Haiku, Part II

Posted: April 27, 2016 in Uncategorized

Okay, here are the answers you’ve been waiting for:

 

Won the lottery?

Get your Gateway tickets here!

Beware the black holes

This one is GATEWAY, by Fredrik Pohl, one of the first hard science fiction novels I recall reading, and he got me hooked. The problem with most hard science fiction writing was that the authors focused so much on the science that they took a top-down view and failed to engage us on a “well, how does that effect me and why should I care?” level. Pohl was one of those who created three-dimensional, sympathetic characters who brought the ideas down to practical earth. In the case of Gateway, that character is Robinette Broadhead, a man (yes, a man, and his issues with his own feminine name come out in his therapy, which comprises the whole of the novel with the story told mostly in flashback with ‘Bob’ on the couch) with many, many troubles and definitely a hero that proves winning the lottery isn’t the answer to all of your problems, but only the beginning, and piercing the Schwarzschild Barrier to get close to a black hole ruins everyone’s day. Pohl, despite having been a communist*, wrote some of my favorite stories, and brought humanity to an otherwise sterile world of hard science fiction.

 

They must have children

Now my body is not mine own

But saints need their sins

I trusted my older siblings (at least the ones who read) to give me good recommendations. By far, my brother David influenced my reading preferences the most, but my sister Chris came through for me with this one, THE HANDMAID’S TALE by Margaret Atwood. This is feminist dystopian literature, and may not appeal to many men (or the idea of the heavy patriarchal society portrayed may be too appealing to some). Atwood takes us to a future where hard right Christians have taken over the country, or at least part of it, renamed it “Gilead” and made all women subservient to men–no more jobs, no more money, no more owning property. If you were the first and only wife of one of the top dogs, you got to stay in your house, but if you were married before, or the second wife of a divorced man, and young enough to reproduce, well, you got ripped from your home, trained  to be subservient and passed around to the barren households as a potentially fertile handmaid. (The barrenness and defects she never explained in full, but alluded was the result of radiation/pollution/etc.) You even got renamed, as the narrator of the story is Offred, as in “Of Fred”, so you couldn’t even own an identity. But as Offred discovers when she enters the world of the Commander, even those held to the highest ideals have the same primal desires as those they conquered. Being a Christian woman, and a female who grew up in the 80’s, I didn’t find it as controversial as proclaimed, especially because it reaffirmed what I always knew–all of us are sinners no matter how much we try to behave or pretend otherwise.

 

Snakebitten, alone

Surviving, rebuild the world

Soon even that fades

The first post-apocalypse novel to make me cry was EARTH ABIDES by George Stewart.  Yes, cry. I walked with Ish all the way through, from his trip where he got bitten by a snake that ultimately saved him from the deadly measles that only made him sick where it killed most everyone else until… well, I won’t spoil the story. Written in 1949, the book still feels fresh–in that despite all of our technological advances, all of that will mean nothing when society winds down after such a biological disaster.

 

Hot food and good fights

Okay, maybe my mare too

Watch out for demons!

 I would be remiss if I didn’t include one of my own stories as a favorite–I wrote it, after all, and what kind of author would I be if I didn’t like what I wrote? This is for “The Belly of the Beast“, by T. R. Neff. Moi. Ennid is a character that I enjoy sharing gray cells with, despite his being male and geared toward food and fighting. I got a very good piece of advice in writing once that you don’t write a character who is you, you write a character you would want to spend time with, and I could hang out with Ennid for a while. For one, he’s only described himself a little but the man I am picturing when I write him is the kind of guy I think is sexy. I wouldn’t mind watching him fight (being that I love MMA, part of my inspiration) but I wouldn’t want to be around him when the powers sweep into his life and involve him in their cosmic drama. And a very special horse like K’zirra? I’m more than a little jealous.

 

*Oddly enough, when Pohl’s communism came through in his stories, he ended up approaching it in such a way that either it 1) would convince you that capitalism wasn’t so bad after all or 2)pointed out some of the aspects of capitalism that we can ALL hate, like rampant, constant, ubiquitous and obnoxious product shilling. Also, someone with a little situational awareness, when reading my novel Umbra, may see the nod in this author’s direction.

I found out through the the grapevine that earlier this week (or was it last week?) we had National Haiku Day. So, I’m a little late to the game, but decided to write a fee in honour of some of my favourite stories.

 

Won the lottery?

Get your Gateway tickets here!

Beware the black holes

 

They must have children

Now my body is not mine own

But saints need their sins

 

Snakebitten, alone

Surviving, rebuild the world

Soon even that fades

 

Hot food and good fights

Okay, maybe my mare too

Watch out for demons!

 

Think you can guess them? (Not that my poems do them justice)–I’ll have the answers next week.

Quite recently, a writer friend who comes to me for advice told me that he is glad I have standards. I laughed, but denied that the standards were necessarily mine. They’re not, in fact, but the culmination of millennia of oral tradition and tales of heroes. Good stories hit on touchpoints, on lows and highs as they run their characters through the wringers of conflict, and games of emotional tug-of-war.

Stories that are stories have a basic skeleton, or hangar upon which they hang. I can liken this to fashion design. At the minimum, stories consist of words strung into sentences, piled into paragraphs. Think of the words/paragraphs as the fabric. If you are making a dress, for example, you have to follow a certain format—essentially a long garment that covers some fraction of the torso with some type of bodice or halter, of varying lengths of beyond-the-ankles to just covering the crotch.1 That statement itself implies that even though there is a basic structure, the format can encompass many shapes subject only to the designer’s imagination.2 Fashion designers learn the basics of dress construction and then learn how to play with the rules and create bizarre monstrosities only appealing to Lady Gaga… but it’s still a dress. irisvanherpencapriole-0780-682x1024[1].jpg

The writer is no different. He must know the rules and know them well before he can break them.

What is the framework, or hangar, for a story? Well, they have to have beginnings, middles and ends. All good stories have them. But just having these does not a story make. I can tell you about my day, which begins with me waking up, brushing my teeth, continues to the middle where I have lunch (sometimes by myself and sometimes I go out with my co-workers), or the end where I brush my teeth and go to bed. Is that a story? Not really. Nothing exciting happens, nothing that would make anyone feel that their time wasn’t wasted by me relating nothing more than a series of events.

So what else does it need? I hinted at it already—something exciting. Let’s say that instead of waking up and continuing my routine as normal, I had to stop at the bank and on that very day, the bank was robbed while I was in it. That’s exciting, sure (not that I ever want that to happen while I am at the bank, although I couldn’t tell you the last time I was actually in one). But okay, there was a bank robbery and I was there.

The story needs something else. It needs something unexpected to happen. That element, if nothing else, can become the whole reason the story exists, the single point on which the whole story hangs. Let’s keep the above scenario and set it up. Say I am someone of strict routine, who is never late and never varies from that safe, comfortable routine. Only this morning I realized I forgot to deposit the paycheck in the bank and I wrote a check for the mortgage and mailed it yesterday, so if I don’t get funds in the account it will mess everything up. So I am irritated, because I’ve got to stop at the bank (which further messes up my routine and ticks me off even more), and then the customer in front of me is taking a while and leaning in to talk to a distraught-looking teller, and I just have to get moving, and when I vent my frustration uncharacteristically, the customer in front of me turns around just enough to show me his gun, and instead of running or screaming like a frightened little social justice snowflake at the sight of a firearm, I pick up the teller’s ten pound marble nameplate, whack the guy on the head and step over his unconscious body so I can deposit my check with the flabbergasted teller and get on my way.

Where does a story like that get started? It could start with the routine, to establish that I am a creature of habit who is likely to fly off the handle and do odd things when I experience disruptions, reiterating that the routine is tantamount to my happiness, and therefore the desire is to remain in it.3 It could start with my discovery of that item that changes the direction of my day. It has a middle where the tension builds as I come across the bank robber, which also lends itself to a hint at what the twist will be like—something going on with the money in the bank. It ends when I’ve dealt with him and taken steps to repair the normalcy I crave.

Plenty of writers and those who teach creative writing will tell me I am wrong, or I haven’t covered all of the criteria. That’s okay, we all have different ways of seeing the same thing. I will recommend several of these learned individuals who have published good frameworks for stories. They are:

  • Joseph Campbell’s works. Must-reads, all of them, for any writer.campbell-joseph-the-hero-with-a-thousand-faces[1].jpg
  • Victoria Lynn Schmidt’s 45 Master Characters. Not so much for the characters, but the priceless section in the second half of the book on the Masculine (based heavily on Campbell) and Feminine Journeys.thN6LAS0EA.jpg
  • Blake Snyder’s Save the Cat! Yes, it’s a book on screenwriting, but a quick, fun and informative read.save-the-cat[1].jpg

The last two especially have been priceless tools for me. I don’t necessarily write to their format, but when I’ve hit a slump or something feels like it’s missing in my story, I will hold up the scenes to their framework and I usually see that they are skewed to one end or the other (or both!) and ask myself if the “stages” they spell out lend any ideas to new scenes that would help tie the bookends together. I’ve never come away not having a new scene or two that move the story more coherently. Next time you write or read a story (or watch a movie) that seems to drag, or be too talky, or seems incoherent, it could be because it’s missing something from the framework that helps to make it a true story and not just a series of loosely-related or random events.

(By the way, years ago I ran my tied-for-first favorite movie of all time,4 The Road Warrior, through Schmidt’s/Campbell’s Masculine Journey and the story rocks it, dead on. Can’t get any better than that.)

1Originally I wanted to say that reached to the thighs but modern fashions have shortened the dress to some fairly revealing lengths… or not to length, as the case would be.

2I have to wonder from where some of their imaginations spring…

3For the record, I am not OCD. At least not most of the time. My closet is about the only place where I have standards. No wire hangers. Nothing but black hangers, all the same shape and size. Call me ‘hangerist’ if you like.

4What’s the other? Fury Road, of course. George Miller is a master director, and a lot can be learned about storytelling from him.

I’ve been far too long away from my entries, but my recent experiences with muzzleloaders merits a mention or two.

Among my myriad projects is the series I am planning and outlining based on the late American Colonial period, from the French and Indian War all the way up to the Treaty of Paris in 1783. Anyone who knows me knows that I love to write from experience–granted, I am NOT hoping that the world will collapse in an apocalypse so I can work through all of the situations I have and am putting Vera, Shaw and the rest of the Umbra crew through, but I’ve put plenty of r0unds through the firearms or similar arms that I mention in the novel.

So… working on Light of Liberty impressed upon me to fill a void. If I’m going to have Emory, Lucas and Seth setting the British Regulars in their (primitive) sights, I’m going to have to try this myself.

Luckily for me, I live very close to a few black powder enthusiasts, some willing to part with a little time and expertise with an author eager to listen and absorb.

The black powder beauty I got to fire was a 54 caliber double trigger model, similar to the one in the photograph:

Hawken54Cal

With proper instruction in the safety measures and steps to load and fire, I have to say I’ve got a much deeper appreciation for our Founding Fathers going through the steps to do so. All the accoutrement needed, like a full “possibles bag”, powder horns or flasks, cartridge boxes, the heft of the rifle itself could take a toll on men marching through the woods (not to mention their subsistence gear!). After all that, it was a bear to load up and fire.

Anyone who has fired modern weapons may not understand that loading and firing is a relatively simple set of actions. For flintlock, not so much. Some may say they’re simple, but there are a lot of them, and messing up a step is easy to do! For example, there is a tool for removing the ball just in case you forget to add the powder[1]. Adding too much/too little powder isn’t catastrophic, but wasteful, especially when you consider the value and difficulty in obtaining quantities of black powder.

And… it’s messy and stinky. VERY stinky. Along with any proper firearms instruction, there is a session on cleaning. Black powder firearms seem to get filthy quickly. By my fifth shot, ramming the ball and wadding home took a lot of shoulder-power to get it through the yuck that was filling up the lands and grooves[2]. Lit black powder is also quite corrosive, and a good firearm can be rendered wonky (that’s MY term) by even a short period of neglect. So cleaning is essentially. Those who couldn’t stop and clean their weapons often, such as Continental soldiers, might use smaller balls and slightly thicker wadding to compensate.

As my instructor put it, “One has to wonder how the Indians lost, considering how long it took for the militia and British regulars to reload.”

So again, I reiterate how much more respect I have for those who relied on these weapons, especially those who could load and fire 3-4 times a minute!

(In case you were wondering, I made a few decent shots at 100 yards, including on the line between the 10 and the X. Not bad for someone who never shot a black powder rifle before.)

[1] Shockingly enough, I did NOT do this, although I fully expected to do so after my instructor warned me that this could happen. Because, you know, that’s what happens.

[2] Lands and grooves make up the rifling that gives the rifle their names. If they don’t have rifling, they are smoothbores.

So yesterday was the 239th anniversary of the greatest day in American history (and yes, even over October 19, 1781–we don’t celebrate that date, do we?!). So, being that I live quite close, I decided to spend the day in our nation’s capital. Of course, on that day there wasn’t a Washington, DC at all–only a swampy area (it felt like that yesterday after the furious downpour!) I enjoyed my day anyway, spending time with the Founding Fathers (and Mother, as Abigail Adams was there as well), and especially enjoyed viewing those glorious documents in the Archives Rotunda by which we established this great country of ours. Not all was well, as when I arrived home I found my notes on The Light of Liberty, particularly swathes of the brainstorming I accomplished on the Metro regarding the younger brother in the odd Groff family, have essentially dissolved. But I did have chats with a few knowledgable folks and their conversations stuck with me long enough so I could get my reactions down when I reached dry land (and paper!).
So to all Americans and those who choose to share in our celebrations, I hope that your Independence Day had been quite amazing and eventful in the positive connotation of the word! 

Don’t let these be your notes. Use protection!

DISCLAIMER: Unapologetic Spoilers (If you read on, don’t blame me. You’ve been warned)

My obsession with the post-apocalypse began decades ago with George Miller’s genre-defining films, and the Wasteland and Fallout video games. Enough so, that last year (2014) I published two collections that feature some post-apoc stories (“Treasure” in Morsels and the “Ain’t No Coffee” chapter of Melange[1]) as well as a PA mystery novel, Umbra.

They pale in comparison to the mighty prosthetic strength of George Miller.

Completely skeptical in many arenas, I had been hearing about Fury Road for years, when it was an on-again, off-again project for the Happy Feet / Witches of Eastwick / Babe, Pig in the City director. He explored anime as a possible avenue, and there were brief rumors about Shia LeBouf taking the role of Max’s kid (I’m glad he failed that experiment with Indiana Jones instead). I also wasn’t sure what to make of a Mad Max who wasn’t going to be played by Mel Gibson. Remake after remake shows they don’t often get better, and most of the time are worse for all of the gimmicks and none of the story-meat.

So, I watched the trailers, and wasn’t completely turned off. Good sign.

First, the movie NEVER LETS UP. There are scarce moments to breathe, and the “slow” points in the movie don’t really drop its pace. Like downshifting, but the car is still rolling a pace that could snap your neck if you braked too hard. Except for an extremely short introduction in the very beginning (rather like The Road Warrior, but without the montage) you are dumped into the chase. Period. Miller is a master of showing, not telling, with only one very tiny, practically gasped “info-dump”. Otherwise, you glean the narrative organically as the story unfolds through action. This IS a car/rig movie, however, so those of you who just wanted to see souped-up, weaponized and apocalyptisized (yes, I just made that up) versions of vintage cars, look no further.

It also gives no quarter—just when you thought you came up for air, you find yourself smothered in dust cloud. Not everyone gets the happy ending, and one of the most heart-breaking moments in the movie comes in one of these gasps.

Anyway…

Storytellers and directors, take note: THIS is the way to do strong women in movies. Don’t insert them where they don’t belong just to 1) appeal to a young female audience and 2) bring sex incidentally into a film. Not that there’s any sex involved, at least not overtly, and not in the act of pleasure kind of way. Mostly, it’s for procreation. Or lack of. (the chastity belts worn by the brides are positively feral looking, although I think I would have kept it on until I reached my destination. Talk about your rape deterrant!). Believe it or not, there is a tiny romance subplot between a bride and one of the half-life War boys, and it’s handled a little too roughly to start, but it “moves” into its own. But the women here are strong, supportive and determined to escape and survive without having to be glammed up to do it. I could easily see myself as one of the Vuvalini (assuming I would want to survive in a post-apocalypse).

A few gimmicky moments exist to play up on the 3D version of the film (most notably the shot near the end with the guitar and the flying steering wheel), but these can be forgiven. George Miller always did have a little fun in his films, with the odd juxtaposition of the ultra-violent and quirky humor (see the exchange between Papagallo and the Mechanic).

Was there a soundtrack? Yes, there was, but the frenetic energy is so pervasive that the “music” is lost. Except for one well-placed, drop-of-the-bass dub invasion. Thanks, Junkie XL.

There are plenty of moments that call back the older movies, such as when Max, wielding a short-barreled side-by-side shotgun goes to blow some guy’s hand off and the round fizzles.[2] There is a moment when one of the brides is playing with the innards of a music box.[3] Hugh Keays-Byrne, as everyone who knows Mad Max knows, played the Toecutter in that film.[4]

Toecutter2-1

There’s even a momentary, overt nod to another director’s film, The Dark Crystal, by having people on long stilts very much reminiscent of the landstriders ridden by Jen and Kira (don’t have a still from MM:FR, so if you want to see it, BUY A TICKET!!!!).

1610895a.jpg

Count on George Miller to introduce characters with medical issues and/or prosthetics. We know the post-apoc “look” which he created in The Road Warrior went on to infect 80’s hair bands with the feathers and football gear as armor, but his inclusions called on his former career as an emergency room physician. In Mad Max it was the young cop forced to use the electrolarynx after his chase of the Nightrider leaves him with a shard of windshield glass in his throat. In the second, the most notable is the Mechanic, not confined to a wheelchair but held aloft by a cherry-picker like device cobbled together to get him around the equipment. In the third, there is Master-Blaster, a duo whose brain makes up for his lack of stature, and the brawn of which he rides to make up for his weakness for which he serves (and loves) paternally. Then, there is this movie, when it becomes a staple. Imperator Furiosa is the first notable, with her prosthetic arm, and Immortan Joe of course, but then there are the myriads of those with tumors and missing limbs, etc.

Tom Hardy’s Max is an extremely worthy successor to Mel Gibson’s Officer Rockatansky.[5] There’s more than a little nod to Bane there, George, in his and Immortan Joe’s get-ups.[6] Enough said.

latest Hugh-Keays-ByrneImmortan-Joe-Mad-Max-Fury-Road

So, this one is already going to be on my shelf the moment it is released on Blu-Ray.

AND… I have heard there is already a second/fifth one planned, called Mad Max: The Wasteland. I, for one, am looking forward to it

 

 

[1] Which are available for free on Smashwords, and possibly Amazon if they caught up. Read them and let me know what you think!

[2] From The Road Warrior, during the rig battle, when Max discovers the shell he picked up in the beginning of the movie from the dead man on the “Meek Shall Inherit” truck is a dud.

[3] Also from The Road Warrior, and also during the beginning after the battle with Wez, when he finds the music movement and later gives to the Feral Kid.

[4] Calling up of course that George Miller borrows actors from his own movies as well. I address this in another post, here.

[5] That name shows up, by the way, in House of God, Samuel Shem’s novel about a teaching hospital. George Miller finished medical school before he became a director, so might have some interest in reading that novel. Coincidence? I leave you to decide.

[6] Then again, isn’t Bane a little more “Road Warrior” than “Batman” anyway?

I fight through the gila monsters, hordes of raiders and a few desert dwellers, turning them all into a thin, red paste in order to retain my claim to the treasure tucked carefully away inside my backpack.  I’ve been waiting for this for ALMOST 30 YEARS!  At last, the prize is mine!

As I reach my cozy little bunker, far away from the radiation zones where my Geiger counter sits silent instead of clacking away, the excitement and tension are palpable in the cloistered air.  Booting up the old kitbashed Commodore 64, I remove the carefully wrapped package, pop in the disk and proceed to install WASTELAND 2.

*****************************

So I purchased this some time ago, but my writing schedule did not permit me to play it.  I admit freely that I can be easily sucked into playing a video game for hours, but I have plenty of self-discipline to not let it turn me into the freak that lives off of cheese puffs and Mountain Dew in their mother’s basement whose only exposure is a trip to answer the door when the UPS or FedEx guy drops off that special collector’s edition Mad Meltdown Mayhem III.  However, I had been eagerly awaiting this one, as stated, for 30 YEARS!  Not that the Fallout series wasn’t fabulous (all of the games are), but Wasteland was the one that got me started, back in the day.  I was a young girl then, and when my brother bought the game and installed it on his Commodore 64 (two disks, double-sided, had to be copied*), I couldn’t wait to get my fingers on that keyboard.

And so it is…

First, I made a team loosely based on my characters from Umbra.  [The following may contain some SPOILERS, if you haven’t read the novel or played either of the games.]  There’s Shaw with his beard and boonie, Mance with his youthful stature and mussed hair, without the robes he wore in the novel, however.  And there’s Vera.  I am absolutely delighted to say that within three minutes of starting the game, she had her goat following her.  Now, Aberforth isn’t Casey, but I can’t get everything I want.  And to round out the team, I included hefty meatsmasher Deergut to give my team a little heavy weapons and brute force.  Deergut wasn’t in Umbra, but he will showing up in one of the sequels…

 WL2 Umbra

It was nice to see the “old faces” in the game, namely General Vargas (‘Snake’), Angela Death**, Thrasher and Hell Razor, and sadly, Ace as a corpse. Makes me wonder who else I am going to see***…

What also got me excited was that they tried to stay true to the locations, as well.  The Ag Center map is much like the map from the original Wasteland, with its desk area at the front, the long corridor in the center and the two garden areas off to the side, complete with the satellite dishes. The Ranger Center, now moved to the Citadel where they originally fought off hordes of evil nuns, even has the museum room with the Secpass in the display. (I guess the Quasar key you found there was left behind at Cochise.)

As for the soundtrack, they get extra kudos for bringing in Mark Morgan who created the music for Fallout 1 & 2.  Anyone who reads me knows I am very picky about soundtracks for games/movies like these, but I can’t say enough about Mark Morgan’s work. “Radiation Storm”, the track played during the Vault Dweller‘s trip to The Glow, still gives me the chills when I hear it.  Talk about creeptastic.  If anything, I am looking to progress through the game not just for the storyline and entertainment of playing an RPG, but for the music Morgan brings to the game.

I was really happy to be playing an isometric style game.  I loved the original Wasteland with its sprite-ful overhead view and the combat screens with portraits and descriptors (note that ‘thin, red paste’ I inserted above. And don’t forget to bring the blood sausage!), and I really grew to love the visuals of Fallout.  This game is no different, giving it a retro but not too retro feel.  I am able to accomplish a lot of tactics that I enjoyed setting up, like the crouch and headshot (headshots! woot!) for my sniper in order to get the ‘party’ started, and I like the ambush function.  My only gripe with that feature, however, is that they ALL shoot/aim for the same target on the ambush.  I wouldn’t mind having a simple “wait” so that my sniper, for example, could use her turn on the high-value targets instead of the fodder that can be cleaned up with a club or a simple burst from an SMG when they wander into firing range.  If they change this in an update (which they may already have, but my internet connection is spotty so getting the old computer to a place to DL them is a trip rather than a normal occurence), I will be one happy camper.

I could go on and on, but I think a full play-through will be necessary, and probably more than one, since the very beginning of the game sets it up for multiple playthroughs with different outcomes.  I’ve been having a grand time getting in an hour of gametime a day, so I see this one keeping my schedule occupied for quite a while.  So far, I am going to give the game 4-1/2 out of 5 mushroom clouds.

 

*This was done so that changes made during gameplay were maintained throughout the world, something few if any other games did at the time.  You couldn’t go blow a place up, leave the local map and come back to find everything intact.  Your actions mattered.  This is fairly standard now, but a lot of credit goes to the developers for the persistence of behavior and consequences in Wasteland.  Of course, if I wanted to play the same area over again, I could make another copy of that side of the disk and play ‘fresh’.  I suspect that was how a lot of people, myself included, got their Rangers absurdly high promotions.

**Minor break in continuity, if you had the Strategy Guide from the original Wasteland like I do (yes, I still have my copy).  Angela gets fatally gutted and they leave her behind, and SOMEONE is an android.  Good reading though.

***I hope the reference to the ‘blue woman’ is actually ‘purple’ and happens to be Charmaine, one of my favorite characters from the original game.

So, yes, I know the movies isn’t exactly this summer’s blockbuster, but when I read back over some of my old posts from a different site, I noticed a glaringly obvious snafu.  I promised a review of The Book of Eli when it came out, but I never delivered.

Well, ‘never’ is such an absolute term.  And I am here to rectify my error and nullify that ‘never’.

The Book of Eli stars Denzel Washington as Eli, most often referred to as ‘The Walker’ for the duration of the movie (in fact, his name is said only once, and is written once on a tag and carved into stone).  Mila Kunis plays Solara, the girl who becomes his sidekick by circumstances addressed in the film.

Post-Apoc, this baby takes the cake, eats it and bakes us another one.  The visuals in this movie capture all of the bleak and decaying landscape fans of PA and games like Fallout and Wasteland could ever desire.  One particular scene of Eli peering up at the broken, curving highway directly recalls similar images from Fallout 3’s Capital Wasteland.

The music was very hit or miss for me.  If anyone’s read my review of The Road, they would know that I favor a ‘less is more’ soundtrack for films like this.  Part of the scoring with the languid, melancholy cello seemed perfect, like endless drifting.  Too much of the heavier ‘rock-like’ music felt invasive.  The insertions of other music via the iPod or the radio felt right, and also seemed like something pulled from Fallout (I especially loved the ‘soothing’ song, ‘Ring My Bell’.  Proved this film had a sense of humor, too.)  Fans of Fallout 3 will also find a familiar face (voice) but I won’t spoil that.

I generally love anything Denzel involves himself in, and this film is not an exception to that.  Not a huge fan of Mila Kunis, but she didn’t grate on me in this film, although her character didn’t develop as much as I’d like.

SPOILER ALERT:

The ending image bothered me in that it seemed too amorphous.  I would have liked to see a complete circle happen in this story.  Having her take some of the Bibles with her would have given the sense of completion.  Eli brought the Bible to the place he intended, and now she is taking it (them) away, on another trip, to distribute.

END SPOILER ALERT:

In all, the only gripe I had with The Book of Eli was a very personal one: some of the images I found in the movie were ones I had already written into a very early draft of Umbra: A Post-Apocalyptic Mystery.  Some things that I conjured up seemed too familiar, too similar and so I felt forced to abandon those particular scenes and characters I had grown to love for fear of being labeled a plagarist.  Someone may still point out that a few of the ones I left in were still enough to evoke those similarities between the two, but for some reason or another, I couldn’t give them up, and they stay, albeit as modified as I could bear to change them.  In a very odd way, I suppose it’s flattering.  After all, the movie proved that some of the ideas I came up with would work, and work well.  (This happened to me quite a few times, sadly enough, while writing other stories during my childhood and early teenage years, when I began to think that someone was copying ideas from my brain.  At least that’s the only logical explanation.  I will just say that one of the Predator stories, as told by Dark Horse comics, is frighteningly close to ideas I developed in unpublished fan fiction.  Cree~py.)

Overall, I liked the movie. 4/5 Mushroom Clouds.

It’s FINISHED.  The Opal Necklace is finished.

That’s right, my NaNoWriMo torture time is finally over.  What I ended up with was one great big, steaming pile of verbal crap.  (See, Hemingway, you were right!)

Not literally, of course.  Not the ‘steaming part’, anyway.

However, this one is going to go simmer on the back burner in hopes that I can take the excrement and somehow magically convert it into a savory pot of tasty sauce. Or at least an edible one.

By ignoring the manuscript for, say, a month or two, I can come back to it with a fresh eye. I have my technical specialists who look over some of the aspects (thanks Dave and Greg!) but as for the entire thing, I need to step away from it and pretend I am reading it for the first time.

I’ve also been reading Syd Field’s books, in particular the one on Screenwriter Problem Solving.

Anyone who tells you that novels/plays/screenplays are different… well, they’re correct. They ARE different, but only in nuance. They should all convey the story by showing, not telling (c’mon, I know you’ve heard that one a thousand times before), and even the stage play benefits by minimizing the exposition and the talking heads* doing nothing but droning on alone or at one another. I think it was Blake Snyder of Save the Cat! fame who said if you have to have some exposition, at least bury it in the characters doing something exciting (paraphrasing here).

HOWEVER, saying that a novelist cannot benefit from research into how a screenplay is constructed would be the biggest crime of all. After all, screenplays are three-act structures and the same pacing of good films is really the target that I am aiming for. (I don’t particularly like to read rambling, whatever happens, happens kind of fiction, and I don’t like to write it either.)  Everything in the first two acts of the story builds up to the climax, contributing to the resolution and finale. I like to write out all of my scenes on index cards and “marry them” up with the points on Syd Field’s Paradigm. It’s a fantastic way to see where I might be spending too much time in the setup, for example, or rushing my ending in just a couple of pages. Last thing I need is my reader to go looking for missing pages at the end of the book because the conclusion felt so unsatisfyingly short. While I am not suggesting that all books should end up like ready-to-film, there are plenty of lessons to be learned from the tension and conflict suggestions I’ve already found in Syd Field’s books.

 

*Someone I once knew happened to rape the whole graphic novel medium by having his characters do little more than talk to each other for the length of the comic, while lounging around.  Mediocre art aside, one particular excruciating page had 16 FACES of back and forth conversation depicting indiscernable facial expression changes, and just their heads. It is called a ‘graphic novel’ for a reason, for heaven’s sake!

Thank goodness that one is not indicative of all graphic novels.  There are quite a few which had no words at all, but the story couldn’t be more brilliantly clearer because the action in the artwork conveyed the entire thrust.  Talk about your “show, don’t tell”!

Real Help on Thanksgiving

Posted: November 26, 2014 in Just a Thought
Tags: , ,

Thanksgiving is around the corner! While plenty of us are planning on trucking out to homes of friends and family on order to get their turkey grub on, there are some who are worried about a place to live.

While I like to help folks under “umbrella” charities, it’s good to make it personal every once in a while.

So this guy, who is a friend of a friend, was more worried about how his loyal and beloved pup was going to fare than himself! Looks like he’s got some help for the pup, but HE needs plenty of help too and I want to see him have the most Thanksgiving-ever-after in spite of the shit hand he’d been dealt. Being a veteran myself, those who have served and continue to serve hold a special place in my heart.

Help here.