Spanner's World: The Blog!

Dennis Jernberg delivers the news about his comics, art, and fiction projects

Friday, July 3, 2009

JulNoWriMo Day 3: A Little Setback

I wrote no words on day 2 of JulNoWriMo. Why? Because I spent too much time on the JulNo and 50/90 forums! All these Internet forums tend to distract me, especially since I'm stuck with a slow dialup connection. But I have a remedy for my problem: write myself a note!

I went online ostensibly to get some information that would help me write Black Science. That information is on Wikipedia and other sites. I didn't go there, nor did I search for any other sites related to what I wanted to write. Instead, I posted to forums and wrestled with Facebook and Twitter. And I uploaded my second photo to Flickr for the Project 365 thing (take and post a new photo a day for a year), as I relate here.

For day 3, I intend to start writing again. But I need to write myself a checklist so I can get all my research done. Then I can write. I can post to forums and wrestle with Facebook later.

And I'll have previews of the new draft of Black Science right here on this blog. Wait for it!

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Thursday, July 2, 2009

JulNoWriMo Day 2: Starting Again From A Standstill

I haven't written anything in my novels for two months. So it's taking me a little while to get back into the swing of things. Once again, words are trying to evade me; once again I have to chase and capture them so I can type them in Word. I may have to force the inspiration to come if necessary. Finishing Black Science won't be a cinch. This JulNoWriMo won't be easy at first.

Some of my fellow writers have a similar problem: the words don't come at the proper pace immediately. Some are slow writers anyway. The words pour out of other writers; sometimes it seems they can't even stop. I'm the kind of writer who needs to build up my pace. That's why, during any given WriMo, I do most of my writing in the second half of the month. And anyway, I've barely even started. Day 2 is early.

Current word count: 337, all in Black Science.

In site-related news: I ran out of room for tags for my blog entries. I was going to eliminate all the character tags, but that may be more trouble than I need. However, I had all these tags for individual WriMos. I condensed almost all of them into the single tag "WriMo". So you probably can't search for individual WriMos (e.g., NaNo, JulNo) anymore, but at least I have room for new tags now.

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Tuesday, June 30, 2009

JulNoWriMo Day 1: And They're Off...

At midnight I start completely rewriting Black Science for JulNoWriMo. I'm looking to beat the almost 65,000-word WriMo record I set with Bad Company last JanNoWriMo. And I'm doing it with not just Black Science, but with at least one Spanner Side Story ("Mind Bomb") and maybe some still unwritten scenes of BadCo as well. And all this while I'm doing 50 Songs in 90 Days and resuming my Project 365 (I'm in the Flickr group).

So what are my plans for JulNo '09?

First thing, start writing Black Science at midnight my time. I'll be writing it as if it were a brand new NaNoWriMo novel, basically a first draft of a novel of which only one scene survives from the original fiasco I wrote during NaNo '06. I want to write as much of it as I have time for before my busy July 4, in which I'm recording two songs for 50/90 and playing my first songs live (albeit in front of family members).

Second, there's the first of my Spanner Side Stories. I've decided I'm going to use my neglected DeviantArt account and post these short stories to it. "Mind Bomb" will be the first. I'll post it chapter by chapter, and of course hope there's not too many chapters to call it a short story. After that, I'll start a new one. I hope to do one a week — if I don't pour out too many words of Black Science.

Third, I intend to start drawing again. At first, I intend to spend at least a few minutes a day on practice sketches so I can get back into it again. It'll be rusty at first, since it's been so long since I've drawn anything; I've spent too much time over the past couple of years writing novels and songs.

Of course, I'll write songs.

I've got an ambitious agenda for the next month. Let's see if I can actually pull this off for the first time...

Goal before I go to bed: 1,000 words. After I wake up: 5,000 words.

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Saturday, June 27, 2009

Black Science: Preparing for JulNoWriMo

Instead of returning to Bad Company, I started a new short story (which is turning novel) instead. I'll post the first few chapters soon, and I'll inform you here (and elsewhere) when I do. Though I'm now delaying BadCoFiMo, I still plan on doing the complete rewrite of Black Science for JulNoWriMo. I'm already assembling reams of old handwritten story notes, writing new ones, and collecting a small library of books and websites as research material.

A short synopsis of Black Science, or a rough treatment for the eventual plot: After the disastrous events of Bad Company (in short: Barack Obama gets elected, and giant military corporation Dictel invades America in a futile attempt to restore Operation Permanent Republican Administration), the government psychologist Willa Richter-Thomas is confronted with a choice to either join the super soldier project at Dictel Research or get railroaded for espionage. She chooses to fight. The big question: Why does the new Democratic government want to bring back the evil corporation that tried to destroy them in 2008? The answer, in one word: Afghanistan. President Obama is escalating the Afghan war into yet another Vietnam. And the Pentagon sees Dictel as the key to victory.

As the opening chapter contains the evolution vs. creationism debate in which Willa disposes with creationist pseudoscience, and 2009 is the year of Darwin, I decided to start chapter 1 on Charles Darwin's 200th birthday (February 12) and end the main plot on the 150th anniversary of the publication of On the Origin of Species (November 22; read it here at Darwin Online). I dispose of creationism in chapter 1 because the real threat in the post-Cold War era is Social Darwinism (which was actually started by Herbert Spencer, a lifelong Lamarckian, before Darwin even started publishing). Social Darwinism is the Malthusian-based faith of the corporations, based on the primary tenet of "survival of the fittest", a notion actually not consistent with the actual theory of evolution (as Willa points out, it's really the schoolyard game of "king of the hill", a representative zero-sum game, transformed into a hegemonic worldview). Dictel thrives in such a world, and its leaders (the Becket brothers) are determined to rule it. People are nothing more than game pieces to them. Willa wants none of it; she wants to make a better world, a more humane one — but to do that, she must destroy the world that is, the world of Dictel. The conflict which makes up Black Science, of course, ensues

I think I'm right in laying Bad Company aside for a few months, or at least taking my time in finishing it (which involves, among other things, dissecting the Microsoft Word file). As Black Science has none of the problems that have made BadCo so difficult to write, I may be able to finish it first. Starting July 1, I'll find out.

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BadCoFiMo Delayed...But A New Strategy Emerged From Its Failure...

Turns out that, unfortunately, there will be no BadCoFiMo in June. The strategy just wouldn't come together, at least not now. If I start editing Bad Company, I'll have to take my time doing it, since I'll be focusing on Black Science for JulNoWriMo and AugNoWriMo while taking part in the 50 Songs in 90 Days challenge. But instead of BadCoFiMo, I decided to take a different strategy: writing short stories to prepare for BadCo, Black Science, and especially Spanner. It's called "Mind Bomb", and it's the first of a new set of "Spanner Side Stories". And it's already expanding into at least a novella...

"Mind Bomb" takes place in 2025 (or 6025 by the "Neo-Egyptian" calendar), almost a decade after the spectacular ending of Spanner. Shira and Desiree are back, in a new post-"Corporate Empire" world dominated by a large collection of constantly warring imperialist governments dedicated to the economic philosophy of state capitalism. And guess what? Even despite the fall of the Corporate Empire and the leading member of its ruling Cartel, Dictel Corporation — guess what? Dictel's back, and it's up to no good yet again! This time it involves the latest version of its infamous mind-control machine, the "psychotron", the biggest project of Dictel Research since the 1950s. When word gets out, thanks in part to a new recurring character named (in a sudden spasm of geekiness) Lala Sun-Microsoft (note name of corporations used as family names, something I'll explain later), a notoriously insatiable gossip, word gets out. When the state-capitalist empires all find out, all hell breaks loose in a free-for-all over the new psychotron. So a new character I created just for this story, calling herself Lucy Williams (formerly a Russian businessman [male], now a young [and very much female] roving activist), hires Spanner and asks her to repeat the "mind bomb" trick that took down Henry Becket, only on a larger scale.

This short summary omits several elements that I created for it, of course. First there are the factions: Corporates, Imperials, Crusaders, and so on. Then there are the posthumans of various kinds, including the strange cyborg-beings prominent in Spanner and a new breed of cyber-entities who have uploaded their consciousnesses to the Internet and/or Hans Moravec-inspired robots, and thus abandoned carbon-based lifeform altogether.

Unlike the Dictel trilogy, and far more than even Spanner, "Mind Bomb" is a true science fiction story — cyberpunk, in fact.

So this is what I've been doing instead of BadCoFiMo. That and writing notes on the Spanner and its spinoffs, from Bad Company all the way to "Mind Bomb" and beyond.

I'll keep you posted here more frequently. And I'll make sure to tweet updates.

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Sunday, June 14, 2009

Bad Company: BadCoFiMo Starts Late...

After losing Script Frenzy, I took a break from the whole WriMo thing. I took May off. As it turns out, I took almost the first half of June off too. That means my "Bad Company Finishing Month" is starting late — when the month is already half over. But at least I've actually started BadCoFiMo...

I changed my BadCoFiMo plan when I started trying to insert those JanNo/FebNo scenes from their standalone files into the main manuscript. Each day during JanNoWriMo, I wrote scenes from various parts of the novel and saved them in separate files to make sure I could count the words more easily and not mess up the main file. However, some difficulties ensued when I tried to put the scenes in their proper places in the novel. So I realized that I need a new strategy:

  1. Separate the chapters of the novel from the main file and put each chapter into a separate file, named in the order I find them in the main file.
  2. Separate each of the JanNo and FebNo files into the separate scenes, one file per scene.
  3. Organize (and, if necessary, reorganize) the files so that all the scenes are in their proper order.
  4. Take out the index cards I've already used and write ideas for the missing scenes on new blank ones.
  5. Map all the storylines and character arcs so that I have a better idea of those I've already written and how to write the unfinished and unwritten ones.
  6. Write all the remaining unwritten scenes and put them in their proper files (new ones if necessary) in the proper order.
  7. Organize the scenes and chapters again if necessary.
  8. Finally, put the whole thing back together, restoring the main file with all the original and new scenes in their new order.
This should make everything a lot easier for me to write and edit, even if it's more unwieldy on my hard drive and in Word.

I still plan to finish the first complete draft this month. I've simply gotten a late start on it, as I've gotten distracted by news and opinion websites, which can get addictive...

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Monday, May 25, 2009

Bad Company: Preparing for June's "BadCoFiMo"

So far this month, I've been pretty much content to take a break from writing. Mostly, I've been focusing on my guitar lessons. But on June 1, my break ends. Sure, I'll continue with my guitar practice; after all, I've got songs to rerecord. But on June 1, I will return to the '07 NaNoWriMo novel that has given me so much trouble over the past year and a half. For me, June '09 is "BadCoFiMo" — "Bad Company Finishing Month"!

I have a whole bunch of small files in the BadCo directory on my hard drive, built up over a period of about two months from mid-December (NaNoFiMo '08), through January (the JanNoWriMo in which I pulled off my most spectacular WriMo victory ever, with over 65,000 words), and fizzling out in February (in which I shifted my emphasis from NaNoPubYe's FebNoWriMo to FAWM). Some of these files contain scenes from different chapters in widely separated parts of the book. My first challenge, which I never bothered to get around to during NaNoEdMo, is to assemble all these files and all these scenes, putting them all into their proper places in the book. That is my first task for BadCoFiMo.

Even once I've put every scene back into its place, there will still be some plot holes remaining. My second task is to fill them. I will plot every single storyline, determine where each scene fits within the various storylines, find where the plot holes are, and write all the new scenes I need to fill them. This will give me my first complete draft.

My third task: a one-pass revision to create the second complete draft. In her workshop, Holly Lisle strongly suggests that her method will get you "from first draft to last in one cycle". I'm going to see if I can actually pull off such a feat. The first draft will still be rough, even after all the revisions I put into my many incomplete drafts. The second draft will be much smoother and read much easier.

Once I get the second draft finished, I'll prepare an "e-book" version that I'll have certain friends, relatives, and fellow "wrimos" read and critique. They may give me criticisms and ideas that could result in a third draft — but if I don't have the time left, I'll leave a third draft till later, like after I'm done writing the first draft of Black Science during JulNoWriMo and AugNoWriMo. Interestingly enough, it was on the first day of last year's AugNo that I burned out on BadCo, pretty much preventing me from even touching my computer till almost the end of NaNo '08, which I would have lost but for one of my most productive Panic Times in my entire WriMo career. A book never emerged out of it, but at least I won...

Now I'll get back to my guitar practice, and spending way too much time on the Web, and trying to find some way to get broadband access (I'm poor, I'm afraid) so I can avoid those long dialup load times. And I'll continue my rest from novel writing till June 1. But in June, I'm going to finish Bad Company, no matter what!

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Monday, May 18, 2009

Bad Company: The Script Frenzy FAILS!

I made my third attempt at Script Frenzy last month. However, it seems, attempting to adapt my NaNoWriMo novels jinxes my Screnzy. Once again, I failed to adapt a novel. Plus, I had a huge complication: I moved across town. Moving takes your attention away from creative things. And so all I ended up writing was 15 pages of the movie adaptation of Bad Company, basically the "Intro" and "Outro" from the novel.

So I decided to take a break for an entire month. I'm skipping MayNoWriMo.

So what am I doing this month? Mainly, I'm focusing on learning how to play the guitar. My guitar lessons started almost serendipitously in the middle of FAWM, while I was furiously writing 38 songs (write 14 and you're a winner — some extremely productive FAWMers actually wrote over 100 songs). Early this month, I got this year's birthday present from my mother two months early: a new Stratocaster-type electric guitar. One of my goals is to record all the FAWM songs I haven't cut demos for, and rerecord almost all the songs I've already recorded (the one exception being "Stayed Up Too Late" (MP3 link), the "Casiopunk" tune, in which I'm keeping my MIDI-simulated guitar sound). I'm not practicing my guitar(s) as regularly as I'd like, but at least I can actually play guitar now.

As for Bad Company — after the failure of my Script Frenzy in April, and limited success in NaNoEdMo in March, I've decided to dedicate June to finishing the first draft. Sure, I'll still be continuing my guitar lessons (in part, to prepare for 50 Songs in 90 Days). But my main focus in June will be what I call "BadCoFiMo": Bad Company Finishing Month. My goals:

  1. Assemble the many fragments I wrote during NaNoFiMo and JanNoWriMo and import them into the main manuscript file.
  2. Fill in all the remaining plot holes, and finish the plotlines I've left incomplete.
  3. Give the finished manuscript a one-pass edit.
During Script Frenzy, my goal was to adapt Bad Company into both movie and graphic novel scripts. As I said, I only managed to adapt the novel's prologue and epilogue. Since the adaptation attempt was unsuccessful, I'm going to focus on the novel for one more month. Any adaptations will then have to wait.

Meanwhile, I've started to get a fresh new set of story ideas for Black Science. But I'll save that for future posts...

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Friday, April 3, 2009

Bad Company: The Script Frenzy!

It's been way too long since I posted here. The reason? I got way too wrapped up in FAWM! Well, after 38 songs, 24 of them recorded, and after nearly missing out on NaNoEdMo, I'm working to complete the first draft of Bad Company again. This time, for Script Frenzy, I'm writing not one but two scripts: the movie, and the graphic novel! And I'm drawing the latter, and may even release it in regular installments (the frequency depends on how fast I can draw) as a webmanga like Spanner.

I have these periods when I can hardly write anything (like 4 whole months last year), and others in which I get so obsessed with something that I can't do anything else. In February and March this year, that obsession was FAWM. February was the month in which I discovered I can actually write songs, and write them well. I don't have the guitar or keyboard skills to actually play those instruments yet, so I used TuxGuitar and my MIDI keyboard to simulate a rock band. The result sounds okay, but the MIDI-simulated rock guitar is only satisfactory, and the simulated acoustic guitar is even worse! I'll eventually redo all my songs with real guitar and keyboard parts, and they'll sound tons better.

Here's my FAWM profile for those who want to listen to the songs I've recorded so far. But when 50 Songs in 90 Days, which FAWM will be hosting again this year, comes around, my profile will be reset along with everybody else's, so the best way to access all my songs will be at my Space Helmet Records site, which I'll update soon.

Meanwhile, I'm thoroughly replotting BadCo, preparing the story for the novel's first complete draft, and for its movie and comics adaptations for Script Frenzy. So far, I've changed the conflict dynamics. Since I'll need to dedicate an entire post to this, I'll sum it up: The great weakness of the standard political thriller is that it makes you believe that one person can bring down a vast and deadly conspiracy. Yeah, if you're Superman and they don't have a stash of Kryptonite on 'em. But there's one political thriller in particular, The Parallax View (Wikipedia, IMDB), that shows what really happens when a lone hero goes up against such a conspiracy: (spoiler alert) he's not only killed, but erased from existence by that conspiracy (in this case, the US government, this being shortly after Watergate). And you think the Parallax Corporation is monstrous and evil? Well, you ain't seen Dictel! And Bad Company is set during the last days of the Bush Administration, so Dictel has been so thoroughly embedded in the federal government that there's no way to tell where the government ends and Dictel begins. So no lone hero, and not even a crack hero team, can even hope to survive Dictel's unholy wrath. Thus, the only hope is to expose Dictel's crimes and true nature to the people, and strike up mass opposition to the company's schemes, especially the full-scale invasion of America the company launches after its favored candidate, John McCain, loses the 2008 election.

While I'm speedwriting my 2 (or more) scripts for Script Frenzy, I'm also taking part in the April 50-Hour Editing Challenge at NaNoPubYe. I'm making sure that first complete draft of Bad Company is complete, no matter what!

And so I return to the struggle. I'll get this BadCo thing finished yet!

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Wednesday, February 4, 2009

Bad Company: The Spectacular Finale of JanNoWriMo

For those of you who have been paying attention, one of the goals I made for this year was to finish Bad Company once and for all. So, when I found myself falling behind in the last week of JanNoWriMo, I pulled off a series of 10,000-word marathon sessions. I won JanNo in spectacular fashion, breaking my all-time WriMo record in the process. However, even though I ended up with pain in my neck and shoulders to go along with my satisfaction, I didn't finish the first draft. That's my next goal: finish BadCo before NaNoEdMo begins on March 1.

Here's the lowdown:

As I've mentioned many times before in many places, Bad Company has always been plagued with massive plot holes. From the time I wrote it back in NaNo '07, there have always been major plotlines I plotted but never wrote, and they never really fit together, leaving plot holes so huge you could maneuver the starship Enterprise through.

Toward the end of last year, however, for NaNoFiMo, I returned to BadCo in order to fill in those nagging plot holes and finish the first complete draft. I decided I'd try to finish everything during JanNo. As usual, I had to battle my old enemy, procrastination, just to get started. However, when I reached the Panic Mode stage in the final week, I pulled off three (!) 10K sessions to bring my word count to a total of 63,161 and beat my word target of 50,000 with a vengeance. In the process, I filled some gigantic plot holes and completed entire plotlines.

But I left one more thing unfinished. I still left plotlines unfinished.

There are three major plotlines in particular that I need to complete before I can say I have a complete first draft:

  1. most of the "Dictel Academy" school war;
  2. the "Dictel invades America" plotline from the opening chapter to Desiree's piratecast; and
  3. the entire plotline parallel to the Dictel Academy sequence, in which Charlie does everything she can to free her beloved sister Desiree from the company-owned boot-camp school.
There are a few minor plotlines left to add as well, and I intend to add at least one of them in February as well.

Last March, I spent a lot of EdMo writing more than editing. I wanted to fill in the plot holes, but in 2008 those plot holes simply refused to be filled, so I ended up burning out on writing altogether when I attempted AugNoWriMo. This year, I want to focus mostly on editing. That means I need to finish the last remaining major plotlines by the end of February. I'll keep my progress posted right here.

Meanwhile, I'm doing a FebNoWriMo. But it's for Black Science. 30,000 words should be a manageable word target while I'm writing at least 14 songs to win FAWM. But that's another entry entirely...

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Thursday, January 15, 2009

Bad Company: The Mid-JanNoWriMo Progress Update

It's the middle of the month, and I'm attempting to finish Bad Company, or at least write 50,000 words of it, for JanNoWriMo. How am I doing so far? Right now, I'm behind on the word count — just a little over 15,000 words — but I'm ahead of where I usually am during any given WriMo. So far, so good...

Last year, I tried to fill in some of the many huge gaping plot holes that have always plagued BadCo. Most of them remain unfilled. This year, I'm determined to write every single chapter and scene that's still missing, and there's still a lot of them left to write. However, I've already written some very important scenes, and there's now at least a sense of continuity between the "trial of Desiree" subplot and the leadup to Dictel's invasion of America.

However, most of the early part of the novel remains unwritten, including everything Charlie's in until the "trial of Desiree" sequence. Also, I haven't gotten to the corporate invasion at all yet. However, the month is only half over, so I have more than enough time to take care of it all.

Stay tuned...

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Tuesday, January 13, 2009

The Project Site Is Up...Finally!

At last, I've finally put up the Spanner's World project site — after many, many years of delay. I only put it up last week, so it's still crude and still has hardly any content yet. But at least it's up. Now I have a central site for all my projects in the Spanner "universe". From now on, when I mention any of my fiction projects here in this blog, I'll make a direct link to the project page on my new site.

Now, the hard part is thinking up exactly which content I'll post. I need to come up with story synopses and character profiles, and these take some thinking. Another challenge is the character designs I'll need for each profile, and the cover designs and logos I want to create for each story. I'll need to do this pretty soon.

Now I have no more excuse to delay my art or my site updates. (None except early burnout due to lack of sleep, something I've been struggling with recently due to the fact that I now have to wake up early, and I'm normally very much a night own...) Another thing to spur me back to the drawing table is my new DeviantArt page, which right now still doesn't have content — something I will correct very soon as well.

More project and WriMo updates coming very soon!

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Sunday, January 4, 2009

A New Goal: A Drawing A Day

On the NaNoWriMo forums, I discovered something called Project 365, in which you take (and preferably post online) a photograph a day. Digital cameras make it easy. And so I set up a Flickr account and a photo blog just for this. (My blog entry on this is here.) Which got me thinking: shouldn't I do something similar with my drawing? If something like Project 365 can make you a better photographer, then posting a drawing a day (drawn and scanned that day, of course) can make me a better artist.

Now, here's my problem: I've been procrastinating my drawing, even more than I've procrastinated my writing. I've drawn hardly anything since I started writing my novel Bad Company for NaNoWriMo '07, and all of it was last month. None of it was character-related, either; it was all practice sketches just to get me back into practice so that I can draw my characters.

But I've been faithfully posting a photo a day. But then, taking a picture with a digital camera is just a matter of aiming, shooting, and deciding if you want to keep the picture. Drawing is harder, especially if you don't have a drawing tablet: you have to draw, and scan, and edit. That takes time and effort, though not as much as developing a photograph from a negative (though if you ink and/or color the picture you draw, it gets close). A drawing tablet is, of course, something on my acquisition list. But until I get one, I'll have to use a pencil and/or pen, my scanner, and at least one of my many image editing programs. However, posting a drawing a day, or at least each entry, will be the perfect excuse for me to get drawing again, just as Flickr, Photoblog, and Picasa Web Albums gave me the excuse to start using my camera again (besides, I'm supposed to come from a family of shutterbugs, after all...). And, looking over the entries over the next year or so, my improvement will become obvious.

Once I start drawing, and once I get around to drawing my characters, I'll post the best drawing out of the bunch here, at the end of every entry. Once I get back into practice, I'll resume my preparation for drawing my future online comic, Spanner.

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Thursday, January 1, 2009

Bad Company: Finish It This Month!

I've started JanNoWriMo with a bang. Word wars, that is: I'm writing 10,000 words today, and writing the entire climactic scene of the trial sequence, the trial of Clayton Starr, Charlie and Desiree's persecutor and the head lawyer of Dictel. For my second word war, the first 10,000 words count toward the 30,000 I'm writing by the 5th. Why so many words so soon in a WriMo? Because I intend to finish the first complete draft of Bad Company this month!

Bad Company has always been incomplete. After every WriMo I wrote for it in, I left scores of plot holes, some of them humongous. I had many story ideas I never wrote. I've decided to write them all now.

The trial of Clayton Starr is the first of many plot holes I'm filling this month. Writing the unwritten scenes allows me to win a WriMo without cheating. I'm spending the first 5 days of JanNo writing as many unwritten scenes as I can so I can get the major word count job out of the way early and do some major rewriting till the last week of the month. I'll do all the rewrites starting the 6th; once I run out of chapters to rewrite, I'll go back to writing unwritten scenes and hit my word count target (I chose 50,000) and score my JanNoWriMo victory.

Meanwhile, I decided to do a simultaneous project that I think will help me with the novel. For a January challenge in the Script Frenzy, I announced that I would write the script for a BadCo movie adaptation. To this end, I'll be downloading the latest version of Celtx, a popular free scriptwriting program. (I hope Celtx has a comics template by now, or gets one by April.) Writing the novel and the script at the same time will help me put the long and complicated novel in better order.

Writing the "trial of Clayton Starr" chapter went a whole lot more smoothly than the rewrite of chapter 2, in which Desiree runs away to half-sister Ruby's apartment while Charlie is hiding out there. I didn't realize at first that Ruby would be a "mentor as threshold guardian" kind of character until I was in the middle of writing it. Chapters 1 and 2, therefore, will be the first chapters I'll rewrite once I've written my 30,000th word of new story.

I have my primary goal for January now. Soon I'll get Bad Company written, rewritten, finished, and ready for NaNoEdMo.

And now, back to writing...

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Sunday, December 28, 2008

My Big, Fun, Scary Goals for 2009

While I was writing more of Bad Company for NaNoFiMo, I got an email from Chris Baty of NaNoWriMo about the 2009 Big, Fun, Scary Challenge. Since I achieved several (though not all) of the Big, Fun, Scary goals for 2008, I got the winner's badge to the left and a winner's certificate in PDF format. I posted my 2009 list of Big, Fun, Scary goals in the BFS goals thread on the NaNoWriMo forum. But I'm posting them again here, to make sure I don't forget them.

So here's the complete text of the post:

Like last year, I'm going to divide my goals into "WriMo" and "Extra" categories. This time I'm going to achieve a greater percentage of my goals than in '08.

WriMo Goals:
------------------
1) Finish '07 novel Bad Company and start submitting it to publishers.
2) Finish '06 novel Black Science and get it ready to submit.
3) Rewrite and finish the entire first volume of Spanner and get it ready to draw.
4) Complete all character designs for Spanner.
5) Win JanNo, FebNo, FAWM, EdMo, Script Frenzy, JulNo, AugNo, and the next NaNo and FiMo.
6) Enter NaNoMangO.
7) Post the first issue of Spanner online.

Extra Goals:
----------------
1) Exercise regularly.
2) Post on my blogs (project and opinion) regularly.
3) Set up a personal webpage that will be the center of all things Dennis Jernberg, from blogs to webcomics.
4) Create a web course on how to draw comics.
5) Learn at least one of these languages: French, Spanish, German, Japanese.
6) Learn how to play the keyboard, play the guitar, and sing.
7) Start a relationship with my first girlfriend (the really hard one, since I'm notoriously unsociable...).

If, like last year, I find I need to add extra goals, I'll add them in this thread. Only this time I should link to this post.

Here goes...
I call on my friends and fellow Wrimos to help keep me to 'em!

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Thursday, December 25, 2008

Bad Company: NaNoFiMo 2008


I decided not to continue writing this year's NaNoWriMo novel this month. For NaNoFiMo, I decided to pull out my '07 novel, Bad Company. I'm both rewriting previously written scenes and adding new ones to fill plot holes. I'm even adding a new and important story arc, "The Trial of the Dictel 10".

While rewriting a previous scene during my idle Christmas Eve, I realized how much better I write now than I did before BadCo burned me out in August. I've completely rewritten the Intro so that my first preview is now obsolete: the entire prologue which began with this scene is now gone, replaced by something almost completely different. Those who like this scene shouldn't worry, however; the second part of the new prologue, which follows and contradicts the new opening (the Dictel corporate spin), is a news report of just this event, edited to increase the urgency.

Chapter 1 has also undergone some pretty radical changes, too. I thought this opening was cool enough when I wrote it. But now I have Charlie overreacting for one paragraph, after which she drops the melodrama (says Ruby: "Stop it, Charlotte! You're acting like your mother!"). And I realized that the first two chapters should each act as if they were television episodes or (more accurately) issues of a comics series (a prequel to Spanner, to be exact), each a mini-movie with a cliffhanger ending. Each should build up in tension and action till the climactic cliffhanger. So my Chapter 1 preview is obsolete, too.

Both of these radical revisions occurred when I rewrote the Intro and the first two (originally four or so) chapters for NaNoFiMo. That's because, I now realize, I can write so much better now than I did when I originally wrote these two scenes for the second incomplete draft.

I only started writing again on the 23rd, almost two weeks after I last wrote (my first session for FiMo). On Christmas Eve, I managed to write several new scenes (fast) and rewrite several others (much slower). I managed to write the definitive versions of certain previously written scenes. What got me writing again? I was struggling to find some way to put the structure of Bad Company back into place. Then, the night of the 23rd, I read two books: Hooked by Les Edgerton, a book about how to open your novel; and The Triumph of Narrative by Robert Fulford. I read the former first and the latter second. Reading Hooked again after having put it on the bookshelf months ago, I realized I understood the book and its principles better than I did the first time I read it. And so I started writing, and what I wrote was the new opening: part 1 of the Intro (the Dictel propaganda video) and the first parts of chapters 1 and 2. Finally everything fell into place, and now I'm writing (and rewriting) BadCo again.

I'm currently up to 8,900 words, exactly. I have absolute confidence that I'll make FiMo's minimum recommended word target of 30,000 by the end of the year. The more I write BadCo, the more interesting it gets; the more it interests me, the more I write it. For the first time since I started writing Bad Company last November, it looks like I'll actually be able to finish it.

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Saturday, December 6, 2008

Now that I've won NaNoWriMo again...

After an excruciating battle with my archenemy, procrastination, leading up to the most spectacular comeback I've ever pulled off, I won my third consecutive NaNoWriMo victory. In my three years doing NaNo, I've never lost one. I've put too much of my ego into it to allow myself to lose one. The price is that the story I was writing — which I've decided won't be called Points of Authority after all — suffered the complete collapse and fragmentation of its plot. That should teach me not to start NaNo unorganized. But now what?

Here's how I managed to defeat procrastination and pull off my victory at the last moment. The day before Thanksgiving (November 26), I had only about 13,000 words, in fact a bit under. So I wrote 7,000 words to get me up to 20,000. I couldn't write on Thanksgiving Day itself because all that food I'd stuffed into my stomach put me to sleep. The next day (the 28th), I made up for all that by writing 10,000 words. Then Saturday, I realized that I would have to write as many words as I could just to give myself some leeway for the final day. So I stayed up till 5:00 a.m. my time and wrote almost 14,000 words. This is the most I have ever written in a single night. My shoulders, usually sore anyway, paid the price big time. Finally, I pulled off my best writing performance ever in terms of pure productivity: almost 7,000 words in just over 4 hours, with 15 minutes to spare. In the final 15 minutes, as I always do, I converted the manuscript to a text file, uploaded it to the NaNoWriMo word-counting bot for validation, and cheered when I saw those all-important words, "You Won!"

However, one problem emerged. The plot of Points of Authority never came together at all. I remember that my first attempt at a NaNo novel, The Jennifer Theory, split in two and became two completely different novels, the main part splitting off to become Black Science, which would become the second novel in what I would later call the Dictel trilogy (which itself needs a much more interesting name before I start submitting novels to publishers). And I remember the troubles I've had trying to hammer Bad Company into shape, with so little success that I burned out on August 1. So now I'm returning to the earlier novels to finish them up.

In December, there's NaNoFiMo, or National Novel Finishing Month. The recommended minimum word target is 30,000 words, more achievable for some people than NaNoWriMo's 50,000. However, I have a bigger and more important goal: finish Bad Company! I want to get that thing finished and done with so I can set it aside till NaNoEdMo, since both Black Science and Spanner are begging me to return to their plots, which are getting ever more interesting even as I try to focus on BadCo. So I'm going to focus this month on putting BadCo to an end — that is, finishing the first draft, once and for all — so I can write those all-important words, "To Be Continued..." — the last words in the story. I'm taking that name "National Novel Finishing Month" dead seriously.

Right after I put PoA away for the year, I had a revelation: the long "trial of Desiree" sequence I'd been struggling with transformed the structure of BadCo from two parts to three! Here's how the new structure looks:
  • Intro: The God of the Machine
  • 1. Bad Religion
  • 2. Bad Girls
  • 3. Bad Company
  • Outro: Black Revelation
Black Science, I quickly realized, has the identical structure.

I'm using the rock & roll terms "Intro" and "Outro" instead of "prologue" and "epilogue" because of the rock subtext to the entire trilogy: Charlie is a "girl pop" star gone punk; Willa was a scandal-loving New Wave rocker in her teens, long before she became a psychologist; Charlie and Desiree are the daughters of a rock legend; and so on. I'm taking cyberpunk back to its origins in punk rock, for one thing. And I'm using song titles as much as I can, unless I can find or invent titles that are even more interesting.

For FiMo, the first thing I'm doing is taking all the fragments of Bad Company and putting them all back together. Second, I'll excise all parts of the manuscript that I find superfluous. Third, I'm bringing out the index cards so I can rework the plot into shape with the new structure. The middle section, the "trial of Desiree" sequence, is almost completely plotted, though still without subplots; next, I'll plot the first and third sections and weave the three sections together using subplots and multiple threading. This last probably requires that I increase the number of narrators from two (the sisters Charlie and Desiree). Desiree is a special case in herself: because of her problem with borderline personality disorder, she is several characters wrapped up in one, all of them at war with each other, at least in the first two sections (as her cult guru mother goes to the most absurd extremes to keep her out of therapy in order to keep her as totally dependent as possible). When she shifts her dependency from her guru mother to her demon lover (the terrorist incubus), she actually describes her own experiences in the third person, explaining that during this time she's not herself but some sort of alien entity that strikes her as not human at all. I'll keep all the current plot threads, but make sure to weave them together so that the whole novel holds together as an indivisible whole. This is my goal for the month. After having written over 31,500 words in just three days, 30,000 words should be an easy target for me.

Meanwhile, I want to rework the script for Spanner book 1 that I wrote for Script Frenzy. The script seems okay as it stands. But I'm going to eliminate almost everything after chapter 1, and completely rework chapter 1 so that it reads better. I'll need to do page layouts at this stage so that I can work out how the actual comics will read. My goal for this is to finish the script for all of Book 1 before the next Script Frenzy, so I can start Book 2. This month, my goal is to rewrite the script for chapter 1. I may have to create a new event for the climax, considering the political changes that have taken place here in the US since my burnout in August. Still, chapter 1 will remain a complete story (the pilot episode), and the delightful (and maybe even shocking) twist ending will remain intact (rejoice, fellow yuri otaku!).

So I've got my work ahead of me this month. And my muse has finally awoken from her coma. And so I'm happy to say that it's time for me to get back to work.

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Tuesday, December 2, 2008

Now that four months of writer's block has finally come to an end...

I haven't posted here for a full four months. Last time I did, I was just starting AugNoWriMo when I burned out. Since then, I managed to score my third consecutive come-from-behind NaNoWriMo victory with the most spectacular comeback I've ever been able to pull off: 30,000 words in just three days! Now I've started NaNoFiMo (National Novel Finishing Month) for the second time, but this time I'm going to finish a NaNo novel. My 2007 novel, the same one that has both obsessed and stymied me for 13 months now. Bad Company. But...

This time around, I think I can actually finish BadCo! First of all, I now have a new structure for both BadCo and Black Science: an "intro", the body of the novel in three parts, and the "outro". (There is a lot of rock & roll in the Dictel trilogy, hence the terms "intro" and "outro".) In the case of BadCo, the three parts are called "Bad Religion" (meaning Drusilla's cult), "Bad Girls" (Desiree, Charlie, and Drusilla on trial for their lives), and "Bad Company" (the actual corporate invasion of America that fails to keep Barack Obama from becoming US president). I realized that BadCo neatly falls into three parts rather than two when I finished plotting the middle section, the long trial sequence.

Now that Bad Company has a workable structure, I finally get the feeling that I can finish the it! I'm taking the name "National Novel Finishing Month" at face value: I'm not merely going to write the recommended 30,000 words; I intend to finish the first draft of Bad Company, once and for all, period.

Also, I'm going to revise the script for Spanner. I'll keep you posted here on my progress from now on.

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Monday, August 4, 2008

My Goals for August. Really.

I didn't do very well in July. Two weeks of writer's block took care of that. Derailed last month, I'm determined to recover from it and do something this month. So here's my story goals for this month:

  1. Finish Part 1 of Bad Company.
  2. Replot Spanner and write the second draft of the script.
  3. Finish my self-instruction in how to draw the head. I'm currently procrastinating working on the most difficult perspectives: the extreme angles and tilted profiles.
  4. Start creating character designs again. Since the Spanner and BadCo casts overlap, some designs will do double duty.
  5. Learn how to write song lyrics (surprisingly tough!) so I can start writing my 50 songs.
First, Bad Company. I decided not to do AugNoWriMo because my goal this month doesn't involve word counts. It doesn't concern me one bit if I write more or less than 50,000 words, because my goal is to finish Part 1, "Love Terrorists", from the title of the prologue ("Intro: Meet Dictel") to the final word of the section. To achieve my goal this month, I have to complete all of Part 1, which may or may not be about 50,000 words long.

About Spanner: I've been procrastinating trying to think up ways to improve my script. I realize there's a few ways not just to improve the story, but to make it conform better to the original story plan (or at least the version I settled on by 2005). First of all, I originally began the story in August 2014, the month before Shira's 15th birthday, rather than the previous April, not long after Jennifer's 15th. However, some of my ideas for the early events in the story (including #1) remain vague. I usually think of the Spanner story in terms of narrative landmarks: Shira/Spanner's destruction of the huge screen at the protest crackdown, the "rattlesnake flag" incident at a government-sponsored rally, Leila trying to jump off the Warren Avenue Bridge only to get rescued by Shira, etc. But what happens in between these Spectacular Events, and how do I lead up to them? That's where the challenge lies. Am I up to it? Sure I am. But I need to write the in-between scenes well enough if I want to keep it from degenerating into mere filler between the set pieces.

Since Spanner is supposed to be a manga, and since I plan to adapt Bad Company into comics form (I'm billing the original novel as "A Novelization"), I need to draw my characters. And that means not just doing the designs, but putting the characters into action and designing their clothes and such. Since I'm discarding reams of old printed webpages for the "30-Day Declutter Challenge" I'm taking part in, I'm going to use a lot of that for drawing practice. And I know just how much practice I need — which is a whole hell of a lot, since I've been, well, procrastinating it for months.

Last but not least, I need to figure out exactly how to write song lyrics. I haven't written any songs yet because the words staunchly refuse to materialize. The rhymes I've come up with so far are inane, so I rip up the paper I've been writing on or simply don't write at all. Once I learn how to write song lyrics — and this may require me to take a little self-instruction course in writing poetry as well — writing the actual songs will be a snap (even if I have to consult chord charts and plink on my mother's piano).

So these are my major goals for August. I have some personal goals as well (such as cleaning up my apartment), but I won't bother to get into them.

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Monday, July 28, 2008

Bad Company Preview #2: Chapter 1

Last entry, I posted the opening scene of Bad Company as a preview. I hope I opened it with a bang. Now here's the first part of Chapter 1, introducing one of the two main characters: Charlie Thomas (a woman), a troubled pop singer who can no longer sing. The other main character is her sister Desiree, who runs away from their tyrannical mother, cult guru and fascist stage mother Drusilla Becket. Now what does all this have to do with Dictel Corporation? Drusilla herself is the direct connection at first, as she's the youngest of the nine Becket siblings who own the company. She has no role in the actual running of the company — it's the three oldest brothers who actually run the company, and especially the eldest, Colonel Tom Becket — but as a channeller and cult guru, she is the spiritual leader of the clan.

So here's the opening to Chapter 1 of Bad Company, still unfinished in the second draft. (Bad Company excerpt © Dennis Jernberg)

1: (still untitled)
Charlie
I'm lowering the razor blade to my wrist so I can cut it open again when the notification sounds on my laptop. I throw the blade down into the bathroom sink and run to the living room coffee table, hoping Bob left something in my inbox. But Bob is dead. The email came from Scope, his camera operator. I sigh in despair. I manipulate the cursor to the subject "Working" and click.
    From: scope@ptn.org
To: charliegrl@wahoo.net
Subject: Working

Back up before u unzip. Then kill this.

What we were working on:

Attachment: 1.vgz
Attachment: 2.vgz
Attachment: 3.vgz

So you know.
BH
Scope usually writes longer, so this must be urgent. I rush to the end table with the antique brass lamp on it, throw open the top drawer, and flip through Ruby's stash of memory cards and thumb drives. There's got to be an unmarked card here: if she hasn't marked it, it should be empty. There! Found one. SD, 1-gig. Back to the computer. I take the card out of its case, then fumble around the card slot on the side and pray I'm not ruining the contacts. After a few failed attempts, I finally get it into the slot. Whew! Now download all attachments. It takes only a few seconds to get them onto the card. Click "Delete" to move the email to the Trash, then click "Empty Trash" and "Yes". When Bob mailed me his video clips, he insisted I not only back them up but then disconnect my Internet connection so no government or criminal snoops will catch me playing them and get us in trouble. So I do. Then I call up a terminal window, cd to the card directory, and type gunzip *.vgz so the videos will be playable. .vgz is our custom shorthand for .flv.gz (YouTube format, gzipped). Finally, I call up the media player and load all three videos to play them in order. I click the "play" button and switch to full screen. I see a massacre the media are silent on. Then I watch Bob die—just like in my nightmares.

Next thing I remember, Ruby's splashing cold water in my face to wake me up after I fainted. I shriek at the shock of the sensation. "Calm down, Charlie!" she says as she holds me next to the sink. She turns off the faucet now that I've come to. Then I collapse into her; she catches me, and I cry.

"How could he let himself get killed like that?" is the first thing that comes out of my mouth. "How could he leave me all alone like this?"

She tries to comfort me. "Hey, kid. You're here with your big sister."

I snap at her. "But he's dead!"

"Hey! They're not hunting you down!" She marches me back to the couch and sits me down. "Now, you gotta consider that Bob's been hounding the company for the last four years, since the war began. He knew the risks and was willing to take 'em."

I say nothing and mope. She goes back to the kitchen. I stare at the laptop screen and say nothing. I start to feel the side effects from last night's drinking binge.

When Ruby comes back, she reaches over from the back of her living room couch and waves a cup of her most potent coffee underneath my nose. If I were normal, the aroma would be irresistible. But in my hung-over state, it only makes me want to vomit. "C'mon, Charlie. Drink it down. It'll wake you up real good."

Just talking takes way too much effort. "I don't wanna wake up, Ruby," I weakly moan. "I just wanna go to sleep forever."

Ruby reaches to put the coffee mug on the table next to the computer. Then she glomps me from behind and razzes me on the side of the neck, making me shriek. "But you always have such bad dreams! If you sleep forever, you'll just have one great big long nightmare." She gives me a big kiss on the cheek.

I sigh and give up. "You're right, as usual." I hate it when she's right. But I need her to be right whenever I'm wrong. And right now everything about me is so wrong.
And that concludes the previews for Bad Company. I hope you like it and want to read more. I intend to finish it this year, whatever it takes.
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Sunday, July 27, 2008

Bad Company Preview #1: Prologue

I haven't posted lately because I've suffered a bad case of writer's block for the past 11 days. It's finally broken now, so I'm able to write again, and post on forums and my blogs.

Now down to business. To give something of the flavor of Bad Company, I've decided to post excerpts of the prologue and first chapter. First, here's the novel's opening, in the version from the currently unfinished second draft. If there's a vague resemblance to, say, the 1999 Seattle anti-WTO riots, there's a reason for that which I'll explain later. (Bad Company excerpt © 2008 Dennis Jernberg)

The Dictel Corporation logo looms over the crowd of protesters outside the company headquarters like a gigantic all-seeing eye: a high-tech "D" superimposed over an outline of the American map atop a raised fist, all enclosed within a sunburst-outlined circle transforming it into a malevolent mandala, all in blue on black. Above the logo, "Dictel Corporation"; below, the corporate motto: "We Are America."

Below the giant sign, lining the top of the fortress wall around the gate, a row of heavily armed and armouired mercenary guards point their M-16s at the crowd, awaiting the order to annihilate the protesters. At their center, Dictel security chief James Gabriel, the man giving the order to shoot, stands astride the gate like a high priest preparing his sacrifice.

The crowd below have come from all over the world to protest at the entrance of the out-of-the-way corporate headquarters of America's largest defense contractor. Dictel is infamous for its atrocities in the American-occupied territories of Iraq and Afghanistan. But Dictel management have just persuaded their close friend President Bush to sign an executive complete immunity from prosecution anywhere in the world. The protesting crowd hold signs and chant in unison their demand that Gabriel and his paymasters be arrested and tried for war crimes and Dictel be dissolved. Scope, wearing mirrorshades concealing a dual webcam, hides in plain sight among the crowd to record the event. He notices a half-panicked Gabriel opening up his cellphone to talk. In a rapid series of eye movements, he calls up a program to intercept the cellphone's signal. A notification on his heads-up display informs him that Gabriel is making the call to Colonel Tom Becket, Dictel's chairman/CEO.

"Colonel! We don't have the police support to take on a crowd this size. What do you want us to do?"

In a reassuring voice, the Colonel tells him, "Patience, old friend. There's no way they can break the walls, no matter how hard they try. Besides, we've already determined which organizations they work for. Starr's working on it right now." Clayton Starr is Dictel's chief legal counsel.

"I don't know, Colonel. We don't know who might me lurking in the crowd...the Black Bloc, the SRO, the ERF, or Al-Qaeda, for all we know. And Starr's just content to sue 'em? That'll take forever."

"If anybody starts shooting or throwing bombs, give the order."

"Thank you, Colonel." Gabriel breaks the signal and puts the phone away. The notification disappears from Scope's HUD.

Bob Van Zandt has taught Scope to always seek a darker agenda behind anything the lords of Dictel do or say, publicly or privately. At once he realizes that Colonel Becket has planted a detachment of Dictel mercenaries in the crowd, disguised as anarchist militants. It's one of Becket's favorite tricks, and it almost always works. He also knows that Dictel's as good at intercepting cellphone signals as any phreak. It has an entire division dedicated to monitoring them for the NSA. So he can't call Bob, or anyone else, not while he's in Dictel's scanning range.

Soon enough, a bomb goes off near the wall. Some militant group is trying to invade the headquarters compound. Scope knows that Dictel does not need to infiltrate its opponents in order to drive them to the violence it needs for the company to justfy its crimes as acts of self-defense. Someone hates Dictel so much that they're willing to kill anyone who gets in their way of their revenge. When the smoke dissipates, he sees that part of the wall has collapsed; his HUD informs him that at least two of the armoured guards in the area are dead.

James Gabriel needs no prompting from Colonel Becket to order retaliation. The company has prepared for situations like these almost since it was founded after World War II. Gabriel raises his arm and points down at the crowd of protesters. This is all the prompting the surviving guards need. At once they empty their rifles into the crowd.

Hundreds of protesters fall in the rain of lead. Those who survive Dictel's murderous rage, fearing their own annihilation, flee for their lives, leaving the wounded. Sensing the scoop of a lifetime, Scope gambles his life to record the horror. "Bingo, you fucking psychopaths," he mutters under his breath. Dictel has given him a weapon he can use against it.

Police helicopters full of SWAT strike cops from the county and several cities arrive at Gabriel's command to arrest as many of the survivors as possible. Scope overhears the police call in an army of paramedics to evacuate the wounded. To minimize his chances of arrest, he flicks his eyes across his HUD to cloak himself from the corporate and police signal sniffers. Now that he has everything he needs to use against Dictel, he makes his escape from the scene as fast as he can. But he keeps his head turned toward the killing ground to record as much of the atrocity as he can before he finally turns his cam off.


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Wednesday, July 16, 2008

JulNoWriMo: The Midterm Report

Here's my progress, or lack thereof, this month so far:

  • Bad Company (for JulNoWriMo): 14,014 words written
  • Spanner (second draft): 2 pages rewritten; difficult plotting of first part of opening begun; however, no drawing done yet
  • Songs (for 50 Songs in 90 Days): The first batch of song titles chosen, including the title tracks to my planned albums: Enter the Fist (the Sonic Disruptors) and Mind Virus (the Memetic Terrorists); however, I haven't resumed my guitar lessons yet
Needless to say, I need to pick up the pace again if I want to meet my goals this month:
  1. at least 50,000 words of the BadCo second draft (I now know I'll have to carry it over into AugNoWriMo, delaying Black Science for yet another month)
  2. the second draft of at least the first issue of Spanner
  3. write at least 10 songs
Now what will I have to do to get myself back on track?

In the case of the songs I'm planning to write, I've started collecting titles I'm considering using. That's the first step: get more usable titles than just "Mind Virus" and "Enter the Fist". The next step is to start writing lyrics to match the titles.

The opening to Spanner is proving more difficult than I thought. The climax to that scene has already proved easy: it is, in large part, a homage to the original Macintosh commercial from 1984, which ended with the giant screen of Big Brother was shattered by a sledgehammer. I replace the burly decathlete with a teenage rebel on a hoverboard and the sledgehammer with a big pipe wrench (the literal spanner, or monkeywrench, of the title). The leadup is the hard part. I'm taking the inspiration from the 1999 Seattle WTO riots, but I don't yet know exactly how I'm going to use it. (Spanner, remember, is set starting in 2014.) But once I get out of the opening, the rest will come easy.

That leaves Bad Company. I'm certain I'll pull off my customary come-from-behind wrimo victory. However, my more important goal was not simply to write 50,000 words of the second draft, but to finish it altogether, which means writing at least 100,000 words including rewrites of scenes and chapters I've already written. Interestingly, I'm still adding new scenes to fill in plot holes, of which too many still remain even after 8 months and a NaNoEdMo victory. The synopsis, to which I made a minor revision today (clearing up some of the details), helps greatly, as will the still unwritten plot outline based on it. The opening to BadCo proved difficult, too; I still haven't yet finished the Intro (prologue). I'll complete the opening scene, of the massacre of protesters at the gate to Dictel headquarters, today, easily.

I'm doing one more thing to make sure I get more work done. It's not the obvious thing. I'm reading my books a lot faster than I normally do. I get through books much faster that way. That allows me to go through more books faster, including novels and nonfiction sources; and speed reading gives me more time to plot and write (and draw and play).

Another thing I'm doing is going to places (the community center computer lab, the local library) where I have broadband access. The problem I have with dialup Internet service, which forces me to wait for webpages to load, is that it slows down my mind. A quick broadband connection eliminates the load time for webpages in general and the save time for Blogger and Google Docs, which allows me to think at least as fast as I type. I find it much harder to type fast with the dialup connection. So I need to spend more time at the computer lab and the library so I can get more stuff written. (This doesn't count for the Spanner script, which I'm writing using a special template for Microsoft Word.)

So I have to restate my goals this month so I can actually achieve them all. Stay tuned...

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Monday, July 14, 2008

The Problem with Political Thrillers

There's a kind of suspense thriller that focuses on political problems and even protest. It is, of course, the political thriller. But from what I've read about political thrillers, most of them, especially the left-wing ones, share a commmon problem. It's inherent in the structure of the standard thriller:

There's only one hero.

Why is having just one hero (or a few at most) a problem? Well, political problems are collective problems. Thus, the ideal protagonist of a (left-wing) political thriller is the catalyst hero, a hero whose purpose is to call for other people to fight the Evil as to fight the Evil themself. This is Shira in Spanner. She may be effective enough at subverting the power system (e.g., the United State and its state-capitalist corporate raider controllers), but to destroy it she needs to get a critical mass of the people onto her side. So she must act as herald, bringing the "call to adventure" (in this case, revolution) to as many people as possible. She must be a catalyst.

Now, consider what happens when you make a lone hero the protagonist of your political thriller. At best, you get a preachy and didactic story like many I've read in books or watched in movies. Many other kinds of thrillers are susceptible to this problem. At worst, the author or director glorifies terrorism: e.g., on the right, D. W. Griffith's infamous The Birth of a Nation; on the left, Costa-Gavras' State of Siege. Sometimes your lone hero is doomed outright: Alan Pakula's The Parallax View. In Bad Company, I condense the entire plot of The Parallax View into a single chapter, the prologue: the evil Parallax Corporation is a forerunner of BadCo's even more evil Dictel Corporation, while the doomed investigative reporter in BadCo, Bob Van Zandt, follows in the bloody footsteps of TPV's Joe Frady (the Warren Beatty character). (Maybe I should do a subjective montage sequence as a homage to TPV...) Or the hero goes mad: The Conversation, the film Francis Ford Coppola directed between Godfathers.

Now, take Bad Company. Just as Joe Frady tried to take on the omnipotent Parallax Corporation and was destroyed, so was Bob Van Zandt destroyed by Dictel. His failure must be taken by his ex-girlfriend Charlie Thomas and her sister Desiree as an object lesson. (Another: Ramón "Rashid" Gabriel, who becomes Desi's dominating lover later in the story, takes the terrorist option, the way of Che Guevara, against Dictel and is also of course destroyed.) Fortunately, Bob has left clues to Dictel's intentions. But even though Charlie and Desi have direct family connections to Dictel (through their mother, Drusilla Becket), they know they are weak and cannot stand against the all-powerful military conglomerate, alone or together. They know the entire political and economic system is rigged in favor of Dictel and against anyone who would dare to oppose its hegemony. After suffering failure after failure, with the occasional small victory, they know that their only option is to turn the people against Dictel and, if necessary, the whole political system. Thus Desi piratecasts appeals to the people, calling for them to discover (or realize) the horrible truth and revolt; and Charlie, kidnapped and held hostage by Dictel's own chairman, Colonel Becket, finds she can exploit her tabloid celebrity image to gain sympathy for herself and turn the people against the Colonel and Dictel. As the only way to stop Dictel's "hostile takeover" of America is to convince the people to reject the company's dictatorship, violently if necessary, Charlie and Desi must be catalyst heroes. There is no other way — or rather, the way of the lone hero, the traditional thriller standard, must fail against a menace so massive and destructive.

So I'm breaking the venerable tradition of thrillers by destroying my lone heroes (Bob and Rashid) early and forcing my surviving heroes (Charlie, Desiree, Yasmin, and the rest) to not just team up with each other, but to bring the American people (those who aren't "patriots" taking part in the conspiracy, of course) into the fight on their side. The lone hero and the hero team of the traditional thriller just won't work if you want them to beat a collective villain as seemingly invincible as Dictel. Otherwise, you get the crushing down endings of The Parallax View and The Conversation. I intend to sting the evil corporation hard. So Rashid's quixotic battle must fail absolutely, and Bob must act as herald to the catalyst heroes who act as herald in turn.

Really, Bad Company revolves around what Ayn Rand called (in Atlas Shrugged) the sanction of the victim. An evil as powerful as Dictel can't possibly be defeated unless a critical mass of people under its domination cease to accept its tyranny and fight against it. It's this idea that underlies the change I'm making in the tradition of thriller heroes. Just one person withdrawing their sanction from some arbitrary authority is not enough, especially when that authority uses massive amounts of fraud and terror to coerce the sanction of millions of victims. The key phrase here is critical mass.

Also, the lone hero (or small hero team) in the political thriller raises another problem: substitutionism. According to socialist critics, this is the substitution of individual heroism for the mass action required by any genuinely democratic revolution. Terrorists are especially guilty of this sin; in BadCo, this means especially Rashid and "A". Substitutionism is also the fatal flaw in representative democracy (the name itself contains the fatal contradiction). Militant or other political action intended to substitute for mass action produces a dangerous passivity in the masses, tempting them to give away their sanction to people more likely than not to be villains aiming to dominate them. And what are dictatorship and monarchy but the ultimate manifestation of substitutionism? In modern America, the most powerful substitutionists are the neoconservatives, and mercenary corporations like Dictel are being established to force their substitutionist ideal upon an unwilling populace. For substitutionism is simply another name for elitism. And elite domination requires the sanction of its victims in order to dominate. When the victims withdraw their sanction — in other words, refuse to be substituted for — the masters' power collapses.

So that explains my departure from the thriller tradition. I have a near-invincible collective villain, and yet I don't want my heroes to lose. So, I'm forcing my surviving heroes to draft a much larger collective hero against that villain. And that's why I'm doing Bad Company as not just a political thriller, but as political horror.

And this concludes my political horror series.

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Tuesday, July 8, 2008

Goals for July 2008

This is my first post in over 3 whole weeks. Last month I put so much effort into the Bad Company synopsis, wrestling that elusive plot into workable shape for the first time, that I neglected everything else. Well, here's my goals for this month:

  1. For JulNoWriMo, at least write 50,000 words of Bad Company. Better yet, finish the second draft!
  2. Edit Spanner and complete the second draft of at least #1.
  3. For 50 Songs in 90 Days (hosted by FAWM), write at least 10 songs this month, including songs for Charlie to sing in BadCo.
  4. Start learning the guitar again.
  5. Learn enough HTML to design a website of my own that's not "plain-Jane".
Unlike last month, I don't have to battle the BadCo plot; I finally fixed it last month. (I have been doing some worldbuilding notes, though.) The only enemy I still have to beat is procrastination.

I've taken a week to start pursuing my goals. This is not a Good Thing. I need to use some strategies for becoming productive again if I want to get off my butt and stop moping. Fortunately, I've finally started writing again. Next, I'll need to start plotting the opening scenes of BadCo and Spanner.

Here's a surprise: When I was heading off to the neighborhood community center for a how-to-rent class (followed by a computer class), my muse suddenly decided to have Desiree regale me with the opening of my '08 NaNoWriMo novel, Points of Authority. Here's the gist of it: After the wild events of BadCo, in which Desi and her sister Charlie are publicly revealed to be in love (after their violent efforts to remain in denial fail miserably, even to kill them), Desi opens PoA with a description of a lesbian porno video making waves on the Internet. The two beautiful young women are obviously into each other. Gradually she reveals details: one is a redhead, while the other's hair is strawberry-blond; they look suspiciously like sisters; in fact, they are sisters; and of course the sisters in question are Desi and Charlie. Desi says the series of videos to which this one belongs helped boost Charlie's singing career, since scandal is always a boon to a rocker. But Desi has settled into her calling as an underground webvideo reporter dealing with the most controversial subjects; these videos, she says, make her seem frivolous and Unserious to those more sober types she calls Serious People, who tend to look down snobbishly on people who like sex, and especially those who let the world know it. That's the gist of her opening narration. Still, I realize that I need something before it, something violent and mysterious. An Inciting Incident, in other words.

Lately I've been reading a lot of books on writing. Here's (most of) the list so far:
  • Robert McKee, Story
  • John Truby, The Anatomy of Story
  • Christopher Vogler, The Writer's Journey
  • Philip Gerard, Writing a Book That Makes a Difference
  • Carolyn Wheat, How to Write Killer Fiction>
  • Robert J. Ray, The Weekend Novelist
  • Les Edgerton, Hooked
  • Howard Mittelmark and Sandra Newman, How Not to Write a Novel
  • and so on...
As you can tell, I'm serious about knowing what to do and how to do it. I want to make sure I really do know how to write. The hard part is actually writing it.

I've been writing a whole lot of notes for BadCo over the past month. So now I have a much better understanding of what I'm writing, and how the two seemingly incompatible concepts (sisters in love with each other, and paying the social price; the invasion of America by a Blackwater-type corporation) fit together. I won't get into any of this tonight. However, there's two thing I need to remind myself about my (human) archvillain, Colonel Becket:
  1. He's devoted to the kind of misogyny and eugenics-related pseudoscience that was mainstream until Hitler made it lunatic-fringe, the kind of bullshit described and denounced by Klaus Theweleit and Bram Dijkstra. Social Darwinism is only the beginning.
  2. He is ultimately derived from my memories of the ultra-villainous Baltar from the original 1970s Battlestar Galactica TV series, with psycho mercenaries replacing Cylon robots. But this neo-Baltar strides the world like a god; he wants to enslave humanity, not merely destroy it.
Also, I read the introductions and afterwords to Orson Scott Card's Ender novels (those I have; I'm missing three of them) and found a new and very useful concept: Center versus Edge nations. The Arabs were the Center of western civilization in the Middle Ages, only to be relegated back to the Edge by the Mongols and subsequent invaders including the Americans; they're as Edge as the Japanese, only far more violently. Meanwhile, America managed to be the Center nation of the whole world for decades, but is now in rapid decline and is quickly being cast away to the Edge where it began. My strategy in the Dictel/Spanner cycle is to focus on Edge heroes (atheists, ravepunks, hackers, rockers, hoverboarders, monkeywrenchers, incestuous lesbians, SF/fantasy/comics/anime fans, etc.) in a collapsing empire (American, of course) where the Center is rapidly falling apart. By Black Science, in fact, the Center is clearly moving away from dying America toward Asia plus possibly Europe. By Spanner, America is no longer of any consequence, whether economically, politically, militarily, or culturally; in fact, America is the Evil Empire, and the world's existence depends on the American military theocracy being overthrown as soon as possible.

There's more I can write about tonight, but it's getting really late (4:30 a.m. PDT) and I need to sleep. And so I conclude this entry.

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Sunday, June 15, 2008

Political Horror, or Governments as Living Gods and Corporations as Hostile Alien Lifeforms

In the third of my posts on collective villainy, I'll talk about genre. Now, you might read a whole lot of books and articles about political crimes and governmental shenanigans, but no matter how all-powerful they get you've probably never thought of them as literal gods. You might read all the business publications in the world and still never conceive of even the most predatory corporations as hostile alien lifeforms. Is the Federal Government of the United States of America a berserk Titan? Is Enron a collective vampire? Is Nazi Germany the manifestation of one of the dreaded Elder Gods? It may or may not be true in the real world (but see the last two posts), but the answer is a definite yes in the new genre of fiction I'm creating, a hybrid I'm calling political horror.

When I say "political horror", many of you probably think of such dystopian novels as 1984, Brave New World, and Darkness at Noon. They are indeed the forerunners to political horror. But I have something different in mind.

First take the political thriller subgenre, especially antigovernment and anticorporate thrillers. Now consider the organizations involved. Not their ideology or function or anything like that. Their structure. They are what some social scientists call superorganisms, which act as if they were lifeforms in their own right. Some of these, including most governments and the corporations dependent on them (and, not coincidentally, all criminal gangs including cults and terrorist organizations), are predatory and sometimes downright vampiric. All such coercive organizations feed on human energy; some prey on natural resources and even other organizations. Legally, they are citizens, "legal persons", with more rights and freedoms than the merely human subjects of the realm.

In the pioneering cyberpunk novel Count Zero, William Gibson combined a totalitarian anarchy of corporations with a cyberspace full of voodoo gods. Combine the corporations (and governments, religions, and gangs) with the gods, and you should get the picture. Collectivist entities are the new gods of the modern age, with all the omnipotence and indifference to human life and suffering characteristic of Jehovah and the gods of old. The book and movie The Corporation characterizes the "personality structure" of these organizations as specifically psychopathic. In Gibson's first and most famous novel, Neuromancer, he hints that artificial intelligences too are on the verge of becoming similar godlike beings, a view he reinforces when he depicts the progeny of the mating of the AIs Wintermute and Neuromancer as voodoo gods in Count Zero.

Thus, in Spanner and the novels of the Dictel trilogy (Bad Company is the one I'm working on right now), Dictel Corporation and the US federal government are single characters. They are, needless to say, not heroes; in my humanistic vision I reserve heroism to humans, who have love, compassion, and conscience, three things collectivist entities are totally incapable of. And, of course, I call Bad Company, Black Science, and Points of Authority the "Dictel trilogy" because Dictel Corporation is the main villain of each of them. Not Colonel Tom Becket or any of his brothers, but their company.

The governments and corporations of the Dictel trilogy in particular are the primary source of the horror in the stories. Here I'm using a new horror subgenre to criticize, among other things, posthumanism. Now, posthumanism is supposed to be about the evolution of humans beyond the human. But the posthumanism of Colonel Becket, based on a fundamentalist interpretation of Social Darwinism, is based on the claim that superior beings have involved that make humans obsolete. It's no longer a matter of making sure the Aryan race remains superior to the African race or vice versa. The whole human race, regardless of skin and hair color, is now the inferior race. There's a new master race, and it consists of governments, corporations, religious organizations, and criminal and terrorist gangs. The new gods.

Know the truth. And fear.

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Thursday, June 5, 2008

Dictel Corporation, the US Government, and Other Collective Vampires

Last time, I wanted to make it clear that Dictel Corporation is the villain of Bad Company and the rest of the Dictel trilogy. However, I'd forgotten one thing: the nature of the beast. I'd written about this subject a lot during NaNoEdMo on the EdMo forums, but I never wrote any entries here in Spanner's World about it in March. So I'm making it clear right now that Dictel is no ordinary institutional menace. Or rather, institutional menaces are more than just institutions. They are collective vampires.

When a business grows beyond a certain critical mass of size and managerial bloat, it tends to lose its competitiveness and turns to the government to beg it for an unfair advantage against its nimbler competitors. If it succeeds in doing so, it starts feeding vampirically on the taxpayers through the coercive power of government. It ceases to be a free-market entity and becomes a state-capitalist one. A monopoly or cartel tends to work the same way, since it pays protection money (i.e., bribes) to the government in exchange for a ban on competition. Some companies are vampiric by design: these are called government contractors, state-capitalist entities intended to avoid all exposure to the destructive forces of the free market.

Governments, of course, are vampiric by their very nature. After all, the basis for their existence is the extortion of money (called "taxes") from all its subjects using the coercive power of the police and military. Anyone who does not pay taxes is harshly punished. The money thus extorted goes to pay for the rulers who impose their domination over us puny humans. A government, basically, is a mafia which has gained the monopoly on the initiation of force.

Religious and ideological institutions are collective vampires created by mind viruses. Their purpose, of course, is to ensure the virus' supremacy at the expense of all other memes it cannot assimilate. The most extreme of such entities are the cults and terrorist gangs. Without the mind virus, all you have left is a simple, nihilistic criminal gang.

Now consider the US government. It's the most bloated and insatiable collective vampire of all. It wants to devour the whole world, if not the entire universe. In its insatiability, it resembles the Borg in the later Star Trek TV shows and movies, though it doesn't have the Borg's collectivism. Basically it's an empire in dinosaur mode, growing so extremely large and unwieldy so fast that it's bound to collapse underneath its own weight — just like its now dead symbiotic enemy, the old Soviet Union. The US government's monomaniacal devotion to military Keynesianism and total world domination at the expense of all political and economic reason is driving the country into bankruptcy and collapse. This shambling corpse is sucking the nation dry and wrecking much of the rest of the world. After reading Chalmers Johnson's Nemesis, I now realize what the last book in my trilogy, Points of Authority, is about: the fall of the Third American Republic, and the struggle (in what may even blow up into a civil war) to save either the empire or the nation.

And now Dictel. It's typical among defense contractors in that it has an insatiable and always escalating appetite for taxpayer money. It's one of those parasites on the vampiric body of the government that makes it even more vampiric than it already was. That makes these state-capitalist corporations doubly vampiric. Now, Dictel also has an insatiable appetite for other corporations, which it devours greedily. In Bad Company, the power-mad Colonel Tom Becket decides to go further: the parasite decides to devour the host. Dictel attempts to overthrow the US government in order to save the empire from its seemingly inevitable doom at the hands of the nation once John McCain, the champion of the military-industrial complex, loses the election (he's so identified with the unpopular economy-destroying Middle Eastern colonial wars that people will soon get annoyed with him and elect fresh face Barack Obama, thus ending the long-running Nixon-Reagan dynasty in its 30th year). If McCain does lose, the military-industrial complex and its bought and paid-for political legions will not be happy. Obama will be elected by people who hope he will end the war and shrink the empire. Bad Company is based on the premise that the military-industrial complex will do anything to prevent him from impacting its parasitic state-capitalist business, up to and including a coup d'état. It will even go so far as to declare war against the people, which it and its neoconservative political enablers will proclaim traitors against the Nation (read: the Empire and the military-industrial complex) who stabbed it in the back. Colonel Becket is the loudest of these voices of hate. And he acts on his words by attacking the American government in order to save the empire by destroying the nation.

Yes, Dictel is a vampire. All my stuff about "Dragonites" like the Beckets being hereditary vampires of some kind will look silly once the real vampires come on stage. The collective vampires of the Dictel Trilogy, like the assimilants of Spanner, are old-fashioned vampires, creatures of pure appetite, murder, and horror, which greatly resemble H.P. Lovecraft's gods — but since these vampires are institutions, their bodies are made up of groups of people, along with electronic devices (computers, phones, etc.) and networks, vehicles (cars, airplanes), etc. They generally have their own contracted services, including even private armies, contracted out to other institutions — and so their bodies are covered with parasites, vampires that feed on other vampires.

If the Dictel trilogy starts to look anti-corporate, you're close. I'm not against the free market or even globalization, but I'm definitely against state capitalism. Didn't it already fail in the old Communist and Fascist countries? It'll continue to fail. But in the meantime, the collective vampires keep their fangs sunk in our pocketbooks and even our souls, bleeding us dry until the day comes when we can no longer take it. If the people are strong enough, there will be revolution. I can guarantee you that.

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Monday, June 2, 2008

Isn't the Dictel Trilogy Supposed to Have a Villain Called Dictel Corporation?

Tonight I realized that I haven't paid enough attention to Dictel Corporation in the Dictel trilogy. Now, you can't have a good thriller without a strong villain, and Dictel is one of the nastiest collective villains in fiction. We're talking a combination of Blackwater, Halliburton, Enron, a big weapons maker, and the Mafia. Even better, there's an dark occult secret behind the company, and a cult it's promoting as a replacement for a dying Christianity. Cross an anticorporate thriller with something like The Da Vinci Code. And cross George Orwell with H. P. Lovecraft by giving the Dictel brass, led by the powerful Becket brothers, a new kind of Social Darwinist ideology which claims that corporations are the new kind of lifeform destined to replace humanity as the masters of Earth. I neglected all this, and thus my plots for Bad Company and Black Science became weak, turning my manuscripts into complete messes I could not straighten out. Until now.

And so I've started replotting my novels. I realized that the plot of any book in the Dictel trilogy must be the answer to the question, "What the hell is Dictel trying to pull this time?" I started by trying to figure out what Dictel was up to in Black Science; when I wrote on the card that their actions were an attempt to recover from their actions in Bad Company, I decided to dedicate some index cards to just Dictel alone. Dictel's actions in that first novel now take up both sides of four entire cards, with the company's attempt to overthrow the American government in the wake of an Obama victory having two cards dedicated to it, completely filled up with small print. Now I have something to structure the events of Bad Company on. I have my collective antagonist at full strength now. All that's left for me to do is link the sister romance with it. I've already provided a few links on the cards in the events involving Charlie and Desiree, so now — at last! — I'll now find the sister-romance element relatively easy to plot. And now I've finally found a role for a new collective protagonist, the American people, whose country is being taken over by a hostile corporation created by their own government. This turns the previous dual protagonists, the sisters, into catalyst heroes. To most people, the predicament the events of Bad Company present them with is something like a "lesser of two evils" situation like the presidential election itself: which would you rather tolerate, an incestuous lesbian romance that most people find disgusting and immoral, or the dictatorship established by an evil corporation to keep American troops in Iraq permanently? Once again I return to the idea of mad love as a revolutionary act.

Yes, I have all the crazy ideas I need, and they're wild and crazy indeed. But I can only translate them into bestseller success as long as I have a consistent and coherent plot, believable characters, and some good writing. These are in fact what I've struggled with for the past year and a half.

In Black Science, Dictel is no longer an American company. It's now an outlaw corporation becoming a global menace by making piracy a major profit center to raise money for a new terrorist assault on America. After the collapse of Colonel Tom Becket's hostile takeover attempt against America, new chairman Richard Becket (the second brother) attempts his own hostile takeover, this time of the minds of the American people. He and #3 brother Dr. C. Henry Becket expand the mind control project from Bad Company into something really scary. Sure, there's mind control devices involved. But remember that in Bad Company, Charlie and Desiree's mother Drusilla Becket (the Becket brothers' youngest sister) is a right-wing New Age guru who channels an alleged extraterrestrial god who calls himself "Aton" and claims to be "The Nine", that collective ET that claims to be the gods of Egypt and has been so trendy within New Age and ufology circles since the 1970s. This is the syncretic new fundamentalist religion that Lynn Picknett and Clive Prince criticize in The Stargate Conspiracy. As the Christian Right collapses and the Evangelical megachurches that Karl Rove turned into the formidable political machine that brought George W. Bush to supreme power disintegrates, the American political elite has been preparing a new religion which promises to be as powerful a tool of social control as Protestant Christianity was until recently. It's a new American counterpart to Islam — and, of course, it's hostile to Islam because it intends to replace it just as Islam replaced Christendom.

And that's why both the heroine of Black Science, Dr. Willa Richter-Thomas (Charlie and Desiree's paternal aunt), is a psychologist, and her ex-husband and bitter enemy Dr. Henry Becket (the sisters' maternal uncle) is a behaviorist who used to work for MKULTRA during the Cold War. Also, I intend to draft not only psychology and evolutionary science into the plot, but memetics as well. In the backstory, I should draw on other secret US government mind control and psychic warfare projects besides MKULTRA, and maybe even their Soviet counterparts as well. One thing I realized while watching Indiana Jones and the Kingdom of the Crystal Skull recently is that one goal of Stalin's psychic research project was the creation of a hive mind, the ultimate form of collectivism. In other words, Stalin was having his psychic researchers try to create a true assimilant. Remember the Borg? Like that.

I chose the name Black Science by analogy with "black magic": black science is scientific research and technological engineering used the same way psychic power and supernatural entities are used in black magic: to harm and/or control rather than to benefit. In Black Science, I'll give you black science in spades.

Now you know what you're going to have to deal with in the Dictel trilogy. I'll give you another taste soon.

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Sunday, June 1, 2008

My Goals for June 2008

May is finally done. Since I no longer have writer's block to deal with, I think I can actually achieve my goals for June. These are:

  1. Rewrite the Spanner script. This is a Script Frenzy thing, using the old month (June) as the "EdMo". The deadline is June 30. In addition to the script rewrite, I'll do the accompanying page layouts.
  2. Finish the second draft of Bad Company. This is when I'll start fitting the old scenes and plotlines from the first draft back into the rewritten story alongside the new ones.
  3. Complete my self-instruction course on how to draw the human figure, then begin drawing my character designs.
  4. Learn how to play the guitar, learn at least a little about how to play the piano (or keyboard), and learn to read music better. This is for the "50 Songs in 90 Days" thing I'm doing in lieu of FAWM.
  5. Start relearning French, German, or both.
I should have a better chance at pulling this off now that I'm able to write again. The script rewrite should be the easy part.

For Spanner, I'm doing my world building this month, especially in the first week or so. I've got a few background ideas I need to work with in order to understand the story better, mainly dealing with the social, political, and historical context. I need to fully embed this story in its context if I want it to have its full impact. Even with this understanding, though, context has never really been my strong suit. I'm going to start with the gigantic political kludge known as the Euro-American Union, particularly its origins and the conflicts that threaten to tear it apart. Future entries will focus on other subjects, including the "New Caliphate", the Asian techno-countries, and Social Darwinism.

I've already started adding new scenes to Bad Company, including the excerpts I posted last entry. I haven't actually put them in the manuscript file, but I will when I get back to it. Soon I'll post the opening chapter here in two parts.

I'm even going to edit the four chapters of Black Science I've managed to write so far, and I might even post them here too. Here's the story so far in a nutshell:
  • Chapter 1: The suicide bombings by the terrorist Revolutionary Army of the Infant Jesus, intended to assassinate scientists for the sin of believing in the alleged heresy of evolution. The last intended target — our heroine, Dr. Willa Richter-Thomas — foils her attacker with a single well-aimed shot.
  • Chapter 2: It's revealed that the murdered and injured scientists were connected with the impending debate with creationist firebrand Rev. Joseph Creel, a fiery black preacher with a reputation for ripping his evolutionist opponents to shreds. Defying pleading friends and a mentor determined to stop her, Willa agrees to debate Creel and refuses to allow anyone or anything to stop her.
  • Chapter 3: The evolution/creationism debate. Willa proves such a formidable debater that she stuns everybody, including Creel himself. When she defeats him, his fundamentalist fans get into a brawl with her militant atheist supporters, and the whole thing degenerates into a riot.
  • Chapter 4: The victory party for Willa, held despite the riot. She finds herself the darling of atheists and secularists far more militant than herself. However, slimy Dictel corporate lawyer Marshall Brinkman (Drusilla Becket's personal lawyer in Bad Company) crashes the party to give Willa a Faustian bargain she can't refuse. She laughs at him and refuses it. When the Revolutionary Army of the Infant Jesus tries to attack the party, Brinkman leaves with warnings of dire consequences.
I'll remove the dead scenes, completely rewrite the first two chapters, make chapter 3 read far more quickly and add the illustrations that Willa shows on the big projection screen, and add all the characters I need to start with and remove those I have no more use for. Then they'll be ready to post.

Since I'm both doing all the art for Spanner and designing the covers for the novels, I need to finish my drawing self-instruction and learn both graphic design and how to use The GIMP and other graphics programs. After all, I want to get Spanner #1 drawn and ready so I can post it on September 9.

I'm getting back to learning how to play the guitar because I want to be able to write songs for "50 Songs in 90 Days". Come to think of it, I'll actually post some of the songs I write right here in Spanner's World, especially those I can get Bad Company heroine Charlie to sing. I'll eventually record some of my songs myself, and I'll have them available for download somehow.

These are the major goals I've set for myself this month. This time I intend to achieve them all!

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Saturday, May 31, 2008

MayNoWriMo: The Final Non-Progress Report

So MayNoWriMo is over, and I've hardly written a thing in almost three weeks. Furthermore, I haven't posted an entry here in Spanner's World in almost two weeks. So here's the final word count for the month:

  • Black Science: 7,501 (goal: 50,000)
  • Bad Company: 9,988 (rewrite for second draft)
So what went wrong? I came down with a nasty case of writer's block, that's what. Now it's gone away, but too late to save my MayNo.

I planned to write 50,000 words of a new draft of my '06 NaNoWriMo novel, which I now call Black Science. Obviously I didn't. When I tried to resume writing it tonight, the scene died right in the middle of writing it as the plot shifted right under my feet. Young Jennifer Blair, who was to be kidnapped in the original plan of the novel, now isn't. Now she's being enrolled in a highly praised, recommended, and award-winning school for the gifted that turns out to be a front for a secret military project being administered by the evil Dictel Corporation. And who should be running the project but Willa's ex-husband and bitterest enemy, Dr. Henry Becket! So I scrapped the scene. All that's left of the scene now is these words for an index card: "Willa visits her real father." Just what she's visiting him for is up in the air now, but I'll find a place for that scene somehow.

The scene that broke my writer's block was a rewrite of the "Spork Incident" from Bad Company. Here's a little background on it: John Cameron (Jack) Becket, second son of Henry Becket (#3 man at Dictel) and one of Dictel's most ruthless mercenaries, has tracked down our heroine Charlie (his cousin, ironically) to a fundraising potluck and is trying to kill her. Why? Because she has found out too much about Dictel's plans and is dangerously close to uncovering the company's plot to take over America. So here's the first ever excerpt of Bad Company: the climax of a still incomplete late chapter, told from Charlie's own point of view:
Jack pulls back his fist to punch me. Suddenly time slows down to a crawl. I raise my arms to shield my face just in time. The impact sends me flying into the table behind me, sending food and utensils and who knows what else flying all around me. I don’t get a chance to get out of his way because he jumps me instantly, clamping my neck with his hands to strangle me. I stare up terrified into his hate-contorted face. Only a few seconds left to live: ten, nine, eight...

I flail around desperately, feeling for something to hold onto. I find nothing I can grip but a lousy spork.

I hate sporks.

Oh, well. It’ll have to do. I grab it by the handle.

The world starts fading to black: five, four...

Time slows once again. I raise my newly armed hand past those steel cables he calls arms and aim the business end of my weapon at his eye. Silently I pray my impossible gamble will work. The spork goes “chunk” into his eye.

He lets go.

An instant seems forever. I sit there seemingly paralyzed. He raises his hands to his eye and lets out a feral howl. Slowly I crawl backwards away from him, staring transfixed at him. He tries to take the spork out of his eye, but he yanks on it too fast. The handle breaks off. The spork end is stuck in his eye.

Time speeds up again. I know Jack’s going to kill me. I turn around and get up much too slowly, and run away as fast as I can. I don’t care where I’m headed, only that I must get out now. I run like I’ve never run before.

I don’t know how far I’ve run, or how fast. I lose all track of time and space. The last thing I remember: I collapse from exhaustion, curl up into a fetal ball, and cry and cry and cry.
After this, John Cameron Becket will forever be known as "One-Eye Jack", a name he despises, thanks to Shira, who laughs at him. He'll try to get violent revenge against Shira for that in Spanner, and of course he'll fail repeatedly, since Shira will be a much more formidable opponent by then. His attempt to kill Charlie backfires: now she's determined to find a way to stop Dictel's invasion of America at all costs. She makes her decision while she's lying in a hospital bed in the very next scene.

I also wrote a few early scenes of Bad Company in Charlie's POV (the other narrator is her sister Desiree). Here's the first one I wrote (right after the "Spork Incident" rewrite). The background: Desiree has just run away from Drusilla's house/prison, to half-sister Ruby's house where Charlie is staying. Ever since Charlie got kicked out of the house by Dru, she's avoided her reflection for so long that she no longer knows what she looks like. She's out of the shower and is about to brush her teeth. Charlie tells the story:
In front of me I see a disjointed marionette in the form of a beautiful naked woman: chaotic auburn hair, blue-green eyes, the body well shaped but skinny enough for the ribs to show through. I raise my right arm, and the woman-puppet raises her left; I raise my left arm, and she raises her right; I lean forward, and so does she. In unison we reach out to touch each other, only to hit a glass barrier: the mirror. With a shock I realize that the life-size puppet I see in the mirror is my own reflection. I shriek suddenly and see myself jerk. "Get hold of yourself, Charlie," I tell my reflection. I close my eyes and take a deep breath, then let it out slowly. I open my eyes again and stare in disbelief at the beauty in the mirror. I've always been shocked to see such a beautiful face reflected at me, because I've never felt pretty. I blow a lock of hair off my face.
So this is the first real taste of my fiction that I've given the world (all the excerpts for NaNoWriMo and Script Frenzy are unedited versions from first drafts). I hope you like it and would like to see more.

Meanwhile, I have plans for June. First of all, there's the second draft of the Spanner script (issues 1-4), plus all the drawing that goes with it (thumbnail layouts, character designs, and any self-instruction I still need). I also intend to complete the second draft of Bad Company, from which I took the scenes I quoted above. Now that my writer's block is finally cured, it's time to get back to work...

(Excerpts from Bad Company © 2008 Dennis R. Jernberg.)

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Sunday, May 18, 2008

Panic Time!

About this time every WriMo, I reach a point where I look at the date on the calendar, then look at my shockingly low word count, and panic. "Gasp! The deadline's only two weeks away!" This is when I stop procrastinating and start writing. In fact, it's usually in the last two weeks that I do most of my writing, period.

A good example is last month. The end of Script Frenzy was only two weeks away, and I had written only 40 pages. As almost always happens, I got off my duff and started writing. My final page count was 171, and I'd finished a amazingly good first draft compared to the absolute messes I usually create during a novel-writing month.

Now consider this: there's two weeks left in MayNoWriMo. The word count for Black Science currently stands at 5,790. Clearly I've been procrastinating. Part of the reason is that I spent too much time working on Bad Company instead: the character dynamics of that novel fascinated me much more than the less complicated stuff in Black Science. I guess there's simply more emotional kick-in-the-gut in Bad Company,. Another reason is that I simply took a week off. I didn't even touch the computer for a week. There's weird reasons for that, which I won't get into. The result is that I'm way behind in writing Black Science.

I know what comes next. I start writing. I write up a storm so that I surpass the margin of victory. I write my butt off at times. Then, after 50,000 words, I put the novel aside and turn to the next project. What do I have scheduled for June? I plan to complete the second draft of Bad Company, and the easier job of writing the second (and probably final) draft of Spanner. But first, I have about 45,000 words of Black Science to write. Here goes...

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Monday, May 12, 2008

Black Science: MayNoWriMo Progress Report #1

I'm not getting very far into Black Science yet. I have none of the historical interludes yet. I'm struggling with the opening sequence. I may have to pad the word count with cancelled versions, though I hope not. I've still only written about 4,700 words. Still, I have the idea from last post, which basically boils down to terrorist war between eugenicists and creationists. But once again a book has completely changed a story while I'm writing it. The book this time is Monkey Trials & Gorilla Sermons: Evolution and Christianity from Darwin to Intelligent Design by Peter J. Bowler. It's basically a history of the theory of evolution and its repeated clashes with creationists since the 19th century. Since in it Bowler shows that Darwinism wasn't the dominant theory of evolution in the early 20th century (until the new science of genetics merged with it) and that the "intelligent design" people frequently clash with the hardcore fundamentalist young-earth creationists, the opening to Black Science now looks petty and malinformed. I can no longer add onto the opening, like I normally would in a first draft. I must replace it completely, or Black Science simply cannot be written at all.

Basically what the book did was unblock the writing of a book I've been unable to write. But whenever a new idea unblocks me, it does so by forcing me to completely change everything. Usually I'm in the middle of a WriMo; the combination of deadline and target word count usually force me to leave in the now useless cancelled chapters so I can pad the word count. I hate this; it infuriates me. I feel like Sisyphus forced back to the bottom of the mountain to roll the boulder right back up again. But it seems to always happen, especially when writing a first draft, which thus becomes a completely unreadable catastrophe because of it. What's worse, I always leave huge plot holes. Well, I guess I'll just have to mark the first two chapters "Cancelled" and then follow them up with their replacements.

Meanwhile, I've done little research yet, and Black Science is the kind of novel that requires some pretty heavy research. In fact, I've done almost no research on it since NaNoWriMo '06, when I wrote the self-destructing original version that I would quickly discard except for two scenes which I decided to keep and rewrite. None of the historical characters (except, of course, for their fictional ex-colleague, who happens to be one of my main villains) have been written into the story yet, nor have I written any of the historical interludes.

Right now I'm way too agitated over both this and my Web browser's misbehavior to be able to write. I need to calm myself down, then go directly to bed. But I'll write myself a note. And then I'll start my way back up the mountain.

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Sunday, May 11, 2008

A Simple Conflict to Complicate: Dragonites vs. Enders

I was reading a book on the Book of Revelation (also known as the Apocalypse of John), called A History of the End of the World, by Jonathan Kirsch. He shows that the last book of the Christian Bible is a rage-fuelled mind bomb so potent that it has all but dominated Western culture at least since Emperor Theodosius turned the Roman Empire into Christendom by decree in 391. But the most important point I'm drawing from it in this entry is the extreme dualism the Apocalypse embodies. From at least the middle of Black Science all the way to the end of Spanner, America is torn apart by an apocalyptic duel between two factions determined to put an end to American democracy and replace it with an apocalyptic theocracy: the Gnostic fundamentalist Dragonites, the ultra-elitist conspiracy of self-described supermen who want to reimpose the old totalitarian caste system based on a cult of blood; and the Christian fundamentalist Enders, that group of militant cults determined to put an end to the world by force. Actually, the Enders don't have to be Christian; the Islamists and the Jewish Messianists are also Enders. Both factions see the world in ultra-stark black-and-white, either-or, with-us-or-against-us terms. If you're not for one faction, they believe, you are by definition part of the other. This is a "Gordian knot" that desperately needs to be cut before it destroys the world. In my dialectical worldview, there must be a third force dedicated to disrupting both forces. This force I call the Spoiler. But the Spoiler's disruptions are useless unless (s)he fights alongside, and for the sake of, the common enemy of both Dragonites and Enders: the people.

The Dragonites first show their power in Bad Company as they use the mercenary army amassed by Dictel Corporation to try to forcibly impose their ideal of Synarchy on an unwilling America. As Black Science begins, the Enders make their presence known in the form of a suicide bombing by the Revolutionary Army of the Infant Jesus. By Points of Authority, the Dragonites and Enders have plunged America into civil war and are determined to destroy it so they can replace it with their own apocalyptic utopias. To prepare for this battle between the militant dualists, I'll need to insert a little course or two on dialectics: first, the extracurricular education of the sisters Charlie and Desiree in Bad Company, then Willa's defense in the middle of Black Science. Thus I'll prepare you for the coming of the Spoiler in Points of Authority.

In The Stargate Conpiracy, Lynn Picknett and Clive Prince show a nasty apocalyptic streak in the new Theosophy-based, Egypt-mad, Freemasonry-inspired New Age fundamentalism, drawing largely on the works of Alice A. Bailey and Edgar Cayce. Many ancient schools of Gnosticism, including Manichaeism, are also heavily laden with eschatology. All eschatological systems, including Jewish, Christian, Gnostic, Islamic, and whatever else, ultimately derive from that of Zoroastrianism, with its final savior called Saoshyant.

Dr. Willa Richter-Thomas, main character of Black Science and a major player throughout the Spanner cycle, is the first to name the two factions, the Dragonites and Enders. Early in Black Science, she accuses them of trying to immanentize the Eschaton — meaning, basically, to force the End to come about and to force the world into the image of the apocalyptic New Jerusalem. She counters their militant dualism with her own dialectical understanding of the world. She is the one who comes up with the term "Spoiler" (while looking at her mischievous niece Shira, of course).

I should add that just because the Richter-Thomases have been fighting the Beckets, a leading Dragonite family, doesn't mean that they take the other side. The Enders hate the Richter-Thomases as violently as the Beckets and other Dragonites do.

I'll end by explaining the names:

  • The Dragonites are said to take their name from the Dragon of the Book of Revelation. They take their name from the historical Count Dracula (Prince Vlad III of Wallachia), cofounder of something called the Imperial and Royal Dragon Court and Order. Dragonites, or just "Dragons", are members of this order. They think they're supermen, living gods, whose destiny is to rule the rest of humanity, who are mere apes, the Dragonites' natural prey. These are the real-life vampires. Any Marxist revolution would lead to their destruction, which is why they formed the Synarchist International to oppose the Russian Revolution. Capitalism is also a rebuke to their lust to rule.
  • The Enders are those who want to end the world. Some of them really do want to destroy the material universe in order to replace it with a spiritual reality purged of matter. Others simply want to destroy the existing order and establish a totalitarian theocracy. Al-Qaeda are the most infamous of this class of Enders today. Terrorism has been the Enders' preferred method of seizing power for over 2,000 years.
  • The people, naturally, are caught in the crossfire. The challenge, of course, is to wake them up. Both the Dragonites and the Enders mock them and claim they are incapable — spiritually, say the Enders; genetically, say the Dragonites — of waking up and freeing themselves. But I'll have to remind both Dragonites and Enders, though they'll never listen, that they're denying evolution. The Threat from Below will be nature's revenge.
Some of you will probably think my ideas are crazy. Sure they are. That's what makes them so entertaining and so interesting to write. And what could be crazier than conspiracy theory? There was an entire hit TV series based on just this idea: The X-Files.

One more thing: this clash between Dragonites and Enders works best in Spanner, which is set in a future "Euro-American Union". This is because most Dragonites are concentrated in Europe, while non-Muslim Enders have their highest concentration and greatest political power in America. Put the European synarchists and American theocrats together, and the inevitable result is war. These two elites, genetic and spiritual, are natural enemies. But both also have a common enemy: the people. As you probably guessed, I take the people's side.

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Saturday, May 10, 2008

The Family Feud, 4: Eleanor Richter vs. Drusilla Becket

Perhaps the most titanic battle in the entire Spanner cycle is the recurring magic war between Eleanor Richter, the Richter-Thomas matriarch, a shaman and witch, and Drusilla Becket, channeller and designated guru to the Becket clan and their cult. Their first matchup in the series is during the middle of Bad Company; their battle, occurring in what in Spanner I call "dream reality", is over the souls of Nelly's lost granddaughters and Dru's prodigal daughters, the main characters of the novel, Charlie and Desiree Richter-Thomas. No doubt the two bitter enemies, rival leaders in the New Age movement, at least in the Seattle area, will have several rematches and grudge matches before the cycle ends. Who knows — they might even deserve their own story dedicated entirely to their decades-long war, somewhat in the tradition of the Thing vs. the Hulk in superhero comics.

But from the sheer hatred they show each other in their earliest appearances in Bad Company, you wouldn't guess that originally they were inseparable friends. But this is a friendship that ended badly. Dru claims that she fell in with a bad crowd before, as she likes to put it, she saw the light and turned back to the straight and narrow. But Nelly insists that Dru became corrupted by her increasing power as a guru and callously abandoned her friends. In fact, Nelly says, Dru turned on her so violently as to almost kill her in a psychic blast. The two have never forgiven each other, and so they've been at war since 1986.

In Bad Company specifically, the two battle over the souls of Charlie and Desi. Nelly attempts a shamanic soul retrieval on her granddaughters, only to find herself doing battle with Dru, who refuses to relinquish control of her daughters. It seems Dru deliberately broke up their souls and scattered the fragments to the four winds in order to keep them under absolute control and keep them from developing into independent persons with minds of their own. Nelly is so outraged that she organizes a magic attack on Dru. It has to be a carefully planned sneak attack, for Dru is overvigilant to the point of paranoia (which just happens to be an occupational hazard among all-powerful gurus anyway, something I learned in another of my major sources, The Guru Papers by Joel Kramer and Diana Alstad). Surprise is needed because there is an interval of only a split second in which Nelly and her shamanic power animals and other allies can steal away Charlie and Desi's souls from their mother. The sneak attack works, but it so enrages Dru that Nelly and her allies must battle for their lives even after they emerge back into the real world to restore the girls' souls to their bodies. It's extremely urgent in Desiree's case, because the voodoo curse Shira laid on her during a break in Desi's trial will kill her in a week, and the only way to save her is to take back her soul, remove her posthypnotic mind control, and then break the curse.

Dru Becket's ongoing feud with Nelly Richter is not just part of the family feud between the fascist Beckets and the populist Richter-Thomases. It's also part of the Beckets' war against the people on all levels, from the political to the corporate to the spiritual. Their Platonic, Social Darwinist/eugenicist, and synarchist principles make them an extremely dangerous clan, and a menace to even a world as violent and dangerous as ours is today. So don't be surprised to find that the war is being fought even within the New Age movement. In their book The Stargate Conspiracy, Lynn Picknett and Clive Prince reveal the existence of a high-level plot to hijack the New Age movement and the mysteries of Egypt for the benefit of a power-hungry cabal that wants to establish an occult theocracy over an American Empire hellbent on conquering the world. This is also the book that exposed the synarchist conspiracy to the world. (Their later book The Sion Revelation gives more on the history of the synarchist conspiracy, and in their report on the synarchist Henri Coston shows precisely why Lyndon LaRouche and his cult must not be believed when they rave about Synarchy.) Once again, on the spiritual level as well as the political, the Becket/Richter-Thomas feud is ultimately over the fate of the world and who controls the future.

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Wednesday, May 7, 2008

The Family Feud, 3: The Cromwell Beckets, and Why They're Such a Menace

Pitted repeatedly against the radical, and usually at least somewhat populist, Richter-Thomases are the aristocratic, elitist Cromwell Beckets Though they usually don't use the name "Cromwell" in their own names (one exception being John Cromwell Becket, oldest of Colonel Tom Becket's five sons), they trace their ancestry back directly to the 17th-century dictator of Britain, Oliver Cromwell, and use him to claim that they are the true royal family of America, whose right to absolute rule was usurped by none other than the Founding Fathers of the American Republic. So they are absolute monarchists as well. By claiming that they can solve all America's problems by destroying the Republic in order to save the American Empire and make it stronger, they have made themselves — and their family business, the private mercenary army known as Dictel Corporation — the darlings of the American imperial elite, and their court intellectuals known as the neoconservatives.

So how did this clan that claims to be the American royal house come about, and why have they become such a menace to American freedom and world order?

They seem to be Boston Brahmins and have intermarried with that Yankee aristocratic caste, but they first set roots in the American colonies as slave traders based in Newport, Rhode Island, where the Southern slave lords bought their African slaves. The Cromwell Beckets (they used the full name then) were among the cruellest lords of the Middle Passage. One branch of the Becket family was given dominion over parts of Ireland by Cromwell and later married into it; before they went to America to take up the lucrative trans-Atlantic slave trade, they were one of the most monstrous and murderous Anglo-Irish overlord clans. When Ireland became a republic independent of England in 1922, one of the first things the new republican government did was to ban the Cromwell Beckets from ever again stepping foot in Ireland, and the decree stands to this day.

During the Civil War, a charismatic young Confederate commander named Alexander Augustus Power, scion of a slave-owning Southern American branch of an Anglo-Norman noble family in Ireland, claimed to be king of America. By that time the Confederacy was in disarray and on the verge of defeat. The slave lords, who previously could not be persuaded to unite against the Yankee enemy, began to rally around this claimant to an American throne to be modelled on the absolute monarchy in Russia. Rumors began flying that President Jefferson Davis was about to be overthrown and replaced by Alex Power as a king with no limits on his power. A messianic cult grew up around him among Southern lords. Back up in Newport, his richest and most powerful Yankee "Copperhead" supporter, Alexander Cromwell Becket, plotted treason against the Union and made plans to assassinate President Lincoln, overthrow the US government, and make Alex Power king of a united American Empire. Only the assassination of Lincoln was successful — and by then, the Confederacy had been defeated and Alex Power had been assassinated himself — by the anti-Confederate guerrilla Harvey Richter, ancestor of the Richter-Thomases. However, by then, Power had married Cromwell Becket's daughter, and they had a son before he was killed. Cromwell Becket raised Alexander Power, Jr. as his own son, and since then this branch of the Power family has been considered part of the Cromwell Becket clan.

The evil yet tragic young beauty who would be all-powerful emperor of America, Alexander Power, was the inspiration for Richard Wagner's Parsifal. His monarchist ideals, and the Masonic justifications he used to justify them, inspired that European cult of occult oligarchic despotism known as Synarchism, founded by the French oligarchist, occultist, and antidemocrat Joseph Alexandre Saint-Yves d'Alveydre. The form of government known as "synarchy" — which is merely a pretty Greek word for "junta" — is intended to, in Darth Vader's famous words, "bring order to the universe". How? By establishing a rigid caste system on the Spartan-inspired Platonic political principles (read the Republic for the gory details — and read I. F. Stone's The Trial of Socrates to understand what I mean) and keeping the people stupid and obedient while the ruling caste of Gnostic "philosopher kings" strives to escape this world into the higher realms, precisely as Plato (speaking through Socrates in the Republic) advocates. The Synarchist cult is directly ancestral to all the Fascist and Nazi dictatorships which made the 20th century so horrific, and it has been secularized as Stalinism, Maoism, and neoconservatism. The Synarchists, in turn, inspired Wagner's world-hating "Montsalvat" in Parsifal, unworldly source of the opera's notorious decadence.

Parsifal was dead. But he had left behind the Synarchist jihad against democracy and the people (and remember, by "Mein Kampf", Hitler meant "My Jihad"), and the Cromwell Beckets, that family of slave traders who were now Southern feudal lords as well, became devoted to its victory over the people. Thus the most elitist of the ancient schools of Gnosticism, the Nicolaitans, was revived in its full power. Not just in the New Age today, or in European politics, but also in mainstream religion (including Islam and Evangelical Christianity), it remains a menace to this day. (An excellent Christian description of the concept of "Nicolaitan" as found in the New Testament Apocalypse of John/Book of Revelation can be found here.)

After Power's assassination and the fall of the Confederacy, Alexander Cromwell Becket concocted a scheme to take over the US government, abolish the Republic, and establish the antidemocratic Empire which the Puritans and slavemasters always strove for. Freemasonry was to be the means of carrying out the counterrevolution. This quickly became known simply as The Plan.

Dictel Corporation was founded by Roger Steele Becket in 1947 specifically to carry out the Plan. That's why he hired so many Nazis as his agents, and why Dictel attracted so many former Nazi collaborators as his confidential investors. Later, a Freedom of Information Act request submitted by rogue clan member Alexander (Alec) Power IV revealed that one of Dictel's confidential investors was none other than Sen. Prescott Bush. So the Beckets and the Bushes are known to be very close allies. Indeed, some say they helped rig the 2000 and 2004 elections.

When Bush launched his invasion of Afghanistan after the 9/11/2001 terrorist attacks and of Iraq in March 2003, Dictel went into the mercenary business. It is now the largest private army in the world, yet remains far less visible than almost all its competitors. This is in fact one of the major steps prescribed by the Plan: take military and police power away from the government in order to render it helpless.

Now the Bush era is about to end. If a Democrat, and especially Barack Obama, wins the Presidency, Dictel's contracts (and immunity to prosecution) will be threatened and the Plan will be in danger of failure. So Colonel Tom Becket, heir to Dictel and shepherd of the Plan, invades America in order to seize absolute power for himself. This is the core of the plot of Bad Company. Foiled in that attempt, the company returns to the shadows, though it remains a menace until its complete destruction by turncoat clan members led by Major William Becket at the climax of Spanner.

The deepest contrast between the Richter-Thomases and the Cromwell Beckets lies in their magic. The Richter-Thomases are largely shamans. Shamans journey into the spirit world to protect the tribe and retrieve lost soul fragments, among other things. Many of them are also hereditary witches, some of whom (like family matriarch Eleanor Richter) collect spells and folk remedies from all over Europe and the world to preserve them for future generations. The Beckets, on the other hand, are mainly occultists and ceremonial magicians. There is a long tradition of black magic in the family, starting after the fall of the Cromwell dictatorship, when embittered family members and supporters took up black magic in order to avenge the Cromwells' fall and restore them to power. (But the Stuarts had their own royal army of sorcerers, so the Cromwellians could not prevail...). As they intermarried into various royal and aristocratic clans (including, ironically, the Stuarts [or Stewarts] themselves), they gained entrance into their secret societies and were initiated into their occult schools of magic. Once again, the Richter-Thomases are populist and the Cromwell Beckets elitist and authoritarian, even in the realm of magic.

The supreme magical battle between a Richter-Thomas and a Becket occurs in the middle of Bad Company between Eleanor Richter, acting as shamanic soul retriever for her granddaughters Charlie and Desiree Richter-Thomas, and Drusilla Becket, the guru and sorceress who just happens to be the girls' abusively tyrannical mother. I'll deal with this battle in more detail next.

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Tuesday, May 6, 2008

The Family Feud, 2: The Richter-Thomases, and Why They Fight

Two strange families dominate Spanner and the Dictel trilogy. One of the is the aristocratic and authoritarian Beckets, the subject of my next entry. The other is the Richter-Thomases, the source of almost all the heroes of my stories. What is strange about them, at least compared to most Americans, is the culture they've assembled out of various European and American cultural castoffs: some from the more culturally radical elements of Weimar Germany in the 1920s, others from the cultural revolution in the US, especially California, in the 1960s and '70s.

The Beckets, as I'll explain tomorrow, are primarily Gnostic-fundamentalist elitists who nonetheless openly court the powerful sectarians of the Christian Right, with which they share a violent aversion to cultural freedom. The Richter-Thomases, on the other hand, don't care. Especially in the first generation to take the combined name, they are too busy pushing cultural frontiers to waste too much attention doing battle against the world. Not until the world — and above all a Western power elite growing so conservative as to become increasingly indistinguishable from their ostensible enemy the Jihad — declares war against them in the name of Allah, the enemy of all that is rational and the greatest of all excuses for tyranny.

Some call this family a bunch of cultural extremists. Others call them countercultural; they don't deny this, considering how conservative and sometimes even ascetic the cultural mainstream is at any time. Some call them crazy, which is how they seem to cultural conservatives. Militant conservatives, left- as well as right-wing, call them a danger to all that is right &mdash defined as what the militants believe in, which they always want to force on everybody else, using military and police force if at all possible.

Here are some of the more radical cultural phenomena at least some of the Richter-Thomases have adopted:

  1. Free love, for one thing. Reva, Cedric, and Willa above all are children of the 1970s sexual revolution, and they are the ones most devoted to it and its ideal of free love. They have made sure to educate their children to respect the highest ideals championed by the sexual revolution. They are the first in the Spanner mythos to defend free love, homosexuality, polyamory, and even consensual incest against the traditional values of marriage, which they insist have primarily eugenic purposes and are best served by arranged marriage. Love and desire, on the other hand, know no boundaries of race, tribe, creed, gender, or even family bonds.
  2. Nudism. Once again, for Reva, Cedric, and Willa, this is a product of the '70s cultural revolution, though it first took hold among the 1960s counterculture. But Willa especially reaches farther back to the German Nacktkultur ("nude culture") that began in the late 1800s but reached its high point in the 1920s. Today it is called Freikörperkultur ("free body culture"), but it is dying out in Germany as the Christians there remain determined to wipe it out by banning it nationwide. In prudish America, founded by the harshly ascetic Puritan sectarians, nudism was never allowed to set down any roots and remains relegated to the outer fringes of a now invisible counterculture.
  3. A devotion to physical beauty, health, and strength was always a part of Freikörperkultur. But even the American branches of the family largely valued athleticism. So the Richter-Thomases are devoted to exercise, yoga, martial arts, and various athletic pursuits including not just the traditional sports but also what have today come to be known as "extreme" sports. To take just Willa as an example, she is a devoted mountain climber and a champion triathlete.
  4. Then there's their strong tendency toward political radicalism. All three ancestral clans come by it honestly.
    • The Richters, for example, began by defecting from Britain's Hessian mercenaries to join the American revolutionaries; later, after they had migrated from South Carolina to Louisiana, they fought for the Union against the Confederacy and its ruling feudal aristocracy. In the late 19th and early 20th centuries, they joined the Populist movement.
    • The family of Cedric Thomas, Sr., fought in the Russian, German, and Spanish revolutions of the 20th century, and then fought with the French and Dutch resistance against the Nazis. But they trace their revolutionary tradition all the way back to the 1848 Revolution.
    • And the Kincaids are proud of fighting the British Empire since even before the dictator Cromwell tried to annihilate the Irish.
    Today the Richter-Thomases champion any number of radical ideologies, especially if anti-authoritarian (I should point out that Stalinism and Maoism are highly authoritarian): libertarianism, anarchism, various forms of socialism (including anarcho-socialism and Marxism, particularly Trotskyism).
  5. Secular and spiritual humanism, feminism, gay rights, and so on. I haven't figured out everything yet.


So you'd expect a family with such a powerful tradition of cultural and political radicalism to clash with an Establishment dominated by powerful authoritarian clans like the Beckets. In fact, it would be a wonder if they did not. Fortunately, they are not willing to let the power elite run roughshod over them, or the people in general (for the majority opinion in the family is that securing and defending freedom for others is necessary if they are to remain free themselves), without a fight. And that's why they fight.

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Monday, May 5, 2008

The Family Feud: Introduction

One of the major conflicts that structures both Spanner and the Dictel trilogy is a long-running family feud. The two families battling over the fate of America and the world in my novels and comics are the Richter-Thomases, a nominally middle-class family with what turns out to be quite the revolutionary tradition, and the Beckets, a very much aristocratic family that traces its ancestry back to Oliver Cromwell and thus claims to be the true American royal family, cheated of its destined tyranny by none other than the Founding Fathers themselves, with the help of some of the Richter-Thomases' more treacherous ancestors.

These two feuding clans have a few things in common:

  1. They are both seen as very strange, much more European than American, and do not resemble "normal" American families in the least.
  2. They are extended families tied by strong bonds. They have a high degree of what I call "coherence".
  3. Their long feud. Some claim it dates back to at least 1780 on the Richter side of the Richter-Thomas family; others say it started in 1871 or even 1848 for the Thomases; but Becket family patriarch Roger Steele Becket insists it began when the Beckets' ancestor Cromwell, establishing his dictatorship, tried to annihilate the Irish, and a family ancestral to the Richter-Thomases, named Kinkaid, vowed to avenge Cromwell's victims and destroy the House of Cromwell.
More important is that the two clans stand for opposite political ideals:
  • The Beckets, a former slave-trading family with close family connections to both aristocratic families in the American South that once held slaves and stubbornly resist civil rights reforms to this day, and to royal and noble families in Europe, champion a highly authoritarian, if not downright totalitarian, political ideal known in aristocratic circles as "synarchy", which basically boils down to the dictatorship of an "enlightened" elite drawn from the aristocracy and following the most elitist of Gnostic sects: the Nicolaitans, whose name is Greek for "those who overcome the people".

  • The Richter-Thomases, by contrast, are populists. They are inheritors of a tradition of revolution coming from three separate families:
    1. the Richters, a family descended from Hessians who defected from the British side to the revolutionaries during the American Revolution, then fought on the side of the Union during the Civil War;
    2. the Thomases, a German family of Russian-Jewish origin, who fled Russia for Prussia just in time to take part in the 1848 Revolution and were ardent Social Democrats until at least 1914. Family members, including Cedric Thomas, Sr. (or 1CAT), took part in the Russian Revolution, the Spanish Civil War, and the resistance against the Nazis.
    3. The Kinkaids, the Irish family of Eleanor Richter's mother. Their vow to destroy the Cromwells and their tyranny — at which time they may have taken that specific surname, which is Gaelic for "warrior" — lasted at least long enough for members to take part in the Irish revolutions of 1916 and 1922. Various members fled Ireland during English persecutions and the series of famines that started in 1849; some came to the US, and these would become the Irish ancestors of the otherwise German-American Richter-Thomases.
    Following their tradition, and their family culture generally, they embrace various radical political ideologies: socialism, anarchism, libertarianism. Even the cultural phenomena they tend to embrace have some radical edge to them, sometimes too radical to be acceptably "American".
There could not be two families more different from each other, or from the majority of Americans. And yet they are central to every event in the whole Spanner cycle.

The key to their importance is the question, "Which side are you on?" The Beckets are usually on the side of the elite and urge their fellow aristocrats to do battle against the people. The Richter-Thomases, on the other hand, are anti-authoritarians who are constantly in conflict with authority and the elite; so whenever they have to choose between authority (or "sovereign right") and justice for the people, they almost invariably side with the people.

The conflict is clear-cut, even if certain family members defect to the other side. What it boils down to, ultimately, is class struggle. That's why this particular family feud has such world-historical implications. A family of totalitarian royalists against a family of revolutionaries? When the Beckets and the Richter-Thomases fight, the stakes could not be higher.

And no event in the Spanner cycle could be more emblematic than that which ends Bad Company: the spraying of the slashed red circle by one of the younger Richter-Thomases (at this writing I'm leaning toward Desiree rather than Shira) on the uncompleted Dictel Tower, symbol of Becket clan power.

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Saturday, May 3, 2008

Sex, Dreams, and Storytelling: My Artistic Philosophy

Before I get to the world building, I first want to state my philosophy of storytelling. The short form:

  1. A story is a collective dream. Likewise, a dream is a personal story.
  2. Storytelling is like sex, including something called a "climax". The lover makes love to (usually) one person, but the storyteller makes love to huge audiences.
  3. Story is conflict. Without conflict, there can be no story.
These three principles are the keys to my understanding of storytelling and my way of writing fiction. (Note: The first version of this entry was incomplete. I have now finished it.)

1. A story is a collective dream. Likewise, a dream is a personal story.
In the many years in which I studied dreams, one very important thing I learned is that dreams have a strict logic. This logic can be stated thus:
  1. Everything in a dream stands for something in either yourself or the outside world. Something can be represented in a dream by itself, or by a symbol.
  2. Every scene in a dream follows logically from the scenes that come before. What happens later, does so because of what happened before, no matter how illogical the scene and symbol transitions may seem.
  3. Every dream communicates a message.
Armed with the two logical principles of dreams, any dream — daydream, night dream, or story — can be interpreted.

Stories can be as simple in their logic as dreams. However, many stories are far more complex. This is because they are largely conscious constructions. Usually a story has a message to tell, consciously or not, because stories are a public extension of dreams. Usually the storyteller has a message consciously in mind, or the story has a "moral" (as Aesop's fables famously call it); but it doesn't have to be conscious if the storyteller's intent is as unconscious as a dream's. Dreams, after all, come from the subconscious and are in fact the way the subconscious expresses itself.

2. Storytelling is like sex, including a "climax". If a lover makes love to one person, the storyteller makes love to whole groups of people.
(Note: musicians are the same way. That's why we have rock stars. Janis Joplin once famously said that singing in front of an audience was better than sex with a man.)

Notice how a story builds up. As it progresses, actions that were effective earlier in the story have less and less effect. The conflicts get more intense. The tension increases. By the end, the tension becomes almost unbearable. The conflict reaches a point where no further conflict is possible; it reaches a point of no return where only one action is left, the one that determines the winner. Everything comes down to that final, most important moment, in which the all conflict and all tension are resolved and relieved in an orgasmic moment which is of course called the climax — which, by the way, is Greek for "peak". Sometimes everything is resolved in the climax, but usually there are a few loose story threads that must be tied up in a post-climactic resolution.

The resemblance to sex, from arousal to orgasm, should be obvious.

All good stories have the same dynamic of rising action and tension-relieving climax as sex. But just as stories are collective dreams, they are also the collective equivalent of lovemaking. A lover makes love to one person. A storyteller, on the other hand, makes love to masses of people, sometimes entire societies, at once. This understanding underlies my insistence on including sexual issues and controversies in all my stories. In a sense, all my stories are love stories, no matter how violent or terrifying.

Story is conflict. Without conflict, there can be no story.
Some people are determined to deny this principle. They want to write happy stories without conflict. It is as if they want to write about, say, the Buddha's enlightenment without Siddhârtha's serene victory over the archdemon Mâra under the bodhi tree and his later conflicts with his bitter archrival Devadatta, the hostile King Ajâtaśatru, and the entire Brahman priesthood. See? Even the story of the Buddha contains all the conflict needed to make a story!

The problem with stories without conflict is that they do not progress. They have no dynamism. They are static. This makes them descriptions. They may be good descriptions. But they are not stories. Not in the least.

A story is the conflict between a protagonist and an antagonist. The protagonist struggles to achieve their goals. The antagonist may be a person or institution out to stop the protagonist and stands in the way of achieving their goals; or the antagonist may be nature, or the protagonist themself standing in the way of their own goals. As the protagonist gets closer to their goal, the antagonist fights harder to stop them. The story ends when either the protagonist or antagonist wins. In a sense, story is like a sport. The ancient Greeks saw the close resemblance and called a story an agôn in very much the same way as the athletic games they so loved. The Dionysia in ancient Athens, when the tragedians and comedians staged their plays in competition, strongly resembled an Olympics of drama, complete with similar prizes.

Good storytelling consists of rising conflict. A conflict produces a gap between the protagonist's expectation and their reality; a story is a series of such conflicts producing these gaps until at climax the gap either collapses with the antagonist or becomes an abyss that swallows the protagonist.

If this sounds like a dialectical way of looking at things, it is. In fact, storytelling is by far the most dialectical of all the arts. The storyteller must be a true dialectician, constantly putting two opposing forces in constant conflict and resolving each conflict into an ever higher conflict until the final resolution at climax. Thesis, antithesis, and synthesis are the air a storyteller must breathe. Which suggests a fourth principle of my artistic philosophy:

Story is dialectics in action.

About that, I have too much to say. In fact, I'm going to write an entire book on it.

And that's where I stand. Now I'll get back to my stories...

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Friday, May 2, 2008

Spanner: Context and World Building

Script Frenzy was, as you'd expect from the name (and the 100-page-in-a-month goal), frenzied. As I focused on writing 170 pages of the Spanner script in the last 2 1/2 weeks (my total page count till then being 1), I didn't put much time or thought into the full context in which Shira and her friends, lovers, and enemies live, love, hate, and otherwise do their thing. Now that Script Frenzy is over, I'm dedicating the next several Spanner-related entries to world building.

What kind of government do they live under and have to deal with? What are the political dynamics of Spanner's world? The class relations? The economy? Are people starving in the streets and rioting for the right to eat, and why (or why not)? What are the pop culture phenomena in Euro-America in 2014? What technologies and Internet crazes are sweeping the world in the next six years? What is the Euro-American Union, how did it come about, and why is it all but permanently at odds with the New Chinese Empire and the New Caliphate? What religions are vying for supremacy, and to what lengths are they willing to go to achieve it? What is the relationship between the two rising phenomena of secularism and fundamentalism?

These are just some of the world-related questions I need to answer in order to put Spanner into its full context. Also, I need to keep in mind that everything has a history, and everything is connected to everything else. I will not allow anything in Spanner to be superfluous or gratuitous. So I'm dedicating the next several entries on Spanner to answering these questions and filling in the story's context. Once I've done that, and after I've fixed up the script for the first 5 issues, I'll start up again on the character notes.

I intend to create the best comics I possibly can. World building is a necessary step.

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Thursday, May 1, 2008

Script Frenzy Is Over.

It's May 1. Script Frenzy is now over. I didn't just win. I won with 171 pages. Now, you're probably saying that's a lot of pages for a script. To which I reply: not if the script is for a manga. The first draft of the first four issues is almost finished, with just a few new scenes and one scene relocation to do. And yet I'm still not stopping, even though I have 50,000 words of a novel (Black Science) to write for MayNoWriMo (which is being held by NaNoPubYe) and another novel (Bad Company) whose second draft I want to finish this month. I'm not stopping till I have something I can draw. And then there's the rest of Spanner book 1 to finish, and then there's the rest of the series...

What did I learn from the Script Frenzy experience? For one thing, I found out how much better a scripter I am than a prose writer. In prose, I'm better at nonfiction than fiction. In fiction, I write better for visual media than for prose. The visual medium of my preference is, of course, comics.

But the real challenge for me is to actually draw my comics. I still don't have the drawing skills I need to draw my comics, or even do character designs. So, in priority between writing Bad Science and editing Bad Company, I'm setting a goal of drawing for at least 50 hours this month. If I set and keep this goal, I can then make some major progress in my drawing, something I haven't really done in years.

So now I have a script to edit, a novel to write, another novel to edit, and some drawing to do. I might be overloading my schedule this month. If so, I can sacrifice a goal or two. But under no circumstances will I give up on my drawing. After all, I've wanted to draw Spanner since 1992, and I intend to achieve this goal no matter what. And so I intend to get Spanner #1 published online on September 9.

I've got my work cut out for me. So now I'd better start doing it. Now that Script Frenzy has awakened my slumbering Muse so that she is now on a rampage and becoming insatiable, I think I finally have a chance to defeat my old enemy, procrastination, once and for all.

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Monday, April 28, 2008

And The Winner Is...


Me! I won Script Frenzy, anyway. I took my Spanner script and story ideas, and wrote well over 100 pages. In fact, I'm well on my way to 150 and beyond by the end of the month! Furthermore, I have a script for Spanner #1 that is in effect the shooting script for the series pilot! Now all I need is to completely reorganize what comes after the end of #1, and improve my drawing skills to an acceptable level by the end of May, and I'll be ready to start actual production work on Spanner for the first time ever, starting during NaNoMangO this June! Now to acquire the champagne and expensive chocolates, and I'm ready to celebrate my victory! Finally, last year's abortive script project, The Jennifer Theory (from my '06 NaNoWriMo novel), is avenged at last!

I didn't learn this lesson during Script Frenzy, but my relatively easy (if still come-from-behind) victory has reinforced something I seem to have known for a long time: I am a natural with a comics or movie script. By contrast, I am not a natural prose storyteller at all, which is why I have so much more trouble writing novels than I do writing scripts. The reason is that I am a primarily visual storyteller: I write in pictures, not words. So though I can pour out a barrage of words during a WriMo, only during Script Frenzy does it become a real pleasure. That's because I'm putting pictures on the page, descriptions of pictures that I will later draw — my usual technique when composing scenarios for my Project Notebooks.

The big surprise is that 58-64 pages (comics pages, not script pages) of #1 came together so coherently, with so few needed rewrites, that by the time I finished that part of the script and had written the description of the last panel of page 58, I had tied up loose ends that I didn't realize were loose at all! What I have now, after a couple more minimal rewrites, is no less than the shooting script for the series' pilot episode. I'll post a plot synopsis or treatment of #1 later.

Writing #2 didn't turn out to be so satisfying. In fact, I'm going to have to cut it up, rearrange it, and turn it into two or three separate issues. After the pilot episode that is #1, my plan is for Spanner to become a serial with a running continuity. I didn't realize this until today. However, I'm going on with the script plan I'm currently writing until just before midnight on May 30.

So Spanner's transition from wishful thinking to ink-on-paper reality has begun with a bang (and I don't mean the explosions that begin the story, either). My next WriMo challenge is MayNoWriMo (at NaNoPubYe), doing a complete rewrite of Black Science (except, of course, for one witty scene). But the next step I need to take toward my longtime goal of bringing Spanner to reality is to do all my character designs, improve my drawing skills to publishable quality, and get ready for NaNoMangO.

And thus it begins...

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Thursday, April 24, 2008

Bad Company: The Terrorist Incubus

Charlie's lovers (her sister Desiree and her ex-girlfriend Yasmin) are stolen away from her. By a man. This man is a terrorist. His name is Ramón Gabriel, and he is a former Colombian right-wing death-squad terrorist turned Dictel corporate mercenary turned Islamic terrorist who answers to Rashid. His MO: he seduces women in such a way that they become his love slaves; then he turns them into what can only be called weapons of mass destruction. This terrorist, you see, happens to be an incubus. A demon lover.

Charlie only really comes to know that this Colombian ex-Dictel man is stealing her lovers away when she finds out that he is the man both Yasmin and Desiree scream for as they're trying to kill her. Just before Desiree's trial, she even sees the incubus in action, up close and personal, as he leads Desiree on a violent invasion of her own home (her father Cedric's) to steal weapons with which they hope to murder her mother. Charlie is forced to fight her own sister, then try to keep an enraged Cedric from murdering his own daughter.

Thus, Rashid is a major villain even early on. Of course, this villain fights archvillain Colonel Tom Becket to the death in the novel's last fight scene (which I'll need to intercut) and loses. But early on he seems hellbent on taking away from Charlie everyone she's ever loved.

As it turns out, Rashid's real target is Charlie herself. He steals her lovers (and murders her fiancé) to clear the way to take over her life for himself. But by the time he tries, her hatred for him makes her immune to his demon-lover powers. She gives him a psychic slap, then a physical slap in the face.

Charlie's challenge is to free the enslaved Yasmin and Desiree (and hopefully as many of his other love slaves as possible) from the demon lover before he turns them into suicide bombs or faith-based missiles — and he nearly succeeded with both of them, also succeeding in getting them thrown into jail on murder and other charges. To rescue them from him is to save their lives, for he fully intends to drag them down into his grave with him. He has mind control powers, so he's very difficult to fight. Charlie herself barely escapes having her soul "devoured" by the incubus. To save Desiree, she has to rely on Shira to lay one of her voodoo curses (or at least the illusion of one) and use the faith Desiree has been indoctrinated in as a weapon against her. But the only thing that can save Yasmin is a car accident that robs her of her memory, which she must recover if the woman will ever have a chance of keeping Dictel from taking over America.

Before I end this entry, I should conclude with a few words about Drusilla Becket, the mother of Charlie and Desiree and the one Rashid is intending to kill when he foolishly challenges Cedric, a superior fighter, in his own home. Three words, to be exact. She's a succubus.

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Wednesday, April 23, 2008

Bad Company: Midpoint

In his guest article for Script Frenzy, Blake Snyder, author of the book on screenwriting called Save the Cat! (and its new sequel, Save the Cat! Goes to the Movies), writes about the crucial importance in a story of the midpoint. So many screenplays and produced movies, for example, have weak second acts because they neglect the midpoint. But Snyder insists that the midpoint is "the key to cracking any story." He insists two things must occur at midpoint:

  1. The stakes must be raised.
  2. The Ticking Clock must start counting down.
And so the midpoint is where one of the most important events in the story must occur. Snyder writes: "Cracking your midpoint is the key to figuring out not only where your story goes, but what it means."

Now take Bad Company. What happens at midpoint? Remember that this novel has an action line in which Dictel tries to take over America, and a relationship line in which a fallen pop star much choose whether to kill herself or answer her sister's call to resume their love affair.

In the relationship line, Drusilla Becket is a true villain. She is the one trying to keep her daughters apart. Once Snyder's advice on the midpoint was firmly in mind, I realized that when Charlie and Desiree strike up their relationship again after Desiree is released from jail (she was charged with some of her demon ex-lover Rashid's many crimes but was acquitted), Dru will be forced to realize that she no longer has control over her girls. Since she, being a Becket and a right-wing New Age guru, does not like homosexuality and is utterly repulsed by the very idea of incest (she will destroy her third husband for molesting all three of her daughters); and since she is also the most controlling kind of stage mother, whose ego depends on total control of her daughters; when Dru comes to the horrible realization that she can no longer either control Charlie and Desiree nor keep them apart, she loses all control of herself. She exercises the "nuclear option" and files child rape charges against Charlie over the torrid sexual relationship that in fact Desiree started. This occurs at midpoint.

In the action line, Dictel is the villain, and its plan is to take over America by brute mercenary force in order to establish a military dictatorship that can wage the Middle Eastern colonial wars with impunity because it will no longer need the support of the people. Colonel Tom Becket, the Dictel chairman, is as much an elitist as he is a militarist; he loathes even the very idea of democracy. The people, he says, are too fickle to build an empire; they need to be commanded and to obey. Thus "the Plan". What happens at midpoint? Maybe I should use Yasmin Khoury, Charlie's ex-girlfriend and a former love slave/murder weapon of Rashid the terrorist incubus, as the messenger. The message is word of the Dictel plan. Near midpoint, Yasmin gets into a crash when being transported to the nearest military base for deportation, and loses her memory. She regains it just before the actual Dictel invasion of America begins. But the Colonel will already be putting his plan into action. This will surely make for some nearly unbearable suspense. At midpoint the Ticking Clock must start counting down. I'll have to think more about this.

And so the midpoint of Bad Company will be the crucial moment that holds the entire novel together. Otherwise, it will fall apart. Just like it did in the first draft. Midpoint is where you raise the stakes big time. Use it well, and your story will be all the better for it.

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Bad Company Backstory: Charlie and Desiree at Dad's...

In the backstory to Bad Company and the rest of the Dictel trilogy, Drusilla Becket doesn't let her estranged ex-husband Cedric Thomas to have their two daughters over or even visit them much. However, whenever Charlie and Desiree are allowed to live with their father, they act as if they have just been liberated from a fascist dictatorship. The Richter-Thomases (at least starting with Cedric's generation) have a loose and liberal attitude toward nudity, for instance; and so the first thing the girls do is throw off their clothes and run around like "wild savages", or wild animals newly liberated from their cage. After Desiree seduces Charlie for the first time, the sisters are ardently affectionate around everybody else, and use as much of their private time as they can for making love.

Their father allows this. His own sisters won't have it otherwise.

Actually, in fact, their father — and both their stepmothers (Cedric's first wife Betty Shears and third and current wife Hope Reston [Shira's mother]) — fully accept their decision to commit themselves to each other as lovers. Their aunts (Cedric's sisters) Willa and Reva actually encourage them, since they themselves are longtime lovers themselves, as it turns out. (In fact, in Black Science, when Dr. Julian Blair treacherously leaves Willa for Dictel Corporation, the first person Willa will turn to is Reva.)

This becomes one huge reason for Drusilla to continue trying to keep Charlie and Desiree away from Cedric as much as possible. Dru tries to stop her daughters from doing what Dru considers repulsive. However, when she finds that her punishments only succeed in reinforcing their desire with defiance (they're teenagers, after all, and teenagers rebel), she is stuck with the hard choice between allowing the affair to go on and threaten both Charlie's career and the Becket family reputation, and forcing Charlie and Desiree apart using thos bluntest of all blunt instruments: Dictel and the law.

I'll need to plant this backstory in places throughout the story, not limited to flashbacks. Maybe I should gradually reveal it. The relationship line climax needs to have a strong foundation not only in the actions Charlie and Desiree take within the story, but in their shared past beyond the story as well.

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Bad Company: Desiree Takes the Initiative...

I've been reading both the stories and the testimonials at Sisters in Love (warning: adult material!), and many of the yuri manga at ShoujoAi.com (ditto!), and I find myself struck by how often it's the younger sister who strikes up the relationship. And so it comes to me that even though Desiree was too passive and even mopey to be herself when I first started writing Bad Company, still the redhead has a stronger personality than her older sister Charlie. (I'll make it up to Desi when I make her the hero of Points of Authority this next NaNoWriMo by allowing her to dominate it the way she deserves to.) And though it's Charlie whom Drusilla is threatening with the "nuclear option" of child molestation charges, it was Desiree who seduced Charlie to begin with and who dominates the relationship in the long run.

This fixes up a few weaknesses in the plot.

  1. Desiree is no longer a pure victim; it is her action that Dru punishes both her daughters for, even though it is up to Charlie to get her back into the relationship.
  2. The hijacking of Desiree's soul by the terrorist Rashid, who is actually an incubus, becomes that much more tragic and forces Charlie to stop being so mopily passive if she wants to win the sister she adores from both the terror masters and the law.
  3. The reunion of Charlie and Desiree outrages the increasingly deranged Drusilla into exercising that "nuclear option". (More on that in my next post.)
  4. Desiree is now in the perfect position to prod Charlie into action and fight their mother and the law for the sake of their love.
  5. And finally, in Bad Company we will witness the birth of the mighty activist warrior who will dominate Points of Authority.
So it is important to the plot that Desiree take the initiative in the affair and be the one to start it in the first place.

And so when the sisters first become lovers, Charlie is 15 and Desiree is 12. And since Charlie is worried about both the danger to her singing career and the the threat posed by their mother once they find out, Desiree will be the one to keep Charlie firmly in her arms (and her bed). She is the driving force in their relationship whenever they are together: both before Dru finds out and angrily forces them apart, and after they reunite after their year in hell. In the relationship line of Bad Company, Desiree is therefore the antagonist (note: the relationship line antagonist is not necessarily a villain; she could be the love interest or a mentor) to Charlie's protagonist in both action and relationship lines.

Come to think of it, I'll have to rewrite the relationship line climax so that the roles are reversed. The crisis decision is the answer to this question: Should Charlie and Desiree go back to being just sisters, or should they make the irrevocable decision to devote themselves to each other as lovers for life and ultimately get married? In the current version as originally written, it's Charlie who poses the dilemma to Desiree. But now I know that, properly, it should be the other way around. That's not just because Desiree started it; Charlie has far more to lose, namely her career, reputation, and even safety. If they were not as famous as they are, they could move to another city to live as lovers and hide the fact that they are sisters. But the politically powerful Drusilla Becket is their mother, and Charlie is a star. If Charlie says yes, she risks bringing down the full wrath of God and the law upon them. They're already trying to survive attacks from the Beckets and Dictel. So I'll need to rewrite the scene: Desiree pops the question, and Charlie agonizes over whether to say yes.

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Tuesday, April 22, 2008

Charlie & Desiree's Crazy Idyllic Plans

Charlie and Desiree have big plans for when they get back together after the Beckets stop picking on them. The scandals surrounding Dictel and the Becket clan in the wake of Colonel Tom Becket's disastrous coup d'état attempt give them enough of a breather to be able to at least attempt to make them a reality. These include:

  1. Getting married, of course, despite the fact that they are sisters.
  2. Adopting their little sister Shira as their own daughter. Their oldest sister, Ruby Shears, suggests they adopt their cousin Jennifer Blair as well, in order to keep her and Shira together so they can become as inseparable as Charlie and Desiree are.
  3. A special "body positive" method of childrearing they long to try out.
  4. And so on...
Nearly everybody who finds out about these plans call them crazy. You probably will too. But they're sticking to them.


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Monday, April 21, 2008

Spanner: "Shira & Jennifer, 2gether 4ever!"

During the last several years of Project Notebook entries, I had Shira joke that her beautiful, bespectacled blonde cousin (and adopted sister) Jennifer Blair is her "wife". But sometimes your characters take over the writing themselves: Jennifer has determined to make it known, not just to her author but to the other characters, that Shira is in fact not joking at all. She says they have in fact been married, at least in spirit, since she vowed eternal love to Shira at the latter's fourth birthday party; their upcoming wedding, which Jennifer insists must be on Shira's 15th birthday (coming later in the story), will merely formalize what has been the fact for a decade.

Jennifer makes the facts clear to Dorian Fleer, the most popular of the school "mean girls", with whom she frequently clashes, mainly over Shira:

Dorian: "So what is it between you two?"
Jennifer: "True love."
Dorian: "That's silly."
Jennifer: "Let me put it to you this way: Did I act like a jealous wife that time we met on the bus?"
Dorian: "*sigh* You sure did."
Jennifer: "That's because I really am her wife. Shira's not joking. I'll explain:
"I was already hopelessly in love with her when I was four, so I had my mother buy me the most beautiful dress we could find so I could be beautiful for Shira on her fourth birthday. When she saw me, I took her breath away. She said I looked like an angel from heaven. She told me she fell in love with me right then. I thought I was going to die of joy. We vowed eternal love.
"I brought some special gifts for her. I gave her a heart-shaped locket as a token of my eternal love, and an engagement ring. True, it was a 'Disney princess' kind of toy ring, but I asked her to marry me and made her swear that we would get married on her birthday. But I gave her two even more special birthday gifts: my heart and my vow of eternal devotion. Technically, we're engaged to be married. But in truth we we're married in our hearts. Our wedding will only make legal what is in fact truth.
"So does that answer your question?"
Dorian: (says nothing, merely gapes wide-eyed in shock)
Jennifer: "So now you know."
And when Jennifer and Shira encounter Rev. Joseph Creel (the very same preacher who is the creationist crushed in debate by Jennifer's psychologist mother, Dr. Willa Richter-Thomas) and his congregation in the coffee shop the day the Winkie's diner (East Bremerton location) is bombed by terrorists from the Socialist Revolutionary Organization:
Rev. Creel: (enraged) "Do you have any idea of the sacredness of marriage?"
Jennifer: "As a matter of fact, I do. That's why I'm marrying Shira, the one true love of my life."
In the bus scene in #1, Dorian, smitten with Shira, sits down beside her while Jennifer is up front asking the driver a question, and then asks her if she's accepted Jesus. This provokes only Shira's suspicion and Jennifer's jealousy. When Dorian has slunk to the back and Jennifer is back beside Shira, she continues to insist on talking about their wedding. I originally put a terrorist in this scene, and now I have a reason to keep him: when the Islamic suicide bomber overhears Shira and Jennifer kissing each other and talking about marriage, he becomes enraged. He decides to blow up the bus right then and there. But when he screams out the Shahada, Shira and Jennifer shoot him dead — with their cellphone cameras! (Ah, superstition...)

And what are they doing in the coffee shop? Why, Jennifer insisted on bringing them there so they can plan their wedding, which Jennifer wants them to do on Shira's upcoming 15th birthday. One reason is that she wants the cute teenage barista girl there, Jennifer's (paternal) cousin Samantha Blair, to be her maid of honor. (She also insists that her and Shira's mutual cousin, Karen Kubota, be Shira's maid of honor.) However, the aforementioned black church congregation just happens to also be there, so there's a confrontation: against their Christian attacks, Jennifer defends her love for Shira and her insistence on marrying her. And then the Winkie's across the parking lot explodes...

Shira calls Jennifer "the rock of my chaotic life." Jennifer explains it thus:
"I know Shira 'strays,' as you put it. It's simply the way she is. She's a rare and special kind of person. She needs to love other people. The more she loves others, the more her love overflows to me. And I adore her for it.
"I'm nothing like that. I'm strictly a one-woman woman, and that woman is Shira. She's always been the one true love of my life. I can never love another person the way I love her. She always comes back to me because she knows I'm totally devoted to her. And that's why we're getting married."
She explains their peculiar personality dynamics:
"We're the poster children for the saying 'opposites attract.' In fact, we're like two halves of one person: I'm her reason, and she's my passion. We complement each other perfectly. Sometimes I find it impossible to tell where she ends and I begin; that's how much we love each other."


I realize that this entry is as much about Spanner #1 as it is about Shira and Jennifer's lifelong love. Well, I was dissatisfied with the way I originally scripted it, so I felt the need to rewrite it. That's when Jennifer announced to me that Shira is her one true love. By doing so, she saved the story. But the scenes of Shira and Jennifer together in #1 merely establish their relationship, their intense and passionate love of and devotion to each other. By the time Leila Shelley comes into the picture later, the stage is already set...

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Sunday, April 20, 2008

Forces of Antagonism

Every story needs at least one villain, or at least antagonist. The nature of life is that one has to fight for one's desire in order to get it. It has been said that story is conflict.

Here's a particularly potent example from my fiction. As you now know, Charlie wants Desiree. The problem, of course being that the two just happen to be sisters. The two have to overcome some fearsome obstacles (society, religion, the law, etc.) and fight some really nasty villains (including their own tyrannical mother) if they want to live together, happily ever after. This is the situation in Bad Company, and it's looking to be a major factor in my 2008 NaNoWriMo novel, Points of Authority, as well.

In Spanner the antagonism is provoked not because Jennifer loves Shira, but because Shira cannot conform (note to self: I'll have to write an entry on this). Conformity is considered a primary virtue in any society that mows down tall poppies and hammers down all nails that stick out. Such is the "Eurosocialism" of the Euro=American Union, the enemies of which bluntly call it "Stalinism". And so Shira finds herself forced to fight battle after battle against authority, society, and religion just to be able to be herself, and she ends up starting a revolution.

This should be a lesson to me. I have a tendency to write scenes with lots of cool witty dialogue but little real conflict, or write feverishly idyllic little love (or other) scenes not counterbalanced by the characters' need to defend their loves (etc.) against social, religious, and political forces determined to destroy them. I have to put some balance into it, and remember that story itself is conflict. In a story, it's the villains (the "rogues' gallery" in superhero-comics terms) that makes the hero; the more effective the villains, the stronger and more interesting the hero. No conflict, no story; no villains or other antagonistic force, no hero.

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The Key Emerges: Mad Love + Revolution

For most of this month, my work on Bad Company has been stalled, and that has interfered with all my other projects this month. I haven't even been writing any of Spanner. However, the key to unblocking Bad Company has finally emerged. It's the answer to the burning question: What could possibly be more controversial than a Blackwater-type corporation like Dictel trying to take over America to force it to intensify the colonial oil wars in the Middle East? How about this: the self-destructive pop singer who is the novel's heroine falls in love with her own sister! The trick, of course, is connecting these two. The connection is the Beckets, the clan of military aristocrats who own Dictel. The youngest of the Becket siblings, right-wing New Age guru and tyrannical stage mother Drusilla Becket (think JZ Knight or Elizabeth Clare Prophet crossed with Lynne Spears or Dina Lohan) is the mother of Charlie and Desiree Thomas. Colonel Tom Becket (the irony of his name is deliberate), the patriarch of the Becket clan and chairman of Dictel, considers his wayward nieces a liability to the clan; when Charlie and Desiree fall in love, he declares that they are blackening the family honor and orders their murder. And so the final confrontation between Charlie and the Colonel becomes inevitable. "Mad love" thus provokes political revolution. I'll explain...

One concept that the Surrealists played with was something they called l'amour fou, or mad love. This can be defined as: obsessive and/or forbidden love that causes social upheaval and even political revolution. In the final issue of La Révolution Surréaliste (#12), the editors asked:

  1. "How would you judge a man who would go so far as to betray his convictions in order to please the woman he loved?"
  2. Do you believe in the victory of admirable love over sordid life or of sordid love over admirable life?"
"Mad love" means, basically, love that can drive people to violate social norms and even their own moral codes, love subversive by its very nature.

Now take the case of the two sisters who fall in love — in Bad Company, Charlie and Desiree. Sisters born to an aristocratic clan (the Beckets, who claim direct descent from Oliver Cromwell, and therefore to be the true American royal family) whose political power depends in large part on their reputation for moral purity or at least probity. (It is no coincidence that Tom Becket bears the name of a Christian saint.) The Becket clan need the support of the Christian Right if they want to be able to seize power, overthrow democracy, and establish America as their kingdom. This is a family that still swears by arranged marriages. Sister love would obviously upset the Beckets' plans for supreme power based on Christian theocracy and divine-right kingship by depriving them of Christian fundamentalist support.

Charlie and Desiree know this. And so they say things like:
Desiree: "But Mother says we're ruining the Becket family reputation."
Charlie: "Good. They deserve it."

Charlie to Desiree: "I will love you beyond all reason, and make love to you as much as I can; I will marry you, my very own sister, and make you my wife. Society and government will try to destroy us; God and Satan will join forces against us. But you and I are warriors. If necessary, we will fight the whole world and spit in the face of death. We will fight until we win. Nothing can get in the way of our love. Not even death."
(The above lines of dialogue are not yet final, of course; they are always subject to editing as I complete the second draft and begin the third. But you get the picture...)

Two things came together to provide the key to unlocking Bad Company. "Mad love" was the second. The first began as a vague obsession with yuri manga that began in the mid-1990s when the influence on me of Camille Paglia was heaviest. The "sister slash" part was there in the background until I wandered into one of the NaNoWriMo "Erotic Fiction" forums on incest and stumbled onto a link. This link led to a site called Sisters in Love (warning: adult content!). From a translated yuri manga entitled "My Sister's Lips" that I had read last month on the ShoujoAi.com (warning: ditto!) forums, it struck me that even the most blazingly erotic story about two sisters in love could portray what can only be called pure love. The testimonials on the Sisters in Love site reinforced this with a vengeance. The love of the two sisters Charlie and Desiree Thomas, as it has emerged in my writing of Bad Company, is of course pure love with an increasingly intense sexual component. But it counts as "mad love" — that is, dangerously subversive — because of the Beckets' extreme political ambitions and Mafia-like oversensitivity to blots on their family reputation, upon which the Dictel takeover attempt depends. And as so often in my fiction (you don't know it yet because it's been restricted to my personal "Project Notebooks" until now), an attempt to find happiness (true love between sisters, in this case) brings down the wrath of jealous gods; if not Jehovah himself, at least those institutions with godlike power known as church, state, and corporation.

Something else to consider. The sisters' aunt, Dr. Willa Richter-Thomas (Richter being her mother's name) is an open socialist who frequently quotes Leon Trotsky. The founder and leader of the Surrealist movement, André Breton, was one of Trotsky's most passionate defenders against Stalin's murderous persecution. When the two met in Trotsky's Mexican exile (Breton was moved to awed silence due to what he called his "Cordelia complex" or inborn tendency to hero worship), they cowrote the "Manifesto for an Independent Revolutionary Art", signed by Breton and the Mexican radical painter Diego Rivera. What I have in mind is this "equation": Trotsky × Breton = Mad Love + Revolution.

My strategy for storytelling often involves these two steps:
  1. Start with a fantasy, however kinky or overly idyllic.
  2. Spike and harden it with a stiff dose of harsh reality.
The second step is what has always distinguished my comics from the general run of slashy fan fiction. Over the years, this strategy has become so intrinsic to the way I write that I now find it taking over my novels, too. And so now it provides me with the means of organizing Bad Company, that mess of loosely connected storylines that still refuses to become a real novel. Until, I hope, now.

Breton ended his novel Nadja: "Beauty must be CONVULSIVE, or it cannot be at all." This is the spirit in which I have begun to write my stories. On this note, I will conclude this entry.

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Double the Controversy!

As if an evil Blackwater-type corporation invading America weren't enough — now I've doubled the controversy! The new idea I'm throwing into the mix is "mad love" — obsessive and/or forbidden love that causes personal upheaval and social revolution — something I took from the Surrealists (note: there's no Wikipedia entry on "mad love" or "amour fou", surprisingly enough). I originally planned to use it for the love affair between Spanner's two main female characters, Shira Thomas and Leila Shelley, as early as 1996. But now any old yuri-manga lesbian relationship is no longer enough for the Dictel trilogy. Now:

  1. in Bad Company, Charlie's primary love interest becomes her own sister Desiree;
  2. in Black Science, Willa's husband leaves her for Dictel and is pursued by her own niece (Charlie and Desiree's older half-sister Ruby Shears?), who is in love with her, even as she turns to the older sister with whom she has had more, let us say, intense relations in the past; and
  3. the chaos in Points of Authority may begin with Charlie and Desiree publicly announcing their determination to get married despite the legal obstacles and social stigma.
The inspiration for this is a website I found called Sisters in Love (warning: adult content!) and its testimonials from real-life sisters who are lovers, plus one woman who succeeded in marrying her one true love — her own aunt. Sound crazy? It's certainly not socially acceptable. Which is perfect for what I have in mind for the Dictel trilogy. The challenge I have is connecting/counterpointing this theme with Dictel's corporate villainy.

And if I want to push the controversy even more, I can take positions on any number of controversial issues. Here's one: gun control. I'm against it. The conventional wisdom among ruling classes is that guns must be banned, ostensibly because they pose an intrinsic threat to society. The radical position, though, is that the right to own guns, when exercised by ordinary citizens, actually reduces the crime rate, primarily because crooks have to think twice before mugging or burglarizing someone on the off chance they (the intended victim) too may be packing. The radical argument against gun control frequently takes the harsh cynical position that the true reason for gun control is to disarm the people in order to make them easier to control and even enslave.

Another: Black Science begins with a debate. The controversy: evolution. Rev. Joseph Creel, a fiery black preacher, defends creationism. The defender of evolution, a "second-string" volunteer brought in because the originally scheduled debater was wounded in a suicide bombing by the Revolutionary Army of the Infant Jesus, is Dr. Willa Richter-Thomas. Willa proves the better debater, and I clearly take her side.

Another controversial position Willa takes that I don't necessarily, is socialism. And not just socialism as such, but controversies within socialism. Willa tends to prefer the Trotskyist position represented by the World Socialist Web Site. Naturally, because Trotskyism is not all that popular even among Marxists, she must constantly defend her position, above all in the centerpiece debate. And, of course, she constantly debates her anarchist brother Cedric.

That's just a sampling. But the major controversies, in the Dictel trilogy at least, are:
  1. The military-industrial complex turning against the American people and trying to take over the US government;
  2. the nature of government and whether it is even necessary at all, and the proper way to get rid of it; and
  3. unconventional, and sometimes downright illegal (as homosexuality and even interracial sex once were) loves.
Or that's my list so far. It could change depending on what grabs my brain...

As for the "sisters in love" issue, my fuller statement on it is right here.

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Next Week Is Mine...

I got little work done on Spanner and Bad Company. You see, most of the last week belonged to my mother and brother. It was too hectic. But the next week is mine. I hope to get some work done. After all, there's only 10 days left in Script Frenzy, and MayNoWriMo is coming up at NaNoPubYe.

I have one sequence left in Spanner #1: the terrorist attack foiled by Shira defusing yet another of the Toymaker's infuriatingly complex bombs, followed by the "rattlesnake flag" prank ("Freiheit oder Tod!"). That's my last fully plotted sequence. After that, I'll have to get some more plotting done if I want to write the full 100 pages of script. Bring out the index cards...

Bad Company has been stalled since last month. Why? It's been refusing to come together. The plot still isn't very coherent. That seems to be coming to an end. I've got some wild new ideas to throw into the mix (and into Black Science as well), which will not only tie the story together but increase the controversy quotient by a factor of at least 4 (rough guesstimation).

Since I've made so little progress on Bad Company so far, I've decided to add another goal to MayNo: not just 50,000 words of Black Science, but also 30 hours of editing to finish the second draft of Bad Company as well. Plus, I still need to complete my drawing self-instruction so I can enter NaNoMangO.

The key idea for Bad Company (and the newest one for Black Science)? Mad love. In other words, obsessive or forbidden love with the potential to provoke an outright revolution. This is one of the major ideas of André Breton, founder of Surrealism. And so some yuri ideas and pairings that have been floating around my brain and the Project Notebook for years (since 1996 and my introduction to yaoi under the full impact of Camille Paglia) now have their perfect justification. And so now Desiree returns to prominence in Bad Company — as the passionate lover of her own sister Charlie. They are famous, so they get into big trouble, and the Becket clan with them. Meanwhile, in Black Science, Willa's husband, one Eric Blair in the past several years of Project Notebooks, is now Dr. Julian Blair (named after a Boris Karloff mad-scientist antihero), the inventor of the brain scanner, who turns against her for the blood money offered him by Dictel and the US government. And the Cuban refugee scientist from the 2006 NaNoWriMo version, who becomes Willa's ally and lover, has been replaced by — Willa's own niece, who is as determined to marry her as her other nieces Charlie and Desiree are to marry each other. I'll have more about this in my next entry. I think I already know what to call it...

So I'm entering the homestretch in Script Frenzy, and I'd better make the most of it. After all, I'm going to have to pull off yet another come-from-behind...

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