I have been looking for a long time for this kind of service, mainly because I wanted to monitor and persist stuff for my blog. Firebase is all of that and more and, with a free plan of 1GB, it's pretty awesome. However, as it is a no SQL database and as it can be accessed via Javascript, it may be a bit difficult to get it at first. In this post I will be talking about how to use Firebase as a traditional database using their Javascript library.

So, first off go to the main website and signup with Google. Once you do, you get a page with a 5 minute tutorial, quickstarts, examples, API docs... but you want the ultra-quick start! Copy pasted working code! So click on the Manage App button.

Take note of the URL where you are redirected. It is the one used for all data usage as well. Ok, quick test code:
var testRef = new Firebase('https://*******.firebaseio.com/test');
testRef.push({
val1: "any object you like",
val2: 1,
val3: "as long as it is not undefined or some complex type like a Date object",
val4: "think of it as JSON"
});
What this does is take that object there and save it in your database, in the "test" container. Let's say it's like a table. You can also save objects directly in the root, but I don't recommend it, as the path of the object is the only one telling you what type of object it is.

Now, in order to read inserted objects, you use events. It's a sort of reactive way of doing things that might be a little unfamiliar. For example, when you run the following piece of code, you will get after you connect all the objects you ever inserted into "test".
var testRef = new Firebase('https://*******.firebaseio.com/test');
testRef.on('child_added', function(snapshot) {
var obj = snapshot.val();
handle(obj); //do what you want with the object
});

Note that you can use either child_added or value, as the retrieve event. While 'child_added' is fired on each retrieved object, 'value' returns one snapshot containing all data items, then proceeds to fire on each added item with full snapshots. Beware!, that means if you have a million items and you do a value query, you get all of them (or at least attempt to, I think there are limits), then on the next added item you get a million and one. If you use .limitToLast(50), for example, you will get the last 50 items, then when a new one is added, you get another 50 item snapshot. In my mind, 'value' is to be used with .once(), while 'child_added' with .on(). More details in my Queries post

Just by using that, you have created a way to insert and read values from the database. Of course, you don't want to leave your database unprotected. Anyone could read or change your data this way. You need some sort of authentication. For that go to the left and click on Login & Auth, then you go to Email & Password and you configure what are the users to log in to your application. Notice that every user has a UID defined. Here is the code to use to authenticate:
var testRef = new Firebase('https://*******.firebaseio.com/test');
testRef.authWithPassword({
email : "some@email.com",
password : "password"
}, function(error, authData) {
if (error) {
console.log("Login Failed!", error);
} else {
console.log("Authenticated successfully with payload:", authData);
}
});
There is an extra step you want to take, secure your database so that it can only be accessed by logged users and for that you have to go to Security & Rules. A very simple structure to use is this:
{
"rules": {
"test": {
".read": false,
".write": false,
"$uid": {
// grants write access to the owner of this user account whose uid must exactly match the key ($uid)
".write": "auth !== null && auth.uid === $uid",
// grants read access to any user who is logged in with an email and password
".read": "auth !== null && auth.provider === 'password'"
}
}
}
}
This means that:
  1. It is forbidden to write to test directly, or to read from it
  2. It is allowed to write to test/uid (remember the user UID when you created the email/password pair) only by the user with the same uid
  3. It is allowed to read from test/uid, as long as you are authenticated in any way

Gotcha! This rule list allows you to read and write whatever you want on the root itself. Anyone could just waltz on your URL and fill your database with crap, just not in the "test" path. More than that, they can just listen to the root and get EVERYTHING that you write in. So the correct rule set is this:
{
"rules": {
".read": false,
".write": false,
"test": {
".read": false,
".write": false,
"$uid": {
// grants write access to the owner of this user account whose uid must exactly match the key ($uid)
".write": "auth !== null && auth.uid === $uid",
// grants read access to any user who is logged in with an email and password
".read": "auth !== null && auth.provider === 'password'"
}
}
}
}

In this particular case, in order to get to the path /test/$uid you can use the .child() function, like this: testRef.child(authData.uid).push(...), where authData is the object you retrieve from the authentication method and that contains your logged user's UID.

The rule system is easy to understand: use ".read"/".write" and a Javascript expression to allow or deny that operation, then add children paths and do the same. There are a lot more things you could learn about the way to authenticate: one can authenticate with Google, Twitter, Facebook, or even with custom tokens. Read more at Email & Password Authentication, User Authentication and User Based Security.

But because you want to do a dirty little hack and just make it work, here is one way:
{
"rules": {
".read": false,
".write": false,
"test": {
".read": "auth.uid == 'MyReadUser'",
".write": "auth.uid == 'MyWriteUser'"
}
}
}
This tells Firebase that no one is allowed to read/write except in /test and only if their UID is MyReadUser, MyWriteUser, respectively. In order to authenticate for this, we use this piece of code:
testRef.authWithCustomToken(token,success,error);
The handlers for success and error do the rest. In order to create the token, you need to do some cryptography, but nevermind that, there is an online JsFiddle where you can do just that without any thought. First you need a secret, for which you go into your Firebase console and click on Secrets. Click on "Show" and copy paste that secret into the JsFiddle "secret" textbox. Then enter MyReadUser/MyWriteUser in the "uid" textbox and create the token. You can then authenticate into Firebase using that ugly string that it spews out at you.

Done, now you only need to use the code. Here is an example:
var testRef = new Firebase('https://*****.firebaseio.com/test');
testRef.authWithCustomToken(token, function(err,authData) {
if (err) alert(err);
myDataRef.on('child_added', function(snapshot) {
var message = snapshot.val();
handle(message);
});
});
where token is the generated token and handle is a function that will run with each of the objects in the database.

In my case, I needed a way to write messages on the blog for users to read. I left read access on for everyone (true) and used the token idea from above to restrict writing. My html page that I run locally uses the authentication to write the messages.

There you have it. In the next post I will examine how you can query the database for specific objects.

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I wasn't expecting much from this book, as another from the same page offering free books from their authors was kind of disappointing. However, this is a true book: it is long enough, well written, with developed characters and with an end that delivers closure to all the story arcs. Indeed, it closes all of them so well that is kind of weird to see that it is part of a series, containing the same characters no less. I mean, come on, how many times can the same people save the planet? Shut up, Marvel!

It was surprising to me to find out that Breakthrough was Michael C. Grumley's debut book. It is professionally written. Nothing exceptional, mind you, but nothing you can possibly find wrong with it. And the subject of the book was complex and interesting, involving talking dolphins, undersea aliens, covert military operations (no, it is not a Seaquest ripoff), which reminded me a little of Creatures of the Abyss.

The ending was a bit rushed, I guess, and contained that annoying trope "You are not yet ready, humans!". Fuck you, aliens, if all you've got to show for your evolution are plans to either destroy or patronize us! Plus some crowd pleasing death avoidance which felt wrong. But overall it was a good book, way above what I would call average. Since it is offered for free, you can download it and read it right now. And if you like it, the author offers even more free stuff on his site.

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I've got this from a website where several self published authors shared free e-books for promotion purposes. I chose Better World because of its description: "The last humans spent centuries searching for a new Earth. Now they face extinction.
For three hundred years, arks have carried the last remnants of humanity through dark space. The ships are old, failing, and every colonist must do their duty to ensure the fleet’s survival." Pretty cool premise, if you ask me.

Now, Better World is not accidentally a free book. It is short, ends with a "to be continued" and has no other purpose than to pull the reader into Autumn Kalquist's Legacy Code series. To me it felt a bit amateurish, which is weird. I would have thought something that would pull your audience into your work should be better edited, if not better written.

The basic plot revolves around this 18 years old girl called Maeve, a low class citizen of the colony ships fleeing Earth to find a better world. The story starts with her trying to kill herself, while a dogooder boy who is obviously hot for her stops her at the last minute. I found it interesting that the heroine of the story starts off as weak, egotistical, scared, with low self esteem and living in a world where she is pretty much powerless. Everything that - if the book were written by a guy - would have prompted people to denounce his misogynistic view of the world. Yet every writing book worth mentioning affirms that the character has to begin as powerless and defective in order to evolve. And indeed, by the end of the book you find that Maeve realizes her own strength and courage when faced with true challenges, not just with teenage angst.

However, the scenes lacked power and, whenever something interesting happened, the author introduced new characters and new ideas instead of focusing on the potential of the current situation. Maeve wants to kill herself, a savior male is introduced. She rebels against authority, a younger more naive girl is introduced in order to suffer the consequences for her. The young girl gets hurt, a love interest - another girl - appears out of nowhere to take away focus from the shame and guilt. An "enforcer", a weak minded man drunk on his policing power, is making her life hell, she reminisces about her dead parents, killed by another enforcer's decision in the past. Every single time the plot was getting close to good, something was introduced that devastated the tension and the potential and gave the reader the impression that the story evolved as Kalquist wrote, with no clear idea of who her characters were or what the final shape of the plot will be.

And then there was the climax, the moment I was waiting for, when our hero gets stuck on an unforgiving planet with her torturer as her only ally... and they just walk a little to another group of people where she shows how good she is at fixing things. So much potential down the drain. Bottom line: the author comes off as a beginner in writing, but at least she is not pretending her work is the greatest and/or puts her friends to post positive reviews. Even with this short story I could see the wheels turning smoother and smoother as I went along, which probably means her writing will improve. Unfortunately, as standalone work, Better World is not more, not less than space pulp fiction, with no real impact behind the characters or the storyline.

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I really missed reading a good science fiction book and when I was in this vulnerable mental state I stumbled upon this very positive review on Ars Technica recommending Ann Leckie's trilogy Ancillary. Ars Technica is one of the sites that I respect a lot for the quality of the news there, but I have to tell you that after this, my opinion of them plummeted. Let me tell you why.

The only remotely interesting characteristics of the Ancillary series is the premise - that an AI gets trapped in the body of an "ancillary" soldier that was used as only a physical extension among many others - and the original idea of using no gender when talking about people. You see, in the future, the empire language has lost its need of defining people by gender and therefore they are all she, mother, sister, etc. It is important that the genre is translated into our backward English is all female, as to balance the patriarchal bias of our society. Way to go, Ann! The books also won a ton of awards, which made me doubt myself for a full second before deciding that notorious book awards seem to be equally narrow in focus as notorious movie awards.

Unfortunately, after two books that only exposed antiquated ideas of space operas past, boring scenes and personal biases of the author, I decided to stop. I will not read the third book, the one that maybe would give me some closure as the last in the series. That should tell you how bad I think the books were. On a positive note it vaguely reminded me of Feintuch's Seafort Saga. If you want to read a similarly out of date space opera, but really good and captivating, read that one.

You see, it all happens on ships and stations, where the only thing that doesn't feel like taken from feudal stories are... wait... err... no, there is nothing remotely modern about the books. The premise gets lost on someone who focuses exclusively on the emotions of the Artificial Intelligence, rather than on their abilities or actual characteristics. If I were an AI, I would consider that discrimination. The same ideas could be put in some magical kingdom where magical people clone themselves and keep in touch. I don't know who invented this idea that the future will somehow revert to us being pompous boring nobles that care about family name, clothes, tea and saucer sets (this is from the books, I am not making it up), but enough with it! We have the Internet. And cell phones. That future will not happen! And if it would, no one cares! The main character acts like a motherly person for stupid or young people, no doubt reflecting Leckie's mood as a stay-at-home mom at the time of writing the books. You can basically kill people with impunity in this world of hers, if you are high enough on the social ladder, but swearing is frowned upon, for example.

OK, ranted enough about this. I don't care that her vision of the future sucks. I wouldn't have cared if her writing was bad - which it isn't. It's not great either, though. I do care when I get flooded with review titles like "The book series that brought space opera into the 21st century", by Annalee Newitz, or "Ancillary Justice is the mind-blowing space opera you've been needing", by Annalee Newitz, or "Why I’m Voting for Ann Leckie’s Ancillary Justice", by Justin Landon - a friend of Annalee Newitz' from the Speculative Fiction compilations, and "A mind-bending, award-winning science fiction trilogy that expertly investigates the way we live now.", by Tammy Oler, who is writing with Annalee Newitz at Bitch Media. Do you see a pattern here?

I have to admit that I think it is a feminism thing. So enamored were these girls of a story that doesn't define its characters by gender, that they loved the book. Annalee's reviews, though, are describing the wonderful universe that Leckie created, with its focus on social change and social commentary, and how it makes one think of how complex things are. I didn't get that at all. I got the typical all powerful emperor over the space empire thing, with stuck up officers believing they know everything and everything is owed to them and the "man/woman of the people" main character that shows them their wicked ways. The rest is horribly boring, not because of the lack of action, but because of the lack of consequence. I kind of think it's either a friend advertising for another or some shared feminist agenda thing.

Bottom line: regardless of my anger with out of proportion reviews, I still believe these books are not worth reading. The first one is acceptable, while the second one just fizzles. I am sure I can find something better to do with my time than to read the third. The great premise of the series is completely wasted with this author and the main character doesn't seem to be or do anything of consequence, while moving from "captain of the ship" to "social rebel" and "crime investigator" at random.

On the 9th of February I basically held the same talk I did at Impact Hub, only I did better, and this time presented to the ADCES group. Unbeknownst to me, my colleague there Andrei Rînea also held a similar presentation with the same organization, more than two years ago, and it is quite difficult to assume that I was not inspired by it when one notices how similar they really were :) Anyway, that means there is no way people can say they didn't get it, now! Here is his blog entry about that presentation: Bing it on, Reactive Extensions! – story, code and slides

The code, as well as a RevealJS slideshow that I didn't use the first time, can be found at Github. I also added a Javascript implementation of the same concept, using a Wikipedia service instead - since DictService doesn't support JSON.

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Japanese culture is certainly special. The music, the drawing style, the writing, the cinematography, they are all easily recognizable and usually of high quality. Yet I think it is even cooler when artists are able to blend Japanese feeling with Western cultural artifacts. Check out this Japanese traditional sound... made metal: Akatsuki no Ito (The Thread of Dawn?)

Today I was the third presenter in the ReactiveX in Action event, held at Impact Hub, Bucharest. The presentation did not go as well as planned, but was relatively OK. I have to say that probably, after a while, giving talks to so many people turns from terrifying to exciting and then to addictive. Also, you really learn things better when you are preparing to teach them later, rather than just perusing them.

I will be holding the exact same presentation, hopefully with a better performance, on the 9th of February, at ADCES.

For those interested in what I did, it was a code only demo of a dictionary lookup WPF application written in .NET C#. In the ideal code that you can download from Github, there are three projects that do the exact same thing:
  1. The first project is a "classic" program that follows the requirements.
  2. The second is a Reactive Extensions implementation.
  3. The third is a Reactive Extensions implementation written in the MVVM style.

The application has a text field and a listbox. When changing the text of the field, a web service is called to return a list of all words starting with the typed text and list them in the listbox, on the UI thread. It has to catch exceptions, throttle the input, so that you can write a text and only access the web service when you stop typing, implement a timeout if the call takes too long, make sure that no two subsequent calls are being made with the same text argument, retry three times the network call if it fails for any of the uncaught exceptions. There is a "debug" listbox as well as a button that should also result in a web service query.

Unfortunately, the code that you are downloading is the final version, not the simple one that I am writing live during the presentation. In effect, that means you don't understand the massive size reduction and simplification of the code, because of all the extra debugging code. Join me at the ADCES presentation (and together we can rule the galaxy) for the full demo.

Also, I intend to add something to the demo if I have the time and that is unit testing, showing the power of the scheduler paradigm in Reactive Extensions. Wish me luck!

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This book was recommended by Jeff Atwood, of Coding Horror and Stack Overflow fame. He liked it, I wasn't impressed. In The Last Policeman, Ben H. Winters attempts to describe a world that is powerlessly waiting for the arrival and impact of a 7km wide asteroid. While smaller than the one that killed the dinosaurs off, it would still pretty much end human civilization and most of the life on Earth. As a result, people are killing themselves in depression, quit jobs to "go bucket list", nothing is working, nothing gets repaired, etc. In all of this, a detective is trying to solve a case that looks like just another suicide, but he feels it's not. It is an interesting concept and it was well written by Winters, but I had difficulty believing in the world he was describing. More than that, except rumors of something Iran is planning there is no mention of any other country. I believe that in this situation a lot of people would inertially and routinely continue what they were doing until they figured out that it doesn't make sense (and that probably it didn't make sense to begin with), but there would certainly be more aggressive social changes that the author completely ignores. Plus that "going bucket list" would certainly become frustrating once you can't go on a cruise because no one is sailing the thing or you can't enjoy your favorite food because the restaurant got closed.

Worse than that, at the end of the book I was pretty satisfied with it. It was short, to the point and while not perfect, it was enjoyable. And then I learn that it is part of a trilogy. This automatically diminishes the act of reading it somehow and the book entire by the fact that I can't convince myself to read the other two books. So yeah, bottom line: I thought it was kind of average.

Write Right! is a monster. It goes through every step of writing a book, including the one that the author, Kendal Haven, considers the most important: editing. Then, in its second half, it contains exercises for improving writing. The intended audience of this book is teachers of creative writing, not just beginner writers, so that makes it even more valuable.

The mystery for me was how can someone write about captivating and engaging writing in a book as dry as Creative Writing Using Storytelling Techniques. I understand it is mostly a manual, but it was really difficult to go through it, as it was full of information start to finish. Now I must reread it at speed and make a summary of the techniques in order to even begin to absorb the huge amount of very useful information in the work. Not to mention actually doing the exercises at the end.

What I really liked about this book is that it is very algorithmic. At every page I was considering - and still am - how I might codify this into a software to help me evaluate a piece of literature and maybe even suggest improvements automatically. If I am to extract an essential idea of the work it would be "editing is very important". The author acknowledges the need to write fast, from your gut, to lay the words out there, not even considering spelling or grammar, just vomit your thoughts onto the page, but then he submits that the process of evaluating each scene, each chapter and the book for structure, wording, verb uses, sense involvement, specificity of language, action, dialogue, sequels (not book sequels, but that thing that details what characters think and feel about what just happened), etc. is perhaps the most important in translating that story that you have into an interesting book to read. And after getting a final version you are happy about, he makes you eliminate 15% of the words. Ruthless! :)

Let me make this clear, though: writing is damn tough. It consists of two parts: observing the world and describing the world. In a recent post I was complaining at how bad I am at the former, but this book makes it clear how complex is the latter. Making the written word express what is in your brain at the moment of creation is extremely difficult and complicated. This book helps in defining exactly what that is and give you tools to do it and improve on doing it. A great tool!

To sum it up: This is not light reading. It is a manual for writing teachers (what the hell are those? I wish I had some in school). It helps tremendously if you are self-taught, also. It requires multiple readings or at least a summarizing effort at the end, to structure it in a way that makes it easy using it as a reference. And then, of course, are the exercises for improving writing which take the second half of the book

Stephen Toub wrote this document, as he calls it, but that is so full of useful information that it can be considered a reference book. A 118 pages PDF, Patterns for Parallel Programming taught me a lot of things about .NET parallel programming (although most of them I should have known already :-().

Toub is a program manager lead on the Parallel Computing Platform team at Microsoft, the smart people that gave us Task<T>, Parallel, but also await/async. The team was formed in 2006 and it had the responsibility of helping Microsoft get ready for the shift to multicore and many-core. They had broad responsibility around the company but were centered in the Developer Division because they believed the impact of this fundamental shift in how programming is done was mostly going to be on software developers.

It is important to understand that this document was last updated in 2010 and still some of the stuff there was new to me. However, some of the concepts detailed in there are timeless, like what is important to share and distribute in a parallel programming scenario. The end of the document is filled with advanced code that I would have trouble understanding even after reading this, that is why I believe you should keep this PDF somewhere close, in order to reread relevant parts when doing parallel programming. The document is free to download from Microsoft and I highly recommend it to all .NET developers out there.

Date Published: 7/16/2010 File Size: 1.5 MB

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"Take us to your master and have him give us food!"

This book opened my eyes on multiple levels. First of all it went right through my Dunning–Kruger effect that made me hope that writing would be easy. Second, it showed me how to see the world as a writer, which is hugely valuable.

Writing Vivid Settings is also a value packed reference book. Rayne Hall doesn't go artificially raising your expectation level - you know the type: "in this book I will show you how to eliminate hunger and solve poverty, but before that...", he instead just goes right into it. In fact the transition to actual useful information was so abrupt that I found myself feeling grateful before I could even understand what the book was about. Then, when I did, it hit me even harder, because I understood not only what I was missing in my writing, but also what I was missing in my every day perception.

If I were to summarize the book, it is all about consciously describing from the point of view of your characters, in a way that makes the reader connect emotionally and subconsciously to the character and scene. In Hall's view there is no such thing as objective scenes, they are defined more than anything else by the character that observes them. The book advises to describe through the senses: smells, sounds, the lighting of the room, the way things feel to the touch, etc, then go towards what the character would most likely notice, based on their own personality and background, making sure to use similes so that the memory of the scene becomes anchored in the reader's mind in the same way it would in the mind of the observer in the book. Yes, it does sound weird, doesn't it? Make the reader feel as the person who doesn't really exist except in the writer's head.

Each chapter in the book explains elements on how to describe the surroundings, when to use them, how to use them, what to avoid, professional examples from other books and some assignments to make you get right to it. And there is where it becomes interesting. When I told my wife about it, she immediately recognized exercises for "grounding", something that is used in mindfulness and gestalt psychology. As an example: describe the smells in the room, then the way the light enters it and how it changes the colors, then some background sounds, all by using verbs that are very specific and indicative of the character's mood and similes that would be indicative of the character's background. I kind of mixed several chapters in this, so you can get the point. Well, when is the last time you ever did something like that in your life? When were you last conscious of the sounds and smells around you and what they evoke? When did you last compare the light in a place to a living thing, with a mind of its own, just because you can? It is all about bringing all those vague perceptions to a form that can be communicated, to others and to yourself.

That is the trick to good writing, for sure, but also a way of observing the world around you. Suddenly, I felt like a little child that doesn't see the world around because he doesn't know how. I found myself going places and trying to describe the scene as instructed in the book - many of the assignments in it suggest doing right that, anyway - and it was hard. It was more than hard, it felt impossible. Like living your life on a psychologist's bench, always asking you "what does that mean?" and "how does it make you feel?" and "what will that lead to?". But how alive the world seemed while doing that! Aware of my own senses, feelings and their roots, I could suddenly understand people who enjoy life for its own sake. The book's description is "Do you want your readers to feel like they're really there—in the place where the story happens?" After reading it, it seemed that I was never there in the first place.

It probably doesn't say things differently from other writing books, but it certainly opened my eyes. I also absolutely loved how it didn't start with marketing bullshit and got right into it, with theory, examples and exercises. It can be used as a reference, before and after writing, since it has exercises on improving already existing work. I think this is a great book.

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I've decided to read some of the stuff that takes place in the Star Trek universe, for research purposes. I was particularly interested in Starfleet Academy and, since Next Generation was clearly the best Star Trek series yet, I went with that one. So here I am reviewing the first three in a fourteen book series called Star Trek The Next Generation: Starfleet Academy Book Series, all written by Peter David. And, boy, am I disappointed!

It's not that I expected some high end drama, but in reality each one of these books is a booklet that one can read in about 2 hours. All three of them together are barely a novel. And the thing is that this is exactly what I was looking for: a history of the crew of the Enterprise from when they were cadets. What am I disappointed for? It is a "written by numbers" book. It is one of those "write a novel in nine days" thing, only each is probably written in five. The characters are shallow, undeveloped, details are missing and there is no real science fiction in there. I mean the real stuff, the one that takes into account centuries of cultural and technological evolution in which we had eugenic wars and a third World War, in which we encountered a myriad of alien species that are very different from us. There is no social commentary, no psychological evolution, no high technology and no real personal drama. And I understand. Just take a look at the bibliography of Peter David, it needs its own page. The man is a writing monster. However, it is clearly a quantity vs quality thing.

Anyway, I will review all three books as a single story, which in fact it is. All about Worf at the Academy, Worf's First Adventure is about proving himself in a simulated battle against the Romulans, while Line of Fire and Survival are about him taking command of a diplomatic mission on a joint Federation-Klingon colony.

From the first pages we get that Worf has a conflicted personality, stuck somewhere between the strict tenets of the Klingon culture and the Human education from his parents, unclear if he is more Klingon or more Human. His parents are proud of him and his adoptive brother as they embark for the Starfleet Academy, but from then on, for three "books" of adventure, we don't hear anything about those parents anymore. In fact, the first book is there merely to prove Worf's superiority over his human brother who is forced to leave the Academy as soon as the story ends. Afterward, we don't read anything about him, either. There are more pages dedicated to grumpy and violent behavior than it is to what the Academy entails, what are the courses, or how disjointed lectures can form a cadet into an officer in a four year standard program. It is not explained why some are engineers and some are in security, even when they are taking the same classes. Nor is it made obvious how the teaching methods in the twentyfourth century differ from the ones in 1980. Worf simply floats from one sequence to the other, like in a dream, without the need for continuity or context or even common sense.

To summarize: Worf comes to the Academy, learns nothing new and his innate values and abilities help him go through the challenges posed by a Starfleet training. I mean, really, there is a part there about how Worf was taught to be in a certain way and not helping a team member when in need was simply not conceivable. So basically... he remains unchanged. True, Worf is one of the most stubborn and difficult to change characters in Star Trek, but still, a good story needs some sort of development, some sort of life changing challenge, any kind of challenge at all.

In truth, this level of writing makes me more confident on my prospects of writing books myself, but I don't want to read stuff like this.

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I have always been bad mouthing the Sci-Fi Channel, later, after 17 years, renamed to SyFy, as if they wanted to distance themselves from the genre they were supposed to promote. Why? Because I was born in Romania, a place of rancid communism and cultural isolation. After the Revolution, Romanian television stations were scarce in showing SF, and when they did it was always if there was nothing "better" to show, like sports or stupid peasant comedy shows. I grew up with science fiction books and a thirst for sci-fi movies and series. All this time I was dreaming of these foreign channels that I've been hearing about. Amazing to think that there was a SciFi Channel out there, where they were showing sci-fi all day long!

Of course, the reality of it is that science fiction only recently started to pay off. While I was dreaming of a channel that was all Star Trek, Babylon 5, Farscape, BSG, even Blake's 7, showing all new SF movies in the interim, the truth was less than stellar. They were showing crappy, mass produced, cheap programs that was all they could afford. Many of them were reality TV. I wasn't actually able to ever watch the SciFi Channel as a television station, anyway. But I have had contact with other similar ones and I was not impressed. So I judged them by their productions, stuff like Sharknado.

Lately though, I feel like I have to swallow my disdain, after they started doing really interesting stuff like Z Nation, which may be low budget, but well written: exactly what I have been waiting for from the Internet, but failed to materialize. Since writing should be the smallest effort in a show, I expected it to far outweigh production values, but until now, I have rarely seen stuff like that. After loving Z-Nation, now they started with a TV adaptation of The Expanse book series and it is amazing!

A well thought out universe in the near future, where the Solar System has been colonized and the three political entities are Earth, the Asteroid Belt and Mars, locked in an awkward standoff of military and economical influences. The show has really good effects and its attention to details, no doubt coming from the book, but well translated to TV, is great! The African ethnic influences on the Belter culture, the East-Asian preponderance in Earth leadership and the weird mixes of cultures all over, are really cool, but what I appreciate to no end is the realism of the space technology. There is a little inadvertence between script and reality, of course, but most of the stuff in the first 4 episodes is really believable (meaning it is achievable within the science and resources that we know today). The characters are deep and interesting, their interactions weaving together and apart in a very well coordinated dance.

But what I like about The Expanse more than all the production values, great writing and complex characterization is that it is a courageous enterprise. While I was watching it with my wife she was constantly pestering me with questions about stuff that she didn't understand. This, for once, is not a lowest denominator kind of show, it is hard sci-fi for hardcore sci-fi fans! And well done enough so that even on and off fans like my wife would be able to appreciate!

To summarize: watch The Expanse. I have high hopes for it!

This book itself was written in two days and it shows. Fortunately for Steve Windsor, the author, it is also a damn useful book, concise and mostly to the point. Full disclosure: I've decided to study writing and hopefully write a novel. This is the first book I have read about the subject.

Meant as a reference, Nine Day Novel: Writing Fiction: How to Use Story Structure and Write Your Fiction Novel Faster is going for covering structure and speed, identifying a commonly used template for fiction and applying it for creating the structure of the book. Windsor then prepares the future author for a nine day schedule in which to write a 100000 word novel - which is at the lower end spectrum of what is considered one, but still technically a novel - even indicating ways to gain the time without making huge changes to your way of life. You know, stuff like not watching TV series (damn you, Steve!!).

He names the template 4PSS (four part story structure) which looks kind of like this:
  1. SETUP
    • Opening scenes
    • Killer Hook Event
    • Establish setting, scene (location), stakes of hero
    • Foreshadow coming events
    • Set up the inciting incident
    • First plot point - inciting incident
  2. REACTION – retreat, regroup, run
    • Reaction to first plot point
    • First pinch point - allude to evil force – Physical middle of Part 2
    • Reaction to pinch point
    • Lead up to midpoint
    • Midpoint of the story
    • Revelation - figure out what you are up against – Physical middle of your Novel
  3. PROACTION - Doomed attempt to take action
    • Reaction to midpoint
    • Second pinch point - allude to evil force again
    • Reaction to second pinch point
    • Pre second plot point lull - give the reader a tidbit of info – take a breath
    • Lead up to second plot point
    • Second plot point - the world changes again
    • Start the Ticking Clock
  4. RESOLUTION
    • Hero accepts reality of the situation
    • Climax battle scene
    • Final Resolution
    • New equilibrium/cliffhanger if writing a series
Actually, it looks exactly like this. I've downloaded it from his web site. He even goes the extra mile to create a story with us and point out famous books that used this structure.

Bottom line: as a reference, it is a great little thing. It is actually part of a Nine Day Novel series that covers outlining, writing, self editing, self publishing, etc. It's too bad he plugs the Scrivener book writing software tool, which only seems to work on Mac. I've tried installing the Windows version and it is a crappy Java bull that never went past the start of the installer. That may indicate that the book is slightly dated, but it's not, it has been published in January 2015, at least on Amazon.