It's been a very long time, but here's why:
www.black-cat-entertainment.co.uk
That's me now. That's my company, the team I built from the ground up. I love making games, and to my initial shock, I love business. Despite its reputation as being cut-throat and bastardly, it's actually all about relationships and mutual benefit. Best of all, in entertainment, success is all about making something amazing in a team of likeminded, awesome people.
The days of working alone are nearly gone. No longer will a stranger ask me at a bus stop for the time, only to have me blurt out my life story inside of 5 minutes because they're the first person I've spoken to in ages. I now have whole teams to work with, and I love every minute of it.
I'll be creating a company blog what will be 99% written by me, and I'll be posting updates here.
If anybody still reads this, it's my hope that some of you will join me on the adventure into games. I'll still be expressing myself through art, just in a different medium. Likewise, while I'm transfering most of my efforts from books to games for the time being, it's still all about learning to make it as an artist.
22 February, 2020
31 July, 2017
So busy
The title says it! I'll write a proper post soon but just wanted to let people know I'm still alive.
Upcoming posts in short form:
1) Develop was a huge success for us at Very Good Friend
2) I'm now writing two games, a novel and a short story
3) I've rediscovered my love of reading (super important!)
4) Heard and met the very cool members of an awesome new band I wish to shamelessly plug.
5) Had a pondering about life after the tragic suicide of yet another music icon, and it made me think a lot about art and success.
When will I write these? Who knows!? I love my blog and love all of you, but there's no point in having readers/fans if there's nothing for you to read and/or play! I love my work too and there's just... so... much... to do.
What I will say is that writing this game has been an absolute blast, and a completely new form of storytelling for me. Not so much because it's a game. Ah... that reminds me:
6) A justification for why I think games have more in common with narrative fiction than choose your own adventure books or movies.
For now I'll just ask you to believe me that it's a good justification. What IS super-different is found footage movies. Basically, in a book the dialogue should drive the plot. People reveal far more about themselves by what they DON'T say anyway, so it doesn't sacrifice characterisation, but if you look through the dialogue greats (Nabokov, Raymond Chandler, Elmore Leonard, Hemmingway blah blah blah) nobody is asking anyone to pass the sugar. By plot I don't mean high drama. The plot could hinge on a relationship, and the WAY the sugar (or whisky bottle as per Hemmingway) is asked for might reveal/drive that relationship. Fantastic. But that isn't fluff dialogue. Found footage films are full of fluff dialogue. (Alliteration unintentional but fun!) We have some good ideas of how to make them add to the game without detracting from the story, but I've now signed contracts making it illegal for me to say too much. Not that I would anyway. Basically it's a very interesting horror game that I'll be putting many more details up here about as it develops.
I really think my readers will like it. I love traditional AAA games, which this is not, but it's something hardcore readers / softcore gamers will enjoy a great deal. Truly hardcore gamers will, I think, find it well worth exploring for something innovative. Those are our markets. The extremes.
This pointless picture for pinterest brought to you by rushing around. I'm only giving myself a minute to find one, so let's hope it's good!
The likeness is uncanny...
Upcoming posts in short form:
1) Develop was a huge success for us at Very Good Friend
2) I'm now writing two games, a novel and a short story
3) I've rediscovered my love of reading (super important!)
4) Heard and met the very cool members of an awesome new band I wish to shamelessly plug.
5) Had a pondering about life after the tragic suicide of yet another music icon, and it made me think a lot about art and success.
When will I write these? Who knows!? I love my blog and love all of you, but there's no point in having readers/fans if there's nothing for you to read and/or play! I love my work too and there's just... so... much... to do.
What I will say is that writing this game has been an absolute blast, and a completely new form of storytelling for me. Not so much because it's a game. Ah... that reminds me:
6) A justification for why I think games have more in common with narrative fiction than choose your own adventure books or movies.
For now I'll just ask you to believe me that it's a good justification. What IS super-different is found footage movies. Basically, in a book the dialogue should drive the plot. People reveal far more about themselves by what they DON'T say anyway, so it doesn't sacrifice characterisation, but if you look through the dialogue greats (Nabokov, Raymond Chandler, Elmore Leonard, Hemmingway blah blah blah) nobody is asking anyone to pass the sugar. By plot I don't mean high drama. The plot could hinge on a relationship, and the WAY the sugar (or whisky bottle as per Hemmingway) is asked for might reveal/drive that relationship. Fantastic. But that isn't fluff dialogue. Found footage films are full of fluff dialogue. (Alliteration unintentional but fun!) We have some good ideas of how to make them add to the game without detracting from the story, but I've now signed contracts making it illegal for me to say too much. Not that I would anyway. Basically it's a very interesting horror game that I'll be putting many more details up here about as it develops.
I really think my readers will like it. I love traditional AAA games, which this is not, but it's something hardcore readers / softcore gamers will enjoy a great deal. Truly hardcore gamers will, I think, find it well worth exploring for something innovative. Those are our markets. The extremes.
This pointless picture for pinterest brought to you by rushing around. I'm only giving myself a minute to find one, so let's hope it's good!
The likeness is uncanny...
05 July, 2017
Crunch Time, and some interesting talks from developers
Yesterday was intense. From morning until early evening, we were down at the sound studio where our extremely awesome, experienced audio engineer went through the video with us. The scenes sound amazing now. It's great watching everything come to life.
Then I got home in time to write a few text artifacts, and ran off to a meet up for Unity developers, where I met my partner in crime Andrew Hague in the first place. My programming knowledge is still extremely basic, but I do learn from the talks.
This time, in point of fact, it wasn't technical. It was a very successful Indie developer talking about innovation in games, followed by an experienced sound engineer talking about the blend between audio and the player's experience.
The former guy made the comparison of a game developer to a magician. I like that comparison, but I wonder if it's best. In writing, we're wise to think of ourselves as hypnotists. My feeling is that it's the same for games, but I suppose there are elements to games that involve less subtlety. There are quick sharp innovations thrown at the player.
It's probably best to give an example.
At the end of the original Halo (at least I think it's the first one), there's a level very different from the others. Throughout the game, you get to ride a car a couple of times, and it always feels significant. You're ploughing your way across a large area of map that you feel would have been a nightmare on foot.
In the last level, about 80% of the time is spent in the vehicle doing just that.
The magician analogy would have us think that it's a trick conjured up to create excitement and break the game's monotony. I think to be fair this analogy can also take into account how much we've wanted to plough through these aliens, and how satisfying it is to get the chance to do this in the end. It takes into account euphoria and satisfaction.
The hypnotist analogy, however, can do all of this and more. The hypnotist is more macroscopic, and in my view the analogy also bears in mind how the jeep has made us feel in the past. It's not just mowing down the aliens. It's a sense of victory over an area, and a sense of covering a long distance. Couple all of these things (the aliens being torn apart in your wake, the vast distance being covered swiftly) with a sense of urgency, and you have a sense that there just isn't time for anything other than this race across the Halo--that you have to cover that ground or else it's over. And, there's that sense of pending victory buried deeply in there with the worry. You know that you, if this ride is successful, are going to succeed at this goal you've worked so hard for.
I think that's where the real satisfaction comes from. There's definite player gratification in getting to do something new and exciting at the end, and the jeep stuff is really cool, and it's great to let the last level be something cool, but it's the emotion the player feels when they're doing these things that really gives them their depth, and makes them memorable.
Just another thing I think games could learn from books.
I do, however, also think the magician thing is worth me thinking about. Games don't have everything in common with books, and remembering to keep things fresh and sparkly for people as the experience unfolds can only help me. The guy was a great speaker and clearly knows his craft, so it's all been absorbed, and I'll be thinking about his words for a long while.
So that was my evening, and my work day was only halfway through. After the Unity meet up, Andrew and I went back to the office and worked until almost 2am on getting some of the animations right, and editing the videos. Oh yes, I woke up late this morning. Our deadline for the whole demo is next Tuesday, so there's no time to waste.
This pointless picture for pinterest brought to you by the Halo jeep, because I guess this post is about keepin' on truckin', as much as anything.
Then I got home in time to write a few text artifacts, and ran off to a meet up for Unity developers, where I met my partner in crime Andrew Hague in the first place. My programming knowledge is still extremely basic, but I do learn from the talks.
This time, in point of fact, it wasn't technical. It was a very successful Indie developer talking about innovation in games, followed by an experienced sound engineer talking about the blend between audio and the player's experience.
The former guy made the comparison of a game developer to a magician. I like that comparison, but I wonder if it's best. In writing, we're wise to think of ourselves as hypnotists. My feeling is that it's the same for games, but I suppose there are elements to games that involve less subtlety. There are quick sharp innovations thrown at the player.
It's probably best to give an example.
At the end of the original Halo (at least I think it's the first one), there's a level very different from the others. Throughout the game, you get to ride a car a couple of times, and it always feels significant. You're ploughing your way across a large area of map that you feel would have been a nightmare on foot.
In the last level, about 80% of the time is spent in the vehicle doing just that.
The magician analogy would have us think that it's a trick conjured up to create excitement and break the game's monotony. I think to be fair this analogy can also take into account how much we've wanted to plough through these aliens, and how satisfying it is to get the chance to do this in the end. It takes into account euphoria and satisfaction.
The hypnotist analogy, however, can do all of this and more. The hypnotist is more macroscopic, and in my view the analogy also bears in mind how the jeep has made us feel in the past. It's not just mowing down the aliens. It's a sense of victory over an area, and a sense of covering a long distance. Couple all of these things (the aliens being torn apart in your wake, the vast distance being covered swiftly) with a sense of urgency, and you have a sense that there just isn't time for anything other than this race across the Halo--that you have to cover that ground or else it's over. And, there's that sense of pending victory buried deeply in there with the worry. You know that you, if this ride is successful, are going to succeed at this goal you've worked so hard for.
I think that's where the real satisfaction comes from. There's definite player gratification in getting to do something new and exciting at the end, and the jeep stuff is really cool, and it's great to let the last level be something cool, but it's the emotion the player feels when they're doing these things that really gives them their depth, and makes them memorable.
Just another thing I think games could learn from books.
I do, however, also think the magician thing is worth me thinking about. Games don't have everything in common with books, and remembering to keep things fresh and sparkly for people as the experience unfolds can only help me. The guy was a great speaker and clearly knows his craft, so it's all been absorbed, and I'll be thinking about his words for a long while.
So that was my evening, and my work day was only halfway through. After the Unity meet up, Andrew and I went back to the office and worked until almost 2am on getting some of the animations right, and editing the videos. Oh yes, I woke up late this morning. Our deadline for the whole demo is next Tuesday, so there's no time to waste.
This pointless picture for pinterest brought to you by the Halo jeep, because I guess this post is about keepin' on truckin', as much as anything.
29 June, 2017
Let the Games Begin, or the filming for it anyway
Zz-been a while since my last post, but man... things have been moving fast, and it's all very exciting.
Filming for the game starts tomorrow. It's been a really great few weeks. It's all 100% happening now, and it's even been decided that some future projects will be my babies. It's still sinking in, to be honest.
Writing this thing has been a very interesting experience, too. Doing things to deadlines, where I can't sit back and go over an awkward scene months later after writing past it (which always clarifies things); writing something that I don't get to influence the plot of, meaning I can't just alter the story to what comes naturally to me or what I think suits best; not being God, as in not being able to change the weather and working within a special effects budget--all completely new experiences.
Working on a film set will be totally new as well. Our actors are both professionals, and you wouldn't believe who our sound guy is, so there will be people who know the business to help things run smoothly.
Filming for the game starts tomorrow. It's been a really great few weeks. It's all 100% happening now, and it's even been decided that some future projects will be my babies. It's still sinking in, to be honest.
Writing this thing has been a very interesting experience, too. Doing things to deadlines, where I can't sit back and go over an awkward scene months later after writing past it (which always clarifies things); writing something that I don't get to influence the plot of, meaning I can't just alter the story to what comes naturally to me or what I think suits best; not being God, as in not being able to change the weather and working within a special effects budget--all completely new experiences.
Working on a film set will be totally new as well. Our actors are both professionals, and you wouldn't believe who our sound guy is, so there will be people who know the business to help things run smoothly.
I'll write more about that tomorrow or on the weekend once it's actually happened.
As for working in games in general, it feels kind of neat to have an office in town, too. It's not like other companies I've worked at. Everybody is casual, there with the mentality that we're all making something together; something cool. It's all enthusiasm and camaraderie, and I can come and go as I please, sitting and writing on my laptop if I feel it helps me focus to be around people, which sometimes it does. Sometimes it doesn't. I like to pace back and forth and rant to myself like a mad man when I'm plotting, and I tend to whisper or mutter dialogue as I write it, but on off days, it's hard to sit there staring at the screen or perusing the internet when just next door I can hear five other people hard at work. I can sit in my own room there and it, too, has a lot of game-industry-esque character. Basically, it's the first time I've written on a neon green bean bag.
As for working in games in general, it feels kind of neat to have an office in town, too. It's not like other companies I've worked at. Everybody is casual, there with the mentality that we're all making something together; something cool. It's all enthusiasm and camaraderie, and I can come and go as I please, sitting and writing on my laptop if I feel it helps me focus to be around people, which sometimes it does. Sometimes it doesn't. I like to pace back and forth and rant to myself like a mad man when I'm plotting, and I tend to whisper or mutter dialogue as I write it, but on off days, it's hard to sit there staring at the screen or perusing the internet when just next door I can hear five other people hard at work. I can sit in my own room there and it, too, has a lot of game-industry-esque character. Basically, it's the first time I've written on a neon green bean bag.
I look forward to more wacky adventures ahead.
This post's pointless picture for Pinterest brought to you by writing for games, and coming a long way.
11 June, 2017
Sending off My First Script.
So I got the script off Friday afternoon. All professional format and
everything, which actually looks pretty cool. The goal is to get people
to invest in the game, so it was 4 minutes of video followed by BLAM! Hook!
That was designed to make people want to play what was to follow, which is a very quick double down on the previous hook, the message being, "We need your money!"
I think we'll probably cut the 4 minutes down a bit, or stick some of it elsewhere, but it's much better to film over than under. Actually what I've written will probably take more like 5 or 6 minutes, but there's 4 minutes in there that I think we definitely need. I did this because I have very little concept of how long things take on screen, but every screen writer does this too. It's just a safety net and it's much, much easier to edit out than to add in. Adding things very often (like almost always) loosens your plot. If you write a tight plot with some potential for clipping, you're just going to make it tighter, unless you go so far as to make it disjointed, but thankfully I have enough creative control to ensure that doesn't happen.
It's all been a learning curve and very, very fun.
Did I say we were starting filming on Monday? I don't feel like going back to check. Either way, it's not true anymore. The deadline will be soon, but we have a bit of time, which is good. It means I and the CEO can bounce ideas off each other and perfect the script, especially in terms of overall narrative, before everything starts getting set in stone. Again, there's a budget. In a book I just select, delete, and rewrite. Here we'd have to hire the actors again, pay for the set again, rent the equipment again... Blarg. Totally different world, this, but I'm loving it.
In point of fact, I just, as I was typing this, checked my email and I have a reply from him with some minor script notes, so I'll check them out in the morning. I suspect it'll be another interesting week.
This pointless picture for Pinterest brought to you by my love of cats, because I can't think of anything more clever.
That was designed to make people want to play what was to follow, which is a very quick double down on the previous hook, the message being, "We need your money!"
I think we'll probably cut the 4 minutes down a bit, or stick some of it elsewhere, but it's much better to film over than under. Actually what I've written will probably take more like 5 or 6 minutes, but there's 4 minutes in there that I think we definitely need. I did this because I have very little concept of how long things take on screen, but every screen writer does this too. It's just a safety net and it's much, much easier to edit out than to add in. Adding things very often (like almost always) loosens your plot. If you write a tight plot with some potential for clipping, you're just going to make it tighter, unless you go so far as to make it disjointed, but thankfully I have enough creative control to ensure that doesn't happen.
It's all been a learning curve and very, very fun.
Did I say we were starting filming on Monday? I don't feel like going back to check. Either way, it's not true anymore. The deadline will be soon, but we have a bit of time, which is good. It means I and the CEO can bounce ideas off each other and perfect the script, especially in terms of overall narrative, before everything starts getting set in stone. Again, there's a budget. In a book I just select, delete, and rewrite. Here we'd have to hire the actors again, pay for the set again, rent the equipment again... Blarg. Totally different world, this, but I'm loving it.
In point of fact, I just, as I was typing this, checked my email and I have a reply from him with some minor script notes, so I'll check them out in the morning. I suspect it'll be another interesting week.
This pointless picture for Pinterest brought to you by my love of cats, because I can't think of anything more clever.
09 June, 2017
Fun with Scripts: a Reality Check for Me
Writing to within budgetary constraints is an absolute mind f... fudge. I
never understood dealing with these things. It's completely alien to narrative writing.
However,
"To make a great film you need three things: the script, the script and the script." Alfred Hitchcock
"I wanted to make a film but I had no money. Then I had an idea: my neighbour has a car, my friend has a dog, and I have a kitchen table. I'm going to write something that involves those. I'm going to write something involving everything I have." Robert Rodriguez
So no pressure, then...
I have exactly two characters in the beginning. That means it's almost impossible to show multiple sides to a character's personality within such a short space of narrative. People often only show one part of themselves to each person, unless they're very close. These two characters are close, but come on... I've only got around four scenes to do all this stuff! You still have to make sure readers get a good, solid impression of a personality, and it's very easy to make people seem wishy-washy. This isn't an impossible feat, but it means a lot of very careful, painstaking work. All good fun.
I have no costumes, so many of the scary moments I've come up with are completely out the window.
However,
"To make a great film you need three things: the script, the script and the script." Alfred Hitchcock
"I wanted to make a film but I had no money. Then I had an idea: my neighbour has a car, my friend has a dog, and I have a kitchen table. I'm going to write something that involves those. I'm going to write something involving everything I have." Robert Rodriguez
So no pressure, then...
I have exactly two characters in the beginning. That means it's almost impossible to show multiple sides to a character's personality within such a short space of narrative. People often only show one part of themselves to each person, unless they're very close. These two characters are close, but come on... I've only got around four scenes to do all this stuff! You still have to make sure readers get a good, solid impression of a personality, and it's very easy to make people seem wishy-washy. This isn't an impossible feat, but it means a lot of very careful, painstaking work. All good fun.
I have no costumes, so many of the scary moments I've come up with are completely out the window.
I can do nothing of the absurd. You know in The Shining, the elevator full of blood? Know how much that freakin' cost?
I can't even change the weather, or turn day to night. It's like my godly powers have been stripped from me.
I have almost no props, or set design, or anything I can just do in a paragraph of prose! I'm sure I'll learn a lot from this experience, and already it's a hell of a curve.
I just hope I have some damn good actors. I was joking about the coffee thing, but we'll see...
This pointless picture for pinterest brought to you by life's frustrations.
I can't even change the weather, or turn day to night. It's like my godly powers have been stripped from me.
I have almost no props, or set design, or anything I can just do in a paragraph of prose! I'm sure I'll learn a lot from this experience, and already it's a hell of a curve.
I just hope I have some damn good actors. I was joking about the coffee thing, but we'll see...
This pointless picture for pinterest brought to you by life's frustrations.
07 June, 2017
First Steps into the Games Industry
I have some extremely awesome news. At long last, I've gotten a foot into the door of a thriving, relatively new art form, and an industry that's constantly growing and trying new things.
I've been hired by a video game developer in my home town of Leamington Spa to write the script for a horror game. I've always wanted to work in games, and already I've learned a lot, just about how these projects are set up and how they get started.
In the space of a few days, my position jumped around so many times, the only way I could keep a cool head about it all was pretty much just to pretend the worst (which was still awesome) had happened and just move on. Allow me to walk you through my thought process.
In the space of a few days, my position jumped around so many times, the only way I could keep a cool head about it all was pretty much just to pretend the worst (which was still awesome) had happened and just move on. Allow me to walk you through my thought process.
First, I was going to be the lead writer, but a writer of many a published Doctor Who book was probably on board. (Hopefully he still is.)
Questions ran through my mind: Will I be his manuscript bee-atch? Maybe, and I'll learn a lot from him. Will we be equals? Awesome. Will I have free reign to make the game my own? Who knows?
Either way, the pieces were falling into place.
Either way, the pieces were falling into place.
A few days later I learned some awesome news and some palatable news.
In awesome news, the Doctor Who writer I'm still possibly going to work with is Justin Richards, the creative director of the entirety of the Doctor Who novel series. Colour me impressed! I'd love to work with that guy, and I'm sure I could learn a lot from him.
The palatable news was he'd almost definitely get whatever creative control he wanted, even to the point of saying, "I ain't workin' with no punk-ass Canadian!" [inflection purely creative license]. If he's a nice bloke, I thought, I'll probably have the opportunity to work with an amazing writer, which is a great learning experience and, frankly, some serious publicity. Touble is, I don't know him, so when I got the news, I immediately set out preparing for the worst while hoping for the best. The absolute worst case scenario was I'd have a fair amount of influence on the concept and I'd get to write the trailer and opening scenes. Two weeks ago I didn't have a clue how I'd break into the industry, so even the worst case scenario was fantastic.
Then more awesome news came along. At the end of last week I learned that I was 100% definitely on board in a major role writing this script. I realised, then, just how much I want to work with Justin. I'd much rather make this a joint project than do it myself, but knowing that I'm definitely involved is just great.
In palatable news, filming starts on the 12th of June.
The game's concept involves a lot of live actors, and that means the writing must be pitch perfect. Certain other attempts at making live actors and games mesh have been disastrous. Uttering the names of these games will, so I'm told, doom the speaker to eternal damnation, but you know the ones I mean. It'll work with this concept, but people might still see the real-life faces with an initial reaction of shock, which means disconnection with the narrative has to be immediately remedied with perfect dialogue. Next Monday is a tall order.
I'm even going to help direct, so I can let out all the tension I'll build up over this week by throwing coffee at actors and stuff. Kubrick is my hero.
I do hope Justin gets in touch, as it would be an absolute pleasure to work with an experienced writer like him. I'm sure I'd learn a great deal, and it would be a tremendous opportunity and experience. Either way though, this rocks.
I'll never give up on writing books, but this is very exciting. I've always wanted to branch into games.
I have news about books too, but nothing I can truly articulate, hence the long silence.
Expect many posts in the near future. I've decided to basically keep the blog updated with events as they happen, as this is totally new, and everything I learn along the way, I'll of course share.
This pointless picture for Pinterest brought to you by all that is awesome in the universe.
I have news about books too, but nothing I can truly articulate, hence the long silence.
Expect many posts in the near future. I've decided to basically keep the blog updated with events as they happen, as this is totally new, and everything I learn along the way, I'll of course share.
This pointless picture for Pinterest brought to you by all that is awesome in the universe.
24 May, 2017
R.I.P. Chris Cornell, and Thanks for the Music
Seriously, thanks for the music.
I got the news about Chris Cornell late, and it's taken me awhile to think of what to say. Soundgarden was one of the formative bands of my youth. Their music was powerful, evocative and meaningful.
Plus his theme song for Casino Royale was in my view easily, far and away the best Bond song ever.
Honestly I still can't think of what to say. Sometimes words ring hollow.
I'll let his music do the talking.
First with a eulogy song:
And then with my favourite song of theirs, although it's no easy competition:
We'll always remember and love you, Chris. Soundgarden were one of the best bands in history, and one of the most important.
I got the news about Chris Cornell late, and it's taken me awhile to think of what to say. Soundgarden was one of the formative bands of my youth. Their music was powerful, evocative and meaningful.
Plus his theme song for Casino Royale was in my view easily, far and away the best Bond song ever.
Honestly I still can't think of what to say. Sometimes words ring hollow.
I'll let his music do the talking.
First with a eulogy song:
And then with my favourite song of theirs, although it's no easy competition:
We'll always remember and love you, Chris. Soundgarden were one of the best bands in history, and one of the most important.
20 April, 2017
Fun in the Gun
Nah... the point is that I DON'T have a gun to my head.
My biggest fear has always been the passage of time. Let me tell you a story, even if it takes a little while.
When I was on the MFA, sitting across from Paul McAuley (a god to me at the time) he was talking about the scenes not perfectly meshing into a cohesive emotional effect. He paused in mid sentence, looked at me with a squint and said, "Is this a first draft?"
It was.
"This is good for a first draft."
"I edit as I go," I said.
He put the papers down and said, "I want to see a second draft."
I published that second draft. It's called "Temple of Mirrors". You can read it here.
It held the 3rd place spot in popularity on Short-story.me for like 4 years or something. The second place spot only beat me by a few clicks. Last time I checked, about a year ago, mine had around 8,000 reads. Now it has 14,000. That said, now it's number 34, but I'm still perfectly happy. People are reading it seven years later. Hail Lord McAuley for his help and criticism, but in his opinion, the biggest thing he taught me was to write second drafts.
Oh, if only I weren't such an idiot. Or maybe I just fear the reaper. Fear makes people stupid. People have been telling me to re-draft for years. Terry Pratchet once said the first draft is just the story we tell ourselves. He doesn't have six computer screens so that he can see more pages of his drafts. He's got one devoted to plot outline, one devoted to ideas, and I have no idea what he uses screens 4-6 for. Maybe I'll be a better writer if I ever figure that out.
Here. It's in pictoral form too. See? That proves it.
Most importantly, every writer I know of who doesn't redraft properly writes in quite a rambling, unfocussed fashion. They're usually qutie good at plotting, hence getting away with it, but as I read I can always feel the central narrative screaming to escape. And these people do go back a cut superfluous scenes. Nobody just finishes and says, "Booyah! Done!"
I'm not really guilty of THAT. I'm not that bad. I do redraft, but the redrafting is cursory. I can't say I sit there with a manuscript and a pen filling each page with notes and then re-writing the book. That's what the best writers do.
To sum up, my period of idiocy is over. I refuse to feel bad about all this time. If anything it means I have a crap load of stories I can make something special of if I spend a long time editing. I hate editing. It feels like work. But honestly sometimes feeling like you've suffered for work just makes you feel like a grown up, so I'll get to it.
I'll leave you with another great Terry Pratchett quote.
So he thinks editing is hell too, but he does it. And there's no gun to my head. If a book takes me eight months to write instead of four, and it's twice as good a book, I win.
My biggest fear has always been the passage of time. Let me tell you a story, even if it takes a little while.
When I was on the MFA, sitting across from Paul McAuley (a god to me at the time) he was talking about the scenes not perfectly meshing into a cohesive emotional effect. He paused in mid sentence, looked at me with a squint and said, "Is this a first draft?"
It was.
"This is good for a first draft."
"I edit as I go," I said.
He put the papers down and said, "I want to see a second draft."
I published that second draft. It's called "Temple of Mirrors". You can read it here.
It held the 3rd place spot in popularity on Short-story.me for like 4 years or something. The second place spot only beat me by a few clicks. Last time I checked, about a year ago, mine had around 8,000 reads. Now it has 14,000. That said, now it's number 34, but I'm still perfectly happy. People are reading it seven years later. Hail Lord McAuley for his help and criticism, but in his opinion, the biggest thing he taught me was to write second drafts.
Oh, if only I weren't such an idiot. Or maybe I just fear the reaper. Fear makes people stupid. People have been telling me to re-draft for years. Terry Pratchet once said the first draft is just the story we tell ourselves. He doesn't have six computer screens so that he can see more pages of his drafts. He's got one devoted to plot outline, one devoted to ideas, and I have no idea what he uses screens 4-6 for. Maybe I'll be a better writer if I ever figure that out.
Here. It's in pictoral form too. See? That proves it.
Most importantly, every writer I know of who doesn't redraft properly writes in quite a rambling, unfocussed fashion. They're usually qutie good at plotting, hence getting away with it, but as I read I can always feel the central narrative screaming to escape. And these people do go back a cut superfluous scenes. Nobody just finishes and says, "Booyah! Done!"
I'm not really guilty of THAT. I'm not that bad. I do redraft, but the redrafting is cursory. I can't say I sit there with a manuscript and a pen filling each page with notes and then re-writing the book. That's what the best writers do.
To sum up, my period of idiocy is over. I refuse to feel bad about all this time. If anything it means I have a crap load of stories I can make something special of if I spend a long time editing. I hate editing. It feels like work. But honestly sometimes feeling like you've suffered for work just makes you feel like a grown up, so I'll get to it.
I'll leave you with another great Terry Pratchett quote.
So he thinks editing is hell too, but he does it. And there's no gun to my head. If a book takes me eight months to write instead of four, and it's twice as good a book, I win.
06 April, 2017
Getting Personal
Over the last couple of months I have had an almost spiritual crisis that I'd like to share with you, in the hope that others going through the same thing might find it helpful. This is another post for the artists, rather than the readers.
Putting things in perspective is always hard. I can't remember which popular (million subscribers plus) Youtuber said that if PewDiePie dropped to his level of subscriptions he'd probably throw himself off a bridge. This Youtuber's point was that, while he's pretty successful, PewDiePie is vastly more so, and a significant dip always feels awful.
I got a serious kick in the junk recently, which is that my agent has stopped representing YA and Mid-grade fiction. I've found myself creatively moving more and more towards that age group. For me, fiction is about change, and those years are the time in which people define themselves most--a time of tremendous upheaval.
I then had some thinking to do.
Step One: Wallow in despair. Check.
Step Two: Decide what I want to write next. This one has taken a long, long time.
I used to love adult fantasy, and adult science fiction. But it's rarely the modern authors that appeal to me. There are some greats, but my tastes tend elsewhere. In science fiction, it's towards the human stories of the 1960s. In fantasy, it's the highly experimental, strongly themed stories of the 30s.
I've done a lot of thinking about this. I've asked myself exactly what I like about the genres. I might only write one fantasy and one scifi in my life, and I want each to embody the potential I see in the genre. This doesn't mean I'm saying it will be brilliant. It will just be exactly what I have to say.
I've almost cracked it for a fantasy book. Maybe it's not everything I'll have to say. Maybe writing one will make me rediscover my love for the genre. All I know is that it's something I'm compelled to do for professional reasons.
I could just write the mid-grade idea that's bouncing in my head. Honestly I'd love to do that, and on my study wall, right smack above the computer screen, I have this:
(Different pic but same quote.)
I'd find a new agent eventually, and I'd find a home for my midgrade stuff. I have an agent referral. I have a popular blog (thanks!). I have my youth and my health. I know my past self would have figuratively killed to be in my position now. But a step back is a step back. I don't believe I can justify deliberately letting it happen. Not when I think I might actually enjoy writing an adult book once I get into the swing of it.
So expect some posts about adult fantasy and what I love about it in the near future.
As always, hail Cthulu,
Luke
Putting things in perspective is always hard. I can't remember which popular (million subscribers plus) Youtuber said that if PewDiePie dropped to his level of subscriptions he'd probably throw himself off a bridge. This Youtuber's point was that, while he's pretty successful, PewDiePie is vastly more so, and a significant dip always feels awful.
I got a serious kick in the junk recently, which is that my agent has stopped representing YA and Mid-grade fiction. I've found myself creatively moving more and more towards that age group. For me, fiction is about change, and those years are the time in which people define themselves most--a time of tremendous upheaval.
I then had some thinking to do.
Step One: Wallow in despair. Check.
Step Two: Decide what I want to write next. This one has taken a long, long time.
I used to love adult fantasy, and adult science fiction. But it's rarely the modern authors that appeal to me. There are some greats, but my tastes tend elsewhere. In science fiction, it's towards the human stories of the 1960s. In fantasy, it's the highly experimental, strongly themed stories of the 30s.
I've done a lot of thinking about this. I've asked myself exactly what I like about the genres. I might only write one fantasy and one scifi in my life, and I want each to embody the potential I see in the genre. This doesn't mean I'm saying it will be brilliant. It will just be exactly what I have to say.
I've almost cracked it for a fantasy book. Maybe it's not everything I'll have to say. Maybe writing one will make me rediscover my love for the genre. All I know is that it's something I'm compelled to do for professional reasons.
I could just write the mid-grade idea that's bouncing in my head. Honestly I'd love to do that, and on my study wall, right smack above the computer screen, I have this:
(Different pic but same quote.)
I'd find a new agent eventually, and I'd find a home for my midgrade stuff. I have an agent referral. I have a popular blog (thanks!). I have my youth and my health. I know my past self would have figuratively killed to be in my position now. But a step back is a step back. I don't believe I can justify deliberately letting it happen. Not when I think I might actually enjoy writing an adult book once I get into the swing of it.
So expect some posts about adult fantasy and what I love about it in the near future.
As always, hail Cthulu,
Luke
03 March, 2017
02 March, 2017
A Look at Story Beginnings
After years of reading, it strikes me that I fell prey to a fallacy in my early days as a writer.
We're so often told never to start with exposition. Get into the action. Hook them with a scene. Editors love scenes. Start in scene or they'll stop reading.
The trouble with this advice is, it is completely and utterly false.
(I point you towards an old post of mine: The Editor is Always... wait, what?)
Exposition is not the enemy. There is a running thread of it through every good book. It's the character's motivation, their emotion and reason for doing what they do. It's POV at its deepest. It's what the reader holds onto, while they're watching the action. And importantly, every story must start with something to hold onto.
I'll start by saying there are exceptions to the ideas set out below. Some rare souls like Roal Dahl have such a compelling voice that they can basically just talk to kids at the start, and the kids are rapt. Matilda opens with, "It's a funny thing about mothers and fathers. Even when their own child is the most digusting little blister you could ever imagine, they still think that he or she is wonderful." Really Grandpa? Tell me more! Dahl is just fun to listen to. He knows it, and uses this superpower to great effect. Maybe one day I'll understand his magic. Until then I won't be so arrogant as to assume I have it.
Almost every story starts with some variant of "Once upon a time..."
It's possible to put this in action, but that action must ground the reader in an interesting premise. It must tell them that Once upon a time there was a boy who was half hedgehog (Hans the Hedgehog by the Brothers Grimm) or something, even if it happens with Hans rolling down the hill and landing, spikes first, into a pile of hay. If that opening's done well, the reader may learn what time period we're in, what kind of town/village Hans lives in, and almost certainly will learn that he alone is covered in hedgehog spikes. It will be action filled with exposition. Why? Because the thing that makes his hedgehoggedness compelling is what the opening is about.
The vast majority of stories take a more direct approach, especially in kid's fiction. Kids have very little patience as readers. That's the chief difference, and that's why their tastes are so telling. They want to know instantly what the story is about and what's compelling about it, or at least some compelling idea that will keep drawing them forwards, whether it's that they'll get to read the life of an interesting character in diary form (the excellent Diary of a Wimpy Kid, for instance) or that they'll get to see some amazing events take place.
So let's look at some openings of books, mostly kids fiction. I'll throw a couple of adult books in there too for good measure. I'll also link to every one of them, because I'll only quote from things I think are excellent and that people should read.
Here goes:
"Coraline discovered the door a little while after they moved into the house." O.o There's a door, you say? And a girl named Coraline? This seems otherworldly, and I wonder what's behind the thing? It's obviously something good, or the girl with a cool name wouldn't be so interested in it.
In other words, "Once upon a time there was a girl with a cool name who discovered a most peculiar door." Old timey fiction would have taken this kind of direct approach. The modern author must be more subtle, but must understand human psychology to the exact same extent. If anything, more so.
"If you walked into the Pish Posh restaurant on any given night, you would be sure to find a smallish eleven-year-old girl wearing large black sunglasses sitting by herself at a little round table in the back."
In other words, "Once upon a time there was an interesting girl in a snazzy restaurant who seems like she's either up to something, or at the very least doing something out of the ordinary. Oh, and according to the back cover this book is about a robbery."
Last of the kid stuff but certainly not least, one of my favourite writers, David Almond's awesome magnum opus. I cannot recommend this one enough.
"I found him in the garage on a Sunday afternoon."
Found who? And this person is so interesting he deserves an entire book? "Once upon a time there was an interesting person found in a garage." Just what kind of person gets "found" in a garage anyway? At this point, the story could be about a cat, a clown, or a physical embodiment of all the world's evils. We don't know. What we DO know is that they're interesting. They raise a million questions. Hooked.
Let's end with adult books, just to prove the trend persists into adulthood. This is not some testament to the simplemindedness of children. Take that attitude, and I promise you could never write for kids. Children's literature is more pure, more direct and in some ways more honest with its readers. Techniques employed in adult fiction are more apparent. That's all.
I'll start with a good hybrid, because like much of Ray Bradbury's works (when you count his short stories) it works well for YA too.
Two openings here.
Prologue: "First of all, it was October, a rare month for boys." These kids are up to something, and it may well have to do with Halloween. This coupled with the story's title, which to my mind is possibly the best title ever, gives the "Once upon a time two boys did something interesting in October" a special kind of mystery.
But some people skip prologues, so onto the Chapter 1: "The seller of lightning rods arrived just ahead of the storm." This is such a stark and excellent example of an opening hook that it requires little explanation.
"Once upon a time there was a terrible storm, for which a lightning rod salesman upon whom our tale shall focus, arrived just in time." My old timey version is long winded and sucks, but you can see the parallel.
"In the week before their departure to Arrakis, when all the final scurrying about had reached a nearly unbearable frenzy, an old crone came to visit the mother of the boy, Paul."
Almost Shakespearean in its obvious hookishness, we have an old crone, a symbol of prophecy, coming to visit the mother of a mysterious boy who's about to embark off to a mysterious place.
And for my final book, I choose one from probably my favourite living author, Connie Willis. David Almond and Philip Pullman are contenders for the top spot, but nonetheless. It was Ray Bradbury, then Harper Lee, and now that people can read Go Set a Watchman the way she intended (over her dead body... too soon?) the mantle falls to Connie Willis.
I choose this book because it does not start with a flashy obvious hook, but it does accomplish the same thing the kid's books accomplish. It just does so with a softer touch, for a reader who won't put the thing down just because the first sentence doesn't grip them like a vice. What it will do is compell them, make them at least have some impression that there's an interesting thing around the corner.
"Mr Dunworthy opened the door to the laboratory and his spectacles promptly steamed up."
So why did they steam up? These people are about to have an interesting conversation. We swiftly learn through that conversation that at some point in the far future there were a group of scholars who studied history via time travel. And it's called Doomsday Book? Uh oh...
These softer adult hooks remain significant. Of Mice and Men doesn't start with a hooky first sentence, but we swiftly learn that once upon a time there were two fascinating companions, one a quick witted little man, the other a giant with a child's heart, on an adventure through Great Depression America. To Kill a Mockingbird doesn't begin with a really obvious hook (it sort of does, about the brother having broken his arm) but we swiftly learn that the brother broke his arm in a fascinating circumstance involving a conflict with some people who bear a closer look and a fascinating shut-in rather cruelly nicknamed "Boo".
All through my early attempts at getting published, I'd been told by the low-rung editors that you need to start in immediate action. I'd wilfully, for the sake of impressing them, blinded myself to reality. Stories begin with making the reader know, as quickly as possible, which usually involves telling rather than showing, that something interesting is going on. They begin with compelling exposition, otherwise known as a hook.
So I hope that helps a few people not make the same mistakes I did, or at the very least I hope you found it interesting. If you've decided to buy any of the books I mention, please do so by clicking the links from my page. It gets me money! I need money and you like good books, so everybody wins!
We're so often told never to start with exposition. Get into the action. Hook them with a scene. Editors love scenes. Start in scene or they'll stop reading.
The trouble with this advice is, it is completely and utterly false.
(I point you towards an old post of mine: The Editor is Always... wait, what?)
Exposition is not the enemy. There is a running thread of it through every good book. It's the character's motivation, their emotion and reason for doing what they do. It's POV at its deepest. It's what the reader holds onto, while they're watching the action. And importantly, every story must start with something to hold onto.
I'll start by saying there are exceptions to the ideas set out below. Some rare souls like Roal Dahl have such a compelling voice that they can basically just talk to kids at the start, and the kids are rapt. Matilda opens with, "It's a funny thing about mothers and fathers. Even when their own child is the most digusting little blister you could ever imagine, they still think that he or she is wonderful." Really Grandpa? Tell me more! Dahl is just fun to listen to. He knows it, and uses this superpower to great effect. Maybe one day I'll understand his magic. Until then I won't be so arrogant as to assume I have it.
Almost every story starts with some variant of "Once upon a time..."
It's possible to put this in action, but that action must ground the reader in an interesting premise. It must tell them that Once upon a time there was a boy who was half hedgehog (Hans the Hedgehog by the Brothers Grimm) or something, even if it happens with Hans rolling down the hill and landing, spikes first, into a pile of hay. If that opening's done well, the reader may learn what time period we're in, what kind of town/village Hans lives in, and almost certainly will learn that he alone is covered in hedgehog spikes. It will be action filled with exposition. Why? Because the thing that makes his hedgehoggedness compelling is what the opening is about.
The vast majority of stories take a more direct approach, especially in kid's fiction. Kids have very little patience as readers. That's the chief difference, and that's why their tastes are so telling. They want to know instantly what the story is about and what's compelling about it, or at least some compelling idea that will keep drawing them forwards, whether it's that they'll get to read the life of an interesting character in diary form (the excellent Diary of a Wimpy Kid, for instance) or that they'll get to see some amazing events take place.
So let's look at some openings of books, mostly kids fiction. I'll throw a couple of adult books in there too for good measure. I'll also link to every one of them, because I'll only quote from things I think are excellent and that people should read.
Here goes:
"Coraline discovered the door a little while after they moved into the house." O.o There's a door, you say? And a girl named Coraline? This seems otherworldly, and I wonder what's behind the thing? It's obviously something good, or the girl with a cool name wouldn't be so interested in it.
In other words, "Once upon a time there was a girl with a cool name who discovered a most peculiar door." Old timey fiction would have taken this kind of direct approach. The modern author must be more subtle, but must understand human psychology to the exact same extent. If anything, more so.
"If you walked into the Pish Posh restaurant on any given night, you would be sure to find a smallish eleven-year-old girl wearing large black sunglasses sitting by herself at a little round table in the back."
In other words, "Once upon a time there was an interesting girl in a snazzy restaurant who seems like she's either up to something, or at the very least doing something out of the ordinary. Oh, and according to the back cover this book is about a robbery."
Last of the kid stuff but certainly not least, one of my favourite writers, David Almond's awesome magnum opus. I cannot recommend this one enough.
"I found him in the garage on a Sunday afternoon."
Found who? And this person is so interesting he deserves an entire book? "Once upon a time there was an interesting person found in a garage." Just what kind of person gets "found" in a garage anyway? At this point, the story could be about a cat, a clown, or a physical embodiment of all the world's evils. We don't know. What we DO know is that they're interesting. They raise a million questions. Hooked.
Let's end with adult books, just to prove the trend persists into adulthood. This is not some testament to the simplemindedness of children. Take that attitude, and I promise you could never write for kids. Children's literature is more pure, more direct and in some ways more honest with its readers. Techniques employed in adult fiction are more apparent. That's all.
I'll start with a good hybrid, because like much of Ray Bradbury's works (when you count his short stories) it works well for YA too.
Two openings here.
Prologue: "First of all, it was October, a rare month for boys." These kids are up to something, and it may well have to do with Halloween. This coupled with the story's title, which to my mind is possibly the best title ever, gives the "Once upon a time two boys did something interesting in October" a special kind of mystery.
But some people skip prologues, so onto the Chapter 1: "The seller of lightning rods arrived just ahead of the storm." This is such a stark and excellent example of an opening hook that it requires little explanation.
"Once upon a time there was a terrible storm, for which a lightning rod salesman upon whom our tale shall focus, arrived just in time." My old timey version is long winded and sucks, but you can see the parallel.
"In the week before their departure to Arrakis, when all the final scurrying about had reached a nearly unbearable frenzy, an old crone came to visit the mother of the boy, Paul."
Almost Shakespearean in its obvious hookishness, we have an old crone, a symbol of prophecy, coming to visit the mother of a mysterious boy who's about to embark off to a mysterious place.
And for my final book, I choose one from probably my favourite living author, Connie Willis. David Almond and Philip Pullman are contenders for the top spot, but nonetheless. It was Ray Bradbury, then Harper Lee, and now that people can read Go Set a Watchman the way she intended (over her dead body... too soon?) the mantle falls to Connie Willis.
I choose this book because it does not start with a flashy obvious hook, but it does accomplish the same thing the kid's books accomplish. It just does so with a softer touch, for a reader who won't put the thing down just because the first sentence doesn't grip them like a vice. What it will do is compell them, make them at least have some impression that there's an interesting thing around the corner.
"Mr Dunworthy opened the door to the laboratory and his spectacles promptly steamed up."
So why did they steam up? These people are about to have an interesting conversation. We swiftly learn through that conversation that at some point in the far future there were a group of scholars who studied history via time travel. And it's called Doomsday Book? Uh oh...
These softer adult hooks remain significant. Of Mice and Men doesn't start with a hooky first sentence, but we swiftly learn that once upon a time there were two fascinating companions, one a quick witted little man, the other a giant with a child's heart, on an adventure through Great Depression America. To Kill a Mockingbird doesn't begin with a really obvious hook (it sort of does, about the brother having broken his arm) but we swiftly learn that the brother broke his arm in a fascinating circumstance involving a conflict with some people who bear a closer look and a fascinating shut-in rather cruelly nicknamed "Boo".
All through my early attempts at getting published, I'd been told by the low-rung editors that you need to start in immediate action. I'd wilfully, for the sake of impressing them, blinded myself to reality. Stories begin with making the reader know, as quickly as possible, which usually involves telling rather than showing, that something interesting is going on. They begin with compelling exposition, otherwise known as a hook.
So I hope that helps a few people not make the same mistakes I did, or at the very least I hope you found it interesting. If you've decided to buy any of the books I mention, please do so by clicking the links from my page. It gets me money! I need money and you like good books, so everybody wins!
18 February, 2017
The Last Guardian
I had no intention of writing this, but felt the burning need when...
oh man... I wish I could give spoilers, but suffice to say something I
thought would involve trickery and logic turned out to need only a
simple hug. Hugs and wugs. I nearly cried, because the game had done
such a great job of making me think the problem was something else, when
all I needed was love.
Honestly, if you're looking for a typical gaming experience, this might not be for you. It's evocative, and beautiful, but I wouldn't say it's particularly fun. Art isn't always supposed to be fun, and that's just it: this is art, not a game. This is what you show your elderly relative when they tell you video games can't be works of art. Or if you're of my generation or younger, this is what you'd like to stuff down Roger Ebert's grave screaming, "Look, you old coot! We always told you!" Ahem... Perhaps that's a bit harsh, but he did say games would never amount to much artistically, and they have, and The Last Guardian is a beautiful testament to that achievement.
The controls are difficult, I'll grant. I've more than once shouted, "I said run left you little jackass!" But you know what? I'm not sure an early pubescent little boy running around a castle scared out of his wits would control his body that well either. I'd even say it's part of the experience, and the whole game is so beautiful I've never actually gotten mad. I could certainly never say a bad word to Trico. Not without feeling guilty. Trico feels real, which in itself, given how primitive AI is at present, is a truly remarkable achievement. That's like painting the Mona Lisa on an etch-a-sketch. If Trico obeyed your every command, he wouldn't feel real. You genuinely feel like a team through the entire thing, and Trico is adorable, majestic, and sometimes scary as hell.
It's noteworthy here that The Last Guardian is easily the most visually stunning game I've ever played, and as a lifelong gamer, that's saying something. I can pause the game at literally any second and the image would make a beautiful painting on my wall.
Those are freaking screenshots. Even writing about it now, it blows my mind.
And again I point you to the game's humanity, and Trico's reality. Those beautiful pause button paintings are of a creature you'll fall in love with.
When I saw IGN's 7/10 review, I wondered if I'd made the right decision in buying the super deluxe version, which came with a statuette.
Would the statue forever remind me of a disappointment?
But no. I wish it were bigger. I wish it dominated my back garden and the game had come with a painting too.
If I were reviewing this as a "game", I'd agree with IGN. The controls are fuzzy, the replay value is mostly aesthetic, the trophy hunt (if like me you're into those) looks fiddly and frustrating to me, the play time is short. But this is not a game. I doubt it was intended as one. If you want a game, get something else. This is a work of art.
Imagine you're in a bookstore and you're choosing between The Hogfather (Terry Pratchett, and awesome. Amazon link if you haven't read it and... do.) and To Kill a Mockingbird. There is little doubt that, if you're in the mood for something fun, you should choose The Hogfather. If you want something deep, that will haunt you for years to come, and that is a perfect showcase of just how beautiful and significant a work of art can be, then you should get To Kill a Mockingbird. I thought about choosing a more esoteric, arty book there, like Catcher in the Rye, but no--To Kill a Mockingbird is fun. It's just not made to be fun. In terms of fun content, easy 7/10.
The Last Guardian is, equally, not made to be fun. It's still fun. And I am not deriding other games. I love video games. They've influenced my writing every inch as much as books. I'm saying The Last Guardian is an anomaly. The industry, even when telling a great story, rarely places the "game-ish" side of things in the background. I'm saying I understand the 7/10 review, but it's not judging The Last Guardian for what it attempted, but for what they expected. It is impossible to give an accurate impression of this kind of art (not level, but kind) when just measuring how much you think people should buy it. If you want nifty fun, I'd say only buy it if you have a good amount of cash to throw around, and feel like trying something unique. If you're looking for a fun puzzle platformer and have never tried, say Portal 1 or Portal 2, get those. They're awesome.
If you want to see just how beautiful a game can be, and how much it can evoke, The Last Guardian is an easy 10/10, and a must have.
Know what to expect. Don't judge it as a game, but as a work of art, and I promise, if you're in the mood for something deep and beautiful, you will fall in love with Trico, and you will be very glad to have experienced The Last Guardian.
Honestly, if you're looking for a typical gaming experience, this might not be for you. It's evocative, and beautiful, but I wouldn't say it's particularly fun. Art isn't always supposed to be fun, and that's just it: this is art, not a game. This is what you show your elderly relative when they tell you video games can't be works of art. Or if you're of my generation or younger, this is what you'd like to stuff down Roger Ebert's grave screaming, "Look, you old coot! We always told you!" Ahem... Perhaps that's a bit harsh, but he did say games would never amount to much artistically, and they have, and The Last Guardian is a beautiful testament to that achievement.
The controls are difficult, I'll grant. I've more than once shouted, "I said run left you little jackass!" But you know what? I'm not sure an early pubescent little boy running around a castle scared out of his wits would control his body that well either. I'd even say it's part of the experience, and the whole game is so beautiful I've never actually gotten mad. I could certainly never say a bad word to Trico. Not without feeling guilty. Trico feels real, which in itself, given how primitive AI is at present, is a truly remarkable achievement. That's like painting the Mona Lisa on an etch-a-sketch. If Trico obeyed your every command, he wouldn't feel real. You genuinely feel like a team through the entire thing, and Trico is adorable, majestic, and sometimes scary as hell.
It's noteworthy here that The Last Guardian is easily the most visually stunning game I've ever played, and as a lifelong gamer, that's saying something. I can pause the game at literally any second and the image would make a beautiful painting on my wall.
Those are freaking screenshots. Even writing about it now, it blows my mind.
And again I point you to the game's humanity, and Trico's reality. Those beautiful pause button paintings are of a creature you'll fall in love with.
When I saw IGN's 7/10 review, I wondered if I'd made the right decision in buying the super deluxe version, which came with a statuette.
Would the statue forever remind me of a disappointment?
But no. I wish it were bigger. I wish it dominated my back garden and the game had come with a painting too.
If I were reviewing this as a "game", I'd agree with IGN. The controls are fuzzy, the replay value is mostly aesthetic, the trophy hunt (if like me you're into those) looks fiddly and frustrating to me, the play time is short. But this is not a game. I doubt it was intended as one. If you want a game, get something else. This is a work of art.
Imagine you're in a bookstore and you're choosing between The Hogfather (Terry Pratchett, and awesome. Amazon link if you haven't read it and... do.) and To Kill a Mockingbird. There is little doubt that, if you're in the mood for something fun, you should choose The Hogfather. If you want something deep, that will haunt you for years to come, and that is a perfect showcase of just how beautiful and significant a work of art can be, then you should get To Kill a Mockingbird. I thought about choosing a more esoteric, arty book there, like Catcher in the Rye, but no--To Kill a Mockingbird is fun. It's just not made to be fun. In terms of fun content, easy 7/10.
The Last Guardian is, equally, not made to be fun. It's still fun. And I am not deriding other games. I love video games. They've influenced my writing every inch as much as books. I'm saying The Last Guardian is an anomaly. The industry, even when telling a great story, rarely places the "game-ish" side of things in the background. I'm saying I understand the 7/10 review, but it's not judging The Last Guardian for what it attempted, but for what they expected. It is impossible to give an accurate impression of this kind of art (not level, but kind) when just measuring how much you think people should buy it. If you want nifty fun, I'd say only buy it if you have a good amount of cash to throw around, and feel like trying something unique. If you're looking for a fun puzzle platformer and have never tried, say Portal 1 or Portal 2, get those. They're awesome.
If you want to see just how beautiful a game can be, and how much it can evoke, The Last Guardian is an easy 10/10, and a must have.
Know what to expect. Don't judge it as a game, but as a work of art, and I promise, if you're in the mood for something deep and beautiful, you will fall in love with Trico, and you will be very glad to have experienced The Last Guardian.
13 February, 2017
A Thank You to Everyone Who Reads This
A-thank you, everyone who reads this. Yes, I know I already said it, but I mean it sincerely.
When I first started this blog, I had one reader. I set up the blog and within a couple of weeks somebody messaged me saying, "Are you the guy who wrote Temple of Mirrors!?" I couldn't believe anybody read that story, let alone would remember it four years after publication. I was glad to have that reader, and if they still read my blatherings, I'm all the more glad. This is a special shout-out to you, if you're still there. You rock.
(In fact, contact me again, dude. I no longer have your details so far as I can see. I think it's fun to know who you are, and I'd be happy to always give you a signed copy of my work. I'd bet many writers would do that if they were privileged enough to know who their first fan was.)
To everyone else, I offer a big thanks too. I haven't posted all that much over the past year. I've been so busy, trying to set myself up as a novelist, trying to please my agent and get a book into a major publishing house. It's a long, long journey.
About a month ago, I dared look at my view statistics again, thinking I'd be down to a meagre number, dreading the thought after making things pretty respectable over the years.
I also assumed they'd go down for another reason. I used to write about the craft of writing. Then I decided to take a chance and start writing more about me, about my thoughts and feelings. Stream of consciousness ravings of a random bloke at a keyboard. There's still stuff about writing and publishing, because it's perpectually on my mind, but it's no longer a deliberate, businesslike focus.
Long story short, I had several reasons to be afraid to look at my statistics.
And then I looked, and my jaw dropped. Since I started posting about me, just sharing my journey, my views have more than tripled. I don't know why you people care, you sick bastards, but I do know you have my enduring gratitude. You make me feel like maybe I can accomplish this goal one day. I consider myself tremendously lucky for every view.
So for whatever ungodly reason, the metrics suggest people enjoy reading about me, and what I think. I'm going to restructure my blog just a little bit to reflect that. If you hate the new format, please let me know. If you like it, then thanks again.
I'm also altering the format to better reflect what I think about, and what I have to say. Over the last year I would often be stuck for what to write, uncertain whether what was going through my mind would be of any value to anyone. I mean, why would it? I still don't get it, but if you people like reading it, and I like writing it, then everybody wins, right? Let's say, for instance, I'm reading some ye olde Michael Moorcock, and I'm thinking about how he balances intriguing character with an elegantly simple story about overcoming a monster. If that's what's on my mind, and if for some ungodly reason you guys enjoy my perspective, I accept your interest with gratitude, and will be pleased to share. So I'll be sticking up a reviews section. It won't all be books, either. I play games every bit as much as I read.
I don't know what else I'll add yet. This is a work in progress. I might even self-publish some short stories--things I believe in but haven't found a market for. Just a thought. If anyone has any thoughts, please feel free to message me over Google or Twitter (I even set up Tumblr recently, though I haven't figured out how to use it yet) or write in the comments.
My fear in posting this is that it'll look self-congratulatory. I assure you it isn't meant that way. I am genuinely astonished that people read my blog, and I'm equally glad. The least I can do is be candid with my readers, and design my blog to give them more stuff to read.
Pointless picture for Pinterest:
Blam.
When I first started this blog, I had one reader. I set up the blog and within a couple of weeks somebody messaged me saying, "Are you the guy who wrote Temple of Mirrors!?" I couldn't believe anybody read that story, let alone would remember it four years after publication. I was glad to have that reader, and if they still read my blatherings, I'm all the more glad. This is a special shout-out to you, if you're still there. You rock.
(In fact, contact me again, dude. I no longer have your details so far as I can see. I think it's fun to know who you are, and I'd be happy to always give you a signed copy of my work. I'd bet many writers would do that if they were privileged enough to know who their first fan was.)
To everyone else, I offer a big thanks too. I haven't posted all that much over the past year. I've been so busy, trying to set myself up as a novelist, trying to please my agent and get a book into a major publishing house. It's a long, long journey.
About a month ago, I dared look at my view statistics again, thinking I'd be down to a meagre number, dreading the thought after making things pretty respectable over the years.
I also assumed they'd go down for another reason. I used to write about the craft of writing. Then I decided to take a chance and start writing more about me, about my thoughts and feelings. Stream of consciousness ravings of a random bloke at a keyboard. There's still stuff about writing and publishing, because it's perpectually on my mind, but it's no longer a deliberate, businesslike focus.
Long story short, I had several reasons to be afraid to look at my statistics.
And then I looked, and my jaw dropped. Since I started posting about me, just sharing my journey, my views have more than tripled. I don't know why you people care, you sick bastards, but I do know you have my enduring gratitude. You make me feel like maybe I can accomplish this goal one day. I consider myself tremendously lucky for every view.
So for whatever ungodly reason, the metrics suggest people enjoy reading about me, and what I think. I'm going to restructure my blog just a little bit to reflect that. If you hate the new format, please let me know. If you like it, then thanks again.
I'm also altering the format to better reflect what I think about, and what I have to say. Over the last year I would often be stuck for what to write, uncertain whether what was going through my mind would be of any value to anyone. I mean, why would it? I still don't get it, but if you people like reading it, and I like writing it, then everybody wins, right? Let's say, for instance, I'm reading some ye olde Michael Moorcock, and I'm thinking about how he balances intriguing character with an elegantly simple story about overcoming a monster. If that's what's on my mind, and if for some ungodly reason you guys enjoy my perspective, I accept your interest with gratitude, and will be pleased to share. So I'll be sticking up a reviews section. It won't all be books, either. I play games every bit as much as I read.
I don't know what else I'll add yet. This is a work in progress. I might even self-publish some short stories--things I believe in but haven't found a market for. Just a thought. If anyone has any thoughts, please feel free to message me over Google or Twitter (I even set up Tumblr recently, though I haven't figured out how to use it yet) or write in the comments.
My fear in posting this is that it'll look self-congratulatory. I assure you it isn't meant that way. I am genuinely astonished that people read my blog, and I'm equally glad. The least I can do is be candid with my readers, and design my blog to give them more stuff to read.
Pointless picture for Pinterest:
Blam.
31 January, 2017
Writing With My Old Friend Epilepsy
Well, my episodes are back.
Last time this happened, between about 2010-2013, I became fat, I accomplished nothing, and I forgot many useful skills I'd learned. Treated at long last, I woke up hardly remembering those three years at all.
Here's hoping that doesn't happen again.
Already I find myself sleeping too much, perpetually a bit tired, and forgetful of even the most basic things. As I write this there's a pile of cat sick outside my study door that's been there for a day now. I intend to clean it when I get up, but will almost certainly forget within the next 90 seconds. Isn't it grand? I lose my zest for life, in short, and I find it very hard to force myself to be a hardworking, healthy professional.
But people who suffer with a disease have to learn to find the good in things. I really think people with a neurological disorder have to learn to master themselves, in a weird way. I know exactly how to use schedules and alarms to trick myself into acting like a healthy person, and how to look at things to keep my chin up.
This latest bout has actually taught me something pretty neat.
A lot has happened in 2017 already for me, and I won't let the post get unfocused, but suffice to say I've felt compelled to edit a few adult novels into shape.
For me, writing is fun, and editing is work. I know it's the other way around for some writers, and I envy those who find everything fun, if they exist.
Now, for weeks I was beating my head with one of these books. I found no joy in editing it, wound up getting very little done, which made me more depressed, which made me more tired, more lacadaisical, and the cycle perpetuates itself.
People in my position must take very active steps, and be very self aware, to avoid falling too far. I've allocated myself 30 minutes per day for "professional development". That means either writing for my blog, or editing my book. Odds are strong that when I sit down for 30 minutes, I'll want to stay longer, but it's important that I don't have to. Yesterday I sat down at 3:30 and stopped editing at 7pm. I got plenty done and felt great.
It's not the first time in my life I've learned the importance of those little tricks, but it is the first time I've learned this: you don't rule the creative mind. It rules you. It's of tremendous importance to spend each day writing something that makes me happy, whether that's reading some favourite adult fantasy books for inspiration, or writing a midgrade idea that came to me in a dream a couple weeks ago.
I always maintained that art doesn't happen when writers write, but when readers read. It isn't in the pianist's fingers pushing keys, but the listener's ears. But there's more to it. I think art is found in the love of the creation, whether it's the artist's love or the audience's. It's in the spark of joy that teases the pianist's fingers to life, too.
Less eloquently, I've realised why so many artists become childish, diva bastards. It seems I have to let myself join the ranks just a little bit. I have to follow that joy, especially now, or else succumb to the depression. I'm inspired to link to an old Radiohead song. Not sure why but screw it. It's a good song.
DO NOTE: This incredibly weird and arguably naff video must be viewed through the lens of 90s playful sarcasm, or else it's nauseating. We did it first, hipsters! And in the right spirit! Stop sullying our good name with your sleeve tattoos and "ironic" t-shirts!
Here's to you, epilepsy. Even if you make me forget something every day, I guess occasionally you help me learn something too.
Last time this happened, between about 2010-2013, I became fat, I accomplished nothing, and I forgot many useful skills I'd learned. Treated at long last, I woke up hardly remembering those three years at all.
Here's hoping that doesn't happen again.
Already I find myself sleeping too much, perpetually a bit tired, and forgetful of even the most basic things. As I write this there's a pile of cat sick outside my study door that's been there for a day now. I intend to clean it when I get up, but will almost certainly forget within the next 90 seconds. Isn't it grand? I lose my zest for life, in short, and I find it very hard to force myself to be a hardworking, healthy professional.
But people who suffer with a disease have to learn to find the good in things. I really think people with a neurological disorder have to learn to master themselves, in a weird way. I know exactly how to use schedules and alarms to trick myself into acting like a healthy person, and how to look at things to keep my chin up.
This latest bout has actually taught me something pretty neat.
A lot has happened in 2017 already for me, and I won't let the post get unfocused, but suffice to say I've felt compelled to edit a few adult novels into shape.
For me, writing is fun, and editing is work. I know it's the other way around for some writers, and I envy those who find everything fun, if they exist.
Now, for weeks I was beating my head with one of these books. I found no joy in editing it, wound up getting very little done, which made me more depressed, which made me more tired, more lacadaisical, and the cycle perpetuates itself.
People in my position must take very active steps, and be very self aware, to avoid falling too far. I've allocated myself 30 minutes per day for "professional development". That means either writing for my blog, or editing my book. Odds are strong that when I sit down for 30 minutes, I'll want to stay longer, but it's important that I don't have to. Yesterday I sat down at 3:30 and stopped editing at 7pm. I got plenty done and felt great.
It's not the first time in my life I've learned the importance of those little tricks, but it is the first time I've learned this: you don't rule the creative mind. It rules you. It's of tremendous importance to spend each day writing something that makes me happy, whether that's reading some favourite adult fantasy books for inspiration, or writing a midgrade idea that came to me in a dream a couple weeks ago.
I always maintained that art doesn't happen when writers write, but when readers read. It isn't in the pianist's fingers pushing keys, but the listener's ears. But there's more to it. I think art is found in the love of the creation, whether it's the artist's love or the audience's. It's in the spark of joy that teases the pianist's fingers to life, too.
Less eloquently, I've realised why so many artists become childish, diva bastards. It seems I have to let myself join the ranks just a little bit. I have to follow that joy, especially now, or else succumb to the depression. I'm inspired to link to an old Radiohead song. Not sure why but screw it. It's a good song.
DO NOTE: This incredibly weird and arguably naff video must be viewed through the lens of 90s playful sarcasm, or else it's nauseating. We did it first, hipsters! And in the right spirit! Stop sullying our good name with your sleeve tattoos and "ironic" t-shirts!
Here's to you, epilepsy. Even if you make me forget something every day, I guess occasionally you help me learn something too.
22 January, 2017
Meaningless Meaningful Methods and Fruitful Formulas... and arbitrary alliterations...
Most writers can boil down their method into a few words. These words will mean almost nothing to anyone else, but can be interesting to hear. They've certainly be useful to me.
Neil Gaiman: "Make good art." (https://www.youtube.com/watch?v=ikAb-NYkseI)
Paul McAuley: "The reader follows the character, not the story."
Scott Bradfield: "It's all about point of view and narrative time."
Elmore Leonard: "F**k you! I'm working! I wrote a book with 10 of these epithets already!"
If you haven't read it, get it:
(Do note that this book is extremely short and simple, and it's entire contents, roughly 1,000 words, can be found on the internet. Personally I enjoy having a hard copy and found my investment, some 7 years ago, valuable. If I'd just read it online, it wouldn't be there calling to me and I wouldn't be reminded of its importance every time I look over my bookshelves.)
Anyway, most of us have a stupid epithet because it helps us. Einstein said if you can't explain something in simple terms, you don't understand it. What that means in this context is, explaining something in simple terms helps you understand it.
And I think I've discovered my formula, so:
Wm. Luke Everest: Something you care about, written in a simplistic way.
Let's break it down.
Something you care about doesn't have to be about politics, or culture. It can be that you care about your fantasy world. Or, as is usually the case when I write, it's caring about a character and that character's journey. Either way, before you sit at the keyboard, ask yourself why you care. When you type, do care. The objective here is to make the reader care, too.
Writing in a simplistic way doesn't mean it looks simple, or even that it would be simple for someone else. What it means is, it's a story you have a handle on, and it all seems simple to you. This doesn't even have to be from the start. Maybe you're really pushing your boundaries. Great. But by the end of it, if you can't look at your story and go, "It's definitely all about this stuff here, and it all works because of this," trust me, the book needs work. Why and how it works should be very obvious to you, the creator, by the end. If it doesn't work for you, it won't work for anyone else.
There will of course be exceptions to everything, and I do not claim the above to be all inclusive for everyone. The whole point is, it's inclusive for me.
So there it is. My little method might not help anyone. It almost certainly won't be your phrase. But I've always found reading other writers' methods interesting and useful.
My pointless picture for pinterest is of a kitten at a keyboard. I thought about a monkey at a typewriter, because that's what I feel like sometimes, but then I thought, kittens are cuter, so why not? This is the sort of thing I frequently wake up to, anyway. The joys and tribulations of living with a cat.
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