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Writer Report: Struggle Within

Courtesy http://punology.tumblr.com/

I’m still not back to 100% on my regimens. The gym gets skipped or skimped on from time to time, finances continue to present challenges, I’m behind on getting Magic decks together, and oh yeah, I need to make more time to write.

At least my brain has been active. The very nature of Godslayer has changed. As eager as I am to move forward with it, I know that Cold Streets needs to be completed first. It’s been almost a year since I started writing it, and it should be done by now. In the weeks to come I will be redoubling my efforts to get a draft finished and out to test readers.

There really isn’t much else I should be devoting much time to, after all. I don’t participate in MMOs as of now, play by post games are not urgent, single player games can always wait, and Hangouts are more sources of relaxation and support than they are distractions. It may take some conscious effort to reassert my focus at home, but I know I can do it if I just take the time to stop and breathe before making a decision.

And of course, there will be more flash fiction, reviews, after-action reports, pontifications on writing and support for good causes here, so stay tuned.

From the Vault: Writing as Mortar

I don’t have a clever lead-in for this, I have a lot coming up this weekend and in the near future, so here’s something from the vault as I work to catch up on things and get a little ahead if I can.


Courtesy askthebuilder.com

Pop quiz, hotshot.

You’re not ready to be a professional writer. You want to keep a steady paycheck, which means a steady job, which means no solid blocks of writing for you. You’ve checked Chuck’s list and felt the crushing weight of reality telling you that being a professional writer just isn’t going to happen. But the need is still there. That thing that makes you want to put words on paper for people to read for no other reason than they make sense, possibly to entertain, and definitely because nobody else in the world writes exactly the way you do.

What do you do? What do you do?

You find a way to keep writing.

Writing as a skill, especially one aimed at earning a living, is like any other. It takes practice, experimentation, practice, failure and even more practice. Training your ability to write is like training a muscle group in your body. You pick up the weights and repeatedly use the muscles to lift them, or you run in a circle or bike the same route over and over again. The more you do it, the easier it becomes and the more you can do at one time. However, if you have somewhere else to be or something more urgent to do, you can work in a quick burst here and there.

It’s the same with writing. Even if you’re not doing it to earn a living (yet), you can find ways to keep that intellectual muscle in shape. Lunch breaks, mass transit commutes, commercials during a favorite show, loading screens – that’s just a few examples off the top of my head. During any of these snippets of time, you can write. It doesn’t have to be anything earth-shattering or the next bestseller, but it might lead to something earth-shattering or the next bestseller. You won’t know till you try.

Anybody who works out can tell you that having a regimen or a trainer is the best way to stay on track with your goals and remain motivated. For the writer, that means feedback. There are quick, dirty ways to get that, too. Find a forum in your field or genre and see if they allow sample or snippet posting for peer review. Facebook notes are good for this, especially if you have friends following you willing to tell you when something stinks to high heaven. If you’re feeling up to it, start a blog.

Just like when the trainer yells at you to keep you motivated, a peer giving you feedback probably isn’t looking to erode your self-esteem. The abuse is for your benefit. It might sting and you might resent them in the moment for it, but when the end result turns out looking much better than your initial effort, you’ll be thankful for the harsh words. Try not to take things too personally, unless the critic actually starts attacking your person. Remember, friends don’t let friends publish crappy writing.

Most of us can’t become professional writers right out of the box, and some of us just aren’t ready to make that leap yet. We need to lay bricks instead of writing to make a living. However, there’s no reason we can’t work our art into the mortar between those bricks. If you look at a building held together by mortar, some of the gaps between the bricks or stone are larger than others. It adds character to the building. Again, so it is with writing. Some of our stretches of writing between shifts, tasks and days will be longer than others, and some will be far too short. But the overall effect will be a richer life and one that gives us more motivation, as we seek the next gap between bricks to fill with our mortar of words.

The most important thing is to write, and to not stop writing.

The Power – And Scarcity – Of New Ideas

Courtesy Sony Pictures & ComingSoon.net

One of the chief complaints I have about Star Trek Into Darkness is the way it treads old ground. It was a fear I had going into the movie that turned out to be justified, and while I still enjoyed watching the film, the overarching problems I have with the very core of the narrative continue to bother me. It’s an endemic issue I have with a lot of genre films, and I think it’s not limited to those, so let me get right into it.

Sequels. Reboots. Prequels. We see more and more of these cropping up throughout Hollywood, from mindless iteration of the most basic, lowbrow, idiotic comedies to what was once high-concept science fiction. There are some that do it right – Nolan knocked it out of the part with his Dark Knight trilogy and I have higher hope than I thought I would for Man of Steel – but for the most part, there’s at least part of this storytelling that feels lazy. I may be inclined to like Marvel and its superheroes, but they’ve been around for decades, and as much as their big-screen realization continues to satisfy, and while I’m curious to see what’s next for them, I’m not as thoroughly intrigued by them as I am by other titles coming our way this summer.

Consider Elysium and Pacific Rim. Both are coming from writer/directors that have been described as visionaries, and rightly so. Neill Blomkamp of Elysium gave us the fantastic District 9, and Guillermo del Toro not only brought Hellboy to the big screen, he also crafted the haunting original vision of Pan’s Labyrinth. Not only are these films powerful stories with excellent execution, their ideas are practically brand new. On top of the fact that neither is a derivative work, they come from different cultural perspectives – Blomkamp is South African and del Toro is Mexican – which color the nature of their ideas differently than those that come from Hollywood’s old and somewhat creaky idea machines.

These story ideas are best described as breaths of fresh air. I have to wonder, however, if their novelty is actually enhanced by the amount of derivative drek that permeates the media. I consider it a shame that new ideas are so scarce, but at the same time, their rarity may lend them even more weight and power. This may be a paradox intrinsic to the entertainment industry: as much as there’s nothing new under the sun, there’s only so many ideas that can be shifted or reborn in new ways to really capture the attention of the audience.

What do you think? Are new ideas more powerful for their rarity? Or would they be just as welcome if every idea was brand new?

Movie Review: Star Trek: Into Darkness

Fair warning: I am going to spoil this movie. Forget Abrams and his mystery box, there really isn’t any mystery at all with Star Trek: Into Darkness. He likes to pretend there is – he always does – but if you still haven’t figured out the BIG TWIST of this movie, I’m about to “ruin” it for you. Seriously, jettison all of that stuff. Let go of your hatred, as another now-Abrams sci-fi franchise would tell you. Take this one on its own merits. Because it does have merits. Some good ones. They’re there, and you can see them, if you can look past the overarching disappointments that still cling to this Star Trek and make you remember the previous iterations of it even more fondly.

Courtesy Paramount Pictures

Since the first new Star Trek film, the crew of the Enterprise has been doing some surveying and scouting work. Captain Kirk is eager to be considered for Starfleet’s first five-year mission, but his inexperience and constant flouting of regulations have put his entire career in jeopardy. Admiral Pike is willing to go to bat for his protege, but first an imminent threat to the Federation must be dealt with. That threat takes the form of John Harrison, or as he was known in his time, Khan Noonian Singh.

At this point, it’s really difficult to consider that a spoiler. A cursory look at even the movie’s IMDB page reveals the true identity of Benedict Cumberbatch’s character. To get the bad news out of the way first, this laziness is perhaps the biggest extant problem with Star Trek: Into Darkness. While the use of the genetic super-people from the TOS episode “Space Seed” is not without its cleverness and interesting moments, the blatant copy-paste of the character of Khan invites several questions. If he is Khan, and is named Khan, why is his actor a British man, instead of someone from India or southeast Asia? If he is like Khan but not the same as Khan, why is he named Khan? The use of the same name for a villain who is only somewhat similar to the other is laziness for the sake of name recognition, and the whitewashing of the character is extremely unfortunate. Taken as a whole, it’s clear that the creative minds behind the new Star Trek are mostly working off of old themes, ideas, and even names just to get butts in the seats, rather than trying to tell a new story, and this story in general and Khan in particular suffer for that.

Courtesy Paramount Pictures
A perfect specimen of the 21st century superman, preserved here in the most comfortable of iBrig units.

The only thing that really saves the character is Benedict Cumberbatch himself. He is electrifying in his role. He plays the canny, manipulative villain very well, holds his own in action scenes, and steals most of the moments he’s in. The cast overall is excellent, even more settled into their roles and deepening the dynamics established three years ago. Joining the cast is Alice Eve as Carol, an indirect parallel to another of Wrath of Khan‘s characters, and she manages to hold her own in the presence of the veterans. The main draw, however, and the best performances come from Chris Pine and Zachary Quinto as Kirk and Spock. As good as everyone from Karl Urban to Simon Pegg are, their dynamic is rock-solid by this point and they are a delight to watch together.

Good acting, however, is only part of the equation. A bad script or director can ruin even the finest performance. Thankfully, Kurtzman and Orci spare us the problems they suffered from in the Transformers movies, and as lazy as they are, they can write decent dialog when they actually try. I maintain that they do decent work when under Abrams as opposed to other directors. And Abrams seems to have throttled back on some of this more bombastic tendencies, allowing the human elements and powerful performances of his actors to come through the lens flares and dubious mysteries. For all of the fears some may have had about this director, his vision, and the future of other sci-fi franchises, I personally think it could have been a lot worse.

Courtesy Paramount Pictures
When the captain says, “Put on a red shirt,” you’re gonna have a bad time.

For all of its failings in rehashing plot and characters, sometimes in an extremely lazy fashion, Star Trek: Into Darkness delivers a story that is both light enough to convey the space opera sense of the original series and serious enough to get real moments out of its players. It surprised me in a few places, most of which were unrelated to the overarching plot. It feels like it’s trying harder than its predecessor, both in being a good story by itself and in being amenable to Trek fans. If nothing else, it is admirable for this effort.

Stuff I Liked: There are multiple nods to continuity here, both to the old universe and the previous film. Alice Eve’s character feels like more than just a plot device, and she’s not bad in the role at all. What is done with the original “Space Seed” concept and the role the war criminal supermen play in this new universe is interesting, and reflects a discussion that’s been going on between Trek fans for decades.
Stuff I Didn’t Like: So many things in the film just feel lazy. Khan’s name and backstory most of all. Also, you couldn’t come up with a better name than USS Vengeance? No legendary heroes or conquerers came to mind? Not even Caesar or Alexander or Ghengis? Really?? Some parts of the story were a touch predictable and none of the plot twists were terribly surprising. I still don’t know what Scotty’s little friend is supposed to be or do. I still have some trouble with a couple pacing moments: Kronos and Earth should feel farther apart than they do.
Stuff I Loved: Pine and Quinto are fantastic. Cumberbatch is downright legendary. The rest of the hero cast gets their moments, and not just action-packed ones. I adore what they do with Uhura. This film feels more geniune, deliberate, and structured than the last, and that feeling of cohesion leads to an overall better watching experience.

Bottom Line: Is Star Trek: Into Darkness a great film? I wouldn’t say so. I would say, however, that it’s very good. It stands with some of the better films of its previous franchise, and while it will never, ever, in a million years, live up to its spiritual ancestor, it has enough good moments and does enough things right that saved from being an aimless and shallow action flick with a familiar name super-glued to it. This Star Trek is definitely a cinematic animal, nowhere near as cerebral as earlier films or the television series could get, but as a straight-ahead sci-fi action-adventure, it works. Abrams sets out to make films for everybody, and this is definitely one of his more well-rounded and enjoyable successes.

Oh, And… Now that Abrams and his crew have this out of their systems, I really hope they can go in a new direction. Like they should have done last time. Seriously, guys. Give us something new.

Flash Fiction: The Wandering Sage

Dunes of the Namib Desert, taken by Simon Collins

The random fantasy character concept generator at the crux of this week’s Terribleminds Flash Fiction challenge gave me, among others, “a foul-mouthed sage is searching for a legendary weapon.”


“If this infernal heat doesn’t kill me,” Balthazar growled, “I’m sure the desert would love to fill my lungs with sand.”

“Why would the Equalizer be out here?”

“Think about it.” Balthazar tried not to snap at his apprentice. Gaspar was a good kid, and smart for his age, but he had an annoying tendency of not thinking things through. “If you wanted to hide something from the world, how smart is it to build a great structure out where everybody can see it?”

“But way out here? Wouldn’t you lose track of where you left it?”

“Not if you’re a Gods-damned Sage. Now enough with the belly-aching and give me the Astrolabe of Epsilon before I choke on the damn dune that’s come to play with us.”

Gaspar fumbled in his packs and produced the device. Balthazar squinted against the swirling sand, and tugged the dials into their appropriate positions. It was much like the other astrolabes in the world, but the one created by Epsilon, a sage so ancient even his name was lost, charted not the paths of the Sun and stars, but the lines of power that lay beneath the surface of the earth, invisible to the naked eye. He kept his eyes on it as he walked, stopping suddenly, turning, then moving on.

“The storm is getting worse!” Gaspar had to shout to be heard above the wind. “If we don’t find it soon…!”

“Please keep stating the obvious,” Balthazar replied, “because that certainly isn’t getting old.”

The Astrolabe of Epsilon rattled in his hands. No one was entirely sure how it knew, but it did. Balthazar pointed at the featureless sand at his feet.

“Here! We dig!”

Gaspar pulled the shovels out, and handed one to his master. It was hard to get started with the wind, but working together they managed to carve out a small hole in the dune. Gaspar’s shovel struck something about a foot under the surface, and when he tried to lift his shovel, it caught hold and there was a mechanical sound.

“Idiot boy! Back away before…!”

With a whirring, clunking sound, the trapdoor under the pair gave way, and they fell through the sand into the chamber beneath. The trapdoor shut almost immediately, and while the drop was short, it left both men half-buried in a small pile of sand.

“Augh! I told you Esvartus set up his laboratory this way! You should have been more careful!”

“I’m sorry, Master, but…”

Balthazar got to his feet and dusted off his robes. “‘But’ nothing. You need to pay more attention, Gaspar, and keep your mind more ordered. I know you’re young, yet, and visions of moaning women yeilding to your manly charms dance behind your eyes, but focus on where you are and what you’re doing, or you’re going to get yourself killed. Or worse, me!”

“Of course, Master. It won’t happen again.”

“By all the Gods’ knickers, it won’t. Now, let’s have some light.”

He extended his hand and spoke the right words. Elemental flame came to life in the air between his palm and fingers. He opened his hand more to give it more room to breathe. It illuminated the antechamber, showing pictograms and carvings on every surface, even the bottom of the trapdoor that had just admitted them into its bowels.

“Now. To find the Equalizer. Epsilon’s Astrolabe won’t work underground, so we need to go by Esvartus’ notes. What did you piece together?”

Gaspar pulled several half-ruined bits of parchment out of his pocket. “Only that to approach the Equalizer is to court the most dangerous of minds.”

“Pshaw. Esvartus wasn’t so dangerous that he wouldn’t let a pretty girl turn his head, either. You’d have liked him, Gaspar.”

“Why is that?”

“He died fucking.”

Balthazar picked his way through the corridor leading away from the antechamber, stepping over the skeletons laying over the various traps they’d triggered. Only a couple got past the first few feet of blades and spikes. The rest of the traps were cleverly concealed, at least from lesser minds. Balthazar made it a point to not tell Gaspar where they were. If the child was going to make it as a sage of his own, he’d have to deal with things far deadlier than static, ancient traps.

Once he reached the only other chamber in Esvartus’ hideaway, he turned to see Gaspar stepping gingerly over the last acid pit. Balthazar tried not to smile.

“There may be hope for you yet, shitbrain.”

“My hope is that you’ll stop calling me that.” Gaspar nodded towards the center of the room. “Is that it?”

Balthazar approached the dias, his unlit hand reaching towards the pedistal. “Yes. I believe it is.”

“Master, wait.”

Balthazar stopped, whipping around towards Gaspar. “What is it now?”

“On the off chance that intruders were able to pass all of these traps, do you think he would leave everything else unprotected?”

Balthazar blinked. “Come on, Gaspar, he wasn’t that paranoid.”

“Wouldn’t you be?” Gaspar stepped up to stand beside his master, produced a long thin wand of yew, and touched the pedistal. A sigil appeared in the stone.

“A summoning glyph. Probably some form of bound devil.”

Balthazar watched agape as Gaspar twirled his wand in an anticlockwise motion, intoning the dispersal spell Balthazar had taught him the week before. The sigil disappeared with a soft sigh.

“Hmm. Perhaps a succubus. A good way to appear to offer an explorer a reward before destroying them.” Gaspar turned to Balthazar. “What?”

“Gaspar, I take back most of the bad things I’ve said about you.”

“… Most?”

Balthazar did smile, now, as he removed the top of the pedistal and reached inside. The Equalizer was just past the stone lip. He pulled it out, and showed it to his apprentice.

“This is what the princes all fear?”

“Indeed.”

“What could men of power possibly fear from a book?”

Balthazar’s smile broadened.

“That proves, shitbrain, that you still have much to learn.”