Saving Dumb Cats

Last week I mentioned an issue I’d seen pop up in the Saturday geekery movies once or thrice. This one also pops up a lot in B-movies, but I’ve seen it more than a few times in books as well. So I thought, hey, here’s another thing to talk about.

So let’s talk about cats and dogs and killing people.

Something I’ve brought up here once or thrice is saving the cat. It’s a screenwriting term, but I think it applies fairly well to all storytelling. Really simply put, it’s when a character does something simple that establishes they’re a good person. Or, at the least, a person we should be rooting for. It tends to come early in the story because saving the cat isn’t about changing our opinion of a character—it’s just about reinforcing it. If we thought they were pretty good... yeah, this just lets us know we had the right idea.

Not, the flipside of this is what I call patting the dog. I’ve talked about this before, too. This is when someone does an equally small, minor thing and it’s supposed to make us look at this character in a whole new light. Saving the cat is about reinforcing an opinion, patting the dog is about completely changing it. Because of this, patting the dog tends to come later in the story—we can’t have new thoughts about a character until we’ve had time to make old thoughts, right?

Now... I mention all that because I wanted to talk about killing supporting or background characters.

How many times in books or movies have we seen the person who stays behind to defuse the bomb? There’s no time and we’ve already admitted it’s next to impossible and everybody else is clear, but god damn it they can do this. Or we know the wendigo is out there and it can mimic human speech and these are its prime hunting hours but god damn it what if that’s really a little kid in the woods? Or we’re sure the whole shelter’s been cleaned out and we can’t contain the fire any longer but god damn it Yakko’s heading back in to make sure we didn’t miss a cat in one of the cages...

And then, y’’know, they die. Doing something brave and noble. But also, like... really, really stupid.

When we see something like this, the storytellers are trying to up the stakes. They know it’s time for someone to die so the audience understands how real the danger/ threat is. But at the same time... I mean, we don’t want to kill one of our main characters, right? And it turns out we haven’t really developed any of our other characters past  “Redhead #2” or “Soldier with Hat” so it won’t mean anything if they die.

Unlessssssssss...

What we’ve all probably tried once or twice is to make the way someone dies get the emotional response. So it’s not so much that we feel for them, it’s that the writer’s created a situation where we’d have an emotional response for anyone who died this way. This is really common in the torture porn subgenre, where it’s not so much about the character as it is what’s being done to the character. No matter who they are, no matter what they’ve done, you have to feel sorry for someone who gets that done to their... well, look, it’s uncomfortable just making this up.

And that’s what a lot of these fake “saving the cat” moments are trying to do. It’s not about creating a character who does something brave or noble or righteous—it’s about creating a situation where anyone would be brave or noble or righteous. If Thanos runs back into that burning building to make sure there weren’t any cats left behind, we’d still go “Wow... almost a complete monster, but at least he tried to save those hypothetical kittens. He didn’t deserve to die like that. Goddamn shame, that’s what it is.”

The big catch, of course, is that these situations still have to make logical sense with everything else going on in my story. Oh, and even a flat stereotype of a character has to behave in ways we understand human beings tend to behave. If “Soldier with Hat” suddenly starts disobeying direct orders, this isn’t a sudden burst of characterization—it’s just someone acting unnaturally. And if they’re doing this in an unnatural situation... well... I can’t be shocked if the whole thing comes across as fake.

To be clear, there’s nothing wrong with killing characters. I‘ve killed tons of people in my books. Main characters and supporting characters. I don’t know how many background folks who never got a name or more than a word or two of description.

But I have to be honest about the weight these deaths actually bring to my story. Killing “Soldier with Hat” shouldn’t seem inconsequential, but it also shouldn’t be the dramatic linchpin of an entire chapter. The wendigo getting Redhead #2 is bad, yeah, but we can’t pretend it’s as bad as if it got Phoebe. I can’t manipulate deaths into being important or make characters noble and brave after the fact.

If I want these deaths to matter—really matter, in a way that sticks with my readers—I need to actually care about the characters. If I don’t have any investment in them, if I don’t want them to survive, then it doesn’t matter if they survive.

And I’ll look kind of silly for insisting it does.

Next time, I’d like to explain why that guy really doesn’t represent me. Or you.

Until then, go write.

Just Accept It

Oh, hi there. It’s been a while. Sorry about that. Piles of stuff going on. I won’t bore you with it all now. Not when I can save some of it for later ranty blog posts...

I have, as some of you know, gotten back to my Saturday geekery. And a while back, during one particularly clumsy movie, I tried to explain a few thoughts about basic storytelling. Twitter’s not always great for nuance, though (sorry you had to find out this way), and I realized pretty quick I wouldn’t be able to talk about this in a way that did it justice. Or didn’t invite a few dozen people to leap in and say “Well, actually...”

So let’s go through this real quick.

I’m sure most of you have heard the whole “there are only seven basic plots” thing. Or maybe it’s nine. Depends on who you ask. Thing is, when we really get down to the bones of it, there’s only one plot. Ultimately, it all comes down to something makes today different from every other day. Something happens to make today noteworthy and forces my hero to do something different than usual.

I’ve talked about this here on the ranty blog before, and from a few different directions, so I won’t get into it too much. It’s pretty straightforward though. Something happens = story. Nothing happens = no story.

If I’m writing a longer-form thing—maybe a book or a feature-length screenplay—I’m probably going to have more than one moment like this. My hero’s day will be different and just as they’re adjusting, getting used to things again... something else happens. Like, we found out what was really going on, but then later we found out what's REALLY going on.

Believe it or not, I just slipped a really important thing in there. And it’s the thing I was trying to talk about on Twitter, but knew I wouldn’t be able to without someone jumping in before it was fully explained. And probably accusing me of hating art or loving Hitler in the process. Because Twitter is also very impatient.

Anyway...

The really important thing is that once the thing happens (however many things I have), my hero needs to accept it. They can have a few scenes, maybe a chapter or three of shaking their head and denying things, but ultimately they need to admit this is the new normal. It’s really important they move on, for a number of reasons...

First, if my characters never adjust to the new normal, they get annoying. Fast. Heck, the real world’s spent a year and a half now showing us how much people in denial can get on your nerves. We’ve all seen films where the vampire drops out of the sky, kills somebody, drinks their blood in front of their group of friends, explodes into a cloud of bats... and yet there’s still that one guy insisting vampires aren’t real. Can’t be real. Nope. What, Yakko’s dead too? Still not vampires! Nineteen people killed in front of us one by one? This isn’t happening. Not happening and definitely not vampires.

I’m betting you started to skim that, right? Because that character’s a bit eye-rolling. And this was just a couple of lines. Imagine three hundred pages of that guy. Yeah, there are times I may want an annoying character in the mix, but there’s usually not more than one and it’s very rarely my protagonist.

Second, if my characters don’t adjust and get accustomed to the “new normal,” my increasing challenges are going to be more and more difficult (because my challenges are increasing, yes?) If my character’s not growing and changing, they’re quickly going to be outmatched by the world around them. I’m going to find myself writing things that just aren’t believable. Sure, Dot took out one hitman by sheer luck, but if she never accepts she’s now part of the assassins’ union and develops past that, how are my readers supposed to accept her lasting ten seconds against the Grand Emperor of Death? One of the reasons challenges grow and increase in stories is because my characters are growing and becoming more capable of dealing with things.

Third, is that we all instinctively feel this progression of story and plot. We’ve been trained by years of reading and watching stories. So if my character doesn’t change and grow and adjust to this new view of the world... their story kind of stalls out. And that throws my whole structure off balance. We can’t always identify it, but we can feel it. Something in this book or movie has dragged to a halt. At the very least it hasn’t progressed as far as it should’ve. You may remember we talked about when this happens in television shows--they call it the Moonlighting curse.

So...

Hopefully it’s clear why this moving on is important, but let me toss one more thing into the mix for you to mull over. Why this is so very important in longer works. And to do this... I’m afraid I’m going to have to use some terms that may make some of you uncomfortable.

I’ve talked before about three act structure. We establish the norm, we introduce conflict, and we have a resolution. You remember all that, right?

Okay, well that moment we introduce conflict? More-or-less the start of Act Two? Guess what? That’s when something makes today different than every other day. We could even call it... the inciting incident.

Sorry if that made your skin crawl a bit.

And remember how I said longer-form stories generally have another moment like this? A second time my protagonist gets their legs kicked out from under them? What to guess when that happens?

That’s right! It’s usually as we transition to act three. It’s the sudden shift, the last-minute twist, that makes bringing this to a close so much harder than my hero thought it was going to be. And they already thought it was going to be pretty tough.

But if my protagonist isn’t accepting the thing that happened, if they spend all of act two in denial... well, that gets messy. Because there’s going to be that annoyance factor, yeah. But also we’re going to hit act three and, well... out hero’s not really ready for it. They’re still shaking their heads and refusing to believe that inciting incident stuff (again, sorry).  The bulldozers are out front and heading for the barn, but my protagonist is still insisting there’s no way Jerry from the bank would’ve foreclosed on our farm...

When this happens... well, it usually means one of two things. Either I’ve picked the wrong character to be the hero of my story... or I don’t really have a story. I mean, that growth and progression is pretty much the defining aspect of a character’s story, so if my hero’s spent the last hundred pages with their head in the sand, it’s probably a warning sign something’s gone really wrong.

It’s pretty hard to deny that.

Next time, I’d like to address another geekery issue and talk about really stupid attempts to save the cat.

Until then... go write.

FAQ XVI – The Sweet Sixteenening

In the before times I tried to update the frequently asked questions every six months or so. Last year kinda blew that habit out of the water. A lot of this year, too. With all the disruption to, y’know, everything. Some things slowed to a crawl. Others came to a grinding halt.

And that meant I had a lot less news to share and/or questions to update.

Folks are finally getting used to this new normal, though, and enough things are getting back in motion that I figured it was finally worth updating this.

So here’s fresh answers to some of the most common questions I get. So now when people ask me those questions (again!)—or when their teacher says “Hey, hunt down an author on social media and ask them a bunch of questions”—I can just point you at this document, most likely pinned near the top of my social media pages and this blog (look, there it is in the right-hand-column). Which means the answers are all right here.

Or in the books. There’s lots of answers in the books. Really.

1) When are we going to see something new?
Next up for me is going to be The Broken Room, coming out in early March 2022—about six months from now! We technically have an exact date, but I want to hold off sharing that just in case things go wonky sometime between now and then. As a lot of things are right now. I wrote The Broken Room over lockdown last year and it’s a bit different for me. After a couple phone calls and discussions, my agent pitched it to publishers as “Jack Reacher meets Stranger Things.” And it turns out, hey, that sounded interesting to some folks.

After that—possibly before depending on how a few things go—I’m going to (finally) put out my short story collection as an ebook. Yeah, just an ebook, sorry. Dead Men Can’t Complain + Other Stories has been an audio collection for a while, but it really needs to get out more. And (if I can pull this off) there may be some cool bonuses for this version.

And, after some strategizing, my agent and I are talking about two more ideas you might like and he may be talking to certain folks about over the holidays...

2) Why did you do all these “Audible exclusives” for the past few years ?
First off, I only did two. Well, okay, four, since they offered to release some previously-published, out-of-print stuff nobody else was interested in anymore—The Eerie Adventures of the Lycanthrope RobinsonCrusoe and a bunch of short stories we combined into Dead Men Can’t Complain, but those two weren’t even exclusives.

Second, there’s a solid argument to be made that the majority of my fan base is audiobook listeners. Audible knows this, too, so when they heard about Dead Moon and Terminus they made me an extremely generous offer for exclusive rights, meaning both of them would be audiobook only for the first six months they were out. Then I’d be free to do what I want with them.

Yeah, I know it made some of you grind your teeth. Sorry if you weren’t an audiobook listener (for whatever reason) and it left you out of the loop for a bit. My agent and I talked a lot about the pros and cons of doing of those deals. In the end, I really wanted to tell those stories and that was the overall best way to do it. Again, I’m sorry if it put you in a bad spot.

3) Do you make more money if I buy your books in a certain format?
This sounds like an easy question, I know, but there’s a bunch of conditionals to any answer I give. A huge chunk of each and every book contract is just all the different terms and conditions for when and if and how people get paid. Lots of “ifs” and “excepts” and “unlesses.”

For example... format matters, sure, but so does where you bought the book. And when. And how many people bought it before you. And if it was on sale. And who actually had the sale (publisher or distributor).  And all of this changes in every contract.  What’s true for, say, Paradox Bound isn’t true for Terminus. In some situations. Usually.

TL;DR—just buy the format you like. It'll all work out fine.

4) So still no paper version of Terminus or Dead Moon?
No, sorry. There’s a couple of different reasons for it involving different business and PR things. If you’re really interested, I went over all of it about a year or so back. There’s still a chance both books may still become available if there’s a big demand for them (feel free to tell Crown Publishing you want to read them in print and would buy half a dozen copies), but for the moment these (and a few of my other older books) are only going to be ebook and audio. Sorry.

5) When are we going to see a movie/ TV series/ graphic novel/ video game of your books?

Well, first off, I hope you understand I have pretty much zero influence on Netflix making a Threshold series or Disney+ doing a Lycanthrope Robinson Crusoe movie. When we see a TV series or film adaptation, it means the filmmakers went to the writer, not the other way around. Think about it. If the writers just had to say “hey, make this into a movie,” wouldn’t most books be adapted by now? Everybody’d be doing it.

That said... yes, there’s a potentially big thing going on right now. But like so many Hollywood things, it’s moving along at its own pace and hasn’t quite hit the point where I feel good talking about it yet in anything more than vague terms like this. Once there’s something solid to tell you, I’ll tell you.

Really, you’ll probably hear me shrieking from wherever you are on Earth.

6) Well, is there anything we can do to help?
Buying books is always the best step. Talking about them is a close second. Hollywood likes to see big sales numbers and interest. Producers/ directors/ actors all hear about this stuff the same way you do—online reviews, bestseller lists, and social media. If #ParadoxBound started trending on Twitter tomorrow, there’d probably be a film in pre-production by the end of the year. Really.

So talk about books you like (anyone’s books, not just mine). Mention them to friends, write reviews (always good), tag online streaming channels if you want to talk about how this or that should be a movie. Word of mouth is the best (and easiest) thing to do.

7) I thought you don’t like people talking about your books. Now I'm confused.
I’m always thrilled and amazed people talk about anything I wrote. Seriously. I think most writers are. What I can’t stand, personally, are people who blurt out spoilers that ruin these stories for other people. It’s why I avoid those questions in interviews, ignore them on Twitter, and why—where I can—I delete (or block) posts that reveal things from a book.

And not just my stories! You shouldn’t mess up other stories, either. Movies, TV—I’m just saying, if you enjoyed it spoiler-free, why not try to give other people a chance to enjoy it the same way? Especially these days when release dates/airdates aren’t the ironclad things they used to be. Even if you didn't enjoy it, they might.

8) Do you have any plans to attend ########-Con?
I’ve been doing a lot of virtual stuff, but I’m hoping the world will be in a place where I can get back out there next spring and say “Hi” to folks. Really, I’d love to do a lot of stuff in February-through-May to help promote The Broken Room. So if you want to see me at your local con, let them know. Email them, tweet them, post on their Instagram account. Reach out, vote, and let your voice be heard.

Also, generally this is a sooner-is-better type thing. If you’ve got a convention near you that plans to go ahead in February, there’s a good chance they’re putting together a guest list now. So don’t wait—let them know right now that you want K. Arsenault Rivera there!

And me. Let them know you want to see me. Y’know... if you do.

9) Could you explain the whole “Threshold” series?
Threshold is the umbrella label for the shared “cosmic horror” universe I unknowingly began a little over nine years ago with 14. It refers both to doorways and also things reaching a critical point--common themes in many of the stories. There are some books that form a more linear story, a “series” if you will, and some that stand alone. Which. in all fairness, makes things a bit awkward sometimes. I know the marketing folks sometimes pushed Threshold as a pure, straightforward series even though I’ve said many, many times that it's just a shared universe. I know at times this gave some readers false expectations for some books, and I apologize if that was you.

10) Is Ex-Isle the last Ex book?
Yeah, Ex-Tension is on the back burner for the foreseeable future.  Sorry.

The truth is, every series has a limited life. Book one always sells best, not as many people show up for book two, even less show up for book three, and so on. Not a lot of folks leap in on book five, y’know? Something may happen to give the first book a boost (and all the other books after it) but they’re always going to be on a near-constant downward slope heading for that big red line where things aren’t profitable. None of the Ex-Heroes books ever lost money (thank you all for that), but when the publisher looked ahead to book six... well, hitting said line was pretty much unavoidable.

11) Have you considered a Kickstarter or a GoFundme?
Yeah, sorry, the answer’s still no. I love these books and had tons of fun writing them. I’m still amazed there are so many fans who love them so much. But the math is pretty simple—if enough people were willing to pay for another book, the publisher would be willing to put out another book. And all the numbers say that’s just not the case.

Yeah, I know some of you might be willing to pay twice as much to see one more book, but I think we can all agree there’s at least as many people (probably more) who wouldn’t pay anything. And that’s the math again—it just doesn’t work out for this.

Another point to consider. I’ve usually got a good sense of what I’m working on for at least the next year, sometimes even longer. If I do a crowdfunded project, I have to schedule my time under the assumption it’s going to succeed, which means telling my publishers any other projects need to be put off and scheduled accordingly. And that leaves a six or seven month hole in my schedule when the Kickstarter flops. Which—again—all the math says is what’ll happen.

So again, no. Sorry.

12) Will you read my story and tell me what you think?
Short answer... no. 

Long answer... look, if I said yes to even a third of the requests I got, I’d be spending most of my time reading and doing critiques instead of writing. I don’t mean to sound mercenary, but... writing is how I pay my mortgage. And buy food and booze. And I really like food and booze. And my house. So when someone asks me to read stuff, they’re asking me to give up a few hours of work. Would you want to give up a few hours of work? Plus, I do have this ranty writing blog sitting right, y’know, here with over a decade of advice and tips.

Also, sad truth is some folks are not too bright and lawsuit-crazy, and they ruin it for everyone else. Somebody shows me a piece of bland, generic fanfic, then a few years from now they sue me for stealing their ideas. Yeah, I know how stupid that sounds, but I’ve actually been subpoenaed and deposed for lawsuits with less behind them than that. It’s why I’m verrrry leery when I get a long message along the lines of “You know what you should really do next with the people from 14...”  Heck, some writers respond with cease & desist orders when they get sent stuff like this.  

So the long answer also boils down to “no.” And if you send stuff without asking, I’ll delete it unread, just like spam mail. And probably block you.

13) What’s up with your Facebook page?
Ahhhhh, Facebook. Where we’re the product and the target audience. Just like Soylent Green.

Sad fact is, Facebook made it pretty much pointless for me to have a fan page there.  They altered their algorithms over the years so my posts went from 70-85% engagement to barely scraping 10-15% most of the time. All to make me pay to reach people who were already following me. Which I won’t do for a few reasons, a big one being folks pretty solidly showed years ago that paying for views on Facebook actually decreases your reach. Seriously.

Sure--it’s their site, they can run it however they like. And yeah they absolutely deserve to make money off it. I’m a progressive, but I still believe in (regulated) capitalism. But part of capitalism is you have to make something I want. I don’t have to use your product.

Plus there’s all of Facebook’s side ventures. Collecting countless amounts of personal data. Deliberately spreading misinformation. Malicious social engineering. If you think I’m exaggerating, look up articles about how Facebook shaped perceptions or spread propaganda in Myanmar or Sri Lanka. Or, y’know, the USA. And these aren’t fringe articles—they’re from major news sites.

So, yeah,  I deleted my Facebook account almost two years ago (long overdue). There’s still a fan page there, but it’s just sort of a zombie page (zing) with no administrator.

14) What about Twitter or Instagram?
I’m @PeterClines on both.  Fair warning--as I mentioned above, I’m progressive and I’m a bit more political on Twitter. Most Saturdays I also drink and live-tweet bad B-movies while building little toy soldiers so...  look, don’t say you didn’t know what you were getting into.

Instagram is probably the geekier of  my social medias.  How is that possible, you ask?  Well, there’s lots of toys and LEGO and model robots. And cats. Can’t have an Instagram account without cats. Sometimes there are overlaps in these things.

Yeah, I know Instagram’s also owned by Facebook, but (for the moment) they’re not being quite so reprehensible and algorithm-manipulative on Instagram. So (also for the moment) I’ll still be there.

 

And I think that should answer about 83% of your questions, yes...?