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Meta-Conversation: Anchors
December 03, 2024

 

            The First Servant’s stole, when it’s not on someone’s shoulders, hangs in the yuvrini in Qevellen. I’m standing in front of it, and even though I’ve seen it on Kor, and Kef, and Amath, I don’t want to touch it… now that I know about it. Which brings me to why I’ve sought it out. “The age of this piece is the only inconsistency I’ve found.”

            Thirukedi’s voice is gentle. “Millennia do, in fact, consist of centuries. To say that the stole is centuries old is not inaccurate.”

            “It’s not like Kor to soften the truth, though.” I turn to look at the shadowed figure standing at the back of the room. “Does he not know how old his own priesthood is?”

            “I suspect he suspects,” Thirukedi says. “But I cannot say that he knows. As I do not remember myself, it would be unreasonable.”

            That makes it make sense, then. If Kor had known a specific date, he would have been exact. But if he has only guesses, no matter how much he trusts them… about this, he would be vague. “It’s not centuries old, though. It’s thousands of years old. And it looks nearly new. You did something to it, didn’t you?”

            Thirukedi draws up alongside. He’s several heads taller than me, and I’m not used to it; during our infrequent talks, we’re usually sitting, or in a room with elevated floors. It stresses His age, somehow… as if He’s talking down a great distance to reach me. I think of mountains, ageless and remote. “There are ways to preserve objects. The math proceeds from the Gate theory, and the error that produced me.”

            “Do you keep many souvenirs?” I ask.

            “Nuveq,” He says. “We call them anchors, when they are used to remind one of a memory, rather than a place… that is yavtil, souvenirs. One buys a yavtili with the intent to create a memory; one acquires nuveqi after they have become significant. Does that distinction make sense to you?”

           “I think so,” I say.

           He nods, a concession to aunerai body language. “To answer your question… no. I try to keep almost no anchors, datyani. But Tsevet came to me at a time when I was beginning to understand the ramifications of my condition. That I would lose even my nuveq ekain to time, and be contextless, and without memory.”

            The pathos in this statement, even so calmly couched, is difficult to bear. That is probably why He littered it with linguistic puzzles certain to provoke tangential questions. It is a gift, and to reject gifts is uncouth. “Nuveq ekain… anchor stories.”

            His smile is swift and shining. “You know this phenomenon. The stories that you tell and retell about your life. The ones you recall best, that define you.”

            “The ones we end up telling our children,” I say. “Until they get tired of hearing them repeated and say ‘yes, you’ve already told me that story.’”

            “When they are passed on that way in families, they are called novidil ekain,” He says. “Foundational stories. Because they form the foundations of the particular permutation of emethil that is your family.”

            I like that, and it feels true to me: how the stories of the elderly become part of the toolset used by the younger generations to grapple with new experiences. That’s how it should work, anyway. I still hear in my head the stories told by my parents and grandparents, sometimes to hearing the exact cadence of sentences, word for word, in their voices. I return, now, to the important part. “You feared that you would lose your ability to remember these anchors to the stories that defined you, and so you would become… diffuse? Senile?”

            “Geshen,” he says. “Is how we characterize the latter. Fenced in by increasingly narrow sets of memories and thoughts. But I feared nothing so specific. There were no precedents… how could I know? What it would be like? But Tsevet… Tsevet burned so brightly, datyani, that I thought I might not forget him. The possibility that I might was intolerable.”

            “You preserved the stole, to fix that memory outside your own mind,” I said.

            “I did, yes.”

            “Do you regret it?”

            His smile is sweet. “No. But making it imperishable was sobering. I did not want to lose my anchors… but I also did not want to clutter my life with them. And I had already decided that the stole should only be worn by one who could carry his legacy in full, and… as you know… I did not bestow it again for a very long time. Seeing it, unaging, as I myself did not age, was not a pleasant experience, and I was not motivated to make many more such anchors.” He reaches to the stole and trails elegant fingers down its edge. “Time passed, datyani, and my nuveq ekain eroded. I discovered then that Kherishdar itself was a greater anchor than any object I could save, and its story more foundational to who I am than any tale I might retell. I feared that I would lose my context and my soul with my memories… but my people told me those stories, and built that foundation around me, and I am whole.”

            He goes, then, leaving me to the contemplation of the stole… and to the feeling that Kor was correct when he said that Thirukedi was no longer a man. I thought that was simply about his immortality; but I can’t wrap my head around the idea of not being designed by your memories… ‘fenced’, as they would say, into a shape you recognize because you are choosing it, year after year, with the ideas and memories that burn brightest in your mind.

            When I look up again, it’s to Kef, standing near me, studying my face with the gravity he so rarely shows me. “Don’t look at it too long,” he says. “Some things aren’t wise to stare at, too long.”

            “All right,” I say. And smile, a little “Thank you.”

            He guides me out, and dims the lights, and we leave one of the Emperor’s few mementos behind.

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Welcome Back, to the Stardancer Gallery

I have a gallery again.

It would be so easy to say ‘I can’t tell you what that means to me’ but part of my thing is that I do tell you what things mean to me, all the time, so I’m going to try.

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Let me start by telling you about the original Stardancer gallery, which many of you remember and an even larger number of you weren’t around for. Because in an era before big sites like DeviantArt, when personal websites were still linked by webrings and coded by hand, I had a website that used a database to show visitors not only the latest thing I’d uploaded, but the comments left by dozens of people on that offering.

It’s so hard to explain how crazy that was. There were no Wordpress packages, no visual editors, no gallery plugins. There was no user validation by Google or Apple, no social media, no expectation of interaction or community. Everything had to be coded by hand and installed by someone who wasn’t afraid of a UNIX command line. And from 1999 until mid-2012, the Stardancer gallery served, on average, 5 pieces of art a week, with over 175,000 words of commentary from me, for thirteen years, and those pieces accrued between 5 to 40 comments from visitors. When it finally went down, there were 2906 distinct pieces of art in the database, and of those 253 had multiple versions—I uploaded them as I worked on them with commentary on each stage. Some of those pieces had 9-10+ stages where you could watch me wrestling with them (complete with titles like “OMG Ugly Stage” and “needs a background”).

For context, 175,000 words is probably about 700 tightly-packed paperback pages. That’s how much commentary I wrote. And that’s not including 1993 keywords and 60 projects I was tagging everything with.

I wanted that gallery so I could share my art with all of you. But it was also functioning as an organizational layer for me. When I was trying to remember a story, a character name, a forgotten piece of art I wanted to finish, I would search my own gallery. It was my backup brain, and my sketchbook index, and it kept me focused. It even had basic project management tools, since each of those 60 projects had a status: complete, in progress, ongoing, on hold, trunked.

The sunsetting of the original site was inevitable. You can’t run software with visions of enterprise-level functionality on a friend’s personal computer. But I was in the very unusual position of having started out with a system custom-built for my idiosyncrasies, and nothing on the market was good enough. I kept poking and not loving any of my choices. Host all my artwork on some aggregate gallery site or shoehorn it into a cookie-cutter Content Management System? No thank you. So I never replaced Stardancer, and for fourteen years, I’ve been running without that second-brain infrastructure.

And now, I have it again.

Now I can think ‘what was that thing I said about that one character in that one sketchbook?’ and search and find it. I can mutter, “Where is all the Ai-Naidari language work” and pull up the notebook. I can think ‘Didn’t I want to finish that picture of the dala fox? What sketchbook is that in?’ and I know.

I know!

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Right now the new gallery has 2644 images across the 42 sketchbooks (and one unfinished language notebook) I’ve scanned and uploaded… of the nearly 200 I have. I’m only just getting started. I am crazy excited, I can’t even tell you.

I have a gallery again.

I have a gallery again!

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Early Access is Now Live! Come Join Us on Ke Bakil!
Make your own Jokka clan and watch it thrive!

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December 10, 2025
The Jaguar Reads an AI-Written Book

Over the weekend, I read a book that I’m 95% sure was AI-written. I’ve listened to people talk about how it’s done: you brainstorm characters and a plot with AI, prompt it for an outline, adjust the outline, prompt it to create character and setting guides… attach all that to your project, then tell it to write the first chapter. You adjust the chapter, add it to the project, then tell it to write the second, etc, until you get to the end. Then you tidy the whole thing and publish. The "rapid release" people either love this (because you can release a book in a day or two and do it again immediately) or hate it (because they can't keep up with people using this strategy with unaugmented human brains). But it's clearly a thing that's happening, and few people who do it are admitting it.

Reasons I thought this book was AI:

  • Every chapter ends with a weird wrap-up style: “Main Character had accomplished XY and Z. Tomorrow, he’d have to tackle AB and C. But for today: job well done.” And I do mean every chapter. At first I thought ‘maybe the author’s serializing this and needs to remind readers about what just happened” but when it’s doing overviews of what happens in the chapter at the end, it’s weird.

  • All the places give you a “movie set” feeling of being wooden facades. Like… ‘there’s a baker. He makes bread.’ Nothing else. Only bread is mentioned. Not even the kind of bread. There’s a weird lack of specificity to everything. The baker always has a ‘basket of bread’. Or occasionally, a basket of pastries. (No word on what kind.) Likewise, there is a blacksmith. We know he can make hammers, because the apprentice made one. But that’s it. No idea what else the blacksmith does for the town.

  • Then there’s suddenly spates of specificity. “I have these exotic spices that sound like a list generated for game inventory.” These specific things are never mentioned again.

  • The technobabble sounds like stuff Claude gives me as placeholders. “Mana structure efficiency at 45%. Suboptimal but holding.”

  • Similarly there are some odd verbal tics that repeat throughout the text, and they are suspiciously clever ones, like analogies that rely on an abstract and a concrete noun: “It tasted of cinnamon and regret.” “The tavern smelled of old ale and worry.” Even the title uses this phrasing. Authors can have verbal tics, of course, but I associate a lot of these with AI.

  • The supporting characters do the exact same things, as if they’re programmed NPCs. Celebrating an achievement? ‘We go to this exact same tavern, every time.’  Checking up on the main character? “You need food and rest.” (I can’t count the number of times this character suggested everyone have food and rest, in exactly those words. No variation.)

  • This one is hard to describe, but the characters have believable backstories that suggest depth, but these backstories do not inform how they interact with other characters. The nemesis becomes the protagonist’s friend based on a single interaction, and this backstory, while mentioned in subsequent chapters, causes no friction, for instance. It’s as if every character was created in isolation and the author can’t figure out how to make them combine.

Could this all be the work of an inexperienced author? Sure. But that tells me that we have trained AI to work off story templates that inexperienced authors also rely on. If you have decades of “write to market” advice that treat books as widgets with “story beats” and “character arcs” that can be abstracted into formulas, you shouldn’t be surprised when books start to sound alike. They already were, prior to AI, it’s just that AI makes creating them faster.

Did people like the AI-generated book? Well, it has over a hundred reviews and a 4.5 star average rating, and even on Goodreads, it's doing well, so the answer is: “Yes, it’s good enough.” Did the author confess to AI-writing it? No. Maybe he didn’t! But my guess is that he did.

Do I care about this? Not really. I didn’t enjoy reading it because it gave me the same feeling social media scrolling does, that I’ve eaten empty calorie food that’s programming my brain to repeat basic and uncreative patterns. But humans have always riffed off bad things to make better things and I can totally see someone using AI to generate a draft like this, and then completely overhauling it into something enjoyable.

I don’t write like this because I’m weird. I am constitutionally incapable of the ‘write to market’ formulaic approach (which is why I’m not on a yacht sailing to my property on the Riviera). Even my attempts at romance and litrpg novels veer off into directions that make them too odd (yes, I managed to make both these genres unprofitable). But I’m one of those capital-A artists that indies like to sneer at, and I’m happy that way. I can’t even do that right: I’m an Arteeste who doesn’t care if you’re using AI!

My audience was always going to be the weirdos who want to learn my conlangs and vanish into alien cultures so completely they leave no traces. That's you all! You're awesome.

But yeah, AI-written books. You might have already read one and not realized it. The name of this one, if you want to check it out, is below, and yes I paywalled it because I don't want to bother with drama.

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