Category: Wendig

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.

A few years back I was on a panel with Pierce Brown (back when cons were safe) and he made the great analogy that genre is like a compass. It’s a thing pointing you in a certain direction. You like sci-fi, go north. Fantasy is off to the west. Romance, head east. Sexy romance, you head south-east. You may not find the exact thing you want, but that’s the direction of things that’ll probably interest you.

I think genre is also a set of expectations. Really, I think genre sets expectations. If you tell me something is horror, at some point I’m going to expect something scary or creepy. If you tell me it’s comedy, I’m going to be waiting for the laughs. If it’s a murder mystery, where the heck is my body? I WAS PROMISED A DEAD BODY!

And I think this is where problems can arise. Because if I’m following that compass and I’ve got those expectations, it can be very disorienting to get something else. More to the point, no matter what it is, that something else is going to fail to meet those expectations I have. And when something doesn’t deliver like that, our automatic reaction is almost always that this thing is bad. It’s wrong.

Look at it this way. If you tell me we’re going to the LEGO store and instead we go to the book store… well, I mean, these are great and I enjoy them both a lot. But they’re still different places. And depending on how much I was looking forward to one, I might be less inclined to see the good points of the other.

Likewise, if I’m referring to something as the wrong genre, or leading people to believe it’s a different genre… they may view things with a harsher eye when they follow that compass to my work. I mean, you can try to defend it any way you like, but the simple truth is the latest Hellraiser movie is the worst-written, worst-structured romantic comedy you’re ever going to watch. It’s just horrible. Seriously, it misses every single romantic comedy benchmark you can think of. The two leads don’t even kiss at any point!

Of course, Hellraiser wasn’t trying to be a romantic comedy. Not remotely. It’s a fantastic horror movie, but that won’t matter when I’ve told everyone to judge it by romantic comedy standards. They’ll look through that lens and nothing will line up. It’ll all be… wrong.

And this holds of sub-genres, too. We all recognize that “horror” isn’t one, monolithic thing. There are so many different types and flavors of creepiness. Cassandra Khaw’s The Salt Grows Heavy is horror, sure, but that doesn’t mean we immediately lump it in with The Last Voyage of the Demeter. Cherie Priest’s The Toll is horror, too, but that doesn’t mean it’s doing the same things as Chuck Wendig’s Black River Orchard, which doesn’t approach things the same way as the Out There Screaming anthology. And none of these are like my own book, The Broken Room, which has a bunch of horror elements.

Why do I bring this up?

When most of us start off as writers, we flail a bit. We attempt to copy stories even though we don’t quite understand all the mechanics of them. We’re not sure where our own stories fit under that big horror umbrella (or sci-fi, or fantasy, or…). We’ll begin a tale in one sub-genre, then move into a plot more fitting a different one, wrap up with an ending that belongs on a third, and have the tone of yet another through the whole thing.

Y’see, Timmy, it’s important to know what I’m writing for two different reasons. One is so I’ll be true to it and don’t end up with a sprawling story that covers everything and goes nowhere. Two is that I also want to be able to market my story, which means I need to know what it is. If I tell an editor it’s not torture porn when it plainly is, at the best I’m going to get rejected. My readers may toss it aside.

At the worst, they’ll all remember me as “that idiot” the next time they see something of mine.

Next time… well, for some of you November means NaNoWriMo. It used to, anyway. So I wanted to toss out a few quick thoughts about that.

Until then, go write.

Hey there! As I have several times in the past, I thought I’d take a moment at the holidays to mention some of the books I’ve read and enjoyed this year by much more talented authors. If you’re still wondering about what to get that certain someone, you could go hit your local bookstore, browse around a bit, and maybe find a few things from this list they might enjoy.

Or maybe you’ll just find something on your own. That’s the fun of browsing in real-world bookstores.

So, in no real order…

Project Hail Mary by Andy Weir – we’ll start with an easy one. If you haven’t somehow heard, Andy’s latest is (surprise) just fantastic. The tale of an (accidentally) lone astronaut’s desperate attempt to save the Earth. It’s fun, it’s fast, it’s incredibly smart while being ridiculously accessible. Absolutely anyone will enjoy it. Yeah, even that grouchy uncle who doesn’ tlike sci-fi stuff.

The Invisible Life of Addie LaRue by V.E. Schwab—I’m a sucker for stories about memory and identity, and this book approaches it from the opposite side. What if it wasn’t your memory but everyone else’s. What if no one could ever remember you? What if they forgot you the moment they couldn’t see you? What kind of life would this be? And what if that life never, ever ended… ?

Bottle Demon by Stephen Blackmoore—every year Stephen writes a new book about necromancer Eric Carter and every year it ends up on this list. This most recent one is, hands down, his most amazing, and probably the most emotional, too, as Carter deals with an army of golems, an irate djinn, and the completely mysterious and unexpected resurrection of… well, himself.

King Bullet by Richard Kadrey—if you’re one of those people who waits for the end of a series to start reading, well, I guess this is a good day. Kadrey brings the Sandman Slim books to a close with one last Stark adventure and a truly magnificent ending that feels perfectly fitting while also being somehow completely unexpected.

Dread Nation by Justina Ireland—I’ve read a lot of zombie books out of a very broad genre, but this book manages to be fresh and very fun, picturing an alternate world where the American Civil War is disrupted by a mass zombie outbreak, and young women of color are trained to be bodyguards against the undead for “proper” women. I liked it so much I recommended this one for our Last Bookstore dystopian book club.

The History of What Comes Next by Sylvain Neuvel—a wonderful tale about aliens and their very long-game plan to shape the Earth’s assorted space programs to prepare us for… something. It’s one of those books that’ll teach you a lot of history even as it entertains you.

Madi by Duncan Jones, Alex deCampi, and too many fantastic artists to list here—this graphic novel is set in the same world as Jones’s films Moon and Mute, and asks what happens when a government super-cyborg decides to retire, especially when their body’s loaded up with proprietary software and hardware that requires ongoing maintenance and updates. It’s kind of like the weirdly fun baby that came out of a threeway between The Transporter, Crank, and The Bionic Woman.

Hard Reboot by Django Wexler—it’s a love story about a pair of women trying to rebuild a giant robot so it can compete on the giant robot pit-fighting circuit. Seriously, what more do you need to know?

Reclaimed by Madeleine Roux—remember what I said about memory and identity? Seriously, it’s like Madeleine wrote this book just for me. A group of people agree to be test subjects for a procedure that can erase traumatic experiences from your memory. But how much of who you are is defined by those experiences? What kind of person are you changed into once they’re gone? And how would you go about fixing that change…?

The Book of Accidents by Chuck Wendig—this is a beautiful, brutal book, and it’s almost tough to recommend because it hit a lot of nerves for me, personally, that are probably going to be raw forever. That said, it’s a wonderful book about choices and consequences and how they make us who we are.

All Systems Red by Martha Wells– people have been telling me about the Murderbot books for ages, so I’m really late to this party. You may already know this but if you somehow didn’t… wow, what a fun read. The story of a security android that figures out how to hack its own code, inadvertently becoming an independent being and now stuck guarding a group of scientists on a survey mission.

Ballad of Black Tom by Victor LaValle –another one I’m really late on but goddamn. This was one of the first books I read in 2021 and it’s still hands down the best. There just aren’t enough adjectives to describe how fantastic this book is and on how many levels. Lovecraftian horror grounded in real-world horror and it’s just brutally beautiful.

And those are my personal favorites for the year. I may add to this list over the next week or two, depending on how my current reads go. Please feel free to add any of your own must-reads down in the comments. I’d also shamelessly remind you that you can find a lot of my own books at your favorite local bookstore, like The Fold, Paradox Bound, or the Ex-Heroes books.

I’ll also take this moment to remind you of my Black Friday offer, just in case you missed it earlier. Please feel free to get in touch if you think it might help you out. And please—it’s not about if someone needs it more than you. It’s just about if you need some help.

Oh, and if you happen to be at SDCC Special Edition this weekend, I’m going to be hosting the Writer’s Coffeehouse on Sunday at 11:30, room 32AB. Ninety minutes of random tips and facts from me as I try to answer all your questions about publishing, writing, and anywhere those two might overlap.

Happy holidays. Probably back to all our usual stuff next week.

I was thinking of new topics a week or so back, and about the fact there’s not much I haven’t covered here. I mean, it’s been well over thirteen years now. There’s only so many times I can say “Try to make your characters relatable somehow.”

And that train of thought led me to, well… why are you still here? Why are you still reading this? Not just this post but I mean… the whole blog?

Yeah, over the past year or so, I’ve tried to be better about doing stuff here. Writing advice is still the majority of it, but lately I’m also trying to put up some related thoughts on publishing, marketing, movies, and well… the state of the hellworld we’ve all found ourselves living in.

But, yeah, in all fairness, a lot of the writing advice is stuff I’ve gone over once or thrice before. Which makes me ask, again… Why are you still reading this?

I mean, I love that you’re here. Seriously. It’s truly appreciated. But I’m asking about you in the larger, general sense. What are you still hoping to find here?

For a lot of our time as writers, professional or not, there’ll be people taking that journey with us. They can be teachers in school or professors at university. Maybe they’re other writers we know. Some might be at the same stage of their writing career as us. Others may be a bit behind. A bunch of them may be way ahead of us. Or they could’ve written a bunch of books (or blog posts) about writing and storytelling you really enjoyed.

And these folks have given you tips and suggestions. Maybe some rules to follow. A few guidelines. Maybe a bunch of examples. They’ve pointed out paths to follow and given you a gentle (or not so gentle) nudge in what they think might be the right direction for you.

Eventually, though—like with any active effort to learn—there’s going to come a point when the time and money I’m investing in all that reading and listening and learning is going to outweigh what I’m actually getting out of them. We call it diminishing returns. It’s the point when I’ve gotten ahead of the learning curve. When I’m getting less and less out of each book or class or blog post because, well… I already know I should try to make my characters relatable.

And this is when I need to move out of that safe, comfortable learning bubble and start doing real work. 

This is a big, scary step, because it’s essentially taking away my safety net of excuses. A lot of them anyway. Why didn’t I write today? Well, I’m not quite there yet. I signed up for a class. I’m waiting for feedback from my writer’s group.  I was reading a new book about how to structure novels. And there’s this other book coming out in a few weeks, and I don’t want to get started and then go back and redo things. Plus, let’s be honest… writing’s just the first step toward getting rejected, right?

If you’ve followed this blog for any amount of time, you know the advice and tips here are mostly aimed at people who’ve got a solid grip on the bare basics and are ready to start taking a few more steps forward. But right there, that’s telling you this shouldn’t be your go-to place for years and years. If you’re doing things right, there’s going to be a point where the returns have diminished and these posts just aren’t worth your time.

And I’m cool with that. It happens. It should happen. Your writing should hit a point where you don’t need to be paying for classes or buying books or searching the web for the best way to include subtext. You should progress, improve, and just not need these things anymore. Over the years I’ve belonged to a ton of writing groups.  I took several classes in college. I’ve attended a few writing conferences. And I have bought soooooooooo many books on writing. I don’t regret doing these things, but it’s also been a while since I’ve done any of them.

(True fact—the last writing book I bought was Damn Fine Story by Chuck Wendig when we were both attending Phoenix Comics Fest. He laughed at the idea I was buying a copy, and he signed it “You don’t need this book, so I hope you enjoy it”)

(it is, for the record, a really fantastic book on storytelling, and even though it turned out I did know a lot of what he was saying, I really did enjoy how he said it and the examples he gave)

Look, I’m not saying any of us are ever going to be the end-all be-all authority on writing. Personally, I’d tell you to steer clear of anyone who claims to be. But that’s just because with any art—with anything at all—there’s always going to be more to learn. So if I’m waiting until I know it all before I start… it means I’m never going to start.

So stop worrying that you don’t know enough yet. Recognize that maybe it’s time to stop putting effort into learning how to write and shifting some of that effort into… y’know, writing. Give yourself permission to learn on the fly, to figure things out as you go, and to not look up every possible way to do something before you do it.

Next time—if you’re still here—I think it’s time we talked about the cheating problem.

Until then, go write.

No, seriously. Go write. What have I been talking about for the past ten minutes?