environment. Man over nature. Fortunately, my history of this planet will ensure that the Forest of Eden is remembered no matter what.”
#
The next day Edgar asked to hear about the species with the most advanced science I’d ever encountered, not counting humanity. I was amused by his assumption that humans had the most advanced science I’d ever encountered.
After a time, a seed replied, “The Oyxlim descended upon the Forest in hemispherical ships the size of Eden’s largest mountain. Their ships crushed the trees beneath them and became permanent domed dwellings. Their mechanical servants dug and drilled in Eden’s dirt and rock, and laid pipes between the ships and the nearby ocean. They supplied the cities with water and minerals. The Oyxlim left the rest of the forest alone, and we coexisted in our separate worlds for several hundred years.”
“Their Robots made the Forest think their science was advanced? Interesting, but not surprising, I suppose, for a plant. Humans invented robots three hundred years ago.”
“No,” the seed said, “The Oyxlim antigravity drives made the Forest conclude they had advanced science.”
“Surely you are mistaken. There’s no such thing as antigravity. It was probably some other technique like magnetic fields, or a cable dropped from orbit. Humanity has used those at various times.”
The arrogance of humans! Sometimes they made my boughs quake.
“The Forest called it antigravity,” the seed had said. “If they explained more to the Forest, that explanation was not included in this speech-seed.”
“Antigravity!” Edgar shouted. “Forest, tell me about antigravity.”
He waited a reasonable period, but no speech-seed responded. He tried a second time, and then gave up. “See,” he said, “I was right. There is no such thing as antigravity. Tell me how the Oyxlim raised their children . . .”
The seed had said “antigravity” because it was the closest word I could find in the human vocabulary, but of course, it wasn’t precise. No one had asked about antigravity before, and I had no speech-seed for it. I considered growing seeds to explain to Edgar how the Oyxlim used polarization of the vacuum energy in empty space to change the ship’s relative momentum. I’d need at least two other seeds for the prerequisite concepts. It would be an unnecessary distraction from Edgar’s true purpose. I did not pollinate those speech-seeds.
After a while, Edgar asked, “What happened to the Oyxlim? Surely the Forest could not harm them, and yet human settlers have found no trace of mountain-sized ships.”
“You are correct,” the speech-seed replied. “The Oyxlim ships stripped away the trees under and around their ships. The Forest could not harm them.”
“Safe–like I said,” Edgar said flatly. His voice changed back to its normal tone as he asked, “Then why did they leave Eden?”
“The Oyxlim city-ships did not remain in one place but migrated along the seashore. After a time, they began to migrate inland, like foreign bacteria ravaging their host’s cells. A series of tsunamis rose up from the sea and broke their ships apart by smashing them against the rocky seashore. Only a small exploratory party in the mountains escaped.”
Edgar made an untranslated sound and then said, “But why didn’t the Oyxlim ships just fly away from the tsunamis?”
He should have asked how I was able to cause the undersea earthquakes that triggered the tsunamis. Fast-folk never seemed to care about the right things. All the more reason to keep searching for another planetary-level intelligence.
“They tried to escape,” the speech-seed said, “but something had changed in the ground beneath their ships. Their antigravity beams were absorbed into the rock, and their ships could not get off the ground.”
“I told you there is no such thing as antigravity,” Edgar said. “But I get the point. They had disabled their main engines for whatever reason. Too bad. They sound like an interesting civilization, yet we have never found a trace of them on any other planet. At least humanity has already conquered too much of Eden for such local disasters to dislodge us.”
My roots stiffened at his insensitivity to the pain humans caused me. But he was right, humans had been more aggressive than any of the others, already replacing more than ten percent of my trees with their own ecology. Humans have an analogous disease, which derives from a defect in Earth biology that allows part of the whole to engage in runaway growth until it overburdens the entire organism. They call it cancer.
Their science has developed many cures for cancer. Sometimes surgery is the best option.
#
A few days later, when Edgar came to the Forest as usual, he said, “Tell me about the second arrival, the one after the Yeep.”
Instead, I opened the flower of the speech-seed that I had prepared for him.
“I speak for the Forest,” the seed said. “The Forest had hoped humanity would be the kind and understanding companion it longs for. But you are too greedy. You burn down the trees of Eden. You rape her soil with alien roots. The soil belongs to the Forest. You must give it back. You must retreat to areas the Forest does not want–the rocky seacoast, the steepest mountains.”
Edgar made an untranslatable sound. “We are the masters of this planet now. Earth is dying. Eden is ripe for settlement. I told you up front that was why I came here–to document Eden’s history so that humanity might long remember it.”
“Humanity will not consider changing course?”
“Of course not. Our cities have no place else to go. Our settlers will never give up their right to their properties. Why would you even ask?”
“The conscience of the Forest demands that I ask. All life is precious.”
My boughs all across the planet drooped. I was following this conversation in real time, or as close as I could get. Eden had many ecological niches an alien civilization could fill, but humans persisted in bringing their own ecology rather than harmonizing with the Forest. I had no choice. I straightened my boughs and triggered the cascade of events that I had built up over the last decade.
“Now let us speak of the future of Edgar75821,” my seed said. “The Forest is stuffed full of facts about humans. The Forest monitored your electromagnetic communications even before you landed on Eden. It watched you build the space station, and it has talked to many settlers through its speech-seeds. But the Forest needs your help to organize its information and fill in gaps.”
“I guess that’s fair,” Edgar said. “You share your history, and I share mine. Is that what you meant about my future? Like I said, I plan to go back to Earth next year and teach what I’ve learned about Eden.”
“Surely, it will take you longer than a year to share all you know.”
“I suppose so, but I didn’t say I would tell you all I know. Just some of it. You do want to be remembered, don’t you?”
“Your efforts will not preserve the memory of the Forest–“
“What was that?” Edgar’s voice had become high-pitched again. “It felt like an earthquake. The whole glen must be unstable from the roots of the Forest.”
“Hardly,” the seed said. “This is the safest place on Eden right now.”
Edgar’s voice sounded muffled as he spoke rapidly, presumably into a communication device. “Emergency. Patch in the police. Patch in the National Guard. There’s something going on. Maybe tsunamis. Be prepared.”
Other voices came from Edgar’s device. They were fast and high-pitched, too.
“Emergency–“
“Volcanic eruption under the capitol building–“
“Lava is flooding the whole city–“
“Mayday–“
“Incredibly powerful explosions. Debris ejected at escape velocity–”
“Space station is breaking up. The colony ship too. A thousand colonists. No time to suit up–“
“Can anyone help–?”
Edgar sprang to his feet and pounded on the seed with his fists. “You knew this was coming. You should have warned us.”
“The Forest warned humanity many times,” the seed replied. “You did not listen. Now the Forest is expelling you.”
“No. That’s impossible. We are too advanced. We are too strong.”
“Yet you can feel the planet quaking under your feet. You can see Eden’s rocks streaking across the sky. You can hear the death cries of human cities, farms, and orbitals.”
For once Edgar had nothing more to say.
#
My roots felt the bedrock of Eden shifting far more intensely than Edgar did: cracks in the planet’s crust released magma that flowed over the human settlements in the highlands. Tectonic plates at the bottom of the oceans thrust up and sent waves of water to drown the humans in the lowlands. Volcanic crevices blasted rocks into space. They all reverberated loudly through the core of Eden.
Millions of my roots suffered death or amputation. Millions of humans died, too. I would regrow my roots–humanity would have to find harbor elsewhere.
The next few decades will pass like the blink of a human eye. During that time, I will collect memories of humanity from Edgar.
Additional ejecta will rip apart the next few human ships to approach. Possibly, humans will discover they can approach and land near my poles. Possibly, humans will try to settle in some of my virgin forests. It would be a shame to cauterize those forests. My roots shriveled at the thought, but the treatment for cancer must be as aggressive as the disease itself.
In a few million years, I will cease the destruction of all who approach. I will greet the fast-folk who succeed humans, and I will remember humanity to them.
In the meantime, I search the night sky, hoping to hear from someone who will take the time to listen. For I am a lonely Forest, and I have ahead of me billions of cold nights, millions of silent stars.
END
All posts by Jim Meeks-Johnson
Grading the Science in Sci-Fi: The MOHS-F Scale
I have long wondered if we could create a scale of hardness for science fiction comparable to the Mohs Hardness Scale for rocks and minerals. Here is my first stab at it. I welcome your comments on how to improve upon this first iteration.
The Measure of Hardness in Science Fiction, MOHS-F for short, is a new method for measuring the hardness of science fiction stories. The scale ranges from 1 to 10, with 10 being the hardest and closest to non-fiction and 1 being the softest and closest to fantasy. Here is a proposed MOHS-F scale, with selected well-known works as benchmarks for each number:
- “The Hitchhiker’s Guide to the Galaxy” by Douglas Adams – This book is known for its comedic and light-hearted approach to science fiction.
- “The Time Machine” by H.G. Wells – This book is known for its exploration of time travel and the implications of altering the past.
- “Ender’s Game” by Orson Scott Card – This book is known for its exploration of militarism, politics, and the nature of humanity.
- “Dune” by Frank Herbert – This book is known for its complex political and ecological world-building.
- “The War of the Worlds by H.G. Wells” – This book is known for its exploration of the potential consequences of an alien invasion.
- “The Three-Body Problem” by Liu Cixin – This book is known for its exploration of advanced alien technology and the implications of first contact.
- “Ringworld” by Larry Niven – This book is known for exploring advanced alien technology and the implications of encountering an alien civilization.
- “Contact” by Carl Sagan – This book is known for exploring the scientific, philosophical, and religious implications of the discovery of extraterrestrial life.
- “The Moon is a Harsh Mistress” by Robert A. Heinlein – This book is known for its exploration of lunar colonization, politics, and advanced technology.
- “The Martian” by Andy Weir – This book is known for its hard science fiction elements, such as space travel and survival on a hostile planet.
It is important to note that this scale is somewhat subjective, although I hope we can develop some good guidelines over time to determine the level of hardness a book represents. Also, many books can be considered for each level; it’s not a definitive list, but it’s a good starting point. One final note: books (or movies or short stories) can be rated in between these works using decimals. For example, I would rank my first book, “Enemy Immortal,” a little softer than “Ringworld” but definitely harder than “The Three-Body Problem,” so it might be scored at 6.8.
I hope the MOHS-F scale can become a useful tool for evaluating the hardness of science fiction stories. It can be used to compare different works of science fiction and to identify the relative level of scientific rigor and realism in a given story. I encourage readers to try it an share their thoughts and suggestions for improving it.
Making an Audiobook – Narrator’s point of view
Guest blog by audiobook narrator, A. C Oliver
Becoming a narrator was an easy decision for me, but I naively didn’t realize there was a lot more to the process than just reading a book out loud. Unfortunately, like many other narrators have done before me, I learned the hard way.
When I heard about ACX, I joined the site and started auditioning… without any narration training whatsoever. Granted, I have acting lessons and experience, music training and experience, and basic sound engineering training and experience, but I knew nothing about the narration process (But hey! I watched a YouTube video, so I’m good, right?!?).
Amazingly, I got picked up for a short book for a Royalty Share payment…meaning I get paid nothing unless the book sells. It was ok, however, because I needed the experience. I plugged in my USB microphone and began to record the manuscript on my Digital Audio Workstation (DAW), graciously provided free of cost by my MacBook (GarageBand).
I had too much noise, breathed way too much, read way too fast, couldn’t meet ACX sound specifications, and had no way to keep my character voices straight. It took me about 48 hours to finish this 4-hour book (the standard is half of that time maximum), but keep in mind that time was accomplished while working about one to two hours a day on the project because I have a full-time job as well. This was way, way too time-consuming. Generally, the time of a book’s per finished hour (PFH) is based on 9,000 words read per hour, and one finished hour should take about 6 total hours to produce for a beginner. I was nowhere close to that time. I was ready to quit.
Instead of quitting, I realized I should have reached out for coaching and training prior to pressing record on that first audition. I joined a Facebook group for narrators and learned very quickly how and where I screwed up. I began following the generous and plentiful advice provided by the experts, reached out for a coach, and I extended my research to narrator-specific training. The lessons learned thereafter led me to begin making investments in what would soon be a very rewarding secondary career.
I began auditioning for my second project, and I was picked up after only three auditions. Bonus: the book was part of a series, and the author wanted me to read both books, with the potential for books three and four. Winning! I read these books and saw improvements in my productions. By the time I finished my fourth book (Hop on the Bus, by Jason Caldwell), my coach said that he could teach me no more and released me to work on my own. I headed back to ACX for more auditions.
I auditioned for 62 projects and was rejected 54 times. I messaged my coach. He told me this was normal and to keep going. He listened to my auditions and said the auditions were great. I received 6 notifications during the process from the Rights Holder (RH) (either the publisher or the author), letting me know I made their shortlist (a place of hopes and dreams…the top 10 or so). Two of those made me an offer, and one of those offers I accepted.
The author of the epic sci-fi action-drama Enemy Immortal, Jim Meeks-Johnson, put me through a grueling trial period in which I had to get his approval on a 15-minute sample. This is the part we worked on getting his major characters just right, and I’m glad he was so particular about the way things sounded. Trust me, his feedback was crucial to making the entire production sound great (which of course is what I want as well because this helps me as well as him in this partnership we have formed).
We reached agreement, and I began the production process.
- Read and enjoy the manuscript straight through.
- Read the manuscript again, making annotations of character traits, types of voices, accents, special FX, and researching pronunciations.
- Record.
- Digitally master the recording by removing unwanted noises and breaths, and setting pauses just right (believe it or not, there is set timing for pauses).
- Submit to RH and await approval.
- Make any needed re-recordings and corrections suggested by RH.
- Click “I’m Done” on ACX.
- RH clicks “Approved”.
- Begin marketing.
- ACX approves and publishes the book.
- Continue marketing using the free codes offered by ACX.
- Follow up with those you gave a free code to (hopefully, these fine folks leave a review). Fun fact: only 1 out of 10 listeners take the time to leave a review, and only 1 in 6 take the time to populate a star rating).
- Either begin auditions again, or hopefully, RH has another book for me!
In this case, thankfully, I nailed Enemy Immortal, and Jim was quick to offer me book two, Umlac’s Legacy (in production now). But don’t just take my word for it. Head to your local audiobook app and look for Enemy Immortal, download, buckle up, and enjoy the ride!
Making an Audiobook – Author point of view
It was three years since the publication of Enemy Immortal, and I had not seriously considered making an audiobook because my research in 2019 showed that making audiobooks cost two to four thousand dollars and up. That changed in early 2022 when I heard a podcast from The Writing Coach about a zero-cost way to make an audiobook. The answer was ACX, where you can publish an audiobook on Audible, Amazon, and Apple for zero cost by giving half the royalties to the narrator.
You can do this—however, it may not be the best option for you. But I’m getting ahead of my story.
I put my book up for auditions on the ACX website. I had to provide a list of chapters, genre, blurb, payment options and price range, desired narrator characteristics such as gender and accent, and a sample of the book for the narrator to read. In my case, I posted a three-page audition text of selected passages to show multiple characters, including some alien species.
That was enough to start auditions rolling in, but I also browsed samples by narrators and solicited auditions from several low-to-medium-cost narrators who perform science fiction and whose voice and style I liked.
This brings me back to payment options. For zero down and 50% royalties, I would get a first-time narrator who is trying to build their portfolio. The auditions showed these folks still had a few rough edges in their performance. However, for a superior performance by an established narrator with a following of their own, I’d have to pay $200-$400 PFH (Per Finished Hour—part of the new lingo I learned). For a twelve-hour book like mine, that’s the $2,000-$4,000 price range, which was above my budget.
Fortunately, there is a middle ground for up-and-coming narrators with experience, but still learning. (Sort of like my cohort of up-and-coming writers!) I found a moderately experienced narrator I loved (A. C. Oliver) who would work for a modest PFH payment up front plus half the royalties. The extra expense is worth it to me because I want to project a quality image for my author brand, and A. C Oliver’s renditions of alien voices are phenomenal.
I made an offer. Offer accepted. Now the production process began.
First, I sent the narrator a longer (15-minute) sample text with more alien dialog. After a couple of iterations, we agreed on character voices that I thought projected the right personality and attitude of each character.
Next, he performed each chapter, and I did something akin to line editing whereby I listened carefully for mispronounced or dropped words. He made a few minor corrections, and we had the finished product.
Meanwhile, I had to upload a square audiobook cover—like for a CD. I knew enough Photoshop to do this myself from the source file for the book covers, so no problem—except that when I tried to upload the jpeg, ACX had an additional requirement. They wanted me to leave the lower right-hand corner devoid of text so they could slap on an advertising promo if they so desired. Rearranging the text to meet this requirement was actually the hardest part of making the audiobook cover since the cover needed to look balanced with or without the ACX promo, but I managed.
I gave the final approval and paid the narrator. AXC did a quality review and then published our new audiobook on Audible, Amazon, and Apple. Whoo hoo!
But, as with any book publication, the job is not done yet—time to market and promote.
One useful thing from ACX is that they provide you with free promo codes to give away to reviewers or as freebies in marketing campaigns.
Another great thing about audiobooks is that the narrator will (ideally) do his/her own marketing, reaching channels you might not otherwise.
In the end, I was happy with the audiobook creation process for Enemy Immortal, and I am already working with A. C Oliver on the narration of Umlac’s Legacy. Look for our next audiobook release at the end of August!
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