Thursday, September 21, 2017

KINGSMAN: THE GOLDEN CIRCLE



When people find out I write novelizations, they usually ask the same questions: Did you get to meet the stars? (No.) Did you help write the script? (No.) Did you get to see the movie ahead of time? (Well . . .)
I’ve written three novelizations so far: xXx: The Return of Xander Cage, Resident Evil: The Final Chapter, and Kingsman: The Golden Circle. I’d always heard that authors of novelizations never get to see the films before they write the books. And that was the case for my first two novelizations. But that changed when I got to travel to LA and see Kingsman: The Golden Circle almost four months before the rest of the world.

I enjoyed the first Kingsman film when it came out, and when I was offered the gig to novelize the sequel, I was thrilled. Not only would it be a lot of fun (I hoped), but the film would be the highest-profile novelization I’d worked on yet. Maybe this project would be a step up career-wise, but if not, the fun – not to mention the money – would be enough.

Once I signed the contract and non-disclosure agreement, I was given access to the script. For the Resident Evil book, I received a print-out of the script. For the xXx book, I received an electronic copy of the script. For The Golden Circle, I was given access to the script on Fox’s intranet – and my access was only good for a few days at a time. No one told me this, so when I suddenly couldn’t access the script one day, I had a minor panic attack. As it turned out, I needed my access renewed regularly, which the good people at Fox were happy to do for me.

I started as I usually do with novelizations. I read through the script, making notes about places where I could expand the story, and then I typed in all the dialogue into a Word file to see how many words I had that were already prewritten for me, and how many more I’d need to write to reach the contracted length of 80,000 words. The dialogue came to around 12,000 words, so I only had 68,000 to go. I also scoured the Internet for images of the actors in costume and stills from the film to use as visual references.

There were some song lyrics in the script, so I emailed Ella Chapell, my editor at Titan Books, and asked if we had the rights to use the lyrics in the book. Presumably the studio had the rights to use the lyrics in the film, but did that deal extend to the novelization? Ella wasn’t sure and said she’d check. During our conversation, it came out that the script Ella had read used different lyrics than the one I had. We both assumed that she’d been given an earlier draft of the script, and we thought no more about it. (Eventually, Ella told me to cut the lyrics. I could mention the song title, but that was all.)

I continued writing, and a few weeks later I finished a draft and sent it to Ella. She suggested changes, I made them, and she sent the draft off to the licensing department at Fox for approval. And that’s when we learned that somehow I’d been given the wrong script. I had the earlier version while Ella had the most current one. This was frustrating, of course, but I knew it was an accident, so I got to work on a rewrite using the correct script. When the new draft was finished, off to Fox it went. And that’s when Matthew Vaughn, the film’s director and co-writer, chimed in. He told Steve Tzirlin, the head of licensing at Fox, that it was vital that the novelization be exactly like the finished movie. This meant I had to see the film . . . which also meant I would have to revise the book a third time.

When you write tie-ins, you are hired to write for a flat fee. The more work you have to do on a project, the lower your per hour rate becomes. But that’s all part of the deal when you write these kinds of books, so I didn’t worry about it. (My agent did, though. She did her best to make sure I didn’t do more work than I was being paid for, God bless her.) So Titan Books arranged for me to fly to LA to see the film, stay at a hotel overnight, then fly back the next day. I’d never done anything like this before, so I thought if nothing else, I’d get to have a bit of an adventure.

I live in Ohio, which is on Eastern Standard Time. I was scheduled to view the film at 4:00 pm Pacific Standard Time on Friday, June 2nd. My flight left at 6:00 a.m. EST, which meant I had to get up around 4:00 am to leave for the airport. So of course I didn’t go to sleep until after 1:00 a.m. – the curse of being a night owl – so by the time I finally reached LA the next day, I was wiped. After checking into my hotel, I decided to head out in search of lunch. The hotel was located within walking distance of Fox Plaza, so I headed that direction and hoped I’d find somewhere to eat along the way. For years, I’d heard that, as the Missing Persons’ song says, “Nobody walks in LA.” The area of town the hotel was in had plenty of buildings – most notably some smaller studios – but it was mostly just empty sidewalks with cars zipping by on the street. No restaurants or fast-food joints anywhere. I walked around for a while, trying to find something to eat. I had several hours to kill before my screening, so I went to the Fox Plaza building – the 35-story skyscraper which served as Nokatomi Plaza in Die Hard. Lucky for me, inside was a combination café and coffee shop. I bought a turkey sandwich as big as my head, got a cup of coffee that wasn’t much smaller, and set up camp.





The Plaza’s first floor interior isn’t very large. Most of the space is taken up by central elevators. There are two entrances on either side of the building, each with a small kiosk staffed by a security guard. Employees have to stop at the kiosks and scan their ID cards. They also need to use their IDs to activate the elevators. I told one of the guards that I was there for an appointment and was going to get something to eat first. The man cheerfully let me pass, no ID required. (Everyone I met in LA during this trip was pleasant and friendly. It was kind of creepy.) It was a Friday afternoon, but there was a steady stream of people coming and going – and the majority of them appeared to be in their twenties.

In the café-slash-coffee shop, I worked on a short story while I watched people. A lot of younger employees came to pick up to-go orders that had been called in. Assistants, maybe? Once in a while someone in their forties or older came down to get something, but they were rare. I’m fifty-three, so I occasionally received curious glances from some of the older patrons, as if they were trying to figure out who I was and what the hell I was doing there. The younger people ignored me.
I saw a number of men – usually in their late twenties to early thirties and carrying leather satchels – come and go. After listening to one such man complain to a friend who worked in the building that he’d had a meeting scheduled with an art director who cancelled due to illness without informing him – “If I’d known, I could’ve set up another meeting somewhere else and not waste the time.” – I decided the satchel-carriers were probably writers and artists coming to pitch ideas and look for freelance work. They all exuded an odd combination of nervous energy and world-weariness. My guess is that this is a fairly common emotional state in the entertainment industry. (And before you ask, I don’t know why I didn’t see any satchel-carrying women that day.)

While I was writing, observing, and eavesdropping, Nicole Spiegel from Licensing texted me and asked if I’d like to come up early to get some swag. Of course I said yes. She met me in the small reception area near the café, and she took me up to the Licensing Department. It was a cube farm with only a handful of actual offices, and by this point it was around 3:00 pm and hardly anyone was there. Maybe they knock off early on Fridays in LA. The desks were decorated with all sorts of cool products that tied into Fox properties like The Simpsons, Bob’s Burgers, Alien, Predator, Planet of the Apes, etc. Nicole was really nice, and she took me to a couple storage areas filled with T-shirts, mugs, action figures, books, etc. She tried to give me way more swag than I could possible take back with me on the plane, but I managed to resist and only accepted almost more than I could carry home.




Around 4:00 pm – or maybe it was closer to 5:00 – Steve Tzirlin arrived. He’d been in a meeting, but now he was ready to screen the film for me. He’s a great guy, and we chatted about movies and books as well as what it was like to work at Fox as he led me to the studio lot. A security guard let us pass through a metal turnstile gate, and it felt like we were entering a prison. The lot looked just like the stereotypical movie lots you see in photos and films – a collection of plain warehouse-like buildings. No one was on the lot that I could see. It was like Steve and I were the only two people there. We entered a building, one of the oldest on the lot, Steve said. It was filled with offices, but all of them were empty. Even the security guard who was supposed to be on duty was nowhere in sight. The hall was lined with extremely cool framed movie posters and photos from film shoots, and if I could’ve found a way to steal a few and sneak them home, I’d have been sorely tempted.






Steve took me downstairs to a screening room, a small theater which he said execs once used to screen films. Now there’s a full-sized theater elsewhere on the lot, and employees get to watch movies before they’re officially released. I liked the idea of watching The Golden Circle in the smaller, older theater. It looked like the screening rooms I’d seen portrayed in TV shows and films about Hollywood over the years. Steve and I took our seats, and a gentleman in the booth worked the projector, which in reality was probably a computer system of some kind. Steve wanted me to write down everything that happened in the film: every line of dialogue, every action beat. Because that was what Mark Millar wanted.




The film began, and I wrote in my notebook as fast as I could while Steve followed along with the latest script he had, noting major differences. He periodically checked with me to see if I’d gotten down all the information regarding a particular scene. If I hadn’t, he’d ask the man in the booth to rewind the film one minute, two minutes, three, five . . . The film would start again, and I’d write feverishly once more.

It took more than five hours to watch the film that way. Five hours of me writing like a madman in my notebook without a break. By the time we finished, it was around 10:00 pm PST. One a.m. by my biological clock. I’d been awake for twenty-one hours, and my brain was beyond fried. Steve graciously offered to give me a ride back to my hotel, and I gratefully accepted. Almost as soon as I entered the room, I flopped onto the bed and conked out . . .

. . . only to wake a couple hours later with a start of horror when I realized I’d left my own leather satchel with all the notes I’d taken in the back of Steve’s car. I didn’t have his cell number, but I had his work email, and I sent him a message. I figured since he worked for a studio, he probably checked his email regularly, even on weekends. Thankfully, Steve did, and he dropped off my satchel the next morning before I had to leave for the airport.

Back home, I began the third revision of the book. A number of changes I’d had to make from draft one to draft two had to be changed back because that’s the way the material appeared in the film. Working from my barely legible notes, I wrote what I hoped would be the final version of the book. Most of the film’s action sequences were somewhat more elaborate and exaggerated than in the scripts I saw, although in some cases the action was scaled back or eliminated entirely in the finished movie. Most of the character development in the two scripts disappeared from the film, too. (The same thing happened with xXx: the Return of Xander Cage and Resident Evil: The Final Chapter. So before you complain about lack of character development in action films, know that at least with these three movies, that material was in the script, even if it didn’t make it onto the screen.)

Before I’d left LA, I told Steve that I was going to have to keep some material from the two scripts, regardless of what Millar wanted. Otherwise, there would be no way the book would reach 80,000 words. Steve understood and said we see what Millar thought when I turned in the new revision.

So the last draft of the book was cobbled together from three different version of the film – two scripts and the finished movie – and I kept everything that I thought was cool: all the action that didn’t make it into the final film, as well as all the character development. I also kept the scenes that I created myself to flesh out various aspects of the story. There’s one thing I didn’t change to match the finished film, though. In the movie, Fox New appears in several scenes, and the network is portrayed as a legitimate non-partisan news organization. Fuck that noise. I kept the more generic news broadcast scenes as portrayed in both scripts. I haven’t received my author copies yet, so I don’t know for certain if everything from my last draft made it into the final printed novel, but Steve told me Millar approved the text, so I’m hopeful. I’d hate to give Fox News any goddamned publicity.

So what did I learn from all this? I got to work more closely with my editors and the licensing folks than ever before on a tie-in project, and they were all thoroughly lovely people who did everything possible to help me write a good book. I learned that while LA’s entertainment industry might be mythologized in most people’s minds, it’s just another place where real people do real work. Cool work, yeah, but real. Most of all, I learned that Mark Millar is a control freak. But despite all the extra work I had to do because of him, I think it’s cool that he cared so much about how the novelization turned out.

Who knows if I’ll get to do any more novelizations? I hope I will, but you never know. But if I do, I know that none of them will probably be as frustrating, challenging, and ultimately as much fun as working on Kingsman: The Golden Circle.



DEPARTMENT OF SHAMELESS SELF-PROMOTION

After reading all of the above, you know you want to read the novelization of Kingsman: The Golden Circle. Why deny it?


With their headquarters destroyed and the world held hostage, members of Kingsman find new allies when they discover a spy organization in the United States known as Statesman. In an adventure that tests their strength and wits, the elite secret agents from both sides of the pond band together to battle a ruthless enemy and save the day, something that’s becoming a bit of a habit for Eggsy…

https://www.amazon.com/Kingsman-Golden-Circle-Official-Novelization/dp/1785657321/ref=tmm_mmp_swatch_0?_encoding=UTF8&qid=1506053430&sr=8-1




Earlier this month, I had another tie-in project released. Supernatural: The Men of Letters Bestiary is a guide to the monsters, demons, and foul fiends the Winchester brothers have battled over the years, written by Sam and Dean themselves! (Really written by me in the voices of Sam and Dean, but why nitpick?) There are lots of cool illustrations by Kyle Hotz to accompany my text, too. 

This immersive in-world guide based on the highly popular Supernatural television show reveals the strengths, weaknesses, secrets of the deadly ghosts, demons, angels, and creatures that the Winchesters have hunted. 

https://www.amazon.com/Supernatural-Letters-Bestiary-Winchester-Family/dp/1683830261/ref=sr_1_1?s=books&ie=UTF8&qid=1506053496&sr=1-1&keywords=men+of+letters+bestiary

Thursday, May 4, 2017

MOST OF ALL, I'D LIKE TO THANK . . .




On April 29th at Stokercon in Long Beach, California, I received the Bram Stoker Award for Superior Achievement in Long Fiction for my novella The Winter Box. For those of you unfamiliar with the awards, they’re presented annually by the Horror Writers Association at the organization’s yearly conference. Works are nominated and voted on by members, with juries in each category adding works of excellence to the ballot that may have been overlooked by the membership.
 During my acceptance speech, I spoke about a conversation I had with author and editor Thomas F. Monteleone at a World Fantasy Convention some years ago. We got to talking about writing awards, and Tom asked me if I’d won any yet. I assumed Tom was talking about major awards, and feeling a little embarrassed, I said no.
 
“That’s okay,” he said. “You will.”
 
His simple faith that I was capable of producing fiction that someone might find award-worthy meant the world to the young writer I was at the time. Tom continued.
 
“The good thing about awards is that they’re an acknowledgement from your peers that you’re doing good work.”
 
Tom taught me that awards aren’t about what works are “best,” nor are they about “winners” and “losers.” They’re recognition that you’re doing good work. This means that every work nominated also receives the same recognition, regardless of who carries home a statue. (Yes, it really is an honor to be nominated!) Every person who voted for your story recognized you. Even if only one person in the whole damn world recommended your story for an award that means that person recognized you’re doing good work.
 
The first award I remember winning wasn’t for writing. It was for art. I was in sixth grade, and the school had an art contest. The winner would get a ticket to see the high school play. (It’s very possible this was only one of the contest prizes. I don’t remember.) I decided to copy the cover from a Wizard of Oz adaptation that Marvel Comics published (which I choose to view as artistic inspiration instead of outright plagiarism). I won the ticket, and I got to see a play called The Ghoul Friend. There were lots of cool monster costumes, but in the end it basically turned out to be a Scooby Doo Mystery (sorry for the spoiler), which was a bit of a letdown for a monster kid like me. Still, I enjoyed the play well enough. This was the first time my creative work was acknowledged beyond a few encouraging words from teachers, and it felt good. And getting to see the play was something special that marked the occasion, something that made it more than a teacher saying, “Good job.”

I was a sophomore in high school the next time I received an award for creative work, this time for writing. I was in Mrs. Vagedes’ creative writing class, and I did another homage (which as you all know if French for rip-off). A few years earlier, I’d read a story in a horror magazine – Creepy or Eerie, most likely – about the last Christmas elf. Santa and all the other elves had died, and this elf carried on alone, flying the sleigh and delivering presents. But since this was a horror magazine, the present he delivered was killing an abusive relative for a kid. I thought the writer missed an opportunity to tell a better story, one that was about what it was like to be the last elf, struggling to carry on Santa’s legacy. So I wrote “The Last Christmas Elf.” Mrs. Vagedes liked it so much she read it aloud in class, but she didn’t say who wrote it. She didn’t want to embarrass the writer with the extra attention. She gave the author (psst, it was me) a chance to out him or herself, but I kept quiet. Partly because I was an awkward teen, but also because it was cool to see the reactions of my classmates to the story itself, without the identity of the writer (still me) influencing their response.

Thanks to Mrs. Vagedes, I was honored as The Writer of the Month for that story. I had never heard of this honor before, and I never heard of it again. Sometimes I wonder if I was Milton Union High School’s only Writer of the Month. Maybe I got a certificate. I don’t recall. That was cool, but then a reporter from a weekly newspaper called me to ask if they could publish my story along with an interview with me. This turned out to be my first publication AND my first interview. I showed up at the reporter’s house wearing a suit and tie because I had no clue how writers really dressed (hint: NOT in suits and ties). When my story and interview came out, that was the concrete part of the recognition, the Something Special that helped commemorate it.
 
My next writing award came when I was a junior at Wright State University in 1985. I’d submitted a story to the spring issue of Nexus, which ran a contest every year, and I won second place. My friend Pete Ficht won third, and I can’t remember who won first. The winners would receive certificates and checks (I think I won $40) at an awards ceremony at the end of the quarter. Before the ceremony, I went over to Pete’s place, and we got drunk and high. (I drank plenty in college, but this was literally the only time in my life I’ve ever smoked weed.) Unsurprisingly, I don’t remember much about the ceremony. I managed not to trip on my way to the podium or giggle like an idiot when I received my award, so I consider it a win. Next year I was the editor of Nexus, and I got to choose the contest winners along with the rest of the staff. I was sober for that ceremony. (I swear!) In this case, the $40 was the Something Special that I received.
 
The next writing award I won was first place in the Authorlink! 1998 New Author Awards Competition in SF/F/H category. I don’t remember how I learned about the contest, but you had to submit the first chapter of a novel. I sent what would become the first chapter of Nekropolis, and I was surprised (maybe even a bit shocked) that I won. I got a certificate and a gift voucher for a bookstore. I knew it wasn’t a “big” or “important” award, but I still framed the certificate, and it’s still on my office wall, and it’s still Something Special.
 

Over the next twenty years, my work received several award recommendations. In 1999, my story “Anubis Has Left the Building” was a finalist for the Darrell Award for Best MidSouth Short Story. In 2008, 2013, and 2014, I had work nominated for a Scribe Award for Best Speculative Original Novel, presented by the International Association of Media Tie-In Writers. And my novella The Men Upstairs was a finalist for the 2011 Shirley Jackson Award in Long Fiction. This was the closest I’d come to winning a major award, and I was proud to take home the small rock token that nominees got. I had no idea what the rock represented, until my wife said, “Shirley Jackson? ‘The Lottery’?” That rock is – you guessed it – Something Special.

In 2016 I was honored to receive the Sinclair Community College 2016 Distinguished Faculty Scholar Award. (Sinclair is where I’ve taught full-time for the last eighteen years.) I mention this one because my writing was a big part of why I won the award. The Horror Writers Association presented me with the 2016 Mentor of the Year Award, which – while not for my writing specifically – was still a great honor. And this year, I won a Stoker. Which for horror writers is like winning an Oscar. (I think the Shirley Jackson Awards might be horror/weird fiction’s equivalent of the Tony Awards.) So, after all these years, what have I learned about awards?
 

                  The recognition that you’re doing good work isn’t just the most important thing – it’s the only thing that really matters.

                  The Something Special is just a physical symbol – a cool physical symbol, true – of the recognition you received. It can serve as a useful reminder that at one point someone thought your work didn’t suck on those days when you’re sure your current work in progress is a steaming pile of shit.

                  Awards can be useful marketing tools. From now on I’m Bram Stoker Award-Winning Author Tim Waggoner, and I’ll use this however I can and see where it takes me. I’d be a fool not to.

                  A wonderful side benefit to winning an award is how many people are excited and happy for you. At least in the horror community, there a lot of good will and support.

                  Sometimes you need to apply for awards, and sometimes you have to let people know your work exists. I used to think awards just happened, and sometimes they do. I did nothing to make The Men Upstairs available to the Shirley Jackson Award judges. But there was an application process for the Faculty Scholar of the Year Award, and I made sure The Winter Box was available to voting members of the Horror Writers Association. I didn’t promote The Winter Box or urge anyone to vote for it, but these days, so much is published – traditionally and indie – that there is no way in hell that any one person can keep up with it all. People need to know your work exists if they’re to have a chance to vote for it. This year, I learned that you can submit work to the World Fantasy Awards. (Although I think you can only submit one work on your own. Your publisher can submit more, I believe). You can ask your editor to submit your work to the Shirley Jackson Award judges, too. You need to make sure your work is seen. And yes, giving free work for voters’ consideration might cut into your sales – especially if you publish with a small press or are an indie writer. You’ll have to make your own choice about that. You might consult with your publisher, too. If your book just came out and you start giving away free copies, your publisher might not be happy about it.

                  Don’t be an asshole. It’s rare, but in the past, I’ve had people contact me and offer to swap award recommendations. (You recommend my story, I’ll recommend yours.) I’ve had people push me to vote for their work, and I’ve had people ask me to talk about their work on social media in the hope that it’ll help generate some award interest. (I have no idea why these people think anyone gives a damn what I think.) I didn’t do any of these things because they’re wrong. Your moral mileage may vary, I suppose, but I refuse to bend on this. It’s okay to offer free copies of your work to voters or to see that your work is submitted to judges, but that’s it.

                  I’ve served as a juror for the Scribe Award several times. There were only a handful of us on the jury, so our personal (and very subjective) preferences obviously came into play. From this, I learned another way to look at awards: A particular group of people decided to honor a particular work at a particular time. There ultimately is no such thing as “best” work when it comes to awards.

                  Waiting to see if your name will be called is nerve-wracking, and if you are summoned to the podium, you won’t hear anyone cheering or remember anyone’s faces. You’ll be lucky to remember your name.

                  Have a speech prepared ahead of time, even if you don’t think you’ll win. I don’t write speeches down (I’ve taught for thirty years, and I’m used to talking extemporaneously.) But I’ve had an award acceptance speech mentally prepared for many years. It was the anecdote about that conversation I had with Tom. So now that I’ve used that, I have to come up with another acceptance speech, should I ever be lucky enough to be nominated for another writing award.

                  Beware of envy and jealousy. These destructive emotions created the Sad and Rabid Puppies in the science fiction field. (If you don’t know who they are, Google them.) I’ve heard several award presenters begin their presentation with some bitter variation of “I’ve never been nominated for the award I’m presenting, let alone won one.” They always act like they’re joking, but everyone knows they’re not. I’ve presented awards – and accepted them for friends – before winning one of the big ones myself. I know what it’s like to stand on stage and give a trophy you’ve never won to someone else. Of course, I’ve felt envious and jealous. I’m only human. But you can’t let those negative emotions fester inside you. It won’t do you or your writing any good.

                  I’ve seen people lament on social media that they’re never nominated for awards, and if they are nominated, they never win. And of course people bitch about those works that did win because they’re obviously not as good as what should’ve won – namely, the bitchers’ own work. I’ve known people to get depressed because they haven’t won an award, or even if they’ve already won a shitload, that they didn’t win this time. All of these negative feelings just make it that much harder for you to write. And they can turn you into a miserable sonofabitch no one wants to be around – at least during award season – if you’re not careful. And if you can’t help feeling bitter, for Christ’s sake, don’t go on a social media rant about them. All you’ll do is damage your brand as a writer.

People hunger for validation. Some of us are practically starving for it. You want validation as a writer? Write the very best you can each time and try to improve every day. Publish your work and get paid for it. Listen to readers who enjoy your work, whose lives may even have been changed by it. All of these things are the most important types of validation for writers. Awards are just the cherry on top.

But I have to admit, that cherry tastes pretty good.
 
DEPARTMENT OF SHAMELESS SELF-PROMOTION
 
Want to check out my Bram Stoker Award-Winning novella? (See what I did there?) The limited edition hardcover of The Winter Box sold out a while ago, but the ebook version is still available. Here’s an Amazon link for your shopping convenience:



Thursday, March 2, 2017

The Incredible Story-Making Machine!

                                                                                                        Cartoon by Grant Howett


Every year, the college where I teach offers a workshop for young writers. This year, I'm conducting a session for 6-8th graders, and this year I created a story-generating exercise called The Incredible Story-Making Machine. I've posted it here in case any of you would like to use it in any classes or workshops that you teach, free of charge. Feel free to adapt it to your own needs as well. If you do use it, I'd appreciate hearing how it worked for you.

THE INCREDIBLE STORY-MAKING MACHINE

Input data into this "machine" to help you generate a story!

1) Create a CHARACTER.
            Name:
            1 Psychological Strength:
            1 Psychological Weakness:
2) Give your character three BACKGROUND details. Try to use these details in your story.
            Detail One:
            Detail Two:
            Detail Three:
3) Give your character a GOAL (what the character wants to achieve in the story).
            Character’s Goal:
4) Create a SETTING for your story.
            Where and when does the story take place?
5) Create an ANTAGONIST for your character. (This antagonist can be a person, a force of nature, a situation, etc.)
            Antagonist:
6) Create three OBSTACLES that the character will have to overcome in order to obtain his or her goal. (The obstacles should involve the antagonist as well as the character’s psychological strength and weakness.)
            Obstacle One:
            Obstacle Two:
            Obstacle Three:
7) Create a PLOT TWIST for your story, an unexpected turn of events that will surprise your readers.
            Plot Twist:
8) Create an interesting and exciting CLIMAX for your story.
            How does the story end?
            Does the character obtain his or her goal?
            How is the character changed by the events of the story?
9) Using the information you generated with this template, WRITE YOUR STORY!
10) When you’re finished, share your story with others!


Saturday, January 28, 2017

FROM SCRIPT TO BOOK PART 2




As I discussed in my last blog post, I wrote the official movie novelizations of xXx: THE RETURN OF XANDER CAGE and RESIDENT EVIL: THE FINAL CHAPTER. Both films came out within a week of each other, and now that I’ve had a chance to see them, here are some thoughts and insights.


xXx: THE RETURN OF XANDER CAGE


 I was surprised that everything in the movie was in the script I had to work with. A few things were cut entirely and a few scenes were shortened, but what was cut had no bearing on the story or characters (for the most part), so no surprise that this stuff was left out. (And in my opinion, leaving most of those things out improved the movie.) Nothing was added. I was also surprised by how much of the action occurred exactly how it was detailed in the script. I expected some of the action scenes to be somewhat different because changes were made as the action scenes were blocked out and filmed. And while I'm sure that happened to a degree, it was much less than I thought. Several scenes in the script were written to create a build-up of suspense. Those scenes still exist in the movie, but they occur at straight-ahead action-movie speed. It was so strange to watch a sequence that was exactly like in the script go by so much faster than what the same scene felt like when I was writing it. I had to imagine those sequences much slower so I could write about them, so a sequence would go by in a few seconds in the film, and I'd think, "Well, hell, that took me a couple hours to write!"


As I mentioned in my previous blog about writing these books, I added two chapters and an epilogue to xXx: THE RETURN OF XANDER CAGE. The studio cut all the additional material. They also cut some of Xander’s thoughts, presumably because he’s more an action dude than a thinker. No hard feelings on my part. When you write media tie-ins in, the IP holder is the ultimate boss.


RESIDENT EVIL: THE FINAL CHAPTER.


This time the experience watching the movie seemed more natural than watching xXx: THE RETURN OF XANDER CAGE. Even though I knew everything that was going to happen (mostly), I was able to watch the movie as a movie, while still mentally comparing it to the script and my novel at the same time. I didn’t feel as if I was able to watch XANDER as a movie in and of itself. The majority of THE FINAL CHAPTER followed the script exactly, with only a few minor scene trimmings here and there. Since Paul W.S. Anderson wrote the script and directed the film, it was no surprise to me that the movie was faithful to his script. There were two relatively major additions: one an action scene in the beginning of the film and the last bit at the end. If the first trailer had come out as I was writing the novelization, I could’ve guessed at the additional action scene (if not the specific details), and I would’ve placed it more or less in the same spot it appears in the finished film. (I SO wish I’d seen the trailer earlier; I’d have loved to write that scene!) There were a LOT of specific details that weren’t in the script that I had to guess at while writing – things like exact weapons characters used, how some of the tech looked and operated, etc. And some of the tech that was spelled out in the script changed a little for the movie in terms of appearance, if not in function. Some of the action was spelled out in the script and occurred on screen the same way, but a lot of specific action moves were added during filming, especially during hand-to-hand combat sequences. (I had to guess at a lot of the specific fight moves when I wrote the book). All I had to work with was the script, so while I was writing I scoured the Internet for every single image from the film I could find, including selfies actors took on set. This allowed me to get a better idea of what weapons the characters carried, how they were dressed, etc. This also allowed me to guess at one element that was dropped from the script so I could leave it out of my book. I was glad to see that all this work paid off, making my book closer to the finished film. One very minor detail in the script changed during filming, and the studio requested we change that in the manuscript. It was the only change they asked for.


For my book, I added a big battle sequence at the beginning (the battle in DC that happened between the last movie and this one). I was REALLY worried the studio would cut this, and I’m glad they didn’t. I added more scenes with Wesker and made him more of a bad-ass than he’s portrayed in this film. I added a chapter at the end to answer a question left over from the last film, and I added my own “Is this really THE END?” type epilogue for the fun of it. There’s an existential element to the story, and I emphasized that with Alice’s internal thoughts in a number of places. I generally enjoyed writing from her point of view. It was fun to write her as an ultimate warrior who also has a very human side. I also did my best to connect various threads of the script to the other films in the franchise and, in several cases, the novelizations of the previous movies.


I’m really looking forward to seeing how fans of these franchises respond to the books. Hopefully, they’ll enjoy them. If not . . . at least I had fun writing them. AND I got paid!


DEPARTMENT OF SHAMELESS SELF-PROMOTION


Want to check out the books? You know you do!


RESIDENT EVIL: THE FINAL CHAPTER



xXx: THE RETURN OF XANDER CAGE




Sunday, January 15, 2017

FROM SCRIPT TO BOOK




I’m in my fifties, and back when I was a kid, we didn’t have DVD’s or Netflix. If we saw a movie at the theater and wanted to experience it again – assuming we couldn’t con our parents into taking us one more time – we read a novelization. I loved reading them because they normally contained extra scenes that weren’t in the movie, and best of all, they gave me insights into the characters’ thoughts and feelings – their internal lives – which provided a different way to view the story.

As a novelist, I’d always hoped I’d get a chance to write a novelization one day. Partly because I’m always interested to see what I can learn from working in a form I’ve never attempted before, but also because it would be a great way to come full circle and reconnect to the boy I used to be. I was lucky enough to get an opportunity to write not one, but two novelizations, back to back: xXx: The Return of Xander Cage and Resident Evil: The Final Chapter. And while I’m far from an expert at writing novelizations, I did learn a few things while writing mine, and now I’m going to share that knowledge with you. 

GETTING READY

Both movies were continuations of a franchise, and while I’d already seen the previous movies in each series, I watched them again to prepare. I wanted to immerse myself in the actors’ performances – their speech patterns and body language – but I also wanted to immerse myself in the style and atmosphere of their respective worlds. When I write a media tie-in novel, it’s just as important for me to capture the feel of the property as much as anything else. And since both franchises are action series, I also wanted to get a strong sense of the actors’ physicality. How they moved was just as important to me as how they spoke.

READING THE SCRIPTS

People often ask me how much support IP holders give tie-in writers. The answer: not much. The xXx folks sent some references photos, but other than that, all I received were hardcopies of the scripts. Both scripts had been cobbled together from various drafts (the pages had notations indicating which draft they were pulled from), but neither were – as far as I could tell – final shooting scripts. At least, they weren’t indicated as such.

Both scripts were roughly the same length and had basically the same proportion of action scenes to non-action scenes. Both had more detailed descriptions of setting and actions sequences than I expected, but there were plenty of places where there was little – if any – detail. Both scripts had their idiosyncrasies. One contained different versions of dialogue throughout: dialogue from the original read-through script and alternate (and presumably improvised) dialogue recorded during the cast read-through. There was no indication which dialogue would be included in the final film. Both of the scripts had repeated scenes located in different places in the script, with no indication where they would end up in the final film. Both scripts had scientific errors, so I knew I would have to double-check every technical detail as I wrote to make sure my books didn’t contain such errors. (It didn’t matter that these were novelizations. Any book with my name on it is MY book.)

As I read, I tried to imagine the films in my mind – the sights, sounds, and even the camera angles. I once read that scriptwriters always think in terms of image instead of words when they write, and I tried to keep this mindset as I read.

PREPARING TO WRITE

I wasn’t sure how to get started since I’d never written a novelization before. I decided to begin by typing in all the dialogue first. After all, I knew that the dialogue had to go into the books, and this would give me the opportunity to make decisions about what version of the dialogue to use from the one script that contained alternate lines. I figured this way I’d already have a chunk of each book “written” before I began. I was surprised to find the amount of dialogue in each script was almost exactly the same: 10,000 words. I have no idea if this is because they were both scripts for action films or if the proportion was due to some scriptwriting formula for how much dialogue a film in general should contain. Since I was contracted to write 80,000 words for one book and 70,000 words for the other, I knew I’d have to add 70-60 K words as I wrote.

I generated ideas for scenes that I could add or extend in case the scripts alone wouldn’t provide me with enough material to make my word count (which I assumed they wouldn’t). I was careful to come up with ideas that I thought would fit naturally with the stories.

Neither film had a trailer out when I started writing (although the xXx film’s trailer did drop while I was in the middle of writing that book), so in order to find out how the actors (or monsters) looked in the film – hair, clothes, etc. – as well as what the scene locations looked like, I scoured the Internet for images from the films, including selfies actors took on set. These images also gave me some idea what changes were made during the actual filming when I could see they were different than what was described in the scripts. Yes, my job was to novelize the scripts I was given, but as a kid, I always found it jarring when a scene in a novelization was significantly different than what I saw in a movie, so I wanted my books to be as close to the finished film as possible.

WRITING THE BOOKS

Drafting each book was very different. I had several months to write the first one, and only three weeks to write the second. In general, I find dialogue to be easiest to write and action to be the hardest. You have to carefully choreograph action sequences, and doing so makes my head hurt. But I’ve worked hard over the years to get better at writing action, and since the scripts mostly spelled out the action sequences to one degree or another, that part of writing the books wasn’t too bad.

Even though I didn’t get to consult directly with the scriptwriters, I viewed the process of writing these books as collaboration. To that end, I wanted to keep as much of the scriptwriters’ voices in the books as possible. So not only did I use their dialogue, I used some of their descriptive passages, not word for word, but I wanted to keep the details and narrative viewpoints.

Scriptwriters don’t always have to explain how characters get from Point A to Point B physically. They can just show the characters already present at a new location. So there were instances when I had to connect dots that had been left unconnected. And, as I mentioned earlier, I continually checked technical details for accuracy and made corrections when necessary. When various technology was used in a script – vehicles, weapons, etc. – I viewed YouTube videos to see how they’re used and hear the sounds they make, and I checked schematics online to get the vocabulary I needed to describe them. Occasionally, I even had to do some math to check things like a bomb’s blast radius.

For Resident Evil: The Final Chapter I added in new material as I went. Some of this was to strengthen connections between this story and those of the previous films, some was to provide answers to questions the script didn’t address. So when I finished that draft, it was more than long enough. xXx: The Return of Xander Cage was different. Because I had such a short deadline, I used only the material in the script for my first draft and added nothing. When I was finished, I had 60,000 words. I knew I had to add 10,000, so I created three new action sequences and an epilogue and added them to the draft, which got me to 70,000 words. (I wrote that extra 10,000 words over the course of three days, and if you think my mind was fried after that, you are correct.)

I had time to proofread and edit the Resident Evil book. I had no time to do so for the xXx book, and my poor editor had to take care of that job herself in the interest of time. It was the only time I’ve given an editor an unproofed manuscript, and it was an uncomfortable feeling for me. I hope I never have to do that again.

The trailer for Resident Evil: The Final Chapter came out after I’d submitted the manuscript for that book, and as I watched it, I had two main reactions: “So THAT’s what that looks like” and “Well, shit, that wasn’t in the script.”
STUDIO RESPONSE

I made a number of significant additions – along with some minor story tweaks – to Resident Evil: the Final Chapter. The studio only changed one very minor detail that had evidently been altered during filming. I added three chapters and an epilogue to xXx: The Return of Xander Cage. That studio removed everything I’d added, along with a number of places where I indicated what the lead hero was thinking and feeling during a scene. Evidently Xander Cage really IS all action.

I wasn’t upset about the deletions for the xXx book. That kind of thing is par for the course when you write licensed tie-in fiction. I think readers would’ve enjoyed the scenes, though. I was happy that everything I’d added to the Resident Evil book remained. I think (or at least I hope) that the series’ fans will like the extra material.

I’m writing this on January 15th, and neither film has been released yet. xXx: The Return of Xander Cage comes out on Jan. 19th, and Resident Evil: The Final Chapter comes out Jan. 27th.  I plan to see both, and I’ll be interested to see what differences there are between the scripts I novelized and the finished films – and what I learn from that. I’ll write a follow-up blog in early February and let you know. Until then, as Siskel and Ebert used to say, “See you at the movies.”


DEPARTMENT OF SHAMELESS SELF-PROMOTION

Want to read both novelizations? You know you do, so here’s some linkage:

xXx: THE RETURN OF XANDER CAGE
After coming out of self-imposed exile, extreme athlete turned government operative Xander Cage must race against time to recover a sinister weapon known as Pandora’s Box, a device that controls every military satellite in the world. Recruiting a new group of thrill-seeking cohorts, Xander finds himself entangled in a deadly conspiracy that points to collusion at the highest levels of government.


RESIDENT EVIL: THE FINAL CHAPTER
As the only survivor of what was meant to be humanity's final stand against the undead hordes, Alice must return to where the nightmare began—Raccoon City, where the Umbrella Corporation is gathering its forces for a final strike against the only remaining survivors of the apocalypse. In a race against time Alice will join forces with old friends, and an unlikely ally, in an action packed battle with undead hordes and new mutant monsters. Between regaining her superhuman abilities at Wesker's hand and Umbrella's impending attack, this will be Alice's most difficult adventure as she fights to save humanity, which is on the brink of oblivion.


EAT THE NIGHT

You can still pick up my horror novel Eat the Night. Peter Tennant had this to say about the book in his Black Static Review: “. . . this was a wonderfully entertaining work of fiction, but one that almost as an aside also explores the nature of reality and our ideas of truth, of how we are to conduct ourselves in the face of existential despair. And there’s also lots of blood, gallons of the stuff. I loved it.”



Saturday, September 17, 2016

Writing Dreams and Harsh Realities


Recently I posted this comment on Facebook: “People always ask me how I find time to write. I don’t. I choose to write.” I was in the process of finishing a movie novelization that I had only a few days left to turn in to the editor, so I didn’t pay much attention to the comments that followed. When I checked Facebook later, I saw that several people found my comment “not supportive” and even hurtful to people who had so much else going on in their lives that they didn’t have the privilege of extra time to write. I tried to clarify by adding that “Everyone has their circumstances, but anyone should be able to find a few minutes a day or week to do some writing.” If people truly want to become writers, they need to make a commitment to producing writing, however they can work it into their lives. Seems like common sense, right? If you want to get good at something, you have to practice.

I understood the reactions people had to my post, but I thought, “My god, if they found that comment overly negative and hurtful, how would they react to being in a room full of professional writers talking bluntly about the writing life?” They’d probably go apeshit.

In today’s world – especially, it seems online – unwavering praise and choruses of “You can do it!” are how many define support, and anything less than that is considered wrong, if not downright evil. But professionals feel as if we’re lying if we give that kind of empty support. We don’t praise unless we think something is truly good, and we don’t say “You can do it!” unless we’re confident you can. If we tell you what we think is the truth, it’s because we respect you – and the profession – too much to feed you any bullshit. We’re trying to decrease your learning curve – IF you’re serious about trying to take your writing to the next level.

So, in that spirit, here’s some more blunt talk about writing and publishing. If you find it unsupportive and emotionally damaging, ignore it and consider me a cynical asshole whose heart is nothing but a cold, shriveled husk. But if any of it helps you – even a little – then I’ve done my job as both a writer and teacher.

NOTE: If you write for fun or as a hobby, and you have no intention of trying to make some kind of professional career as a writer, none of the following applies to you. Feel free to ignore it all and keep having fun!

1) THE WORLD DOESN’T CARE ABOUT MAKING YOUR DREAM COME TRUE.

Hopefully, you have friends and family that support your writing. But whether you do or not, it’s up to you to make your dream come true – no one else. You’ll have barriers in your way – we all do to one degree or another – but you’ll have to overcome them, whatever it takes if you want to make a writing career for yourself. It doesn’t matter what your circumstances are or how hard it is for you to find time to write. If you truly want to do it, you’ll find a way. If you can’t find a way, you won’t write. Is this fair? When it comes to writing, there’s such thing as fair. There are only your challenges and what you do to overcome them. If you want a writing life, you have to fight for it – with no guarantee that you’ll achieve it.

I read this in an article once: Make a list of everything that’s more important to you than writing. The shorter the list, the greater the chance you’ll succeed. This is a simple way to gauge how badly you want a writing career and what you’re willing to do to make it happen. I once read an article in which the agent Russ Galen used this phrase: “a lust for success that would appall Napoleon.” The closer you are to having that kind of intense, all-consuming desire, the greater your chances of establishing a writing career.

2) NO ONE HAS A REASON TO CARE ABOUT YOUR WRITING.

Just because you wrote a book, story, or poem doesn’t obligate anyone on the planet to read it. You have to give readers a reason to choose your piece of writing from all the bazillion others out there. This is especially true for self-published/indie authors who have no publisher vouching for them. They have to fight to grab readers’ attention in a sea of traditionally published and self-published books. But traditional writer or indie, it’s not enough that your writing is good. It needs to be competitive.

What makes you choose a story? What initially draws you to it? What makes you start reading it? What makes you keep reading? You need to be able answer these questions about your own work if you hope to snag and hold onto readers.

You need to hone your skills and keep improving throughout your life. You need develop concepts, characters, plots, and narrative structures that aren’t run of the mill while – especially if you write genre fiction – still fulfilling readers’ expectations.

3) TALENT IS NOT ENOUGH.

Years ago, I gave a writing workshop at the college where I teach, and some of my colleagues from the English Department were kind enough to attend. At one point I said “Writing talent is as common as dirt,” and they laughed, obviously thinking about all the bad essays they’d graded throughout their careers. But my statement is true. I’ve encountered hundreds, maybe thousands, of students over the years who had enough basic talent to have a good shot at establishing a writing career. Almost none of them have, though. Talent is only potential, and it’s worthless unless it’s developed, focused, and applied. Not only do you need to become the best writer you can, you need to learn everything you can about publishing and marketing in order to reach an audience. You also need to learn how to be persistent as hell. After all, you can’t succeed if you give up.

4) ULTIMATELY, NO ONE CAN TEACH YOU TO WRITE – EXCEPT YOU.

There’s a story, probably apocryphal, about the violin virtuoso Paganini. A young violinist approached Paganini one day and said, “Maestro, it would mean so much to me if I could play a bit for you and you could give me some advice.” Paganini told the man to play, but after a few moments, he stopped him. “I’m sorry,” Paganini said, “but you will never be a professional violinist.” Angry, the man went away, determined to prove Paganini wrong. He practiced night and day for years until he finally became first violin for a prestigious orchestra. He then went back to Paganini and said, “Maestro, do you remember me coming to you years ago and asking if I could play for you? You told me I’d never be a professional violinist. But now I am!” Paganini said, “Oh, I say that to everyone who asks to play for me. How can I determine if someone is going to become a professional from hearing only a few notes? But I know that if someone can be discouraged by a few words, then they definitely do not have what it takes to become a professional.”

Harsh? No doubt, and I’d never do that to someone. But the salient point of the story is this: “How can I determine if someone is going to become a professional from hearing only a few notes?” Teachers (the ones who are also professional writers) can tell if you have the basic talent and skill to build on, and we can give you tricks and tips, and some encouragement, and then send you on your way. In the end, we’re just resources for you to draw on. You are your own teacher.

You can take classes, go to workshops, read piles of how-to-write books, enroll in graduate programs, but none of these things will teach you to write in and of themselves. Only you can do that for yourself. You can pick up all kinds of knowledge and experience that will help decrease your learning curve, but only you can do that learning, and you do it through reading and writing a metric fuck-ton. There is no other way, and there is no short cut. The vast majority of writing students will never go on to publish anything, and it’s not because they don’t have the ability. It’s because they don’t want it bad enough or they’ve allowed themselves to become discouraged.

When I teach fiction writing, I know that most of the people in the room won’t go on to write. Hell, they may never write another word after the class is over. But I know that there’s a good chance that someone present will continue and persevere, and since I don’t know for certain who that person is, I treat everyone as if they are that person. After all, I was once a student in fiction writing classes, and I never said much. I just did the work and absorbed everything I possibly could. Yet even back then, I knew I was my first, best teacher, and it was up to me to learn everything I could on my own. And the most I’ve ever learned came from plunking my ass down in the chair and writing.

5) PROFESSIONALS DON’T WANT TO READ YOUR UNPUBLISHED WRITING.
Hopeful writers, just like the young violinist in the Paganini story, believe they need a professional writer to read their work and use their vast wisdom to tell them how to spin their straw into gold. (Although in reality, these hopeful writers are most likely looking to have the pro tell them they’re awesome and bestow upon them the title of Real Writer.) But even if a pro reads your work, there’s not much he or she can do for you. We could give you a couple tips, any of which you could find in a basic book on fiction writing, and tell you to get back to work. There are no short cuts. But most pros simply don’t have the time to read beginners’ work. They’re too busy writing their own fiction. And why would you ask someone to read your work for free anyway? You wouldn’t go to a doctor and ask for free medical advice. You shouldn’t expect free advice from any professional, including writers.

Now, many writers – myself included – do offer advice and answer questions through social media, email, workshops, etc., all free of charge. I write this blog to share information freely when I could sell each entry as an article to a writing magazine for money. Sure, there’s a self-promotion aspect to my blog, but I doubt many people run out and buy my books after reading an entry, and that’s not the main reason I write it anyway. Writers – especially in the fields of science fiction, fantasy, and horror – believe in helping other writers and paying it forward. But answering questions takes a lot less time than reading and critiquing manuscripts, especially novel-length ones. Sometimes I offer to read manuscripts for free, but only in special cases, and only when I decide to (so don’t ask me). I do want to help other writers but because I need to feed my family, I do so through classes that provide me a paycheck.

6) AS THICK AS YOU THINK YOUR SKIN IS, IT’S NOT THICK ENOUGH.

There are a lot of negatives in the writing life. Rejections, bad reviews from both readers and critics, poor sales, editors who quit on you before your book is published, Internet trolls, self-doubt, depression, and worst of all, utter indifference from the world. The positives of a writing career outweigh the negatives by a country mile, but you have to be prepared for the negatives so you can survive them and not let them derail you. Mental toughness – or maybe resiliency is a better word – is just as important, if not more so, than any other quality for a writer’s continued success (not to mention sanity). And just when you think you’re as tough as any writer who’s ever lived, you’ll take a hit which knocks the breath out of you and lays you out flat. And then you’ll get up, shake it off, and get back to work. Because you have to.

If you want help dealing with the emotional aspects of writing (or any creative life), I highly recommend Eric Maisel’s book Creativity for Life: https://www.amazon.com/Creativity-Life-Practical-Personality-Americas/dp/1577315588/ref=sr_1_1?ie=UTF8&qid=1474131892&sr=8-1&keywords=creativity+for+life

7) THERE IS NO SECRET HANDSHAKE OR MAGIC FORMULA.

I’ve known people who’ve pursued a writing career for decades with little to no success. These people go to workshops, classes, conferences, and talks by writers. They read articles, books, and blogs. They follow writers, agents, and editors on social media, parsing over their every comment as if it were a pronouncement from the Delphic Oracle. These people are searching for IT, the one thing that will lift them from where they are to where they desperately want to be. There has to be an IT, they tell themselves, otherwise, how come they haven’t had any success after trying so long?

There could be many reasons why these people haven’t succeeded yet. Maybe they’re looking too hard outside themselves for answers when they should look inside. Maybe as hard as they think they’re working, they need to work harder. Maybe they’ve grown comfortable with their persona as an aspiring writer and they’re afraid – whether consciously or unconsciously – to step up to the professional level where their work will have to compete against established writers and succeed or fail on its own merits. Whatever the reason, as I’ve said several times already, there is no short-cut. There is no one thing you can buy, beg, borrow, or steal that will make you a published professional. If I had to choose one quality that it seems to me successful writers share, it’s the ability to move back and forth between two mental states: being a dreamer and being a producer of material. I’ve known people who are certified geniuses but who lack drive, focus, and discipline. Their minds are like butterflies wandering through a field of flowers. Regardless of how smart or talented they are, they produce nothing. The successful writers I know have the ability to channel their creativity and focus on a task and see it through to completion. I suppose they’re like Pokemon Masters: “I chose you, Writing Muse!” The creature inside the Pokeball is raw power, and the Pokemon Master is the one who guides that power. Writers – really, all successful, productive creatives – need to be both Pokemon and Master and be able to move back and forth between the two mindsets as needed. A pretty silly example, maybe, but it seems to me to work.

Can someone gain this kind of mindset or do you have to be born with it? Honestly, I have no idea. I have it, and I’ve worked to make it stronger throughout my life, but as far as I can remember, I’ve always had it, and neither of my siblings seem to. I recognize the same quality in every successful writer I meet, but I have no idea how they came by it, either. But if it exists in you, even in the smallest of ways, you should be able to improve it with practice. As the I-Ching says, “Perseverance furthers.”

8) NOT ALL SALMON GET TO SPAWN.

This is the bluntest of all blunt talk about writing. Just as the majority of salmon die during the course of their upstream swim to their spawning grounds without reproducing, so to do most people who attempt to develop a writing career fail. This is a fact of life (and death) and there is nothing that can be done about it. You can work your ass off, make huge sacrifices, do everything you possibly can to succeed at writing, and still fail. But here’s the thing about the salmon metaphor. If you don’t try, you don’t know how far upstream you’ll be able to make it. Maybe you won’t make it to the spawning grounds – which for writers might be becoming a bestseller, winning tons of prestigious awards, having a vast and loyal readership – but wherever you end up, it will be a hell of a lot farther than you would be if you’d never started swimming.

The best advice about writing I ever received came from Pam Doyle, the teaching assistant who was my freshman comp instructor in college. She’d read a lot of my writing during the class, including creative writing I produced as my writing journal for the course. During our final conference, she said, “I urge you to take your writing as far as you can.” I’ve passed along this advice many times over the last thirty years because it’s the only advice that I’ve encountered that is absolutely achievable by every writer. If you try your hardest to take your writing as far as you can, wherever you end up is as far as you could end up. And since you have no way of knowing where that may be, if you never give up, if – as Dory says – you just keep swimming, you’ll keep going farther and farther. Will you get to the Promised Land of becoming a professional writer? Who knows? All I know, is I intend to keep swimming until I die, just like those salmon.

So there’s some unvarnished truth for you. It might not make you feel good, but feeling good isn’t the point. Becoming the best writer you can be is the point. So get to work, keep at it, and never let the bastards get you down.

DEPARTMENT OF SHAMELESS SELF-PROMOTION


My latest novel set in the world of the TV show Supernatural, called Mythmaker, was recently released. You can find out what torments I put Sam and Dean through this time by clicking here: https://www.amazon.com/Supernatural-Mythmaker-Tim-Waggoner/dp/1783298545/ref=sr_1_1?ie=UTF8&qid=1474134389&sr=8-1&keywords=waggoner+mythmaker




I’m proud to have a story in the Horror Writers’ Association’s latest anthology, Scary Out There, edited by Jonathan Maberry. Scary Out There presents horror stories for young adults, and my tale is “The Whisper-Whisper Men.” Check it out here: https://www.amazon.com/Scary-Out-There-Jonathan-Maberry/dp/1481450700/ref=sr_1_1?ie=UTF8&qid=1474134429&sr=8-1&keywords=maberry+scary+out+there




My next horror novel, Eat the Night, will soon be released from DarkFuse in collective, trade paperback, and e-editions. If you’re a fan of my Leisure novels – Like Death, Pandora Drive, and Darkness Wakes – you’ll dig this one: http://www.darkfuse.com/coming_soon.html

I’ll be at the Imagiarium Creative Writing Conference in Louisville Oct. 7-9 and at the World Fantasy Convention in Columbus, Ohio, Oct. 27-30. If you’re going to be at either, come say hi!