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Architect of Worlds – Step Fifteen: Determine Orbital Period

Architect of Worlds – Step Fifteen: Determine Orbital Period

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So, for the first time in over two years, here is some new draft material from the Architect of Worlds project. First, some of the introductory text from the new section of the draft, then the first step in the next piece of the world design sequence.

The plan, for now, is to post these draft sections here, and post links to these blog entries from my Patreon page. None of this material will be presented as a charged update for my patrons yet. In fact, there may be no charged release in September, since this project is probably going to be the bulk of my creative work for the next few weeks. At most, I may post a new piece of short fiction as a free update sometime this month.

Designing Planetary Surface Conditions

Now that a planetary system has been laid out – the number of planets, their arrangement, their overall type, their number and arrangement of moons, all the items covered in Steps Nine through Fourteen – it’s possible to design the surface conditions for at least some of those many worlds.

In this section, we will determine the surface conditions for small “terrestroid” worlds. In the terms we’ve been using so far, this can be a Leftover Oligarch, a Terrestrial Planet, a Failed Core, or one of the major satellites of any of these. A world is a place where characters in a story might live, or at least a place where they can land, get out of their spacecraft, and explore.

Some of the surface conditions that we can determine in this section include:

  • Orbital period and rotational period, and the lengths of the local day, month, and year.
  • Presence and strength of the local magnetic field.
  • Presence, density, surface pressure, and composition of an atmosphere.
  • Distribution of solid and liquid surface, and the composition of any oceans.
  • Average surface temperature, with estimated daily and seasonal variations.
  • Presence and complexity of native life.

In this section, we will no longer discuss how to “cook the books” to prepare for the appearance of an Earthlike world. If you’ve been following those recommendations in the earlier sections, at least one world in your designed star system should have a chance to resemble Earth. However, we will continue to work through the extended example for Arcadia, focusing on the fourth and fifth planets in that star system.

Step Fifteen: Determine Orbital Period

The orbital period of any object is strictly determined by the total mass of the system and the radius of the object’s orbit. This is one of the earliest results in modern astronomy, dating back to Kepler’s third law of planetary motion (1619).

Procedure

For both major satellites and planets, the orbital period can be determined by evaluating a simple equation.

First Case: Satellites of Planets

To determine the orbital period of a planet’s satellite, evaluate the following:

T\ =(2.77\ \times{10}^{-6})\ \times\sqrt{\frac{D^3}{M_P+M_S}}

Here, T is the orbital period in hours, D is the radius of the satellite’s orbit in kilometers, and MP and MS are the masses of the planet and the satellite, in Earth-masses. If the satellite is a moonlet, assume its mass is negligible compared to its planet and use a value of zero for MS.

Second Case: Planets

To determine the orbital period of a planet, evaluate the following:

T\ =8770\ \times\sqrt{\frac{D^3}{M}}

Here, T is the orbital period in hours, D is the radius of the planet’s orbit in AU, and M is the mass of the primary star in solar masses. Planets usually have negligible mass compared to their primary stars, at least at the degree of precision offered by this equation, and so don’t need to be included in the calculation.

Examples

The primary star in the Arcadia system has a mass of 0.82 solar masses, and the fourth and fifth planet orbit at 0.57 AU and 0.88 AU, respectively. The two planets’ orbital periods are about 4170 hours and 7990 hours. Converting to Earth-years by dividing by 8770, the two planets have orbital periods of 0.475 years and 0.911 years.

Alice has decided to generate more details for the one satellite of Arcadia V. This is a moonlet and so can be assumed to have negligible mass, while the planet itself has a mass of 0.65 Earth-masses. The moonlet’s orbital radius is about five times that of the planet, and Alice sets a value for this radius of 28400 kilometers. The moonlet’s orbital period is about 16.4 hours.

Architect of Worlds: The Next Chunk

Architect of Worlds: The Next Chunk

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While I’m waiting for my consulting editor to have a look at The Curse of Steel, I’ve turned back to a project that I’ve been neglecting for too long: the world-building book Architect of Worlds. Several sections of that book already exist in a rough draft, which can be found at the Architect of Worlds link in the sidebar.

The bulk of the material I’ve already written is a design sequence, permitting the user to set up fictional star systems (or to fill in details for real-world systems). The idea is to let SF writers, game designers, tabletop game referees, and so on design locations for interstellar SF settings, using whatever combination of random chance and deliberate choice they prefer. The emphasis is on “hard SF” realism, as far as the state of exoplanetary astronomy will permit, and no dependencies on any specific tabletop rules system.

So far, the draft system permits one to place stars, planets, and moons, and get gross physical properties (mass, density, surface gravity) and dynamic parameters (orbital radius, eccentricity, and period) for each.

The next slice of the system will involve generating the surface conditions for such bodies, at least for the small “terrestroid” worlds that are likely to provide environments for SF adventure. At this point we’re talking about things like surface temperature (average and variations), atmospheric composition and pressure, the amount and state of water (or other volatiles) on the surface, what kind of native life might be prevalent, and so on.

I’ve been mulling this section over for a few years now, since the science involved is a lot more complicated and more difficult to reduce to a set of game-able abstractions.

When I designed a system like this for GURPS Space Fourth Edition, I made a deliberate design choice to reduce all the possibilities to a specific set of archetypes. That provided some backward compatibility with earlier versions of the GURPS system, and with the older Traveller systems that were an inspiration for both. For this book, though, I want to give the readers as much detail as I can, and let them decide what to use and what to set aside. That complicates the design.

So, a very rough overall outline of what’s going to be involved for a given “world” (that is, a terrestrial planet or moon with some likelihood of a solid surface):

  • The rotation rate of the world (including cases where the world is tide-locked or resonant with a primary). As a sidebar, this gives us quantities for the length of the natural day, month, and year.
  • The blackbody temperature and incidence of stellar wind for the world, based on the properties and distance of its primary star.
  • The strength of the world’s magnetic field, and the consequences for the size and strength of its magnetosphere (if any). If the world is a moon (for example, the satellite of a gas giant planet), then the primary’s magnetic field and magnetosphere may be relevant as well.
  • The world’s initial budget of volatiles – how much in the way of possible liquid or gaseous compounds was the world left with after its process of formation.
  • Atmospheric composition – what volatile compounds are likely to be gaseous at local temperatures, and can the planet hold onto them?
  • Atmospheric mass and pressure.
  • Hydrospheric composition – what volatile compounds are likely to be liquid or solid instead?
  • Hydrospheric mass and prevalence – how much of the world’s surface will be covered by what kinds of liquid or solid stuff?
  • Average surface temperature.
  • Estimated variations in surface temperature with the position on the surface, time of day, and so on.
  • Presence and complexity of native life – which may require a loop-back to adjust characteristics of the atmosphere, hydrosphere, and surface temperature.

All that’s the minimum for what the next section of the book needs to cover. There are a lot of dependencies back and forth here, which is one reason why I’ve struggled for so long to build this piece. I’m beginning to think I see how to design something workable, though. At least enough to get started. More over the next few weeks.

Editing the Novel

Editing the Novel

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My plans regarding The Curse of Steel have evolved with remarkable speed over the past few days.

My novel-writing process seems to boil down to the following:

  • A long period of chaotic brainstorming, tinkering, and world-building work, in which the overall concept of the story can change many times. This stage can take several years and is likely to produce a lot of abortive partial drafts. Most of the novels I’ve worked on have never gotten past this point.
  • Eventually, the concept stabilizes in my head enough that I can produce the first complete draft of a novel. This has happened exactly three times in my entire career as a writer.
  • The first draft tells a complete story, but it probably has all kinds of plot holes, undeveloped characters, and vagueness of setting in it. After all, I was making it up as I went along – I seem to be much more a “pantser” than a “planner.” So now I go back and write a second complete draft, one that rounds out the story and patches most of those holes.

About eight years ago, my first mature original novel reached that second-draft stage. That was The Master’s Oath, a tale of time travel, alternate histories, and Hermetic magic that will absolutely never be seen again outside my dead files. It wasn’t until I was finished with that one that I had a “What in God’s name was I thinking” moment and realized the thing was utterly unpublishable. Decently written, not a bad adventure story, but bound to mortally offend big chunks of my audience. Lesson learned.

Now, as of last week, The Curse of Steel has reached the second draft stage. Lo, the creator looked upon his work, and he was pleased.

Now what?

Well, to be honest, my workflow doesn’t exist yet past this point. The Curse of Steel is the first original novel I’ve ever written that I honestly believe is publishable.

I spent a couple of weeks putting together a cover image for the book. While I worked on that, I thought about what the next steps should be. Should I just publish the second draft as is, and hope for the best?

The more I thought about that, the less comfortable I was with the idea.

I know my prose style is reasonably clean. When I was a freelance writer, more than one editor remarked on that. As an editor, I’ve seen enough prose from other people to be able to compare.

Meanwhile, I’ve had a few people reading my drafts, and they’ve been encouraging about the story.

On the other hand, a novel is a very different beast from a non-fiction book, there are necessary skills I may not have developed in full, and none of my early readers are experienced editors. I don’t have a decent writer’s circle to help me hammer my drafts into submission. What if I’m missing something?

No, scratch that, I know I’m missing something. Maybe two or three novels from now, I’ll have a better idea of what to do at this point. Right now I’m still not sure.

The obvious solution would be to hire an editor.

Of course, a skilled and reliable editor costs money. Not to mention, there are a lot of people out there ready to take advantage of would-be authors, offering cheap book-preparation services for top dollar without any guarantee of results. Ever since deciding to pursue self-publishing, I’ve been very cautious about laying out cash for such services.

On the gripping hand, I can afford to spend some money on the experiment.

So over the past week or so, I’ve done some research and developed two lines of attack.

One line is to search for software that can help a novelist pick nits in his prose style. Sure, everything has a spelling-and-grammar checker these days, but strong prose writing needs more than that. I need to be able to ferret out filler words, excess adverbs, phrases that I repeat too often, that kind of thing. I could do that by eye, but the process would be slow and painful, and I would be likely to miss the weaknesses in my own style.

Enter AutoCrit.

Autocrit is billed as a “self-editing platform,” and it certainly works as such. It’s essentially a web-based word processor, but it’s specifically designed to carry out a wide variety of specialized text searches and basic statistical analyses. It compares your text to a huge corpus from published novels, helping you find and carve out the flabby bits of your prose.

Using AutoCrit over the past three days, I’ve been able to rework The Curse of Steel with surprising speed and efficiency. Already I’ve cut a little over 2000 words of material, mostly filler words and repetitive phrases that didn’t add to the sense of each passage.

It’s been quite the eye-opener. Every writer needs something to rub his nose in the shortcomings of his prose style, or he isn’t likely to improve. Lacking an editor or a ruthless critique circle, something like this may be the next best thing.

AutoCrit isn’t ideal. It’s web-based, which I don’t care for. It chokes if you hand it more than 50,000 words of text at once, which means I have to edit my novel in chunks. It doesn’t handle special characters gracefully, so all my conlang words that have accents and umlauts in them get snarled up. Its import from Word, and its export back to Word, are both a little kludgy.

Still, I suspect I’ll have a third complete draft, with much tighter prose, by later this week.

The second line of attack is that I have, indeed, hired an editor. This involved a fair amount of searching through the Web, looking for editorial networks that are competent, reliable, and not outrageously expensive. The SFWA site was fairly helpful here – they don’t explicitly recommend editors, but they have an excellent checklist of things to consider in the process.

The editor I ended up with is being hired specifically to do a manuscript assessment, not a complete edit of the novel. This will set me back a few hundred dollars, and it may not end up being part of my usual workflow in the future. Still, the experiment should be worthwhile. I’m hoping he’ll be able to provide actionable feedback that I can use while producing a final complete draft – the last step in my development process before the book goes out the door.

At the moment, the plan looks like this:

  1. Finish working through The Curse of Steel with AutoCrit (to be completed by about 21 or 22 August).
  2. Wait for my editor to complete his review of the draft (probably about the end of September).
  3. Produce the final release draft (to be completed by late October).
  4. Publish the book!

So it looks as if The Curse of Steel will finally hit the virtual shelves by Halloween. There will be much rejoicing . . . and then I’ll get started on The Sunlit Lands, the second book in the series. One assumes that one won’t take nearly as long to reach fruition.

In other news, that four- or five-week gap in September, while I wait for my editor to finish his task? I think I may sit down and work on Architect of Worlds for a while. No promises . . . but I think my research, and the subconscious work in the back of my head, have reached the point where I may be able to develop a rough draft of the third chunk of the world design sequence. We’ll see how things go.

The Curse of Steel: Second Draft Finished!

The Curse of Steel: Second Draft Finished!

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With the cover art ready to go, I’ve spent the last couple of weeks focusing on day-job work (writing and editing course material that’s going to go online) and working on the second-draft edits for The Curse of Steel.

That latter task has paid off. As of this afternoon, the novel is complete in the second draft.

What this means for the project is that I’m about to do one last editing pass, and then prepare the manuscript for release as a self-published novel. If all goes well, the novel will be released sometime in September. The one wild card is that I’m considering submitting the current draft for a manuscript assessment from a reputable freelance editor, to help me organize and direct that last editing pass. If I decide to go with that plan, that might delay the release a bit, depending on how long the assessment takes and how deep an edit it suggests I make.

In the meantime, though, the last chunk of the second-draft manuscript will be released to my patrons within a few days as the charged reward for August. All of my patrons, from the $1 level up, will get a copy of the last eight chapters of the draft (about 24,800 words). When the novel itself is released, all of my patrons from the $2 level up will get a free copy.

I’ll probably also release another piece of short fiction later this month, for my patrons and in the free-fiction section of this blog. More about that as we get closer to the end of the month.

Book Cover Finished!

Book Cover Finished!

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Whew. After over a week of work, a pile of tinkering and experimentation, at least a dozen new digital-art techniques mastered, and a lot of frustrated beard-tugging . . . I’ve finally put together cover art for The Curse of Steel.

My self-imposed deadline was the end of the month, and it’s now about two hours away from local midnight on 31 July, so I’m barely under the wire. Even so, I’m very happy with the results.

Now to finish revising the draft and get the book ready for release. It’s starting to look like a mid-September release is going to work.

Angry Krava

Angry Krava

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Further progress toward an image I can build into a book cover for The Curse of Steel. Lots of small posing and rendering techniques acquired for this one: creating a floor with a plane primitive and a materials shader, mixing upper-body and lower-body poses, and so on.

I think I may be getting within striking distance of an image I can use.

Star System Generation: A Neat Automated Tool

Star System Generation: A Neat Automated Tool

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Today I came across a neat example of automated star-system generation, based on the design sequence I wrote for GURPS Space, Fourth Edition back in the day.

It looks like a robust code base, supporting a web-based interface. You can generate star systems at random, possibly forcing a few parameters (existence of a garden world, position in an open cluster, and so on). You can pick from several naming schemes for the resulting planets.

The output includes a neat animated map of the system, and hierarchically tabulated information for randomly generated stars, planets, and moons. All in all, it looks very slick, and it seems to reflect the original game rules pretty accurately.

The source code for the project can be found at Jan Sandberg’s GitHub repository. The redditor Myrion_Phoenix hosts an instance of the application on his website as well.

I’ve mentioned my own more recent work on Architect of Worlds – it would be neat to see a similar automated version of that once it’s ready for release. In any case, this application looks very useful for folks who are running hard-SF games, whether using GURPS Space or something similar.

Drothan the Silent

Drothan the Silent

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Here’s a first image (well, aside from sketches and scraps) of a second character from The Curse of Steel. This is Drothan the Silent, younger son of a clan chieftain of the Tremara people, and eventually Krava’s primary love interest. Not that the two of them are going to have an easy time of it, getting their relationship started.

As with the images I’ve been producing of Krava, this one started with me selecting a Daz Studio character model and tweaking its parameters – in this case, scaling the character model up by about 8% and ratcheting up the “bodybuilder” settings to get a guy who’s big and muscular. The selection of hair and clothing went a lot faster this time since I already had some of the assets I wanted in my personal catalog. I seem to be climbing the learning curve with respect to using Daz Studio effectively.

At this point, I think I’m just about ready to start setting up the render that’s going to provide the cover image for the novel. A few more days of work and this part of the project will be finished.

Krava in Cloth Tunic II

Krava in Cloth Tunic II

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First experiment with altering the color and textures of an existing Daz Studio model, using Photoshop. I’d say it was entirely successful and surprisingly easy to boot. Turning Krava’s tunic forest green took maybe fifteen minutes of work, once I reminded myself how to apply the appropriate editing tools.

Also added a few accessories – bracers and a bit of jewelry. I have to say, this portrayal of Krava is starting to grow on me.

A little more work to produce a sword that matches the one in the novel, and then I’m going to start working on a model for another character, Krava’s long-term love interest. Hopefully, that process will go smoothly, and then it will be on to a combined render that can form the basis for the book cover.