Friday, June 20, 2014
Comics Roundup
BTW, today through Sunday you can get the second Scarlet Knight "collection" The Wrath of Isis for only 99 cents! That's 5 huge books for less than a buck. (Seriously they're all over 100,000 words, especially the last one.) The first collection is only $2.99 in case you haven't bought it yet.
I know you still don't care about comics. Objection noted. But if I review these then it sort of legitimizes my purchases so I feel less guilty about wasting all that money. So here we go:
Marvel 1602: This predates steam power so maybe you'd call it horsepunk. Is that a thing? I just made it a thing! Me and Neil Gaiman, who wrote this story set in (duh) 1602 mostly in England. It features Elizabethan versions of Nick Fury, Dr. Strange, Thor, the Fantastic Four, Dr. Doom, the X-Men, and Brotherhood of Mutants. Peter Parker and David Banner appear as their human selves. Weird things are happening in England, continental Europe, and America while Queen Elizabeth is dying and James of Scotland is likely to take the throne. It's a fresh take on the Marvel universe, though the concept starts to wear a bit thin after 8 issues. (4/5)
Spider-Man Reign: This is the Spider-Man version of The Dark Knight Returns. Only instead of 80s Reaganism it's concerned with post-9/11 paranoia. In this case in the future New York's autocratic mayor is about to cut the city off from the outside world via "the Webb" which is some kind of force field. When an ancient J Jonah Jameson pays the elderly Peter Parker a visit he has to swing back into action. Though he spends about 3/4 of it whining about Mary Jane dying from his irradiated sperm. (Seriously) Like TDKR the art leaves a lot to be desired. (2.5/5)
Fray: This is basically Joss Whedon taking Buffy and setting it in a more Blade Runner-type universe. Melaka Fray, a 19-year-old thief, is chosen as "the Slayer" to kill a bunch of "Lurks" (ie vampires) in a futuristic city. Mayhem ensues. The whole idea of conflicting ancient orders, the way she's chosen, the snarly trainer (in this case a weird goat demon dude), and the age of the heroine reminded me of my Scarlet Knight series--the second volume of which is only 99 cents if you recall. Though Melaka is a lot different than Emma Earl, being a loudmouth with purple hair and a bunch of tattoos, which I suppose is more what people think of as a tough female lead. This was written in 2003 so I must have ripped Whedon off. But seriously I am as great as Joss Whedon, so there Marvel, go give me a multi-million dollar franchise to helm. (3.5/5)
Transformers: More Than Meets the Eye, Vol 1: If you read my post back in April called Xenophobia then you'd know I wrote some Transformers fanfics back in the late 90s during college. I must have been a genius because this comic book series kinda uses the ideas from both my series. The first being that the Autobots have won the war and Optimus Prime has stepped down as leader. Only instead of humans being pissed about Autobots on Earth it's about neutral Cybertronians who return home and get pissed at the Autobots' seeming military dictatorship. The second was a group of Autobots exploring deep space. In mine it was a Voyager-type situation but in this Rodimus Prime and some others go out to look for the mythical "Knights of Cybertron." Anyway, this seems like a kind of Marvel-ized version of the Transformers, featuring a lot of bantering and quipping. It would be better than the crappy Michael Bay movies for sure. It would probably help if you'd read the IDW comics that come before this, but I hadn't and I still got the gist of it. The art is a lot better than the last batch of old Transformers comics in the early 90s when Andy Wildman would draw the Transformers with drool and spit despite that they're fucking robots. The designs for a lot of the characters have been tweaked from their toy versions to make them look a little more streamlined and futuristic, but not as weird and clunky as the Bay movie versions. (4/5)
Transformers: Robots in Disguise, Vol 1: This is the B-side to the More Than Meets the Eye volume. It focuses on the Autobots who stayed on Cybertron to deal with the influx of refugees and remnants of the Decepticons after the war. Ostensibly Bumblebee is in charge but like Tyrion Lannister on Game of Thrones even though he's smart and capable, Bumblebee has a hard time being taken seriously because of his size. He struggles in vain to create a coalition government with a refugee named Metalhawk and the ever-shifty Decepticon Starscream. Meanwhile Prowl tries to deal with renegade Decepticons with help from the female Autobot Arcee, who is his bad ass assassin. I should give this to my brother to read because Prowl was one of his favorite characters and in this he's kind of a Batman figure as in he does what he thinks is right to keep order, but it tends to piss off a lot of other people. What I really like about this and the other volume is that it focuses only on the Transformers; there are no humans at all in the book. That's the problem with the movies where the Transformers are used largely as props to create destruction, like smaller versions of Godzilla. But true fans know that the Transformers have their own culture and are in many ways like humans; while they're robots they can actually feel and hope and dream like we do. And they have personalities that are more than ethnic stereotypes used for comic relief. I'm just saying. (5/5)
Hellboy: The Midnight Circus: When I bought this "on sale" from Amazon I just assumed it was a graphic novel. Not really. At about 58 pages it's really like two plus-sized issues or maybe 3 smaller-sized issues. For $2.99 it was a gyp. Anyway, the story itself was good. Young Hellboy runs off to a weird circus that brought to mind Bradbury's Something Wicked This Way Comes. The problem as noted is this is so short it's over before it even begins. There was obviously a lot of material to work with, but this just scratches the surface. (2/5)
Journey Into Mystery, Volume 1: Much like Superman started in Action Comics, Batman in Detective Comics, Spider-Man in Amazing Fantasy, etc. Thor began in Journey Into Mystery. It's actually very different from the Thor we know today from the Marvel movies. Basically it starts as a pretty straight forward superhero story. In Norway, a visiting American named Dr. Donald Blake is being chased by rock monsters from Saturn (this being the early 60s, before there was a Neil deGraase Tyson to point out how inaccurate everything is) when he finds Thor's hammer in a cave and becomes Thor. But only when he's holding the hammer; if he lets it go for a minute he changes back. Maybe since Stan Lee didn't actually write all of these early issues (he's credited with "Plot" on most of them) there seems to be some inconsistencies about how the powers work. Anyway, it's not until the 3rd issue that he runs into Loki and not really until the second time Loki appears that the idea of them being brothers is mentioned. Though I don't understand that since the dude isn't really Thor, is he? I suspect there will be some retconning on that soon. Other than Loki there isn't much of a rogue's gallery, just random space creeps and the occasional mob guy. It's fairly typical of the Marvel comics of 1962. Hard to believe these were cutting edge at the time, or that this character could last over 50 years. (2.5/5)
X-Men Age of Apocalypse Volume 1: I'd been waiting a while to read this hoping the second volume would go on sale at some point but it hasn't so finally since I saw the recent movie I decided I might as well read this. This is from that time in the 90s when Xavier's son killed him in the past or something and so Apocalypse takes over America and Magneto is leading the X-Men. The problem with this book is since this story spanned all 15 or however many different X-Men titles at the time there's no real cohesion to the story, which makes it hard to know what's going on. At one point Rogue mentions a husband and it's like, "When the hell did she get married? And to who?" It's probably Magneto since they're a couple in this (ick) but she was also with Gambit a lot, so I dunno. Then there are these side stories about some kid brewed in a laboratory from Cyclops and Jean Grey's DNA and Blink going to the Negative Zone and stuff like that. From the Goodreads description there are issues from 1995-1997 and then the 4-part Blink series is from 2001, which is probably why it seemed to have a more modern Marvel universe feel. On Amazon I think people complained you should really start with Volume 2 and maybe they're right because most of this seems like filler you'd put last. (2/5)
Wednesday, June 18, 2014
Reading Challenge: First Half Report
BTW, today through Sunday you can get the second Scarlet Knight "collection" The Wrath of Isis for only 99 cents! That's 5 huge books for less than a buck. (Seriously they're all over 100,000 words, especially the last one.) The first collection is only $2.99 in case you haven't bought it yet.
In 2013 I read about 250 books. This year I only set my Goodreads reading challenge to only 200 books, which includes graphic novels (or trade paperback volumes of comics), short stories, etc--whatever is listed on Goodreads or that I add to it. I've reached the halfway point so here's what I've read so far:
| Title | Author | My Rating | Date Read |
| Age of Ultron | Brian Michael Bendis | 4 | 1/1/2014 |
| League of Evil (Girl Power #3) | P.T. Dilloway | 5 | 1/2/2014 |
| Cinderella Sims | Lawrence Block | 4 | 1/10/2014 |
| Superman: Earth One | J. Michael Straczynski | 5 | 1/12/2014 |
| X-Men: Age of X | Mike Carey | 4 | 1/15/2014 |
| Player Piano | Kurt Vonnegut | 4 | 1/15/2014 |
| Ultimate Wolverine Vs. Hulk | Damon Lindelof | 4 | 1/16/2014 |
| Siege | Brian Michael Bendis | 4 | 1/17/2014 |
| Fear Itself | Matt Fraction | 4 | 1/17/2014 |
| Stardust | Neil Gaiman | 4 | 1/17/2014 |
| Silverlock | John Myers Myers | 4 | 1/28/2014 |
| Girl Power Stories Volume 1 | P.T. Dilloway | 5 | 1/29/2014 |
| Secret Invasion | Brian Michael Bendis | 3 | 1/31/2014 |
| The Ultimates, Vol. 1: Super-Human | Mark Millar | 3 | 2/1/2014 |
| Girl Power | P.T. Dilloway | 5 | 2/1/2014 |
| Secret War | Brian Michael Bendis | 4 | 2/1/2014 |
| Marvel Universe: The End | Jim Starlin | 4 | 2/2/2014 |
| The Triumph of Evil | Lawrence Block | 2 | 2/7/2014 |
| Tales from the Cobra Wars: A G.I. Joe Anthology | Max Brooks | 3 | 2/7/2014 |
| Marvel Masterworks: Golden Age Captain America, Vol. 1 | Joe Simon | 5 | 2/9/2014 |
| How to Archer: The Ultimate Guide to Espionage | Sterling Archer | 4 | 2/10/2014 |
| Such Men Are Dangerous | Lawrence Block | 4 | 2/11/2014 |
| 69 things I do with my Wang: Test to see how dirty your mind is | A. Paz | 5 | 2/12/2014 |
| X-Men: Season One (Marvel Season One) | Dennis Hopeless | 4 | 2/12/2014 |
| Cassafire | Alex J. Cavanaugh | 3 | 2/13/2014 |
| Call Center of Doom (Comedy Sci-fi Short Story) | Nigel G. Mitchell | 5 | 2/14/2014 |
| Punisher: Enter the War Zone | Greg Rucka | 4 | 2/16/2014 |
| Hollywood | Charles Bukowski | 4 | 2/17/2014 |
| The Topless Tulip Caper | Lawrence Block | 5 | 2/19/2014 |
| Chip Harrison Scores Again (The Chip Harrison Mysteries) | Lawrence Block | 4 | 2/21/2014 |
| X-Men: Curse of the Mutants | Victor Gischler | 3 | 2/23/2014 |
| The Lay of the Land: Bascombe Trilogy (3) | Richard Ford | 4 | 2/23/2014 |
| Make Out with Murder | Lawrence Block | 5 | 2/24/2014 |
| No Score | Lawrence Block | 5 | 2/26/2014 |
| Pale Moonlight | Tony Laplume | 5 | 2/27/2014 |
| Sucker's Portfolio | Kurt Vonnegut | 4 | 2/28/2014 |
| Still with Me | Thierry Cohen | 2 | 3/1/2014 |
| JLA, Vol. 3: Rock of Ages | Grant Morrison | 4 | 3/1/2014 |
| Enough of Sorrow | Lawrence Block | 4 | 3/3/2014 |
| The Silence of the Lambs | Thomas Harris | 4 | 3/5/2014 |
| Raising Steam | Terry Pratchett | 4 | 3/7/2014 |
| A Hero's Journey (Tales of the Scarlet Knight, #1) | P.T. Dilloway | 5 | 3/7/2014 |
| Black Widow: The Name of the Rose | Marjorie M. Liu | 4 | 3/8/2014 |
| JLA, Vol. 6: World War III | Grant Morrison | 5 | 3/8/2014 |
| Operation: Masquerade | Nigel G. Mitchell | 5 | 3/9/2014 |
| Justice League Dark, Vol. 1: In the Dark | Peter Milligan | 3 | 3/13/2014 |
| The Natural | Bernard Malamud | 4 | 3/13/2014 |
| Shazam!, Vol. 1 | Geoff Johns | 4 | 3/16/2014 |
| Patrick: Patron Saint of Ireland | Tomie dePaola | 5 | 3/17/2014 |
| The Burglar on the Prowl | Lawrence Block | 4 | 3/18/2014 |
| Burglars Can't Be Choosers (Rhodenbarr, #1) | Lawrence Block | 4 | 3/20/2014 |
| Green Arrow, Vol. 1: The Midas Touch | Dan Jurgens | 4 | 3/29/2014 |
| The Flash, Vol. 1: Move Forward | Francis Manapul | 3 | 3/29/2014 |
| Sydney's Spaceship | Jo Banks | 5 | 3/29/2014 |
| Redshirts: A Novel with Three Codas | John Scalzi | 4 | 4/3/2014 |
| Dragonfly Warrior | Jay Noel | 5 | 4/10/2014 |
| Man Overboard And Other Short Stories | Nigel G. Mitchell | 5 | 4/14/2014 |
| Photobomb and Other Stories | Tiny Johnson | 5 | 4/16/2014 |
| The Burglar in the Closet (Rhodenbarr, #2) | Lawrence Block | 4 | 4/16/2014 |
| Race Against Time | Tiny Johnson | 5 | 4/18/2014 |
| Carnage | Zeb Wells | 4 | 4/19/2014 |
| Carnage, U.S.A. | Zeb Wells | 4 | 4/19/2014 |
| Captain America: Reborn | Ed Brubaker | 4 | 4/19/2014 |
| The Burglar Who Liked to Quote Kipling (Rhodenbarr, #3) | Lawrence Block | 4 | 4/19/2014 |
| The Burglar Who Studied Spinoza (Rhodenbarr, #4) | Lawrence Block | 4 | 4/21/2014 |
| Marvel Masterworks: The Amazing Spider-Man, Vol. 1 | Stan Lee | 4 | 4/22/2014 |
| House of M: Spider-Man | Mark Waid | 4 | 4/23/2014 |
| Green Arrow: Year One | Andy Diggle | 5 | 4/25/2014 |
| The Accounting | William Lashner | 4 | 4/26/2014 |
| Ultimate Spider-Man, Vol. 1: Power and Responsibility | Brian Michael Bendis | 4 | 4/29/2014 |
| Spider-Man: Big Time | Dan Slott | 5 | 4/29/2014 |
| Spider-Man: Dying Wish | Dan Slott | 5 | 4/30/2014 |
| Buddy Holly Is Alive & Well.. | Bradley Denton | 4 | 4/30/2014 |
| Spider-Man: Ends of the Earth | Dan Slott | 5 | 5/2/2014 |
| The Universe Versus Alex Woods | Gavin Extence | 2 | 5/3/2014 |
| The Wowzer | Frank Wheeler Jr. | 5 | 5/8/2014 |
| Deadly Honeymoon | Lawrence Block | 3 | 5/9/2014 |
| Spider-Man: Spider-Island | Dan Slott | 5 | 5/9/2014 |
| Green Lantern, Vol. 1: Sinestro | Geoff Johns | 4 | 5/10/2014 |
| Aquaman, Vol. 1: The Trench | Geoff Johns | 5 | 5/10/2014 |
| The Time Machine | H.G. Wells | 4 | 5/10/2014 |
| Dark Origins (Tales of the Scarlet Knight #0) | P.T. Dilloway | 5 | 5/10/2014 |
| The Superior Spider-Man, Vol. 2: A Troubled Mind | Dan Slott | 5 | 5/11/2014 |
| The Superior Spider-Man, Vol. 3: No Escape | Dan Slott | 4 | 5/11/2014 |
| Ultimate Galactus, Vol. 3: Extinction | Warren Ellis | 3 | 5/12/2014 |
| The Superior Spider-Man, Vol. 4: Necessary Evil | Dan Slott | 3 | 5/12/2014 |
| Moving Day: A Thriller | Jonathan Stone | 3 | 5/14/2014 |
| Changed into a Little Girl | Mindi Flyth | 3 | 5/15/2014 |
| Thunderstruck & Other Stories | Elizabeth McCracken | 4 | 5/17/2014 |
| Green Arrow, Vol. 4: The Kill Machine | Jeff Lemire | 3 | 5/18/2014 |
| The Crack in Space | Philip K. Dick | 3 | 5/19/2014 |
| Storm Front (The Dresden Files, #1) | Jim Butcher | 5 | 5/22/2014 |
| A Strange Kind of Love | Lawrence Block | 4 | 5/23/2014 |
| Marvel 1602 | Neil Gaiman | 4 | 5/25/2014 |
| Fray: Future Slayer | Joss Whedon | 4 | 5/25/2014 |
| Spider-Man: Reign | Kaare Andrews | 3 | 5/26/2014 |
| 2010: Odyssey Two (Space Odyssey, #2) | Arthur C. Clarke | 3 | 5/28/2014 |
| 2061: Odyssey Three (Space Odyssey, #3) | Arthur C. Clarke | 2 | 5/29/2014 | |
| 3001: Final Odyssey (Space Odyssey, #4) | Arthur C. Clarke | 3 | 5/31/2014 | |
| Breaking News | Nigel G. Mitchell | 5 | 5/30/2014 |
A lot of comics, Lawrence Block books, and my own books in there. Well I read most of Vonnegut's and Ian Fleming's books last year so I guess someone else had to take over.
Most Unexpectedly Good Book (by someone I don't know):
The Wowzer by Frank Wheeler
I'd be lying if I said I didn't buy this because the title made me think of Inspector Gadget cartoons. Of course it has nothing to do with that. It's actually about a corrupt deputy sheriff in a little Arkansas town. If you like shows like Justified, True Detective, Dexter, The Shield, or Breaking Bad then you'd probably like that book because it's in that same anti-hero vein.
Most Unexpectedly Bad Book (by someone I don't know):
Still With Me by Thierry Cohen
This is one of those where I don't know when I bought it or why. I just saw it in the To Read folder on my Kindle and since it was fairly short I put it on while on a trip up north. It's something about a guy tries to commit suicide and then he keeps waking up years into the future to find out he's been living all that time and fucking up his life...and I don't know what the hell was going on. The moral is don't try to commit suicide--unless you're sure you're going to be successful. Because otherwise you might still live but a demon will take over your life--or something like that. Probably didn't help this was written by a French person; as if I don't have enough reasons to hate them already!
Monday, June 16, 2014
The Clone Wars TV Show Should Have Been the First 2 Star Wars Prequels
(I'm trying a Michael Offutt-style title to see if that gets more views...)
BTW, starting today through Sunday you can get the second Scarlet Knight "collection" The Wrath of Isis for only 99 cents! That's 5 huge books for less than a buck. (Seriously they're all over 100,000 words, especially the last one.) The first collection is only $2.99 in case you haven't bought it yet.
Now back to regularly scheduled programming.
Having finished watching the complete Clone Wars series on Netflix (including the Netflix-exclusive sixth season) I have to say watching that really helped the prequels make more sense. Not that I'm going to change my tune on the prequels sucking. What I'm saying is if the prequels, really the first two, had used more elements from this series they would have been a lot better. There were two areas especially I think the show helped to make sense.
Which to get into Andrew Leon mode makes for a good writing tip. If you want to sell a character transforming from a hero to a villain, you have to have enough to support that. I mean in the movies his mommy dying and having some bad dreams, does that really justify slaughtering a bunch of little kids and helping to kill millions throughout the galaxy? OK, maybe my scenario doesn't justify it either, but it's stronger.
As my title suggests really I think the highlights of the show should have been the bulk of the first two movies. One of my problem with most prequels is they always have to try to make up some mythical origin for characters. The thing I joke about in X-Men Origins Wolverine is they even had to create an origin for his leather jacket. Because clearly everyone was wondering where he got that coat from. So instead of Anakin just being some rogue Jedi who turns evil he has to become a prophecized Christ child who will be The One. Which doesn't make much sense since he helps kill the Jedi and only kills the Emperor after almost 25 years of brutal oppression and strangling gods know how many poor starship captains and other people who piss him off. That's your Messiah? To its credit the show tries to gamely salvage this notion of him bringing "balance to the Force" in an overly literal fashion, but it still never makes sense.
Sometimes less is more and I think in this case less origin story would have been better to focus on the war that really shaped Anakin into the future Vader. But probably Lucas thought that would have been too mature. From the first movie he obviously wanted something kid-friendly to sell action figures and Happy Meals. The brutality of war is not PG-rated. Which kind of makes you wonder what direction Episode VII will take. I suppose with Disney owning it now they'll have to go more towards kid-friendly.
While I really did like the Clone Wars show there were a few things I thought lacking.
Other than that my only complaint is that not every single story needed to be a 4-episode arc. In the last few seasons especially it seemed that every story had to be 3 or 4 episodes long. The Jedi kids making their lightsabers didn't need to be 4 episodes. R2D2 and the droid A-Team stealing some Enigma chip didn't need to be 4 freaking episodes. Sometimes you can do a stand-alone show, people! Incidentally the comic book industry today has this same problem. Not every story needs to be a year-long arc! Of course they do that mostly so they can collect them into trade paperbacks and charge a bunch of money for them.
Just like every blog entry doesn't need to be 1200 words long, as Michael Offutt has mastered. So I'll just end this with a random video:
BTW, starting today through Sunday you can get the second Scarlet Knight "collection" The Wrath of Isis for only 99 cents! That's 5 huge books for less than a buck. (Seriously they're all over 100,000 words, especially the last one.) The first collection is only $2.99 in case you haven't bought it yet.
Now back to regularly scheduled programming.
Having finished watching the complete Clone Wars series on Netflix (including the Netflix-exclusive sixth season) I have to say watching that really helped the prequels make more sense. Not that I'm going to change my tune on the prequels sucking. What I'm saying is if the prequels, really the first two, had used more elements from this series they would have been a lot better. There were two areas especially I think the show helped to make sense.
- The cause of the war: Just watching the movies, can anyone explain why the hell there was a war? I mean I think we can all get that Palpatine instigated all this stuff so he could bring down the Republic (and Jedi) to launch the Empire, but could anyone say why all these "separatists" go along with it? In one of the later seasons there's a scene that helps this make more sense. Basically the bulk of the "separatists" is made of these powerful guilds and unions, kind of like intergalactic mega-corporations. The reason they go along with "Darth Sidious" (aka Palpatine) and Dooku is that as the Ferenghi say, "War is good for business." Basically a huge war means war profiteering. Especially when your army is made of stupid droids you're not taking a huge risk while raking in huge profits. They probably figured win or lose their buddy Sidious would take care of them and they'd have shitloads of money. That makes a lot more sense to me. Maybe that was Lucas's original intent or maybe it was the showrunners's idea based on all the Occupy and economic meltdown that came after the movies.
- Anakin Skywalker: The problem with the two prequels is in the first Anakin is a whiny little kid and the second he's a whiny teenager. And no one except George Lucas and Tony Laplume ever wanted to see that. In the TV show we can see by the end what made Anakin finally crack. (Spoilers ahead!) It all boils down to the horrors of war. What the movies got right was orphaning Anakin, though instead of two movies this could have been done in one simple flashback like the Batman movies. So he's already lost his mom and he never had a dad--something that's stupid beyond belief; I mean his mom's a slave in like her late 30s and we're supposed to believe she was still a virgin when she got knocked up? Sha, as if. Anyway, so like I said he lost his parents in a brutal fashion. Then as we see during the show as a general he loses a lot of buddies in the army and a few Jedis too--but the soldiers are clones so it doesn't really matter, right? Then at the end of season 5 he loses his Padawan Ahsoka Tano. So years of fighting, losing his loved ones and friends, and then the threat of losing his wife seems like enough to break someone enough to become a psychotic warlord, right? But since we gloss over pretty much the whole freaking war in the movies, we missed out on all that so his transformation into Vader didn't make as much sense.
Which to get into Andrew Leon mode makes for a good writing tip. If you want to sell a character transforming from a hero to a villain, you have to have enough to support that. I mean in the movies his mommy dying and having some bad dreams, does that really justify slaughtering a bunch of little kids and helping to kill millions throughout the galaxy? OK, maybe my scenario doesn't justify it either, but it's stronger.
As my title suggests really I think the highlights of the show should have been the bulk of the first two movies. One of my problem with most prequels is they always have to try to make up some mythical origin for characters. The thing I joke about in X-Men Origins Wolverine is they even had to create an origin for his leather jacket. Because clearly everyone was wondering where he got that coat from. So instead of Anakin just being some rogue Jedi who turns evil he has to become a prophecized Christ child who will be The One. Which doesn't make much sense since he helps kill the Jedi and only kills the Emperor after almost 25 years of brutal oppression and strangling gods know how many poor starship captains and other people who piss him off. That's your Messiah? To its credit the show tries to gamely salvage this notion of him bringing "balance to the Force" in an overly literal fashion, but it still never makes sense.
Sometimes less is more and I think in this case less origin story would have been better to focus on the war that really shaped Anakin into the future Vader. But probably Lucas thought that would have been too mature. From the first movie he obviously wanted something kid-friendly to sell action figures and Happy Meals. The brutality of war is not PG-rated. Which kind of makes you wonder what direction Episode VII will take. I suppose with Disney owning it now they'll have to go more towards kid-friendly.
While I really did like the Clone Wars show there were a few things I thought lacking.
- Who is General Grievous? This was never really answered in the series or in the last prequel. I know I said we need less origin, but really this guy just appears on the scene as a major character. In one of the early seasons they did sort of get into his background, but I still never got how he became a cyborg and the head of the droid army. I always wondered if he was supposed to be like the prototype Vader as in a combination of man(ish) and machine. Really, what was his whole deal?
- The secret marriage. In the last season there are a couple of episodes where Anakin and Padme's marriage is strained by an old flame of Padme's returning onto the scene. It would have been nice if they'd referenced the secret marriage a little more. I mean keeping that secret for like 5 years had to be kind of difficult, didn't it? Most of the time you can probably forget they even are married since they're hardly ever together.
- Loose ends: If you watch Episode III (and IV-VI) you know what happens to a lot of the characters. Still there are some who simply vanish after Season 5. Like what happened to the revived Darth Maul? After he tangled with Palpatine and lost, Palpatine said he had something in mind for Maul but it never comes up in season 6. And what happened to Anakin's former Padawan Ahsoka Tano? The only time she's shown in season 6 is when Yoda is tripping on the Sith homeworld. Commander Cody is in Episode III but what happens to Captain Rex? Maybe they had been planning more episodes but it'd have been nice to find out what became of some characters.
Other than that my only complaint is that not every single story needed to be a 4-episode arc. In the last few seasons especially it seemed that every story had to be 3 or 4 episodes long. The Jedi kids making their lightsabers didn't need to be 4 episodes. R2D2 and the droid A-Team stealing some Enigma chip didn't need to be 4 freaking episodes. Sometimes you can do a stand-alone show, people! Incidentally the comic book industry today has this same problem. Not every story needs to be a year-long arc! Of course they do that mostly so they can collect them into trade paperbacks and charge a bunch of money for them.
Just like every blog entry doesn't need to be 1200 words long, as Michael Offutt has mastered. So I'll just end this with a random video:
Sunday, June 15, 2014
The Adventures of Couch Potato Cover Reveal!
Carl Potter was a fat, bald, lazy guy until a freak accident transformed him into a fat, bald, lazy superhero named Couch Potato. Now he's forced to get off his beloved chair to fight an invasion of alien furniture, a ruthless cult of Elvis impersonators, and an army of groundhogs trying to plunge our world into an eternal six months of winter. Couch Potato: he'll save the world, if there's nothing good on TV.Tweet: Check out the cover for THE ADVENTURES OF COUCH POTATO by @nigelgmitchell! http://nigelgmitchell.blogspot.com
I read the first story and it's hilarious. So be sure to go buy it!
And happy Father's Day...if you are one.
Friday, June 13, 2014
Cost of Doing Business
Ooh it's Friday the 13th! Remember to throw your black cat over your shoulder while standing on a ladder or however all that works. Anyway, I ran into some bad luck recently where I actually lost money for selling books.
It was maybe late last year or early this year that Amazon changed its royalty payment policy from paying only once $10 had been earned (which B&N still does) to just paying whatever the hell you had earned no matter how low. Which in some ways is great because it's not like B&N where if I only make $9.60 I have to wait a whole extra month (providing I sell another book) to get paid. That has happened a couple of times and it's annoying.
The problem though is sometimes your royalty really is too low so you end up getting royally screwed. In April I got a payment of $0.59 or something like that from one of the European Amazons. Hey great 59 cents, don't spend that all in one place. Well the problem is the next day or so I check my account activity and realize my bank charged a $1 fee for this foreign wire. So I actually LOST 41 cents!
Yup, it actually cost me money to sell a couple of ebooks overseas. I didn't think too much of it at the time; I just shrugged and said, "Whatever." But then it happened AGAIN the next month, leaving me out another 41 cents or whatever it was.
At that point I decided something needed to be done. First I had to track down where these wires were coming from. Using the new charts on the sales dashboard I realized they were coming from Spain. My first thought was to just stop selling books there. But then I realized what a pain it is to go into each book and try to select where you want to sell it. My second thought was to just make the price in Spain so high no one would ever buy any. But again that would be a real pain in the ass to do for like 40 books.
So I decide to go ask Amazon's customer service. For once they actually had something helpful to say. Basically you can go in and change your payment method from EFT or wire or whatever to check. Which also means you won't get paid until you hit $10. Which in Spain means probably never. While I was at it I changed that for the rest of Europe, except the UK. And India, Japan, Mexico, and Brazil as well.
The thing is I don't sell a lot of books in continental Europe. Or pretty much anywhere except the US and UK. And in the UK it's mostly one book of short stories under a pen name that for some reason sells over there but has sold maybe 1 copy in the US. The last thing I want is to lose money when I do manage to sell something over there.
So there you go, a Pro Tip: unless you sell a lot of books in those other countries, don't use the wire or EFT payments--unless you have a bank that doesn't charge a fee for that. Ha, yeah right, a bank not charging fees? ROFTLOL
It was maybe late last year or early this year that Amazon changed its royalty payment policy from paying only once $10 had been earned (which B&N still does) to just paying whatever the hell you had earned no matter how low. Which in some ways is great because it's not like B&N where if I only make $9.60 I have to wait a whole extra month (providing I sell another book) to get paid. That has happened a couple of times and it's annoying.
The problem though is sometimes your royalty really is too low so you end up getting royally screwed. In April I got a payment of $0.59 or something like that from one of the European Amazons. Hey great 59 cents, don't spend that all in one place. Well the problem is the next day or so I check my account activity and realize my bank charged a $1 fee for this foreign wire. So I actually LOST 41 cents!
Yup, it actually cost me money to sell a couple of ebooks overseas. I didn't think too much of it at the time; I just shrugged and said, "Whatever." But then it happened AGAIN the next month, leaving me out another 41 cents or whatever it was.
At that point I decided something needed to be done. First I had to track down where these wires were coming from. Using the new charts on the sales dashboard I realized they were coming from Spain. My first thought was to just stop selling books there. But then I realized what a pain it is to go into each book and try to select where you want to sell it. My second thought was to just make the price in Spain so high no one would ever buy any. But again that would be a real pain in the ass to do for like 40 books.
So I decide to go ask Amazon's customer service. For once they actually had something helpful to say. Basically you can go in and change your payment method from EFT or wire or whatever to check. Which also means you won't get paid until you hit $10. Which in Spain means probably never. While I was at it I changed that for the rest of Europe, except the UK. And India, Japan, Mexico, and Brazil as well.
The thing is I don't sell a lot of books in continental Europe. Or pretty much anywhere except the US and UK. And in the UK it's mostly one book of short stories under a pen name that for some reason sells over there but has sold maybe 1 copy in the US. The last thing I want is to lose money when I do manage to sell something over there.
So there you go, a Pro Tip: unless you sell a lot of books in those other countries, don't use the wire or EFT payments--unless you have a bank that doesn't charge a fee for that. Ha, yeah right, a bank not charging fees? ROFTLOL
Wednesday, June 11, 2014
Around the Block
I became acquainted with the books of Lawrence Block about three years ago when I bought a couple of paperback reprints from a discount book store. I was finishing with a big book of Raymond Chandler stories and I wanted something in a similar vein, so I thought those might do. Which they did. I eventually bought more in paperback and then for Kindle. I actually snapped up 20-30 of them last December when they were on sale, so I've been going through those a little at a time.
Anyway, in many cases the afterword of the book is just as interesting as the book itself. Block started out in the late 50s on the fringes of the publishing system, so on the afterwords of the older books you get to hear his war stories about the publishing industry in the 50s, 60s, and 70s, which often as not is unflattering.
A lot of his earliest work was the kind of thin paperbacks like I first bought. These were printed only in paperback by publishers who dealt a lot in erotica and potboilers. Something Block mentions a few times in his Chip Harrison series is how the editors insisted on having sex scenes thrown in every so often, because that's what the readers wanted. Which I can't really argue with, because what's wrong with gratuitous sex scenes?
In his early career he also used several different pen names. One of them was female, which was used for a couple of lesbian romances. Something I admire is how he didn't stick to any particular story type, but worked in a few different areas. I don't think that was always by choice; I think sometimes it was an editor would want a certain kind of book and hey I need the money so OK.
One of his earliest ones I read recently, A Strange Kind of Love, outlines the publishing world of the late 50s. There were a couple of different tiers:
It was apparently a lot easier to get an agent back then than it is now. You probably didn't have as much competition either. I think instead of querying mostly you sent in the whole thing for a short story or a chapter or two with outline for something longer.
Also in the afterword for A Strange Kind of Love, Block mentions how he interned at a fee-charging publisher, going through the slush. He'd send form letters to terrible writers telling them it was the plot that was the problem so they would submit something else, thus making more in reading fees. Which is another reason not to put much stock in those letters agents or publishers send you. Even if they don't charge fees they're probably not much more honest today than 60 years ago.
So it is interesting to hear how things have changed and how things have stayed the same. And besides all that Block's books are pretty reliable entertainment. They don't have the best writing, but it's solid. Really I think his career is something a guy like me could aspire to: not flashy but good enough to keep him employed for almost 60 years.
One way he's like me is he's in the anti-George RR Martin mold. After he got married, Block would sometimes get a hotel in New York City, take his typewriter with him (this being the 60s or 70s after all), and pound out a book in a few days or a couple of weeks. I'd probably have a lot more books written if I could do that.
If you're interested, one of his Matthew Scudder books, 8 Million Ways to Die, was adapted into a Jeff Bridges vehicle back in the late 80s. I don't know if it's on Netflix right now or not. It's an OK late 80s action-mystery. Or if you want to go to the source, most of his books aren't that long. Given the R-rated material of most of them they might not be in your local library. There should be something at the used or discount bookstores. I mean Block literally has hundreds of books written so something is bound to turn up. Last year while on vacation in Cadillac, MI I scored an original copy of The Specialists, which was kind of like The A-Team in that it involves a bunch of ex-military guys. The year before that in Manistee, MI I got a copy of Hit Man, the first in his series about a professional assassin named Keller who also collects stamps. So like I said, if you look you're bound to find something.
Anyway, in many cases the afterword of the book is just as interesting as the book itself. Block started out in the late 50s on the fringes of the publishing system, so on the afterwords of the older books you get to hear his war stories about the publishing industry in the 50s, 60s, and 70s, which often as not is unflattering.
A lot of his earliest work was the kind of thin paperbacks like I first bought. These were printed only in paperback by publishers who dealt a lot in erotica and potboilers. Something Block mentions a few times in his Chip Harrison series is how the editors insisted on having sex scenes thrown in every so often, because that's what the readers wanted. Which I can't really argue with, because what's wrong with gratuitous sex scenes?
In his early career he also used several different pen names. One of them was female, which was used for a couple of lesbian romances. Something I admire is how he didn't stick to any particular story type, but worked in a few different areas. I don't think that was always by choice; I think sometimes it was an editor would want a certain kind of book and hey I need the money so OK.
One of his earliest ones I read recently, A Strange Kind of Love, outlines the publishing world of the late 50s. There were a couple of different tiers:
- Hardcovers were the big publishers. If they wanted your book they'd take you to a martini lunch and so forth.
- Paperbacks were the lesser publishers. They'd maybe give you a letter or phone call and a check.
- Slicks were the big magazines like Life or Saturday Evening Post or such, which were fairly exclusive.
- Pulps I think people are more familiar with from the 30s and 40s but they were still around. For lesser-known or otherwise desperate writers they could be a quick source of cash.
It was apparently a lot easier to get an agent back then than it is now. You probably didn't have as much competition either. I think instead of querying mostly you sent in the whole thing for a short story or a chapter or two with outline for something longer.
Also in the afterword for A Strange Kind of Love, Block mentions how he interned at a fee-charging publisher, going through the slush. He'd send form letters to terrible writers telling them it was the plot that was the problem so they would submit something else, thus making more in reading fees. Which is another reason not to put much stock in those letters agents or publishers send you. Even if they don't charge fees they're probably not much more honest today than 60 years ago.
So it is interesting to hear how things have changed and how things have stayed the same. And besides all that Block's books are pretty reliable entertainment. They don't have the best writing, but it's solid. Really I think his career is something a guy like me could aspire to: not flashy but good enough to keep him employed for almost 60 years.
One way he's like me is he's in the anti-George RR Martin mold. After he got married, Block would sometimes get a hotel in New York City, take his typewriter with him (this being the 60s or 70s after all), and pound out a book in a few days or a couple of weeks. I'd probably have a lot more books written if I could do that.
If you're interested, one of his Matthew Scudder books, 8 Million Ways to Die, was adapted into a Jeff Bridges vehicle back in the late 80s. I don't know if it's on Netflix right now or not. It's an OK late 80s action-mystery. Or if you want to go to the source, most of his books aren't that long. Given the R-rated material of most of them they might not be in your local library. There should be something at the used or discount bookstores. I mean Block literally has hundreds of books written so something is bound to turn up. Last year while on vacation in Cadillac, MI I scored an original copy of The Specialists, which was kind of like The A-Team in that it involves a bunch of ex-military guys. The year before that in Manistee, MI I got a copy of Hit Man, the first in his series about a professional assassin named Keller who also collects stamps. So like I said, if you look you're bound to find something.
Monday, June 9, 2014
Overpowered Cover Reveal--Most Dramatic Post EVER!!!!!!!!
OVERPOWERED will be released on August 1, 2014
(There are spoilers below if you haven't read book 1!)
After rescuing her twin sister Nova from a life of evil, Maci fears she's made a huge mistake. As if she didn't have enough trouble fitting in with her fellow Supers, Nova outshines Maci in personality and power.
In the midst of this one-sided sibling rivalry, humans are dropping dead from a powerful drug that originates in the underground tunnels of King City. Someone is a traitor and Maci wants to capture the villain before anyone else—especially Nova.
With Nova in the spotlight, Maci needs to set aside her jealousy before more humans die and the future of King City is changed forever.
In the midst of this one-sided sibling rivalry, humans are dropping dead from a powerful drug that originates in the underground tunnels of King City. Someone is a traitor and Maci wants to capture the villain before anyone else—especially Nova.
With Nova in the spotlight, Maci needs to set aside her jealousy before more humans die and the future of King City is changed forever.
Add Overpowered to your Goodreads list.
Buy Powered, book 1 on Amazon.
Want a FREE signed Powered Trilogy bookmark? Fill out this form and Cheyanne will send you one.
Buy Powered, book 1 on Amazon.
Want a FREE signed Powered Trilogy bookmark? Fill out this form and Cheyanne will send you one.
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Cheyanne is a native Texan with a fear of cold weather and a coffee addiction that probably needs an intervention. She loves books, sarcasm, nail polish and paid holidays. She lives near the beach with her family, one spoiled rotten puppy and a cat who is most likely plotting to take over the world.
From that title maybe you figured out I'm talking about dramatizing--and OVER dramatizing!!!! Just imagine someone shouting most of this post at you.
About a month ago now I read Thunderstruck and Other Stories by Elizabeth McCracken, one of my favorite authors. If you can remember my original blog, through process of elimination I decided I would save her of all my favorite authors in event of some global catastrophe. But now that I know thanks to the Twitter that she's married and has kids maybe I'd choose differently. Or not. It's not like it matters. I mean she's in Austin, TX and I'm in Detroit, MI so if there's a catastrophe I'd probably never be able to get there in time and even then she'd think I was some creepy stalker--of which only one part is true; I don't stalk people.
Anyway, the thing I both liked and didn't like was the lack of drama in the stories. The titular story especially I commented could have made a good Jodi Picoult novel that would then be adapted into a Lifetime movie where there'd be a lot of sobbing and wailing and teeth gnashing after a couple's daughter has an accident that puts her into pretty much a vegetative state. Instead in the story there's not a lot of crying and no wailing, "Why God, why? Take me instead!!!!" Or any melodrama like that. Which I thought was a good thing because it makes the story seem more realistic and mature--basically something no one ever accuses me of being.
The problem is sometimes it felt like a little more drama would have been a good thing. Or really I think it was intimacy that was often lacking. In professional circles it's referred to as "distance." The reason 3rd-person omniscient fell out of favor is that it's too stand-offish; you as the reader don't feel like you're there with the character so much as floating above them. When 3rd-person limited wasn't enough then 1st-person became all the rage. That way it's like the character is talking to you! Which is sometimes great and other times not.
The majority of the stories in that book are 3rd-person omniscient I think, which is largely I'm sure what gave me that feeling that I was hearing most of these stories third-hand rather than experiencing them myself. It's like your second-cousin you only see sometimes telling you something that happened to your first-cousin you hardly ever see. Or one of those awful family letters someone will send around at the holidays that you immediately throw away.
And sometimes I might have appreciated a little more melodrama worked into it. But then if you listen to some people I have characters cry on every page of a story. I also label my novel Where You Belong as a "literary soap opera."
So what do you have to say? You talkin' to me? Are YOU TALKIN' TO ME???!!!
Friday, June 6, 2014
The Long & Fat of It
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| Big is Beautiful? |
That doesn't mean I condone the anorexic model thing either. I mean a lot of models are so skinny they look like they're on coke or meth or something like that. It's gross. By the same token fat people are gross too. Especially when you get to about now when it's warming up and these oblivious fat people wear short-shorts and tube tops. Gag.
I'll admit I'm shallow, but then so is most everyone else. (If you claim you're not then you're a liar on top of shallow.) But as I said, fat is not something to aspire to. Anorexia is a medical danger, I think everyone except those models would agree. So too is being fat. Don't take my word for it, ask any reputable medical doctor on the planet. Being "curvy" can lead to serious medical conditions like diabetes, high blood pressure, heart disease, etc. all of which can kill you. Dead is not beautiful.
Not that I want to start stoning fat people or rounding them up to put into forced labor camps. I just don't think we should try to gloss over the seriousness of the problems related to being fat by saying everyone is beautiful in their own way and other PC junk like that. It's like taking an alcoholic or drug addict and saying, "Hey it's OK, you're beautiful." (You're also probably going to die of an overdose or end up in jail within the next six months, but that's OK!)
I definitely don't think we need fat heroes in literature, movies, TV, etc. With this generation of kids that's already at record levels of obesity the last thing we need is to encourage them to be fat slobs. It's more important to encourage them to be healthy rather than placate them about being overweight. But hey this is America and we're lazy so it's much easier to say, "You're beautiful the way you are!" than to say, "Get your fat ass off the couch and stop eating those Big Macs!"
I do include fat characters in at least two series. Emma Earl's best friend Becky Beech in the Scarlet Knight books is fat. How fat she is depends on what's going on as she tends to get bigger the unhappier she is. In the Children of Eternity series Samantha's best friend Prudence is the fattest girl on the island. But I don't think either case I'm trying to use them as a role model or, conversely, as an object of ridicule; I think it was more about having opposites. I wrote a short story called "The Fat Girls Club" where a fat girl (duh) organizes a group of fat girls so they can hang out and eat and actually encourage each other to get bigger. That is until she realizes the harm it's doing and then they flip the script and start encouraging each other to lose weight and live healthier, which I think is a good moral.
Anyway, I know this isn't a popular stance. Especially as a fat person I should be trying to legitimize being fat, right? I should be out at a rally or something, but as someone who tries to be progressive, I don't think rampant obesity is something we should strive for and by glossing it over or sanctioning it we're making things more difficult for our children and gods know we already have plenty of other problems in this world. It certainly would be easier and there's nothing we like more than easy, which is largely how we got into this mess to start with.
Michael Offutt raised the argument that people in the inner-city are poor and don't have as much access to healthy food. It's true there's not a lot of Whole Foods in the ghetto. And the kind of supermarkets operating in those areas, the meat isn't necessarily the best quality. Still there are a lot of suburban people who are fat; what's their excuse? I was one of those suburban kids and there really was no excuse for it, especially since we had a big yard to play in.
We just need people to actually make being healthy a priority. I know Republicans won't because it's Michelle Obama's pet issue. Though they should realize that healthier people don't need to see doctors as much, thus have less need for Obamacare and Medicare.
Anyway by the time you read this I'll have probably already stopped at McDonald's for breakfast. [UPDATE: I got donut holes and chocolate milk from Kroger.] I don't practice what I preach in this instance. Though for the hell of it here's my somewhat low fat menu:
Meat (usually chicken) topped with bread crumbs
Frozen vegetable (usually beans, peas, or carrots)
My doctor encouraged me to get on a low carb diet so here's my somewhat low carb menu:
2 Chicken breast (grilled or baked, no breading), chopped into pieces
6oz (estimated) of frozen onions, red/yellow/green peppers
1 small can of mushrooms
4 low carb tortillas
Salsa or Fat free dressing (try to go easy on that, but enough to taste)
After you cook the vegetables you put that and the chicken into a tortilla for a wrap. Or alternately tear the tortillas to pieces and dump it all into a bowl for kind of a tortilla "salad."
Actually just meat and veggies would probably be lower carb without breading, but the other is pretty tasty.
For lunch I usually have a low-carb shake not just for health reasons but also I'm lazy and hate making a sandwich and stuff in the morning. Breakfast is my real bugaboo as I hate yogurt (even with strawberries!) and again in the morning I hate cooking so I don't want to make eggs or anything. Yet I really don't want just a shake or something either. It's kind of annoying.
Wednesday, June 4, 2014
IWIRL: Insecure Writer In Real Life
I don't normally take part in the whinefest known as the Insecure Writer Support Group, but there is something I wanted to whine about, so now seems like the time to do it.
A few weeks ago after work I went out to my car and was getting ready to go when some guy comes up to my car. If I hadn't been in our locked parking garage sitting 50 feet from the security office I'd have probably thought I was about to be carjacked--it is Detroit. As it was I figured the guy probably wanted directions (which I'm terrible at) or a jump start (which I'm concerned about with these modern cars and all their fancy electronics) or something like that.
Instead the guy says something like, "Hey didn't you write a bunch of books?"
And I'm like, "Um...yeah."
And he's like, "That's really cool. Would you autograph one for me."
"Um...sure."
Here are a couple of things to understand. I don't advertise my books IRL, at all. Especially not at work. I don't go around handing out business cards saying, PT Dilloway--Author. At work I know the people I work with enough to know them and my books are not compatible. It also seems pretty pathetic to me to sell books like Girl Scout cookies or those other stupid fundraisers people are always posting on the fridge.
The really mysterious thing is I have no idea who the guy was. He doesn't work in my office, at least not on the floor I work on. So really I have no idea how he knew who I was or how he knew that I sold books. Maybe he saw my name on my badge and Googled it? Maybe he works for the NSA and has been hacking into my phone? Maybe he's reading this right now....[looking over my shoulder]
The bottom line is it weirded me out. Then I was trying to think of why it was weirding me out, besides not knowing who the hell the dude was and all that.
I think what bothers me most is the idea of someone IRL not wanting your books because they're interested in them but because they think it's neat you wrote a book. Like it's some kind of goddamned novelty act, like a dog who can perform a trick. Ooh, you can put words onto paper, how cute! I had my fill of that in middle school and high school; it was just as well in college I was a commuter student so no one really got a chance to find that out.
Obviously a lot of other people are far more comfortable with that than I am. I just prefer compartmentalizing things. Work is separate from home is separate from Internet. I don't go to conventions or stuff like that where I might run into people I know on the Internet or Skype with people or any of that. It bugs me then when people try to breach those walls. Actually I can use another dated Seinfeld reference when George talks about there's Relationship George and then Regular George. Worlds are colliding!
Anyway, as of this writing I haven't seen the dude again and I don't think he's bought a book for me to sign. I hope he's not planning on me providing one as I don't keep spare copies around. Not after I bought a bunch of Where You Belongs and realized how hard it is to actually move those. (I gave most away through Goodreads.)
I do have a spare copy of the third Girl Power book because you could get 2 free copies of your NaNoWriMo novel from CreateSpace (just pay additional processing and shipping!) so I have an extra one now that I have no idea what to do with. I don't want to do a Goodreads giveaway or anything because then I have to mail it, which negates the benefit of getting it free. Dumping it in the donation box at the library again seems like a waste. Maybe I'll give it to a relative as a gift. BTW, if you ever want a copy of one of my books and don't want to buy it from CreateSpace or Amazon or one of those, the Wixom, Michigan library probably still has a bunch of old proof copies of Scarlet Knight, Chances Are, and Girl Power books.
A few weeks ago after work I went out to my car and was getting ready to go when some guy comes up to my car. If I hadn't been in our locked parking garage sitting 50 feet from the security office I'd have probably thought I was about to be carjacked--it is Detroit. As it was I figured the guy probably wanted directions (which I'm terrible at) or a jump start (which I'm concerned about with these modern cars and all their fancy electronics) or something like that.
Instead the guy says something like, "Hey didn't you write a bunch of books?"
And I'm like, "Um...yeah."
And he's like, "That's really cool. Would you autograph one for me."
"Um...sure."
Here are a couple of things to understand. I don't advertise my books IRL, at all. Especially not at work. I don't go around handing out business cards saying, PT Dilloway--Author. At work I know the people I work with enough to know them and my books are not compatible. It also seems pretty pathetic to me to sell books like Girl Scout cookies or those other stupid fundraisers people are always posting on the fridge.
The really mysterious thing is I have no idea who the guy was. He doesn't work in my office, at least not on the floor I work on. So really I have no idea how he knew who I was or how he knew that I sold books. Maybe he saw my name on my badge and Googled it? Maybe he works for the NSA and has been hacking into my phone? Maybe he's reading this right now....[looking over my shoulder]
The bottom line is it weirded me out. Then I was trying to think of why it was weirding me out, besides not knowing who the hell the dude was and all that.
I think what bothers me most is the idea of someone IRL not wanting your books because they're interested in them but because they think it's neat you wrote a book. Like it's some kind of goddamned novelty act, like a dog who can perform a trick. Ooh, you can put words onto paper, how cute! I had my fill of that in middle school and high school; it was just as well in college I was a commuter student so no one really got a chance to find that out.
Obviously a lot of other people are far more comfortable with that than I am. I just prefer compartmentalizing things. Work is separate from home is separate from Internet. I don't go to conventions or stuff like that where I might run into people I know on the Internet or Skype with people or any of that. It bugs me then when people try to breach those walls. Actually I can use another dated Seinfeld reference when George talks about there's Relationship George and then Regular George. Worlds are colliding!
Anyway, as of this writing I haven't seen the dude again and I don't think he's bought a book for me to sign. I hope he's not planning on me providing one as I don't keep spare copies around. Not after I bought a bunch of Where You Belongs and realized how hard it is to actually move those. (I gave most away through Goodreads.)
I do have a spare copy of the third Girl Power book because you could get 2 free copies of your NaNoWriMo novel from CreateSpace (just pay additional processing and shipping!) so I have an extra one now that I have no idea what to do with. I don't want to do a Goodreads giveaway or anything because then I have to mail it, which negates the benefit of getting it free. Dumping it in the donation box at the library again seems like a waste. Maybe I'll give it to a relative as a gift. BTW, if you ever want a copy of one of my books and don't want to buy it from CreateSpace or Amazon or one of those, the Wixom, Michigan library probably still has a bunch of old proof copies of Scarlet Knight, Chances Are, and Girl Power books.
Monday, June 2, 2014
Out of Nothing At All
Today on Indie Writers Monthly you can read my answers to Tony Laplume's Liebster Award questions. In case you missed it I also did an interview in the May issue of the magazine, on sale on Amazon now!
I know some people go to elaborate lengths to create characters, researching a whole backstory and such for them. Or people go to one of those character generators that comes up with all your character's personality without the author having to do anything, which seems the laziest way possible for a writer to do things. Sometimes though you can create a character out of nothing at all.
Such was the case last month when I was working on a Girl Power-related story, G.A.I.A.: Rogue State. The scenario is that there's a disputed region in Africa and so Major Diane Giordano (GAIA's only field agent because their organization is more like Archer's ISIS than Nick Fury's SHIELD) is sent to get the situation on the ground.
In the outline she finds a village that's been completely destroyed and not even any remains of anyone who lived there. Then I got thinking that there should be someone who survives the attack to help give Diane some clues. Plus then it makes the journey more fun when you have two characters to play off each other instead of one internalizing.
So then I decided this person should be a native. Except I don't really know what a central African name would be. I could have gone looking on the Internet, but I decided to be lazy and give her an Anglo last name--Pierce. Which then led to me deciding she had been born in the African village but she went to England at a young age and became a doctor who married another doctor--making her Dr. Pierce, like MASH, one of those stupid in-jokes I do.
To make her a good foil for Diane, who used to be a male assassin called Hitter and is a total bad-ass, I decided that Dr. Pierce spent most of her married life working as a GP in some little English countryside town, where she's hardly ever seen any excitement. After her husband dies and Earth is devastated by an alien invasion, Dr. Pierce decides to go back to her native land to lend a hand in the relief effort. But then she's coming back from delivering a baby in a nearby village when her native village comes under attack. She manages to stay hidden until Diane appears. And I think eventually now she's going to become a Galactic Peacekeeper, which is the Girl Power universe's version of the Green Lantern Corps. Which could really open up a whole new spin-off series.
And all that came from nothing! No plotting, no researching, no character generators. It was one of those things that snowballed from one little thought to another. Most of her history was created because I was too lazy to go research central African surnames. There you go, peeps, that's how it's done in the big leagues. Or beer leagues.
The title of this entry gave me a hankering for this Air Supply song:
I know some people go to elaborate lengths to create characters, researching a whole backstory and such for them. Or people go to one of those character generators that comes up with all your character's personality without the author having to do anything, which seems the laziest way possible for a writer to do things. Sometimes though you can create a character out of nothing at all.
Such was the case last month when I was working on a Girl Power-related story, G.A.I.A.: Rogue State. The scenario is that there's a disputed region in Africa and so Major Diane Giordano (GAIA's only field agent because their organization is more like Archer's ISIS than Nick Fury's SHIELD) is sent to get the situation on the ground.
In the outline she finds a village that's been completely destroyed and not even any remains of anyone who lived there. Then I got thinking that there should be someone who survives the attack to help give Diane some clues. Plus then it makes the journey more fun when you have two characters to play off each other instead of one internalizing.
So then I decided this person should be a native. Except I don't really know what a central African name would be. I could have gone looking on the Internet, but I decided to be lazy and give her an Anglo last name--Pierce. Which then led to me deciding she had been born in the African village but she went to England at a young age and became a doctor who married another doctor--making her Dr. Pierce, like MASH, one of those stupid in-jokes I do.
To make her a good foil for Diane, who used to be a male assassin called Hitter and is a total bad-ass, I decided that Dr. Pierce spent most of her married life working as a GP in some little English countryside town, where she's hardly ever seen any excitement. After her husband dies and Earth is devastated by an alien invasion, Dr. Pierce decides to go back to her native land to lend a hand in the relief effort. But then she's coming back from delivering a baby in a nearby village when her native village comes under attack. She manages to stay hidden until Diane appears. And I think eventually now she's going to become a Galactic Peacekeeper, which is the Girl Power universe's version of the Green Lantern Corps. Which could really open up a whole new spin-off series.
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| There's what she looks like as a child, a young woman, and an old woman. |
And all that came from nothing! No plotting, no researching, no character generators. It was one of those things that snowballed from one little thought to another. Most of her history was created because I was too lazy to go research central African surnames. There you go, peeps, that's how it's done in the big leagues. Or beer leagues.
The title of this entry gave me a hankering for this Air Supply song:
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