Preview: Beyond The Gate Anthology

BeyondtheGate

(This following is an excerpt of the story I contributed to the Beyond the Gate Anthology. For those unfamiliar with the world that originated in The Dream Engine by Johnny Truant and Sean Platt, it is a land surrounded on all sides by a dense Fog where monsters are rumored to live. It is a place where skyships flown by seasoned pilots, called Ruddermouths, journey from city to city, carrying their stories with them. And it is a place where if you lose your grip on reality they have a special place known as Joffery Columns.

Here’s the official blurb:

Waldron’s Gate, capital of Alterra. A land powered by steam, but inspired by the power of dreams, and surrounded by the mysterious Fog. 

The Dream Engine explored this city. Now you are invited to go Beyond The Gate. 

Twenty-three authors will take you over, under, into, and beyond the Fog in this cross-genre compilation of short stories. 

From time travel to romance, young adult to horror, science fiction to historical fantasy, you’ll discover tales that delight, intrigue, and maybe even shock you.

This is only the beginning.

 

I’m excited to have a chance to grow the world, even if in a very small way. If you like what you read, this is only the beginning of the story.)

The anthology is available here (for free at most places):

Amazon | Apple | Nook (Barnes & Noble) | Page Foundry  | Kobo

 

***

The Secrets of Storytelling

Isaac Parkes twisted and turned through the throng of people gathered around the skyport. All eager to see the ferry shaws begin their next circuit supply run. All hoping for one more look at the ruddermouth pilots before they lifted off.

Isaac raced across the tarmac but not in an effort to be a spectator. He sidestepped an older woman who had painted her face a strange blue hue, nearly causing him to collide with a teenage girl, her eyes full of stars and hope. His satchel slid down his hand in the scuffle, but he kept his grip, leapt over another gawker, and shoved his way past the perimeter guards with a flash of his paperwork, though they did very little to verify much of anything. Too concerned with maintaining the lines for the rest of the mob, it seemed just acting as if you belonged was more than enough to allow you past their blockade.

Only fifty feet to the final shaw, he heard its engines fire up and begin their lift-off cycle. With no one between him and his goal his run transformed into a sprint. Back and forth he waved, trying to get the pilot’s attention. It did him little good. There was a stir in the engine. It would be only a few more seconds before the craft took to the skies, leaving him alone on the empty platform.

Just before the final lift, his hand found the passenger door and slid it open, hopping into the cockpit as fast as he could. His stomach lurched in time with the ascent, but he managed to keep his breakfast down. With a click, the door slid back into place, locked tight.

Now inside the craft he realized how heavy his breaths came and used the back of his sleeve to wipe away the sweat from his brow. Below them, he could see the crowd for what it was. A flash of red hair behind a handmade sign gave him the briefest pause. A memory from another time… then she was lost in the mass of women crying at the loss of their true love. Nearly fifty people saw them off. Their adulation was an impressive sight. Isaac wondered if they only felt that way for tonight’s lift-off or if this was a regular occurrence.

“About left you back there. Another coupla seconds and you’d have started walking.” The pilot startled Isaac. He turned to give the man his sincere thanks and the words wouldn’t come out. He started to stutter out some words again, but couldn’t make his mouth work like it was supposed to. There he was in the flesh. Never in all his years would he have expected to get his lift to Stensue from Lukas Byron. But it was him. The strong jawline, the dark hair with just the barest hints of gray peeking out told the truth of that.

Except once he took a good look at the pilot, he realized he’d gotten it wrong. This wasn’t the Lukas he’d seen two years earlier. Isaac still remembered the smell of the bar, a mixture of cigar smoke and bodies crowded into such a small room. He and his brother Sean arrived hours early, squeezed into one of the booths near the back where they could watch everything and everyone. Then the ruddermouths came in, full of thirst and swagger. He recognized a few of them, but it wasn’t until Lukas came in that the wait had been worth it.

Sadly, something had hidden that man from the world and replaced him with a doppelganger. That Lukas was a star, with his jet-black hair grown long enough to hide his eyes, but not enough to block a full smile displaying a full set of shiny ivory teeth. Apparently the years of long hauls and spinning yarns late into the night was tougher work than it appeared. Replaced by the four-day growth on his face, gray hairs were no longer content to hide from the world, fully announcing their presence. His jacket, worn thin in some places, was stitched together with hastily placed patches that were threatening to pull away from the leather. And while this Lukas still smiled, there was no longer a toothy grin attached. Instead, he gifted Isaac with a forced smile from a shell of a man.

The Lukas Byron he knew, the one everyone knew, told legendary tales, each one more fantastic than the last. He fought river creatures one day before stopping gremlins from destroying his skyship the next. Then there was a dogfight with a dragon, if you believed in that sort of thing. He was a man who made being a ruddermouth a goal to be had, not a consolation prize for those who aren’t picked for skyships or the zeppelins. He’d weaved his way through every city and every port, spinning his lies about adventures to the far side of the world.

Isaac would know. He owned the book. More than that, he had memorized the book. He could have recited the story about the hauntings at Aerohead when a group of ruddermouths were forced to stop overnight and nearly lost their lives.

And here, in this inner sanctum of his hero, he saw the proof. Pinned and stuck to the ceiling were an assortment of clippings, sketches, and fabric pieces torn from dresses, scarves, and possibly other things. These were his gifts from an untold number of fans.

Of course, Isaac knew the stories weren’t true. They couldn’t be anything other than simple tales. But he was fine with it. He’d always been one for stories and the like. When he was no taller than a doorknob, he’d lose himself in his father’s study. Books lined the walls, some stacked in the corner, and each time he touched a book a plume of dust lifted from its home. Each one held those old stories. His father liked to refer to them as Alterra’s old secrets. He’d say, “In those books you’ll get a picture of how things were.”

“You mean monsters and elves used to run around?”

“No. I mean you can understand what people believed many hundreds of years ago. Those are just stories. Stories your mother might kill me over if she knew you were reading.”

The shaw hummed through the night’s sky. Lukas rummaged in the front of his jacket and produced a flask. Isaac saw a tint of green liquid leak at the edges of the man’s mouth before he offered his cargo a sip of Thunderclap. Isaac shook his head.

“So, why’d you join?” When Isaac didn’t immediately respond, Lukas filled in the silence for him. “It’s going to be a long enough flight, and I’ve never had a partner up here before. Might be nice to have someone to talk to.”

“I suppose. Well, I-”

“Wait! Let me guess… you fell for the campaign didn’t you? That whole ‘Come and see the world’ bit. Am I right?”

It was a question Isaac found himself pondering many nights when he couldn’t sleep. He’d yet to find a satisfactory answer, so he countered, “Why’d you join up?”

“To see the world.” Lukas said the words without any hint of happiness or sadness. It was a matter of fact. “I was never going to see Waldron’s Gate or Yon or Stensue where I was. Grew up in a small village in the middle of nowhere. Just was never going to happen. Being a ruddermouth was my way out.”

Isaac found himself nodding. Maybe he wasn’t different from this man. Both of them thrown into situations because of circumstance more than anything else.

“The women don’t hurt either.” This time he gave a full-toothed smile, and Isaac couldn’t help but return it.

Isaac shifted in his seat beside the pilot. All the gears and instruments clicked and hummed as the shaw made its way through the air. “I’ve heard almost all your stories. I even have the book.”

“Book?”

“I’ve always wondered what part of flying opens your mind up to weave those tales. I mean, I know it must be lonely when you are making your runs. Especially when you’re going from Yon to Waldron’s Gate. No disrespect to the Builders, but you do what they do… just in story form.” Isaac wished he’d stop gushing, but he couldn’t help it. There were so many questions he’d had since he’d first started reading about Lukas. He saved every clipping from the papers, watched every news story produced. Now he was riding in a ferry shaw with the man.

“Oh that. The writer ended up listening to my stories and a bunch from other pilots. Took ten and slapped my name on it. I don’t honestly know which ones they used.”

“Are you saying they aren’t your stories?”

“Maybe. Maybe not. I mean, I am pretty entertaining when I need to be. Ruddermouths always got stories to tell. Everyone knows that.”

Lukas stared out at the night. Below the cloud line they could still see the slow rolling fields underneath them. For some reason it reminded Isaac of what Jonah the Whale God’s ocean might be like. The grass swayed in time with the wind.

“Things are changing, though. Routes that were once sleepers… there’s a threat around every turn of a mountain or valley. Every…” Lukas trailed off. “I shouldn’t say anything.”

“What? What shouldn’t you tell me?”

“Let me ask you a different question first. Where have you been?”

“All over,” Isaac said.

“Waldron’s Gate?” When Isaac shook his head, Lukas continued, “Then you haven’t been anywhere. But it’s alright. You’ll be there soon enough.”

“Mayday! Mayday!”

The squawkbox lit up the cockpit with its flashing glow. The voice on the other end reached out through the air to try to find an anchor to someone. Static cut the words into broken pieces. “Something hit… going to try…”

Lukas touched the box. “Where are you?”

“Thirty miles out… on the way to Thestic.” Static ate the rest of the communication.

“Do you know where that is?” Isaac asked.

“Damn fool, trying to cut his route short after I warn him to stick to the tried and true ways. Yeah, I know good and well where he is.”

Isaac clenched his hands, tightening his grip on the dashboard, knocking off a random keepsake. He leaned forward in his seat, as if the movement would allow them to travel faster. Lukas shook his head at the gesture. “Oh, you’re a romantic… that’s why you want to be a ruddermouth. Well, with those doe eyes and full head of black hair, the ladies are going to love you.”

***

Again, if you like what you read, this is only the beginning of the story. The anthology is available here (for free at most places):

Amazon | Apple | Nook (Barnes & Noble) | Page Foundry  | Kobo

Every Day is Exactly the Same…

I read a fair amount of writing blogs. Blogs on self-publishing. Blogs on productivity. Blogs on the book industry. And sometimes in all the noise I think one essential thing gets lost. When you are a creative of any stripe, be it writer or artist, there is one truth among everything that you do.

BestWrite

You have to take it one day at a time. You have to put your butt in the chair and block out that thirty minutes, that hour, that half a day, however long it will take you to actually get something down on paper (or computer if that’s your thing).

I write about this for me as much as anyone else. I want to remind myself of the goals I’ve set so that I can hold myself accountable when the end of the year comes. I want to know what I need to do, and what I should be doing.

So many times over the years I’ve seen talented people, writers and artists both, say one thing with their voices, but show something entirely different with their actions. They say they want to do X thing for a living, but then don’t want to commit the time necessary to actually accomplish those goals.

And I know, your busy. We are all busy. We spread ourselves thin with work and family commitments and that crazy thing called sleep. People have hour plus commutes, each way, every day. Hey, I’m grateful for my job, but you do get to waste 1-2 hours in your car every day.

Ask yourself what your priorities are. Where did you waste time today? Could you chose to study your craft instead of one of those time sinks. There are so many ways to make sure that you don’t get your work in today.

Hey, I get it. I struggle with it too. Some nights I have to drag myself to the computer, launch Scrivener, and then will myself to do the work. And I am not successful every night. Sometimes I am tired. Sometimes I am not creative or I am stuck on a scene.

And sometimes I just don’t want to do it. I’d rather play Magic Online or watch a movie or even fire up the XBOX and play Madden for a couple of games.

south park playing games

Those things are going to happen.

But…

But… if you are a writer and wrote 250 words a day. That’s effectively 1 page. So if you wrote 1 page a day, then at the end of a year you’d have a book. 365 pages is a solid book. It would probably take you all of 15 minutes to write that 250 words. Heck, you could probably do that while you were sitting at your desk during the day. Or during lunch. Or maybe even construct it in your head as you drive home.

I mean, you want to do this for a living, right? That’s what you said.

1 page a day. That’s all. Much like economics, this stuff compounds with time.

If you are an artist (say for comics)… if you drew one page this week. And then did that for 52 weeks, you’d have 2 comic books in a year. Yes, I understand that it takes longer to draw than write, but 1 page a week. What if I put it another way? What if I said for you to do 1 Panel a day. Most comic pages are 6 panels. That’d give you your page a week. 1 Panel is all it takes.

I mean, you want to do this for a living, right? That’s what you said.

Little things add up to be big things.

Pile-of-paper-CO2-Savings

This could be you!

I think there are plenty of people out there who want to write a book. A lot of times when I’m talking to people and the fact that I’m also a writer (in addition to being an engineer), most people mention that they’d love to write a book.

They’d love to write A book.

And that’s awesome. Honestly, I think that the more voices that are out there, the better off we all will be. No one has your combination of experiences. No one sees the world like you do. So if you want to give this Word thing a shot – go for it.

But that’s not what I want. I don’t want to write A book.

I want to write 100 books.

And I don’t want just one comic book to come out.

I want to have written a 1000 comics.

That means that I have to squeeze the juice out whenever I can. It means that the tray beside my computer is filled with scraps of paper that I’ve written on during the course of the work day. Bits of dialogue for the project I’m currently working on. The idea for a short story that will get filed away. Even story beats for the next novel I’m going to write.

You have to find that little bit of extra time. Maybe it means you wake up 15 minutes earlier every day (heaven forbid) or maybe you stay up 15 minutes later?

Ask yourself if this is a hobby or if this is a career? Do you want to do this or do you just like saying that you will do it… eventually, you know, down the line. Are you going to look back in a year and think about the wasted time and why didn’t you get started on that novel/comic/painting last year? Last month? Yesterday?

And if you are wanting to do more than 1 thing, you know what happens when you finish that one? You start on the next one.

So what’s the plan? What do you want to be?

Now show me the proof.

 

***

John McGuire

John McGuire is the author of the supernatural thriller The Dark That Follows, the steampunk comic The Gilded Age, and the novella There’s Something About Mac through the Amazon Kindle Worlds program.

His second novel, Hollow Empire, is now complete. Each episode is only $0.99. But you can go ahead and purchase the full novel (all 6 episodes) right now for $4.99 with the above link!

He can also be found at www.johnrmcguire.com.

Hollow Empire – Lessons Learned

My second novel-length project made its first real steps this past weekend. Hollow Empire’s first Episode came out on Friday night to a Kindle reader near you for a whole $0.99. For that you get to meet the characters, get immersed in the world, and get left on one heck of a cliffhanger for… another 2 days. Because that’s when Episode 2 comes out. And then a week later Episode 3 comes out. And so on for 6 straight weeks.

HollowEmpireEP1

Check it out on Amazon here!

Last month I talked about how the project began (in the various emails sent back and forth between Mr. Neill and myself). You can find that here.

The thing about this project was that while we had a bit of a road map, this was different than the way I normally write. Typically I’m working in solitude, late into the night, trying to hit my goals for the night. But even before that I have an outline of some sort set out. It might not have all the twists and turns laid out, but it gives me enough road signs that I know where I’m heading.

It’ll be months working on that 1st draft. A draft that no one else can see (not even Courtney). It is in this draft that I become unafraid to suck. Unafraid to write down everything that my brain might only be tangentially trying to tell me. It all goes in… because I know that when I sit down for Draft 2, I can easily cut the chaff from the wheat.

Or something.

Hollow Empire worked a little differently. Initially we set up goals of turning around the episodes every 3 weeks. At that point I’d send J my 3 chapters and he’d send me his 3 chapters and I’d spend a night or two on edits (and he’d do the same).

Let me say right now that J got the short end of that stick. Especially at the beginning. His chapters were pretty clean overall. A few grammar things, a misspelling or three, and maybe a tweak of some plot (mostly that was me asking questions like this: “Wow, this thing you introduced was cool, how does that work?”).

Editing

Mine were a little rougher. Mostly because, while I did give them a writer edit before sending them on, they were probably closer to 1st draft form than 2nd or 3rd draft form. I can only imagine what J thought when he read that first chapter.

Hopefully it wasn’t a “what have I gotten myself into” situation. 🙂

I believe that by the 5th and 6th episodes I’d cleaned up some of the bigger mistakes, crutches, etc. that I was using (or he’d given up by then).

I’m fairly new at this, but I have to believe that even the JK Rowlings and Steven Kings still learn things with each project they write. Maybe they aren’t the HUGE things anymore, but I have to hope that there are still techniques to figure out… an envelope to push.

And I’m still at the point where everything is HUGE realizations. Writing Hollow Empire, getting that instant feedback, and then doing the edits immediately showed me a different perspective on how my work… worked.

I wasn’t expecting that when I agreed to the project.

The other big thing I learned was that 3 weeks isn’t as long as you think when you have a day job. You see, I was under the assumption that since my nightly goal is 1250 words and our portion of each episode was about 7000 words… well, you do the math. That should be only 6 days. Figure 2 more for any edits. Even if I only write 5 days a week, that’s only half the time.

time slipping away

Well to mis-quote Top Gun: My brain was writing checks that my body couldn’t cash.

I hit the first deadline, no problem. Heck, I had a whole spreadsheet set up with due dates and how long edits would take and so on. By Episode 2 I only barely hit the date, and I’m pretty sure by Episode 3 I was a little late. And so on.

That being said, I would set up the same schedule the next time (3 weeks). Some of the delays were from not knowing the characters quite yet. Some of it was trying to  make sure that I hit the goal posts I’d set up in our initial story meeting. And some of it was vacations and work. At 3 weeks per episode we’d still be done in 4 months. Which leads me to the 3rd thing I learned.

The speed of the project made me a faster writer. More pure. I wrote my characters into corners in one episode and then had to figure out how in the world they were going to get out of that situation. And while that made for some longer nights than I would have liked, I’m hopeful that the end result of not agonizing over every last sentence captures a feeling with the readers.

What I’d like to know now is whether this experiment worked. How do the readers react to those moments and cliffhangers and everything else? Can we make it so they are hyped for a new episode to come out on Friday night?

I guess I’ll have to wait and see.

***

John McGuire

John McGuire is the author of the supernatural thriller The Dark That Follows, the steampunk comic The Gilded Age, and the novella There’s Something About Mac through the Amazon Kindle Worlds program.

His second novel, Hollow Empire, is currently in week one of its 6-part release. Each episode is only $0.99.

He can also be found at www.johnrmcguire.com.

 

Author Interview with Kevin Tumlinson

Among the handful of podcasts that I listen to is the Self Publishing Podcast. Basically 3 independent writers come on weekly and share their thoughts and experiments and interviews with the rest of us trying to find our way in this brand new world of ebooks and tablets and whatnot. I’ve been listening since almost the beginning, randomly stumbling upon them through some way or another.

I’ve since become a bit more interactive with some of those like-minded fans of theirs. And it has been a wonderful experience so far with people sharing ideas on how to go about getting more eyeballs on the works we’re creating. So, when Kevin put out the call to do some kind of interview swap, I raised my hand.

***

What would you like people to know about you?Kevin-wall-Brenham_300

I hail from a once thriving world called Wordslingeton, where my highly advanced race loaded me into a small capsule and launched me to this planet in an effort to preserve Wordslinging culture. I also provide author coaching for those looking to get into this game. The two are very similar.

At what point did you sit down and decide to write that first book?

I was actually in about second grade the first time I sat down and decided to write a book. I wrote in pencil, on lined notebook paper, and filed about four pages front and back (including the hand-drawn cover … very “young Renaissance!”). When I took my book to school, my teacher informed me that “books aren’t written on notebook paper.” Thus propelling me into a downward spiral of “my work isn’t good enough” that has lasted to this day.

But the first real book I wrote was an as-yet unpublished horror story. Unpublished, because it was just awful. Truly terrible. It’s not bad as “writing” goes, but for plot and structure and characterization, it’s more horrible than its own premise. I’m haunted by it.

I did, however, learn a lot from it.

Just the act of sitting down and actually writing a book was a big boost for me. It showed me I could do it. And, having done it once, I did it again. And again. And again. I may not ever publish that first book (I go back and forth on it, digging it out of the drawer at least once per year), but I’ll always be grateful to it, because it was a start.

The first time I followed through and actually published, however, was the first book in my “Citadel” series. That book, too had it’s “awfulness.” But mostly in the form of arrogance on my part. I didn’t bother with editing or proofing, for example, because that would keep my book from reaching the yearning masses in a timely manner. So instead, I released the first edition au naturale. Raw. Straight from my keyboard to the page.

And, shockingly, despite all the typos and continuity errors, it was actually well received! It didn’t draw those “yearning masses” I had hoped for (I’m still looking for those guys … I imagine them out there, wandering and yearning, forever hoping to stumble upon my work. Poor buggers). But I did get an audience out of it. And an education. I’d say that writing and publishing that book, and then rewriting and re-publishing it, was the best author course I could have enrolled in.

If you could start all over again, what advice might you have for your younger self?

Two things: Start writing sooner, and write more books.

It’s ridiculous how much time I wasted in my younger years. Wholly ridiculous. More than anyone else I’ve ever known, I’ve had piles upon piles of free time in my life, in which I had this yearning to write, but was too lazy to actually do it. I wanted to be published, but I didn’t want to write a book. That was hard. That was work. I wanted my brilliance to be recognized just in and of itself.

So once I perfect my own TARDIS (made, at the moment, using old TV parts and zip ties), I’ll be paying a visit to Young Kevin, giving him a thump on the head and a copy of Scrivener, with a note that says “Write the books, save the world.”

Because the one piece of advice that’s universal, from all authors everywhere, is “Write more books.” It’s also the best marketing advice you’ll get. “Write more books,” and you’ll be more “discoverable.” “Write more books” and you’ll build an audience faster. “Write more books” and you’ll have more credibility. And you can write more books by starting right now, not waiting until “the time is right.”

In your latest work, what was the hardest scene to get right? And what did you do to solve the problem?

In “Sawyer Jackson and the Long Land,” the toughest scene was when I had to introduce the main character (Sawyer) to the main antagonist (Aeodymus). The two are on different planes of existence, by necessity, and can’t actually interact with each other yet. So it was the classic conundrum … Aeodymus is the Voldemort to Sawyer Jackson’s Harry Potter, and you can’t have them facing off in the first act. You have to spend some time learning to fear the guy. You have to feel the anticipation.

I worked on this for a while, but the answer came to me all of a sudden, in the shower (as all answers do). I had already created a very cool “magic system” for this book, and tied it to what I was calling the Omni—the Omniverse, or the collection of all existence and realities. The knotwork is this thing that winds through everything in existence, and our guy Sawyer can see and manipulate it. I made the decision, then, that to make Aeodymus a more personal threat, I needed him to have the same ability. So I wrote a scene in which Sawyer and Aeodymus interact within a sort of dark knotwork.

It was a real turning point for the characters, and a real point of danger in the story. It started a thread that has woven its way right into Book 2, which explores the idea of the dark knotwork even further.

And I think that’s the key to good storytelling. The practical solutions are both fed by and fed into the story itself. One influences the other at all times. So there are those story telling devices that we, as authors, study and commit to using. And when we start implementing them we realize, “I have to tie this to my mythos. I have to make these practical, real-world pieces fit my improbable world.” That’s when it gets fun. That’s when you get to really be the author you always dreamt of being. Real writing happens right there.

Writing is often a very lonely profession, but one of the ways to combat that is through collaboration. Have you managed to work with any other writers on projects up to this point?

I’m actually collaborating on two different books right now, along with my own work. One is a serialized project called “The Lucid,” which was the brain child of author Nick Thacker (www.nickthacker.com). Nick’s another author coach and marketing smartypants, like me. I actually went to him at one point for author coaching, and liked him and his approach. I pinged him about collaborating together, and he was onboard immediately. He’d been looking for someone to write with, and he liked my work. So he shared his idea for “The Lucid,” and now we’re finishing up the first episode. It’s already available for pre-order on Amazon! (http://www.amazon.com/dp/B00N4AO18U)

The second collaboration is with an old friend and mentor. Todd Hewey and I have produced documentaries together in the past, and he was actually the first person to give me a real shot at breaking into that industry. I learned a lot from him. So when he approached me with his idea for a book, based on a film treatment he’d written that was getting some attention from Warner Bros., there was no way I could pass it up. It’s a grueling book to write, of course. It’s science fiction, but int he style of Tom Clancy and other prolific and hyper-detail-oriented authors. Not really a strength of mine. But that’s where Todd comes in, supplying me with more detail than I can handle, most of the time.

What’s been great about both of these projects is how much I’ve learned from my partners. We’re always teaching each other, frankly. I know quite a bit about characterization and plot, and how the two meld and dance together. I’m a character writer, first and foremost. And that, I’ve discovered, is something unique in this business. Most authors tend toward setting or details as their mainstay. I start with and lead with the characters. In my own books, the charactersare the story. You could lift them out of their settings and put them anywhere, and it wouldn’t change much.

So working with these two guys has given me a chance to hone that skill while learning a few new tricks. Nick’s experience in marketing his work has been invaluable. Todd’s experience as a historian has as well. I’m picking up traits of both as we go, and coming out a better writer for the experience.

What’s your process? Outline? Pantser? A bit of both?

I lean way more towards “pantser” than “outliner,” which is ironic, considering my staunch position on pants. But I have to admit that as I’ve taken this on from a more business-oriented approach, I’ve started outlining a lot more. I use story beats to guide my work.

Typically I’ll write beats for the first few chapters, though, and get excited about the story, and frustrated with the sort of truncated way I’m having to outline. At that point, I just start writing. And I think that’s for the best. Because anything that lets you start putting words to the page is good, and you should always go with it.

Once I get to the end of my beats, I almost always just keep going. I know the story by now, and the characters. There’s no reason to stop. But then there may come a point where I don’t really know where I’m going anymore, and I need to stop and reassess. At that point, I’ll sometimes finish out beats for the rest of the book. And by the time I’ve gotten a few down, I’m already raring to get back to the writing. So it’s a nice balance of both, I think.

What does your typical writing session consist of? Do you have a specific goal of words or time or chapters?

I get up every morning and exercise for an hour or so before writing. I do the dishes from the night before. I shower and shave and brush my teeth. Basically, I start my day just like I would if I were going to a “real job.” And I start early, about5 am every morning.

Usually by about 6:30 am I’m in front of the keyboard, and Scrivener is up and humming. And I begin.

I have a word goal for each session. I aim for 1500 words. That’s actually about a third of what I can comfortably produce in a morning, but it’s enough of a goal to make serious daily progress. You won’t write a book in 30 days at that goal, of course. When I’m really aiming to churn a book out each month, I set my daily count around 3K, and generally double that on most writing days.

But I think it’s more important to have that minimum word target than to aim for blasting a third of a tenth of a book out with every session. For some authors, just sitting down with that block of time is tough enough. I think if you can set a word goal and stick to it, you’re doing the work you mean to do. You’re actually being an author, instead of paying it lip service.I used to aim for a page count, but that never felt natural. Hitting a set word target each day helps me feel a rhythm for this stuff. Besides, the number is bigger. What sounds more impressive, 1500 words or 3 pages?

Sawyer Jackson-FRONT

Writer’s block – do you get it and how do you handle it?

I have absolutely no idea what this is.

I’m not being flip—I legitimately have never experienced anything I’d call “writer’s block.” I’ve had moments when I sat down with no plan and no idea, with the intention of “I’m going to write something, dammit!” And at that point, sure. I was a little stymied. But I think it’s in the same way that an architect would be stymied if they had no idea what sort of building they needed to design, and where it was going to be placed, and what it was going to be used for.

Having an idea, before you sit down, is the key to keeping things flowing. Sometimes that idea is small and simple. “I’m going to write about a frog with a magic hat.” Sometimes it’s more grandiose, involving reams of research on a topic that evokes passion in your breast. But I’d advise writers to avoid sitting in front of the keyboard at all until they actually know what they want to say. Not word for word—but they must have the spirit and essence there, ready to go.

If you’re still stuck at that point, I think the secret is to just start typing (or writing by hand, if that’s your thing).

I’ve worked as a copywriter for most of my career. There were times when I was asked to write something for a client, and the instruction was a very informative “We need 1,500 words on Subject X.” I may know nothing whatsoever about Subject X when I sit down, but that’s easily solved with Google. And once I have some background, now it’s all about the output. I’m probably not an authority on Subject X, but I know how to start a sentence and see it through. So I just start writing.

That adage of “writing is rewriting” is true. Absolutely true. You may start by plunking down whatever nonsense is in your brain, but eventually you’ll come back and revise what you’ve written to fit the timbre and tone of what followed it. As you write, the ideas take form, and gel. They become something, whereas before they were just concepts and abstract thoughts. Now they have form. They’re clay. But they’re clay you made yourself, and as you shape it you’re even more in contact with it than a sculptor or carver would be. They shape what the world gives them. Writers shape the medium of their own creation.

The secret to kicking writer’s block to the curve, then, is to just start. Write without editing. Write without caring about your mistakes. You’ll get it fixed when you come back later. Write knowing full well that a more informed, better educated version of you, in the future, will be back to make it shine.

What inspires your writing? What are the questions you want to answer with your books?

I’ve lived with the stories I tell most of my life. My childhood and upbringing inspired a lot of my writing. The fantasies that play out in my head, and the grist of books and television and films I’ve seen, they all come together to form a sort of ongoing tale. I’m just shaping that tale and putting in on the page, with faces I drew myself, and dressed in clothes I made.

I don’t know that I’m actually trying to answer a particular question with my books. Quite the opposite, actually. I’m trying to evoke questions. I want people to read something I wrote and think, “Huh. That’s something I never thought about before. Where could I take that? Where could it take me?”

Music while you write? And if so, does it change based on the project? Favorite albums?

For the most part, I listen to a lot of instrumental Celtic music. A few years ago I discovered that it really resonated for me as I wrote. I keep it pretty low, almost inaudible, but it makes me feel a little “comfy” as I sit in my home office, tapping away. It’s a very “transporting” kind of music.

I’d say there’s likely a flavor in all my books that ties in with that music.

Of course, I do switch it up every now and then. Sometimes I’ll play something contemporary. But that usually makes me feel a little off balance. The tones of my work change, slightly. It’s like switching the source of water at a soda factory. You get pretty much the same product, but it has a slight difference in taste. Maybe I should have used a classier analogy, like wines made with grapes from different regions.

Do you have any upcoming projects? Anything you’d like to promote?

I mentioned this earlier, but Nick Thacker and I are working on episode one of “The Lucid,” which promises to be a very cool serial. Lots of action, lots of clandestine activities, and a nice post-apocalyptic flavor. It’s a very unexpected kind of story, and one I think my readers will love!

I’m also nearly done with the second Sawyer Jackson book, “The Shadow Strait.” It’s a fantastic continuation of the series, and the people who loved book one are not going to be disappointed. The characters in this book keep evolving and keep getting better. I’m completely in love with this story!

Where’s the best place to find out more about you and your work?

My home online is www.kevintumlinson.com. That’s a portal to anywhere and everywhere else you can find me! But you can also connect with me on social media:

Facebook: /kevin.tumlinson

Twitter: @kevintumlinson

Google+: +kevintumlinson

Kevin Tumlinson’s Author Bio:

Kevin Tumlinson is the Wordslinger—a full-time indie author and author coach, spending most of his days enslaved to a MacBook that just won’t let him go outside and play. His “Citadel” and “Sawyer Jackson” series are reader favorites, and his readers are Kevin favorites.

Learn more about Kevin and his work at www.kevintumlinson.com.

 

 

Roleplaying for fun and profit

It’s not a secret, not really. I wasn’t embarrassed… not exactly. Much in the way that many things I have done in my life which fall under the heading of “geeky” or “nerdy”. Before the days when telling people about comic books was shunned.

I mean, I keep hearing about how the nerds won. As if it was for the very soul of the world. That they’ve done what we all predicted would happen when that first “nerd” started messing around with the family computer. They have overthrown their jock-overlords and have claimed the top of the mountain.

Rise up in the cafeteria and stab them with your plastic forks!

Rise up in the cafeteria and stab them with your plastic forks!

Throughout middle school, through high school and college and for some time afterwards I role-played. And I think it has made me a better writer.

How’s that? Well, let’s see.

Character Creation – One of the biggest things in role-playing is that initial character creation. Maybe you are trying to balance out the team that already exists, or maybe you’ve had the nugget of an idea swimming in your head for the last few weeks and now you get to try it out. Sure there is the rolling of dice for your stats, and you would love to roll well to get them higher. But the character is something more than just numbers. There is a history there. A personality that you want to play with and figure out. Sometimes it is tropes, the disgraced knight, the reclusive wizard, the thief who walks the line between good and evil.

But the best characters are those ones who begin to mold themselves as you play them. As your Game Master puts you through the paces on an adventure. As the other players begin to speak with you character… a true personality emerges that you could have never expected… not 100%.

In writing, at least for me, I’ve found it is much the same. I may have the barest idea of how a character will react to something, but time and time again, when that moment comes something crazy happens.

The character surprises me. In the same way that those characters I role-played needed to act a certain way a month after I created them, so too does the written character need to be true to themselves. In fact, I sometimes learn more about them in that moment than I did in any of the moments previous to it (and then I have to go back and tweak a couple of things to help seed that “turn” or “moment”).

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World building – A lot of times this is the domain of the Game Master, but a good player can help develop the world in lots of different ways. Through their personal histories: maybe your uncle is a local lord (what is he the lord of? are you in line for his property? would someone want you dead to get their hands on it?), perhaps your best friend died in a conflict across the great sea (was it a conflict or a war? is this the first volley or the last? ), or maybe the village you came from was burned to the ground (who did it? why? are they still coming?).

I’ve heard that writing for comic books is a lot like playing with someone else’s toy box: you want to leave it with more toys than it started with. A good Game Master will take these toys from you and weave them into their world, creating more cohesion, and more stakes for the players.

Heroes – Most of the time I have played the hero (or one of the heroes) of the story. And in that I push the villains as hard as I can. I want to escape their death traps, foil their master plan, and save the maiden. But if I’m paying attention, I can see the obstacles that the Game Master is throwing in my way. You see, it is his job to not quite let me win… at least not for a while. Small victories will keep you going until that final big battle.

In my writing it is the same way. My job as the writer is to figure out what my character wants to achieve and then put as many obstacles in the way of them succeeding in their goals. In overcoming those setbacks, I learn more and more about how my characters think and feel and maybe even what it might take to completely break them.

Villains – I’ve played a couple of villains through the years. And it is fun. It  is fun to mess with the other players and sometimes even catch the Game Master off guard with a line of play. Mostly I’ve found that while sometimes the Game Master isn’t looking to flat-out kill your character, another player who is opposing you has no such qualms. That’s where fast thinking comes in handy. But it is also the point where you can fill a villain with more traits than just “he’s evil”.

Not that there is anything wrong with that!

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The End – I’ve played in epic novel length campaigns. They have that feel of a good book series where the heroes get a victory towards the end of the book, only to have something else happen which will propel the series forward for book 2 and 3 and 4. So I can identify where a good breaking point for a chapter, a section, and even the end of the book should be. It is a more subtle thing, but I believe it is there all the same.

Plus it never hurts to end something so that later you can get those heroes out of the mothballs and send them on their one final adventure. Everyone likes a last ride story, right?

Sadly, the closest I come to role-playing these days are playing Dragon’s Age (waiting for the next one!), but I take those old sessions to heart. What might have been cool and what moments might have caused groans. Either way I continue to sift through my memories to see if there is more buried treasure somewhere in there.

I’d like to think there is tons.

***

John McGuire

John McGuire is the author of the supernatural thriller The Dark That Follows, the steampunk comic The Gilded Age, and the novella There’s Something About Mac through the Amazon Kindle Worlds program. He can also be found at www.johnrmcguire.com.

The Dark That Follows is now available in print here or on Amazon!

 

A Little Luck

I want to try something for the blog. I’m not 100% on how it is going to work, but… I like the idea of demystifying things. So how do you come up with the stories you write? Just like this:

Royal Flush Poker cards & Chips

My wife and I play poker at one of the local restaurants nearly every Sunday evening. It works out well because it is something we are decent at and enjoy together. But I had a lot of time to think about Luck when a hand didn’t go my way (“Bad” Luck) and suddenly I was out of this week’s tournament. In my mind the fact that my opponent ended up winning the hand when (once we got all the chips in the middle) he only had about a 25 % chance to win tells me I had some bad luck in that hand.

Sometimes I wonder if I don’t just have bad luck in many other hands. But as many poker players (and more than one mathematician) would tell you, sometimes you are just in a bad stretch, but eventually things will regress back to the mean. Or to put it simply, things will average out.

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But let’s face facts, we remember the bad beats in cards and in life more than we remember the times when we got “lucky”. It is very easy to bemoan our fates when those negative thoughts keep coming up. When we know that the other shoe is bound to drop. We’re the types of people who when you say bad things happen in 3s, we are quick to point out items 4,5,& 6.

We compete to figure out who has it worse. We’ve all been in those conversations:

Me – “I blew a tire today so I was late to work.”

You – “Yeah, my car wouldn’t start today, so I ended up having to call in sick. And after repairs and everything I’m out $1000.”

Me – “O.K. You win!”

Though, let’s be honest. I’m going to talk about some other instance of something bad happening to me today while I was at work, because I cannot concede defeat that easily, right?

It’s the same in stories. One of the ideas I’ve heard is when you are writing figure out what your character wants and then put an obstacle in front of them. So maybe they have to get across the state for some meeting of the minds which will solve all their problems… oops! your tire blew, and because you didn’t have a spare you missed the meeting and now the aliens are going to invade (or something). In a lot of ways it seems like Bad Luck is almost the thing that can keep your hero from winning their story.

But I think the other side maybe works too well. Sometimes it is too much good Luck running amuck. It’s gotta be believable. It’s gotta be something where you don’t scratch your head because the solution was not just impossible, but beyond lucky.

Star Wars – If you were a character who didn’t understand the Force, but knew the events that led to the destruction of the first Death Star, wouldn’t you think that Luke was literally the luckiest man alive? I mean he closed his eyes and took the shot. “One in a million, kid!” What a stroke of luck.

Of course, we the viewer, know the truth of the situation.

StarWars_Scene3

One Lucky S.O.B.

The Hobbit – Bard ends up hitting Smaug in the one spot where he is vulnerable. Yes, maybe he is just “that good”, but I know  when I read the Hobbit, that was my biggest problem with it. So one arrow fired by someone not in the main group was going to be the thing to end the evil of this dragon? How lucky!

So there is a fine line to walk. You must make it so that your character has to struggle a bit, perhaps they bemoan their fate (their Luck), but most of the time they are going to triumph in the end. Overcoming the odds.

Overcoming the odds… sounds like they got lucky to me.

Something else that puzzles me about luck… Is it possible that there is an amount of luck that each person has? Can it be measured? Is it like matter in that it cannot be created or destroy, but merely transformed?

There’s an 80s movie with Richard Dryfuss called Let it Ride (a personal guilty pleasure movie). In the film, he’s a compulsive gambler (horse racing in this instance). There’s a line in that movie that’s always stuck with me:

“You could be walking around lucky and not even know it.”

That’s a profound thought. What if we have some amount of luck which ebbs and flows on a daily basis? What if we could predict when those cycles were so that we only played poker or craps or blackjack on the days when our own personal luck meter (for lack of a better term) was in the positive rather than in the negative? Maybe that’s why there is something to be said for the idea behind “beginner’s luck.” Those are people who have not burned through their luck for a particular luck based game. So that first time they play… well, it’s like they can’t lose because they really can’t.

I have a friend who I have joked with over the years about his luck. I’ve seen it in action before to the point that it is now a matter of fact that it will happen. It’s like he has a super-power where he can manipulate the odds into something a bit more in his favor. And obviously it doesn’t work every time, but it works enough for me to notice. It works enough for me to wonder if there might not be something to it.

Here’s the key thing, he doesn’t waste it. When we play games of chance, he isn’t always winning. In fact, he probably wins at an average rate. What you might expect any person to win who plays Settlers every once in a while. Does he know what he’s doing? Does the Luck?

I think there is something to all of that. Could I steal someone else’s luck? What would that look like? How might you go about taking something like that? Is there such a thing as taking too much? I mean, if you reduce all their Good Luck and only leave the bad… well, they’d probably get hit by a random object from the sky (oh, and if you are going to do that, make sure that you are nowhere near them afterwards).

writing

And this is how ideas begin to form. A bad beat in poker becomes something more… but where to go? This feels like there is something there. Buried underneath, waiting for a story to be told. The only question now is whether I can exhume it anytime soon. Or perhaps it is destined to be filed away for a while.

 

 

***

John McGuire

John McGuire is the author of the supernatural thriller The Dark That Follows, the steampunk comic The Gilded Age, and now the novella There’s Something About Mac through the Amazon Kindle Worlds program. He can also be found at www.johnrmcguire.com.

The Dark That Follows is now available in print here or on Amazon!

It’s Not November Yet

May was going to be THE MONTH. Nanowrimo, as some of you may know, is National Novel Writing Month. Basically you are challenged to write a whole novel in a month. Don’t worry, only you have to read it at that point. The real point is proving that maybe if you sit down and stop making excuses as to why you CAN’T do something, then maybe you’ll surprise yourself.

50,000 words in a month (about 200 pages). Yes, technically that may only be part of your novel, but I’m thinking no matter how long your manuscript will end up, 50k is going to make a bit of a dent.

novelists_0

But wait, you say, it takes place in November.

That is true. And every year I think that I’d love to do that.November, when the weather begins to turn a bit cooler, and we here in the south get our first nights of what we think is really cold weather. Football season is entering its stretch run. Baseball is over with only dreams of spring to tide us over. And to top it off there is this novel writing month that I want to participate in.

And there is something else… Oh, yeah… there is that pesky Thanksgiving Holiday which means about 1 week of possible writing time is about to go out the window.

I don’t know how people do it. And this is coming from a guy who isn’t afraid to break off a few hours everyday into the wee hours of the night to write out that nights 1500 words or whatever it is.

But it is just not in the cards for me in November.

I hit upon an alternate idea: does it have to be November? What if I chose the beginning of a month to start on a book and see if I could get 50k words written. As it would happen, my schedule for writing is something that is a little in flux, dates slide a little here and there, but for the most part I try and stick to it the best I can. And the next big project on my list was a novel. What will end up being my 4th novel when it is done (behind The Dark That Follows, The White Effect, and Hollow Empire).

On May 1, 2014 I sat down to write my 50k words.

On May 31, 2014, I had about 15k in words… not so good.

I could blame life or work or the Beast (writer’s block) or learning a new software (Scrivener), but really I didn’t sit at the computer for long enough during May. And I was humming along in that first week… ugh.

So I failed.

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Failed myself. Failed my goal. 1 day off from writing became 2 and that became 3 out of 4. And before I knew it the month was almost over.

They say we learn more from failures than from successes. This is definitely a thought, even if I’m not sure it always applies to everything. Sometimes I think succeeding early just saves you a lot of headache and heartache. I mean, if you’ve figured out the answer the first time around, why do you need to go through all the other crap? So you’ll appreciate it? Eh, I’d rather just move on to the next idea, moment, or whatever.

So, yeah, I’d like to kick “They” in the ass.

Writing is literally filled with failure. Your first draft is horrible. Someone doesn’t like a particular section of it. Agents turn you down. Editors want to take the “soul” out of your work.

All of that is true, but…

Here’s the thing, the calendar switched over giving me 30 more days to try and figure this novel out. A clean slate to do whatever I want. And like the blank page in my document, I can fill it with anything I want.

blank-page1

Anything I want.

I gotta go now… I need to continue writing that novel.

***

John McGuire

John McGuire is the author of the supernatural thriller The Dark That Follows, the steampunk comic The Gilded Age, and now the novella There’s Something About Mac through the Amazon Kindle Worlds program. He can also be found at www.johnrmcguire.com.

My Writing Process (Blog Tour Entry)

I loathe chain emails. I’m not sure if they existed in paper form, but the thing which always killed me was the warning at the end. Like something out of a Steven King novel: “If you dare break this chain of old, a thousand locusts will descend upon thy host until only misery and bones are left to thee.”

Chain Letter

 

I snub my nose at such dire warnings. And I’m insulted that you feel that the subject manner itself is not good enough to spur me into action. There are many things that are difficult in this digital age, forwarding something on is not one of those things.

(Though I wonder if some of my recent bad luck is a result of not sending along that latest one… hmm, maybe I should rethink my stance.)

But a Chain Blog Tour? Well now, that is a horse of a different color. And when a fellow Guild-mate taps you then you do your best to appease the chain-blog gods. So with that in mind a little something to say about J Edward Neill.

I’ve known Mr. Neill since high school, brought together by a shared love of basketball and roleplaying. For the many years I thought about writing a book, he was sitting in his dark cave (or mountain top or volcano fortress) actually putting pen to paper, fingers to keyboard to create his fantasy opus: Down the Dark Path. And much like in sports where they tell you to play against better competition in order to get better at your craft – I use him as one of my gauges. Of course, this week he’s come out with Book 2: Dark Moon Daughter… so my work is cut out for me.

 

writing

What am I working on?

Sometimes I feel like the question should be “What am I not working on”, but let’s see:

The White Effect – My science fiction story about a man who finds that his world is rebooting, and he is one of the lucky (unlucky) ones who realizes what’s happening. It is currently with BETA readers with my next draft being targeted for late summer.

Hollow Empire – Serialized Dark Fantasy is all I’ll say about this one until it is out. This one is done, I’m just in the process of hiring some proofreading Australia experts to make edit or two on it. This process has slowed due to some recent life developments, but I’m hoping (and I’m sure my co-writer hopes as well) to have this one all wrapped up in the next month or so.

Gilded Age – My Steampunk creator-owned comic series through Terminus Media. Issue 2 is set to have final inks and colors begin any day now, and in the meantime I have final edits on issue 3’s script.

Entropy – A post-apocalyptic comic series set at the Ends of the Universe. Co-written with Robert Jeffrey II (see below for more on him), we merely wait for the artist to be unleashed upon this project.

The Edge of the World – A story in the vein of Journey to the Center of the Earth where our heroine seeks to find her missing uncle. I am 15,000 words into the first draft of this one.

 

How does my work differ from others of its genre?

With my comic writing, and The Gilded Age in particular, I’m trying to write character based stories and create a world from them as opposed to plopping them into a world. With my novel, The Dark That Follows, I’d say that it differs from “standard” urban fantasy in that it isn’t a romantic story where you wonder will they/won’t they. Instead it is about a man in way over his head just trying to do the right thing.

 

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Why do I write what I do?

As you can see above, I’m a little all over the place with regards to genre (for better or for worse). I guess I just follow that old rule of write what you’d like to read, and since I don’t just read fantasy or science fiction or urban fantasy or super-heroes exclusively my brain ensures that almost everything I work on is something different from the thing I wrote before. I take everything I’ve read, everything I’ve watched, everything I’ve ever heard and put them through the grinder of my brain and then something comes out. If it is interesting and moves me, then I write about it, if not, I move onto the next project.

 

How does my writing process work?

It starts with music. Something to write to. Recently it has been 10 Years, Chevelle, and Deftones. Once I have the right mood set I generally have a decent idea of what needs to happen within the story, so much more plotter than pantser. For a comic script I tend to write out a 1-2 paragraph summary of the major story beats and then start writing dialogue. Only after most of the dialogue is written do I go back and fill in every panel’s description and manipulate the pace of the comic. After a couple of passes I send it on to my editors, do one more pass with their notes, and then end up doing a FINAL-FINAL pass during the lettering stage as I can see the whole picture (literally) and see if something needs to be added or subtracted.

With my novels I have the story beats, but I write out-of-order most of the time, jumping from one scene to another and then piece things together like a puzzle. After that first draft is done I follow Steven King’s advice and put it in the drawer for 6-8 weeks to gain perspective. After that time I do my second pass, and if I’m happy with that version I might reach out to a couple of BETA readers for thoughts. Another draft follows that and then the editor. And then the final draft.

But at some point I do say “pencils down” because while we can tweak and refine our work forever, it doesn’t mean we should. Release it into the world and move onto the next project.

 

whos next logo

Artist Highlights (or Next on the Tour):

Robert Jeffrey II: Robert is an Atlanta-based freelance writer whose portfolio includes a multitude of work in the arenas of print/web journalism and comics. His work with Atlanta-based Terminus Media includes comics (his creator owned/ 2014 Glyph Comic Award winning “Route 3” and “Daddy’s Little Girl”, “Terminus Team Up”, and B. Robert Bell’s “Radio Free Amerika”) and contracted client work including custom comics and animation scripting/editing duties for clients such as the Center for Disease Control and Nitto Tires.

Robert’s life long dream is to win a pop-locking battle to save a community center.

 

Sean Taylor: Bad Girls, Good Guys, and Two-Fisted Action is the official writing blog of Sean Taylor. But it’s not just a place to promote his stuff. It’s a resource (he hopes) of information about writing and creating genre fiction, literary prose, comic books, and just about anything else you can create with pens, pencils, paper, or word-processing software and a printer. On this site, you’ll be able to find publishers calling for submissions, tutorials about the craft of writing and editing, interviews with other writers, links to helpful and fascinating articles about the art, craft and business of writing and publishing, etc. — and of course, yes, you’ll also be able to keep up with whatever Sean has his writerly little paws involved in too.

 

 

***

John McGuire

John McGuire is the author of the supernatural thriller The Dark That Follows, the steampunk comic The Gilded Age, and now the novella There’s Something About Mac through the Amazon Kindle Worlds program. He can also be found at www.johnrmcguire.com.

Behind the Comic – The Comic Script

 

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The company I do a lot of my comic related work with is Terminus Media. Early on, before the money and the fame (ok, maybe I’m still waiting on that), we met in the back of a comic book shop in Stone Mountain, Georgia. These were open meetings where any number of creatives were welcomed to listen in, discuss their own ideas, and even contribute to the anthology comics if they had the desire.

Each time new writers or artists came in they had the same questions I had when I walked through those doors. When I sat down to write my very first comic script I had no idea of how to go about setting it up. It’s a weird thing, this product we read on a weekly basis, but how in the world does it get from the writer’s brain to the artist’s fingertips? How does the script work?

In the comics industry there are basically two main forms that comics take: Full Script and Marvel Method.

Full Script – This is the one most people might be familiar with. In a full script the writer typically is going to break the comic down into pages and then those pages are broken down further into panels. Then within each panel would be a description of what you want the artist to draw (perhaps painting a general idea of the scene all the way to “camera placement”). Finally there will be any dialogue or narration needed. And so on and so forth until all 20-24 pages have been scripted out.

Yet, even among the Full Scripts there are those who give a small amount of  description and those who give tons. Do yourself a favor and try to find a copy of an Alan Moore script… that man writes tons of description and analysis for each panel (some might say too much, but he is one of the greatest comic writers of all time so what do they know, huh?).

 

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Marvel Method was something that developed from Stan Lee’s early days at Marvel Comics. Since he was the main writer (only writer) he didn’t have enough time for a full script. And he happened to work with the likes of  Jack Kirby and Steve Ditko. They were artists who he knew could “do the job” as it were. So he provided them with plots of the comic, but left it up to them to actually layout the pages, determine what would go in each panel, and so on. Then, once it was done, Stan would go back in and add the narration and dialogue.

I had no sample script to work from, so my first one was probably closer related to the Marvel Method than a full script. But that was due to me not knowing than any conscious decision about how this scripting thing was supposed to work.

Over the years I’ve mostly done the Full Script version for my comics. And the reason for that is because many times I don’t know who is going to be the artist on the book. And without that key knowledge, I’d rather give them my vision for the comic and then go from there, than leave them with just a plot.

But, as I work with an artist, and grow more comfortable with them, I try to leave more things in their hands. Fight scenes are probably the biggest one. I feel like no matter how I think the fight could go, the artist is going to have a better feel for the flow of the characters. So why not let them stretch their skills a little bit. I give them general ideas of what needs to happen: “Bill and Jack rumble on this page. Maybe Bill gains the upper hand early in the fight, only to have Jack turn the tables.” OR “Jack and Bill are going to fight on this page. The only key thing is that by the end of the page Jack needs to hold Bill out a window… otherwise go nuts!”

All that is a long-winded way of saying, lots of those people coming into those early Terminus meetings didn’t have a clue about scripting or, if they were artists, didn’t know how to draw from a script. They just didn’t have access to one. So a few years ago, at the behest of some, I wrote out a short called 3 Brothers for the express idea of helping newer artists have something to draw.

Love-Hate-2

I divided the story into 3 parts:

Part 1 was a love story (Romance). Two people in love with each other, some talking head shots, playful interaction.

Part 2 was about hate (Rage). Two brothers, in love with the same woman, have a major fist-fight that doesn’t go well for one of them.

Part 3 was about loss (Death). Two people, dealing with the loss of a loved one, standing in the rain (so they have a little bit of the environment to deal with).

Anyway, I think a couple of people tried it out here or there. I think it was a helpful tool, and as such I’ve added a copy of the PDF here [ddownload id=”3238″].

Perhaps an aspiring artist will get inspired by this, or want to draw something that isn’t just superheroes for their portfolio.

Hope it helps.

 

***

John McGuire

John McGuire is the author of the supernatural thriller The Dark That Follows, the steampunk comic The Gilded Age, and now the novella There’s Something About Mac through the Amazon Kindle Worlds program. He can also be found at www.johnrmcguire.com.

Free Short Story Time: Piece by Piece

I’m trying to figure out this publishing thing. I’ve got the book, got a comic, got a little novella, but I know I need to do more. The chances of anyone having just one thing out there in the void and suddenly hitting it big are pretty low. And that’s fine with me. I know it is a marathon and not a sprint (to borrow that old cliche’). Still, the projects I’m working on don’t really feed the beast of The Dark That Follows. And while I have ideas for the sequel, I’m not ready to really dive in (too many other projects that must get done).

So how do I fix that? How do I get potentially more eyes on this book I wrote without writing another book in the same world?

writing

An aside… when the four of us teamed-up to form this little spot in the corner of the internet we talked about doing a short story for the site. Something that might even be able to use the name Tessera in its title or as its inspiration.

Jeremy jumped in, both feet first, because that man is a machine. Maybe in an effort to make everyone else look bad (jerk!) or maybe to light a fire under our collective asses, he wrote Old Man of Tessera (free on this here website!).

I’d been thinking about a story, but I really wanted it to tie into The Dark That Follows somehow. Have a place where they could get the short for free and if they liked what they read, maybe they’d check out the book. Something extra. And a story began to shape itself in my mind.

A short story.

This is the old two birds one story idea. And while I didn’t name it Tessera or Tesserization or Tesselation or… (well, you get the idea), it does take a little bit of inspiration from trying to see a bigger picture from little bits of information.

PIECE-BY-PIECE-COVER

So without further ado, I present to you Piece by Piece. You can find it here on the site, and shortly you should be able to find it for free download on the various other platforms… but you can get it first!

 

***

John McGuire

John McGuire is the author of the supernatural thriller The Dark That Follows, the steampunk comic The Gilded Age, and now the novella There’s Something About Mac through the Amazon Kindle Worlds program. He can also be found at www.johnrmcguire.com.

 

A Long Time Ago… We Used to be Friends…

My wife is obsessed.

I’m getting ahead of myself.

If you were a writer and you happened to know a Chemist, the best thing for you when you need to insert a generic scientist into your story MIGHT be to make that character a Chemist. I mean you have the access to that knowledge (so your story can be a little more authentic). It just makes sense.

Veronica_mars_intro

With the TV show Veronica Mars, I have access to an expert as well.

Now I’m not 100% on this, but I’d be willing to bet that she’s watched the show (3 seasons and 60+ episodes) more than anyone else on the planet (at the very least she has to be in the top 1% of Veronica Mars fans when it comes to watching episodes) (which probably means I’ve watched every episode 6 or 7 times). We own the DVDS and she’s manged to wear 2 of the seasons out from the repeated play (yeah, I didn’t know that could happen either with DVDs). When the SOAP Network (RIP) began showing the series in order during a 2 hour block every day (and then on the weekends as well) there was many a day I would come home from work to find V-Mars playing on the TV. Think about it, she’d watch episodes with commercials in them because she loved it so much (well, maybe there was a bit of laziness in there as well, not wanting to hunt down that particular episode).

A little obsessed…

So when Veronica Mars had a chance of returning to the world through a movie with their Kickstarter Campaign about a year ago, it was never a question of IF we’d be supporting the project. The only question was “how much would we pledge”. And when they passed 2 million dollars she squealed like a teenage girl. Then the countdown was on, and on March 14, 2014 at 7:15 we sat in a theater, about 1/2 full, and watched Veronica appear on the screen for the first time in about 8 years.

We also have a digital copy of the movie. Don’t ask how many times she’s watched it (I ran out of toes and fingers counting).

Amazon-Kindle-Worlds

Then when Veronica Mars was announced as being a part of the Amazon Kindle Worlds program, whether we were going to do a project was secondary to who the story would focus on, when to place it…

For those that may not know, Kindle Worlds is a way for you to write Fan Fiction in a world in a more legit manner. They license the properties and open them up to anyone to contribute. Whatever your opinion of fan fiction might be, it still strikes me as a kinda cool way to be more apart of the world(s) we all know and love.

With this opportunity and this particular World, my wife and I had to do something.

And that led us to Mac.

Veronica Mars

 

Mac is Veronica’s friend. She’s sorta the Q to Veronica’s James Bond. And since we weren’t going to write about Veronica directly she jumped out at us.

Collaboration is always tricky when writing comics or prose or whatever, but collaboration with your spouse… well, it was actually fairly easy. We spent a couple of weeks after the initial announcement in early February just talking about plot lines, possible angles to take. Which characters would appear? Which season would we set things? And so on. Then once we had the rough beats for things I started writing and over the course of about 2 weeks pounded out the first draft. She read it in 2 parts, the first 3 chapters and then the last 3 chapters. I then took her edits and did another pass on the story with her sitting beside me to really go over any places I had questions about.

The final step, after multiple drafts, was to read it aloud. I’ve read about other writers who do this in order to make sure that the sentences aren’t too awkward. The idea being that if you stumble over it as you read it aloud, then it probably needs to be rephrased. I gotta say, that after doing it I not only noticed more than a couple of odd sentences, but also caught a couple of simple errors, double words, that sort of thing.

So maybe there is something to this technique.

Anyway, we hit submit on the novella Sunday evening and last night I got the email from Amazon that it was now live! Right Here!

That’s right, you can now read a Veronica Mars story by me and the wife, if you happen to be into that sort of thing. And you should be, especially if you were ever a fan of Buffy the Vampire Slayer. Joss Whedon appeared in the show and at one point said it was his favorite show on tv (at least while it was on the air). So that’s gotta count for something, right?

dana-whedonverse

This guy likes Veronica Mars, you should too.

And now a little excerpt from the novella (just a taste)…

Get away from Beaver. Now. He’s a killer. I’m in the lobby.

The words scream at me from my phone. Veronica’s attempt to help me. To save me.

It’s been two weeks, and I’m not sure exactly what those words mean.

Oh, I understand the big things. The newspapers had part of it, and Veronica filled me in on the rest. Beaver was the one who killed all those people on the bus. Beaver tried to set Veronica up. And that night, he tried not only to kill her, but almost killed her dad with the bomb, which blew up Woody Goodman’s plane.

Get away from Beaver. Now. He’s a killer.

The words are in English, and yet they make no sense. Nothing about that night makes any damn sense. Try as I might I can’t wrap my head around it. What was supposed to be a special night became a nightmare. Since then, the days have been the better part of a blur. So I sit here at Java the Hut and stare at my cell phone, hoping through sheer force of will the phrase will make a little sense at some point.

I’m not holding my breath though.

He’s a killer.

What does that even mean?

***

John McGuire

John McGuire is the author of the supernatural thriller The Dark That Follows, the steampunk comic The Gilded Age, and the novella There’s Something About Mac through the Amazon Kindle Worlds program.

His second novel, Hollow Empire, is now complete. The first episode is now FREE!

He also has a short story in the Beyond the Gate anthology, which is free on most platforms!

And has two shorts in the Machina Obscurum – A Collection of Small Shadows anthology! Check it out!

He can also be found at www.johnrmcguire.com.

am.

Behind the Comic – The Gilded Age

 

behindthemusic-thumb-3

This week over on the Terminus Media LLC’s Facebook page this week is The Gilded Age week (available at Amazon and Comics Plus). So I thought I’d provide the blog with a little bit of how this little project came to be.

GildedAge_Front Cover-tessera

It all started with a convention in Orlando a few years ago. My buddy Egg either had a table or was sharing a table or something (it doesn’t much matter). The important thing was that while he was down their he met an artist by the name of Larry Watts who was looking for a project to work on. For some reason Egg thought Larry and I could match up on a project. Larry has since gone on to work on a Zenescope Comic called Robyn Hood (found here).

The only problem was that I didn’t really have any ideas that were artist ready.

Now I certainly had a handful of ideas, but I had no finished scripts that were just begging for an artist. So when faced with the prospect of working with an artist and you have no solid ideas I cheated and went onto his Deviant Art page to check out his stuff and see if anything “inspired me”.

And there it was… a shot of a old western gunfighter… with a metallic arm. In that instant, something flipped in my brain and I had the barest bones of an idea. What followed over the course of the next few days would end up becoming a pitch called Machine Heart.

Now Machine Heart was ready, but I believe that Larry was no longer available to work on it (I probably missed my window by not being prepared with something). So I filed it away on the computer, just waiting for the moment to spring it from it’s prison.

A year or so later Terminus Media was beginning to look towards doing something more than just anthology stories. They wanted to have something that could be 5 or 6 issues to start. Something different than what was on the shelves. And that little voice popped up in my brain and I mentioned my “Steampunk” story. A couple of meetings later things began to crystallize and suddenly it looked like things were a go… there was just one problem.

With an indy comic there is always the risk that there will be a delay between issues. You might have production problems, money problems, printing problems, and who-knows-what-else problems. But here we are wanting to tell a story over the course of 5 issues… what happens if people don’t want to wait that long? What happens if someone stumbles onto issue 2 and can’t find issue 1?

So what was the answer? In a perfect world you would find a way to have a regular schedule. We, however, live in the real world (one populated with superheroes and the like, but real enough) where delays are going to happen…

xiron-man-alarm-clock.jpeg.pagespeed.ic.pNs3wejHrQ

Iron Man doesn’t like Daylight Savings Time either.

And then it hit me –  I could build this world from the ground up by telling single issue stories about a variety of characters. And what better way to ensure that there are plenty of characters to choose from? Have the stories take place in a vaudevillian carnival where you could have all sorts of weirdos running around and no one would bat an eye. Plus, the other bonus was that I could tell a variety of stories (adventure, horror, heists, etc.) and they could all work because of the characters involved.

There was only one more problem… a title. Machine Heart didn’t really apply to this particular story, so I needed to come up with something better than “Untitled Steampunk Comic”.

Enter Mark Twain and his coining of the phrase “The Gilded Age”. Now his applied to the late 1800s corruption occurring within the US government, but I saw something that could apply to this new world. There would be corruption (there always is), but it also rang true somehow for the comic… I can’t explain it completely, but it “fit”.

gilded age by twain

While Machine Heart’s plot-line no longer applied, the characters of Hannah and Elias still worked for me. An actress who is new to the carnival, bright eyed and innocent, and the stage magician of the crew who would need her help acquiring an item for his next performance. So I made the first issue about the two of them, giving the reader a complete story in 1 issue, but hinting at a much bigger world that I’m hoping to explore more and more of.

Issue 2 is still in the process of being finished, but that gunfighter with the metal arm that inspired it all… well, he’s getting to tell a story of his own…

Gilded Age #2-004-small

 

***

John McGuire

John McGuire is the author of the supernatural thriller The Dark That Follows, the steampunk comic The Gilded Age, and the novella There’s Something About Mac through the Amazon Kindle Worlds program.

His second novel, Hollow Empire, is now complete. The first episode is now FREE!

He also has a short story in the Beyond the Gate anthology, which is free on most platforms!

And has two shorts in the Machina Obscurum – A Collection of Small Shadows anthology! Check it out!

He can also be found at www.johnrmcguire.com.

A little something happened on the way to the Convention

This week’s blog was going to be a convention report on Anachrocon, the steampunk con I went to over the weekend. The same con where I was to sit in as a speaker on my first panels ever. I could talk about how the panels went (really well, I actually got invited to sit in on another one, but had to decline due to day job commitments). Or talk about the people I met and talked to. Or even about the other guys and gals on the panels I sat in on.

Yes, it was all planned out and would be the easiest blog post of all time. The words would flow like… well like wine or water or soda or whatever you might drink.

Then this happened…

window smashed

 

Apparently a book bag sitting in the back seat is too much of an inviting target for some people… though they left the comic box also sitting back there. I was annoyed, mostly because I felt put out because my day at the con was now over. Suddenly I get to deal with some real world problems as opposed to trying to have conversations with people. However, what they got was a couple of comics, a Square card reader, some pens for signing comics, and some laptop power cords (though the laptop was not inside the book bag). As I thought about it more it seemed that the bag probably was worth more than anything within it.

Today it occurred to me that there was one other item in the bag which I had forgotten about. There would be no reason to contact the officer to add this thing to the police report, but it is priceless to me.

I had placed my notebook in the bag before I left the house.

My notebook that I use to jot down any number of wild and crazy ideas. The notebook that houses many a random line of dialogue that I might overhear as I got about my life. When inspiration strikes, it gets written down in that notebook.

And it is gone.

On Sunday, while I was talking on one of the panels, a question arose from the crowd asking about ideas and what you do with them, how do you ensure that you don’t forget that random idea at either 3 in the morning or 1 in the afternoon. I talked about writing it on scratch paper and then compiling all of them at the end of the week.

messy-desk_final

This is a what my wife has to deal with taking over the desk every week.

But I also mentioned the notebook. I never know when a moment of inspiration might strike me. Half the time I hear some scenario on the radio and I take it one step further and suddenly an idea appears. And I have to write them down. Far too many of those moments get lost in the Ether way too much during the course of a day. And while I didn’t have the notebook with me at all times, it traveled with me just enough to get some decent stuff.

Luckily I tend to be one of those people who constantly hits the save button, and the best way to do this with those scraps of paper is to put it into the notebook or type it into the computer. So probably about 1/2 of the notebook exists on my computer in half-finished ideas.

But there are still some of them that are now lost forever.

Now I’m saying that any of them are Steven King/ JK Rowling ideas which will cause me to start a book empire, but there are things in there that my brain came up with… no one else could have invented those words in just that way. And you/me/whomever never knows exactly what might or might not work. Maybe some of them need a little more seasoning.

But they are mine, and now…

Gone. Lost.

 

400px-Lost_main_title.svg

Not this type of Lost.

I wish I had some kind of nice ribbon to put on top of this story, and maybe one day someone will return it to me (I believe it has my address/email/phone number inside it). I’m not holding my breath exactly, but I will hope a little bit for that day where I’ll hold it in my hands like I’m Indiana Jones just before the Rock Trap is triggered. My fingers will tingle and I’ll be able to, for a moment at least, travel backwards in time to see what a younger version of me wrote down.

And say “This guy can’t even write!” 🙂

Hey, a guy can dream.

 

Slaying the Beast

This week I wanted to write a blog about my favorite love stories (romantic moments) from comic books. A sort of companion piece to Chad’s post yesterday. But I hit the wall hard on that idea, shelved it, and moved on.

I thought about writing specifically on Spider-Man and his “former” marriage to Mary Jane, but it’s still not anywhere near where I would like it to be (it’s coming at some point, I’m sure). So I moved on.

A couple of other thoughts struck me, but all of them required something, some aspect of the blog, that I am not entirely ready to begin/write/end. I put those in the “To Be Done” folder.

And it occurred to me – I think I’ve encountered Writer’s Block for the first time in a long time.

knight-vs-dragon

There is a problem to this sort of thinking, though. I don’t believe in Writer’s Block. Much like Santa and the Easter Bunny, I believe it is a mythical concept used by many as an excuse. An easy out that no one really knows how to conquer. Much like the ancient beasts of old, you’d need a knight in armor to slay this dragon. A non-writer might not understand, but they knew enough to know not to probe too deep.

They might whisper to your other friends, “What’s wrong with John?”

“He’s got Writer’s Block.”

“Oh… I better stay clear.” (as if they could catch it)

Fellow writers would go along with the gag. “Terrible thing, that Writer’s Block. Got me back in ’06 for the better part of a year.”

And you would nod and shake your head, but know in your heart of hearts that it was all a lie.

Writer’s Block doesn’t exist.

I did not know this truth for a long time. I leaned on this idea when what I really wanted to do was play video games or watch a movie or do anything other than sit in front of the computer and type out string after string of words. For me, I knew that Writer’s Block was just an easy out.

Turns out, I had it wrong. Writer’s Block as I think of it doesn’t exist. That much is true. Discipline has long been it’s ancient enemy. But this creature out there lives in the shadows of a writer’s mind. It preys on any possible weakness it can find. It whispers terrible nothings into your ears.

Tired? Don’t worry about those words tonight. There is a new South Park on after all.

Fried from a long day of work? No big deal, Facebook will comfort you in this hour of need.

Got some rough edits back and you don’t even know where to begin? Old WB has got your back and has warmed up the XBOX with your favorite game all prepped.

Last night’s writing session go absolutely nowhere and now you’re afraid that all those words you wrote and will write on the project will be absolute dog shit? Well, you’re right. Don’t bother, you suck.

calvin+hobbes

Calvin has it more right than even he knows.

This is the enemy. Writer’s Block is the thing that squeezes its vice-like grip around my brain and tries to convince me in any and every way possible to not write.

And the sad thing is, IT wins a fair amount of time. Sometimes without even trying.

But… but… but… I have found the best defense for it is a good offense. When I really get going on a project I have far fewer of the nights where Writer’s Block seeps in and prevents words from appearing on the screen. Instead, more ideas begin to flow out from me. My fingers struggle to keep up with my thoughts and I wonder how many more ideas get lost in the shuffle between brain and keyboard. When things are going well there is no such thing as Writer’s Block. It truly does become just another arrow in the excuse quiver. And you forget it even exists at all.

But don’t forget about it. Use it as further fuel for your own creative fire. Before beginning this blog I had not seen that old boy for a few years. Instead my nemesis has been TIME more than anything else. I have about 25 short stories that exist in some form or fashion. I have about 5-6 comic story arcs that could see the light of day someday if only I wrote them (and then convinced someone to actually draw them). And I have about 4-5 novels that I want to write. So Writer’s Block hasn’t had much of a chance to do anything to me. I forgot that it really existed, and in that moment it drew itself back into my soul and waited until there was a perfect time to strike.

Yet, here I am, near the end, and I’m not sure if he really was here at all tonight. The words did come. Maybe, just maybe, I imagined the whole thing.

the-usual-suspects-the-greatest-trick-the-devil-ever-pulled_design

And then again…

 

***

John McGuire

John McGuire is the author of the supernatural thriller The Dark That Follows, the steampunk comic The Gilded Age, and the novella There’s Something About Mac through the Amazon Kindle Worlds program.

His second novel, Hollow Empire, is now complete. The first episode is now FREE!

He also has a short story in the Beyond the Gate anthology, which is free on most platforms!

And has two shorts in the Machina Obscurum – A Collection of Small Shadows anthology! Check it out!

He can also be found at www.johnrmcguire.com.

Time Enough for…

With the coming of February all I have to show for it so far is long days at the Day Job and almost every Sunday worked already. So what does that mean for the night job of writing? It mostly means that I’m squeezing 10 pounds of writing into a 5 pound bag. It means that there is too much to do and not enough time to do it in.

Time…

Mars

Did you know that on Mars the days are 40 minutes longer than they are on Earth? During the Curiosity flight to Mars one of the NASA engineers had his family adopt the Martian clock. What was of more interest to them was the fact that slowly they began to un-sync with the rest of us on Earth. Soon their days were our nights, their breakfast was our dinner, and so on. And all of that is interesting to a point, but…

I was more intrigued by the idea that they were gaining 40 minutes a day. What could I do with just 40 minutes more a day? Sleep, read, write, goof off… anything I wanted.

We schedule so much of our time away. The job takes 8, sleep another 6, travel to and from work another 1, eating is another 1 1/2, showering is 1/2, etc. It starts to disappear very quickly.

So how do I find that extra 40 minutes? That’s the question I’m constantly asking myself. Where can I subtract from my current Earth Day in order to get what I need/want/must get done on the writing side of things?

Sadly most of the time it comes from my sleep allotment (and it is sad… I love my sleep). I get the majority of my writing done during the hours of 11 pm to 2 am probably 5 nights a week. When I’m really rolling on a project or nearing a deadline (external or internal), that is when I really bear down and use that time efficiently. I know I’ve had a good night when it gets to 2 and I’m want to keep going because I’m in the flow of things. The bad nights are when I spent too long checking websites and blogs and email and Facebook and watch too much tv or play too much video games and the time slips away from me and it is 1 before I even open Word to start my night. It’s kinda hard to really get things going when I’ve shrunk my own time by 2 hours.

schedule-icon-fs

It all starts with a schedule I set up for myself. Maybe its the engineer portion of my brain, but I need milestones. When I laid out my goals for this year a month ago it was from having a decent idea of how much work I can produce on a daily basis. Then I take those projects and set up the next 3 months of my calendar. Putting it writing so that I can not only track my progress, but I can have those goals staring at me on a daily basis. I really do believe that left to my own devices I would find more and more ways to distract myself. But I look at the schedule and see that this week I’m supposed to be starting on a new novel and then think “I’m already 2 days behind this week”. It helps get my ass in gear

As to my nightly writing plan? 5 nights a week producing 1250 words done in a night. The industry standard for what 1 page of a book equals 250 words, so my number basically has me write 5 pages a night. That’s the bare minimum I want to get when I sit down at the computer to start hammering on the keys. It has to include all the false starts and stops. The nights when the words just won’t flow and every single letter disagrees with all it’s neighbors. They squabble until I begin to wonder if I have any ability to string 2 words together, much less 1250. Comic projects take a different amount of work as I typically do different passes. First draft is mostly dialogue with a little panel description, second draft is making sure I have a decent rhythm throughout, and then it is onto a more final draft that I then turn into whomever are my editors on that particular project.

On good nights it takes about a hour and a half to get my work in. On bad nights it might take four hours and I may only have 500 words done. But when that clock strikes 2 am and I begin to turn into a pumpkin, I have to start wrapping things up if I want to have any use the following morning.

wake-up

This is how I feel it is for me every morning.

The other thing it does is lay out everything in writing that I want to do. Sometimes we get bogged down by the sheer thought of all these tasks and projects, but I find that laying them out removes some of that stress from my brain. It lets me know that today I’m doing the blog, but tomorrow I have 1250 words of the new novel to write, and maybe on Thursday I have some editing to do on Hollow Empire (though I typically don’t jump around that much – I find focusing on one project over the course of a week is better to ensure I get into that groove).

Does my technique work for everyone? I’m guessing not. I think creative people enjoy flying by the seat of their pants. And they also may only have one project going at any one time.

Me? I gotta have a dozen pans in the fire as I’ve seen too many things have false starts or never get off the ground at all.

And crossing things off your to-do list is a small jolt as well. Knowing that you are that much closer to having a final product is probably the best thing.

 

***

John McGuire

John McGuire is the author of the supernatural thriller The Dark That Follows, the steampunk comic The Gilded Age, and the novella There’s Something About Mac through the Amazon Kindle Worlds program.

His second novel, Hollow Empire, is now complete. The first episode is now FREE!

He also has a short story in the Beyond the Gate anthology, which is free on most platforms!

And has two shorts in the Machina Obscurum – A Collection of Small Shadows anthology! Check it out!

He can also be found at www.johnrmcguire.com.

Illinois Corn, Comics, & Sound Direction

A few years ago (maybe 2006, 2007) my mom’s side of the family, the mostly Chicago based Stephenson clan, decided to hold a family reunion in Monticello, Indiana. Monticello has great vacation spots/ campsites in the area, including a hallmark of Midwest fun times, Indiana Beach, a local amusement park/ waterpark.

Now if you could ignore the various “Anti-Meth dealing” warning signs we saw on various back roads, this place is one to visit.

Emmy-winning meth.

Emmy-winning meth.

In the surrounding area you’ll find picturesque woodlands, replete with nice lakes, small towns, and great places to just barbeque, and while away the day. We were able to snatch up a set of cabins for the entire family, and spent a five day vacation just catching up and having fun.

Our folks had come from all over to commiserate: Atlanta, Sacramento, San Francisco, Jackson (MS), Los Angeles, Chicago.

Heck, there was some family I hadn’t seen since the second Rodney King trial verdict.

Basically, it’d been a while since I’d seen half of these people.

So being Atlanta based my brother (Brandon) and I decided to forgo the sensible option of getting plane tickets to Chicago, and catching a ride with the family to Monticello which was just a few hours away.

Nope, being the guys that we were (and wanting to have some wheels while on vacation), we’d come up with a decision to load up in my 2001 Nissan Altima, and take the 9-10 hour drive to the reunion. Added to this, with the work schedule that I had at the time, we had two options on when to leave: exactly after I got off of work, which would have been around 9 or 11 pm, or wait until the next day.

roadTrip_night_news

Road tripping how it should be done. At least for insomniac’s.

Needless to say, we decided to tap into our inner insomniac and hit the road, caffeine/ Red Bulled up to the gills.

For me night driving is fun, and a bit relaxing. I enjoy being able to see the world when it’s basically asleep, and just catch the sights as most folks are winding down for the day. Our nocturne route took us through Georgia, Tennessee, Illinois, and then Indiana.

Alternating between blasting OutKast, Kanye West, Esperanza Spalding, and Red Hot Chili Peppers, my brother and I took turns with the driving duties.

It was when we hit mid Illinois that things got interesting.

At the time, I was driving, rolling through moon drenched rows upon rows of corn.

Endless-rows-of-corn.

Though I’d gotten use to this from previous road trips to Chicago, to say that endless rows of flat farmland can lull you into a chillastic state is an understatement.

So guess what I had to break me from this stupor?

Police lights ahead of us. A lot of them. Blocking the whole two-lane interstate.

You would’ve thought that damn Dr. Richard Kimble was on the loose with all the lights that I saw.

No caption needed. This scene was just all sorts of awesome.

No caption needed. This scene was just all sorts of awesome.

First thought I had: Damn.

Second thought I had: Damn, damn.

Third thought I had: Our current situation playing out like the one from “The Five Heartbeats” when the cops pull the main characters over on a lonely country road

Check the movie out and you’ll catch my drift.

So I wake my brother up, who’s a much cooler dude than I am. He tells me to just chill, and we hit the roadblock.

I rolled down the window and the officer asks for my license and registration. As I’m handing it over I decide to ask why the whole freeway is closed down at the latest hour known to man.

The cop hands back my information and doesn’t give a reason. At all. Just hands it back. Then asks where we’re headed.

Yeah....our cop wasn't Mr. Smiley.

Yeah….our cop wasn’t Mr. Smiley.

I told him Monticello, and then ask is there an alternate route we can take to get back on the highway we were on.

The cop mumbles something about taking a nearby exit, follows up with something else unintelligible, and then backs away ready to direct the next car in line.

So as I prepared to barrage the officer with more questions, my brother, sensing that this dude wasn’t going to be too forthcoming, instructs me to keep rolling.

So we follow the officer’s “directions”, and all we see are rows of corn.

We drive in another direction, and see rows of corn.

No indication of how to get back on the freeway. None at all.

So this goes on for maybe, 30, 35 minutes max. As far as gas, we’re doing alright, but not spectacular.

I started imagining thoughts of my mom getting a call from the Illinois State Patrol:

ISP: Ma’am, we’re sorry to have to inform you that, well…., ma’am, your son’s got lost and gorged themselves to death on corn.

Ma: Oh….. God….No….

ISP: The truly tragic thing about it miss, is, well…. there was a McDonald’s not but a step or two around the corner from where their bodies were found.

Ma: Noooooo!

So as we’re driving my brother points into the distance.

“BJ (my nickname), look.”

I look in the direction he’s pointing and see a convoy of taillights. A semi-truck convoy.

“Who would you figure might have the best idea on how to get back to the interstate?” Brandon asked.

I figured, heck, we’re not having any success so why not follow them?

Keep on truckin'.

Keep on truckin’.

Relying on faith, and the sound judgment of Brandon, we struck pay dirt. Following the truckers lead we rolled through a small town, sleeping neighborhoods, took a bunch of side roads, and within a bit of time, we were back on the freeway.

After hitting the interstate, we were good to go. Heck we even got to the vacation spot before anyone else in the family.

One thing I learned from that situation and in countless one’s before and since, is it’s sometimes good to follow the lead of others. Not those folks who don’t have your best interest at heart, but those who care enough about you to set you on the right path.

On the nerdy/creative front it’s happened a number of times.

Some of Ms. Butler's most awesome sci-fi works.

Some of Ms. Butler’s most celebrated sci-fi works.

My Dad introduces me to the awesome work of Octavia Butler, a talented sci-fi novelist to whom I now look for inspiration on the writing front.

One of my closest friends Oscar gives me a copy of Alan Moore’s seminal work, Watchmen, and this writer’s mind is blown. An awesome friend, Patrick, loans me his entire of collection of Preacher to read, and I devour the books in the span of a weekend.

 

 

 

A man of many talents.

A man of many talents.

One Saturday afternoon I get a package from my Dad in Atlanta, and was introduced to the mind-blowing universe of Milestone Media, and another writing inspiration, Dwayne McDuffie.

My mom picks up a copy of “The Amazing Spiderman” from the drugstore (remember those days folks?), and my world is forever rocked by the exploits of a certain web slinger who often had problems paying the rent on time.

 

 

 

 

 

I meet up with the folks of Terminus Media, who teach me the ins and outs of writing/ creating comics, and I’m now a published comic book writer.

A little comic I created.

A little comic I created.

Through the instruction, and direction of my editor/ brother from another mother, Dennis, I got a firsthand instruction on what it took to be a successful freelance journalist.

Heck, the often maligned Wizard Magazine got me pushed in the right direction of another writing inspiration, Greg Rucka.

Tara Chace. Her Majesty's Bad Ass.

Tara Chace. Her Majesty’s Bad Ass.

So if you get the gumption, take a chance, and follow the direction of those folks willing to offer a helping or a guiding hand. Makes things fun, heck even easy in some cases.

I’m still doing it, and think I’m all the better for it.

If you don’t you might find yourself stuck in endless rows of corn.

 

Forget Me Not

People seem to ask writers one common question: “Where do your ideas come from?”

writing-letter

And while I’m still in my early writing career it is a very easy question for me to answer. It comes from answering what drives me as a person.

I’m obsessed with perception, memory, how time can distort both things, and what that means for a person (I am obsessed with other subjects as well: Time Travel, the future, alternate timelines, the supernatural, but I digress).

One of the things I’ve noticed over the years is how my own memory contorts and changes as I get further and further from an event. Now, I assume that for most people this is the case. Especially if it is not the most important of events it is very easily forgotten (though I seem to retain the most useless of knowledge, a gift from my Father I think). Perhaps it remains in some recess of our minds, waiting for a trigger to allow it to rush back to the surface of our mind, but mostly I think our brain just deletes that old, unused data. Kinda like my wife’s pack rat solution she (attempts to) employs upon me. “If you haven’t touched it in 6 months, then you can throw it out.”

Here’s the problem, there are moments in my own life that I have a different memory than those of my friends and family. Sometimes they have been instants where I wish it had been me there because the person feels like we’ve shared this moment and are closer because of it. So I typically go along with it, hoping that at some point it does loosen the old memory and then… but it doesn’t happen.

I can never figure out if it is a ME problem or a THEM problem.

And unless there is audio or video recordings of the event, who is to say that they are right or wrong about these things. If someone tells a story that features you in it, you have already bent in their minds to fit their version of events. Given enough time and enough retelling of that story, why wouldn’t you suddenly adopt it as a part of your own narrative? At what point would you no longer be able to know your own truths compared to those of the story-tellers around you?

Is it gaps in my memory or is he just remembering the event wrong? What do I not understand about my own self? Which is the better outcome for the both of us?

In the mouth of madness

One of my favorite horror movies of all time is In The Mouth of Madness (really, ask my friends Lee and Egg about watching this movie late on a Sunday night and Egg refusing to drive home to north Georgia because of the “guy on the bike”) (I also did not go home that night – dude on the bike is waaay creepy).

For those that don’t know, aside from being a John Carpenter flick (he of The Thing and Halloween to name only 2 classics), the main reason I love this movie, though, is that it postulates a very important question: If the majority of the world suddenly went mad, what would that mean for those of us who still had our sanity? Or, to put it another way, if reality is only this thing that we all have agreed upon, and then a large group no longer shares our same perspective… what happens then? When the inmates run the asylum, then are the remainder of us really the insane ones?

So does that mean that my reality is shaped by others because they remember things about me that I don’t? Should I take in their ideas of me and… and… what? What would I do with them?

These kind of thoughts keep me up at night, furiously typing away on the keyboard, trying to make some sense of my own world through the creation of new ones. Worlds populated with people that I can create and mold. Maybe through them I can try and work some of my own angst about this concept so that perhaps, somehow, I can find a small amount of solace in my own reflection of reality.

winter-reflection-mirror

So yeah, that’s where I get my ideas from, rantings and ravings from the inmates within my own brain.

***

John McGuire

John McGuire is the author of the supernatural thriller The Dark That Follows, the steampunk comic The Gilded Age, and the novella There’s Something About Mac through the Amazon Kindle Worlds program.

His second novel, Hollow Empire, is now complete. The first episode is now FREE!

He also has a short story in the Beyond the Gate anthology, which is free on most platforms!

And has two shorts in the Machina Obscurum – A Collection of Small Shadows anthology! Check it out!

He can also be found at www.johnrmcguire.com.

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A Band Called Death

I don’t remember caring much about music before I was about 12. Maybe that’s the way it is for most kids. I’m not sure. Most of what I listened to was either on MTV or through the oldies’ station on the radio. In fact, there was a window of time that I did not (nor did my younger sister) know the radio had other stations because it was always on that same station playing those old pop-rock songs (no, I don’t know what we thought the dial was for). Then as I got older, my tastes looked to the heavier music: Metallica, Helmet, Alice in Chains, Faith No More… before eventually coming into the various Grunge bands.

mtv

Yet there was one music type that eluded me. The only representative of Punk within my budding music collection was The Misfits. It’s not that I didn’t like it, it was more that I just didn’t have that exposure to it. It wasn’t until I was older that I began to hear the Ramones or The Clash or The Dead Boys. Even today my access to most punk is through online sources and not through my iPod.

That being said… over the Thanksgiving holiday, I had the opportunity to watch a documentary: A Band Called Death (it is on Netflix and well worth watching).

The gist is this: Death was a punk band before punk bands existed. In the early 70’s, when it would still be a couple of years before the world knew of the Ramones or the Sex Pistols, there were 3 African-American brothers from Detroit who was doing their own thing. Their love of “Rock” which caused them to buck the trend. To eschew Motown for a heavier sound. One influenced by the Beatles and Jimi Hendrix.

ABandCalledDeath-Poster

Three brothers who did their own thing and for a little while it worked. The Documentary basically tells their story of how they seemed poised to break and then, mostly because of the name of the band, DEATH, they kept getting turned down. A band with a name like that was going to have a hard time convincing people to look past the title. And so the rejections kept adding up, and like many things, when you are told “no” enough you stop wanting to get your head beaten in.

And the brothers moved onto a different sound with a different name.

I’ve checked out their music and must say that it feels ahead of its time, and my iPod is about to have a little bit of new/old songs for me to listen to.

But maybe the biggest thing I took from the documentary had to do with the fact that one brother effectively decided the fate for the whole band with the name (it was his idea to start), and then later by not giving in on changing the name to something… more agreeable. Think about it… you’re being told that the music you’re doing is good, maybe even great, but that pesky name is going to be a problem. What if you just changed it?

And my initial thinking would have been, “F- it, change the name and get paid. It doesn’t change the music you’ve already written and the music that you may write in the future.”

I mean, this would be the opportunity to have others hear your work… isn’t that, at least partially, why you got into music?

Maybe part of my thinking comes from the fact that I see titles as almost placeholders. In fact, in the stories I’ve worked on, the title is the thing that eludes me for the longest time. And even at the end, when I finally fight through the forest of words to come upon that single word or phrase which works for that tale… I’m not married to it.

So if they (whomever “They” are) asked me to change a book/story/comic title in order for more people to see it… I would make the change.

In a heartbeat.

However, if you see the title of your story as a true extension of the art, then wouldn’t the very nature of that change mean you were altering whatever you intended the reader to see?

Let’s go deeper then. Instead of focusing on the title, what if they were talking about changing the story? Not just editing, but really an overhaul to what the story was about.

Would that be right?

At what point would being asked to change something become too much? Where is my line? What aspects of the writing is worth fighting the good fight over and what things are just something to let slide. Pick the battles worth fighting.

And isn’t that the same thing as what David Hackney and Death was trying to fight against? They wanted to have control over their brand, their identity, but the more I think about it, I believe they just wanted to do it on their terms. Had they lived 30 years later, they would have been able to get their music out. Get past the gatekeepers and let the public determine their fate.

These are the thoughts that spin in my head as we close in on the end of the year. With the advent of the Kindle and then other readers/tablets/apps, we’re now in a world where I can have complete control. Right now, I’m in the process of finalizing my very first novel, The Dark That Follows. And in this new world, I can write my book and not have to answer to anyone. I can hire an editor to help me out, but at the end of the day I get to be the final arbiter on what stays and what goes. It will be my vision 100%.

The Dark That Follows_D3

And that is terrifying.

Because it is all on me. There are no final checks hired by some company to make sure that every bit of grammar is correct. Or that the cover looks right. Or… or….or…

All on me.

It’s made me realize that sometimes having all that control isn’t always the best thing. That old adage of “be careful what you wish for” fills my brain. This is the path that I have chosen, and the path I’m going to abide by. For better or worse.

So I salute you, Death… in my own way, I’m just following in your footsteps. I just hope I don’t have to wait 30+ years for someone to know it exists.

The Biggest Fish: Smallville

At some point the following tale has become my own Big Fish story. Or perhaps it just has that sort of potential. I can only relay the events as they are currently in my mind… somewhat dulled by the time and distance from the original events. What you do with this information is completely up to you.

Garrison_Big_Fish

I cast my mind back to sometime in 2002 where I had joined up with a group of like-minded aspiring writers in the back of the Dragon’s Horde comic shop in Stone Mountain, Georgia. I like to think of this time as the beginning of Phase 1 of my writing career (Phase 2 came in 2010). The beginning of working with others on various projects, and the beginning of having someone read something I had put to paper (up to this point writing was this distant thing in the back of my mind, but I either lacked the willpower or the knowledge to even know where to begin).

Anyway, one of the group members (we called ourselves WriteClub… possibly not the most clever of names, but it got the point across) told us he had a connection through his sister that could walk a potential script into the Smallville offices. We just needed a script.

Smallville-Logo

Of course the first question after “How exactly is this going to work?” and “Really? No BS?” was how were we going to do this? There were 6 of us in our little group and this could be something we all focused on. A true collaboration. So we sat around one Sunday and talked about the show, and if we were going to do a script what plot points should we hit? I want to say after that one afternoon we had a rough outline and plot points, but it may have been a couple of meetings before that happened. And I don’t remember all the specifics of those meetings, but I do recall the FUN of it all. This was our chance, no matter how small, and we were all ready to give it a shot. No idea was off limits at first, and then we slowly began to circle around the true idea… the one that would serve as our story for this script.

That story was roughly as follows:

Green Arrow would make his first appearance on the show. (What nerve we had to even think this way. I mean not only were we going to immediately get this script sold, but we’d also be the first to really bring in a non-Superman hero. Like no one in their writer’s room had thought of that.)

Green_Arrow_Vol_5_logo

He would meet/come into contact with Chloe (she was the sorta Lois character before Lois showed up on the TV Show) and there would be some definite sparks that would fly between the two of them. (While I think this is a fairly obvious thing to do, I actually still like the idea of trying to introduce another person into the Lana/Clark/Chloe triangle. And there would be someone else for Chloe to add to the Wall of Weird.)

He would need something from Lex. And to get that something would require breaking into Lex’s home. (I believe this was one of those things that would initially bring our heroes into conflict as suddenly Clark is really stuck between possibly covering up a misdeed of Lex or letting a thief get away with something that could hurt his friend… a pseudo gray area for the Man of Steel).

And at the end, Green Arrow would get the heck out of town with some aspect of the information he was after (courtesy of Chloe), but with the feel as if he could be back.

Again there was more to it than that, but this was the basics as we settled on them. Now the only question was: Who wanted to bang out this script?

And the table went silent. I’m not sure if it was because none of us really had a clue what we were doing and didn’t want to be called out on it or what, but for whatever reason I found myself saying the words: “I’ll do it.”

Looking back, this was a huge step for me. What in the world was I thinking? What if they hated it? What if I was exposed as a fraud? Hell, I barely understood the way a script was supposed to be formatted at this point. And still I raised my hand and volunteered. I rushed home with Final Draft ready to be installed on my computer and began to type, my fingers a blur as the ideas and the dialogue flowed from me. I did my best to develop scenes and made sure to hit all the high points. By the end of the night (probably more likely very early in the morning), I had the roughest of rough drafts finished. A masterpiece of American Television waiting to be unleashed upon Hollywood.

It was 29 pages.

Now, what I did not know at the time was that in script terms for movies and TV 1 page equals (roughly) 1 minute of filming. Smallville had a running time without commercials of around 42 minutes. Which meant I should have something around 42 pages.

And I had 29.

No problem, though. I was excited to have that much written up. And when I found out about the discrepancy, well that was why I was a part of the group. We tossed more ideas around and I believe we got the script up towards 40 pages (I might be wrong on this, but as I said above, this is my Big Fish and it weighs…). But we weren’t done. We did a table read. We brought in a couple of females to read the women’s lines to help make sure nothing was too out of whack. And at the end of that follow-up meeting I took the notes and compiled that final version.

We sent it off to the sister.

Add_submission

And waited.

And waited.

And then heard back from her that she read it and really liked it! It was on its way as she’d pass it along to her contacts over at Warner Bros.

And then nothing. Nothing came of it. In my mind, I constructed an elaborate Twilight Zone style scenario where the script was on the desk of the man (or woman) who was the final arbiter and somehow it had fallen behind the desk, just out of sight. Because that was the only reason our phones had not been ringing off the hook (back when phones did that and didn’t just vibrate in your pant’s pocket).

Months passed and the script became almost an urban legend in the group. We’d mention it in passing like someone who had taken a grainy picture of Bigfoot or Loch Ness. The thought was occasionally passed around that we might be able to resubmit via another connection (we may or may not have done that, I can’t remember). I took the last printed copy and stored it away for safe-keeping. Eventually, like most legends it slipped completely from our consciousness.

Fast forward to October 20, 2004. I settled in to watch Smallville for the evening as the episode “Run” appeared. It was to feature a non-Superman hero: The Flash.

For those of you that don’t know my two favorite superheroes are Spiderman and The Flash… but I’ll talk about that in another post. So to say I was glued to my seat would be an accurate statement.

This version of the Flash flirts with Chloe, steals something from Lex, which causes him to come into conflict with Clark.

Watching the episode was a bit surreal. Little things here and there seemed familiar, big things seemed close…

And when I was done I felt a warmness spread throughout me. We were on the right track with our script.  This episode felt so much like ours that it only reinforced that thought in my mind. The next day I talked to one of the group. His first words were:

“I liked the episode of Smallville you wrote, John.”

Now do I know if anyone in the Warner Bros’ offices actually ever saw our script? No. Heck, I’m 100% (well more like 99.999 – with a lot more 9s, but we’ll round up) that they did not. I’m not accusing anyone of anything unsorted.

I just think we tapped into that common Idea Space that is out there, that so many creative people seem to be able to harness. That same reason that multiple movies come out about the same subject (of course the other reason for that is because the studio sees an opportunity to beat an opponent at the same game, but I digress).

This was an example of that. That’s how close it was/felt to what we had done. That’s how close we were to getting a shot at the big leagues.

But above everything else, that project gave me some measure of confidence in my abilities. Writing that script in the first place and then watching as the others read it I felt like a team with others, but more than anything I felt like I could be one of the heavy hitters for that team. My future in writing was going to be big and bright.

I mean, I’d written an episode of Smallville after all.

Just Finish It

I’ve gone to plenty of writing panels over the years hoping to discover, like Ponce de Leon looking for the Fountain of Youth, the secret formula to their success. How the heck did they manage to get up there with their book, comic, etc? Most of the time I do learn something, some nugget of truth that makes the trip worthwhile (maybe a technique or some obstacle they managed to overcome). But there really is one thing that separates them from those of us in the room:

You want to be a writer?  Then write, sure, but FINISH the task.

Too much I get caught up in the idea of writing. Make sure that I get my WORDS in for the day, or make sure that the latest chapter gets revised.

w-b-park-finish-it-why-would-i-want-to-finish-it-new-yorker-cartoon

 But at some point you have got to get to “Pencil’s Down”. This is something I have only just now begun to understand, and I am not even close to where I want to be.  I have only scratched the surface of this for myself and constantly have to fight to get there.

There is a difference between “Wanting” to be a writer (nevermind the great) and “Being” a writer.

It is the “Doing”.

In everyday life there are people who WANT to do, be, have something.  How many of them take the time to sit down (or stand up as the case may be) and actually do it?  How many distractions can one person have before their WANT simply becomes their DREAM and then later their REGRET.

Dreams Road Sign

 

This is the mantra I have to keep telling myself over and over. When I get tired or don’t want to sit down at the computer, I repeat it.

It seems so simple. It seems like one of those things that you read and say “Of course. What else would you think you needed to do?”

Even knowing it isn’t enough. It’s never that easy. How many ideas do I currently have sitting on my computer or flash drive that are waiting for me to finish them?  Dozens.  How many are finished?  Not nearly enough (not by a long shot). So why can’t I get there every time? What’s the hold up?

Sometimes it is the FEAR. The FEAR that what I’m writing is not going to be liked. I’m just as worried that by finishing said story or script or novel or whatever that people will read the FINISHED product and not like it and then where did my work get me?  What a waste, right?

ed-dans-ed-wood-de-tim-burton-10967401cmebh_1713

Really? Worst film you ever saw. Well, my next one will be better.

I have to convince myself that it isn’t a waste. That with each word that I write (and rewrite and edit and then even the ones I cut) means I am one inch closer to where I need to be. I get to that million words and beyond.

So that unfinished thing is doing you so much good then?  Sure, you can’t get hurt if you don’t finish it, but I have to say, putting that final word down on the page and knowing that you have actually completed something.  That’s got to be worth something.

Right?

When somebody posts their finished piece of art or script or whatever, they are 1 million times ahead of me with my dozens of unfinished products.  It doesn’t matter how much better of a writer I THINK I am because they have already lapped me 4 or 5 times.

I know plenty of people (I am one of those people some times) that start a project and get bored and then jump to another project, get bored, wash, rinse, repeat.  At the end of a year they have enough stuff that you’d think they’d have a Finished Product, but instead it is spread out over ten different things. Ten different UNFINISHED things. Ugh.

It’s an odd thing that really in the last year I feel like I’ve started to have real successes on the writing side of things, but even those are still not quite finished. Sure, issue #1 of The Gilded Age is complete, but I think I allowed myself about 5 minutes to enjoy that it existed in a tangible format before my brain started spinning on when the next issue would be finished. Same with Tiger Style #1.

The greatest thing about comic books is that it is a collaborative process. You need a writer and an artist and maybe an inker and a colorist and a letterer and an editor before the whole thing is ready and done.

The worst thing about comic books is that it is a collaborative process. And that you need to have those other people because when any one point slips, the whole process comes to a complete halt. I don’t get the artist the next issue’s script, well I guess that is going to delay the book. The inker doesn’t get the pencils by the deadline… now we have another delay. And so on.

It can be maddening. It’s one of the reasons I started writing a novel in the first place. Finally, something that is totally on me and only me to get done.

Only. On. Me.

Gulp.

Yeah, so now who do I get to blame when my next chapter isn’t written yet? Who do I get to blame when that second draft is still waiting to get done?

Oh, that would be me.

Even now as I seemingly crawl through the last bit of editing on my first novel, The Dark That Follows, it doesn’t really exist until it is done. Before that it is just another unfinished project hoping for me to put the time in and get it out the door. The serial I’m working on with J Edward Neill, Hollow Empire, has many chapters completed in various forms (some in needed of editing, some ready for a read through, etc.), but until Episode 6 is complete and edited and out the door it just is another thing “I’m working on”. The next issue of The Gilded Age or Tiger Style or whatever else is coming down the pipeline.

So I repeat my mantra and put my butt in the seat and start typing.

Why Can’t I Be Rod Tidwell?

In the movie Jerry Maguire, Rod Tidwell is an athlete who has confidence in himself (some might say too much), in his abilities, and in his skill. But he’s hit the wall. No one seems to know about him and no one seems to care about him (in the football world at least).

Until… finally, at the end of the movie he shows up and on a national stage does something to capture everyone’s attention.

That’s what I want.

No, not the money, I certainly don’t write to make tons of money. I just want the opportunity to show that I have some talent. To tell a story and to have others see it.

To have others enjoy it.

The most maddening thing about being a writer who is on the outside looking in is that moment when you read something “professional” and know, 1000%, that you could do it better. That your ability to string words together in a sentence was better than that particular writer. If only you had the chance.

If only someone with power knew you existed.

I’ve been at this writing thing for almost a decade now. I say a decade because the stuff before it doesn’t count for me. It was playtime in a notebook. I cringe to think about those stories I wrote back in school. The terrible poetry (maybe it is good – with that certain teenage angst running through it, but I cannot bring myself to look) sitting on my hard drive. The one problem with being a pack rat is that old stuff is still around. Everything is kept because to not keep it would be disastrous.

So, ten years ago I became involved in a writing group. We met in the back of a comic book shop. Artists flowed in and out of the place and someone had the idea “let’s make a comic book”. That first day I saw a page of something I’d written drawn was a moment akin to magic.

That was the first step.

But with every little step forward it was followed by at least two steps backward. A cliche, to be sure, but beyond true. Flaky people who promised one thing and then never delivered. They all seemed to fall right off the face of the Earth. And yet, stubbornly, I continued on. The first anthology comic came out. A year and some later another one came out. Then the first color book about a year after that.

When Do I Get To See The Sailboat?

When Do I Get To See The Sailboat?

And still the frustrations grew. Projects thought up and then abandoned for all sorts of reasons. And still I wondered what it was going to take.

“I should be further along…

If only the artists would stop being so slack and finish something…

If I had more free time…

If…”

Almost three years ago I got laid off from my day job.  For the first time since college, I was out of work for almost four months. That time might have been eaten up before I knew it, if not for my wife. She was the one who suggested that I just write a book.

“You have these stories, and you never have the time normally, but now…”

So I went home that night and started to write what would become The Dark That Follows. Every night after my wife went to bed I stayed up into the early hours writing on that draft. Stumbling over words, but doing the deed.  Butt in chair every night.

I finished the first draft the night before I started my new job.

Since then I’ve written another novel, worked on a bunch of comic projects (both of which I’ll be talking about as time goes on), and slowly feel like the tide is turning. The old 10-year success… maybe. I’m certainly hoping that someone notices.

That someone enjoys it.Rod Tidwell Touchdown

I’ve got my celebration dance ready for that day.

John McGuire

PS – You can find that very first comic here: http://www.terminusmedia.com/new-retro-the-god-that-failed/#more-1063

Because I Had To

Ernest-Hemmingway-quote1

For our first posts, we’re supposed to introduce ourselves. So here goes nothing.

My name is Chad and I write stuff. As of this very moment in time, I have written one (produced) feature film and one (self-) published novel. That would qualify me as a writer, for sure, but, at my age, not an especially successful or prolific one. (Although, to be fair, I only decided to try writing novels last year.)

Do I wish I had more movies under my belt? I believe that I will, even if it takes a while longer. And I know there will be more novels coming, because that’s 100% up to me, not producers and executives and financiers.

So has everything gone the way I’ve wanted in my writing career? Not even close. So many rejections, disappointments. So much time wasted on my part, waiting for something to happen as opposed to making it happen, hoping my talent could take care of things while ignoring the hard work it really takes. A ton of close calls. Films that almost had the money, then didn’t. Pitch meetings at major cable networks that went well, but not well enough. A movie that went to several film festivals, but not the right film festivals to get any kind of traction.

I’ve beat my head against the wall. I’ve cried. I’ve distracted myself with things like video games and politics and alcohol. I’ve fallen into several all-encompassing, crippling depressions, each of which threatened to cost me everything.

I’ve also quit. Flat-out quit. “Fuck this. I’m done. Kaput. Blowing this popsicle stand. This is a fool’s errand and I am not a fool.”

And then I would get up the next morning and continue on my errand.

Writing_Quote_20Like a fool.

Why?

Because I had to.

Third grade. (MUMBLE) years ago.

I missed a day of school. Sick. The first time I remember that happening. Don’t know what it was. Sore throat. 24 hour bug. Whatever. I missed a day of school.

I remember the odd feeling of coming back the next day and realizing the harsh truth that my teacher and classmates had had the nerve, the nerve, to go about the school day while I was gone. I know, right? They had gone to recess, done math problems, eaten sloppy joes, ALL WITHOUT ME!!!

Everyone has this feeling, right? This bizarre moment where you realize that life goes on without you? Just like before you were born. Just like after you die. Doesn’t matter who you are or what you do or how much money you make or how many children you sire, wars you wage, diseases you cure, or eternally beloved works of art you create, people will still play kickball when you’re gone.

Everyone, right? Or was this just an early warning sign of my adult onset egomania?

Anyway.

One thing that I should have been glad to miss while home sick was homework. But not that day. Because one of the assignments, I found out, was this:

Write a story about a monster coming to the classroom.

“But don’t worry about it, Chad,” my teacher, Mrs. Harrison, said. “It was just for fun. No one’s being graded on it. You can just sit and listen as I read all of the other kids’ stories.”

Mrs. Harrison then proceeded to read through my fellow students’ tales. I cannot testify as to the quality of their prose (although I’m sure it was lacking) because it was (MUMBLE) years ago, yes, but also because I wasn’t listening.

I was too busy furiously scribbling my own story, trying to get it done before the teacher finished reading the others.

Why?

Because I had to.

faulknerWhen Mrs. Harrison put down the last (I’m assuming) terrible attempt at fiction, I raised my hand, nearly pulling it out of the socket, two pieces of wide-ruled paper in my hand.

Instead of being angry at me for not listening to the other stories, she took mine and read it.

I won’t claim to recall the details of it. But I do know it involved some sort of bipedal beast that breathed fire and that he burned a hole in the ceiling of our classroom, through which fell the desk and body of the fifth grade teacher right above us, a woman who would, in two years, become my mortal enemy. That’s all I remember. Hole in ceiling. Teacher crashing down. I’m sure there was other stuff in there, too.

All I know is that it killed.

It got laughs. Genuine laughs. I had used names of other kids in the class. Killed my teacher, the teacher above, and the principal, I think, who came in to save us. It went over so well that my teacher had the fifth grade class above us, the one I had partially destroyed in my story, come down to our room so she could read the story to them.

And, that day, at an age far too young to decide on a career path, I did just that. I had never written for fun before but now I knew I would be doing it for the rest of my life.

Because I had to.

Throughout school, I kept writing. Proxy isn’t actually my first book. In elementary school, on another ‘writing for fun’ assignment, I got out my mom’s typewriter and wrote ten chapters (one page per chapter…barely), drew a cover (poorly), stapled it all together, and handed it to my teacher to read. It was about an alien invasion, I think.

But it is lost to the ages, like Sulla’s memoirs, Love’s Labour’s Won, Hemmingway’s suitcase, and Orson Welles’s cut of The Magnificent Ambersons.

I think it was called “Zap!”.

Through high school I wrote fantasy short stories, bad poetry (including a Gilgamesh by way of Poe epic), and even some Star Wars fan fiction before I knew there was such a thing as fan fiction. Some of that I still have and no one will ever read it.

In college I decided I wanted to write movies. So my attention shifted away from prose to screenwriting, although I did take some creative writing classes. But mostly I was trying to master (like anyone actually does that) the art of writing for the movies.

Then I moved to L.A.

I did all of this, never looking back, never getting a ‘fall-back’ degree, never considering failure to be an option, because, well…

Because I had to.

And why do I ‘have to’?

tumblr_mi884kaOEf1s07stbo1_400Because my mind is a chaotic slurry of words and ideas and philosophies and characters and voices and chemical imbalances and insecurities and useful knowledge and even more useless knowledge and writing is the only way to keep it at all under control. The only way to keep me sane. I can’t sleep at night if I don’t feel like I expelled enough words that day. The depressions I mentioned before? Guess what I wasn’t doing when those happened. Sometimes I’m not super-pleasant to be around when I’m writing, like most writers, but you should see me when I’m not. When I’m not writing I don’t feel whole and my brain, the loud, non-stop, schizophrenic motherfucker that he is, takes over. And that’s never pretty.

I write because I want to tell stories. To communicate with others. To say things. To make people laugh. To make them cry. And think. To reach for some sort of renown and success. To try to live forever.

Mostly, though, I have to write so that I can sleep at night.

So here I am, introducing myself to you on this new website, this new project I have embarked upon with some friends I have known for over 20 years, some of the only people who have read those high school stories that shall remain locked in the vault that is my hard drive. And every week I’ll be writing a blog post. Some will be short, some long. Some will be interesting, some maybe not so much. Some will be about writing. Some will be about sports, cinema, or television. I have many Hollywood stories, some of which I may share. I’ll be recommending double-bills of films that you may not have heard of, or at least have never seen the connection between. And a whole bunch of other stuff, I’m sure.

I will not be writing about politics or religion. I may do that on my own blog, at some point, or on Twitter, but we’ve decided to avoid that here at Téssera. Which is a good call.

Next week I’ll talk about something, although I’m not sure what. Quite possibly an old man’s rant about the state of Hollywood. I’ll also hopefully be putting up some short stories, screenplays, and other goodies in the weeks and months and years to come.

Writing_Quote_298My relationship with writing has evolved over the years. Vince Gilligan, genius creator of the dearly departed “Breaking Bad”, has often said, when asked if he enjoys writing, “No, but I enjoy having written.” I get that. I really do. Most of the time writing feels like work, because it is. But there are moments in it, when magic strikes, when you hit a zone and hours have passed and thousands of words have been belched out and you don’t even remember typing half of them, when it is still a lot of fun.

I still love it. I just love it in a different way these days. And I’m okay with that.

So in between raising my daughter, taking care of my dogs, maintaining my relationships with my friends and family, tearing my hair out over the Cincinnati Reds, trying to stay healthy, buying records, watching movies, reading history, and everything else that makes up my life, I will also be writing. Novels. Screenplays. Stories. Comics. Blog posts.

Writing. One way or another. For the rest of my life.

Because I–

Well, you know.

Chad J. Shonk
October 2013

PS – I’m also a stubborn, opinionated, and sometimes pretentious prick when it comes to film and writing and art in general. That will be apparent with next week’s blog post. I would apologize in advance, but I stand by every word, so… No apologies.