Chuck Wendig: Terribleminds

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Transmissions From Toddler-Town: B-Dub Birthday Number Two

Here’s what happens:

You have this baby.

This baby is boring.

I mean, the baby’s sweet and all. Chubby-cheeked and wrinkle-butted. But after a while you figure out the baby’s only got so many tricks in his bag: giggle, fart, coo, burble, squirm, fill diaper, start over again. You can connect with the baby on a kind of primal-spiritual level, like, you hold the baby and you stare into his eyes and contained there in those big blue orbs are the secrets of the universe. (The baby, of course, is just admiring your nose hairs or eyeglasses or thinking about boobs. Secrets of the universe be damned.) But all told, the connection you feel with the infant isn’t particularly deep.

It’s strong! It’s very strong. But it exists only on that primitive level.

Babies aren’t even dogs. Dogs have that soulful look. They know what’s up. Sure, they crap on the couch or eat your trash, but they know they did something. An infant is like a human-shaped goldfish. Things happen and the baby’s like, “Nope, forgot already. Who are you?”

But then a weird thing starts to happen.

The baby nature begins to peel and fall away on the coming wind. And what emerges from this infant-shaped chrysalis is the weird, needy, hilarious individual known as The Toddler. This creature has a personality. He is different from other such creatures of his kind. He likes things and dislikes other things. He has preferences. And wants. And irritations.

And he starts to talk.

And he starts to defy.

And he starts to play pretend.

He sings and makes up words and dances around and runs full speed into things.

The infant becomes the toddler.

The toddler is a person.

And our toddler is rapidly becoming a little boy because today, B-Dub turns two years old.

Little B-Dub is a comedian.

He likes to do silly things and say silly things not merely because of their delightful silliness but also because he’s watching you like a hawk to gauge your reaction. He’ll fidget out of his pants and go “OHHHHHH” as if to say, dude, I just totally slipped out of your pesky pants trap. He’ll pretend that his truck is eating food and he’ll watch you with a puckish look to see what you say about it. He’ll call us by funny new names — “Moppy Boppy” for my wife (or “Moppy Poppo”), and “Daddy Tot-tee” for me — just so we can correct him and he can cackle.

He’s got empathy. If he hurts you or sees you get hurt, he’ll rush over to give a hug. If you tell him you’re sad — like, say, he decides to fight reading a book one night — he’ll come around and try to fix it. Then he’ll say, “Daddy happy!” and all is right with the world.

I don’t want to suggest that it’s all perfect.

He’s a sweetheart. And hilarious. And smart as a whip.

But toddlers, man. Toddlers. Some days I wonder if we’ll get PTSD. It’s like living with a hand grenade. One minute it’s all laughter and trucks and Curious George and next minute it’s like someone opened the door and invited a tornado in for tea. A rage tornado. Sometimes it’s rage that has a clear and present source: he wants a popsicle but it’s lunchtime so we say, yeah, no, we don’t eat popsicles for lunch, good try, A for effort. You tell him “no” and you might get him to comply or you might see him melt down as if all the bones in his body turned to beanbags, as if all he can do is pile up a sack of of spilled potatoes. But at least that has a cause.

Wants popsicle. No popsicle. Rage. Easy equation.

What happens sometimes though is that the rage has no known source of agitation. It’ll just be like — whoosh, the tides shift and a squall crashes through your seawall. The shriek, the tears, the incoherent inchoate frustration! You know what it is?

I’ll tell you what it is.

SATAN, THY NAME IS TWO-YEAR MOLARS.

Two-year-goddamn-molars.

I thought we were done with teething! I was like, “Great, whatever, he’s got all his teeth, he can chew his food better than most old people.” You feel like you won. But then it’s MORE TEETH. Big mamma-jammas, too, poking up through his gums. And it hurts. He’ll tell you it hurts. Parts of his jaw are breaking away and becoming teeth. It’s like something out of a horror movie.

So, you couple that with the fact he’s basically a turbulent broth of intellectual, physical and emotional development and you have there a recipe for what amounts to a Godzilla-attitude crammed in a very tiny person-shaped creature.

Good times.

When you’re a baby, your entire perception is that the universe exists for you and you are cradled at its starry center. All the people around you have manifested to serve you. You’re like a chubby little-big God-Baby. A divinely cherubic Jabba the Hutt.

At this point, your whole life is solipsistic.

But then, as Toddler Spirit begins to manifest, that solipsism is forced to the margins and you start to realize what must be a rather shocking reality: you are not the center of a universe created just for you. Imagine that. Imagine being God and then someone saying, “No, that was just a delusion cast unto you by a brain still forming itself inside your doughy little head.”

Oh, shit.

So, B-Dub the Toddler is grappling with that, I think. And he acts out in ways that suggest he’s still trying to hold onto some measure of his flagging Divine Power. The kid’s like a Little Napoleon. He does this thing where he assigns one parent to a task — say, the washing of sticky hands or the ascendance of God-Baby up a flight of stairs — and you know who hath been chosen because he jolly well fucking tells you who hath been chosen.

“Mommy,” he’ll say after dinner, waving his food-crusted hands about. “Hands dirty.”

Go ahead, ask him: “Can Daddy wash your hands?”

“Nope.” (He prefers “yup” and “yeah-yeah” and “nope” to the more traditional yes and no.)

Sure, you can ask him again: “Can Daddy please wash your hands?”

No.” And now you hear the irritation in his voice.

Subtext: HOW DARE YOU DEFY ME, PUNY KERNEL OF HUMAN CORN.

And if you ask him again — or if you just say, yeah, fuck it, I’m going to wash your hands — you have invited a certifiable shit-fit. A nuclear toddler meltdown. A RAGE-DIAPER.

You have defied the God-Baby.

And now the God-Baby is mad.

See, but that’s the weird thing. You push it with your kids, right? You do this in part out of frustration and stubbornness (“You don’t tell me who washes your hands, I pay the mortgage around here and I can wash the hands of any sonofabitch who comes through that front door”). But you also sometimes capitulate instead for entirely different reasons — maybe you think, “Me washing his hands is really not the hill I want to defend right now,” or you think, “I really don’t want to make him cry. I want him to be happy, not sad.”

And it’s that last part that really trips you up as a parent.

Because your knee-jerk reaction at any given moment is to protect, protect, protect. To help them. To restrict from them all the sadness-making things that may happen to them. You might think, “Life is short and hard and so what’s the big deal if I let him eat a popsicle a half-hour before dinner?” (B-Dub would shank a dude for a popsicle, especially while teething.)

But that’s bad news, that attitude. Because whatever life is or isn’t, it’s filled with an endless array of potentially unpleasant moments — and there comes a point when you realize your job as a parent is less about making your children instantaneously happy and more about preparing them to deal with the unpleasant moments life will fling at their heads. You need to teach them ways to be happy in the midst of potential unhappiness, to be able to weather the slings and arrows of dissatisfaction. You want to give in and buy them every toy they see, but then you have to realize that not only is it your job to help them handle disappointment but sometimes it’s your job to actually foster that very disappointment. It’s like “disappointment training.”

Which is really very cruel.

But also really very necessary.

So you say no to things. You deny them things.

And you do so even when you want to do otherwise.

FINE YES HE SAID HIS FIRST CURSE WORD, OKAY.

He was in his seat eating.

I opened the door for some reason and our new puppy — the Red Dog named “Loa” — shot out like a bolt of lightning and so I went out to get her back in and whilst out there I uttered the — totally appropriate! — curse word of, “Oh, you bitch.”

I’m not proud, but there it is.

So.

The door was mostly closed behind me.

I didn’t yell it. I said it. Spoke it in my normal volume.

But B-Dub, he has some kind of SORCERER EARS.

Because he says to my wife:

“Bitch!”

And then you’re left with a struggle as to what to do. Laugh? Cry? Yell? We went with the: Just ignore it and hope we give him no satisfaction. It seems to have worked because he never said it again. Still: we’ve let slip a few half-cusses — “dick,” or “douche” — and sure enough, he plucks those words out of the middles of sentences like they’re delicious candies and immediately begins trying to say them and savor them.

He truly is my son.

He says lots of nice things, though, too.

He says please when he wants something.

He says thank you when you give him something.

He says thank you when he gives you something, too.

He’s just letting you know you owe him some gratitude, damnit.

It’s surprising what he’ll eat. He’ll eat kale. He’ll eat mushrooms. He’ll eat peas. Things that when I was a kid you couldn’t get into my mouth. My mother would try to sneak green peas in my food and I’d be like a dog sorting out a pill — I’d eat the rest and then ptoo. Bye-bye, pea.

Thankfully, we also haven’t had many instances of him eating things he shouldn’t. When I was a tot I choked on a bottle nipple. I choked on a penny. I almost died drinking well water where a possum had died (oops), though that wasn’t really my fault (thanks Mom & Dad for the dead possum water, which is like Vitamin Water except full of infant-killing bacteria).

Knock on digital wood, but B-Dub’s been healthy as a horse for the last two years.

Maybe it was the breastfeeding? Or the kale? Or the gamma rays we subject him to so he can become The Incredible Hulkbaby whenever someone won’t give him a popsicle?

HULKBABY SMASH

BUT FIRST HULKBABY POOP

THEN POPSICLE

THEN SMASH

We’ve had two years of miserable sleep. This kid has never slept well. Up every couple hours. Restless. Irritable at night. Like he always wants to be doing something, and sleep ain’t it. People told us all kinds of shit to fix it. Here’s the danger of parenting advice, by the way — parenting advice is geared toward One Specific Child, and as it turns out, all children are not built off the same template. We had everyone giving us advice on how to fix the sleep problems — attachment parenting, cry it out, give him a mini-bar bottle of whiskey, stick him on a northbound tractor trailer, let him read some Dostoevsky. We tried it all and all of it failed.

Eventually our doctor was like, “You know how some adults don’t sleep well? Some babies are like that.” She has two kids herself and one of them worked well with cry-it-out and so for a while she assumed that was the go-to advice but then it totally failed with her other child.

So, turns out, every kid is different. WHODATHUNK.

Just the same —

Suddenly, B-Dub is sleeping.

Two years later and he can finally sleep through the night. I can be up and writing in the morning before he wakes up which is some kind of divine intervention. It’s also horrifying at first because you’re like IS HE DEAD DID HE ESCAPE IS HE IN THE VENTILATION SYSTEM LIKE JOHN MCCLANE FROM DIE HARD WHY ISN’T HE AWAKE YET OH GOD OH GOD

But then you get over it and enjoy the relative peace. Short as it is.

He loves trucks. He loves trucks so much. I’m pretty sure he might marry a truck someday.

He loves every kind of truck out there.

Even trucks I would normally consider to be “lesser” trucks — like, an excavator is kinda bad-ass. Some tractor trailers are pretty bad-ass. But he’ll get excited over a garbage truck. Shit, he loves garbage trucks. Pick-up trucks, too. ALL TRUCKS EVERYWHERE.

I tried indoctrinating him early into other interests. Like, “Hey, dinosaur!” No, fuck that dinosaur. “Dude, robots!” I got a little bit of traction with the robots but it’s fleeting. “Here’s a cutesy-wootsy pre-school version of Batman!” No, Batman can eat a bag of bat-dicks. Stupid Batman. We’ve had some luck pushing other vehicle-types on him — he’s definitely into trains now and has some love of planes and boats, too. It’s a game of inches.

But at the end of the day, give him a truck and he’s happy.

Which is why we have approximately 4,000 trucks.

All of them sharp.

The bottom of my feet have truck-shaped calluses.

I walk through my kitchen like a lizard dancing across a hot desert.

The intellectual leaps-and-bounds occur daily, now. He’ll spit new words at you — words you never actively taught him. Like, for a while in terms of language development it’s you and him together in a concerted effort to pick up new words. You’re going, “Can you say antidisestablishmentarianism?” And he’s like “dibblesnot” and you’re like, “Fine, good enough, let’s move on.” He gets a cookie and everybody’s happy.

But eventually he just starts… repeating. Or saying words you don’t even remember telling him.

Which is so strange. You get the sense that someone is coming into his room at night and teaching him words. (Maybe that’s why he didn’t sleep for all those months.) It also reveals itself not just in parroting words but in the comprehension of those words. Like at one point he — of his own free will — picked a dandelion and went and gave it to my wife. And she was either genuinely thrilled or put on a really good show about it and then he runs back to me and is like, “Mommy, yellow, happy.” And this was a little while back when he hadn’t been saying three-word sentences — and here he put together a statement that wasn’t just an objective statement but is actually somewhat abstract and subjective. Happiness was not a thing we taught him about. Not even the word “happy.” And there it was. He made Mommy happy by giving her a yellow flower. And he recognized it and could talk about it.

The last two months have been a springboard of brain development.

He can count stuff.

He knows his ABCs — well, not the ABC song itself because it blew my mind one day to realize that the actual order of the alphabet is largely meaningless and what’s meaningful is that he can identify individual letters and know their sounds. Words don’t give a shit that C comes after B comes after A — words just care that you know what each letter does on its own and in relation to the letters next to it in that given word. So, we’ve concentrated less on the rote memorization of ABC and more in a, “I’ve emptied this bag of letters let us identify them together or you will be eaten by this Kodiak bear I’ve invited to our learning session.”

Every parent thinks their kid is a genius, I know, I know.

BUT MINE IS HE’LL RULE YOU ALL SOMEDAY FEAR HIM FEAR THE DIAPER

So, now he’s two.

I don’t know what happened.

I don’t know what happens next.

But that’s really part of the fun, isn’t it?

He’s fun. And sweet. And strange. And occasionally a rampaging monster.

Happy birthday, little person. We love you very much.

 

Under The Empyrean Sky: The Final Cover!

UNDER THE EMPYREAN SKY

Final cover!

Preorder: Amazon / B&N / Indiebound

Corn is king in the Heartland, and Cael McAvoy has had enough of it. It’s the only crop the Empyrean government allows the people of the Heartland to grow—and the genetically modified strain is so aggressive that it takes everything the Heartlanders have just to control it. As captain of the Big Sky Scavengers, Cael and his crew sail their rickety ship over the corn day after day, scavenging for valuables. But Cael’s tired of surviving life on the ground while the Empyrean elite drift by above in their extravagant sky flotillas. He’s sick of the mayor’s son besting Cael’s crew in the scavenging game. And he’s worried about losing Gwennie—his first mate and the love of his life—forever when their government-chosen spouses are revealed. But most of all, Cael is angry—angry that their lot in life will never get better and that his father doesn’t seem upset about any of it.

Under the Empyrean Sky is an imaginative, page-turning adventure that will delight science-fiction fans and have them impatiently waiting for the next installment.” – Joelle Charbonneau, author of The Testing

“A lunatic, gene-spliced, biofueled thriller, Wendig’s story flies faster and slicker than his teen crews’ hover racers. Fear the corn.” – Tom Pollock, author of The City’s Son.

Under the Empyrean Sky  is like a super-charged, genetically-modified hybrid of The Grapes of Wrath and Star Wars. Wendig delivers a thrilling, fast-paced adventure set in a future agri-dystopia. Fascinating world-building, engaging and deep characters, smooth, electric prose.” – John Hornor Jacobs, author of The Twelve-Fingered Boy.

Flash Fiction Challenge: The Random Fantasy Character Generator

Last week’s challenge: “Smashing Sub-Genres.”

Ah, first a bit of administrative: I have finally picked my favorite “opening line” story from way back when (SO MANY ENTRIES, and so many good entries, too), and I’m gonna toss the ring onto the hat of Valerie Valdes. Valerie! You should email me at terribleminds at gmail dot com.

Now, onto the challenge.

I admit that I’m kind of a sucker for random generators of various types and stripes. And so I point you to this one — “Fantasy Character Concept” generator.

Click that, you’ll get five different concepts. (Example: “A desperate air pilot is trying to get a date.”) It gives you that short little bit about the character and part of their conflict or desire. Simple, elegant, and ripe for the picking in terms of a flash fiction challenge.

Choose one of those random concepts.

Write a story (~1000 words) about that character.

Post at your online space.

Link back here.

You’ve got one week — due by Friday the 24th, noon EST.

Please to enjoy.

Ten Questions About Cahill’s Homecoming, By Patrick Hester

I adore me some Patrick Hester. He’s a nice guy. He’s a smart dude. He writes a cracking tale. And he doesn’t throw things at my head very frequently. He’s got a new novella out, so I ask you to sit down and let him tell you about it. He’s got a laser gun, so. You might wanna hold still.

TELL US ABOUT YOURSELF: WHO THE HELL ARE YOU?

I’m the kid from Fresno who watched too much television, read way too many comic books, played D&D in the library at school with my friends, and always made a point of being home on Saturday nights to watch Doctor Who on PBS.  I’ve been writing stories since high school, but got serious about it in 2000.  Since then, I’ve written a lot, including two and a half novels last year alone.

I’m a writer, a blogger and a twice Hugo Nominated podcaster.  I produce and host the SFSignal.com (Hugo nominated in 2012 and 2013) and the FunctionalNerds.com (Parsec Award nominated) podcasts.  I also produce Mur Lafferty’s I Should Be Writing podcast.  I’m also nominated for a Hugo for Best Fanzine as an editor at SFSignal.com in 2012, which blows me away.  My novels are currently being shopped by my agent, and include the Samantha Kane Urban Fantasy series (Into the Fire, Cold as Ice and Shattered Earth), set in Denver (where I now live), and an Epic Fantasy series that begins with The Queen of Shadows.  I’ve been releasing some of my shorter fiction via Amazon this year, including Consumption, Witchcraft & Satyrs, and of course, the latest, a novella named Cahill’s Homecoming.  All of this Amazon stuff started, though, with the release of Conversations with my Cat, a humorous collection of entries from my blog that you, Chuck, suggested I put together as an eBook – so I did.  ‘Cuz, when Chuck freaking-Wendig tells you to do something, you listen.  And people have loved it, so, thank you!  I also have a couple of short stories out in the anthologies Space Battles: Full-Throttle Space Tales Volume 6 (First Contact) and An Uncommon Collection (Charisma).

GIVE US THE 140-CHARACTER STORY PITCH.

Cord Cahill, Sentinel, returns to his home planet to discover the truth behind his sister’s death. What he finds changes him forever.

WHERE DOES THIS STORY COME FROM?

I was sitting in the comfy chair one night, working on one of the Urban Fantasies, and realized that I hadn’t written any scifi in a while.  A long while.  One of the things I like to do as an exercise in writing, is to put two things together that don’t normally fit or that you wouldn’t normally think of as mashing together, and see what kind of story I can pull out of those two things. That’s how Consumption (I can’t tell you what one of the two things in that story are without ruining the story, but the other one is an old Iroquois legend about a ‘ghost-witch’), and Witchcraft & Satyrs came about – with the latter, I wanted to write a story that felt southern (my mother’s family is from Kentucky), so I set it in a small, rural Kentucky town, added a witch, beans and cornbread, homebrew, and then some creatures from Greek mythology – and it worked.  On this night, though, I wanted to write a space-based scifi story and, given that I love westerns, add in a western flair.  Cord Cahill was born.

HOW IS THIS A STORY ONLY YOU COULD’VE WRITTEN?

It’s a mash-up of several of my favorite things: westerns, science fiction, John Wayne and serials.  I do intend to write many more Cord Cahill stories (may have, in fact, already written some… shhh….).  My love of serials come from watching Doctor Who (of course), and the movies and tv shows I used to watch with my grandmother, including The Lone Ranger, Zorro, The Charlie Chan Mysteries and anything from Agatha Christie.  There are nods throughout the story to different films, characters, actors and stories I have enjoyed throughout the years.  I added these little Easter eggs with the hope that anyone who may have seen or read them, would realize and recognize them.  Think of it like watching an episode of Castle and looking for Han Solo frozen in carbonite somewhere in the scene; not a distraction, just a neat little extra bit for fans of those stories or flicks.  (and yes, Han Solo does get placed in the background on Castle.)  But you don’t have to know any of that to enjoy the story.

WHAT WAS THE HARDEST THING ABOUT WRITING CAHILL’S HOMECOMING?

For me, it’s always the ‘science’ in science fiction that trips me up.  And not because I don’t obsess over it to get it right (cuz I do), but because I know WE ALL OBSESS OVER IT!  I can’t tell you how many times my writing group has digressed into long debates over some bit of technology, real or imagined, in a story and how it does, or doesn’t, make sense.  So when I add things like faster than light travel, integrated cybernetic body implants and AI’s, all of which exist in Cord Cahill’s world, I always pause to consider how the reader will respond.  The trick is not letting those pauses become walls between you and finishing the story – which has happened to me more often than I like to admit.

WHAT DID YOU LEARN WRITING CAHILL’S HOMECOMING?

Going back to my point above about the science in scifi, I don’t want people to focus on the science so much that it distracts them from what’s important; the characters.  The science fiction – that’s the setting.  I establish in the first paragraph where we are, what the level of technology is, and then I run with the characters because that’s what’s important to me, and really, that’s what is going to be important to the reader.  A reader isn’t going to identify and connect with a faster than light drive, but they will connect with an older brother trying to do right by his family, a sister who set him on the right path, a husband grieving the death of his wife, and parents who just wanted to give their children something more than they ever had themselves.  These are the stories I want to write, and the science fiction element and setting needs to lend itself to telling those stories, not detract from it.

WHAT DO YOU LOVE ABOUT CAHILL’S HOMECOMING?

I love it all.  It’s everything I wanted from this character and this story.  Cord is damaged and he doesn’t even realize it.  By the end, he does.  The question becomes, is it too late?

WHAT WOULD YOU DO DIFFERENTLY NEXT TIME?

I went through several rewrites, so I’m not sure there is anything I would do differently that I haven’t already tried, except maybe to get it done a little quicker.  (I think the first version was written in 2009…

GIVE US YOUR FAVORITE PARAGRAPH FROM THE STORY:

If I have to choose one, it’s a flashback memory.  Returning home, Cord is confronted with a lot of memories.  One in particular stands out when he is reminded of the time he and his girlfriend were caught in a compromising position at a dance.  The father of his girlfriend wanted Cord’s father to punish him severely, but Cord’s father saw it as two teenagers full of hormones ‘exploring’.  That isn’t to say Cord won’t be punished, though, and when his father informs him that he will be kept so busy with chores and duties on the family ranch that he won’t have time for any other such explorations to happen, Cord objects.  His father tries to set him straight.

 “I’m not a little kid.  I’m a man!”

His father laughed at that.  “You’re a man now, Cord?  Poking a girl in the hay don’t make you a man,” he said, pushing his finger into Cord’s chest for emphasis.  “If you’re a man, then are you going to grow up and start acting like one instead of running around like a damned fool?  Fighting, stealing horses for joy rides in the desert, painting your little brother white head to toe and convincing him to run through town pretending to be a ghost, and now this mess with the Spalding girl?  These are not the actions of a man, Cord, they’re the actions of a boy acting out. I won’t be here forever, and I’m getting tired of waiting for you to step up and show me the kind of man you’ll be.  Are you going to be the kind that skates through life, always running away from responsibilities, or the kind people can count on and know that he will be there for them, for his family?  When you figure that out, that’s the day you will be a man, Cord Cahill.  That’s the day when you’ll show me and everyone else who you are.”

WHAT’S NEXT FOR YOU AS A STORYTELLER?

I continue to write, tell stories.  I’m polishing up the Epic Fantasy right now, and I’m 40,000 words in on a Space Opera I’m pitching as ‘the Hunt for Red October in space’.  I intend to write more Cord Cahill stories, and work on more short stories to release via Amazon.  Folks who sign up for my email list on atfmb.com get to see those stories for free before I put them on Amazon.  Hopefully, the novels I’ve written will be out there soon, too.

Thanks to you for spurring me on to try the Amazon route, and for posting this on your blog.  I really appreciate it, Chuck!

If folks are interested in more from me, I have some links:

Patrick Hester: Blog / SFSignal / Functional Nerds / Kirkus@atfmb

Cahill’s Homecoming: Amazon / Barnes & Noble

 

How Not To Market Or Promote Your Shit

(early warning: contains a great deal of caps lock)

The goal of promoting your work is to entice people to be interested in that work.

It is a soft hand in a silk glove.

Possibly stroking my neck or, if I’m really into it, working mah nips.

Your promotional efforts are not a fist punching me in my junk drawer.

Example:

I am not really a huge Star Trek fan, but fuck, I’m interested in seeing the newest one because despite the 87 different teasers, trailers, commercials, teasers-for-teasers, teasers-for-trailers, trailers for featurettes about the making of the teaser trailers, it looks pretty cool.

Except, there’s this half-ass transmedia campaign called ARE YOU THE 1701 or something which is about, I dunno, blah blah blah the Enterprise and something-something Instagram and — you know, whatever. Every once in a while I am compelled by a truly inventive trans- or social-media campaign, but this one, ehh. Yawn. Snore. Poop noise.

NOT THAT IT FUCKING MATTERS because while I’ve never signed up for this campaign nor have I ever intimated my interest online anywhere at any point I continue to be assailed by marketing emails from this campaign. Which, you know, in the grand scheme of First World Problems is not a particularly big one, true. And here you’re saying, “Well, just unsubscribe, you lazy douche-sicle,” and I’m like, I’M TRYING TO DO THAT BUT IT WON’T LET ME. I give it all the email addresses I currently possess — including the one it sends its emails to — and it’s like, “Nope, we don’t have that shit on record, sorry, please enjoy more of our Star Trek spam HAR HAR HAR.” Then it belches in Klingon and shoots a phaser up my pee-hole.

It makes me mad enough I want to hate-avoid the film. Which isn’t fair to the filmmakers or the movie or the movie theater people or anybody except whatever insane promotional programmer ensured that I’m getting email from Paramount about crap that I didn’t ask for —

AND CANNOT ESCAPE.

Here’s the lesson: marketing and promotion should never be a kick to the face. It should never be unearned or unasked for. It should not be unavoidable.

This goes to any website that has anything that auto-plays ever. Sound. Music. Movie. Animation. If I’m sitting here at the ass-crack of dawn, sipping coffee, and I go to your website and get a blaring loud commercial for fucking Floor Wax and it wakes my toddler up I will find your house and shit on your pets.

This goes to all you authors out there who randomly DM people on Twitter: HEY PERSON I DON’T KNOW I GOT THIS BOOK MOVIE COMIC GAME KICKSTARTER BLOG POST THAT I THINK YOU MIGHT LIKE FOR NO REASON BECAUSE I DON’T KNOW YOU LET ME UNCEREMONIOUSLY HAMMER YOU ABOUT THE HEAD AND NECK WITH IT.

This goes to all your authors who spam me with: “Hey I think you might like my blog post on writer’s block / self-publishing / bacon enemas / donkey shows / blargleflargle [insert link I’m never going to click here].” At first I’m like, “Oh, are they actually talking to me,” but then I see they’ve sent the same goddamn message to 150 other people oh, and they follow like, 35,000 people and yet I’m not one of them.

Pay attention:

Unwanted and invasive advertisement doesn’t work. We skip past commercials. We close any window that pops up that tries to elbow its message into our brains. Marketing and promotion needs to seduce us, and it does not seduce us with a hand grenade to the face.

MY RANT IS NOW OVER YOU MAY RETURN TO YOUR HOMES.

P.S. JUST TO REITERATE WE REALLY DON’T NEED 184 DIFFERENT TRAILERS FOR YOUR BIG SUMMER MOVIES I’M LOOKING AT YOU IRON MAN 3

25 Things You Should Know About Outlining

1. Pantser Versus Plotter: The Cage Match

The story goes that most writers are either pantsers (which regrettably has nothing to do with writing sans pants) or plotters (which has nothing to do with plotting the fictional in-narrative demises of those who have offended you). We either jump into the story by the so-called seat of our pants, or we rigorously plot and scheme every detail of the story before we ever pen the first sentence. It’s a bit of a false dichotomy, as many writers fall somewhere in the middle. Even a “pantser” can make use of an outline without still feeling pantsless and fancy-free.

2. No One Outline Style Exists

Remember that classic outline you did in junior high? Roman numerals? Lowercase alphabet? Lists of raw, unrefined tedium? Scrap that shit, robot. Nobody’s telling you to do that outline—unless that outline is what you do. For every writer, an outline style exists. It’s up to you to find which method suits you. (And if you’re looking for options, you can find a host of them right here in 25 Ways To Plot, Plan And Prep Your Story.)

3. Preparation H

Writing a novel, a script, a comic series, a TV show, a video game, a magnum transmedia pornographic opus told over Instagram — well, it’s all rather difficult. Writing a story can feel like a box of overturned ferrets running this way and that, and there you are, trying to wrangle them up while also simultaneously juggling bitey piranha. It’s easy to find the writing of a story quite simply overwhelming. An outline is meant to help you prepare against that inevitability by having the story broken out into its constituent pieces before you begin. It’s no different than, before cooking, laying out all your tools and ingredients (called the mise en place, or simply, “the meez”). Think of an outline as your “meez.”

4. The Confidence Game

Sometimes what kills us is a lack of confidence in our storytelling. We get hip-deep and everything seems to unravel like a ruptured testicle (yes, testicles really do unravel, you’re totally welcome). You suddenly feel like you don’t know where this is going. Plot doesn’t make sense. Characters are running around like sticky-fingered toddlers. The whole narrative is like a 10-car-pileup on the highway. Your story hasn’t proven itself, but an outline serves as the proving grounds. You take the story and break it apart before you even begin — so, by the time you do put the first sentence down, you have confidence in the tale you’re about to tell. Confidence is the writer’s keystone; an outline can lend you that confidence.

5. Stop Building The Parachute On The Way Down

A lack of an outline means you’re burdening yourself with more work than is perhaps necessary. You’re jumping out of the plane and trying to stitch the parachute in mid-air, working furiously so you don’t explode like a blood sausage when you smack into the hard and unforgiving earth. Further, what happens is, you finish the first draft (tens of thousands of words) and what you suddenly find is that this is basically one big outline anyway, because you’re going to have to edit and rewrite the damn thing. An outline tends to save you from the head-exploding bowel-evacuating frustration of having to do that because you’ve already gone through the effort to arrange the story. A little work up front may save you a metric fuckity-ton later on.

6. The Tired (But True!) Map Metaphor

Let’s say you’re taking a trip. You’re driving cross-country to a specific location—a relative’s house, a famous restaurant, Big Dan Don’s Baboon Bondage Barn, whatever. You don’t just wake up, jump in the car, and go. You pack your bags. You get your shit together: food, first-aid, road flares, baboon mask. Then you plan the trip. You get a map. Or you plug the address into the GPS. Finally, you take the trip. Writing a story is like taking a trip. Why not prepare for it?

7. Sometimes, Your GPS Will Steer You Into A Bridge Abutment

Okay, to be fair, sometimes a GPS will have you turn sharply left and crash into an orphanage. The lesson here is that your GPS is not sacred. And neither, as it turns out, is your outline.

8. The Outline Can Be A Pair Of Handcuffs

So, you’re taking this trip. You’re driving across the country. You know you’re supposed to stay on the highway, but holy fuck, the highway is boring. Endless macadam. Hypnotizing guardrails. Blah. Bleagh. Snooze. So, you see an exit ahead for a back road that takes you to Brother Esau’s Amish Muskrat Circus. Ah, but that’s not on your map. Do you drive on past? Stick to the plan? No! You stop! Because Motherfucking Muskrat Circus! Your outline is the same way. No plan survives contact with the enemy, and while you’re writing you’re going to see new things and have new ideas and make crazy connections that are simply not in the outline. Make them. Take the exit! Try new things! Don’t let the outline be a pair of shackles. Unless you’re into that. You’re the one going to the Bondage Barn, not me. Nice baboon mask, by the way.

9. A Good Outline Demands Flexibility

It’s okay to leave room in your outline for things to change. It’s even okay to leave sections of your outline with big blinky question marks and hastily scrawled notes like NO I DON’T KNOW WHAT HAPPENS HERE BUT IT INVOLVES VAMPIRE SEX AND KARATE. An outline must bend with the winds of change, but it must not break.

10. Awooga Awooga Alert Alert

Plot is a twisty motherfucker. It loops around on itself and before you know it, the thing’s crass contortions have left you with plot holes so big you could lose a horse in one. An outline is an excellent tool for hunting down those pesky voids and vacancies early so you can cinch the plot tighter in order for those holes to close up — or, at least, can remain hidden from view. An outline fixes your plot problems before you have 80,000 words of them staring you down.

11. An Architect Should Know How To Swing A Fucking Hammer

Having some understanding of how a story fits together can be helpful when outlining your story. It’s not critical, but grokking the way a story rises and falls and reaches its apex can give you beats and goals to aim toward when outlining. Might I recommend “25 Things You Should Know About Story Structure?” No? TOO BAD DOING IT ANYWAY HA HA HA JERKWEED.

12. Macro To Micro

You can go as big and broad or as tiny and micromanagey as you want when it comes to outlining. Some folks outline just the tentpoles of their fiction—“These five things need to happen for the story to make sense” Others detail every beat of the story—“And then Martha makes a broccoli frittata, summoning the Doom Angels.” Do as you and the story demands.

13. Consider At Least Marking The Major Acts

In film, a story is said to have three acts (though some folks wisely break that second act up into two “sub-acts” bisected by the midpoint of the tale). Generally, most stories conform in some fashion to the three-act-structure, even if only in the loosest way — as such, it’s worth looking at the major acts of your story and giving them each a paragraph just so you have some sense where the larger narrative is going. You’d be amazed at what clarity you bring to a story when you write it out in three paragraphs (Beginning, Middle, and End).

14. Outline As You Go

Not comfortable with doing one big hunka-hunka-burning-outline right at the outset? Ta-da, outline as you go. Boom! Solved it. YOU OWE ME MONEY NOW. Ahem. What I’m trying to say is, every week, outline for the week ahead but no further. This keeps you flexible and still makes it feel that you’ve still got some mystery and majesty ahead of you around the corner of every cliff’s edge. Hell, you could even outline only the next day — stop writing today, outline tomorrow’s writing before you begin. Just to get a base.

15. Sometimes You’re An Outliner And You Don’t Know It

I tried writing one novel, Blackbirds, over the course of several years. And the story just kept wandering around like an old person lost at K-Mart. It felt aimless, formless, like I couldn’t quite get it to make sense, couldn’t get the damn thing to add up and become a proper story. Eventually, while in a mentorship with a screenwriter, he told me to outline it. I said, “HA HA SILLY MAN I AM A NOVELIST WE DO NOT OUTLINE FOR IT WILL THIEVE THE BREATH FROM GOD AND OTHER SUCH POMPOSITIES.” And he said, “No, really, outline.” And I groused and grumbled and kicked the can and punched my locker and finally I sat down and took my medicine. I finished the novel a few short months later and that novel later became my first original novel debut. I am a pantser by heart, but a plotter by necessity.

16. The Power Of The Re-Outline (And The Re-Re-Outline)

I outline before I write. Then, when it comes time to edit, I re-outline before committing any major rewrites. I do this because things have changed — both in terms of what I wrote and what I’m going to write. I outline the novel I just wrote (the re-outline), then I outline the planned changes (the re-re-outline). It sounds like a lot of work. It takes me less than a day to do it. And it feels like hell to do, but I’m always happy for having done it.

17. See Also: The Retroactive Outline

Some folks never do an outline up front — they let their first draft (or the “zero draft,” as it is sometimes known) be the pukey, sloppy technicolor supergeyser of nonsense and then they take that giant pile of quantum hullaballoo and from it pull a proper outline before attempting to rewrite. This may take you a bit longer but if the result is a story you’re happy with, then holy shit, go forth and do it. Every process you choose should be in service to getting the best story in the way that feels most… well, I was going to say comfortable, but really, comfort is fucking forgettable in the face of great fiction, so let’s go with effective, instead.

18. Most Programs Have Some Kind Of Outline Function

Most writing programs come built with some manner of outlining function — Word’s is pretty barebones but a program like Scrivener has a very robust outline engine built into it, allowing the outline to eventually become the table of contents. You can also look for programs (OmniOutliner, for instance) that handle outlining as its sole (often robust) function. Consider me a big fan of outlining on my iPad with the Index Card app — an app that also syncs up nicely with Scrivener, if that interests you.

19. Some Outlines Are More Expressly Visual

Hey, nobody said an outline had to be all text-on-screen. Maybe you draw mind-maps on a whiteboard. Maybe you string together photos you found on Flickr. Maybe you mark your up-beats and down-beats in the narrative with little smiley faces or frowny faces, respectively. Get crazy. Break out the fingerpaints. The sidewalk chalk. OUTLINE YOUR NOVEL IN THE SCAREDY URINE OF YOUR FOES. Whoa. I mean. What? I didn’t say anything.

20. Help You Unstick A Stuck Story

You’re toodling along on your pantsed story, and everything going fine until one day it isn’t. You’re stuck. Boots in the narrative pigshit. You have some choices. One choice is to sit there in the poopy mire, crying into the fetid muck. The other choice is to backtrack and outline the story you’ve written so far and the story ahead. The value of this approach is that you don’t need to outline at the fore of the draft and maybe you never need to outline — ah, but if you get stuck, the outline makes a mighty tidy lever to get you free.

21. No, Outlining Does Not Steal Your Magic

Writers are beholden to many fancy myths. “The Muse! My characters talk to me! I’d just die if I couldn’t write!” The myth of how an outline robs you of your creative juju is one of them. I don’t want to defeat your magic. I don’t want to suggest that writing and storytelling isn’t magic — because hot damn, it really is, sometimes. The myth isn’t about the magic; the myth is that the magic is so fickle that something so instrumental as an outline will somehow diminish it. If after outlining a story you think the thunder has been stolen and you don’t want to write it anymore, that’s a problem with you or your story, not with the loss of its presumed magic. An outline can never detail everything. It’ll never excise the magic of all the things that go into the actual day-to-day writing. If that magic is gone, either your story didn’t have it in the first place, or you’re looking for excuses not to write the fucking thing.

22. Calm Down, Nobody’s Got A Gun To Your Head

Nobody’s making you outline. Relax.

23. Oops, Except Maybe This Gun Right Here, Click, Boom

Okay, somebody might actually make you outline. I had one publisher who demanded a chapter-by-chapter outline before committing to the project. I’ve also had to hand in outlines for various film or transmedia projects. Someone might actually ask you to outline at some point, and when they do, you probably shouldn’t freak out as if someone just set your cat on fire.

24. It’s One More Tool For The Toolbox

Look at it this way: even if you don’t like outlining and don’t really plan on using it, it’s a skill that’s useful to learn just the same. Not every tool in the toolbox will see constant or even regular use, but it’s still nice to have in store for when the shit hits the fan and you need to ratchetblast the rimjob or maladjust the whangdoodle.

25. Everybody Has A Process, So Find Yours

No one process for planning your story is going to work. What works for me won’t work for you. Hell, what works for one of your stories may not even work for the next. Try things. Explore. Experiment. This isn’t math. It isn’t beholden to an easy equation with a guaranteed output. Find the outline style that suits you. Look at it this way: it’s like eating your vegetables. You might try kale and think it tastes like ursine toilet paper. Or you might try it and think it’s the best thing since bacon underwear. Try the outline. Maybe it helps, maybe it doesn’t.

It only works if you try.


Want another hot tasty dose of dubious writing advice?

500 WAYS TO TELL A BETTER STORY:

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500 WAYS TO BE A BETTER WRITER:

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500 MORE WAYS TO BE A BETTER WRITER:

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250 THINGS YOU SHOULD KNOW ABOUT WRITING:

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CONFESSIONS OF A FREELANCE PENMONKEY:

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REVENGE OF THE PENMONKEY:

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