How to Literally Screw Up Your Character Arc, Plus a Bonus Rant*

The new Guardians of the Galaxy movie (the oh-so-creatively named Vol. 2) was generally enjoyable, and does a number of things right. As I always say, this isn't a movie blog, it's a story blog, so the following isn't a review. Rather, it's a critique of how the writers screwed up the character arc of arguably their best character, followed by a bonus rant* that I'm tacking on to the end because I'm too lazy to write an entire post about it.

Drax the Destroyer was one of several breakout characters in the original Guardians (another pleasant surprise: Vin Diesel is capable of multiple line readings of the same sentence). Partly because the way Dave Bautista played him is really the way a lot of people think of pro wrestlers: big, dopey, and unable to actually fight, which may or may not have been an accident. But also because Bautista's timing is incredible. He's an overly literal lunkhead (best line: Rocket: "His people are completely literal. Metaphors are gonna go over his head." Drax: "Nothing goes over my head. My reflexes are too fast. I would catch it."), but he's got heart.  

In Vol. 2, the writers apparently realized halfway through the movie that Drax and new character Mantis had nothing to do, so decided to have them "bond." See, it's funny because Mantis is conventionally attractive to anyone who's not repulsed by Kawaii culture (there's yet another rant there, but I'll let someone else handle it), and yet Drax finds her disgusting. Which makes sense, here on Earth we don't tend to look very kindly on anyone who's sexually attracted to a different species. While this makes sense, the writers don't really delve into the implications, instead playing it for shallow laughs.

At the end of the movie, to wrap up this half-assed emotional arc, Drax tells Mantis that she is beautiful...on the inside. This comment makes no sense for someone who has no concept of metaphor, unless he's actually pouring over a cat scan and remarking on how sturdy her liver is (or whatever equivalent organ Mantis' species uses to filter out actual toxins**). It's simply not something Drax would say. It's out of character, and it took me right out of the movie.

The most infuriating thing is how easily fixed this situation is. I've got a crazy idea, when Drax and Mantis are sitting around Ego's planet with nothing to do, why not have Mantis teach him about metaphors and idioms and the like? Drax's efforts to grasp the concept would be a rich source of comedy, give them an actual reason to bond, and grow both of their characters (Drax learns metaphors, Mantis learns how to connect with a non-Celestial who's essentially kidnapped her). 

But hey, why worry about character development when you have a baby talking tree and a soundtrack full of classic rock to make people who don't know what Spotify is cream their pants?

* Two bonus rants:

Bonus Rant #1: WTF is with Yondu's arrow? It looks cool AF, but seriously why isn't every single other character in this universe also using an arrow like that? Are they all just that in love with their hair that they don't want a metal mohawk implant?

Bonus Rant #2: GG1 and GG2 totally got their endings switched around. You kill a Kree with a big ass bomb, you kill a Celestial with an Infinity stone. Grrrrrrr so stupid. 

** As opposed to Whole Foods toxins

Gore 101: A StokerCon 2017 Exclusive*

I just got back from a phenomenal weekend at StokerCon 2017 on board the Queen Mary in Long Beach. The setting itself was pretty inspiring--there was a random door to a super creepy crawlspace above the toilet that inspired a short story I'm going to write. I also started an exercise in Michael Arnzen's class that seemed to be working pretty well, so I finished it and figured I'd post it here. Bonus material, if you will. Without further adieu, I present to you "Gore 101!"

 

Gore 101: A StokerCon 2017 Exclusive
By Brian Asman

             “And for my next trick, I’ll need a volunteer,” the pleasantly professorial man at the front of the conference room said with a wide, sweeping gesture, indicating the twelve of us gathered here on the second day of SplatterCon. 

            A wave of murmurs roiled through the room. It was too early for this shit. After choking down the half-assed continental breakfast the hotel put out, followed by too many cups of watery coffee, alcohol vapor from a dozen after-parties leaking through our pores, I’m sure pretty much everybody was asking themselves the same question.

            Why the fuck did I sign up for a nine a.m. class?

            Especially one about writing gross-outs. Worms crawled in and out of the eyes of a man projected on the screen behind the stage, underneath a banner trumpeting the course’s title: Gore 101: Squirming Your Way into the Reader’s Lower Intestine. My stomach churned.

            “Come on, somebody, anybody. I promise I’ll be gentle.” The man smiled, baring too many, too-bright teeth. Ned was his name. A last minute substitution for the horror writer Roy Kilpatrick, who’d apparently had some sort of personal emergency.

            Later, after everything was over, I’d remember who he was. Ned Lauson, a notorious convention creep who’d been drummed out of the Guild under inauspicious circumstances. I should have recognized him right away. But that’s the problem with writer’s conferences. We only know each other by our bodies of work, maybe through a glamour shot on the back of a dustjacket that looks nothing like us in real life. At a writing convention, anybody could be anybody.

            Ned’s gaze settled on me, the predatory glint in his eye raising the hackles on the back of my neck. But I wasn’t big on volunteering for things, at least not until I’d ingested enough caffeine to kill a small elephant. I shook my head back and forth, staring down at my notepad. Hoping he’d pick someone, anyone, else.

            Tentatively, a tall, bearded man with an eyepatch and a leather fedora raised his hand.

            Ned’s smile stretched to impossible dimensions, straining his unusually tan face. “Great. Come on up here. Don’t be shy.”

            The man slowly stood, joints popping, and walked up to join Ned at the center of the room.

            “What’s your name, friend?” Ned asked, extending a hand.

            “Harry.”

            “Harry? What a name. Just great. Well, thanks for being my assistant today.” Ned turned from his subject to address the rest of the class. “You’re all here to learn how to write about blood and guts. Gore, evisceration, involuntary amputation, all that good stuff. How to make your readers really squirm. My new friend Harry here is going to help me show you all how to do just that. You guys taking notes? Great.

            Everyone looked around at each other. This guy needed to get to the fucking point, and fast. Otherwise we’d all take off and wait for the bar to open.

            “Okay, here we go. In order to make your reader really uncomfortable, sometimes you have to get transgressive. I’m talking about some off-the-wall shit here, something no one’s going to suspect. Like stabbing someone in front of a room full of people.”

            Ned pulled out a boning knife, tested the tip with his finger, and then shoved it into Harry’s stomach all the way up to the hilt, giving it a little jiggle at the end to widen the wound.  

            “Oof,” Harry said, stumbling back.

            “Oh what the fuck?” I said, standing up. “You’re wasting our time with this half-assed Giallo parlor trick? We’re here to learn how to write, goddamn it.”

            Harry pulled the knife from his stomach. Blood bubbled from the wound, soaking his shirt. He looked at the knife in his hand, to his stomach, and back again. And then he screamed.

            The kind of scream you can’t fake, the kind of shit that reverberates deep down in your DNA and says run, run, run you stupid primate back to your fucking trees run!

            Ned grinned. “Everybody, watch closely. See the blood? That’s what real blood looks like. See how different it is from the buckets of corn syrup they toss around on the silver screen? Now, let me stick my hand in there and pull some guts out for you.”

            We watched in horror as Ned’s hand began to sink into the wound with a horrible sucking sound. His grin spread wider, the look in his eyes manic. “Yep, uh, really gotta get in here. Hmm, there we go. I think I got some guts for you.” He gritted his teeth and pulled. Harry’s fedora fell off his head, landing lamely on the ground behind him. And yet he stayed on his feet. Wobbling like a punch-drunk boxer, but still upright.

            It was one of the most impressive things I’d ever seen.

            Ned pulled his hand back out of the stomach wound, bringing with it a fistful of shiny pink intestine, striped with blood like a fleshy candy cane. Harry’s mouth open and closed. His head shook back and forth in disbelief at what was happening. At what was coming out of him. His hands flapped uselessly at his sides.

            All the rest of us were frozen in place. Not believing what we were seeing. Struck dumb with the sight. A random thought fluttered in the back of my head. Some vague notion of helping, somehow, or at least calling the cops, but it couldn’t fight its way to the fore. I remained rooted in my seat, watching whatever the hell this was unfold.

            Ned kept pulling, unspooling Harry’s guts from the widening, ragged wound, Harry himself swaying back and forth on his feet. Not making any attempt to stop the attack, strangely.

             “Did you know the average human intestine is nearly five feet long?” Ned asked, surveying the class. “I think I’ve got about two feet in hand so far.”

            Somebody behind me retched once, twice, then finally let go.

             “Which means,” Ned said, holding up the bloody string and pretending to gnaw at it with his teeth, “I’ve got approximately fifty percent of dear Harry’s guts in my hands. Isn’t that amazing? Half his intestines. In my hands. He’s got the whole entrails, in his hands, he’s got the whole en-tr-ails, in his hands, he’s got the whole entrails in his hands! C’mon, help me out here, I know you know the words. It’s like that Jesus song, except about me. And guts!”

            It wasn’t until about three months later that all this made any kind of sense to me. At the time, it was like some kind of psychological test, me sitting in a chair and someone showing me a series of disconnected pictures. Here’s a sunset. Here’s a truck. Here’s Anwar Sadat eating a Costco-size tub of cottage cheese with a giant novelty spork. The whole scene totally shut down my fight or flight responses. The rest of the room, too. A few more people puked. A couple choked sobs or muttered curses erupted behind me. But for the most part, we were silent, uncomprehending of the thing happening before our eyes.

            I don’t think anybody even took a Snapchat.

            Ned yanked more of Harry’s guts out, hand over bile-coated hand. The jagged, bloody tear in Harry’s stomach widened with every pull, ripping up his torso until I could see ribcage. To my continued surprise, Harry didn’t fall. In fact, something washed over his features, a kind of calming wave that made his one-eyed visage appear as though etched in stone for a fleeting moment. And then he started to laugh.

            Huge, belly-bursting (okay, poor choice of words) guffaws exploded from his mouth, launching blood-flecked spit into the air. Ned looked up at Harry, then at us, back to Harry. He arched an eyebrow.

             “Care to share the joke with the rest of us, my friend?”

            Still chuckling, tears streaming down his cheeks, Harry forced his mouth closed. And then shook his head, slowly, once, with a sort of grim finality. Whatever the joke was, he’d take it to his grave.

            Or so I thought.

            Suddenly the intestine in Ned’s hand spasmed, springing to life. With impossible speed it wrapped itself around his wrist, winding so tightly I could hear bones pop. Then with a jerk it receded back into Harry’s stomach, pulling Ned with it until his entire arm was buried in Harry’s torso. Up to the shoulder, even.

             “Harry?” Ned said tentatively, looking up at the one-eyed man. “I can feel your heartbeat.”

            Harry cocked his head at the man, putting his hands on his waist in a perverse Superman pose. Then Ned’s face went slack, blood rapidly draining out of his cheeks as his body jerked. A series of grinding, squelching noises emitted from Harry’s stomach.

            And then a new round of screams began.

            Ned was screaming, obviously. Plenty of my classmates too. After a few seconds of watching Ned’s body convulse like he’d buried his arm in a blender, I realized I'd joined my voice to theirs.

            Somebody at the back of the room jiggled the door handle. It didn't work. Wouldn’t work. At a time like this, they never did. Jiggling turned into pounding and desperate shouting.  

            That wouldn’t work, either.

            That horrible chomping sound continued, Ned shrieking all the while, his head rolling back and forth like a pendulum. Sweat dripped from his forehead. He batted at Harry’s chest with his free hand. Weak, ineffectual baby-blows. Harry didn’t seem to notice.

            My head spun, amazed and revolted by this singularly impossible act of mastication.

            Finally with one moist, gnashing crunch of bone, Ned stumbled away from Harry, pinwheeling off the lectern, whirling like a lawn sprinkler, spraying arterial blood from the shredded wound where his arm had been. Something wet and sticky spattered my cheek. I absentmindedly wiped it away with the back of my sleeve.

            Ned stopped wailing, his cries dying off into a few small, sputtering noises. Whoever that was at the back of the room stopped pounding. A silence crept over the room, broken only by the phlegmy gasps issuing from the back of Ned’s throat.

            He wavered on his feet for a moment, then fell over, crashing to the floor. One last spurt of blood leapt into the air. Fell back to Earth. Splat.

            Harry’s stomach was already knitting itself back together. Pale, pink skin stretched like taffy, expanding over rent flesh, slowly obscuring viscera. He watched us impassively, his gaze thankfully not settling on anyone in particular.

            More retching from the row behind me.

            I looked down at my hands, realized I’d been gripping the edge of the table. I figured my face was about as white as my knuckles. My pulse pounded fiercely, made me want to crawl right out of my own skin to get away from it.

            Harry’s stomach had pretty well put itself back together at that point, the bloodstains on his shirt and a few gurgling noises echoing from somewhere in that strangely toothy cavity the only signs that anything out of the ordinary had happened. He glanced down at Ned’s body, lying still beneath the lectern, and slowly shook his head.

             “I never much liked that guy. I always figured he was up to something.”

            From all around me, the class let out its collective breath. No one spoke, our minds hardly up to the task of processing the things we’d seen.

            Harry’s face seemed to shimmer for a moment, distorting itself into mismatched rectangles like a hiccup in an HD broadcast, before coalescing in a very different face indeed. Middle-aged yet boyish, wearing a pair of wire-rimmed glasses. He smiled, a real, genuine smile, unlike the uncanny facsimiles Ned had offered us in his attempts to act congenial.

             “So,” Harry-cum-Roy said to the class, “while that wasn’t my original presentation, I would hope it’s been an instructive one. I’d like to thank my unwitting assistant, Ned Whatever-his-name-was. The Guild for having me, and for putting on such a wonderful weekend. Make sure you thank all the volunteers for making this happen, m’kay? And finally, all of you for bearing with me. I’ve experienced technical difficulties before, but waking up bound and gagged in a broom closet at seven in the morning? That takes the cake. Anyway, we’re about out of time, any last questions?” His head swiveled left to right, taking in a room full of people who had oh so many questions, but none that they could begin to articulate. My tongue felt like a dead slug in my mouth.

             “All right, well maybe I’ll see some of you at the banquet tonight. I hope this has been an, er, instructive experience for you.” He flashed us one last winning smile and disappeared through a door behind the projector screen, leaving Ned’s prone form behind for some put-upon SplatterCon volunteer to deal with. The class held its silence for a long moment, and then the frantic and excited chattering began. The door at the back of the room finally decided to cooperate. Someone flung it open with a loud bang. Footsteps stampeded out into the hallway. 

            Looking down at the blank notebook on the table in front of me, I realized I’d forgotten to take notes.

 

* I realize that by posting on this blog, this story is technically a non-exclusive since anyone and their mother can read it. 

 

Slaughterhouse Jive

I watch a lot of bad movies. Part of this is a function of the conditions under which I usually watch movies (at the end of a long day of doing stuff outside, so tired I can barely lift the remote and flick through the options on NetFlix), part of this is because for every good, smart horror movie that comes down the pike there are a legion of terrible ones, and part of this is because I think there's a lot to learn as a writer from bad movies. The key, of course, is not just sitting there covered in Cheeto dust and loudly proclaiming something sucks. You have to think about why something sucks. A skill many people don't seem to have.

Which brings me to Abattoir

Abattoir is a unique animal. The love child of a great movie with an intriguing premise and a schlocky pile of hot garbage that wouldn't even deserve its place in the bargain bin if we still had those. I even hesitate to call it a bad movie, but at the same time there's the old nine gallons of ice cream/one gallon of manure rule. But for our purposes, it doesn't matter whether the movie's good or bad, since this is not a movie blog. It's a narrative blog. 

In the first hour of so of its running time, Abbatoir does a number of things right. The premise is absolutely killer: there's a mysterious guy running around buying up properties where horrific tragedies have occurred, literally tearing the rooms out of the house, and then flipping them (TLC should really get on this). Julia is a reporter who's sister's family was murdered, and their house purchased and renovated. There's a neo noir feel to the dialogue between the reporter, Julia, and her cop boyfriend, Grady (unfortunately doesn't extend to the rest of the characters and is bizarrely dropped right around the time the rest of the movie goes off the rails).

Much of the first act concerns itself with digging through property records and birth certificates, which might sound boring but is actually great. It's quiet horror, mundane paperwork forming a trail of breadcrumbs one can follow to the supernatural. The sort of tone that makes the story feel more grounded. Which is what we general want in horror. We want to be presented with familiar surroundings, slightly tainted with a sense of unease, because that makes the horror seem more plausible.

At this point in the narrative, the writer is involved in a balancing act. You want to peel back the curtain slowly, but not too slowly. You want to build anticipation without boring the audience. In the final good decision made in the narrative, the writers introduce a videotape, ostensibly of Julia's sister's murder, which provides a peek behind the curtain. Something about the room in the background of the grainy video doesn't look right, and we're given the impression that maybe this video was made after the murder room was ripped out of her sister's house.

So we've got this fantastic setup, but unfortunately it's completely squandered. The script commits the sin of giving us too much exposition in a jailhouse visit with Julia's sister's killer. The guy reveals exactly what Dayton Callie's awfully-named Jebidiah Crone is up to, and why he's doing what he's doing. Too much information, too early in the story. 

The story next takes us to a small Louisiana town, where all the residents act predictably weird and unfriendly. There's nothing wrong with using cliches, but there's a lot wrong when they feel like cliches. At this point the movie lapses into the usual small town weirdo shtick for the next twenty minutes or so, before finally taking us on Disney's Haunted Mansion ride. Literally. 

I think the idea of building an entire house out of different rooms where gruesome murder have occurred is brilliant. But then we actually see the house, and there's not a lick of subtlety to it, just cheesy camera work and cheesier CGI, with Dayton Callie doing a Saturday afternoon horror host impression and stamping his magic staff on the ground. Ugh.

Summing up the lessons from the movie:

1. If you start with a grounded tone, keep it. If you want to get nuts, do so from the beginning.

2. This is hardly a new lesson, but always bears repeating--show, don't tell. Kill your exposition deliverers. This is horror, I'm sure you can find a way to off them. 

3. As a corollary to #2, show your monsters as little as possible (as Stephen Graham Jones says, "just the toe"). The movie does this well with the videotape scene--it's so grainy and shaky, and the camera never fully focuses on the TV that's playing it back. Then it seems to forget its own lesson and unleashes the CGI ghosts. 

By the Numbers, March 2017

I like words, obviously (or maybe, depending upon your opinion of the quality of my writing, I don't since I do such awful things to them). But I also like numbers. Which is kind of funny, since mathematics was always my weakest subject in school and I spent most of geometry class making fun of this one kid who thought he was a wizard. In my day job though, numbers are my bread and butter, and I've grown to depend upon them, love them, even. And I often find myself asking, whether at work or in my personal life, "how can we quantify that?"

I'm one of those nerds who quantifies his writing.

Some people tell you not to worry about word count, just to write. But I like it. It gives me a concrete goal to reach for every day. And it's nice to look back on what I've done every few months. 

I've been doing a short story a week challenge through This is Horror this year. There are no guidelines for the challenge, other than to write one story every week. The stories can be as long or short as they need to be. It's been an interesting challenge. I've already written more short stories this year than I did all of last year (but then again, I also wrote one novel and one novella last year so there's that). Without further ado, here's my 2017 Q1 Status report:

Stories Written: 18

Words Written: 75,907

Average Word Count/Day: 843 (I try for 1,000 a day, obviously off the mark)

Longest Story: 10,300

Shortest Story: 192

If I can maintain this pace, by the end of the year I'll have written about 300,000 words (100K more than last year) and 72 short stories (exceeding the challenge by twenty). Of course I have a couple novels I really need to write, so maybe I'll get even more done.

The great thing is I don't think there are many, if any, wasted stories in here. Pretty much all of them I think could see the light of day.

Now I just need to find some time to edit. 

Books without Anchors

I just finished Clive Barker's The Great and Secret Show, after a little over a month (granted, I snuck Ray Cluely's Water for Drowning in there, in addition to many, many slush pile stories). This is unusual for me. My average pace is probably about a book every week or so, unless it's a Sanderson-size tome and then I'm looking at two-ish. The Barker book is a long one, weighing in at nearly seven hundred pages, so I could be excused for taking so long to finish it. But the fact is that until the last two hundred-odd pages, I just couldn't get into it. I'm a stubborn sumbitch, and so I pushed through. But I finished it, having mostly enjoyed the third act of the book, and asked myself why didn't this book click for me?

Two reasons, I think, one minor, and one major. The first is there are moments that are so Clive Barkery they actually read more like a parody of Clive Barker (similar to Stephen King's Lamp Monstery moments). The bit about the guy who creates snake monsters by having insects manually masturbate him until he ejaculates on his own shit was particularly ridiculous. But when you open up a book by the bondage demon guy you have to expect a bit of that. The major reason I couldn't get into the book is that as a reader, I didn't have an emotional anchor until more than halfway through the novel.

When do you usually meet a protagonist? In the case of The Hobbit, in the very first line. In the case of The Shining, in the second chapter. Even in works like A Song of Ice and Fire, with huge casts of characters and multiple points of view, we meet all three of our true protagonists (Dany, Jon, and Tyrion) within the first hundred pages of the first novel (I actually love how the first two POV characters both get their heads chopped off; nice touch, that). But in The Great and Secret Show, we don't meet anything resembling a traditional protagonist until a third of the way through the book when Tesla Bombeck is introduced, and she's a tertiary character up until the halfway point.

In fact, Barker plays kind of a shell game with the protagonists up until Fletcher's self-immolation at the Palomo Grove Mall. Part one focuses on Randolph Jaffe, who we think is going to be our protagonist, albeit a seriously flawed one, until Fletcher and Raul are introduced. Then part two shifts focus to four teenage girls (and a pre-teen peeper), whose main purpose in the novel is to give birth to children who will be the catalyst for later events. In part three we settle in with Jo-Beth and Howie, who ultimately prove kind of useless to the resolution of the plot, while simultaneously meeting Tesla, who proves to be our actual protagonist.

Tesla is the character we really care about. She's the one who undergoes the hero's journey, she's the one who rises to the occasion when called upon, and she's the one who ultimately triumphs over evil. Plus she's snarky and fun. So why the hell don't we meet her earlier?

For half its length, the book floats from character to character without ever settling on one. And this illustrates for me the stark difference between what an established author and an unestablished one can get away with. A guy like Clive Barker can structure a book like this, in what I'd argue is a borderline experimental form. For someone who hasn't had a string of NYT bestselling novels, it's a much harder sell. Both for publishers, and for readers.

Like I said, I'm stubborn, and I would have kept reading anyway.

But not everyone is. Until I've sold a few million copies and feel like I've built up sufficient trust to get weird with things, my aim is to make things as easy on my readers as possible. That's not to say I won't produce complex or challenging stories (or stories I'd like to think are complex and challenging but are in reality obvious and banal); rather, I'll try to craft stories that honor the contract between the writer and the reader. The one that promises to give them certain things when they crack a book cover.

Like an anchor. Or at least a life preserver.

A World Without Spear Carriers*

I only had HBO for about six months in the early 2000s, so I missed much of the birth of premium TV, including the show that's on pretty much every critic's shortlist for GOAT: The Wire. Thanks to HBO Now, I've been catching up on it over the last few months, currently working my way through season 3. I'm here to offer the extremely controversial opinion that yes, this is a great TV show.

One of the things that strikes me most about The Wire is the way the writers are able to manage a massive cast, while at the same time giving nearly every character their own motivations, goals, etc., even if they're only on screen for a moment. Nowhere is this better illustrated than with Squeak, who first appears in the episode "Back Burners."

When we first meet Squeak, she's along for the ride with her boyfriend Bernard as he drives up and down I-95 buying disposable phones. In this episode, Squeak serves the role of audience stand-in, asking why they can't just buy a bunch of phones at one store. Through her prompting, Bernard explains for the audience exactly what he is doing and why he's doing it.

But Squeak is more than a plot device**. The writers give her motivations and desires of her own. Frankly, she's bored. She wants to not be bored. It's not the most complex motivation, but it serves its purpose, elevating her into a fully realized character. The fact that her primary motivation is boredom is also commentary on one of the contributing factors to the state of Baltimore's streets, and dovetails with Carver's storyline where he tries to figure out what to do with all the out-of-work hoppers. Kids get into trouble because they're bored. People do drugs because they're bored. And people go for long-ass drives down 95 with their boyfriend to buy cell phones because they're bored.

So, how to apply this to your own writing? Take one of your pieces and look for an unimportant, incidental character. Maybe it's the convenience store clerk who sells your protag a pack of gum. Think about what he or she wants, in general terms and in the context of this specific encounter. Maybe they have a significant other they want to see after work. Maybe they just quit smoking cigarettes and selling pack after pack is stressing them the hell out. Maybe your protag is bleeding profusely from several orifices and it's freaking them out (and also pissing them off since they'll have to clean that up later).

Once you know who your incidental character is, it's easy to work in a seemingly throwaway line or two, or a behavior, that illustrates what they're thinking and feeling. And then you've elevated them from human scenery to another character populating your story.  

* A spear carrier is defined as "an unimportant participant in something."  

** While Squeak becomes the fracture that Freamon, McNulty, et. al. eventually exploit to bring down the Barksdale crew, I'm primarily interested in the tricks the writers room brings to the table during her introductory episode. Although The Wire, like Breaking Bad after it, is very, very good at not wasting characters.   

 

 

What I'm Working On

Story-wise, I'm a little over 4,000 words into a horror short inspired by Donkey Kong and Super Mario Brothers. I've always thought it would be kind of cool to open a SMB-themed gym. Put a bunch of turtle-shaped trampolines all over the room, get some papier mache bricks for people to punch (maybe fill them with single serving packets of protein? Or steroids. Yeah, steroids). What red-blooded Gen X or Yer wouldn't want to spend their afternoon bouncing around a room pretending to be Mario, Luigi, or Princess Toadstool? 

I also finished editing a story for the anthology "Zombie Punks Fuck Off." "Mall Punk Meltdown" clocks in around 2200 words. Brutal and to the point. We'll see what happens...

I'm still reading slush for the first issue of Deciduous Tales. We've gotten some great stuff so far that I'm really excited about. The main thing I've noticed so far after reading dozens of stories is the high level of competency in most submissions. The competition is stiff out there, people. Which means if your piece has a single sentence that lands awkwardly, that could be the difference between literary life and death. Polish. Then polish some more. 

Finally, I've been sketching out an actual logo for this site. Something along these lines I think...except, y'know, professionally done.

 

 

Advancing Narratives with Dumb Decisions (Please Don't)

I watched Logan last week. 

Growing up, Wolverine was one of my favorite characters. Having spent the early days of my childhood watching sanitized, saccharine stuff like Super Friends, the idea of a superhero slicing through throngs of bad guys in a berserker rage whilst simultaneously healing the worst damage they could dish out was refreshing. Perfect for an adolescent boy with rages of his own. One who'd just discovered grunge, even.

But this post isn't a love letter to Canadian mass murderers, or a paean to the days I spent reading comics in my room beneath a Frazetta-esque poster of Logan* perched atop a pile of dead bad guys. This is about how Logan, which is in most respects a very good movie, leverages some idiotic decisions to advance the narrative.

To wit:

When Donald Pierce confronts Wolverine at the farm where he's hiding Professor X, he is knocked unconscious by X-23. Wolverine, who in the opening sequence has no compunction whatsoever about sticking his claws directly through a cholo's head, decides to take mercy on Pierce. Instead of killing him, he enlists Caliban, whose primary mutation appears to be the power to act like a slightly less useful C-3PO, to leave Pierce in the desert. Pierce is a man who's tracked down Wolverine twice at this point in the movie, I might add.

But if Wolverine slices off Pierce's head this early in the movie, who's going to chase Wolvie, Professor X and Eleven I mean Laura across the country?

I dunno, Dr. Rice and the rest of the Reavers? Reprogrammed Sentinels? X-24 (who would have actually been cooler as the cybernetic Wolverine clone Albert that used to pal around with Elsie Dee)? That's one option.

Another option would have been to have a more expendable Reaver show up at the ranch as an advance scout. Like maybe the guy from The Ultimate Fighter who Laura decapitates a few scenes later?

ANOTHER option would have been for the Reavers to descend on the ranch en masse before adamantium claw meets cyborg skull. 

But nah. Let's knock Donald Pierce unconscious and send the guy who doesn't have claws, a healing factor, or the ability to take his shirt off at the beach to leave him in the middle of the desert like we're fratboys playing a prank on the pledges.    

I won't get into some of the lazier narrative devices used (hey look, it's a character who's mute by choice! hey look, vampire C-3PO is also vampire Cerebro!** hey, let's put handcuffs on the kid who shoots solar energy out of his hands), and some of the other criticisms leveled at the film are actually baseless (for example, why aren't they shooting adamantium bullets at Wolverine when adamantium bullets are a thing that exist? Because adamantium is rare AF). Because Logan is generally a pretty great movie otherwise, it makes the dumb decisions by both good guys and bad guys all the more glaring.

This kind of thing has been lampooned in the context of horror flicks about a billion times. Don't take the easy way out in your writing. If your protags have your antag incapacitated, FINISH HIM! You should listen to your friend Scorpion, he's a smart dude. Or have your antag turn the tables. Whatever you do, don't have your protags uncharacteristically show mercy when you've established in the opening freaking scene that they're merciless.

If your character has no problem killing random gangbangers who try to steal his hubcaps, he'd shouldn't have a problem killing that dude from Narcos. 

*Which was a promotional poster for his late '80s ongoing series. When it came out, the world thought the X-Men were dead for some reason and the first few issues had him running around Madripoor as "Patch," the worst secret identity this side of Clark Kent.

** Yes, I know what Caliban's power is. That doesn't mean it's not lazy writing.