Category Archives: writing

Book Launch Changes

Hello:

Due to a late conflict at the venue the launch of my novel Vulcan’s Forge has been moved from Thursday March 26th 2020 to Saturday March 28th at 2:00 pm and it is still at our beloved Mysterious Galaxy.

Some of you may be wondering how you can help a baby writer with his first book. There are a few things you can do.

Pre-Order the Book: Pre-order count more for helping the book than sales after the book is released.

Pre-Order at a local bookseller: Amazon is wonderful in its reach but it is impersonal and will not take note of a few pre-orders. A local store will notice and this can spur orders for its shelves, or even get an employee on board as a fan and promoter.

Post Reviews: If you get the book leave reviews, honest reviews even if they are negative, help raise a book’s profile.

Share posts and tell people who may be interested. Book are still on of those products that truly benefit from word of mouth.

 

 

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Not Doing Nation Novel Writing Month

Tomorrow is kick off for a lot of people who will be attempting to write 50,000 words in 30 days. This is an entirely achievable goal and I salute every person assault that mountain but I myself will not be taking part.

I have my system of writing and I find it works very well for me. I writer Monday thru Friday and take the weekends off. This keeps me engaged and I avoid burn out.

I will however be starting on a new novel in November. Just yesterday I completed the first draft of my outline for a new SF book. The outline clocked in at 8700 words, not my longest and not my shortest, and I discovered quite a few things about my plot, my characters, and their relationship along the way. I think it is during the outlining phase that I experience the same sort of discovery process that ‘pantsers’ having while writing their first drafts. It is also where the gaps in logic and plot holes first appear to me and I can fix them before doing the pick and shovel work of actually writing the scenes.

Now to draft a synopsis and run that past my potential editor.

 

 

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I Have A Release Date

My debut novel, Vulcan’s Forge now has it official release date from Flame Tree Press, March 26th 2020. (That year, 2020 still feels to me like some distant far away future.) The novel will be available in Hardback, Paperback, and e-Book editions. There will also be an audio book but I am not sure of its release date.

Because there is a release date that means the novel is now available for pre-order. I have already confirmed that at both major on-line retailers, that is to say Amazon, and at my local specialty bookstore Mysterious Galaxy, so if you are interested you can buy the book now for it’s March release. (I am informed that pre-orders count more for success than off the shelf purchases.)

 

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New Achievement Unlocked

The road to publication of my first novel has been long, twisty, and full of detours that sent back to square one but the destination has finally come into sight.

It has been an interesting experience as I proceed into new and unknown territory with phase of the publication. Submitted books and stories is something I have become quite familiar with but when the contract arrive for the novel that was new, particularly since I was navigating those waters sans agent. Then there was working with my editor. I must say that Don has been great, between his comments and the insights from Imogene the copyeditor I not only improved Vulcan’s Forge  I also learned things about my own writing style and hopefully have improved.

For the last two weeks I have been carefully reviewing the galleys for Vulcan’s Forge, scouring the PDFs for mistakes, typos, and the like. (And I must report that there have been very few. I adore the layout and look of the text. This is one of the principal reasons I sought traditional publishing there are far too many critical skills that are best performed by others.)

This morning I popped over the Flame tree Press’ website and saw that their Spring 2020 catalog was posted and there on page 28 was my book.

I was not ready for the emotional experience. There is a vast gulf between thinking about a thing and seeing that actual thing come into reality. It’s an excitement I have looked forward to and now it makes my fingers tremble and my heart flutter.

There can only be one ‘first time’ and I am so happy to share mine with Flame Tree.

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Choice versus Ability: What RPGs Can Teach Us About Writing

The other day I listened to the episode of the podcast Scriptnotes  where the two hosts, Craig and John played the role-playing game Fiasco  with a fellow writer and it sparked some thoughts about story telling and how characters become compelling. John and Craig in addition to being successful screenwriters, show runner, novelists, and playwrights, are role-play gamers notably playing Dungeons and Dragons  the wellspring of all role-play gaming today so listening to them play Fiasco  a game that is entirely focused on storytelling with only extremely limited mechanics intrigued me, especially since I had thoroughly enjoyed the episode of the web series Tabletop  where I first learned of Fiasco.

In Dungeons and Dragons  characters have a well defined set of abilities, usually derived from a ‘class’ that defines the character profession, thief, wizard, warrior, and so one but in Fiasco  the only thing that defines a character is their relationships to the other characters of the game. There are not statistics for physical or mental abilities, no rule set for determining if a gunshot hits a target or misses, in short characters have no defined abilities whatsoever. A Fiasco character is defined by their choices and in fiction writing it is the same.

In fiction a character’s attempt at any action is not random determine by lucky or unlucky dice rolls but success is predetermined by the author compelled by the needs of the text. The character’s abilities are there to allow the possibility of success at any particular action but not to drive that action. What makes a character compelling is the choices that they make. If you can remove the character from the action and replace them with another person with a similar skill set and nothing changes then it is likely that your character is not very compelling. It is the choice that defines the character, it is in agonizing dilemmas where there are no good choices that forces a character to grow and confront their own true nature.  From quiet dramas such as The Remains of the Day  and Mr. Stevens choice to not speak up and tell Miss Kensington how he really feels to special effects spectaculars such as Captain America: Civil War  where Steve has to decide to confess to Tony Star the truth that he had kept secret the truth of Stark’s parents’ murder it is the choice that a character that makes them empathetic.

Abilities can be switched out, anyone can be an expert of some skill ort knowledge but only this particular person with this particular background and experience can be tortured with a specific choice and there you will find the compelling character.

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Sometimes You Should Look Back

The other night I was thinking about a failed novel I wrote several years earlier. The thought was perhaps I could go back re-read the manuscript and approach the idea fresh and see if I could write a new version absent the flaws that had been exposed at its beta read.

The first shocker was the dates on the files. Nine Years? Really? Where had the time gotten?

Okay it’s been awhile, onto reading the first scene of that novel. (It was late and bed was fast approaching. Anyway a part of my brain did recognize that this behavior was mostly avoidance because a shiny new project is always more alluring than the pick and spade work of any current Work In progress.)

Okay, that opening scene is far beyond my currently level of craft.

It wasn’t terrible, so there is that, but it was fatally flawed in its prose execution.

There’s danger when you look at a historical piece of your own art that the lack of competence will damage your confidence in your present works. After all at the time I wrote the novel and invited others to beta read it I thought I had performed decently and I think I am doing so my current projects. Am I as deluded now as I was then?

In some ways absolutely.

Artists are often the worse judges of their own material, simultaneously blind to some faults and hyper aware of others. This is why feedback is vital. Good, honest, and constructive feedback is the super serum that lifts our mediocre efforts into competent works.

However there is a flip side to the self-blindness and that is it can make it difficult to see the progress we have actually achieved.

The flaws in the prose in that novel from 2010 also are an indication of the progression I have reached. In that time I have, in gamer lingo, leveled up several times since writing that manuscript. The characters, the concepts, and the setting of the novel are all still quite compelling to me and if I choose to attempt it again the prose will be substantially better.

I am not depressed by the awfulness of that earlier work I am energized by how easily I can see it and the numerous ideas for how to do it better.

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The Delicate Balance of Character Death in Sequels

Over several nights this week, and I am still not finished I have been watching Crystal Lake Memories: The Complete History of Friday the 13th. The documentary covers the entire span of the iconic slasher/horror film franchise and has a running time that is close the seven hours. I am a movie buff and while I have seen a few of the Friday the 13th  installments I am by far not an engaged fan of the series but I adore learning about films and their production.

Adrienne King who played final girl Alice in the initial film spoke about how many fans reacted badly to her characters quick and unceremonious death in the following sequel and my thoughts instantly flashed to Alien 3  and how the characters of Hicks and Newt were also cruelly dispatched simply to make way for the next batch of Purina Alien Chow.

Sequels are already tricky things to manage. People loved the first story and want more, deviate too wildly from the established tone and elements of that instigating tale and people will feel cheated, that they did not get what was promised on the tine, but hew too closely to the original plot and structure and people will be bored as you simply repeat the original with mere cosmetic changes. What Friday the 13th Part 2  and Alien 3 exemplify is the dangers of ignores the audiences emotional investment in the previous episodes. A story, prose or cinematic, succeeds when the audience become emotionally invested in the fate of the characters. This is particularly true in films where the conclusion presents few surviving characters of which horror films excel. Alice in Friday the 13th  is the ‘final girl’ and her survival is the emotional heartbeat of the movie, giving the audience its catharsis and exhilaration with the story climax. People are excited by her survival after attaching their fears to her for the run of the film. Alice matters. But her off-hand death at the start of the next film is an unintentional swipe at the audience. It is calling them suckers for caring about Alice, or Hicks and Newt for that matter, because all of that drama and tension and terror were meaningless. Those cruel and thoughtless character deaths invalidate all of the emotional toil and payoff of the previous franchise installments.

Does this mean you can’t kill surviving characters in the following sequels? No, of course not. What it means is that a sequel needs to be very careful in which characters fall and the manner in which they fall. Off-handedly removing character simply to make room for new ones is disrespectful to the audiences and their deep emotional attachments. If a character that survived an earlier episode must appear and die in a sequel then that death must be important to the plot and development of the story and it must be driven by the character’s choices. It need not be a ‘heroic’ death, though that is a clear option but it must not be a death that could have been filled by a stand in. Remember that sequel have a carry over emotional effect, the audience are in a heightened state filled with the memories of beloved characters in dramatic tension do not disrespect them.

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Scriptnotes and Thoughts on my Career Path

I adore HBO’s limited series Chernobyl  and its associated podcast of the same name with the writer and show runner Craig Mazin explores the crafting of the show and where it deviates from the historical record. That podcast led me to Mazin’s other Podcast Scriptnotes  where he co-hosts where fellow screen scribe John August about screen writing and things interesting to screenwriters.

There had been a time in my life where I really wanted to be a screenwriter and director. Movies are a passion of mine and I adore all the aspect of cinema. This weekend I will spend 13 hours watching a marathon of SF themed horror film as part of a local cinema group’s annual celebration. My novel coming out in March 2020 Vulcan’s Forge  is not only a celebration of film noir  in prose but stuffed to its hairline with references to some of my favorite films. However, listening to Scriptnotes  I think I have learned that being a professional screenwriter may not have been for me.

Where there are lots of books about how to write screenplays and what the form of the material is like there are few recourses that can give you a real look at what the life of a screenwriter is really like, Scriptnotes  is one of those rare resources. In addition to excellent advise on character, conflict, and constructing scenes, John and Craig climb down into the muddy trenches of dealing with contracts, producers, the Guild, studios, and set realistic expectations for aspiring talent just what the business is going to expect of them. What dismayed me was the amount of work a professional screenwriter does that is being a ‘gun for hire.’ How often a person will work on projects that they did not start, did not conceive, and are expected to create and polish into gem stones as glittering as their own projects. Certainly spec scripts, that is a project that was written without a contract and without the writer being hired to writer it, get produced but more often these scripts are used to open doors and gain employment as those hired guns and the films those scripts were written for never come into existence.

That has to be heartbreaking.

As a novelist I write a manuscript with every expectation that it will be a novel. For my preferences the ideal outcome is a traditionally published novel where a publisher pays me an advance and I get the benefit of their entire production, advertising, and distribution enterprise but if need be in this digital age I can publish the book myself. I do not need to produce well-polished dreams that are likely to be discarded so I can chase work on material I did not create.

Perhaps one of my novels will eventually be sold and made into a film and then I may writer the screenplay. I think I have a real talent for that form, but as a career, I think that screenwriter would have been a poor fit.

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Spider-Man, Macbeth, & Responsibilities

It is interesting to think about how characters are or are not responsible for the ills of their fictional world.

Central to Spider-Man’s character is the guilt he feels over the death of his beloved Uncle Ben. After Peter Parker had gained his powers that allow him to become a super hero but before he accepted to corresponding responsibilities, he sought enrichment and glory by using those magical abilities in entertainment. And when he stood by refusing to become involved in a robbery allowing the culprit to escape, he set into motion a chain of events that resulted in the same culprit robbing, shooting, and murdering Peter’s Uncle’s Ben. In the second motion picture directed by Sam Rami Peter confesses to his aunt that he, Peter, is responsible for Ben murder and that is something that has always rankled me.

Yes, Peter should have done something. Yes, Peter’s inaction set up the conditions that allowed the criminal to escape and thus the conditions that eventually allowed the criminal to be in the wrong place at the wrong time with the wrong motivations that resulted in Ben murder.

However, Peter is not responsible for that murder. Peter did not pull that trigger; Peter did not make the decision to shoot. Only the gunman is responsible  for shooting. My feelings on the matter have always been settled ground to me.

Yet, things feel different when I contemplate my favorite play Macbeth.

It is Macbeth’s hand to wields the dagger, it is Macbeth’s choice to murder his King and Kin, it is Macbeth uses the throne of Scotland to ignite a reign of terror that sparks open rebellion and invasion and still I can’t shake the sensation that responsibility somehow lies with the unnamed witches.

Without the supernatural meddling by the witches, making pronouncement of the future that are accurate of ultimately misleading, would have Macbeth ever taken any action against his royal cousin? If the witches can know which grain will grow and which will not then must they also know that speaking that future to Macbeth that place him on the path that ultimately leads to his doom? Are they the inversion of Avengers: Endgame knowing that if they speak the future to Macbeth that unlike Strange certain that his prediction will destroy its possibilities their will ensure it? If that is the case how do you divide responsibility between the Witches and their future meddling and Macbeth free will to choice his destructive path?

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Actions Define Character

There is often a gulf between what a character says is their nature and the actions performed by that character. I am not speaking about plot-required deceptions, such as an agent who poses as a businessperson while traveling through hostile and dangerous territory but rather to gap between how a character perceives themselves and that the character’s actual nature.

In an introductory psychology course, I was exposed to the concept of the Johari Window. Take a square and divide it into four quadrants. One section is what that person knows about themselves that is also known by others, it is their public face and identity. Another sector is what the person knows but it is unknown to others, this is the person’s guarded identity. The third sector is what is unknown by the person but known to others, this is the person’s blind spots, aspects of their personality and identity that they are blind to. And the final sector is those aspects of the person that is unknown to both the person and to others, traits, identity, and personality facets that have yet to be discovered. The sectors are rarely even and their areas vary greatly from person to person. It can be a useful tool in character design to consider how the Johari Window applied to people you may create for any work of fiction.

The tension between what a character may believe about themselves and how thy actually act can be a great source of development and conflict. Consider a character that considers themselves to be a ‘progressive’ supportive of LGBQT rights and for drug legalization but if that character is also wealthy and their political energies are spent on the candidates and initiates to reduce their tax burden then the characters actions are in conflict with not only their expressed ideals but perhaps even their own sense of identity. Such a character may not even be a hypocrite as they may unable to even perceive the contradictions between their stated positions and their actual actions. Never under estimate a person’s ability to self-deceive particularly in order to protect a self-image that may be at odds with reality.

The old adage is that ‘actions speak louder than words,’ and we consider it a truism especially when we need to consider characters who believe that own words and yet defy them with action after action.

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