The fear of the never-ending onslaught of gizmos and gadgets is nothing new. The radio, the telephone, Facebook - each of these inventions changed the world. Each of them scared the heck out of an older generation. And each of them was invented by people who were in their 20s.
'Robopocalypse' joins a proud tradition of techno-apocalyptic tales, stretching from high-flying Icarus, to Frankenstein's monster, and to many a giant radioactive creature who has crashed the streets of Tokyo. And then, of course, there's the Terminator.
Zombies, vampires, Frankenstein's monster, robots, Wolfman - all of this stuff was really popular in the '50s. Robots are the only one of those make-believe monsters that have become real. They are really in our lives in a meaningful way. That's pretty fascinating to me.
You probably found 'How to Survive a Robot Uprising' in the humor section. Let's just hope that is where it belongs.
You can graph human evolution, which is mostly a straight line, but we do get better and change over time, and you can graph technological evolution, which is a line that's going straight up. They are going to intersect each other at some point, and that's happening now.
A robot-arm in a factory doesn't decide minute by minute whether to rivet or revolt - it just does the job is has literally been trained to do. It's if and when we build a conscious robot that we may have to worry.
For people who have been raised on text-based interactions, just speaking on the telephone can be high bandwidth to the point of anxiety.
Human reactions to robots varies by culture and changes over time. In the United States we are terrified by killer robots. In Japan people want to snuggle with killer robots.
Right now, we have the most complex relationship with technology that we've ever had. Your regular person has more technology in their life now than the whole world had 100 years ago.
I was writing a scene where a guy was choking another guy to death. You can go online and type 'chokeholds' and watch scenes where martial artists choke each other out. You can hear what noises they make when they go unconscious, see how their bodies flop and everything. YouTube is amazing for the more detailed stuff.
Over the past 50 years we got versions of X-ray specs and space vacations, and even death rays. But the X-ray specs don't fit on your face - they're big things that screen your luggage for guns. Space vacations are real, but they cost $20 million. We have death rays, but you have to be a triple Ph.D. to play with them.
In my books the technology that I choose to talk about has to serve the themes. What that means is that I end up having to cut out a lot of cool technology that would be really fun to describe and play with, but which would just confuse everybody. So in 'Amped,' I focus on neural implants.
I wrote a query letter to an editor - a friend of a friend. The editor called me an idiot, told me never to contact an editor directly, and then recommended three literary agents he had worked with before. Laurie Fox was one of them, and I've never looked back.
You write about what you know. It makes everything easier, and also more truthful. In this case, I grew up in Oklahoma, and I grew up in the Cherokee Nation and I'm a member of the Cherokee Tribe. Oddly enough, I know a lot about robots and Oklahoma, and so that's what comes out in my writing.
The complicated, ambiguous milieu of human contact is being replaced with simple, scalable equations. We maintain thousands more friends than any human being in history, but at the cost of complexity and depth. Every minute spent online is a minute of face-to-face time lost.
In the future, when Microsoft leaves a security-flaw in their code it won't mean that somebody hacks your computer. It will mean that somebody takes control of your servant robot and it stands in your bedroom doorway sharpening a knife and watching you sleep.
I absolutely believe that a lot of the issues raised in 'Amped' about technology migrating into our bodies are issues that we're really going to deal with soon.