Peruse the shelves at any bookstore and one section sure to be well stocked is for books on writing. There are notable titles, from rule books such as Elements of Style to the inspirational and craft-oriented Naming the World, that are well suited to equipping writers with the tools to put their words on a page as effectively as possible.
There are other types of writing books, though, that pull back the curtain of what it is like to write professionally. Stephen King’s On Writing: A Memoir of the Craft is one that stands out, and so is Ray Bradbury’s Zen in the Art of Writing endure as being entertaining and useful.
Add to the list two more worthy reads. These recent autobiographical books hew to the “show, don’t tell” adage and reveal the stories behind their authors’ lives: Steven Pressfield’s The Knowledge and John le Carré’s The Pigeon Tunnel. While these books are rooted in the past, their value to future-minded writers is in understanding the importance of personal stories in creating inspiring characters and credible settings perched on the knife edge between fact and fiction. This is perhaps even more important in tales that can be easily overrun with technology and fantasy.
Read more at the Art of the Future Project website.
The Atlantic Council’s Art of Future Warfare project has so far used short stories to explore how wars start, how they might be fought in space and what a conflict among the great powers could look like. But what comes next when the fighting ceases? For combatants and warzone civilians alike, conflict during the next decades will have elements that would be familiar to Greek hoplites, like the essence of tactical deception or being proficient in close-quarters combat. Yet there will be elements that from today’s perspective will stretch the boundaries of official imagination in preparing for how closer man-machine interface, latent cyber weapons and bio-enhancement to soldiers and weaponry alike will change war.
In partnership with veterans writing group Words After War, the Art of Future Warfare project seeks unpublished short stories exploring post-conflict issues from a future war in the 2040s for its latest creative challenge. The winner will receive a $500 honorarium.
Enter at ArtofFutureWarfare.org.
Comic books. Think tanks. A match made in …
Check out the latest contest from the Art of Future Warfare project at the Atlantic Council that will explore the future of urban combat.
The Atlantic Council Art of Future Warfare project’s latest crowd-sourced contest seeks original graphic novel scenes and panels, illustrations and images depicting urban conflict and combat in one of the world’s growing number of megacities during the 2040s and 2050s.
Max Brooks, the best-selling author of World War Z: An Oral History of the Zombie War and the Harlem Hellfighters graphic novel, will help select the contest winner.
Current Challenge | The Art of Future Warfare.
Nobody else is awake in the house. Why would they be?
I’d say this is my time, but it’s really not. The hours between five and seven in the morning belong to others: The fictional Marines, soldiers, sailors and security contractors of the future whom I struggle to give the lives they deserve; the people counting on my professional writing in the “real world” of defense and security analysis; my co-writer on the biggest professional gambit I’ve ever undertaken: a novel about the next world war.
Before I am fully awake, the keyboard keys rattle and shake in their metal bed beneath my cold fingertips. Whether those sentences that come out in three-to-four-second bursts are any good or not is less important. The most important part of this moment is the act of sitting down in the dark to get to work. Each character, word and paragraph is an incremental victory in a larger set-piece struggle that occurs every time I open my laptop before dawn.
If it’s a good day, there are creative breakthroughs. Big ones. It’s predictable, because for me the earliest hours of the day are almost always the most creative. Those breakthroughs come from the routine and practiced approach that respects an artistic tradition of early-morning productivity.
Read more at War On The Rocks.
At least we all wore ties.
For writers and entertainment producers, such formality is a rare thing. But at a recent Atlantic Council event on art and the future of warfare, the seriousness of the subject warranted it. Joining award-winning science fiction author David Brin and Dave Anthony, producer of the blockbuster video game Call of Duty: Black Ops 2, our intent was to share how we viewed the future of warfare and what the creative cadre could do to help sharpen the thinking of creating alternative futures. One of the best steps is to take a closely held assumption and turn it on its head. Doing so should be both uncomfortable and exciting, and made easier by envisioning a world 30 years out, rather than 10 years.
As the 21st Century so far proved again and again, surprise is no longer a surprise. Moreover, how many times has somebody said out loud while reading a news headline, “You can’t make this up!” That is our future, and it is one that will require greater discipline, creativity and agility from the national security community. It is a concept the Atlantic Council takes seriously through its Strategic Foresight initiative, and it is worth paying close attention to.
Watch the Webcast of the Atlantic Council event.
One of the abiding questions faced by the Defense Department and US defense industry is how to keep its edge in a fast-paced world where cutting edge consumer-oriented technology, much of it applicable in conflict contexts, gets steadily cheaper and more accessible. Meanwhile, the premier military platforms American armed forces are counting on in the 21st Century are becoming unaffordable and scarcer. Even attempts at buying relatively inexpensive ships such as the Littoral Combat Ship, or adopting unprecedented economies of scale as in the Joint Strike Fighter program, are not showing signs those bets will pay off as originally hoped.
There is another way to approach the problem than a singular focus on productivity, according to retired Vice Chairman of the Joint Chiefs General James Cartwright. The industrial solution to cost-cutting is already at diminishing returns, said Cartwright, and the major savings required will not come from mere tweaks to business-as-usual weapons buying. Something bolder is needed.
“The platform is too slow to respond to a changing world,” he said. “We’ve got to figure out not how to compete with computers, but how man-machine [interface] and computational power start to come together in a way that gives you huge leverage,” said Cartwright.
Read more at the Atlantic Council’s Defense Industrialist blog.