I Don't Need A Hero

A couple weeks ago, I realized that I wasn't enjoying Heroes the way I had in the first season. Too many characters, too much of them acting against the way they'd been drawn. Even the acting started to bother me. It seems like many of the main characters--the ones we've known from the start--now have one expression. Peter Petrelli in particular. [say that ten times fast] And part of the problem for the show is that the one before it, Chuck, is a heck of a lot more fun to watch. Still have a guy saving the world, but he's a bumbling hero. All he wants is the girl he can't have. Besides any show with Adam Baldwin in it has a definite advantage over one that doesn't.

Then this week my Entertainment Weekly shows up with a cover story about Heroes being in trouble. The other day Courtney posted on her blog about no longer taking up DVR space with the show. I also realized that over a month into the new season and the Pirates have not discussed it once. Bad signs all around. Looks like that fascinating tipping point thing has kicked in.

For me, though, it's going a bit deeper. More shows are annoying me this year. Top of the list? I may get lynched for this, but House. This show, too, suffers from a surfeit of characters. And I don't like the new ducklings. Never did. Bring back Chase and Cameron. Those two held their own against House. And why would anyone let this man treat them? You'd better be at death's door when you show up, because he's going to put you there anyway. If he's such a diagnostic genius, let him be geniusy. Instead of one big mystery, let there be half a dozen people with different problems. I've always thought the best parts of the show were when he's working the clinic. That's almost been non-existent this year. And please let's end the requisite strong woman reaching middle age and realizing she forgot to have a baby-oh my!-subplot and let Cutty get back to being the kick-ass administrator she's supposed to be.

I guess this is a good way to feel going into NaNoWriMo month. I won't have much time for television watching anyway. Guess I'll just wait until Burn Notice and Dr. Who come back. In the meantime I can watch my DVDs of Dexter Season Two and both seasons of Torchwood. Maybe check out True Blood online. In December, of course.

Just Tell The Damn Story, Part 2

It's been a week since I saw Great Big Sea in concert. A fabulous show--as always--with great music and funny banter between the bandmates. Fifteen years of touring and recording. Not necessarily an easy life, but one that has honed their skills. Musically, of course. It seems that every year Bob adds another instrument to his repetoire. And the songs have become more nuanced. But they also get better and better at connecting with an audience. They were good at the beginning, but now . . . you feel like you've known them forever.

Most of the songs they sing are like flash fiction. They tell a story in very few words. Many are the traditional songs of Newfoundland. Stories of fishermen, loggers, hard drinkers and hard workers. Their original songs are stories as well. Many are about love and loss. About the life of a touring musician. About drinking too much and playing too hard (these took on a different feel for me after one of the guys started writing about dealing with addiction in his blog). The shows I've seen have all included some intros that explain the story behind the song--kind of an abbreviated Behind the Music. This tour was no different. Here's Alan's story of how he came to write How Did We Get From Saying I Love You.


http://www.youtube.com/watch?v=yGVfSnQOBMU


Confessional for sure. I haven't found video of Sean's intros to Hard Case or Long Lost Love, but they too prove to be very very personal. Now I would suspect that the first drafts of these songs bear little resemblance to what we heard last week. That they contained a lot more angst and anger. That they were raw. They most likely just told the damn story. Then they were reworked gradually into something a bit more generic. Throw in feedback from the bandmates and you've got a finished song. Still personal, still a bit raw in some cases, but something people everywhere can relate to.


Sound familiar?


The strange thing is that the story behind the story may be fiction as well. Doesn't matter really, I guess. Because there is still most likely a grain of truth somewhere in there. Some spark of what really set off the creative process.



So what about you? Do you like to know the story behind the story? Or do you prefer to experience books, poems, songs, whatever as standalone experiences?

NaNoWriMo Challenge

So, I was thinking of doing NaNoWriMo again this year. Maybe "win" it for a change by actually making the 50k word goal. And I had planned to do that by finishing Vesta and then, if I had word count left, I'd start something else. But I didn't have a something else to start.

That's where Evil Editor comes in. On his blog he is issuing a challenge to the minions. Go to a random number generator site. Set it to pick 5 numbers between 1 and 562. Take those numbers and find the Face-Lifts that go with them in EE's archives (the hardest part of the whole thing). Each will have 5 fake plots to go with the title and one real plot from a query letter. When you're done, you'll have 25 fake plots to choose from. You'll have to scan the query letter to see which is the real plot. Often, they are much worse than any of the fake ones. Pick one, make sure it's not listed on NaNo Prep 1 list and submit it in the comments section of that post. Then on November 1st, start a writin'.

Whaddya think?

Just Tell The Damn Story, Part 1

Over on Ali's blog she has been talking about what she took away from seeing Neil Gaiman in person and from looking at the nuts and bolts of his writing in The Graveyard Book. And the "it doesn't have to be perfect" lesson is a great one. One I have had to remind myself of most of my life. There is a reason that so many half-finished projects--not just writing but quilting, embroidery, sketches, knitting, etc.--are strewn around my house.

My big lesson from the experience? Just tell the damn story! I've said this to other people in critiques. A couple of them in particular. And it's always been for writing around the story. For trying to be clever to the point of obscuring any real nugget that might move the plot forward. Now don't get me wrong. I've talked before about how much I love literary writing. The "pretty" of writing. But, as with people, pretty that has no real heart, soul or brain gets damn dull after a while. After a very short while, usually.

But it also applies to my own writing. Or lack thereof. Because I stall out when I feel I'm not writing it right. "Maybe this would be told better in 1st person--or maybe I should include a flashback. Wait! Flashbacks are bad, right? But sometimes they're okay. Or I should change the main character. Or the setting. Or or or or." And I don't do anything. But if I'd quit looking at the perfect and just told the damn story that's in my head, I wouldn't have those problems. I'd probably have other ones, but that's okay. Clean it up later, right?

When Mr. Gaiman uses "to be" verbs, I believe it's because that's the way people tell stories to each other. "Once upon a time, there was a little girl who . . ." "I was at the Neil Gaiman reading the other night and . . ." And he is a storyteller. And, yes, they can be overdone, but that's what revision is for. To take out the ones that don't work. I just think we need to be mindful of the ones that do and be brave enough to leave them in. Forget about that critique group in our heads, who may even be worse than the Heckler.

Now, I'm probably the biggest offender when it comes to marking up things like passive voice and adverbs and the like, including "to be" verbs. And as a part of a critique group, it may be my job to point out overuse. But I think we all need to be aware of when we're overdoing the critiques too.

So, Just Tell The Damn Story is my new mantra. When I'm stuck. When I'm confused. When I don't feel like working. Just Tell The Damn Story.

Mr. Neil Gaiman

What to say about last night?

It could be lack of sleep, but the whole thing is kinda jumbled together in my mind. Mainly impressions.

--Neil is shorter than I expected, but I expected he'd be shorter than he looks in pictures. If that makes any sense.
--He's quite at home on the stage. Not fakey comfortable like I did at AI, but really comfortable.
--A great reader. Does voices and everything.
--Manages to be down to Earth while dropping names. But it doesn't seem like name-dropping because he seems truly awed to know these people (Dave McKean, Charles Vess, Tori Amos, Amanda Palmer, Terry Gilliam, Terry Pratchett, etc.)
--Very funny, and can ad lib. (or has prepared what seem like ad libs and delivers them as if they are off the cuff)
--Coraline looks amazing. Even with the technical glitch in the middle that caused previous groups to go mmmmmrrrrMMMMMMMRRrrrmmmm.
--Will buy Blueberry Girl for Elizabeth and Clerissa as soon as it comes out.
--I liked what I heard of The Graveyard Book. Like Ali, I focused more on nuts and bolts than I probably would have. Caught many things that a former critique group would have just reamed him about. But it worked in the story.
--Definitely want any audio versions of his books that he reads.
--Neil telling us about the reaction of the LA group when he stopped at the halfway point of Chapter 7.
--Boulder group had great questions but horrible handwriting. Apparently, LA was just the opposite.
--Neil's favorite breakfast is "probably a cheese omelette, but only if I make it." He was a bit nonplussed that anyone would use their one question to ask that of a published author.
--A little over a month ago, I started using a different color ink in my Vesta notebook each day so it was easier to tell how much I'd written that day. Seems one Mr. Gaiman does the same. "Page and a half. Horrible day. I suck."
--Event organizers seem never to be all that organized. There was a traffic jam at the inner door after the reading as people who didn't get the book before the show lined up in the lobby to get it after. The people who just wanted to leave had a hard time getting around the clump. Make one door the actual Exit door and the other the one for shoppers. Easy fix, but noooo.
--With apologies to anyone from PPW who might read this: This was by far the best perk I've gotten from being a volunteer. Second row, stage right, two in from the aisle. Reserved seats. Gotta love it.
--Must save some dubloons for next trip to Beads, Beads, Beads.

That's all that's coming to mind right now. If you ever get the chance to see Neil Gaiman in person, do it. He's amazing.

October Goals

Oops. Forgot to post these--again. Last month was:

Done--Rewrite 2 chapters of MMG.
Done (barely)--Write 31 pages of Vesta.
Done--Quick polish of Vesta for CWC.
Done--Complete CWC critiques. (3/3)

Done and dusted, just by the tips of my fingernails. If I'd clipped them, well, failure.

This month? More of the same. With an addition of Ali's challenge about reading a little differently.

--Rewrite 2 chapters of MMG.
--Write 31 pages of Vesta.
--Complete CWC critiques.
--Read Dexter and The Graveyard Book with an eye to "nuts and bolts."

I Love This!