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.

Holy crap, things have been a mess for me. Copyedits on two different projects and notes on two other projects. My mom visiting. Me getting sick. My partner getting really sick. My beloved Goblin needed eye surgery, with two appointments leading up to that. Oh, crap, and WonderCon was in there too.

And meanwhile, the ranty writing blog sits neglected for almost two months. Unloved. Gathering dust…

Yes. Very sad. Anyway…

I got a request on an older rant about two months back, so I’m going to skip my planned topic and answer that. Because I read all the comments. And I answer all the questions. Plus let’s face it, it’s been so long you’ve forgotten what I’d said I was going to talk about anyway, didn’t you?

Jared wanted to know–

“How do you handle a character ‘thinking’ or carrying on with an inner monologue? With my current story my main character has a good bit of that going on and I seem to be stuck on treating it like regular dialogue. Does that take your reader out of a story?”

Okay. This is going to be a bit loose on hard facts because there’s a few different ways to approach this and there’s no right way to do something in fiction. I think there’s definitely wrong ways to do thing, but they’re pretty few and far between. Usually. Some people are very creative.

To begin, how we do thoughts in fiction depends a lot on what format our story’s taking. F’r example…

In first person, the narrative is essentially already in my character’s head. In a way, everything is their thoughts. The whole story. So even when there’s no dialogue, we’re aware that it’s still the character’s voice and viewpoint. Just like this. None of this is written as dialogue, and you understand I’m not speaking, but at the same time you also immediately understand all of this is my thoughts about writing. So in first person, I don’t have to do anything special to signify my characters thoughts because… well, it’s all thoughts. Done.

Plus side, thoughts in first person are very easy. Down side, it’s a little trickier for the character to surprise us because… well, we know what they’re thinking. And it can feel a bit cheaty if they suddenly don’t think of something. I’ve read books where, in chapter thirty, we find out the character did a bunch of stuff in chapter twenty that they just… never mentioned? And never thought about.

If I was going to do something like this—and again, this is just me, it might not work for you—I’d probably do something to let my readers know the character did something while still leaving the question of, y’know, what exactly they did. Maybe something like–

I made three phone calls, sent a text message to Dot, and then I went out to meet Mendoza and get my cat back.

Also, another big thing I need to keep track of in first person (in my opinion) is if this is a present tense or past tense story. Is my character having these thoughts and observations in real time, so to speak, or are they remembering past events and the thoughts they had then (with whatever additional commentary that might involve)? This’ll require a distinction between the thoughts “at the time” and the present day thoughts. Again, maybe something like–

I remember staring at him, thinking there was no way Wakko could be this stupid. But as I was going to learn all too soon, he was way stupider that I possibly could’ve imagined.

Also, worth mentioning that if I’m not careful, this past-present view can sometimes lead to tricky situations of what my character knew when, which can also create some possibly cheaty situations (see above). But it could also lead to some very clever storytelling.

If I do it right.

Next there’s third person perspective. This tends to come in two forms—omniscient and limited. Omniscient is when we can see everything in the story, including what’s going on in people’s heads. Which means we can see in his head, but also her head, and also his head. Okay, maybe not his head. That might give too much away.

Although that brings up a good point we should address right out of the gate. Third person omniscient can sometimes lead to what my beloved calls head-hopping. It’s when the narrative gets a bit loose and goes from my thoughts to your thoughts to her thoughts over to his thoughts (no, wait, we said we weren’t showing his thoughts) and back to my thoughts. If that sentence was a little hard to follow… well, you see where I’m going with this. Once we’re jumping into the heads of multiple characters, we’ve essentially created the same situation as a multi-person conversation. Except here people could be thinking of… well, anything. I’m thinking about those new Monster Force action figures, you’re thinking about college tuition, she’s trying to figure out if someone killed the Viscountess Maria for the inheritance or for revenge, and he’s thinking about ha ha ha thought you were finally going to find out what he’s thinking about, weren’t you? Well you’re not. That’d spoil everything.

So first, you can see how confusing that would get. Second, when we start jumping around and seeing everyone’s thoughts… it kind of brings everything to a halt. Yes, thoughts happen very fast in our heads and yes I can make it clear they’re all happening at the same time, but my readers still have to work through that page (or more) waiting for the characters to start doing something again. And meanwhile that ninja cheerleader’s just hanging there in the air with her sword raised…

The other version of this is third person limited. This is what I tend to use in most of my books. Whole sections of the book are essentially done over the shoulder of one specific character and no one else. We only “see” things that happen around this character and their thoughts are the only ones we have access to. The book I finished two months ago is almost entirely limited to one character’s viewpoint except for half a dozen chapters near the end (why? You’ll find out next year, if all goes well).

(pause for deep breath)

Now, within these formats, there’s a few different things I could do if I wanted to distinguish thoughts from general narration

Which means it’s time to talk about the tilted elephant in the room. Italics.

For a long time italics were the standard format for my character is thinking this, but as of late… it feels like we’re not seeing it as much. I wouldn’t say it’s wrong, but it definitely feels like it’s going out of fashion. I know I’m not using it as much, although that might mean this whole paragraph is just my own style-bias leaking through. But I think if you skimmed through a few more recent books, you wouldn’t see a lot of italics for thoughts.

There’s nothing weird about this. Storytelling conventions fall in and out of style all the time. Something can be the standard for ages, someone comes up with a different way of doing it, and suddenly that becomes the new standard everyone uses. Like thought bubbles in comic books. Remember those?

I think there are a few reasons italics-as-thoughts have fallen a bit out of favor, but the big one is probably that… well, through the years, italics sort of became the fallback go-to for everything in printed text. Thinking? Italics. Foreign language? Italics. Book or movie title? Italics. Emphasis? Italics! Character who can transform into pure energy and speaks by energizing air molecules until they vibrate? Italics!

And all those italics on the page can get confusing as we’re trying to figure out what each one is signifying. It also creates a lot of odd situations if someone’s, say, thinking about a cool book they just read. Or speaking emphatically in a foreign language.

Also, it can look weird to have a big block of italics on the page if a character decides to have an extended inner monologue. Again, said as someone who put a lot of blocks of italics on the page for the Ex-Heroes books. It does weird things with spacing and leading, too.

All that said (italics for emphasis, not foreign language), if we’re not using italics to show thoughts we probably shouldn’t just use some other formatting. No bolds or underscores, small caps, other fonts, or anything like that. Word processors can let us do a lot of weird stuff on the page, but that doesn’t mean I need to do a lot of weird stuff on the page.

Also, please don’t use quotes (double or single) for thoughts. Remember when I said there are definitely wrong ways to do things? Well 99.98% of the time, using quotes for thoughts is the wrong way. I’ve seen a few folks try that and… wow. You wouldn’t believe how confusing it can get. Or how fast it gets there. I’m not saying it’s impossible to do but… well, I wouldn’t do it.

So what does this leave us with…?

Well, one option is what we could call direct thoughts. Treating thoughts just like dialogue, just without the quotation marks so it’s clear they’re not out loud. Essentially, just what we’d do with italics, but with no italics. Something like this…

I should grab something to eat before I head over to Phoebe’s, thought Wakko. Or maybe not. I’m not really that hungry.

If I want to do thoughts this way, a few things to maybe keep in mind. One is that I want to be clear where these thoughts are coming from, because that attribution is also going to help clarify that these are thoughts. I know in the past I’ve talked about trying to pare down dialogue tags, but in this situation… personally, I might lean into them a little harder. Just a bit. Especially if I’m using a POV where the reader could have access to a few characters thoughts.

Two would be that I’d probably set the thoughts apart from any significant amount of action. Sometimes with dialogue we’ll start with someone talking, describe an action or three they’re taking, and then finish off that paragraph with more dialogue. But since the thoughts don’t have any punctuation to set them off, it can be a bit confusing to go back to them. Me, I’d just give them their own paragraph to make sure readers don’t get knocked out of the story if they suddenly have to figure out where the action stops and the thoughts begin.

Another option is to use implied or maybe indirect thoughts. Yeah, I made that up, too. What I mean is, the narration can give us the sense of what Wakko’s thinking rather than word-for-word transcript of what’s going on inside Wakko’s head. This is what I tend to do most of the time in my books. For example…

Wakko considered grabbing something to eat before he headed over to Phoebe’s, but decided he wasn’t really that hungry.

See? Same thoughts as that example a little further up, we’re just a step back from them, so to speak. Or so to think. I feel like this method works with action a little better, too, so I don’t need to break it off in its own paragraph. And that makes for a smoother reading experience.

It’s also possible to use both of these methods. Seriously. They mesh fairly well. The same way we might use dialogue most of the time but then sometimes write something like– Yakko filled them in on the new clues he’d found. We can do that with thoughts too.

Oh, and one final idea about how to represent thoughts in a book. Maybe just… don’t. It’s a totally valid narrative decision to close off every character’s head and make the audience wonder what she’s thinking or what he’s wondering about or if they’re both thinking about the Roman Empire again or something silly like that. It might end up being a bit more challenging, but I think it can make for some really cool storytelling.

I’ll also add one more thing. Thoughts can be fun to write. That ongoing inner monologue, remembering this, figuring out that. It’s easy to fill a lot of pages with thoughts. But I want to be sure all these thoughts are advancing my plot or my story somehow. That’s it’s not just me, the author, twiddling my thumbs for three or four or ten pages. People will lose patience with that real quick, especially once they realize these little soliloquies (mental or spoken) don’t actually go anywhere.

And that’s all I’ve got for you on thoughts. Ultimately, like anything else– dialogue, action, descriptions—the important thing is I don’t want my method of telling the story to be disruptive for the audience. My readers shouldn’t be stumbling trying to figure out if a sentence was narration or inner monologue or spoken-out-loud dialogue. As long as they understand what they just read and it keeps the story going at the pace I want… it’ll be great.

I think it will, anyway.

Wow. I really babble on a lot here, didn’t I? This is what I meant when I said thinking can take up a lot of space on the page.

Well, next time, as I mentioned waaaaay back when, I was going to try to redeem myself for all these late posts (see, I said you wouldn’t remember). And I guess one way to do that is to give you another post on Friday. It’s my birthday this week, and—as I have in the past—I may use the day to offer some thoughts and advice about another aspect of this whole writing thing.

So until then… go write.

As always, some of the things in the newsletter are time-sensitive. Or at least they were when the newsletter came out and all the subscribers got it. Now they’re historical events…
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Well, the past few weeks have been… days.

Absolutely.

Me word real good.

I don’t have as much for you this month. For a few reasons.

The big one is we sort of became a plague house over the past three weeks. My partner and I are still masking when we go out into the world, but I still somehow managed to catch a nasty cold at the end of April (just in time for my mom’s visit to California). Everything got raw enough that I ended up losing my voice for a couple days and then passed it to my beloved. Which really sucks because I’ve always had a pretty robust immune system, since I was a little kid, and she.. doesn’t. So I got over it in about a week and it took her, well, until about now. She’s still fighting off the last of it as I write this.

And of course this overlapped nicely (if we can call it that) with one of my cats needing surgery. My dear, beautiful Goblin has been suffering from glaucoma for almost a year. We’ve been managing it with eye drops for most of that time, but it would still swell occasional, and it finally became undeniable that he’d lost all sight in that eye. So we made the decision to have the eye removed. It was extremely nerve-wracking for me because I have a pile of eye-issues related to a childhood trauma of my own. And it didn’t help that it was a whole process of appointments before the actual surgery.

Goblin came though it fine, don’t worry. I probably stressed about it way more than he did. He didn’t like wearing a cone for two weeks, but it’s off now and he’s happier than he’s been in a while. Plus he was dealing with diminished vision for so long that losing the eye hasn’t slowed him down at all. Really it’s just me feeling guilty I took so long to do it because of my own fears.

Fear stops us from doing a lot of things. And I’m not just excusing myself when I say… that’s understandable. It all comes down to facing our fear and doing the right thing. Taking that next step, even when it makes us really uncomfortable. Like they say, courage is when you’re afraid but you do the right thing anyway.

So it’s okay to be scared. Just don’t let it stop you from being brave.

I mean, Goblin’s got one eye now and no depth perception, but he threw himself up on top of the wardrobe this morning.

In other news…

God’s Junk Drawer is done with copyedits. Levi, the copyeditor, went through the whole manuscript with notes, grammatical corrections, some questions, and a few suggestions. And then I spent about a week and a half going over all of his notes (while also juggling a sick beloved and a depressed cat forced to wear a post-surgery cone).

Quick explainer, which I probably should’ve done a while ago. Some of you probably know this, but there’s a few different types of editing. The editing I do in early drafts, and then do again later with an editor, is usually called developmental editing. It’s when we’re actually trying to shape and form the manuscript. Tightening some parts, adding others, changing some altogether. Some books don’t need much of this. Some need a lot. It all depends on the writer’s individual style and how polished a book they tend to turn in. I’ve turned in some manuscripts that I felt were really solid, but also one or two that were, for various reasons, not solid at all. Bordering on liquid. One may have assumed a gaseous form. I think one editor would completely agree with that.

Copyediting, on the other hand, is the nuts and bolts phase. It’s when someone– a copyeditor– goes through and makes sure all the spelling and grammar’s correct. That all the dates and names and other random facts line up. It’s a meticulous, line-by-line job.

It’s also a tricky one because, on the writer side of it, a lot of us play with grammar and sentence structure and sometimes even spelling to make the story do the things we want it to do. If you’ve read any of my books (like, say, The Broken Room) you know that I like a certain pace to action. I want it to read fast, like you’re seeing it happen. Or trying to see it happen, but sometimes it’s so quick we just see the blur and put it together after the fact. It’s not unusual for me to deliberately create a run-on sentence to help sell the quick, breathless speed things are happening at. And this often means breaking a bunch of “correct” rules. A good copyeditor will see this and the reasoning behind it. I’ve shown them I know the rules and I also know how and why I’m breaking them, and what that breakage is going to accomplish.

Point is, I had a good copyeditor on God’s Junk Drawer. Levi saw what I was trying to do in a lot of places, but also caught a few spots where maaaaaaybe it should be this? Or that?

The next stop… layout! And then ARCs!

We also have a cover now and it’s… it’s pretty damned cool. I can’t show it to you yet, but I’m pushing to make sure all of you subscribed to the newsletter are the first folks to see it.

Oh, I also finished that comic script and the editor said… it was actually pretty solid for a first try. He suggested one tweak and, yeah, it was a good suggestion and makes a few things work better.. As I’ve said, it’s a new format for me so I’m still stumbling through it, but we’re moving forward.

What else do I have for you…

Cool Stuff I’ve Been Watching
I’ve got to be honest…. not a lot. Well, not a lot I didn’t talk about in the last newsletter. Doctor Who is still fantastic. The Grimm rewatch continues (we’re almost done with season three) and I have many, many thoughts about it. We’ve also been watching the last few episodes of Moon Girl and Devil Dinosaur and godDAMN that show should’ve run for four or five seasons. And of course, as I write this tomorrow’s the premiere of Murderbot. And some point soon I’m probably going to binge all of Andor in two or three nights.

Cool Stuff I’ve Been Reading
With all the sickness and cat stuff… not much, I’m ashamed to say. I read an early draft of a friend’s clever and very timely book. Currently reading Overgrowth by Seanan Mc *cough* Mira Grant and I’ll be talking with her about it next week at Mysterious Galaxy (if you happen to be in the area). Next up for me… Well, I just got another blurb book, but I may dive into this Godzilla novelization/ translation. And then Staircase in the Woods is just sitting there…

Cool New Toys
I’m in that part of the year where I try not to get much for myself because my birthday is coming up. But a bunch of preorder stuff showed up, and I took advantage of a few sales. The biggest one is that I finally got my Marvel Legends Rom, an action figure I’ve essentially wanted since I was nine. I haven’t even taken him out of the package yet, and I have some plans for once he’s out (expect many photos). I also ended up building my own custom Four Horseman demon. He doesn’t have a name yet, but he looks really cool.

And I think that’s all I’ve got for you right now. As always, thanks for reading. See you again in thirty days or so.

As always, if you’re reading the newsletter here you’re seeing it about two weeks after it was intended to land, so some of the information (and random musings) in it might be a bit out of date. Sorry. You can avoid this horrible temporal shift by signing up for the newsletter and getting it right in your inbox once a month or so.

Or not. I’m not the boss of you. Maybe you like the horrible temporal shift…

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Well, for those of you in the United States, I’m guessing today was tax day. Also guessing half of you did them weeks ago and the other half of you are reading this instead of doing them. Or maybe you’re being semi-responsible (for somebody doing their taxes at the last minute) and reading this is your reward for getting everything in the mail twenty minutes ago.

I admit I’m in the first group. Mine were done weeks ago and I got final confirmation they’d been accepted four or five days ago. I did them myself for years, but I’ve hit the point now (in a few senses) where it’s well worth it to spend an afternoon organizing my box of receipts and letting someone else take it from there.

Truth be told… I don’t mind paying taxes. No, seriously, I don’t. The government does some really stupid, awful things with tax money, yeah, but it also does a lot of good things. If any of you have followed me through the the ranty writing blog for any amount of time, you know that my beloved and I spent about three years living well below the poverty line. In Los Angeles. A huge part of how we got though it is because of things people paid for with their taxes. We used the public library’s internet (and to be painfully honest, sometimes stole rolls of toilet paper). We qualified for discounted utilities and even a free replacement fridge (that worked SO much better than our old one). Public transit. Public parks. Someone else paid for it when we really needed it, and I’m really glad to be paying for it now when someone else may need all of it (and more).

And someone on Bluesky pointed out recently… that’s true of so many things. Big things. The Center for Disease Control? Yeah, we all paid for that. People all over the world envy it, the government runs it, but it’s ours. Same with NASA. And the Department of Education, Department of Transportation, Veteran’s Affairs, and more. It’s all stuff we funded. We paid for it with our taxes to serve the public good, so other people would have it when they needed it.

Which is why it’s so frustrating to see some bozo taking a chainsaw to all of it in the name of “efficiency.” That’s our stuff being destroyed! Can you imagine if I smashed your front door off the hinges and then told you it’s better because you can get in quicker when you get home from work? And I unplugged your fridge so it won’t take as long to warm up those leftovers. Yeah, those examples make me sound really stupid (take that as you will) but more to the point… I shouldn’t be messing with your stuff in the first place.

Grrrrrrrrrrr…

Apologies. That turned into a little more of a rant than planned.

Happy tax day, everyone!

In more interesting news…

God’s Junk Drawer is still in copyedits. There was a slight delay, but things are back on track. I should have the copyedited manuscript back in two weeks, which means it’ll probably already be back to the publisher by the time you get the next newsletter. We’re also probably going to be talking about covers sometime soon. And hey, you can still preorder it from your favorite local bookstore, your second-favorite regional bookstore, or that gigantic South American river website.

My agent has TOS. I went through everyone’s notes. Rethought a few things. Thought a lot about a few other things. Moved a few things around. Cut some others. Added a bit more. In the end, the draft he’s got is only about 500 words shorter than the one everyone else saw, but I think it’s a lot stronger and tighter. Guess we’ll see…

David (my agent) and I also talked about another possible project which I’ll probably just call A2Q for now. If you’re a fan of the ranty writing blog, you may have some idea what that is. And what that might mean. So I’m trying to do some work on that before those copyedits come back.

Also doing a little more work on the comic. This is an awful time to try to be doing something new, but I’ve always wanted to do a comic book and never thought it’d be a secret gateway to untold fame and fortune. If this ends up breaking kinda-sorta–even I’ll be thrilled.

Oh, one other thing. Some of you may know I’ve got a short story collection, Dead Men Can’t Complain, that’s been audio-only for a few years now. One of the original stories from it–”Flesh Trade”–is going to be part of a new anthology. Dread Coast: So Cal Horror Tales is going to be out this August and all the proceeds go to benefit victims of the LA wildfires from the start of the year. This’ll be the first time “Flesh Trade” has ever been in physical print, so if you don’t do audiobooks… here’s your big chance to read it. And a bunch of other great stories, too.

And there’s something REALLY cool I got to see that I REALLY wish I could share… but that’ll have to wait for now.

What else can I share with you… ?

Cool Stuff I’ve Been Watching
This might sound silly to some of you but my beloved and I sat down and watched Paddington 2 and it truly is a wonder. I’d heard so many people say how good it was I figured there had to be some catch or something but no… it’s just that good. Doctor Who is back and I thought the first episode was so friggin’ clever. We’ve also been doing a rewatch of Grimm and it’s holding up really well so far. Also kind of surprised to learn we’d missed about eight or nine episodes when it originally aired, so we’re getting to see those too.

Cool Stuff I’ve Been Reading
A lot of work-ish reading this past month. Read two books to give notes and two to give blurbs–one of which is an upcoming Marvel Fantastic Four collection. So hey, I guess we’ll finally see my name on a Marvel book. Deephaven by Ethan Aldridge was a great little YA story about kids at a mysterious boarding school. I also picked up the collected GI Joe: World On Fire comic storyline by Paul Allor, Chris Evenhuis, Niko Walter, Emma Vieceli, and Ryan Kelly. It was one of the last arcs IDW published, and it’s a dystopian alternate world where Cobra won, the US is an occupied country, and GI Joe is an underground resistance group. Really good, and parts of it hit pretty hard right now.

Cool New Toys
Ooooof. The past two weeks feel like they’ve mostly been indie toy companies saying “we have no idea what’s going to happen, sorry.” One Kickstarter I backed canceled the whole project, saying they couldn’t move forward in good faith. I did grab two more Horrid Infantry figures at WonderCon (giving me a total of “far too many”) and got to hang out at the Spero booth for a bit and talk with folks. I also just picked up the McFarlane DC Universe camouflaged Tumbler. I don’t collect DC figures, or 7” figures, but this spoke to me. For reasons I won’t bore you with here.

But feel free to ask somewhere else if you really want to know.

And I think that’s everything I’ve got for you. As always, thanks for reading. See you next month.