Category: 14

            Very sorry about missing last week.  Copyedits. And Thanksgiving is this week, so I know nobody’s going to be reading this on Thursday.  So I figured I’d get this up today and hope to break even.  Sort of…

            Anyway, this week I wanted to blab on about dating your work.  And I figured the best way to do that would be to talk about the Cat & Fiddle.

           If you’re not familiar with Los Angeles, the Cat & Fiddle has been a Hollywood landmark for about thirty years now.  It’s a little pub in the middle of Hollywood with a nice outdoor patio.  It’s always been popular, but I think it managed to avoid being hip or trendy in all that time.  Part of Casablanca was filmed on that location.  Seriously.

            Heck, there’s a reference to the Cat & Fiddle about halfway through my book, 14.  It was a landmark, as I said, and my story is very much about Los Angeles.  Why wouldn’t I refer to it?

            Except now it’s closing.  The landlord found someone willing to pay twice as much so, well, the cat’s out in the cold.  No more Cat & Fiddle unless they can find a new place.  Somewhere else.

            What’s my point?

            Just like that, 14 has become dated.
             Still, I’m not as bad off as James P. Hogan.  When he wrote his novel Inherit the Stars (first book in the Giants series) back in 1977, he envisioned the US facing off against the Soviet Union in a race to colonize the solar system (a race that gets interrupted by an amazing discovery, granted…).  Needless to say, the first three books in that series are extremely dated.

            When we say a book is dated, we mean it’s a book someone can look at and say “Ahhh, well this was clearly written back when…”  It’s a book that isn’t about now, it’s about then.  And when my book’s not about now, that’s just another element that’s making it harder for someone to relate to my characters and my story. 

            Remember in school when you had to read classics?  Some of the hardcore Dickens or Austen or maybe even Steinbeck.  One of the reasons they can be hard to read is because of the references in them.  They talk of events or customs or notable persons that are foreign to us.  Hell, half the time so foreign they’re just gibberish (bundling?  What the heck is bundling..?).

            When we hit these stumbles, it breaks the flow and makes the book harder to enjoy.  A dated book has a shelf life, like milk or crackers.  The moment it gets this label, there’s an end in sight.

            Because of this, there’s a common school of thought that I shouldn’t make any such references in my work.  My story shouldn’t mention current fads or events.  I don’t want to have references to celebrities or television shows or bands or music.  If I want to have my writing to have any sort of extended life—the “long tail” as some folks like to call it—it can’t be dated.

            And there is something to this.  I’ve seen metaphor-stories fall flat with readers less than a year after the events they’re referencing.  It was funny at the time, but if you watch Aladdin today it’s tough to figure out half the stuff the Genie’s riffing on (what the heck’s with the whoop-whoop fist thing…?).

            However…

            When the GOP shut down the US government last year, my friend Timothy Long pounded out a longish comedy short story called Congress of the Dead.  And for a few months it sold really, really well.  It’s not doing much these days (it’s still funny but not as topical), but he knew going in that it wasn’t going to be timeless and used that knowledge to his advantage.

            So, which way should I go?

            Well, here’s the catch.  My work is always going to end up dated.  Always.  There’s no avoiding it.  Stories get dated by technology and cars and geography. Things people assume will never change (like the Cat & Fiddle or the U.S.S.R.) end up changing. It happens all the time.  It can’t be helped.

            Consider this…

            Stephen King’s Cujo couldn’t happen today.  Cell phones undermine the entire plot.  Same with Fred Sabehagan’s Old Friend of the Family.  The entire plot of Lee Child’s first Jack Reacher book, Killing Floor, hinges on an idea that was obsolete six months before the book even reached stores.

            Let’s not even talk about speculative fiction.  How many sci-fi shows predicted events we’ve since caught up with and passed?  Buck Rogers left Earth on a deep space probe in 1987, and Thundar the Barbarian saw the world collapse in 1994.  Star Trek told us the Eugenics Wars happened in the 1990s, which was also when Khan and his followers were launched into space in cryogenic suspension (presumably using the technology from the Buck Rogers deep space probes).  According to the Terminator franchise, Judgement Day happened in 1997 (later adjusted to 2004).  Then there’s 2001: A Space Odyssey and it’s sequel 2010.  Heck, even Back to the Future is just a few short weeks away from becoming a silly, dated comedy.  It’s going to be 2015 and there are no self adjusting clothes or flying cars or Jaws XIX (it looks like we did get hoverboards, though…).  And, hell, supposedly in 2015 people are still using faxes as a high-tech method of communication.

            If I really don’t want to date my work, I can’t mention anything.  Cars, music, movies, television shows, networks, books, magazines, sports teams, games, cell phones or providers, Presidents, politicians, political parties, countries, businesses of any kind, actors, actresses… all these things and a few dozen more. All these things change all the time in unpredictable ways.  So if I want to be timeless, I can’t bring up any of them.

            The problem is, though, these are all things that are part of our lives. They come up in conversations.  They shape how we react to other things.  So if I’m writing a realistic character with natural dialogue… these things will be there.

            So what’s this all mean?

            In the big scheme of things… don’t worry about it.

            That being said, I  probably shouldn’t base my entire plot around readers knowing the lyrics to Taylor Swift’s latest single, and (much as I love it) I might not want to use a reference to the second season finale of Chuck as the big button on my chapter.  There’s a reason some things stand the test of time, some become cult classics, and others become… well, we don’t know, do we?  And I should never be referencing something no one knows about.

            There isn’t an easy answer for this.  I’d love to list off some rules or just be able to say “8.3 references per 50 pages is acceptable,” but it isn’t that simple.  A lot of this is going to be another empathy issue.  As a writer, I need to have good sense of what’s sticking around and what’s a fleeting trend.  What references will people get in ten years, which ones they’re going to forget in six months, and how blatant these references need to be to get the job done.

            Getting dated is unavoidable.  It is going to happen to my work.  And yours. And hers.  But if we’re smart about it, we can get the most out of it while we can and still make sure that date’s as far off as possible.

            Next time, I’d like to talk about dialogue.  And I’ll probably make a mess of it.

            …there was an aspiring writer.  And he lived in a beautiful world of wild dreams and deep denial…

            But let’s not talk about that guy.

            Last week I talked about basic linear structure.  This week I want to talk about narrative structure.  Narrative structure relates to—big surprise—my narrative.  It’s about how I’ve chosen to tell my particular story.  While events unfold in a linear fashion for the characters, how I decide to relay these events to my audience can change how the story’s received and interpreted (more on that in a bit).  So linear is how the characters experiences the story, narrative is how the reader experiences the story.

            One quick note before I dive in.  Within a story there might be a device or point of view, like a first person narrator, which gives the appearance of “telling” the story.  For the purposes of our discussion here, though, if I talk about the narration I’m talking about the writer.

            That being said…  here we go.

            In a large chunk of the stories any of us will encounter, the linear structure and narrative structure are going to be the same thing.  The story starts with Wakko on Monday, follows him to Tuesday, through Wednesday and Thursday, and concludes on Friday.  It’s simple and straightforward, but that doesn’t mean you shouldn’t use it.  My own book, 14, fits in this category.  It’s loaded with twists and reveals, but the linear structure parallels the narrative.

            There are also a fair number of stories, though, where the narrative doesn’t follow the timeline of the story.  Sometimes the writer does this with flashbacks, where a story is mostly linear with a few small divergences.  Other times, the story may be broken up into several sections and the reader needs to follow clues as to where these sections line up.  These are often called non-linear stories, or you may have heard it as non-linear storytelling (it was the hip new thing for a while there). 

            Now, there’s more to narrative structure than just wanting to switch around my story elements so I can look all cutting-edge.  If I’ve chosen to jump around a bit (or a lot) in my narrative, there’s a few things I have to keep in mind.  Be warned, we’re moving into an area that requires a little more skill and practice.

            First off, putting things in a new narrative order can’t change the linear logic of my story.  As I mentioned above, the week goes Monday through Friday, and this is true even if the first thing I do is tell you what happened on Thursday.  Monday was still three days earlier, and the characters and events in my story have to reflect that.  I can’t start my book with everyone on Thursday baffled who the murderer is, then roll the story back to Monday were everyone witnesses the killing and sees the murderer.  If they knew then, why don’t they know now?  There’s no logic to it (barring a case of mass amnesia).  If I have Phoebe act surprised that she owns a cat on Friday and then have the narrative jump to her finding the cat in an alley on Tuesday, I’m going to look like an idiot while my linear structure collapses. 

            These are very broad, simplistic examples, yes, but it’s amazing how many times I’ve seen this problem crop up.  Writers want to switch stuff up, but ignore the fact that the logic of their story collapses when the narrative elements are put in linear order.  This is an easy one to fix, it just requires a little time and work.  And sometimes a bit of rewriting.

            The other big issue with having narrative and linear structures so far apart is that people need to be able to follow my plot.  I can have tons of fancy word choices and beautiful language in my story, but readers are still going to put it down if they can’t figure out what’s going on. 

            For example…

            Think about when a little kid tells you a story about Iron Man and Batman and Snuffleupagus and there’s a moon base and they had a spaceship that Iron Man made before they fought the werewolf and the werewolf hates only getting to go out on Halloween so he decided when he was a little kid because only Snuffleupagus liked him and the rest of the time he has to get shaved because it’s too hot so he decided to go to the Moon so he could be a werewolf all the time and no one would make fun of him cause he didn’t know there were aliens on the moon but Batman saw the wolfman spaceship and tried to stop it and asked Iron Man to help and they fought the werewolf and Batman knew the werewolf when they were kids before he was Batman so he decided to help him move to the moon because they broke his spaceship but Iron Man had another spaceship he built after the Avengers movie and it looks like a big Iron Man and the werewolf had promised Snuffleupagus when they were little that he could come and so they got him out of the broken ship and you kind of tune it out and start mentally skimming.  I mean, you just skimmed a lot of that, right?  It jumps around so much that after a point it just becomes noise.

            Y’see, Timmy, the problem with chopping up my narrative too much is that people are automatically going to try to put it in linear order.  As I mentioned last week, we all do this almost automatically because it’s how our brains are set up.  The harder the narrative makes it for someone to reorganize the linear story, the less likely it is they’ll be able to follow it.  Which means the more likely it is that they’ll put it down.

            I talked about the idea of a detective at a crime scene last week.  If you’ve read a few mystery stories—or watched a few crime shows—you know a standard part of the mystery formula is the hero going through the events of the story and putting them in linear order for the other characters and the audience.  And how many are there? Eight or nine, usually?  Call it ten elements that are out of order and  the writer’s admitting it might be kind of tough to keep up at this point.

            There was a movie that came out about eight or nine years ago (I’ll be polite and not name it) that was a non-linear mess.  I don’t think there were two scenes in it that followed each other.  So we’re talking about well over a hundred scenes that were all scrambled and out of order.  Maybe as many as two hundred.  The actors were fantastic, but the story was impossible to keep up with.  It didn’t help that certain events repeated in the story.  Again, to be polite and protect the innocent, let’s say one of the characters was in a serious car crash and then was in another serious car crash two years later.  The audience was getting random scenes of burning cars, ambulances, emergency surgeries, recovery, and physical therapy… from two car crashes.  So we’re left trying to figure out which car crash the character was experiencing/recovering from at various points–once it was clear there’d been two car crashes–and then figuring where this scene fit in relation to all the other scenes.  The audience had to spend their time trying to decipher the movie rather than watching it.

            So non-linear structure can be overdone and become a detriment if I’m not careful.  This can be really hard to spot and fix, because it’s going to depend a lot on my ability to put myself in the reader’s shoes.  Since I know the whole linear story from the moment I sit down, the narrative is always going to make a lot more sense to me, even though for someone coming in cold it might be an illogical pile.  This is one of those times where I need to be harsh and honest with myself, because if I don’t my story’s going to be incomprehensible.

            That’s narrative structure in a nutshell.  Maybe more of a coconut-shell.  However I decide to tell my story, it still needs to have a linear structure, it still needs to be logical, and it still needs to be understandable. 

            Next time, I want to explain how linear structure and narrative structure combine via dramatic structure to tell a good story.

            Until then… go write.

The San Diego Comic-Con was pretty amazing.  My first year going as the guy behind the table—which really changes your view of it, I learned.  I crashed with friends in San Diego for a few days, and then Crown put me up in a hotel by the con for part of it.  

So here are a few of the random high points, as I remember them.  And a couple pictures of random folks/things, too, just so you’ll keep scrolling down.

  

Wednesday – I came down a day early so  there’d be no stress, so I woke up in San Diego.  My friends and I headed over to the convention hall around four to pick up our badges.  Then we killed time at the Spaghetti Factory bar until the doors opened.  I make my first attempt at a Webarella doll for my niece, but on preview night it turns out they’re only selling to people with regular badges—no pros or vendors.  Curse my professional status!  I drown my sorrows in model robots.  Check out Robot4Less—they’re cool.

Stopped by the Random House aisle and the Crown Publishing booth, where I finally met my editor and publicists face to face.  Chatted a bit.  Pre-signed a few books.  Then went back home with my friends to watch Sharknado.

Thursday—The first full day of Comic-Con, and I had free reign for most of it.  I wandered a lot.  Made another run for Webarella, but they’d sold out of their day’s allotment in under an hour.  Doubly frustrating when you saw all the folks walking around with shopping bags full of the dolls.

Checked out lots of booths.  Had lunch with Rick Marson, creator of ZOMS and Katie Cord of Evil Girlfriend Media.  Later in the day I met Bill Barnes who draws the Unshelved comic strip (they did a fun Ex-Heroesreview in comic-strip form a few months back).

That night was the Random House party.  There’s an embarassing story about me changing for the party in my friends’ car, but it won’t be told here.  Met Peter David,  George R.R. Martin, and also fellow Crown authors Scott Sigler (Pandemic) and Peter Stenson (Fiend).  I also got free drinks served to me by a woman dressed as Daenerys Targaryen (the bar was doing a Game of Thrones theme for Comic Con) while pictures of my book covers (and several other people’s) flashed up on screens around the bar.

Friday – I got to check into my room at the Hyatt.  There are definite perks to being a big press author.  It was also nice to have a place to dump things.  And then I got to go find that Webarella had sold out again.  Saw a jackass offering to sell them at 400% markup right there at the con.

I did a panel with a few other authors, then a signing where I met a few folks.  Talked briefly with Max Brooks (World War Z) at the Crown booth.  Then I moderated a panel with several costume illustrators (who worked on some amazing stuff).  After I dropped off some stuff in my room, it was up to the Top of the Hyatt for drinks with friends while we watched the sunset.  And then down to Seaport Village for dinner with all the Crown folks, including Scott and Peter.  Much smaller than the previous night’s party, and we end up talking about books, publishing, and similar things.  Which led us back to the Top of the Hyatt for more drinks (drinking, you may notice, was a recurring theme). One of the publicists came up with the idea of trading badges so I could get into the hall before it opens and finally get the Webarella doll.  

           

It was very nice to just take an elevator back to the room after all that, kick off my shoes, and scribble a few story notes on my legal pad.

Saturday – My last attempt to get Webarella met in failure.  Con security finally decided to stop other vendors from lining up before the doors open , but they only did a half assed job at it so vendors just lurked in the area.  And then doors opened and Mattel announced they’d changed their criteria, too—no selling to vendors (so my badge is now preventing me from getting the doll).  I slink back to the Crown booth, broken and defeated.

After meeting a few more folks and signing a few more books, I head over to Nerd HQ for lunch and to hang out “off campus” for a while.  Met up with a few folks, had a great turkey sandwich ( I was ready to gripe about the price, but this thing was huge), and missed one die-hard fan (you know who you are) by about ten feet.  Then it was a race back to the Crown booth for my first official signing there.  Met lots of people.  Signed lots of Ex books (I think close to sixty or seventy in a two-hour period) and even a few copies of 14.

Finished up the day having drinks with my agent and editor, talking about future projects.  Then ended up having more drinks at the Top of the Hyatt until… way too late.  Again, thank God the hotel room was right there.

Sunday—One last visit to the Robot4Less booth and then I was back to Crown.  After listening to me grumble every time we ran into each other, Katie from Evil Girlfriend came through with some extra Monster High swag for my niece.  I met a bunch of folks, signed another few dozen books, and the con closed.  Final estimates said over 200 books signed, and both Crown and the nearby Mysterious Galaxy booth both pretty much sold out.  I helped pack up a bit, said my goodbyes to everyone, and then wandered to an undisclosed location downtown, where I was picked up by a man in a dark car…

I was so exhausted that when I got back to my friend’s house I collapsed almost immediately on the couch.  A few of us tried to hang out for a bit, but four days of very little sleep and too much going on finally caught up with me.

Monday –I watched a few countdowns on the Chiller channel with my friend Marc while we talked about geeky stuff, ate lunch, and then I drove home to Los Angeles. There was, thankfully, much less traffic than there was heading down

And now I can’t wait until next year…

        Ex-Communication is being released on July 9th, 2013.  I know, finally…  It’s been done for ages, but then got caught up in the whole Crown deal and the usual publishing stuff.  Sorry for the long wait, but I really think it’s going to be worth it.

        Nope.  I’m currently finishing up a fourth one which should be out in October of 2013.  I’ve also got very tentative plans for a fifth book, but that would all depend on Broadway Books and how well the series does for them.

        I’ve never really planned it as a trilogy or having a set specific storyline.  I get to leave some threads hanging for later things, and if all goes well I get to pick up those threads in later books.  There are some specific things I know people are hoping to see resolved in Ex-Communication, but there are a few things that may still linger.  The series could go on for a while.

        I’d rather not say at the moment.  I don’t like spilling too much in advance because people tend to latch on to a lot of out-of-context stuff and make a lot of judgments about it—despite the fact that it’s a snippet they’re seeing out of context.  I’m kind of like JJ Abrams that way.  Just without the fame, prestige, money, or power.

        See above.

        I actually love to think people are talking about my books.  It still stuns me, to be honest.  What I hate are spoilers.  That’s why I always delete it when someone posts revealing information from the back half of a book and why I try to avoid those questions in interviews.  It’s fantastic that someone enjoyed it so much when XX found XXX and realized XXXX, but by talking about it (or posting or whatever) they’re making sure the person they’re telling can’t enjoy it the same way they did.  It’s like explaining how a magician does all his tricks and then taking someone to see the show.  It won’t be as fun, and it’s not how you’re supposed to see a magic show.

         And, yeah, this is a page for folks who’ve read my books, but not everyone’s read everything.  A lot of folks are here for the Ex-Heroes series, but a lot of people found this page because of 14.  It may be a stupid attitude in the information age, but I don’t want to ruin the experience of these books for anyone if I can avoid it.

Will there be a sequel to 14?

        I don’t really have one planned.  14 was always intended to be a stand-alone book, which was part of the reason I was able to do so much with it, story-wise.  It’d be tough to do anything with it that didn’t feel a bit cheaty or expected (I hate prequels).

        That being said… I have had a few very loose, very faint ideas for a sort of side-quel to it.  Think of it as more of a Next Gen– Deep Space Nine relationship.  But I wouldn’t do anything until I had a good, solid story to tell, so that’s not happening in the foreseeable future (for at least a year or two).

        Probably not.  I think a lot of the fun of The Junkie Quatrain was the interconnected-overlapping nature of the stories, and it would be tough to replicate that without feeling a bit forced and awkward.  I think we’ll probably have to draw our own conclusions about what happened to all those characters.  Well, all the ones that survived anyway…

        However, we may see some of the various characters again.  Quilt has been showing up in my stories, in one guise or another, since my first real attempt at a novel in college (sort of like Stephen King’s Man in Black, Randall Flagg).  If you follow my ranty blog at all, Quilt’s actually a supporting character in The Suffering Map.  I think he’s just a creepy, badass professional in almost every reality.

        I love attending cons and meeting folks, but it usually burns down to time (I do need to keep writing books) and money (airfare and hotels add up quick).  Driving distance has better odds than flying distance, west coast has better odds than east coast.  I’d love to do more, I just need to figure out ways to make them fit with those two factors.

        Nope.  It’s nothing personal, I just really don’t like Goodreads.  To be honest, I can’t stand the site, I submit nothing there, I post nothing there, and make it a point to spend as little time there as possible (which fortunately works out to “no time” in an average month).  I understand a lot of people love the site and if it works for you, that’s fantastic.  I won’t be there.  No friends, no reviews, no messages, no comments, no nothing.  I’d explain why, but… I’m taking the Thumper approach.

          Man, wouldn’t that be cool?  Alas, there’s been a lot of interest (from a few big players), some talks, a few meetings, one lunch where I had a really amazing cheeseburger, but as yet no one’s decided to move forward with anything.  Believe me, if it happens everyone will know.  Everyone.

         Alas, no.  It was just a funny comment to end an interview and some folks latched on to it.  I had a clever idea a while back for how the story could be redone, but I think it’s very, very, very low on Hollywood’s list.