Jun 29 2009
Jun 29 2009
Jun 27 2009
Evil Editor reviewed my query letter for Don’t Forget the Death Ray!, a guidebook about how to write superhero stories. Although he and his readers mostly panned it, I found their comments very helpful and informative. It’s really important for prospective writers to have thick skin, so I’d like you to know what kind of feedback I’m getting.
Jun 25 2009
I’d only delve as deeply into science as much as the story and audience warrant. For example, if a villain shrinks the hero, 99% of readers don’t care that a shrunken human body couldn’t function because human cells are designed to function at a particular size. Unless you’re deliberately targeting a technically savvy audience (such as in hard sci-fi), your readers probably don’t care much about surface-to-volume ratios and the like. Similarly, most readers don’t need elaborate explanations for superpowers. You don’t need to explain where Spiderman keeps all that webbing.
However, if you’d like go off on a tangent to satisfy the few readers that do care about these elements, I’d recommend trying to make it interest readers that don’t care so much. For example, one recurring implausibility with the Hulk is that the character’s pants stay on even though his size fluctuates so much. Real pants would burst off if you got twice as big, right? The latest Hulk movie addressed that rather hilariously by showing the character buying elastic maternity pants in Guatemala. (“¿Tienes más stretchy?”) That’s intuitive, simple and clever. In contrast, if the movie had made up scientific mumbo-jumbo like Pym particles or whatever, it probably would have confused or annoyed many viewers.
Finally, I would recommend taking with a grain of salt any reviewer concern that you expect would be limited to a tiny, tiny fraction of the potential readership. In particular, my rule of thumb is that if you need college-level coursework to know that something is implausible, it won’t probably won’t create a major problem for most readers (unless you’re writing something like hard sci-fi). You can still address the concern if you’d like to–maybe you feel that addressing a scientific implausibility will make the story feel more believable–but don’t feel like you have to. Fiction doesn’t have to be realistic.
Professional communication tip: When you have a philosophical difference with a review (for example, if the reviewer cares a lot more about scientific plausibility than you do), I think it really helps to be polite. Coldly dismissing someone’s writing style is not a great way to make friends or win new reviewers. One possible approach would be something like “Thanks for your advice. I know this story may not be 100% scientifically plausible, but I think that most of my readers will be okay with that.” For one example of dealing with different artistic styles, I think I responded pretty courteously to a Marvel artist that was concerned the coloring on a mutant alligator protagonist wasn’t realistic enough.
Jun 24 2009
Many, perhaps most, real life jobs have a fairly narrow and specialized focus. For example, most people of a company’s employees work for a particular department and newspaper reports usually focus on stories related to their section of the paper. In general, I’d recommend giving your heroes jobs that are more flexible because it gives more opportunity to entangle the character in the plot and add new developments.
Here are some aspects that can make a job more flexible and plot-friendly.
1. Get the character out of his office. Offices are mostly bland, forgettable, comfortable and safe. As far as readers and interesting stories are concerned, they are Kryptonite. I’d recommend giving your character a lot of work outside the office because the real world is harder to predict and gives you more opportunities to work in new scenes, danger, seedy characters, etc.
2. Please avoid making the character the boss. Usually, the boss has the least interesting job in the building. Privates and flunkies usually have more at stake than a general or a business magnate does. In addition, low-level work is generally more interesting. I’d much rather read about a platoon patrolling hostile streets or a corporate flack trying to steal corporate secrets than about the men that decided to send the patrols or steal the secrets.
3. As much as possible, please have the hero spend his time working with people outside of his company. The relationships within a company are usually tidy and well-controlled, especially if the characters share the same goals. When a boss lays down the law, that’s usually the end of it. It’s usually more interesting when a character can’t just order other people to give him what he wants. For example, a police officer has to convince a reluctant witness to testify, which will give you an opportunity to show you how impressive he is. In contrast, if the cop could just order the man to testify, that wouldn’t be very interesting or impressive. (Well, technically, cops can order witnesses to testify, but persuasion is often necessary in dangerous cases).
4. I’d recommend making the hero accountable to a tough boss. Characters like JJ Jameson tend to add a lot more dramatic potential than friendly bosses like Perry White. They create more of an obstacle for the heroes and usually make the heroes seem more likable.
Jun 24 2009
Hello. If you haven’t taken our survey yet, I would really appreciate if you gave us 10 minutes of your time. That will help us get published. You can take it by clicking here or by reading under the fold.
Continue Reading »
Jun 24 2009
In visual media, motion usually makes a scene more interesting. It’s particularly important in a cover because you have to catch the reader’s eye.
For example, let’s say we have two covers that use the world as a soccer ball. (The issue’s title is Americans Don’t Play Soccer, and the issue is about Darfurian genocide and other things very far removed from the typical American’s life. For ideological balance, we might add a thinly veiled Obama vis-a-vis the Iranian democracy movement).
Cover #1: On a soccer field, the villain is standing next to a globe. In the background, the hero is the only thing between him and the net. The villain’s pose would probably look lifeless, like these.
Cover #2: On a soccer field, the villain is doing an insane flip as he punts the world at the hero. The cover would probably look a lot more energetic and stylish. This is particularly important because the cover will probably show the villain from the back. It’s quite hard to strike an immobile pose from behind.
It would probably also help if the hero/goalie had some action. Bracing himself for impact is a little bit banal, so I’d like something that’s striking and makes it clear that this comic isn’t really about soccer. So let’s say the hero is bracing himself behind a transparent SWAT shield.
Jun 22 2009
When you’re making a pitch to publishers (or explaining your story to prospective readers), I’d strongly recommend focusing on crucial details like major personality traits, unusual decisions, major goals/motivations, and anything else which has a major effect on the plot. In contrast, these demographic details tend to be irrelevant and forgettable:
However, some demographic information could be relevant because it affects the book’s audience appeal and how the book will be marketed.
Obviously, these are just guidelines. If the character’s height or weight or eye color are particularly important to the plot and/or provide a major obstacle, then mention them. However, in most cases, they are not.
Many beginning authors start out by doing lists of their characters’ demographic traits. If that information is for your eyes only, I don’t think it’s an issue. However, when you’re presenting your book to professionals, I would recommend a smoother approach that spends less time on extraneous details and more time on why your characters matter to the plot. A particular detail might be relevant for some characters but not all characters. For example, if one of your characters is an alien or elf, it’d probably be worthwhile to mention that (assuming it’s plot-relevant), but you probably don’t need to explicitly tell us which characters are humans because we can infer/assume that on our own.
Jun 19 2009
Bleach’s writing is not terribly inspired and it introduces its premise in a fairly awkward fashion. However, this visual from episode 2 made me burst into laughter. The hero is at school and meets someone that is obviously the girl he saw dice up a demon the night before. (Because of secret identities, he can’t say anything to the people around him, though). He starts to freak out and she turns to shake his hand.
Jun 18 2009
Here are some of the things that can make a character likable.
There are many more, I’m sure. What am I missing?
Jun 17 2009
Hello. This is an early draft of my query letter for Don’t Forget the Death Ray!, a book about how to write superhero stories.
Continue Reading »
Jun 15 2009
Generic niceness is a dangerous trait to give a character–particularly the protagonist. First, it’s probably not very interesting if the character is always agreeable and only does things that the audience is meant to sympathize with. That reduces the potential for conflict. In practice, a character that’s 100% nice is usually boring and/or a Mary Sue. Here are some traits that suggest that the character may have issues with generic niceness.
If your protagonist has traits like these, I’d recommend taking them in a direction that they might create some problems for the characters. For example, perhaps the character is so social that he tries to negotiate even when the audience knows that action is necessary. A character that is too polite might be stiff or reluctant to speak her mind. A character that is too helpful might try to help even when it’s unwise for her to do so. Alternately, perhaps the character’s traits lead him into conflict with non-antagonists*. For example, being agreeable and trusting is generally desirable, but if you were a prison guard, your coworkers would be on your case all the time.
*I think non-antagonists would probably work better here because an antagonist conflicting with a hero for being too nice would probably be one-dimensionally unsympathetic. A conflict with a relatively sympathetic character would probably develop the protagonist more and be more emotionally interesting. For further details here, please see #5 in How to Fix Mary Sues.
Jun 14 2009
If you’ve ever been to Arlington, VA, you know how accurate this is. Down to the bad rappers.
Jun 13 2009
Both Chicago and comic books are pretty awesome. Hence Sequential Chicago, for all of your Chicago comic book needs. Hmm. Is this a half-baked idea or a well-targeted niche? What do you think?
Jun 10 2009
I’m writing a fantasy novel, DemonSlayer Kai. Please see the comments below. Thanks!
Jun 05 2009
Ok, that settles it. I’m getting cremated.
Jun 04 2009
You deserve to lose if…
1. …you have access to every Russian and American ICBM and still cannot exterminate the human race.
2. …you make a human into a cyborg and then show him where to find his control chip. You deserve to have him tear out the control chip and kill you.
3. …you make a cyborg with a control chip, and the control chip does not prevent him from ripping out the control chip. What was the control chip doing?
Jun 03 2009
Gotham Central was a police procedural series that ran for about 40 issues. It focused on an ensemble of homicide detectives in Gotham City.
Jun 01 2009
Figure out what your story’s central question is. For example, Spiderman’s central question is “can a regular teen be a superhero without giving up the people and values that matter to him?” The central question of the Superhero Nation comic book is “what sort of changes would a regular accountant have to make to survive as a superhero?”
Once you know what the central question is, it’s easier to decide which ideas are relevant. Ideally, everything– the villain’s plot, the side-characters, the side-plots– somehow relate to the central question. For example, pretty much everything Spiderman does endangers his family and makes it really hard to enjoy a normal life. The plot frequently puts him in morally difficult situations to test his values. Does he kill the man that killed Uncle Ben? Does he save Mary Jane or a bus full of kids?
It’s easy to get discouraged because you have a lot of ideas that don’t seem relevant. However, please consider whether they could be relevant. For example, let’s say you have a cool idea for a romantic sideplot. Make it relevant to the central question. For example, the Spiderman movies made Mary Jane relevant by using her to create moral dilemmas. Is it possible for him to keep seeing Mary Jane and work as Spiderman? Should he tell her? How can he keep her safe?
I’d also recommend making sure that the villain’s plot is relevant to the central question. In the first Spiderman movie, the climactic battle between the Green Goblin and Spiderman shows that Spiderman can be a superhero without compromising his values. Spiderman manages to beat the Goblin without killing him. The Goblin dies only because of his flawed morals. (He tries to kill Spiderman and ends up offing himself instead).