Year: 2010 (page 39 of 73)

Making Time To Write

Hourglass

I am in the unfortunate position of not getting paid to do what I love.

I know, that doesn’t make me special. A lot of people are passionate about things that are very different from what they do. I doubt that most people that work for, say, Bridgestone or Michelin are passionate about making tires. Your average folks get up in the morning, put on some clothing that allow them to conform to the expectations of peers and coworkers, and commence a commute to some sort of job during the day that pays the bills, keeping the family feed and the lights on.

I’m glad to have people in my life who’ve broken this mold. They do what drives them, what fuels their imaginations and haunts their dreams. I know that sometimes the money that comes in from this lifestyle can be a bit more sporadic than the steady day job paycheck, and that bill collectors sometimes need to be dodged or placated. It might seem glamorous at first, but going for long periods of time with little to no income is no picnic.

I’ve been there. I was unemployed for quite a long time not too long ago. And even now, with this steady job I hold, things easily become strained. The combination of my pay rate with the necessity of supporting what I support takes a toll. But before I degenerate into self-indulgent whining, let me get to my point.

I need to make time to write. You might, as well, and here’s why it’s so important to do.

Nobody else can write what you’re going write.

The original idea, the seed from which your work is going to grow, is all yours. You might look to write it yourself, it might become a collaborative work or you may feel the need to hire a ghost writer. But however you plan to do it, there’s a big yawning gap between shaping the core of your idea and coming up with a finished product that’s capable of being sold. One of the biggest components of that gap is time, and to get across it you need to take time away from other things.

I say, when you get right down to it, sometimes you have to shut the world away. Disconnect the phone. Unplug the television. Turn off the Internet. Yes, believe it or not, you can turn off the Internet! Tweets, blogs, memes and streams will still be there when you’re done. Set goals for yourself, be it to write a few hundred words or a few thousand. Then, stick to those goals. Sometimes I have trouble with this, myself, so I’ll be struggling right along with you.

If you have any other tips on how to make the most of the time you try to set aside to write, please let me know. Because as much as guys like to project a “lone wolf” image, I know that until I reach that point where I can roll out of bed, amble over to the home office and flip on the espresso machine, I’m going to need all the help I can get.

Be Awesome Now – Not Later, Now

Courtesy Scott Pilgrim vs The World

Scott Pilgrim vs The World is all about being awesome. The mix of rocking music, video game mentality and an unbridled love for both those cultures gives the graphic series and the upcoming film a lot of appeal. Since it’s visual media in both cases, the writing isn’t just concerned with being awesome, it’s got to be awesome in as few words as possible.

“Brevity is the soul of wit.” “Pity the reader.” “Don’t waste my time.” Especially when it comes to things like comics and movies, the more story you can tell in fewer words, the more awesome the story will be overall.

This applies to novels, as well, though. You need to grab a hold of your reader and tell them they’re in for an awesome time. Chuck goes into detail about this, and it’s been driven home for me as I’ve examined the opening of Citizen in the Wilds in preparation for what I hope will be a rapid but thorough revision. There’s things about it I can already think of that need to be changed, and moments that I will try to preserve. But all of that’s for naught if I can’t hook the reader right away.

The problem with my opening paragraph is that it’s too wordy. Like the aforementioned visual media, in the case this opening, the writing needs to be succinct and punchy. I got some feedback on the first sentence in the aforementioned Terrible Minds post, and I’m taking it to heart as I re-examine that opening paragraph.

A novel is a long form of fiction. There’s lots of room in there for character development, world building, and the building of tension and complication ramping up to the climax. You’re not limited by word count. However, if you don’t hook your reader in the first 100 words, the rest of the 100,000 might as well be “watermelon” over and over again. It doesn’t matter if the later chapters in a book are awesome. When a reader picks up the book and opens up to Chapter 1, it needs to be awesome now.

If nothing else, watching LOST from the beginning has been a help. Good openings, good character development, etc. My wife is watching them for the first time. I’m studying them for clues on how to make my opening hook one that grabs a reader by the soft tissue of the cheek and doesn’t let go for the twenty chapters that follow.

If I can do that, the rest of this revision will be a snap. And it will be awesome.

Game Review: Maschine Zeit

Welcome to post #300. THIS! IS! ALCHEMY! *boots Edward Cullen into a bottomless pit*

Courtesy Machine Age Productions

I’ve written previously about a little game called Maschine Zeit. It’s about time I did up an official review of it, in the spirit of promoting it, and if I were to sum it up it one word, it’d be “atmospheric.”

In any form of horror-based narrative, any situation where we’re to be put on edge if not scared out of our minds, there needs to be the element of the unknown. We fear what we don’t understand, and we can’t understand what we don’t know, or can’t predict. Basically, effective horror uses the unexpected and springs it on us, whether it creeps across the floor inexorably with stringy hair across its eyes or latches onto us for a mouthful of brain as we round a corner. If we see it coming, it’s not scary.

Maschine Zeit gets that. Boy, does this game ever get that.

The year is 2110. The Machine Age has begun. Humanity is, for all intents and purposes, on its way out. A series of events have put the bulk of the population back on their heels, trying to get their bearings. A population control method, moving people to giant space platforms tethered to the Earth, has not worked as planned. Among the other disasters, gamma radiation bathed the stations and killed most of the people there. This ray burst had two other side effects now coming to the attention of the curious, the adventurous and the insane on the planet below. One, the radiation has changed some of the metal on the stations and given it almost supernatural properties. And two, rumors abound that the radiation has caused the stations to be haunted with strange bio-mechanical beings that were once human. This is the story of Maschine Zeit, the game of ghost stories on space stations.

A lot of tabletop games have one person laying down the tracks of the plot, while the players decide how quickly and with what sort of engine they’ll proceed down those tracks. It’s an effective method for telling collaborative stories, be that one person called a Dungeon Master or a Storyteller or what have you. In Maschine Zeit, the Director might have some plot ideas, but they are not in control of the story. More accurately, they have just as much control over the story as you would as a player. Its system supports ensemble work, a true collaboration of creative minds. No one character is more important than another, and the Director does not impose their ideas on the group.

Courtesy Machine Age Productions

The way the game is designed, every character has a goal, and achieving that goal leads to a moment in the spotlight. Instead of the timing and circumstances of those moments being entirely up to the Director, the players take steps along the way in their journey through still, decaying sci-fi environments inspired by Pandorum or Dead Space. Not everything will go as planned, of course, but when thing are at their darkest and most terrifying, there’s a chance, built into the game’s narrative structure itself, that a player in that situation will seize control of it by saving a fellow player or destroying the monster-thing with an ingenious trap or uncovering some forbidden truth or getting that bit of magical metal to do exactly what they need it to do. Arriving at those moments, taking the reigns of the narrative and watching the dice fall into place as fate agrees to allow that moment happen, is the very essence of Maschine Zeit.

It’s not a game for everyone. It requires thinking on the spot and its subject matter and atmosphere are not for the faint of heart. But if you find yourself interested in this vision of our future, drawn to the mystery of the stations or just curious about how exactly the aforementioned moments work, check out Maschine Zeit. It’s available today (6/22) on DriveThruStuff.com, bundled with an introductory adventure for a bargain price. You can do a hell of a lot worse if you want an experience that blends horror, science fiction, and tabletop gaming in a way that you will not soon forget.

My Vampires Are, In Fact, Different

Vampiress, from Van Helsing

A lot of my anxiety from pushing forward with a series of Lighthouse stories comes from the fact that there’s paranormal stuff out the wazoo out there. I mean, there’s a part of me that’s interested in getting a slice of that action, because apparently people suck it right up (insert vampire joke here), but I also know that a lot of the ground has been pretty trod. It’s a part of the speculative fiction market littered with Robert Pattinson posters from J-14 or whatever magazine caters to his fangirls this week, and love notes to Anna Paquin from her fangirls.

Then I remember something I thought was said by Marc Schuster, but consulting my notes I see it was spoken by Larry Kane, legendary Philadelphia newscaster and himself an aspiring novelist:

“Don’t believe that just because something has been written about that you can’t write about it.” (“They didn’t necessarily do a good job,” he added a few sentences later.)

So yeah, plenty of stories out there involving vampires and werewolves and wizards and angels and demons and stuff. Some of them even involve paranormal investigators, like the B.P.R.D. or Fringe division. Okay, Fringe division is more about pseudo-science so close to the supernatural it might as well be the supernatural, but I’m going full supernatural instead of the Fringe route. I can’t compete with Walter.

Courtesy JJ Abrams
Seriously. Nothing I do will be this cool.

But I’m trying to go at it from a new angle. I have some history and mechanics laid down. So I need to work on setting and characters, find ways to distinguish why they’re different and why readers should care. I need to engineer the ways in which readers will be captivated by these folks, be they humans or otherwise, and might even fall in love. This will involve collecting my disparate attempts at putting this together and, well, putting it together.

I’m still in the brainstorming stages. Please forgive my ramblings.

Whatever Happened To Lighthouse?

Lighthouse: Original artwork from inspirational poster available on art.com, modified by myself

With the first draft of Citizen in the Wilds done, and gearing up to revise and post the first chapter in what is sure to be a twenty-part series of me getting my ass handed to me, I find myself thinking I’ve no reason to sit idle. I’ll probably start putting ideas on the cork-board for Alchemist at Sea, Citizen’s sequel, but I’d also like to drum up interest in my work.

Marc Schuster had a great suggestion. Since this blog is about writing, and places for people to write, I should be willing to look at periodicals that post fiction, and post about them in turn. It allows those of you who take the time to read these drips and drabs to find places to possibly feature your fiction, and it gives those periodicals free publicity. Win/win, right?

In contemplating these journal reviews, I found myself wondering what I’d shop around. I don’t want to just get something I’ve already written re-printed. Akuma seems to have been something of a success in David Rupp’s Blood from the Underground, and Polymancer Studios is holding onto the rights for Captain Pendragon.

But whatever happened to Lighthouse?

I’ve kicked around the idea of Morgan Everson, human stopgap between the world of the supernatural and the mortal population at large, being featured in short stories instead of a novel. I can drop all of the expository stuff about her and her dad, make the reveal of who and what characters are more gradual, and basically handle things more episodically. Constantine does it in comic books, The Dresden Files in novels (though Harry’s a magician and Morgan’s pretty much a Badass Normal) and, to an extent, True Blood in television. It’s something I still have an interest in doing, and I want to keep writing even as Citizen in the Wilds gets itself vivisected.

I really can’t start on a sequel until the first novel’s really finished, anyway. And who’s going to publish a raw first draft or a bunch of incoherent bloody bits? I’m not going to sit on my hands and wait for the criticisms to filter in, either. The only way to write is to write, after all.

Also, I’ve gotten my hands on the first two chapters of Witchslinger and, so far, Joe’s proving to be what I said he’d be. More to come on that, as well.

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