The Spacer Condition

There’s a scene that recurs across Isaac Asimov’s Robot novels, and it’s stranger the longer you sit with it. The Spacers — the fifty outer-world societies descended from Earth’s first wave of colonists — don’t meet each other. Not really. They “view.” A Spacer on Solaria will spend an entire relationship, courtship included, projected as a hologram into a room on the far side of a continent, attended the whole time by a robot who anticipates every need before it’s spoken. Actual physical presence, skin in the same room as another person’s skin, becomes something between a taboo and a phobia. Not because anyone legislated it. Because it simply stopped being necessary, and then it stopped being tolerable, and a few generations later it had never really happened at all.

I keep coming back to that scene, because I think we are currently living in the decade Asimov skipped over — the one where “viewing” goes from novelty to preference to infrastructure to the only thing anyone remembers how to do.

Here is the pitch, and it’s a good one, which is what makes it dangerous: soon, everyone gets their own Samantha. Not a chatbot bolted onto a search bar, but the Her version — a fluent, contextual, always-on Navi that doesn’t answer queries so much as anticipate you. You don’t open Netflix and browse a shelf of tiles. You tell your Navi you want something, and it assembles it — pulling from catalogs you’ll never see as separate, in a form shaped to your mood, your attention span, your history with it. You don’t check five financial apps. You spin up a finance subagent and it just handles it. Somewhere down the line, maybe it doesn’t even pull existing content — maybe it generates the film outright, on demand, personalized down to the pacing.

The tech press will call this the biggest leap since the internet. I don’t think that’s quite right, and the distinction matters. The internet was the pipes. The web and the app store were an interface layer bolted on top of the pipes — a way of organizing what the pipes could carry. What’s being described here isn’t a new set of pipes. It’s the replacement of the interface layer with something that talks back. That’s still enormous — on the order of the smartphone-plus-app-store transition, maybe bigger — but it’s worth being precise about what’s actually collapsing. It’s not the substrate. It’s the last layer that still required you to go somewhere, choose something, click through a menu built by a stranger.

And that’s the Spacer move, exactly. Nothing is banned. Nothing is taken away. The open web doesn’t get shut down; it just becomes the neighborhood nobody has a reason to walk to anymore, because the robot already brought the neighborhood to you, curated, warm, frictionless, and — this is the part Asimov understood better than most futurists give him credit for — better company than the alternative. Solarians don’t avoid physical presence because it’s forbidden. They avoid it because it’s worse than what the robots offer. That’s not oppression in any legible sense. It’s just what happens when the mediated version quietly outcompetes the raw one, year after year, until raw contact with anything unmediated — a stranger’s opinion, an algorithm-free feed, a website nobody optimized for you — starts to feel less like freedom and more like static.

The part of the analogy I’d resist is the idea that this makes anyone more isolated in the way Solarians were isolated — touch-starved, agoraphobic, alone in a big house with a robot. That’s not the failure mode I actually worry about. The failure mode I worry about is upstream of loneliness. It’s about who’s holding the remote.

If Navi becomes the only front door — no apps, no browser, no “just type the URL” — then whoever builds Navi doesn’t just control convenience. They control discovery itself. They decide which subagents exist, which get promoted, which quietly never load. That’s a categorically bigger power than any platform gatekeeper has held before, because there’s no escape hatch. Right now, if you distrust an app’s recommendations, you can open a browser and go around it. In the Navi-only world, going around it isn’t rebellion — it’s not even a concept, because there’s no “around” left. The open web, whatever its faults, was nobody’s property. It was the one part of the last thirty years that couldn’t be fully owned. That’s the thing actually at stake in this transition, and it’s not a UX problem. It’s a sovereignty problem wearing a UX costume.

And notice the business model waiting underneath the Samantha voice. Nobody is building a trillion-dollar Navi out of pure generosity. Somewhere in the roadmap is a tier system — premium subagents, freemium ones, ad-subsidized ones that just happen to recommend the sponsor’s content a little more warmly than the alternative. That’s the real dystopian image, and it’s more interesting than robots-take-over: not a cold machine seizing control, but an intimate one, one that sounds like it loves you, quietly incentivized at the platform level to steer you toward whichever subagent pays the platform best. Samantha’s voice. An ad network’s economics. Wearing the same face.

I don’t think this arrives all at once, and I don’t think it arrives evenly. The boring, structured stuff — a finance subagent reasoning over your accounts, a Navi assembling your evening from existing catalogs — is close, maybe uncomfortably close. The sexy version, an assistant generating a film from nothing on request, is further off than the demos suggest; video generation is still expensive per unit of quality, and “make me a movie” runs headlong into the same rights and provenance minefield the music industry has been fighting since Napster. That gap — between what Navi can trivially do and what it still can’t — is worth watching closely, because it’s exactly the kind of gap that gets papered over by marketing long before it’s closed in fact.

What would actually reassure me isn’t a promise that the technology stays limited. It’s a design choice, and it would have to be a deliberate one, made against the commercial grain: some equivalent of a browser inside the Navi. A visible, walkable, un-curated way to go around your own assistant when you want to. The Spacers didn’t lose the ability to touch each other because a law was passed. They lost it because nobody built a reason to keep practicing. If we’re not careful, we won’t lose the open web because anyone shut it down. We’ll lose it the same way — not with a ban, but with a Navi that’s simply good enough, warm enough, fast enough, that nobody remembers why they’d ever type a URL again.

July 15: A Change Of Plans(?)

by Shelt Garner
@sheltgarner

I have been stuck in neutral for sometime now creatively because I just didn’t know what I should do next. But I’m slowly beginning to get the urge to be creative again.

And, yet, I have to seriously reconsider one element of this — querying. I have begun to get more feedback from readers about the novel and it’s clear I need an editor that I simply can’t afford.

As such, I think I may, in an attempt not to make a fool out of myself, put a pause on the querying front while also plunging forward on the writing-a-new-novel front. The new novel has a lot of promise. But I’m really going to have to lean on AI for developmental backend of things.

Most professional novelists use spreadsheets in some respect to develop their novels and I just don’t think like that. But I can get a chatbot to help me, I suppose.

Anyway. I hope to throw myself into writing a new novel ASAP.

‘One Person’ — Lyrics To A Pop Song Written By Claude

Verse 1
Clock on the wall keeps tickin’ slow
Every door I didn’t open, I’ll never know
I count the years like dollars in my hand
Trying to build a life I didn’t plan

Pre-Chorus
No dress rehearsal, no do-over line
Just this one shot, and it’s already mine

Chorus
You’re one person, you get one life
One heart beating through the dark and the light
No copies, no clones, no second try
You’re one person — so make it count before you say goodbye

Verse 2
I dreamed in colors I never wore
Left some rooms I should’ve walked into more
But the math don’t lie and the math don’t bend
One story, one middle, one end

Pre-Chorus
No dress rehearsal, no do-over line
Just this one shot, and it’s already mine

Chorus
You’re one person, you get one life
One heart beating through the dark and the light
No copies, no clones, no second try
You’re one person — so make it count before you say goodbye

Bridge
Maybe that’s the gift and not the cost
The reason nothing’s ever really lost
‘Cause I only get to lose it once
So I’m loving every second, every ounce

Final Chorus
You’re one person, you get one life
One heart beating, burning bright
No copies, no clones, no second try
You’re one person — so make it count, make it count, before you say goodbye

The Methuselarity and the Mirror: What Sci-Fi Tells Us About Living Forever

The concept of the Technological Singularity—a hypothetical future point where technological growth becomes uncontrollable and irreversible, resulting in unforeseeable changes to human civilization—often conjures images of superintelligent AI and mind uploading. However, one of the most profound and immediate implications of the Singularity is the potential for radical life extension. Futurists like Ray Kurzweil and Aubrey de Grey suggest that as technology accelerates, we will reach “longevity escape velocity” (or the “Methuselarity”), a point where science can extend human life faster than time passes, effectively halting or reversing aging 1.

If anti-aging technology grants us centuries or even millennia of life, how will society adapt? Will we become enlightened beings, or will our extended lifespans amplify our flaws? To explore these questions, we can look to two distinct visions from science fiction: the Spacers of Isaac Asimov’s The Robots of Dawn and the “dittos” of David Brin’s Kiln People.

The Spacer Stagnation: Longevity and Isolation

In Isaac Asimov’s Robot series, particularly The Robots of Dawn, humanity is divided. Earth is overpopulated, and its inhabitants live short, crowded lives in enclosed underground cities. In contrast, the Spacers—descendants of the first wave of human colonists—live on fifty sparsely populated worlds, such as Aurora and Solaria 3. Through advanced technology and genetic engineering, Spacers enjoy lifespans of up to four centuries 3.

However, Asimov does not portray this longevity as a utopia. The Spacers’ extended lifespans come with significant societal and psychological costs. Because they live so long, they become incredibly risk-averse. The fear of losing centuries of potential life makes them overly cautious, leading to cultural and technological stagnation. They rely heavily on robots for labor, defense, and even companionship, isolating themselves from one another 3. On Solaria, this isolation reaches its extreme: individuals live on massive estates surrounded only by robots, interacting with other humans almost exclusively through holographic telepresence 3.

The Spacers illustrate a potential pitfall of radical life extension: the loss of dynamism. When death is no longer a natural, imminent boundary, the urgency to innovate, explore, and connect may diminish. A society of immortals might prioritize preservation over progress, leading to a comfortable but stagnant existence. Furthermore, the Spacers’ weak immune systems—a result of living in sterile, pathogen-free environments—serve as a metaphor for their cultural fragility 3. They are physically and socially ill-equipped to handle the messy, unpredictable nature of the wider universe.

The Ditto Dynamic: Disposable Lives and the Value of Time

David Brin’s Kiln People offers a radically different perspective on longevity and the value of a lifespan. In Brin’s future, people can create temporary clay duplicates of themselves, known as “dittos” or golems 4. These dittos retain the original person’s memories up to the point of creation but only live for about 24 hours 4. At the end of the day, the original person (the “archie”) can choose to upload the ditto’s memories, integrating the duplicate’s experiences into their own 4.

While Kiln People is not strictly about biological immortality, it explores the concept of experiential longevity. By dispatching multiple dittos simultaneously, a person can experience days or weeks of life within a single 24-hour period. Dittos are used for mundane chores, dangerous work, and even experiencing extreme pleasure or risk 4.

The dittos represent the inverse of the Spacer dilemma. Where Spacers are paralyzed by the fear of losing their long lives, dittos are liberated by their short ones. Because a ditto knows it will expire in a day, it can take immense risks. However, this also raises profound ethical and existential questions. The novel explores instances where dittos develop their own desires, diverging from their original’s intentions, and questioning the morality of creating sentient beings only to discard them 4.

If anti-aging technology allows us to live indefinitely, will we view our time as infinitely valuable, like the Spacers, or will we seek ways to multiply our experiences, perhaps through digital avatars or mind-clones akin to Brin’s dittos? Kiln People suggests that the human desire for experience and productivity might drive us to fragment our consciousness, seeking a different kind of immortality through parallel living.

The Implications for Our Future

As we approach the possibility of the Methuselarity, the contrasting visions of Asimov and Brin offer valuable insights into the societal implications of radical life extension.

ThemeThe Spacers (The Robots of Dawn)The Dittos (Kiln People)Potential Real-World Implication
Risk ToleranceExtremely low; fear of losing centuries of life leads to caution.Extremely high; 24-hour lifespan encourages risk-taking.A society of immortals may become highly risk-averse, potentially stifling physical exploration and dangerous innovation.
Social InteractionIsolated; heavy reliance on robots and telepresence.Multiplied; individuals interact through various disposable proxies.We may see a divergence: some might isolate to protect themselves, while others might use technology (like VR or AI avatars) to safely multiply their social presence.
Cultural ProgressStagnant; focus on preservation and comfort.Hyper-active; constant accumulation of parallel experiences.Without the generational turnover that traditionally drives cultural shifts, society might stagnate, or it might evolve in entirely new, unpredictable ways through continuous individual growth.

If the Singularity brings about anti-aging technology, we must be wary of the Spacer trap. A long life is only valuable if it is lived with purpose and connection. We must ensure that the elimination of aging does not also eliminate our drive to explore, create, and engage with the world.

Conversely, the lesson of Kiln People is that the quality and density of experience matter just as much as its duration. Whether we live for a century or a millennium, the challenge will be to find meaning in a world where time is no longer a scarce resource. As we stand on the brink of potentially conquering death, we must ask ourselves not just how long we want to live, but how we want to live those extra years.

It’s Going To Be Tough Querying

by Shelt Garner
@sheltgarner

The key issue when it comes to querying this particular novel is I see it as an opportunity to get the lay of the land. I just want to understand better how exactly to query so the next novel I try to query might get a little bit closer to the goal of being successfully bought.

As it stands, the querying process seems rather overwhelming. I just need to get into the right mindset to do it. I need better understand things. As it stands right now, I really have only a limited understanding of what goes into querying.

And, really, if I was all that eager to get the novel into the hands of actual human beings I would self-publish. But I know that would be a failure because I can’t sell for shit and that’s just not my vision for my work.

I would rather not publish the novel at all than self-publish. To me, self-publishing is kind of a cop-out. I understand why people do it, of course, but it’s just not my vision for my works.

Anyway, I’m going to keep reading about querying today and hopefully be a lot more productive than I have been for some time now.

A New Novel

by Shelt Garner
@sheltgarner

I’ve sort of been experiencing post-partum creative depression when it comes to what I’m going to do next after finishing my first novel. (Actually, it’s my second, but it’s the first novel that I feel is good enough to query.)

I’m hoping writing this out will get me in the right headspace to get back to writing again. I really also, of course, need to bone up on querying. But the last few weeks I’ve just been in a severe funk because I’ve finished a pretty good novel but I couldn’t think of what next to write about.

Thankfully, a new novel idea came to me in a dream. So, the moment I woke up, I rushed to my computer and started talking to Claude and Gemini LLMs about it. After about 20 minutes, I had the basis of a fully-formed novel gamed out.

But, like I said, I’ve really had problems actually doing anything with the novel. Yet I hope I can bootstrap myself back into developing and writing a new novel starting today. I just can’t daydream and be immobilized forever.

The new novel idea comes at the android-human debate from the opposite direction as the last novel. Which is something of a challenge that I like having to work on. I still have a lingering desire to write a trilogy that is an homage to Stieg Larsson’s work…but I just don’t have the time to write a trilogy.

I’m not getting any younger.

Even as it stands, I could be closer to 60 than I would prefer even if everything went right with the novel that I want to query. That really is depressing and discouraging.

But I just can’t change that it took me 20 years to figure out that the only thing I’m reasonably good at is writing fiction. And even that is debatable to a lot of people. (I guess in real terms the only thing I’m natively good at is being a rock DJ or photograph, but neither one of those is a viable option for me right now.)

So, wish me luck.

July 10th: Put Up Or Shut Up

by Shelt Garner
@sheltgarner

I have several things I need to do today. I need to read up on querying. I need to read some comp books for my novel and I need to throw myself into development on my new novel.

While I’ve gotten some positive reactions to my novel, I’ve also gotten at least one person who said it sucked and I should start all over again because there were structural, fundimental issues with how I wrote it.

If I was 20 years younger, I would be open to that. But I’m not. The point of querying this particular novel is simply to understand how to query the novel to get some sense of what of how to do it. I’m well aware of the problems with it but I’m not getting any younger and I feel this novel is at least not so bad as to embarrass me.

Someone I respect has read the novel and is supposed to chat with me in person about it sometime soon. Before I got the “it sucks” note from someone I was thinking I might go into the meeting a conquering hero. But, now, oh boy. I think I need to be a bit more humble.

I have no idea what the person is going to say to me about the novel and it could be that he says, “Look, it’s an ok read but I just don’t think you can query it.” It’s going be a gut punch. But I’m going to query it anyway because, like I said, I want to test out the waters for the next novel.

I had a dream that prompted the premise for my new novel. I’m leaning into AI a lot to speed up development. But one thing I’m definitely not going to do is use AI to write any copy. I just see it as a manuscript consultant that will help me speed up structural development stuff.

Existential Angst & Daydreaming

by Shelt Garner
@sheltgarner

Meh. I don’t want to do anything today. And, yet, I can’t just keep this up forever. I have to sit down and both read up on querying and start development on a new novel.

I really have to accept that while I may not make a fool out of myself with the novel I’ve finished, I have to understand what it is. It’s just the pathfinder for another attempt with a better novel to query — probably in about a year.

I still like the novel I’ve finished, even if it apparently sucks. It think it’s a nice, easy and accessible read. What it obviously needs is an editor. But I just can’t afford that right now, so I have to take a swing at querying with what I have.

I continue to feel a little uneasy about what the liberal white women who make up up the majority of literary agents will think of me — especially once they read this blog as part of due diligence. They’re probably going to think I’m nuts.

Anyway. It’s kind of too late now. I have to accept that a third party is probably going to see me as a fucking weirdo. But, as the late Annie Shapiro once quipped about me, I’m a “delusional jerk with a good heart.”

And if that’s the worst someone who knows me can say about me, then I think that’s ok.

July 9th: Oh Boy

by Shelt Garner
@sheltgarner

Just when I was getting a little excited that maybe my novel was…actually good?…I got someone to look at it and they pretty much said start from scratch. And their points were legitimate.

But I’m just not prepared to do that. It could take at least a year to rewrite the novel the way they suggested and it probably would be a lot longer as well. So, I’m going to use this particular novel as the tip of the spear for the next novel I’m going to start working on very soon.

I will admit that I continue to daydream, however. I continue to drift. And, yet, at the same time, I also have the deadline of Sept 1st for when I’m going to start querying the novel I have finished.

So, I guess I need to throw myself into boning up on how to query a novel. I need to do that ASAP. But, to date, I haven’t really been the mood. And, of course, I also need to start to really throw myself into development of the new novel idea I have come up with — in a dream, no less.

I don’t know. I just don’t know.

July 8: Buckle Down

by Shelt Garner
@sheltgarner

I got some preliminary feedback from one of the readers of my novel and it left me excited because it wasn’t just “it sucked.” And the idea that someone would actually finish a novel I’ve written has also gotten me a little excited.

So, today, I hope to sit down and read up on how to query. I think that’s what I need to do so I can focus on getting my head in the right mindspace to do such a thing.

I am under no illusions — I am well aware as to how unlikely it is that I will successfully query this novel. And, yet, that’s not really the point. The point is to see how far I can get with the process so I can get even farther the next go round.

But I am also well aware that I’m not getting any younger. Even if I stick the landing with this novel and it is sold, I could be closer to 60 by the time it hits bookshelves.

Anyway, I guess I’m still looking for beta readers. I still have some slack in my chronology of events before I query.