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Posts Tagged ‘Chuck

Back when I was writing my many stories in the Chuck fanfiction realm, I often thought of it as great practice for any future writing I would end up doing. Having already written St.Martin’s Moon at that point, I knew that there were certain types of writing which I was not very good at, such as mystery, with its focus on pacing and plotting, and horror, with its focus on pacing and setting/ambiance. Chuck was a great mixture of light and dark, romance and comedy combined with spy action and some darker drama. My own strengths were in the romance and comedy areas, I thought at the time, where my ability to write strong dialog and characters was most important. The slow and methodical pacing of a spy story, mixed with the occasional burst of action, was what I needed work on.

I was mainly thinking of my more normal stories when I thought this, such as the stories of my Nine2five series, in which I rewrote the last three seasons of Chuck to be more of a piece with the first two. The third season, usually abbreviated as S3, was a very dramatic turn for the show, which the producers thought of as a Hero’s Journey type of story. Which may have been their vision, but if so, they were very poor story-tellers, since the first two seasons weren’t so strong on the Hero’s Journey and they were very strong on the romantic comedy spy adventure. (In fact, the show never did become a Hero’s Journey type of show, as nearly every step along that Journey was erased and forgotten by the end of the episode.) S4 and S5 were far worse, in terms of story-telling failures, so fixing the whole series was quite a lesson plan for a practicing writer. (I added the links to my stories in case anyone wants to read them, but they do assume you know the show, so a great deal of exposition is left out. You have been warned.)

That said, however, the story that is coming to my aid at this moment is not Nine2five but a much less ambitious and more experimental piece called ‘Not This Time‘. This story came between my more typical stories, such as ‘Hannah HISHE‘ and ‘Chuck vs the Epilog’, and Nine2five, and may have contributed to my development of the ideas for the latter story. What made ‘Not This Time’ (hold on while I save that title on my clipboard, just in case I need to write it a lot) experimental was the problem it was written to solve, as regards the finale.

In addition to the will-they-won’t-they trope that makes so many shows so painful to watch, the finale for some reason included the amnesia trope for one of the most popular characters, so all of the development that character had undergone over 5 years of show-time was completely erased. (The producers for some reason thought this was a good thing. I have my own theories on the matter, which I have written elsewhere.) As part of the ‘drama’ of the whole thing, she had occasional slight flashes of memory, to give us faithful viewers hope that our beloved character was not irretrievably lost, I guess.

‘Not This Time’ was written in that context. I wanted to do a story showing how the woman had been changed over the last five years and stayed changed, in spite of the loss of memory. I would do this by using several characters who were known to her before the show started, and show how her memories of those people had not changed, but her feelings about them had. I can’t say it was my most successful story, but it did take me to some very dark places, in addition to practicing different types of story, such as my first song-fic, which I don’t think I did quite right.

This is all coming out with my current novel, a story that is a compendium of stories being told about the main character, Tarkas, in the context of a real-time adventure that is slowly unfolding. The original idea was to have these stories told by Tarkas’ son Janosec, which they were, in the beginning. As the story went on, I found myself in a situation where Janosec had to go away for a bit, and I could either follow him and listen to a repeat of a story I’d already written, which I didn’t want to do, or find someone else to follow. Fortunately I’d already introduced such a fellow, so I followed him to a variety of places, where I was able to continue the story-telling motif, with different characters as the teller, sort of the inverse of the style I’d used in ‘Not This Time’. Rather than one person remembering several people, and seeing how she’d been changed, I had several people remembering one man, to show how he looked to their different perceptions.

It’s a very experimental idea for a novel, I think. Certainly if anyone trips across this post as they traverse the inter-web and can think of stories like this one, I’d love a heads-up about it.

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I had another idea come to me about my query synopsis a few days ago. I was looking over my most recent version after the latest rejection, thinking of sending it out again, but wondering if something wasn’t quite right with it. The first section dealt with the larger context in which the story took place, with the following sections detailing the actual story, but somehow it just wasn’t quite working. The transition seemed a little jarring.

So I wrote another section after the first, intending to make the transition a little smoother, but once I wrote it, I wondered why I was bothering to make the transition at all. Well, the main reason is because the situation is just that, a situation, pretty static. It’s the people in the situation who are doing the things that make the story go. And once those actions have been performed, one of the big reveals of the story is what effect they have on the situation, to resolve it, all unknowing to any of the actors involved.

In other words, only from the perspective of the situation, do the totality of the actions taken make complete sense. So to describe the story with no more than a few players involved, the obvious place to tell it from is the perspective of the situation. Which is, to some extent, the authorial point of view, and we all know how much I hate telling the story from that place, which may be why it took me so long to think of it. Not to mention the fact that it’s the reveal, you know? It’s the story.

So I wrote a synopsis in which the Situation was the main character. What were its goals? To achieve a resolution. Why did it want them? Because all stories naturally desire resolution, i.e., to be reduced to the least unstable state. these goals were so obvious they could be taken for granted. The question was really how, or to put it another way, what constitutes the least unstable state.

A lot of actions could reduce the instability of the story, for example, killing all the characters in chapter one, but that’s hardly a satisfying resolution, or the least unstable state. What constitutes a satisfying resolution depends on the type of story it is, which of course means that the type of story it is depends on the resolution that works best. In a badly done story, no resolution works best. A romance that has an unhappy ending, a comedy that leaves you confused. One might achieve a greater degree of satisfaction by recasting the story in a form which makes the most total sense. In The Producers, a failed historical drama becomes a wildly successful comedy. Ex Machina looks like some form of romance until it becomes a horror story.

(Which is not to say that a properly resolved story has no defects. i just watched a nice little romantic comedy called The Rewrite, which despite the ending managed to miss a number of opportunities for minor story arcs to be resolved, for several characters. But these were all subplots, not para- or coplots, so the story didn’t suffer badly from them.)

So the takeaway from all this is that in order to properly describe stories of the sort I seem to end up writing on a regular basis, I have to abandon the reveal, at least as far as the query letter is concerned. The real trick is to do it in such a way that the ending is still a surprise.

I recently re-posted a story of mine on the http://www.fanfiction.net site, called ‘When Ellie Found Out‘. I had posted it before, as a prequel episode to the first season of my series called nine2five, which I had originally posted as a series of standalone episodes. When I decided to gather all the chapters in one place, I decided to append them to WEFO rather than create a new file, which I now think was a mistake. The funny thing is, that even though it’s a reposted story, I’m still getting comments on it, from people who didn’t see it before, or who just like to comment. Some of those comments take the form of, “This is so much better than what they did on the show”, which is a comment I got fairly often.

What they did on the show (in this particular case) was separate the leads, i.e., take a romantically-involved pair and place them apart, either physically, emotionally, or both, so that their struggles to be reunited will fuel the story for as long as the storyteller can make it. (What I did in WEFO, which was prone to backstory and exposition, was tell about how they got married, so that no one would separate them.) As story-telling mechanisms go, separation of the leads has a lot to recommend it, otherwise they wouldn’t use it so often as a short-cut to ramp up the intensity of the drama, which is where the problems arise.

Tropes like this one, or others like ‘endangered children’, or any of a number of forms of ‘intolerant ideological fanaticism’, are like story drugs, artificial stimulants that keep a story moving but without any real story in them. They are, in effect, pure drama, with no other story elements to speak of. What ends up happening is what you’d normally expect to happen when someone takes stimulants without food, the story keeps going and going until one day it keels over dead. I watched the first episode of season 2 of Glee and was immediately repulsed by the blatant self-sabotage of all the lead characters, which they would no doubt spend the rest of the season trying to repair. The last episode of season 1 of Newsroom did it for me, with all sorts of romantic partners making all sorts of wrong decisions. Tom Clancy used to use them a lot, but at least in his stories they weren’t critical elements, so the stories didn’t die from them.

They aren’t always drugs, of course. If the separation of the leads or the endangerment of the child are built up to with proper character and story logic behind them, then they’re perfectly fine mechanisms. In the canon fiction I was revising, the leads were separated very blatantly and artificially, and the show suffered almost immediately as a result. Many addicts of the first two seasons stopped watching halfway though the first episode of the third, as I did with Glee. Worse, when the showrunners realized how much they’d botched things, they went too far in the other direction, creating a full season of feel-good episodes to counter the previous season of angsty episodes, a heady dose of too-little-too-late, in my opinion. (I eventually separated them in my story as well, but only after a season and a half of development, first his and then hers, and a plot twist that made the separation logical, necessary, and most important, temporary.)

It’s very important to be wary of tropes. They combine story-logic with storyteller logic, which is why they’re useful, but they should never be used in such a way that the the telling of the story trumps the story itself (unless that’s the point of the story, in which case have fun). In my opinion, authors should be invisible in their stories, while using a story drug to force it into a preferred path is as diametrically opposed to ‘invisible’ as it’s possible for an author to be.

It should come as no surprise to anyone that I haven’t yet managed to come up with a decent synopsis for Ghostkiller. I haven’t come up with one for Unbinding the Stone either, and I wrote that 13 years ago. I was fortunate enough to receive a very nice review comment from no less than Tanya Huff, in which she described Stone as being ‘remarkably complex and often very funny’. The complexity wasn’t intentional then, and isn’t now. It’s just a function of how I write.

What should come as a surprise is that I’ve actually been considering self-publishing Ghostkiller, a prospect that fills me with very little pleasure. One thing that did give me some amount of pleasure was the act of designing the cover art for it, and even some of my other unpublished stories.

Anine2five4_large friend of mine at my job, before she moved on to a new company, told me about a graphics program called GIMP, which I promptly downloaded and found very confusing. But I wanted to create a cover for my Chuck fanfic called ‘Nine2five‘, so I pushed on, using trial-and-error to make the damn thing do what I wanted. I don’t think I did anything right, but still I managed to come up with this image, which has been the cover art for all three seasons of the story (over 600K words, equivalent to seven novels, written over four years). I really should have separate images for each, but I forgot how I did it, and trying to recreate this image was a daunting task. I might try it again, now.

swordimages_cover2_title

The idea for the Ghostkiller cover was pretty nebulous at first. I remember years ago talking to my publisher about it, when the story was little more than the first chapter. Ghostkiller is a story of more than a little strangeness and complexity, one of the reasons I’ll have to self-publish if I ever want it to be published. (Most publishers, most ‘entertainment industry’ types in general, especially the big ones, shy away from words like ‘complex’, and anything that hasn’t been tried and tested.) It started out as a story about ‘a man who kills ghosts for a living’, but it didn’t stay that way for long. The technique for killing ghosts was the focus of that first chapter, since ghostkilling was a unique idea, as psychic talents go. I had to show  it in action, which  involved swords and coffins. (Really the thing in the coffin.) My original idea for the cover was very complicated, and unworkable, at least by me. It also wouldn’t have been especially eye-catching, and that’s what covers are supposed to be, right?

Undermind_cover

Undermind is a short story I wrote a long time ago, for a contest. The idea was to write a story of a certain length that employed a specified phrase in some way. The first time I entered the contest it was for the phrase ‘hard port’. I used it five different ways, but didn’t win. (The story was eventually released as ‘Boys Will Be Boys’, which I have just discovered is no longer available. Something else to think about releasing on my own.) This time around the phrase was ‘dark glass’, which gave me lots of ideas, most of which I’m still trying to write. In this case the dark glass was a mirror, to reveal one’s inner and darker nature. My problem  with the cover is simply that mirrors as cover images are pretty trite. The story is much more original than that, but the originality isn’t really visually striking, so I swallowed my pride to come up with something that was.

Hopefully I can use these. There’s more to the game of cover art design than simply making interesting images, which is one of the things that makes me reluctant to jump into the self-publishing biz. This is the way I’d go if I had to do it all over again, so I have that at least. I find myself wondering if creating a cover first would help clarify the story, or make it harder to develop.

 

And everything looks different! I hope I can figure out how to post stuff in this new environment.

I just posted the very lastest chapter in one of the longest ongoing stories on Fanfiction.net, my story nine2five. It’s actually 20 episodes with 4 chapters each, so it doesn’t look as big as it really is. I’ve been gathering all the chapters into one document, though, and this monster is 190K words! On the other hand lots of the people writing fewer chapters have many more words in them, so from a word count perspective my story is nowhere near the largest.

I wouldn’t have thought I could do such a thing, and to be honest I think there are several factors that made it happen. Most important was my love for the show I was writing about, especially the characters. Second was the support from several readers on the boards, who would write in to comment on every chapter. This support is wonderfully encouraging, even though I would have written the story even if no one had said anything. (But I probably wouldn’t have enjoyed it as much.) Last is the fact that the story already existed. I was rewriting an entire season of the show, which had a deep and subtle storyline that the writers buried under a mountain of poor writing, lack of continuity, and my own personal pet peeve, lack of story logic. While many call my story an AU, I think it is in fact very close to what the producers were really doing, even though it isn’t very close to what they were trying to do, and further still from what they did.

This project has been monopolizing my time for months, and the closer it got to completion the more I wanted to get it done, but at the same time, get it done right!

I think it helped that last weekend I was at Readercon once again. The man running the dealer room was trying to get more self-published authors in there, so he offered me a space (under my publisher’s name, but no matter) with the proviso that I would host these authors’ titles. So I was in Burlington MA last weekend, and with the press of business I didn’t really do much writing, so I ended up thinking a lot about what I wanted to do for this last chapter, and it came out pretty well.

Readercon itself was good, from a dealer perspective. A little cold in the ballroom, but we sold more books this time than we did last time we were there, so that’s a win. On the other hand I found only one panel I wanted to attend, on the subject of POV, which gave me some ideas for new panels which I suggested to the programming group. So if I’m lucky maybe I’ll be asked to participate in a panel or two next year. (Hey, I’m a fantasy writer, it’s practically my job to dream!) Last time there were four, on subjects of genre evaporation and interstitiality. Good stuff, but not everybody’s cup of tea, just as the dominant topics of this year’s con weren’t mine. I spent a lot of time in the con suite having fun talking about various bookish topics with just lots of people. I met the editor who rejected Ghostkiller, and I met another editor that I’ll be sending Ghostkiller to in the near future! But I want to reread it first. After so long on nine2five, I think I can bring fresh eyes to the project!

It’s really kind of strange and unpredictable what will strike a reader’s fancy. In the latest chapter of my latest fanfiction story, Sparring Partners, I had a scene where Sarah and Ellie go to a bar for some ‘girl time’ (a phrase which makes my wife gag every time she hears it)(not that type of gag). Sarah has commented that her relationship was so screwed up that they had three first dates, two first kisses, and fell in love at first sight, so having the wedding after they got married should come as no surprise.

When I started writing the chapter I was in a very different mindset, I guess, since the opening scene has a very different tone, Sarah asking Ellie to help her arrange her wedding after the fact (her desire to say her vows in front of people who will hunt her down and kick her ass if she fails to keep them is another favorite scene). This often happens to me, by the way. I’ll start a story with no real idea where I want it to go, and then something will occur to me halfway through. With these fanfics it’s usually easier, since I’m modelling the story I write on the story they told, but in this case the story they told doesn’t have much to offer.

The nine2five idea was mainly intended to keep the tone and theme of the show after season 2, developing them in the same direction season 3 did but not the same way season 3 did, since season 3 was really poorly done. In this case, since Chuck isn’t an agent he’s not going to go out and seduce a mark, or face the grim prospect of burning him afterward (my comments about season 3 above notwithstanding, I happen to like this episode because of this sort of dramatic development, most of the things that made season 3 suck weren’t in it).

As a result, I’m free to use this timeslot to work on other aspects of the overall season, such as the wedding, and getting Chuck and Sarah in shape for it. It’s not every couple that gets post-marriage, pre-wedding jitters. Sarah is trying to become a ‘real girl’ with a ‘real life’ she has no idea how to live, since she never had one, and she sensibly turns to Ellie, the realest girl she knows.

When they walk into the bar, the first thing Ellie asks about is the two first kisses, and Sarah says, “Damn, lost a nickel.” She then takes a nickel from her pocket and moves it to a different pocket. This chapter is already turning out to be one of the more popular I’ve ever done, and that gag is one of the most popular gags in it. Don’t ask me why, it was just a little whimsy when it first occurred to me to write it. I guess it’s the whimsy that does it. Sarah is usually such a sober sort of girl that something so ‘out of left field’ has more impact.

It’s the little things.

Not This Time Chapter 4, a chuck fanfic – FanFiction.Net.

My first attempt at combining song lyrics with my story. I don’t think I did it the normal way, but then, when have I ever done anything the normal way?


Unbinding the Stone

A Warrior Made

A Warrior Made

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St. Martin’s Moon

St. Martin's Moon

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Ghostkiller

Chasing His Own Tale

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Struck By Inspiration

Struck By Inspiration

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Steampunk Santa

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Bite Deep

Christmas among the vampires!

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Cyber-pirates. Sort of.

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Off the Map

Reality TV...without the Reality!

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