Category: McGuire

October 15, 2020

YOU LIAR!

 No, no, I’m not talking about you.

 I’m talking about him.

You know who you are.

There’s an issue that came up in one of my weekend B-movies recently, and it also came up in a book I was reading last month. Not the first time I’ve seen it in either format. And I thought it was worth talking about for a minute or three.

And that issue is cheating.

I’ve talked about twists many times here on the ranty blog. I friggin’ love a good twist.  Seriously. I will forgive a story a lot if it can knock me over with a completely unexpected reveal that seems obvious in retrospect. That’s the kind of thing that makes me want to grab a book and read the whole thing again. There are movies I love to rewatch just to see how beautifully the filmmakers set up a fantastic twist.

Now, in the past, I’ve addressed a problem some writers have when they try to set up a twist. And that’s when the revealed information—the twist—is something the reader couldn’t possibly have known or even guessed. If I tell you Wakko is actually the clone, it makes us realize how we-misinterpreted some parts of the story and a couple things line up now that didn’t before. If I tell you Phoebe is actually the clone, it makes us ask who the hell Phoebe is. Is she even from this story? Also, wait, this story is about clones…?

In the past I’ve tried to soften this criticism by saying the writer didn’t understand how to set up a twist. And while that’s still true in the big scheme of things, I think it might be  a little more helpful to just be direct. When this happens, the author is cheating in how they tell the story. They’re lying to the readers.

And sometimes, you just have to call out the liars.

Yeah, this sounds a little harsh and a few folks may already be raising their defenses, so let’s take a moment and be clear what we’re talking about. This is a very specific thing I’m referring to. Cheating is a deliberate thing, a choice, as opposed to a simple mistake.

All that said, let’s talk about what makes a good twist. I’ve talked about these all at different times, but I think a good twist always has four distinct elements.

1) My readers and my characters don’t expect a twist is coming. If I tell you there’s a big secret about my cat you’ll never guess, you’ve been flat-out told there’s something about my cat you wouldn’t expect. Likewise, if the shadowy figure is constantly referencing things only certain people could know, they’re probably connected to one or more of those people. It’s hard for any twist to land well when people are on the lookout for it.

2) The information a twist reveals has to be something my readers and characters didn’t already know. Telling you I have cats is not a big reveal, especially if you follow me on Instagram. This information has no weight. Telling you one of my cats is a cyborg is a reveal—that’s something you didn’t know.

3) The information revealed in a twist has to change how my readers and characters look at past events in the story but (very important) this information can’t contradict the information they’ve been given up until now. I can’t say my cat’s actually a plush toy dog after calling her a cat for a hundred pages and talking about the vet bills when she got her cyborg parts. Worth noting—this is when a lot of twists go wrong.

4) Finally, a twist needs a certain amount of time to build up strength. It’s really tough to have a good twist in the first five pages of a novel. As I mentioned above, a twist needs to alter our view of past events, which means… there have to be past events. If my cat’s showing off her laser eyes and adamantium claws on page eight, this isn’t a twist—I’m just introducing a character.

Granted, these are my own requirements, not something (to the best of my knowledge) taught in any courses or books. For this little rant of mine, it’s 2) and 3) we’re most concerned, because that’s where the cheating often comes into play. Because cheating (and lying) usually involve the manipulation of information to suit your own needs.

Now, right up front, it’s really common for me, as a writer, to lead my audience into believing something. To carefully choose words and phrases to make them think X when the truth is Y. This is a standard aspect of storytelling—what I want the reader to know and when I want them to know it.

But it’s important that I don’t cheat. I may leave a few facts out. I may deliberately guide them down a different path. But I can’t lie to them. The moment I lie—even if I’m doing it to make the story “better”—I’ve broken the contract. They’ve got no reason to trust me, and it’s not unfair for them to start doubting and questioning everything in the story.

So what do I mean when I’m saying cheating or lying? Let’s break it down by those two points from above…

As far as 2) goes, I need to be revealing information the audience doesn’t know, but it has to be information they could know. It can’t break the characters or the world I’ve established. It needs to fit within that context.

For example, if my twist is that Bron from Game of Thrones has psychic powers because he’s actually a mutant from an alternate future timeline… well, it’s definitely information we didn’t know. But we never could’veknown it. With everything we’ve been told it’s just an impossibility in this story. Likewise, if I’m writing a murder mystery and the big twist is that the murderer is Phoebe… we should all know who Phoebe is. Revealing a name we’ve never heard before at a critical moment doesn’t really solve anything.

A good way to think of it is whatever information I’m revealing in my twist is something my readers should be able to guess—even if it might mean a few guesses. If I have twenty characters/potential suspects in my murder mystery, the reader shouldn’t need thirty-seven guesses to name the murderer. If I’m three hundred pages into my grimdark medieval fantasy story, I can’t abruptly say the dark lord’s secret weapon that’s wiped out armies is a battlemech with a meson death ray. Why would anyone ever guess that?

When we’re talking about 3), the big cheat is usually just a straight contradiction. The facts I give on page 150 or 200 just don’t line up at all with the facts I’ve given you before. I’ve told you two or three times that Wakko’s a computer programmer but then it turns out really he’s a genetic engineer.  Numerous characters have said there’s nothing within a hundred miles of our village, but then they escape to the town on the other side of the valley. And if you find out on page 175 of my political thriller that the secret informant is actually an angry ghost… well, I’d understand if you tossed it aside at that point.

One of the worst examples of cheating is when we’ve been seeing over a character’s shoulder or “hearing” their thoughts for a hundred or so pages and they just, y’know, never happened to think about the fact they’re the serial killer the whole city’s searching for. Or that Wakko constantly calls himself as a computer programmer (even in private) until we find out he’s the genetic engineer who activated Dot’s Zoanoid genes (double-geekery reference). This is the kind of things that make readers grind their teeth, and it really stands out on a re-read.

In the end, these lies are just about no being honest with my readers. I’m lying to them about what Wakko does. I’m lying about what’s going on in his head. I’m cheating to create a certain effect rather than actually creating the effect.

Y’see, Timmy, I think the reason some writers fall back on these blatant cheats and lies is… it’s easier. Doing the work is tough. Lying is simple. And if I just don’t feel like doing the work, it’s really tempting to just say Wakko’s a computer programmer and move on.

Good writing is tough. It’s work. Sorry to be the bearer of bad news, but it is. There are a lot of nuances to this art and they’re going to take actual effort if I want to come close to mastering them. To pull off a really good twist is probably going to mean going over my manuscript two or three times, making sure everything lines up and fits together just right.

But when you do it–when you do the work and don’t lie, don’t cheat—that’s when you make something that sticks with people. Something fantastic they’ll remember and talk to people about and recommend constantly. Because a great twist makes a good book twice as good. The readers get to enjoy the whole story, and then they get to enjoy it again, seeing and appreciating how everything fits seamlessly together.

True story. Like a lot of my books, Ex-Patriots has a twist in it. It’s such a big twist that, when one reader hit it, she couldn’t believe I could’ve slipped this past her for the entire book without her noticing. In fact she immediately re-read the whole book, convinced I had to have cheated. And when she realized I hadn’t, she (somehow) hunted down my phone number and called me to rave about it and congratulate me.

And that, friends, is how I met Seanan McGuire.

Do the work. Don’t cheat. Don’t lie.

Good advice for writing and life.

Next time, I wanted to talk to you a bit about characters.

Until then, go write.

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August 22, 2019 / 2 Comments

Trilogy vs Series vs Universe

I got an interesting comment on the FAQ the other day. Well, on one of the social media sites where it’s pinned. Someone announced they were going to quit reading the Ex-Heroes books because they just learned “there was never going to be an actual ending.”  Which is true, but… it’s always been true. It’s one of the reasons pretty much every book in the series has ended with a quiet moment that could be “the end.” This was never a trilogy or heptalogy or something where it’d come to a neat, tidy, planned-out-from-the-beginning end.—and I’ve said this at least a hundred times in interviews, at cons, and just to random folks who’ve asked.

I wonder if this person’s gonna stop watching the MCU, too. Pretty sure there’s no “actual ending” planned for that. Or the James Bond franchise. I mean, how does somebody like that watch television? Did they wait seven years to make sure Elementarywould get an “actual ending” and not be cancelled between seasons like so many programs?

It’s funny because we’d just been talking about this at the Writers Coffeehouse last week (or two weeks ago at this point, I guess). How do you approach writing multiple, connected books? And one thing we talked about a lot was howthe books are connected. Because that’s going to have an effect on how I write them and the stories (or story) I end up telling..

…and then we spun off onto a bunch of usual segues.

Now, I’ll warn you right up front, there’s not going to be a lot of “how to” in this post. As I’ve said here a bunch of times, writing’s a very unique process.  You don’t write the way I do, I don’t write the way she does, she doesn’t write like you. So adding another layer on to that—find the best way to do this that works with the way you do that—is just going to be too much. It’s variables on top of variables.

What I’d like to do instead is throw some terminology at you and maybe some thoughts about how we can define some of those terms. Less instruction, a little more food for thought. Things I should keep in mind when I’m sitting down to smack my head against the keyboard.

All that said… let’s talk about stories and the different ways they can be connected. Because let’s face it, this is a big dream for a lot of folks–to have a group of characters, or maybe a world, that’s so cool people will pay us to write multiple books about them. For our purposes here, I want to break these multiple books down into three broad groups. I’m going to call them series, trilogies, and universes.

Also, let me be clear on something up front. I’m just saying “trilogy” for convenience. We could also say quadrilogy or hexalogy or any number of increasingly obscure words with that Greek-logos suffix. I’ll explain more when we get there.

Let’s start with a series. Simply put, this is an ongoing, open-ended collection of books or stories, almost always involving the same protagonists. If you think of a television series, that’s pretty much the same idea. I want every book to end with the potential of another book. It’s also not uncommon for these books to restore the status quo for our characters at the end, leaving them pretty close to where they began on a personal level. It’s why a lot of series get scoffed at as “plot-driven”–because not a lot happens with the characters on a story level.

You may have heard me mention that term before—series potential. That’s what we’re talking about. Each book could have—but doesn’t need to have—another book after it. If you stopped reading with this one, you’d probably be fine and feel like you’d read a complete story. But if I told you there’s another one, your first reaction shouldn’t be “What? How?” Editors love books with series potential. Seriously.
The trick here, of course, is it means I have to wrap up this story while also leaving space for another story. There’s a reason we’ve never seen a Bond movie that ends with “and peace reigned forever after.” And why we always see Jack Reacher wandering out of town at the end of every book.

Next up would be the trilogy. This is when my story’s set across a very specific set of books, rarely hitting double digits. And it’s been planned this way, in the same way I plan where the beginning and end of a book may be. Yeah, I’m saying trilogy for convenience but it could be four books or five—but I know how many there’s going to be when I start and it rarely changes. The Harry Potter books were always meant to cover his seven years at school, one year per book. Chuck Wendig’s Aftermath books are a trilogy (an actual one), as were both the Newsflesh and Parasitology books by Mira Grant a.k.a. Seanan McGuire.

One of the key things here is that even though this may be three or five or seven books, there’s only one main story running across them. It’s not uncommon for the books to have lots of dangling threads, or maybe even a full cliffhanger ending. And that’s okay in this case because we knowthere’s going to be another book. Again, cause this is all one story.

The other key thing, I think, is the story itself. I don’t want to plan out a trilogy when I really only have enough story for one book. Or plan on seven when I’ve only got enough for three. You get the idea. Despite the multiple books, we’re talking about a set, self-contained story, so I need to be honest with myself about how much story I’ve really got.

Again—sorry to be repetitive—I’m just using trilogy as an umbrella term for a single story told over a set number of books. I want to be clear because it’s a term that gets slapped on to a lot of different things and, to be honest, I don’t want to read someone’s six paragraph spiel in the comments about how valid duologies are or that, no, that ISN’T what a trilogy is because abcxyz.

Finally we have a universe. This is when a number of books have a shared background and common elements, but don’t necessarily connect in any way past that.  There are a lot of popular media-tie in ones, like Warhammer 40,000, Star Wars, and the Marvel Cinematic Universe. Heck, lots of comic publishers work with shared universes where their characters coexist, like Marvel, DC, or IDW’s Hasbroverse (where Rom the Spaceknight once bodyslammed Optimus Prime after killing some GI Joe team members who were secretly Dire Wraiths). You may have read a few books set in Paul F. Wilson’s Secret History of the World. All of these different universes include multiple plotlines and story arcs that stand completely independent of one another, even if we see some connective tissue here and there.

The important thing to remember here is that story universes rarely start out as such. They usually begin with a single series or trilogy, but then popularity demands a sequel or a prequel or a spin-off or what have you.

Another key thing in a universe is the world building. I just talked a few weeks ago about what’s possible within the reality of my story, and it’s important that the different stories within my universe don’t contradict each other. I can’t say magic doesn’t exist here, then have a sorcerer there. Aliens can’t attack the city but people one block over in another book are still insisting aliens aren’t real. When I get to the point of universe-building, consistency is key.

One last thing. Now that we’ve got these three broad definitions, let’s talk a little bit about exceptions. Well, about why I’m not really going to talk about them.

While there are times these three groups might overlap, the simple truth is it’s a much-later-in-my-career sort of thing. We have to acknowledge these exceptions happen after I’ve established my norm.  It’s just not something to be thinking about at an early stage of my career. Believe me, if I walk in to my first (or second, or third) meeting with a publisher saying “it’s a trilogy of trilogies set in a shared universe with…”

Well, honestly, I can probably say whatever I want at that point because the odds are pretty good everybody’s already tuned me out. I’d written ten fairly successful books before I got to say “I think this one’s going to be set in the same universe, but isn’t really going to be part of the same series.” And even then, it kinda made some people uneasy.

So if I want to start thinking those bigger, grander multiple-books thoughts… go for it. But I should try to keep a couple things in mind and be clear about what I’m really trying to write. Especially so I can be clear to interested parties.  
Speaking of writer-thoughts, if you missed it, earlier this week I did a mini interview with my friend Craig DiLouie where we talked about his new book Our War, his writing process, and stuff like that.
Next time, I want to address a software issue real quick.
Until then, go write.
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November 29, 2017

Other Awesomer Books

            Monday I posted the usual ego-stroking Cyber-Monday list of my own books and some anthologies I’m in.  Today–as I have in the past–I thought I’d toss out some other books I’ve enjoyed this year that were written by much more talented people than me.  They’re not really in any order, and a few of them aren’t exactly new, but if you’re looking for something for that special somebody (or for yourself), it’s going to be tough to go wrong with any of these… 
            As always, you can prove you’re a morally better person by visiting your local bookstore.  There’s still plenty of time for them to order something for you if they don’t have it in stock.  Plus, some of them have connections and can get you autographed copies and stuff like that…
Every Heart a Doorway by Seanan McGuire—the short, simple explanation is that this book is about all those kids who find mystic gateways or enchanted wardrobes or interdimensional touchstones, have fantastic adventures… and then eventually end up back in their normal, mundane homes again and having to cope with real life. The best thing I can think to say is that I’m so ridiculously jealous of this book. It’s just magnificent.

Blackbirds by Chuck Wendig – I am super-late to the table with this one, because Wendig’s been writing this series for five years now.  Miriam Black is a foulmouthed alcoholic who’s gifted (or cursed) to immediately know how and when everyone she touches is going to die. After years of dealing with said ability, she’s seen someone’s future death that involves… her.  It’s funny and dark and fantastic and I think there are five of these books now.

Heroine Complex/ Heroine Worship by Sarah Kuhn –superpowers are real. So are superheroes.  The two aren’t always connected.  Oh, demons are real, too, and they can possess all sorts of things.  Evie and Aveda are such crazy-fun -lovable-exciting characters that you’ll devour each book in a day.  I did.

Killing Is My Business by Adam Christopher—I mentioned the first book in this noir-robot-detective series a while back. Adam’s written more of said series.  They’re still amazing, and now there are mysteries-within-the mysteries.  You should read them.
An Excess Male by Maggie Shen King – I got to read an early copy of this and it’s just brilliant.  A dystopian tale set in future-China, where the one child policy has gone… well, just like everyone predicted.  Our four protagonists are trying to form a family while also each hiding an array of personal secrets and deciding who to trust with them.  It’s a fantastic, slow-burn book that reads like the wonderfully twisted love child of The Handmaid’s Tale and Big Love.
Sleeping Giants/ Waking Gods by Sylvain Neuvel—another one I was late picking up (but got caught up quickly).  A fantastic epistolary tale about the discovery of a giant alien robot and the team that comes together to figure out how they use said robot to defend the Earth.  It’s Contact crossed with Pacific Rim, and if that idea doesn’t excite you we have nothing else to say to each other.
            Good day to you.
            I said good day.
We Are Wormwood by Autumn Christian – a beautifully surreal tale about a young woman growing up with insanity and then… well, descending into it herself with a few nudges from her demon girlfriend.  Christian also has a fantastic collection of creepy/scary/sexy short stories called Ecstatic Inferno that I wolfed down in about a day.  I befriended her on Twitter just so I can constantly prod her to write new stuff for me to read. I’m selfish that way.
Ninth City Burning by J. Patrick Black—okay, this glorious space opera’s kind of tough to explain, because in the future Earth has shifted over to an entirely new form of technology.  In short, its about a group of people developing new weapons, learning to use them, and learning to be them.  It may take a little bit to get into this one, but it’s sooo worth it.

Revolution –by John Barber and Cullen Bunn—I was a die-hard comic fan for years, but got driven out by the constant (and often substandard) crossover events.  I started reading some of IDW’s “Hasbroverse” books last year and was frustrated when they announced Revolution, their own upcoming crossover event.
            Holy crap.  This was my favorite comic book event in at least twenty years. It begins with a conflict between the GI Joe team and the Autobots which gets disrupted when Rom the Spaceknight shows up and uses his Neutralizer to incinerate General Joe Coulton before flying off again. If you were already a fan of IDW’s GI Joe or Transformers books, you can guess how a silver robot showing up and killing the Joes’ CO goes over.  If you’re a fan of Rom… you know what this killing implies.  Revolution is honestly suspenseful and dramatic, and has amazingly solid ties to all the books involved.  It’s clearly a crossover that was planned far in advance, and it made me a regular at my comic shop again.

            And anyway, those are some of my favorite things I read this year.  Any one of them would make for a fantastic gift.  And if you’ve got some suggestions of your own, please mention them in the comments down below.

            Tomorrow… regular old writing advice.  Thanks for your patience.

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August 27, 2015 / 2 Comments

Q-n-A Bonanza Extravaganza

            Spectacular spectacular!
            What I’m going to do this week is run through a few questions and requests that have shown up here this summer.  A few of them I can do a full post on, but some of them are things I’ve touched on before (or, at least, I think I have) so I think I can answer them with a few paragraphs and links.
            So… let’s get to it.
How similar are your drafts in terms of character arcs and overall plot? 
            Tricky question that’s going to be a little different for every writer and for every project.  For me, once I get a pretty solid draft, it’s really rare for things to change that much.  It happens sometimes, but not often.  I think once the plot and story are solid, for most writers, there won’t be any real changes to them.
            Please note, though, that I didn’t say no changes.  Every draft is going to be a little different as I tweak and cut and make other adjustments.  But all of these adjustments serve the plot and the characters.  Things are just getting tighter and clearer.  Maybe it means omitting a few story beats or changing someone’s second language from French to Spanish.  But these changes aren’t changing the bigger picture, they’re enhancing it.
           It’s probably worth mentioning that if I’m making changes that do radically alter my plot or characters, what it really means is that I don’t have a solid draft yet.  Yeah, even if I’ve done six drafts before this.  If I suddenly realize Yakko should be my main character while Dot’s the supporting character who dies in the second act… that’s a big change.  That’s a lot of changes.  It means different interactions between different characters, new motivations, possibly a whole new linear structure.  And it also means I’m kind of going back to square one.  Now I need to tweak and cut and make adjustments to this plot and story.
            Do you have any thoughts on working on multiple projects at once? Like editing one, drafting another, plotting a third? Is that something you do?
            Yeah, I do this, but in a bit more limited sense.  When I’m working on a first draft of something, I focus pretty much exclusively on that.  Once I’m out of that, though, and into the editing, I’m always jotting down character ideas, lines, beats—all sorts of elements—for whatever I’m going to be working on next.  So while I’m doing drafts on one I’m setting all the groundwork for another.  I’ve also  found this helps me as far as any kind of block goes—being able to dip my toes into something else helps keep my brain from getting stuck on a project.
            Overall, though, this is one of those things that’s definitely more advice than rules, because it’s all going to come down to the individual.  Am I someone who can split their attention or not?  And to what extent?  Some folks can do it (to different degrees), some folks can’t.  Unfortunately, the only way to find out is to try it once or thrice.  I’m comfortable at the level I just described.  You might be able to do two or three  things side by side.  Someone else might need to focus on one thing at a time.   
            I do think it’s worth noting that “another project” can easily be a distraction, too.  Sort of like eating when you’re bored.  I’ve also seen some folks use multiple projects (consciously or not) as an excuse to never finish anything. Sooooo… something to keep in mind.

I’m still struggling with how writers develop an interesting narrative voice – character voice I think I’m getting the hang of, but the narrative bits still sound like me reading a grocery list. 

            Narrative voice can be tough.  Part of it depends on how much I want to insert myself as the author. Some folks do this extremely well, others… not so much.
            As far developing a narrative voice goes, think of it like a narrator. Who’s actually telling this story to the reader?  I’m not saying my book or short story has to be in first person, or that a narrator even has to exist, but in my perfect world, who’s reading this aloud?  Christopher Lee?  Felicia Day?  Doug, the guy down at the garage?  Ms. Phoebe, my college English professor?  Knowing the narrator tells me how they talk and what kind of words my narrative voice will use. 
            So, from a certain point of view, the narrative voice is another character. Even if it’s me, it’s the version of me I’m choosing to project through my writing (a friendly me who wants you to enjoy the story and is going to tell it in fun, simple terms, and who also has much better abs…).  So narrative voice is a lot like character voice, which is something I mentioned here just a few months back.  Well, okay, a year and a half ago…
            It’s probably worth mentioning that if there isn’t some kind of narrative voice in my head to start with, that might be a sign of a bigger problem.  If I have no sense of how my story should be told—how my audience should be hearing the words in their heads—I may need to stop and think about things some more.   Maybe the plot or the story aren’t as solid as I thought, and if they’re not clicking with me, there’s a good chance they won’t click with anyone else.
            Do you feel  an author should stick to one genre for the most part?  I want to go write something as far from my current genre as possible. Will that throw my fans for a loop?  I notice that you and most other authors pretty much stick to one thing.
            Well, I’d argue not much of my work falls in the same genre, unless we’re talking in broad, sweeping terms.  I’ve got a superheroes vs. zombies series (sci-fi fantasy with some soft horror), a suspense-mystery-horror novel, a sci-fi thriller, a classic mash-up where I share credit with Daniel Defoe, and I just started work on a historical time-travel road trip story.  I’ve also got some short stories out there that are straight horror, some that are straight sci-fi, and even a pulp action war story.
            And I’m not alone.  The majority of writers work in a bunch of genres.  They may be known for one thing, but they’ve usually got a lot of other stuff past that.  Jonathan Maberry, Seanan McGuire, Scott Sigler, Craig DiLouie, Eloise Knapp, Timothy Long—and these are just the ones I know personally. All of them have written in at least two or three genres.
            Heck, look at Stephen King.  He’s known as a horror writer, but Firestarter and The Dead Zone, two of his earliest works, are pretty much straight sci-fi when you really look at them (there’s a post in that alone).  Under the Domeand 11/22/63 are both pretty solidly sci-fi, too.  The Dark Tower series is an epic fantasy.  Eyes of the Dragon is a young adult novel.  And then there’s “Rita Hayworth and Shawshank Redemption,” a  prison drama/character study that was adapted into a wildly popular film by Frank Darabont.
            So, no.  I don’t think an author needs to stick to one genre.  Yeah, there are some fans who might get upset I’ve moved away from their particular interest, but there’ll be just as many who’ll be intrigued to see how I deal with something else, and new ones who’ll come to me because of that something else.  And it’s my opinion that flexing those other muscles, so to speak, usually makes someone a better writer overall.
            I will say, though (there’s a “however…” on almost all of these, isn’t there?), that I don’t recommend chasing the popular trend.  It’s tempting to jump on the nymphomaniac-android-biker-school-romance bandwagon, I know.  But it rarely works out well in the long run.
           
            And I think that’s everything for now, yes?  Okay, I went over three or four paragraphs for some of them, but if you’re going to complain about that… Also, if I misread your question somehow, or if my answer just wasn’t complete enough, please say so down in the comments and I’ll try to answer there.  Or maybe bump it up to a full post.
            Next time, I’m going to answer one of those larger questions I mentioned up at the top. 
            Until then… go write.
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