Old person pop culture reference.

If you’ve been following along the ranty blog these past few months, or maybe subscribed to the newsletter, you may have picked up on a few subtle hints that the past four or five months have… not been great here. Sickness. Sleepless nights. Anxiety. Lots of stress.

Lots of stress.

One thing that’s helped me get through it is stories. This might not exactly be a surprise, but I love a good story. Reading them. Listening to them. Watching them.

But let’s face it, that should sort of be a default for us, yes? We take in material to produce material. Input—output. If I want to build muscle, I need to eat a lot of protein. If I want to grow nutritious food, I need soil with lots of nutrition in it.

And if I want to write… look, it only makes sense that I have to read, yes? Again, input, output. No input, no output. We have to feed the machine.

That’s why, even with all the crap that’s been going on in my life, I’ve still read twenty books in the past nine months. Plus a bunch of comics and short stories. And I was glad to do it. Hell, I definitely wouldn’t’ve been able to write half of what I did this year without these pauses to rest and recharge with some good stories.

Now, the reason I bring this up every now and then is… well, every couple of years I tend to see some”pro” or “coach” insist that “real writers don’t have time to read.” Time reading is time you should be writing, they’ll say. And the folks saying this sort of thing, politely, tend to be the people who like to talk very loud and very confidently.

Despite being, y’know, 100% wrong.

I mean, this is kind of like saying real drivers don’t have time to stop for gas. I’ve met lots of professional writers, interviewed a bunch of them, and read about even more. And the one thing they pretty much all have in common is… they love stories. They love input. Seriously, check out some of your favorite writers and see how often they’re talking about other books, shows. movies. They all love stories.

Also, quick pause here. I’m going to talk about “reading” a lot in the next dozen or so paragraphs, but I don’t want you to think this is some screed about “only the printed word counts” or anything like that. Audiobooks count as reading. And ebooks. You don’t like ‘em, fine, that’s you. But they count as reading.

I’m a big believer that a writer should have a regular diet of works in their chosen field. I think it lets me keep up on what’s currently out there and what’s been done before. Plus it also… well…

Look, I think a lot of the folks who push this view are coming from a place of “I took classes. I‘ve read textbooks about this. I know how to write!” And that’s great. I’m all for educating yourself and learning the rules. For the most part.

But as I’ve mentioned here before, writing isn’t really something you can teach. Never has been. Because all of us are going to be telling our own stories in our own ways, and my process isn’t your process and it’s definitely not his process. All these classes teach us is the baseline rules. They’re showing us how to avoid the easy, common mistakes.

It’s not until I start reading and exposing myself to lots of other work that I really start learning how to break those rules. That’s when I begin to see how what would be a mistake there is brilliant here (and vice versa). How great writers sometimes use the fact that you, the reader, also have a grasp of the rules to guide you through their story in mischievous ways.

But again, I have to read. To expose myself to that beyond-the-basic material. It’s a knowledge vs experience kind of thing.

Having said that, let me give you a few little provisos experience has taught me.

I know some folks try not to read similar things while they’re working on a project because they don’t want to be influenced. I think it’s fair to be a little concerned about that. But I also think this just serves as another bit of learning for us. Figuring out if we’re doing our thing or just copying someone else’s. Most of us learn by copying to some extent or another, but I think we’re also very aware of it and notice it happening pretty quick.

(I was going to tell you a whole story about how I inadvertently turned my weird western into an episode of Old Gods of Appalachia, but it’s just a little too long. Trust me, funny, relevant, very educational and relatable)

I also think sometimes this idea, trying to avoid influence, gets taken to an extreme and that’s where some of the “don’t read” mentality comes from. Don’t read. Don’t listen. Don’t watch. Definitely don’t talk to other writers!

Again, just my opinion, but I think this kind of advice ends up as more of a punishment. You’re a writer—don’t enjoy the written word! Don’t watch shows or movies with your friends! And while I know there’s some folks who believe being a writer is all about suffering, I’m a big believer that if my personal process makes me dislike writing, or openly hate it… maybe I’ve got a sucky process.

Read. Read everything you can. Read in the genre you want to write in. Read related genres. Read that genre you have zero interest in and see what the writers are doing there. Read that bestseller you can’t stand and try to figure out why it sold almost a million copies.

And as a bonus–you’re supporting other writers. And your local bookstore. Or maybe your local library. It’s all a win.

Next time, I want to talk about spelling. Yes, again. It’s been a while.

Until then, go write.

Well, my careful plan for a biweekly ranty blog has fallen apart. As plans always do. Best we can do is move on and try to get things back on track. And by we, I mean me. I’m not expecting you to do any of this for me…

Anyway…

Three or four weeks back I got a newsletter reply (you’re subscribed to the newsletter, yes?) asking about working on multiple projects. Did I tend to do one thing at a time or juggle a few things at once? And if I was a crusty juggler… how did I keep things straight?

This was kind of timely because when I got this question, I’d been working on this draft of TOS but just gotten an email from a magazine editor with suggested edits for a story I wrote back in… May? And I also got an email from Blackstone about some work we need to do on God’s Junk Drawer. Plus there’s this ranty blog and the newsletter. So this past month has had me working on a few different things.

So, yeah, I’m juggling stuff right now. But I think a key thing to remember, for this little discussion, is that I have to. No options. Writing is my full time job, and that means I’ve usually got two or three things at different stages

Now, left to my own devices, I usually just focus on one thing. I’m not against scribbling a few notes or thoughts for potential projects, but I rarely go that far with it. That’s just kind of my process. Also, mental note, haven’t really discussed my process here in a while. Let’s put that on the calendar.

That said… the magazine story was a dream project I’ve wanted to do for many, many years (for a few different reasons) so I couldn’t really pass it up. And I’m under contract with Blackstone, so no putting off those edits. And my agent’s waiting for TOS because… well, it’s the next thing. That’s how the job goes. I write stuff, he finds someone who wants to buy it.

So how do I juggle multiple projects?

Honestly, I’m not really sure.

I think, on a very real level, it’s a lot like any other job. Yeah, right now I’m trying to do payroll but somebody just walked in with a petty cash problem. I’m framing walls but right now we need all hands to unload a truck. I’ve been trying to get the warehouse organized but tomorrow’s the big spring cleaning day out in the store. We all do this, all the time. We’re working on one thing. We need to switch gears for a while. And then we go back to what we were doing before.

Granted, it can be a little tougher in the arts. For me, personally, going from one project to something completely different just means I need to get my head into the story, probably like how an actor (I’m guessing) sometimes needs to get into a role. I don’t need to call on my inner muse or anything, but I usually re-read some of my manuscript and maybe go over my notes. Bigger projects will probably take a little more reading and have more notes (novels vs short stories, for example) but doing that’s usually enough for me to remember what I was thinking and where/how I wanted things to go.

Of course, there are some writers who can flip back and forth with no problem at all. And some who may need a lot more work and effort to get back into something they’d set down. And some who are very much working on one project only and that’s it, from first word to publication. It’s very much an individual thing, and I can’t tell you what kind of writer you are. It’s one of those aspects of writing you’ll just have to play around with and figure out what works best for you.

I think my best tip would be, when I stop working on Thing One, I should be sure to use any of the tricks I’d normally use to make starting the next day easier. Get at least two or three sentences onto the next page. Make an all-caps note to myself right there in the manuscript. Don’t assume I’ll remember anything later—jot it down so it’s definitely there when I come back to it. Plot point, line of dialogue, song in my head, whatever. And if I’m only going to work for a while on Thing Two before going back to Thing One… well, do the same for it.

That’s kind all I’ve got for you there.

Not a super-satisfying answer, I know. Sorry.

But let me spin this another way.

If I wasn’t doing this full time—let’s say it’s the career I’m trying to jumpstart or maybe just something I’m having fun with on the side—I guess a better question might be why am I working on multiple projects at once?

I used to have a lot of different things I was working on. For all sorts of reasons. Shiny new ideas. Trends I’d try to follow. Different formats I was writing in. Fear I was working on the wrong thing and I should spend more time on something like that.

But eventually I realized I was jumping around so much I wasn’t actually finishing anything. Sometimes this was deliberate, yeah. A story idea was going nowhere, so I just moved on to something new.

Other times, though, it was just lack of focus. The minute something needed some actual effort—some serious thought about structure or tension or character motivations—well, that’s when I’d decide to slide over to something else. Keep lots of projects going, right? If this one stalls just move on to that one. Or that one. And then that one. And this one. And oh, y’know what I just thought of…

Y’see, Timmy, while I’m not against working on multiple projects, I know for me, at that point in my career, it became more of a way to sort of dodge really committing to anything, if you know what I mean. And said career moved forward considerably once I focused on one thing and actually, y’know, finished it.

Is that where you’re at? Only you know the answer to that one. But it’s something I might consider when looking at those three or four or fifteen different projects on the desktop.

Next time… well, I’m hoping to get caught up on my reading.

Until then, go write.

It strikes me that if I’m going to keep doing this biweekly (which I have to admit, I’m kind of liking right now with everything else I’ve got going on) it feels like a much bigger shift when I suddenly swap topics for the week. Apologies if the last post threw you a bit.

But getting back on track…

If you’ve been writing, or even thinking about writing, for any amount of time, you’ve probably heard someone talk about three act structure. Doesn’t matter if you’re working on novels, screenplays, or short stories, I’m willing to bet you’ve come across this term or had it pushed at you.

Now, I’m a big believer in three-act structure. I think a good number of flawed stories can tie their problems back to it. Or more specifically, to a lack of it.

But I also believe three act-structure gets misunderstood a lot. And I think there are a lot of folks out there arguing for (or against) three-act structure who… well, don’t have any clue what they’re talking about.

It’s also important to note right up front that three-act structure doesn’t quite fit in with the other story structures I’ve talked about in the past—linear, dramatic, and narrative. Another one it gets confused with a lot is the five act structure that a lot of network dramas have (which leads some gurus to champion six- or seven-act structure or some such nonsense). But this type of structure is just an artifice of the way commercials are arranged in a time slot. Again, not really related to three act, linear, dramatic, or narrative structures.

I think these distinctions cause some confusion when folks start talking about structure. Because structure sounds like it should be one topic and not lots and lots of different, just-barely-connected things. It’s a type of story structure, but it’s not the same kind of story structure, if that makes sense? It’s like how an apartment can have a plumbing system and an electrical system, but we all understand they’re very much not the same kind of system even though they’re part of the same overall thing (the apartment).

So what is three- act structure? Well, I think I can explain it to you in pretty simple terms. Ready with the notebooks?

A good story has a beginning, a middle, and an end.

That’s three act structure.

No, seriously. That’s pretty much it. Three act structure in a nutshell.

Okay, fine, if we want to go into a little more detail…

In storytelling we have names for each of these three acts. And again, you’ve probably heard them before. We call them establishing the norm, introducing conflict, and then resolution.

Establishing the norm is just what it sounds like. We show our audience (our readers in our case) how things are on a normal day. This is when my characters go to work, pay bills, spend time with their loved ones, and so on. It’s when we often find them at their most relatable. It’s me, the storyteller, establishing a baseline so my readers understand when something amazing happens.

Remember that everybody has their own “usual day.” For me a usual day is taking care of cats, sitting at my desk, and maybe just posing an action figure or two on said desk. But for someone in Kenya or Palestine or stationed at the South Pole… well, their usual day is likely going to be different than mine. Heck, for Wade Wilson, a usual day probably involves a lot more severed limbs, gunfire, and decapitations, while for someone in Starfleet there’s scanning and analyzing and maybe some synthohol at the end of their shift. A usual day for someone is all very much a matter of context.

It’s important to have some sense of this, what a normal day is like for my character, even is my story’s set right here in the real world. Because if my characters don’t have a normal day, they can’t have an abnormal day. Make sense?

Introducing conflict is when that abnormal thing happens. It means something’s knocking my characters out of their comfortable little world and forcing them to take some sort of new action. A mysterious stranger shoves a jump drive into their hands. The building manager says they’ve got to pay all their back rent by the end of the month or get evicted. Their reflection tells them they’re actually a mercenary and also the avatar of an Egyptian god. They find out Wakko—Wakko of all people—is going to ask Phoebe to the prom.

Also worth noting that conflict has to cause, well, conflict. By definition, conflict requires some kind of opposing force. It doesn’t need to be some massive, overwhelming force of non-stop action, but there needs to actually be something between my characters and them immediately dealing with this issue or problem that’s appeared during their up-until-now normal day. If I introduce a conflict that doesn’t bother my protagonist or takes no effort to deal with… I mean, that’s not actually a conflict, is it? That’s just boring. And if it’s boring to them, it’s going to be boring to my audience.

Resolution is when things get resolved. Yeah, look, it should’ve been clear up front this isn’t really that complicated. Usually because my protagonist has taken some action and made things come to an end. It’s when answers are made known, hidden things get revealed and plot threads all come together. Hopefully.

So, all clear now?

I’m a big believer that pretty much every story needs these three acts. If it’s done right, any reader can tell you when these acts begin and end in my story. And I believe that we can all instinctively tell when one of them isn’t there.

Now, there are a few caveats to all of this, of course. A lot of stories start in the middle or maybe even close to the end before they go back and explain the beginning. “In medias res” some folks like to call it. We could probably list hundreds of great examples of books and movies that do this.

The thing to remember, though, is all these stories still have a beginning, a middle, and an end, even if they’ve been juggled around a bit in how they’re told. As we’ve talked about before, the narrative structure of a story doesn’t change the linear structure. The events have a definitive starting point. The characters have a baseline the audience sees them at. There’s a progression brought about by conflict. And it all leads to a definitive conclusion.

Y’see, Timmy, a story that’s missing one of these three parts has a sort of… meandering quality to it. We’re left trying to figure out if actions and reactions are odd or normal. Characters do things without any apparent reason to do them. And geeeeez… if I try to impress an agent or editor with “to be continued” what I’m really telling them is “I don’t have an ending for this.” And they won’t be impressed.

So look at your latest story and break it down. Is there any sort of norm established? Is there a point where things deviate from the norm for the protagonist(s)? Do things actually get resolved? ‘Cause if so… you’re probably doing okay.

Next time… somebody recently asked me about working on multiple projects. I think that could be an interesting thing to talk about.

Until then, go write.

Okay, I’m warning you right up front, this is going to be kind of an ehhhhhh newsletter. More personal stuff than cool in-depth updates.

Why you ask…?

Well, during the week between the last newsletter and San Diego ComicCon I had two middle-of-the-night trips to the pet emergency room. With two different cats. And one of those middle of the night trips was the Wednesday of SDCC—preview night. I still went down there Thursday but holy crap was I tired.

SDCC was… okay. I managed to get the toy exclusives I wanted (for me and some other folks). I also got to hang out with a couple people you may have heard of and talk about film stuff. Yes, in the “maybe we should adapt this” way. But it’s still very early days and I don’t want to say anything more until I know there’s actually something worth saying.

Alas, despite masking the whole time, I was one of the many, many folks who caught covid at SDCC. Even the best mask has a small degree of risk, and when you’re dealing with a crowd of 70-80K people (the majority of them not masked)… well, the odds really aren’t in your favor. Yeah, I can dodge bullets 96% of the time, but when someone shoots ten thousand bullets at me… I had chills and cramps on Monday that I wrote off as mild food poisoning (because I was testing negative) and then Tuesday I slept for the whole day. I woke up, went back to bed around 10 am, then woke up again on Wednesday. And when I tested then… wow, it took that second line all of ten seconds to appear. It looked like someone drew it with a Sharpie.

I isolated in my office and my beloved aired out the whole house, but it was too late. She tested positive late the next day.

And the cats are still sick, too.

Anyway, the short version of all this is… I have not managed to get a lot of work done. Very thankfully, there also hasn’t been a pressing, scheduled need for anything, which is probably going to happen in the near future as certain things kick into gear.

So, what do I have for you?

There’s still not really anything to talk about with God’s Junk Drawer. Things are happening, but they’re all the very, very boring early things. No, I still don’t have an official release date yet. Or a preorder date. Trust me, you’ll know.

I’ve got about seventy pages left in the second draft of TOS. Again… so much kind of ground to a halt this week. I did manage to untangle a last few snarls, though, and I’m thinking this book might be… really good? Like, really good. A few things have just opened up and lined up in ways I hadn’t even considered when I first started my sketchy outline for it. So I guess we’ll see on that.

What else have I got for you…?

Cool Stuff I’ve Been Watching
Honestly… not a lot. With everything going on, we just haven’t had the time or energy to watch anything. I think we finished up season four of My Hero Academia, watched a few episodes of Gardener’s World, annnnndd… I fell like there’s something else but it clearly made a great impression

Cool Stuff I’ve Been Reading
As above, holding a book up felt like a lot of effort these past few weeks. I think I read a few more issues in my big Micronauts omnibus and… that’s it. Kinda blows my numbers for book-reading this year.

Cool New Toys
Well, I got the Marvel Legends exclusive Death’s Head at SDCC (yay…?). Got a Blight figure for Animal Warriors of the Kingdom off eBay, and then grabbed a second one to customize into a new character. And I got an amazing Arcee model kit I’m hoping to put together before the next newsletter.

And I think that’s all for now. Many thanks, as always, for reading. I’ll try to have more interesting stuff to tell you next time.