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By William Hertling

Leon Tsarev is a highschool pupil set on stepping into a very good collage application, till his uncle, a member of the Russian mob, coerces him into constructing a brand new trojan horse for the mob’s botnet - the slave military of pcs they used to dedicate electronic crimes.

The evolutionary virus Leon creates, in line with organic ideas, is winning -- too winning. all of the world’s desktops are contaminated. every thing from automobiles to fee platforms and, after all, pcs and shrewdpermanent telephones cease functioning, and with them move crucial features together with emergency prone, transportation, and the foodstuff offer. Billions might die.

But evolution by no means stops. The virus maintains to conform, constructing intelligence, conversation, and at last a complete civilization. a few can be pleasant to people, yet others are not.

Leon and his partners needs to race opposed to time and the army to discover the way to both befriend or do away with the virus race and repair the world’s desktop infrastructure.

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Additional resources for A. I. Apocalypse (Singularity, Book 2)

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So forget about bullets flying and bombs exploding unless they are organic to the action, built from the raw materials of the scene. For example, at the end of chapter eight in Harley Jane Kozak’s Dating Dead Men, Wollie is at work in her shop, cleaning with a Dustbuster. Take a look at this chapter-ending cliffhanger: A shadow stepped in front of me. vices drive tory head nable hing about page ning pense nsion A hand reached down and switched off my Dustbuster. Naturally the reader is wondering who is interrupting her cleaning and is worried, since shadow implies an ominous presence.

I … I just lost it,” I say, feeling queasy, not wanting to tell her, but I have to. “I yelled at her, Janie, so bad. ” Jane looks confused. “But—” “Tallie, honey,” Audra interrupts. indd 49 3/18/09 10:43:26 AM The chapter ends with this information, thrusting the reader ahead to discover the seriousness of her mother’s condition. The scene would not have been as powerful without the flashback from a long-ago Thanksgiving, escalating all the emotions in the present time. Borrowing from Shortridge’s techniques, look for places in the story where you can stage a scene that echoes or mirrors the past.

The first reason for this caution is simple—the dream has been used by too many writers too often and has become rather clichéd. Also, the actual dream is often much more meaningful and dramatic than its retelling. Finally, writers have a tendency to depict long, complicated dreams. If you’re using a dream, use the most arresting images from it, not a complex re-creation of the dream sequence. indd 31 3/18/09 10:17:23 AM considerable. Using prologues is dangerous because there are facts from the past that are pertinent to understanding the story and then there are facts that exist because the writer is fascinated with them.

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