Year: 2025

As I have in the past, I’ll remind you that you could subscribe and get this newsletter delivered right to your inbox, rather than waiting two weeks or so for it to show up here on the ranty blog. And that timeliness might be helpful in the next few months.

Just sayin’…
>>>>>>>>>>>>>>>>>>>>>

Sorry this is a bit late. Can’t imagine what’s going on that would have everyone feeling overwhelmed. Or exhausted. Or scared. Or filled with an overwhelming need to doomscroll…

I don’t think there’s anything new I can say about the shape the United States is in, domestically and internationally. Over a century of power and influence, decades of financial power, all destroyed in less than six months. Brownshirts running unchecked in the streets. And the whole country basically defenseless against the next natural disaster to strike, be it climate-related or disease.

And we’ve still got three and a half years to go.

Ha ha ha ha haaaaaaaaa…

Anyway, let me try to distract you (and me) from all that for ten or fifteen minutes.

As I’m writing this, I just finished up one last rewrite of TOS last night and set it off to my agent this morning. I’d thought the last draft was pretty solid, but he read it and made one little suggestion that just… I mean, it was a little thing, but it was absolutely perfect. A little thing that was a big thing. Honestly, I was kicking myself that I hadn’t thought of it to start with. So I spent, well, the past month rewriting TOS to include this change (and all its necessary ripples throughout the manuscript) and the book is very seriously better for it.

I know some folks like to complain about agents for, well, a bunch of reasons (and some of of them are kind of nonsense), but the truth is I have a really good working relationship with my agent. I mean, there’s the obvious plus of having a business partner who’s all about the business side of this career (freeing me up to just think about the art side of it). But it’s also good to have someone who looks at my ideas and manuscripts from that point of view, thinking about what might help something sell and what might hurt its chances. I mean, that’s the whole point of having an agent, right? To help you sell stuff. Sometimes we agree. Sometimes we disagree and we talk about it for an hour or so.

And yeah… sometimes he drops a really cool idea in my lap.

Let’s talk about God’s Junk Drawer!

As I was writing this newsletter (like, rewriting that last big paragraph) I got an email showing off the cover for the ARC (advance reader copy, if you didn’t know). Those are getting printed up and will be going out to folks very soon. And we may even have two or three at a certain upcoming comic-centered convention in San Diego (more on that in a bit).

We also had a big meeting about publicity/ marketing stuff and… yeah, I’m doing it. Big west coast signing tour! New England signing tour! Driving home across the country signing tour! Exact dates still need to be nailed down, but we’re looking at starting in San Diego on November 11th, release day, and then driving all the way up to Seattle (stopping several times) and all the way back. Then flying out to New England the first week of December for five or six signings throughout the area. And then driving back to San Diego and stopping at a few places along the way (including but not limited to Albany, St. Louis, Tulsa, Amarillo, Phoenix…). And then I get home and sleep until Christmas morning. We’re hoping to have it all nailed down by August soooo… two newsletters from now? As always, you’ll probably be the first to know

I’m also probably going to do a little preorder bonus right around then, most likely just for those of you reading this newsletter. That’ll keep it from getting too overwhelming. Show me proof of preorder and I’ll send you <<REDACTED FOR NOW>>. And since we’ll know all about the book tour by then, you can preorder at your friendly local bookery. They win, you win, we all win!

Speaking of preorders… a while back I mentioned Dread Coast: SoCal Horror Tales. It’s a charity anthology and a big chunk of the proceeds go to help with recovery from the California Wildfires at the start of the year (yeah, that was this year. Barely five months ago). It’s got a story from me called “Flesh Trade” which, up until now, has only been available in my audiobook-only collection Dead Men Can’t Complain. So you can also preorder that now from your favorite bookologist.

And looking not-as-far into the future… San Diego Comic-Con is next month! Maybe I’ll see you there? I know the final schedule hasn’t been released, but I think it’s okay to tell you I’m going to be there and doing panels on Thursday and Friday, and a few signings those days as well. Plus wandering around looking at toys and saying “hi” to folks I know. I should have the locked schedule soon, and it’ll be on my website and maybe a quick bonus newsletter?

What else could I blab on about…?

Cool Stuff I’ve Been Watching
Well, was kind of crushed by the season finale of Doctor Who, but I won’t say anything in case you haven’t seen it and have avoided spoilers.. Absolutely loving Murderbot. We’ve also ducked back to watch the last season of The Dragon Prince and it got me wondering… is this the longest running Netflix show? Seven seasons. I know there’s a lot of series there, but I mean, shows made by Netflix for Netflix. And I think Ironheart starts next week. I’ll probably give it a try.

Cool Stuff I’ve Been Reading
I feel like I’ve just gotten to read SO much good stuff lately. Overgrowth by Mira Grant a.k.a. Seanan McGuire is simply fantastic, and probably my favorite thing she’s ever written. Chuck Wendig’s The Staircase in the Woods is amazing. I also got to read an early copy of Robert Brockway’s I Will Kill Your Imaginary Friend For $200 and despite that title it’s skin-crawlingly creepy and just plain wonderful.

Cool New Toys
I finally took my Rom figure out of the package and took some fun photos with him. Also, for my birthday, my beloved got me this fantastic Gladiator Hulk figure, based off how he looked in Thor: Ragnarok. It’s simply massive and wonderful.

And I think that’s all I’ve got for you right now. Many thanks, as always, thanks for reading. See you again in mid-July (just before SDCC).

Okay, quick-ish.

I’ve mentioned before that I started writing very young, and at some point—maybe late high school or college—I finally understood that the key to being a successful writer was all about vocabulary. Not using common words and only using extraordinary ones! The thesaurus was my best friend. Using a rare word just showed what a good writer I was, and using an obscure word… well… clearly the money and awards were going to be rolling in. Once I finished something.

One of the places I… okay, wait, let’s just be honest. This is a horrible way to approach writing. Just awful. I shouldn’t be trying to make my writing hard to understand or read. If people need to pause on every sentence and try to work out a word’s meaning from context… that’s not great.

That said, one of the places where I did this a lot was dialogue. Somehow I got it in my head that only losers used the same dialogue tags on the same page. There were thousands of better words out there, and I was going to use every. Single. One of them.

As I’ve mentioned before, the first time I got to sit down with an editor to talk about my writing, his opening words to me were not “this is amazing, let me give you twenty bazillion dollars” they were, in fact, to just use said. Stop with all the muttering, mumbling, grumbling, stating, shouting, hollering, whispering, gasping, declaring, ejaculating (oh yes), exclaiming, and calling out and just use said. Said, he told me, is invisible.

There are a lot of folks out there who will try to convince you said is pedestrian or boring or flat. That it’s what lesser writers use because they can’t think of anything else. I mean, there’s dozens of lists on the internet—many from writing teachers!—of “better” dialogue tags to use.

But the truth is, said doesn’t slow writing down. It doesn’t trip people up. It’s what most professional writers use. It’s a solid workhorse that lets me save those other dialogue tags for when they’ll actually matter, when it’s important that readers hear that mutter or shout or exclamation.

Plus…

Okay, let’s have another moment of brutal honesty. When we start out as writers, a lot of our dialogue is… not good. It’s awkward and on the nose and kind of flat on the page. Mine definitely was. So I think sometimes we latch onto those other dialogue tags because they help us get the point across. They’re sort of like an adverb or adjective for the whole sentence, in the sense that they’re not inherently wrong, but I also probably wouldn’t need them if my dialogue was stronger

So some people are a bit… shall we say, reluctant to let go of the idea they should always use much, much more than said.

Don’t worry about them. Just use said most of the time. I can use the other ones too, sure, but I try to think of them like exclamation points. The more I use them, the less powerful they become.

And I want my writing to be powerful.

Now, just to be contrary, next time I’d like to talk about not using said.

Until then, go write.

Okay, I’ve fallen waaaaaay behind in ranty blog posts over the past two months, so let me take a few minutes and try to make it up to you

As it happens, I wanted to talk about redemption stories. You know, where our hero has done something awful in their past and is now seeking to balance the scales one way or another. Maybe by actively trying to make up for it or by punishing themselves for it.

Right up front, if I want to write about redemption a key thing is empathy. A good redemption story depends on me knowing how my readers will respond to various incidents and actions. If I don’t have a good sense how something will go over, it’ll be easy for my redemption tale to seem pointless, silly, confusing, melodramatic… or, y’know, all of the above.

And, as usual, none of this is ironclad, heavily researched and sourced literary theory that I rigorously defended for my thesis or anything like that. It’s just observations from many, many years of reading and watching stories. Your mileage may vary.

That said… a redemption tale could either be the main thrust of my story or it just part of a single character’s personal arc. Either way, I think my story has to hit a couple of key points. Not in an “introduce the first conflict by page 23,” way, but more in a general “let’s talk about the characters and the story” way. If I don’t have these points in mind, there’s a good chance that my “redemption” story may end up a little lacking

1) Does my character need to be redeemed?
This is one of those “obvious” things that I’ve seen a fair number of folks mess up. If I’m going to tell a redemption story about Wakko, he needs to have actually done something that requires redemption. It’s really cool that Wakko wants to sacrifice himself to make up for his past sins, but if he doesn’t have any past sins… well… That’s not redemption, it’s just a pointless sacrifice. Wakko needs to have something in his past (or do something very early in my story) for which some form of redemption is required. For this post, let’s call it his key event.

This is my first big empathy moment as a writer. If I can’t predict what actions (or lack of actions) my audience will see as needing redemption, my story can get silly pretty quick. There are some things—even things we’d all agree are bad things—that just don’t tip the scales into that “I need redemption for this” territory. Accidentally kicking my cat is bad, but it’s probably not worth a novel of me trying to make up for it Wakko should not be going on a ten year penitent crusade around the world as penance for putting a red sock in the wash (unless comedy is my goal). If he’s really guilt-ridden about that nickel he picked up off the sidewalk when he was six… again, I’d better be writing a comedy.

Also, please note I’ve been referring to the key event as something in the past. That’s going to come up again.

So what was Wakko’s key event? Did he knowingly write a bad check? Peek in someone’s bedroom window when he was fourteen? Sabotage a relationship? Steal a car? Blackmail someone? Maybe… kill someone?

This leads nicely into…

2) Can my character be redeemed?
Somewhat related to the first point. Much like the key event needs to cross a certain threshold to be redemption-worthy, I think we can all agree that there’s another threshold where it’s going to be a lot harder for someone to balance the scales. Maybe impossible. That’s true in pretty much any society, past, present, or future. Sometimes people do things that are beyond redemption. It’s really tough to imagine anything a serial child rapist could do to make up for what they’ve done.

I’m sure some of you immediately thought “well, they could die,” but that’s not redemption, is it? It’s just death. Possibly revenge, but that’s a whole different animal.

So when I’m writing Wakko’s redemption tale, I need to really think about what he’s done. Again, this is going to be an empathy issue. Will my readers think his key event is a redeemable act? Or is it so extreme nothing could ever make up for it.

3) Does my character want to be redeemed?
This may sound obvious, but I can’t force redemption on someone. That’s not how it works, despite everything the Inquisition tried to teach us. Wakko needs to want it.

And… maybe he doesn’t. Maybe he doesn’t feel like he did anything wrong. Perhaps he paid his fine or wrote his apology letter or served his time and considers the matter closed. Or it could be he knows it was wrong and just doesn’t care. Maybe he feels he’s beyond your petty ideas of right and wrong. Some people are like that. If that’s the kind of character I’ve written Wakko as, it’s going to be tough to do a convincing redemption story about him.

4) Why hasn’t my character done it before?
Okay, for this one, I want to toss out what I personally think is a pretty solid rule of thumb… Feel free to agree or disagree down below.

In a good redemption story, a notable amount of time needs to pass between the key event and the redemption for that event.

Y’see, Timmy, in my opinion one of the main elements of redemption (from a story point of view) is guilt. If I don’t feel guilty about the key event, why would I want redemption?

With that in mind, if I’m taking care of things immediately after the key event, this isn’t so much redemption as it is… well, cleaning up. Wakko may feel awful about having to clean up the mess he made, but does he really feel guilty? If I hit someone with my car, it’s the difference between calling 911 and sitting with them until the ambulance comes… or switching my headlights off and speeding away. I may feel bad in both situations, but they’re two very different situations.

So what made Wakko run from his key event? Why didn’t he clean up his mess right then? What’s kept him from admitting it or doing anything about it until now? Denial? Fear?

And this one leads nicely to a sort of two in one, Watsonian-Doylistic point…

5A) Why is my character doing it now?
If I accept that Wakko’s tried to hide that key event for weeks or months or years… why is he looking for redemption now? What’s changed for him as a character that he’s decided to acknowledge this and make amends, starting today? What’s his (and I hate myself for saying this) inciting incident?

This is yet another empathy moment for me, the writer, because this is a big decision for any character. It’s a major change of course. They’re going against what they’ve done up until this point in their lives. If this isn’t a believable change of heart, my whole story could fall apart.

5B) Why is my character doing it now?
Looking at this as the writer, from a story point of view, why is this happening now? Odds are Wakko’s going to start thinking about redemption in this story, because I write about active characters who actually do things. So why have I included this? Am I just looking to give him some flavor and round him out a bit as a person? Is it the main plot of my whole novel? No matter why I’m doing it, this decision and the repercussions from it need to fit into the structure of my story and into Wakko’s arc as a character.

6) Does it balance the scales?
At the end of the day, every redemption story comes down to this. Has Wakko made up for what he did? Does he believe he did? Do other character think things are even now? Are my readers going to think he’s redeemed himself, or is it going to come across a little thin or forced?

I mentioned death up above—well, you thought about it, I mentioned it—so it’s probably worth talking about that. A lot of folks try to use death as the ultimate balancing agent. A life for a life, redemption achieved, and so on. I mean, sure, Wakko robbed, raped, and murdered his way across the country, leaving hundreds of people physically and/ or emotionally scarred, but in the end he died saving that little kid from getting hit by a bus And that makes it all okay, right?

No, of course it doesn’t. In fact, if not handled just right, death can come across as cowardice or a “he got off easy” situation. It can even look like laziness or a cop-out on the writer’s part. I mean, I don’t have to deal with all these complex emotions and repercussions if Wakko just gets a bus in the face. But it still counts as a strong resolution, right?

Right?

And there you have it. This is the kind of stuff I think about when I’m trying to do a redemption arc story. And if I don’t have good answers for most of these points, well, maybe I need to look again at how I’ve set up my story. Or my character.

Because there’s a decent chance they’re not on the road to redemption.

Next time I’d like to say something about said

Until then, go write.

Okay, look… tomorrow’s my birthday, and I ended up spending a lot more time than I thought I would at the DMV today. But—as I have in the past—I wanted to offer some thoughts that were less about writing-the-art and a bit more about writing-the-overall-sphere-of-community-and-career.

So at the risk of shooting myself in the foot… let’s talk a bit about writing advice.

Really, the whole reason I started scribbling out these little rants soooo many years back (my hair was still rich and full and dark back then) was because of writing advice. All I ever saw on various writing forums (novel and screenplay) was what I called “after advice.” It was all tips on how to get an agent interested, how to get your script in front of producers or actors, how to build word of mouth, and so on. Very, very little of that advice was about the big step that came before all of those.

Y’know… actually writing the damned thing.

But as social media became a thing, I noticed more and more people offering writing advice. As in, advice about the actual act of writing. Often in short, bite-sized, very catchy phrases.

And also… a lot of it very scattered.

I think we can all agree people write for a lot of different reasons. Some folks enjoy crafting stories. Some like elaborate wordplay. Some folks want to make some money, while others want to make a whole career out of it. There are people who just enjoy the act of creation. Writing can even be therapeutic in some cases, like a great purge, or maybe a way to relax, like sliding into a hot bath at the end of a long day.

And to be very clear, all of these are good, solid, completely valid reasons to write. Anyone who says otherwise is an idiot. If all I want to do is write Mandalorian fan fic… cool. If it’s what you want to write, write it! Done.

People write in a lot of different formats, too. We can do first person or third person omniscient or third person limited or even the often-elusive-but-goddamn-beautiful-when-done-well second person. We can write books, short stories, comics, stage plays, narrative podcasts, screenplays for film or broadcast television or streaming television. These are all great, with their own challenges and rewards.

Again, anyone who tries to tell you television writing is all schlock or comics are stupid, just… look, don’t resort to violence, but know that they’re wrong. Very wrong.

Now… one of the big problems that happens a lot with writing advice is survivorship bias. If you’re not familiar, it’s when we only look at people who succeed at a task rather than everyone who attempted the task. Which means it’s tough to recognize how many elements of that success were skill vs inherent talent vs surrounding circumstances vs just, y’know, sheer luck. I actually talked about this a bit on a previous birthday post, although I didn’t mention it by name– just because Jennifer Lawrence moved from Kentucky and became a Hollywood megastar doesn’t mean every young woman who moves from Kentucky to Hollywood will become a megastar. Which sounds kinda silly to say out loud, right? But survivorship bias is kinda silly when you point it out.

And sometimes folks don’t recognize their own survivorship bias. They don’t recognize that outside elements were a big part of their success. So their advice is, well, a bit off. Not deliberately, mind you. They’re saying “I did this and it worked for me, I achieved my goal, therefore this is the method that works.” Which clearly isn’t wrong—they are successful after all—but it’s also not exactly right. It’s not considering other factors that maybe can’t be replicated by the people receiving said advice.

Using myself as an example… yeah, a good part of my success comes from writing and studying writing (in many different forms) for most of my life. But having an agent definitely was a big factor. And in all fairness I only have an agent because a bunch of sheer-luck things happened to line up in my favor. And sad to say, yeah, but the fact that I’m a white guy probably helped too. I couldn’t tell you exactly when or how, but I’m definitely not going to discount it. This is part of the reason I give big disclaimers on most of my writing advice. My path to success was unique. I can offer some suggestions on how to duplicate parts of it, but a lot of it was completely out of my hands.

Another thing some folks don’t grasp is that a lot of advice isn’t good for every situation. I can tell you the best dryer setting is permanent press because it’s a good balance of speed, temperature, and gentle motion that will get things done in a reasonable amount of time but also not be too rough on colors and most fabrics. But… this is lousy advice if you were asking how to dry your phone because you accidentally dropped it in the pool.

And this is true of writing advice, too. Like I mentioned up above, people can write for a lot of different reasons, and if I’m just writing for the joy of artistic expression (again, nothing wrong with that) my advice might not be that helpful if you’re trying to write as a great psychological purge at the end of a bad week. I’ve mentioned before how some people will offer advice on structure, but they’re trying to apply television script structure advice to a novel’s narrative structure. Likewise, most of my writing advice here on the ranty blog is geared around the idea of starting a fiction writing career, so it’s probably going to seem very contrary to a person who’s much more interested in writing as an art. The kind of writing we’re doing is going to affect the advice we’re giving and the advice we’re looking for. There’s some stuff that’s universal, absolutely, but there’s also stuff that

When I’m getting some writing advice, I need to think about all of this. I want to consider that another writer’s advice may have bias. I should be aware that they’re offering me advice about this kind of writing when I want to do that kind of writing.

Speaking of which, one final thing. I know this may sound obvious but… maybe don’t take writing advice from people who don’t actually write? If they can’t point to some notable level of writing output related to the advice they’re giving… I’m just saying, maybe their “advice” is coming from a different place.

And that’s all I’ve got for you on this fine pre-birthday afternoon. Sorry again for the lack of posts here, but I’m hoping to be better in the coming months.

Of course, I’m saying that but I’m probably going to miss next week. Editing.

But after that… redemption. Finally.

Until then, go write.