Pen to Paper: The Peril at the Inkwell

Today’s meditation is about the dangers of being a creative person in a time of political turmoil. Naturally, this applies equally well to most other walks of life, but we focus on writing here.

Chuck Wendig is a successful novelist. You can see his credits at his site, Terrible Minds. You’ll note some Star Wars titles among his own original novels. He blogs at his site, discussing the writing life and doling out wonderful free advice. He’s collected this advice into a few books, too, and he truly knows his art and craft. He also gets political on his site and on his Twitter account. He pulls absolutely no punches when opinionating; anyone the tiniest bit interested can easily know where they stand vis-á-vis Wendig’s politics. There should be no surprises.

But Wendig was surprised last Friday. The responses to his political stands drew more attention than Marvel Comics was willing to put up with. He told the story on Twitter and collected the tweets into readable form at his blog.

Before we go further into the morass, there are some players you need to be aware of. First, the Gamergate morons. Briefly: Gamergate is a war over who is truly a nerd. Women and minorities need not apply, those with liberal political philosophies are banned as are men who support women and minorities, and the tactics used against anyone the gaters hate include threats of rape and murder, and swatting. Second, the chairman of Marvel Entertainment is a Trump fan and was one of the men listed as running the Department of Veterans Affairs from outside the government. There are credible reports that he is homophobic, racist, and misogynistic. Exactly as one would expect of a friend of Trump.

I could all too easily broaden the scope and mention many more who have hurt and been hurt in creative industries, but I’m going to stay focused on Wendig. Even so, let us not forget the many others whose careers have been harmed and whose lives have been made a hellscape because of horrible people. Wendig notes some of them in his blog post.

Chuck Wendig is a successful white man in a white man’s America. But he doesn’t wear Trump’s red cap or the Klan’s white hood (interchangeable, of course), and he believes that everyone should be treated fairly, so he still ends up being targeted by people with room-temperature IQs and negative empathy scores. It took some time, but they finally scored a hit against him.

What does this mean for us? Two things, I think.

1) It’s not safe to play in someone else’s sandbox. There’s no inalienable right to write Star Wars books and comics. That’s a privately owned universe, and the owners get to pick and choose who gets to have fun telling those stories. Also, the nutjobs among the fans will punish you for stepping outside what they consider the lines of their fandom. A writer is better off in the long run to create his own characters and build a fortress from his backlist. Then, if you like, cross your moat to see about other people’s characters.

2) It is crucial that we all get out and vote Democratic, retaking as much of the Congress and as many governors mansions and state legislatures as possible. The so-called Blue Wave is primarily about voting, but the purpose of voting is to try to push the haters back under their rocks. To make racism and sexism and all the other hate-isms shameful again so that people can’t run about proudly declaring their hate. To rebuild an American society that looks less like Nazi Germany’s than ours presently does. (N.B.: I’ve read a lot of history, and I do not consider that I am being either melodramatic or hyperbolic.)

Nothing in Wendig’s sad tale urges us to give up or to make no waves. We have to be fearless with everything we write. Art is political. Use your art to everyone’s best advantage.

Pen to Paper: Theme

When I write a story, there’s about a 40-percent chance that I’ve given any thought to the theme of what I’m working on. I don’t believe every story has to comment on the human condition. A story can simply be an enjoyable read about what this person or these people did under these circumstances. Just because the stories that were read to us as children ended with a moral doesn’t mean that our adult stories have to have them.

Continue reading “Pen to Paper: Theme”

Pen to Paper: Conflict

In his Worlds of Wonder, David Gerrold reminds us that a story is about a problem.

First, it’s about the details of resistance; then it’s about the details of acceptance, discovery and interaction; and finally, it’s about the details of resolution. So storytelling is about creating interesting problems – looking to see why they are problems, looking to see why the hero has made this a problem, looking to see what the hero has to give up, and finally what the hero has to become to resolve the problem.

J. Timothy King has written, “Conflict is the engine that drives a story forward. And not just any conflict, but relevant, meaningful conflict that matters to the protagonist and to the reader.” Further, “Conflict is a perception by the reader that compelling change has occurred and will occur.” (Bold face is King’s.) And Holly Lisle tells us, “Conflict is, simply put, change. Anytime something changes, it creates ripples that will be good for some people, bad for others.”

Here are three essays that highlight the various forms of conflict and how to make use of them in your stories.

* Laura Backes: For Successful Fiction, Add Conflict – Twice. Backes is primarily writing about books for youngsters, but the advice carries over into all other fiction.

* Susan Vaughan: Conflict. Don’t let the snappy title (which I also used) fool you: she offers valuable insight into external and internal conflicts.

* Chuck Wendig: 25 Ways to Fuck with Your Characters (or, ‘Building Conflict One Cruelty at a Time’). The title will give you the merest hint about the sort of language you’ll find here. I’m easy with that, but I do want to caution my more sensitive readers. Wendig has a great list of tried and true ways to put conflict into your story. It would be easy enough to write 25 stories working your way down the list and then starting over.