Monthly Archives: July 2015

Tie-In Fiction

If you go into your local bookstore you’ll find quite a few shelves of tie-in fiction. Books, stories, and novels set in popular franchises such as Star Trek, Halo, and many many others.

There are authors who despise tie-fiction and hold the belief that creating such work-for-hire is somehow selling out and not true authorship. It is a free country and they have the right to hold such opinions, but it is feeling that I do not share. I personally believe that there is no wasted writing. That anytime you are putting words in a row, struggling with ideas, trying to punch up your prose, it is good for you as a writer and makes you better. I have never looked down on those who write fan-fiction, I have written a few pieces myself, and tie-in fiction is fan-fiction that you can get paid for.

Now if you are an unpublished writer getting a tie-in contract is nearly impossible. That is an understandable arrangement. The corporations that hold the right are not looking to develop new and interesting voices; they are looking for journey professionals who can deliver the product on time and within specifications. Because of these restrictions I have never attempted a tie-in novel. It’s far more work than it would interest me for a piece of fan-fiction. (There are those who write full novels of fan-fiction and more power to them, but if I am going to put in that many hours on a project I want at least the possibility of selling professionally.) However, I would not turn up my nose at the thought of writing tie-in fiction. More than that, I really would like to write some. I have a few ideas for popular franchises and who knows maybe one idea I too can do that work-for-hire.

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On Critiques Part 2

In yesterday’s post, I shared some of my thoughts on what makes for good critiquing when you are the one giving the critique. Today I am going to share my thoughts on how to be good at taking a critique.

Receiving a critique is a skill set just as giving a critique is one. In order to get the most out of a critique and have the best chance for improvement as a writer, I think that there are a few simple things to keep in mind. These suggestions are primarily based for session where you need to sit there and listen to one or more people give you their feedback verbally, but many of the concepts apply to written critiques as well.

1) Be Quiet. There are several good reasons to remain as silent as a church mouse. Foremost it is polite to the person who has the floor have their say. If you derail their train of thought you may miss valuable insights that they had to share but instead were diverted to some other topic. Also, the most often impulse to speak comes from a desire to explain a point that the reader misunderstood or defend a critique. In both instances, you should refrain from any comment. No honest critique can be wrong. If someone gets something out of the piece that seems to you 180 degrees out, you should not seek to correct them but instead you should try to understand why they came away with that impression. If more than one person has that impression you really need to dig into the piece and figure why. you can’t do that if you are explaining or debating the point. Once you fall into defending the point or piece you become more resistant to the critique.

2) Understand Biases. Every person in the world has a set of filters that they use to view reality. Some are optimistic, some of pessimistic, some overly dark and others filled with rainbows and unicorns. These filters will impact on how that person views your work. This doesn’t make them wrong. It is what the work is to them. You need to try to work out how much is their bias and how much is your prose. There’s no simple test, no litmus paper you can apply, but with time and practice you can get better as understanding the filters and then even using them to try to achieve literary slight of hands.

3) Don’t rewrite to all critiques. If you are part of a group when you get your feedback it may be all over the place. One person may find the character charming while another thinks the character is an ass. Some may find you set-up credible and others may be unable to suspend their disbelief. If you try to re-write to make everyone happy your piece will become a pile of mush, bland and without a voice.  When you do your revisions keep in mind the points that felt right to you and search out your own solutions to the issues. Points that seemed far afield, ignore. Again, with time and practice you’ll get better of discovering the little inner voice that can point you towards the critiques that are on target. the problem is that little voice is often shouted down by the much louder writer’s ego. That voice you need to ignore during this process.

 

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On Critiques – Part 1

Since 2010, I have been a member of the Mysterious Galaxy Writers’ Support Group. We meet twice a month, read pages aloud to the group and provide instant feedback and critique. We also do longer pieces at home and share the line edits with the authors. If you want to write and you are not a member of a writers’ group I would advise joining and if there isn’t one in your area there are many on-line and you can even found one.

Over the years, I have picked up a few thoughts on critiques and today I will share some in hopes that someone might find them of value. This post will be about giving critiques, perhaps there will a part 1 about receiving them but frankly giving is far more important to your growth as a writer than getting.

These are not hard fast rules, but rather the guidelines I think work best. As with cars, your mileage may vary.

1) Be Honest. No honest critique can be wrong. It is the impression and reaction that the piece generated in the reader. This is not mathematics where there are right and wrong answers. Writing is about what works and what doesn’t work. While there general rules for what works, show don’t tell, active vs passive, these can and are broken to good effect. Now, it is difficult to break them without understanding why they are there, but if the break works or does not work for you, then it didn’t and you should say so.

2) Be Polite.  There are several very good reasons to be polite. It is simply good manners and few people want to associate with the boorish. Also if you are polite the person you are speaking with is more inclined to listen. This benefits them and keeps you from wasting your time. Rude, mean comments are destructive to the person receiving the critique and to the group as a whole. Meetings were such things are tolerated will not reoccur for long.

3) Be Precise. Phrases such as ‘I liked it’ and ‘I didn’t like it’ are generally unhelpful for an author diagnosing a problematic piece. Give examples where the writing didn’t work for you and try to illuminate why it didn’t work.

4) Praise where you can, but be true to rule 1. I like whenever possible to start with what worked for me, and why it worked, then go into what didn’t work for me and why and then sum up with the positive. I find the sandwiching of good and bad helps both come across clear and in a generally receptive manner.

5) Be Wary of re-writing it to your own style and preferences. The work is not your work it is someone else’s. They likely have different ideas about what makes an interesting plot, and engaging characters. The trick here is to focus on the prose and how it serves the story and unless asked for plotting help, avoid changes to the story itself. This will also make it easier to give useful feedback for a genre you don’t read or write.

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A Day of Classic Universal Horror

This past Saturday I had a few friends over ordered pizza, and we enjoyed an afternoon of classic horror films from Universal Studios.

This is actually the second Monster Marathon we’ve done in this fashion. Marathon I we watched Frankenstein, The Mummy, and Creature from the Black Lagoon.

For Monster Marathon II the selection, based upon votes from the participants, were: The Invisible Man, The Wolf-Man, and The Phantom of the Opera (1943).

The Invisible Man is of course based up the novel by H.G. Wells. Wells had been unhappy with another studio’s adaptation of his novel The Island of Dr. Moreau into the film The Island of Lost Souls and Universal tried to stay closer to the source material the make the author happy. In the film, it is the invisibility serum that drives Jack Griffith mad, turning him into a megalomaniac and a murderer. Wells’ original concept revolved around the idea that power corrupts and that an invisible man, freed from the consequences of his action because he cannot be brought to justice, will surrender to his base drives and rages that are only kept in check by the iron rule of society. It is really a rather cynical theme. The 1933 film is well made and wastes no time in getting to the action and the character. James Whale knew to not bore the audience with dready set-up and exposition, something following horror filmmakers too often forget.

The Wolf-Man I have written on in another essay, but it bears repeating the central thing to know about this movie; nearly everything you think you know about werewolves can be traced to this script, this production. It is not as deftly made as The Invisible Man, concepts are repeated needlessly and there is too much set-up before we get into the meat of the plot. because there is too much set-up the plot resolves too quickly leaving the movie feeling rushed and unfinished.

Phantom of the Opera is the only movie of the marathon filme in color, and it was glorious technicolor. taking liberties with the source material, as Hollywood often does, this film also spends an elaborate about of screentime setting up Erique Claudin as the tragic violinist who when dismissed from hos post in the orchestra and murders a man he believes has stolen his composition (May I state that lawyers are a much better course of action in suspected I.P. theft cases than murder.) flees to the Opera house and becomes the phantom. This film is better made than The Wolf-Man, but the comedic aspect between Christine’s two suitors, and the missing mystery resolution as to why Erique is so invested in Christine’s future, damage the over-all movie.

 

All in all it proved to be an enjoybale Saturday afternoon followed by an evening of board and ard games. I hope everyone had a weekend as pleasant.

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Movie Review: Maggie

Yesterday was massive movie day here at my condo. During the afternoon I have a few friends over, ordered a couple of pizzas, and we watched three classic Universal Horror Films. (The Invisible Man, The Wolf-Man, & The Phantom of the Opera [1943]) Afterwards we spend a few hours playing board and card games, making for a rather enjoyable day just on that, but there was an interesting discovery still waiting for me.

The zombie genre has seen all sort of films mining this public’s fascination with the terminally hungry. We have the zombie movie as horror, (Night fo the Living Dead-1990), social commentary (Night of the Living Dead-1968), comedy (Return of the Living Dead), satirical commentary (Dawn of the Dead-1979), Romantic-Comedy (Shawn of the Dead), and many more but last time I watched for the first time a film that was a family drama set in a zombie apocalypse, Maggie.

Maggie stars Abigail Breslin, Joely Richardson, and Arnold Schwarzenegger . The set-up and the setting are stark and simple. A father (Arnold Schwarzenegger) is trying to care for zombie virus-infected his daughter Maggie (Abigail Breslin) while dealing with the strain of a world collapsing around him and the forces tearing at at his blended family.  Nearly all of the film takes place at the family’s isolated farm, but it is not isolated by hordes of the undead, but rather the collapse of the infrastructure is isolating people as the world slowly descends into zombie fueled chaos.

There are no action set pieces, there are no massive scenes of the undead tearing into people, there are no scenes of high-velocity destruction as fight off faceless hordes. Instead this a story about people caught in emotionally impossible situations and the terrible decisions and unavoidable fates that lie before them. While this story uses zombies and turning into a flesh-devouring automaton as their plot devices the themes apply equally well to anyone watching a loved one suffering under a terminal condition.

This is film also surprises in the range of acting talent is displays for Arnold. This is a quiet movie about emotional hell and he plays it well. Who knew he could cry on cue? Much like Boggart and The Caine Mutiny, this is the sort of story he could not have made under a studio system.

Maggie had a limited releases this year and is currently available on DVD. It’s worth the time.

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Another Benefit from the Internet Age

Clearly there are nearly countless benefits from the internet and the vast and myriad  ways we have to spread information these days, but there is one in particular I want to look at briefly in this post.

I have been a cord cutter (someone without cable television service) for several years. All of my video entertainment arrives on disc or by way of a streaming service. For the last couple of weeks I have been watching various film noirs on the HULU plus service. Some were good, some were not, but the general mood and atmosphere I am marinating in will be helpful in crafting my SF/Noir novel.

I think all of the films I have been watching on HULU are ones that fell into the public domain when the original rights holders opted to not extend their copyrights. Just a few years ago that would have cast these unprofitable properties into the trash bin of entertainment history, subject only to the occasional late night broadcast as part of a station’s ‘Movie ’til Dawn.’ (And not even that as the infomercial killed that.)

Now, thanks to streaming and the status of public domain, these films are available to new audiences. (I particularly liked The Red House. Both a noir and a snap shot of rural living in the mid 40s.)

Many more public domain movies are available on Youtube and sites such as Public Domain Movies.com. True more than 9/10s of these are truly terribly movies, but one usually pans through a lot of mud to find a single nugget.

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Politics and Prose

Today marks the one-month anniversary for me being represented a literary agency. While no sales occurred in that month, nor were they expected, it has turned my eyes towards the future and what it means for me.

I often spout politics on this blog and now I may actually have some sort of literary presence that those political rants could affect.

Authors I know seem to be of several minds on the intersection of politics and their writing careers. Some take the approach that their author-selves should remain utterly apolitical. Take no stands, express no over political opinion, and remain as neutral as possible. Facebook and social media are for self-promotion, jokes, and cat videos. I see nothing wrong with that position, but I think I would have a difficult time maintaining that line.

Other authors fly their political flags at every parade, Nearly every issue must be commented one, positions must be debated, and guidance given to all. The thought of such constant debate I find terribly weary. While I often comment on politics here, there are many many political thoughts and positions I don’t bother to place formally on-line. I’ll leave that to those for whom politics is a passion and not a pastime.

I think I will continue with the occasional political post. I could not silence myself on some matters and remains true to who I am. It would feel deceitful. Anyway, I think much of an author’s political views are there for the uncovering in their fiction, particularly in genre fiction. World-building, as SF and Fantasy require, is inherently a political act. The author is constructing a world that he or she believes is plausible and in doing so they tip their hand in what they think works and does not work. This applies to me as well as any other author. I think if you look closely you can see the general shape of my philosophies hiding amongst my prose.

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No Plan Survives Contact with the Enemy

So, last week I arranged to take today off from my day job. I had been feeling a bit of stress and with my knee giving me issues and the expense of next month’s WorldCon trip I ruled out my usual anti-stress measure a trip to Universal Studios Hollywood.

My plan for the day was to do nothing of importance. Play video games, mindlessly surf the internet and speak to no one except my sweetie-wife when she got home from her work.

Mostly my plan survived intact. I have played quite a few games of Call of Duty, watched a few interesting videos on-line,  spun up bonus material on my Classic Universal Horror Blu-rays, and in general goof-off.

I also finished my scene level outline for my new novel. I had not intended to work on any writing today. The concept had been fun and zero responsibilities, however, the urge to finish this part of the job proved too strong for me to resist. I am glad I gave in. When I reached the final line of the final scene I also reached a fuller understanding of the theme of my story. Truly you do not know what you story is about until you actually write the damne thing.

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