The Middle of the Dark

A big part of what I like to write about in this blog is what interests me in the moment, and how that impacts my writing, and maybe yours.  Much has been said that this last decade or so has been the 'Golden Age of Television.'  There is no denying that, not with The Wire, Deadwood, The Sopranos, and certainly, Mad Men, which returned last night after nearly two years with a fantastic example of why the writing on television is quite possibly the best writing that's happening anywhere. That's not to leave fiction lovers or writers out.  There's lots to take away from TV, as there is any medium.  Cinema and now television have always presented an aesthetic challenge to literature - the axiom 'Show, Don't Tell' is simply a fact of life in motion pictures as opposed to a rule (well - ok, it's not, but by virtue of its nature, the camera eliminates the need for the kind of scene setting that was expected and necessary in literature in the pas

The latest issue of Carnival of Indies, featuring a round up of great links from the world of indie publishing, is now up at Joel Friedlander's amazing site, The Book Designer .  Even better, one of my posts is among the links you'll find there - My Advice For Writers . If this is your first time to the blog, I hope you enjoy what you see and come back for more.  Thanks!

 Credit - Tessie Girl I recently finished A Visit From The Goon Squad by Jennifer Egan and it's one of the best books I've read in a while.  It flows from one character to another in a kind of narrative relay.  At first it's disorienting and honestly I lost track of who the focus was or was supposed to be - the point, I think - and it required me to stop and start again once or twice.  The book also caroms from one era to another.  This narrative river just flows along and then washes ashore deep in the future, providing a brief, sober glimpse of the fate of the character we follow, before retreating back to the sea of the present.  At some point you almost long for a chart mapping out all these people, these places and times, and then as if on queue, Egan actually depicts an entire sequence of the book in a succession of flow charts.  I wa struck at how effective, and affecting, this was; the PowerPoint slides gradually became thought bubbles, accumulating tension

For those of you keeping score at home, I've been on the fence with the latest comic book season of Buffy: The Vampire Slayer.  Unfortunately that's continued pretty much through the season so far, and continues with the latest issue, where Buffy plans to go through with the abortion of her unplanned pregnancy. I have no issue with the subject itself, or Buffy contemplating what she contemplates; as I said in my last post on Buffy , I have issue with how the series is approaching it.  Joss Whedon and company approach the issue of Buffy getting drunk, pregnant and confused literally, which has never been the modus operandi of the series.  As I said before, typically Buffy has always presented common teenage/young adult fears via mystical/magical guises. The pregnancy does not seem right now to be anything than what it's presented to be, which is the result of a drunken one night stand. I lamented the lack of subtext here, and maybe the writers anticipated that,

Community returned to NBC last Thursday, and it was very funny as always.  Britta even had an observation that some writers might appreciate: 'An analogy is like a thought with another thought's hat on.'  Ah, I have missed this show.  In all the celebration across the internet (this is where this show lives), there was an interesting and thougtful objection over at the A.V. Club about the show. Writers  Steven Hyden and Todd VanDerWerff  debated the merits of the show, and ultimately it's worth.  I found the conversation fascinating as I have had some of the same thoughts recently .   No doubt the show is an exercise in form.  As I said in my post a while back, I think the characters are secondary, and one of the reasons to show struggles to expand its audience is that it presents itself as a riddle.  In general, most people don't want to think too much when it comes to comedy.  They want to laugh.  Intelluctual comedy is not a genre you hear discussed much. 

More and more I get asked for advice from aspiring writers. Mostly this is because I have a book, not because I really know anything. I'm not good at giving advice. Actually, I'm pretty good at it, just not very good at following it myself. So take all of this with a grain of salt. Actually, you should probably just click away to some other website right now. If you're still here, or have just reached the end of the internet, seriously: I've given a lot of thought to what I say to a serious writer who is asking me for serious perspective, and in so much as I can give it, I usually speak to these things: Find your faults . You have them. We all do. One thing my day job has taught me is to actively seek out process improvement. Usually we wait for problems to come to us - it's how we know they're problems - but most often in business, this can get you in trouble. The same applies to your art. It is a process; you should actively seek to impro

Jean Giraud, better known as Moebius to comic book and cinema fans, has died.  Sad news on the heels of Ralph McQuarrie just last week.  The two of them had an incalcuable impact on the look of genre filmmaking and the minds of impressionable young artists over the last generation or two.  I knew of him mainly through Heavy Metal and the magazine-size Epic comics in the early 80's.  I remember seeing reprints of The Airtight Garage and being a little unsure of what to make of the grandiosity of it all - at that point I was very much still planted in the grungy feel of Star Wars.  Actually it wasn't too long ago that Giraud did a piece based on Episode I that recalls Airtight Garage so much that you tend to look at the prequels as closer to him than McQuarrie: That's actually Jerry Cornelious (sorry, Lewis Carnellian ) up there in the corner.  Giraud's influence is most heavy in Tron and Alien, as well as The Fifth Element, which came later. As I've gott

Writing for me has always been an act of discovery.  At various times you will feel like Magellan, or Columbus.  Others you will feel like the Donner Party.  You will feel these at varying times throughout the process of writing the same novel, if you're anything like me.  And at some point, you will experience another feeling - the sheer elation of knowing you are the first person to ever lay eyes on this undiscovered country of a novel.  That's the way it feels to me when a novel reaches that tipping point, when the mass is so great that the collapse from dust into light becomes to powerful to deny.  I've felt this feeling before, a couple times.  It's a great feeling.  I feel it now, as I'm 211 pages into the novel that I've documented here recently on the blog (otherwise known as the #scifijohnhughesbook ).  A lot of the disparate threads - fits and starts really - that I've experimented with over the last few years are finally bearing fruit.  This

Ralph McQuarrie, the conceptual artist responsible for the landmark vision of the Star Wars films and consequently, one of the most influential visions in all cinema, passed away yesterday.  It's impossible to separate McQuarrie from Star Wars; without hin, Darth Vader likely would not be the icon he is today.  Vader only got his famous mask because McQuarrie was conceptualizing the scene where Vader was entering the Rebel Blockade Runner at the beginning of the original Star Wars film; it struck him that since Vader was passing from one spaceship to another, he should have a breath mask.  This stroke of genius - luck? - had as much to do with the mythic, dynamic figure Darth Vader would become and why the character will live forever. It's equally impossible to estimate the impact McQuarrie had on generations now of subsequent artists.  Not just visual artists and engineers - McQuarrie worked for Boeing before Star Wars - but writers like myself whose imaginations were fire