All posts by correia45

My schedule at SLC Comic Con

It looks like they’ve already sold 22,000 tickets, so this is going to be a pretty darn big event.

I’m on a ton of panels. And yes, I am aware that I am on 2 panels at one time. Whoops. 🙂

SL Comic Con Panel Schedule for Thursday, September 5th, 2013

2:00 – 2:50 p.m.

Convention  Survival  (John Saffell)

Meet Team Salt Lake City Comic Con  (Dan Farr, Bryan Brandenburg, Janette Newton, Jarrod Phillips, Elaine Atkins-Manly, Blake Casselman)

Meet the 501st (501st Legion/Rogue Squadron)

Fantasy Films: The Awesome, The Mundane, and The So-So (Jessica Day George, Larry Curtis, Kohl Glass, Tanglwyst de Holloway, Jonathan Hickman)

Anime & Manga: A Cultural Perspective (Warky T. Chocobo)

The Grandfathers of Gaming (Tracy Hickman, Sean Smithson, Bob Defendi)

3:00 – 3:50 p.m.

Nicholas Brendon: Tales from Buffy the Vampire Slayer

Trademarks, Copyright and Media Law (Vincent J. Roth)

Exploration Unknown: Paranormal Radio & Internet Shows

Cosplay101: What is Cosplay? (Nicole Marie Jean, Jessica Nigri, Tanglwyst de Holloway, Jennifer McGrew)

Illustrating Comics: A Beginner’s Guide to the Craft (Michael Lovins, Jess Smart Smiley, Jake Parker, Aneeka)

Paradoxes: The Trouble with Time Travel (Daryn Tufts, James Wymore, Eric James Stone, Tom Durham, Peter J. Wacks)

Comics and Film: Using a Visual Medium for Effective Storytelling (Kohl Glass, Nathan Best)

4:00 – 4:50 p.m.

Brian Krause: The Charmed Panel

Practical Superheroes in the Pre-CGI Days (Sean Smithson, Jake Rogers)

Draw a Superhero/Supervillain in an Hour (Brian Hailes, Brady Canfield)

J.R.R Tolkien to “The Ballad of Bilbo Baggins” to Peter Jackson: A Look at All Things Middle-earth (David Farland, James Wymore, Dave Butler, Paul Genesse (M), Bob Defendi, Larry Curtis, David Powell)

Filmmakers Round Table: Film Creators Discuss Their Work (Daryn Tufts, Hrafen Wulfson, Bryan Leffler, Kohl Glass, Jonathan Martin, Jason Faller, Kynan Griffin)

Harry Potter Turns 16: A Look at the Potterverse, Then and Now (Jessica Day George, Mette Ivie Harrison, Brittany Casselman)

Indie Game Development for Social, Mobile, and PC Online Games

5:00 – 5:50 p.m.

Peter Meyhew & David Prowse

U.S. Versus Nordic LARP (Patrick Hayes)

What Should You Be Reading? Middle Grade and Young Adult Science Fiction and Fantasy (Jessica Day George, Rhiannon Paille, Mettie Ivie Harrison)

How to Show Your Story Instead of Telling It (Michaelbrent Collings, Larry Correia, Brad Torgerson, Chad Morrs, Batton Lash, James Dashner)

The Art of Creating Visual Effects in Motion Pictures (Adam Sidwell, Clark Schaffer, Rob Au, Tom Durham, Curtis Hickman, Vincent J. Roth (M)

How to Write a Short Story Workshop (Dan Willis, Bob Defendi)

Movies So Bad, They’re Awesome (Daryn Tufts, Blair Sterett, Mario de Angelis, Jonathan Martin, Nathan Shumate, Jonathan Hickman)

6:00 – 6:50 p.m.

Claire Coffee: The Grimm Panel

The Good, The Bad, and The Ugly: Everything You Need to Know About Publishers, Marketing and Making a Living as a Writer (Jenni James)

Comic Book Smackdown: The Best Comic Books and Graphic Novels Produced Today: The Best Comic Books and Graphic Novels Ever Made (Jackie Estrada, Jess Smart Smiley, Chad Hardin, McCord Larsen)

Ender’s Game: 30 Years of the Book and Comics to the Big Screen (Jake Black, David Farland, Brian Wiser, Eric James Stone, Aaron Johnston, Mettie Ivie Harrison)

Tales From the Trenches: Life as a Working Actor in Hollywood (Charan Prabhakar, Isaac Singleton, Jr., Leanna Pareja, Elizabeth Knoweldon, Andrea Ciliberti, Rusty Joiner, Aaron “Rad” Radl)

Turning Hand-Drawn Art into Digital Drawing, Touching it Up and Coloring Digitally (Steve Argyle, Carter Reid, Chad Hardin, Brian Hailes, Justin Kunz)

Making a Film on a Shoestring Budget (Aaron Hultgren, Bryan Young, Scott Taylor, Tom Carr, Kohl Glass, William Pace, Chris “Doc” Wyatt)

7:00 – 7:50 p.m.

Ghost Hunting in Utah: An Epic Presentation (Amy Bruni, Jeremy Gates, Cami Skousen, Serenity Moore, Josh Elmer, Nate VanHulten, Tom Carr, Russ Cook, Tysen Webb (M)

Self-publishing on Amazon: A Professional How-To (Aaron Patterson)

Being Spirited Away: The Vision and Work of Hayao Miyazaki (Dan Willis, Blair Sterrett, Blake Casselman)

The Whedonverse: A Closer Look at the Worlds of Joss Whedon (Jessica Day George, Daryn Tufts, Brian Wiser, John W. Moreland, Camden Toy)

Novels & Short Stories: Which One is the More Effective Use of a Writer’s Time? Is This the Right Story to Invest My Time & Energy Into? Tips from the Pros (Kevin J. Anderson, David Farland, James Dashner, Larry Correia, Richard Paul Evans, Aaron Johnston)

Character Development in Drawing and Art ( Justin Kunz, Mike Baron, Steve Argyle, Brian Hailes)

Anatomy of a Fan Film (Izzi Keener, Hraefn Wulfson, Jared Seaich, McCord Larsen, Jonathan Hickman)

8:00 – 8:50 p.m.

Beyond the 5th Dimension: A Look at the Original Twilight Zone (Anne Sirling, Tony Toscano)

Why Fairy Tales Will Never Go Away (Jessica Day George, David Farland, Mettie Ivie Harrison, Jenni James)

Building a Successful Webseries: Just Us Guys (Chris Lilly)

Four Stories from The Lord of the Rings (Tracy Hickman, Laura Hickman)

HP Lovecraft: Is His Work Still Relevant in the 21st Century? (Blair Sterrett, Carter Reid, Paul F. Anderson (M), Tom Durham, Nathan Shumate, Chris “Doc” Wyatt, Dave Butler)

Warky after Dark: An After Hours Q&A (Warky T. Chocobo)

SL Comic Con Panel Schedule for Friday, September 6th, 2013

12:00 – 12:50 p.m.

Adrian Paul: Tales from the Highlander

How to be Psychic: An Intro to Psychic Development (Serenity Moore)

Marvel vs. DC:  Contrasting and Comparing the Two Comic Giants in Film and Television (James Wymore, Kohl Glass, Nathan Best, Kenny D.)

Firefly & Serenity:  A Shiny, Behind the Scenes Look at the Series and Film (Brian Wiser, William Pace)

Fablehaven & Beyond:  Brandon Mull  (Brandon Mull)

Why We Love the Prequels: A Celebration of Star Wars 2.0 (Bryan Young (M), Leigh George Kade, Dartanian Richards, Sean McPeak)

Illustrating Comics, Part II:  An Advanced Tutorial (Jess Smart Smiley, Jake Parker)

1:00 – 1:50 p.m.

Nick Gomez:  From Looper  To Dexter To  The Walking Dead

Smart Bomb Interactive Presents Animal Jam:  Bringing a Video Game Character to Life. (Taylor Maw, Dave Hilden, Mac McCann, Nathan Riddle, Steve Fox, Adam Hunter)

Brandon Mull Reading (Brandon Mull)

An Unofficial Sneak Peek at “The Hobbit:  The Desolation of Smaug” (Larry Curtis (M), Paul Genesse, Bob Defendi, Dave Powell, Blake Casselman)

Directing for Independent Film (Kohl Glass, Daryn Tufts, Bryan Leffler, Jonathan Martin, Bryan Young, Brian Higgins)

Comics on the Web:  How Digital Media and Social Networking are Allowing Indie Comic Creators to Market & Distribute Their Work (Howard Tayler, Carter  Reid, Aneeka, Barry Gardner)

Tools For Writing Steampunk  (Dan Willis & Tracy Hickman)

2:00 – 2:50

Cerina Vincent , Walter Jones & David Yost: It’s Morphin’ Time!

Pop Culture Undead (The Cast of “Evil Dead: The Musical)

Transmedia and the Changing Digital Landscape (Russ Francis, Ian Johnston, Valerie Lynn Harper, Garrick Dean, Doug Wagner)

Cosplay Makeup Tips & Techniques (Tanglwyst de Holloway, Nicole Marie Jean, Jessica Nigri)

Creatures & Character Acting: Spotlight on Camden Toy (Camden Toy)

Writing Effective Middle Grade and Young Adult Fiction: A Conversation on the Craft (Adam Sidwell, David Farland, Heather Ostler, Chad Morris, James Dashner, Brandon Mull, Robison Wells, Jenni  James)

How to Become a Bestseller in the Changing Publishing World (Aaron Patterson)

Women in Gaming  (Jenna Kemker, Tara Swenson, Connie Beaty, Lauren McLemore, Amy Frederico, Brittany Henry)

3:00 – 3:50 p.m.

Adam West & Burt Ward

Photoshop & Special F/X from Sketch to Real Life, Part I  (Rayce Bird, Daniel Presedo)

Internet & Social Media Tools for Writers & Artists  (Howard Tayler, Heather Ostler, Michaelbrent Collings, Eric James Stone, Warky T. Chocoba)

Strange New Worlds: The Imagination of Science Fiction and Fantasy in Art (Justin Kunz, Steve Argyle, Brian Hailes, Daniel Vest)

Disney’s Haunted Mansion: The Unseen Art & Mastery behind the Creation (Paul F. Anderson)

History of Video Gaming (Patrick Hayes, Roger Altizer, Kelli Dunlap)

Creating Amazing Costumes on a Budget  (Tom Carr, Tanglwyst de Holloway, Vincent J. Roth, Nicole Marie Jean, Jessica Nigri)

Breaking into Comics, Staying in Comics  (Dexter Vines, Batton Lash, Bill Galvan, Chad Hardin, Barry Gardner)

4:00 – 4:50 p.m.

Tia Carrera: Wayne’s World & Beyond

Secrets of the Future:  From the Creator of Microsoft Games Studio (Ed Fries)

Techniques for Creating Innovative Characters & Creatures  (Larry Correia, Jess Smart Smiley, Tanglwyst de Holloway, Brandon Mull, Rhiannon Paille, Mette Ivie Harrison)

Managing Your Artistic Career While Working a Full-Time Job (James Wymore, Tom Carr, Scott Taylor, Brad Torgerson, Aaron Johnston, Bill Galvan)

Dashner Army Unite! A Q&A with James Dashner (James Dashner)

Yoda was Wrong:  There is Try, There is Fail, and There is no Force  (Howard Tayler)

Dressing Up a Movie:  The Art of Costuming and Production Design in Film (Tom Carr, Hraefn Wulfson, Jonathan Martin, Jennifer McGrew, William Pace)

Cryptozoology: Big Foot, Lochness Monster, Etc.

5:00 – 5:50 P.m.

Ray Park

Arrowstorm Entertainment:  Epic Fantasy & Independent Film (Jason Faller, Kynan Griffin)

Make Me Care:  Digital Storytelling  (Jarrod Phillips, Gabriel Veenendaal, (M) Todd Maetani, Chris Le, Brian Vance)

The Avengers & X-Men:  50 Years of Earth’s Mightiest Heroes and Mutants in Comics, Animation, and Film  (Chris “Doc” Wyatt, Nathan Best, McCord Larsen, Blake Casselman)

Fablehaven, the Beyonders, and the Inventor’s Secret: Brandon and Chad talk Writing & Comedy (Brandon Mull, Chad Morris)

Artists Round Table:  Comic Book & Graphic Novel Creators Discuss Their Work.  (Tyler Kirkham, Michael Lovins, Jess Smart Smiley, Carter Reid, Chad Hardin, Aneeka)

How to Win Writers & Illustrator’s of the Future Contests (David Farland, Brad Torgerson, Eric James Stone, Brian Hailes)

Switch: Actors on Portraying a Variety of Characters (Warky T. Chocobo, Isaac Singleton, Jr., Clint Vanderlinden, Elizabeth Knoweldon, Rusty Joiner, Aaron “Rad” Radl)

6:00 – 6:50 p.m.

Richard Hatch & Dirk Benedict

Photoshop Made Easy (Scott Harben, Daniel Presedo)

Young Adult & Middle Grade Fantasy: Keeping it Real (Tracy Hickman, Laura Hickman, James Dashner, Adam Sidwell, Frank Cole, Lisa Mangum, Rebecca Moesta)

Storyboards & Concept Art for Films & Television: A Guide to the Craft (Leo Leibelman)

From Action Comics #1 to “Man of Steel”:  A 75th Anniversary Retrospective of Superman (Jake Black, Bill Galvan, Batton Lash, Kevin J. Anderson, Jonathan Hickman)

EVP’s : Electromagnetic Voice Phenomena (Brandan Cook, Tom Carr, Russ Cook, Jimmy Chunga (M)

Tex Murphy and Kickstarter Game Funding (Chris Jones, Aaron Conners, Kevin Murphy, Larry Thomas, Adrian Carr)

Monsters: Should the Classic Ones be Updated? Where are the New Monsters? (James Wymore, Carter Reid, John W. Morehead, Jonathan Martin, Nathan Shumate)

7:00 – 7:50 p.m.

SyFy’s Fact or Faked: The Paranormal Files (Ben Hanson)

Steampunk: What is it? Is it here to Stay? (Dan Willis, James Wymore, Scott Taylor, Tanglwyst de Holloway, Robison Wells, Dave Butler, Paul Genesse (M)

As I Knew Him:  Rod Searling (Anne Searling)

King Arthur, The Lord of the Rings & Star Wars: An Examination of the Hero’s  Journey (Bryan young, Dan Willis, David Farland, Brad Torgerson, Robison Wells, Rhiannon Paille)

Writing for Comics (Jake Black, Jess Smart Smiley, Aaron Johnston, Quinn Johnson, Peter J. Wacks)

The King of Horror: A Discussion on the Writings of Stephen King and the Films & Television Programs Based on Them (Daryn Tufts, Michaelbrent Collings, Tanglwyst de Holloway, James Dashner, Kenny D.)

8:00 – 8:50 p.m.

Buffy the Vampire Slayer: Once More with Feeling Sing-along

Warm Bodies, World War Z & the Walking Dead: Why Zombies Won’t Go Away and What that Means About the Impending Zombie Apocalypse (Dani Dixon, Michaelbrent Collings, Carter Reid, Nathan Shumate, Sean Smithson)

The Anatomy of Writing a Great Fight Scene/Action Sequence  (John Steiner, Larry Correia, Eric James Stone, Brad Torgerson, Brandon Mull)

Shiny! Why We Love All Things Geek & the Impact of Geek Culture (Larry Curtis, Tanglwyst de Holloway, John W. Morehead, Rhiannon Paille, Quinn Johnson, Jonathan Hickman)

Cult Classic Films (Tamak Guarriello)

SL Comic Con Panel Schedule for Saturday, September 7th, 2013

10:00 – 10:50 a.m.

Henry Winkler

Killer Breakfast (Tracy & Laura Hickman)

What is Fantasy Con? (Hraefn Wulfson, Josh Patell)

Sofia Milos: On Cooking, Acting, and CSI: Miami

Walt Disney’s Utopian City EPCOT (Paul F. Anderson)

Novel, Comic Book, or Screenplay: What’s the Best Medium for Your Story? (Jake Black, Dani Dixon, Kevin J. Anderson, Aaron Johnston, Bryan Young (M), David Farland)

Bound Books vs. E-books: A Bibliophile’s Survival Guide (Adam Sidwell, Aaron Patterson, Jenni James, Dave Butler)

11:00 – 11:50 a.m.

Dirk Benedict & Dwight Schultz

Spotlight On: Nolan Bushnell

The Next Big Disruption in Video Games (Clark Stacey)

Are Comic Books & Graphic Novels Literature? (Jackie Estrada, James Wymore, Jess Smart Smiley, Tanglwyst de Holloway, Brady Canfield)

From Ripley to Buffy to Katniss: A Look at the Strong Female Protagonist (Dani Dixon, Eric James Stone, Peter J. Wacks, John Steiner, Lisa Mangum, Mette Ivie Harrison)

How to Outline a Novel & Screenplay (Craig Nybo)

The Appeal of Horror: Why We Like To Be Scared (Brandon Cook, Kenny D., Michaelbrent Collings, Carter Reid, Nathan Shumate)

12:00 – 12:50 p.m.

Motion Capture Interactive Puppet Show (Russ Francis & Broadview Arts & Entertainment University)

Salsa Dancing with Sophia Milos and Walter Jones

Kevin Sorbo

Utah: Where Films are Made (Utah Film Comission)

Mormon Culture and Comic Books (Mike Homer, Eric Jepson, Sal Velluto)

From Cell 25: Richard Paul Evans on Michael Vey, Writing & Self-Publishing  (Richard Paul Evans)

Where Do You Get Your Ideas? Inspiration for Authors & Artists (Ken Meyer, Jr., Brian Hailes, Frank Cole, Larry Correia, Brandon Mull, John Steiner, Brad Torgerson, Heather Ostler)

How to Write Great Fantasy (Larry Correia, Eric James Stone, Brandon Mull, Rhiannon Paille, ML Forman)

Create a Live Comic Book! (Craig Nybo, Brady Canfield)

1:00 – 1:50

Motion Capture Interactive Puppet Sitcom cont’d

Richard Hatch

Genre Bending: When Should and Shouldn’t Rules be Broken (Bryan Young, Dan Willis, Eric James Stone, Larry Correia, Mettie Ivie Harrison)

Adaptations: Which Books, Comics, Games, and Graphic Novels Have Best Translated to the Large and Small Screen? (Aaron Johnston, Chad Hardin, Nathan Best, Sean Smithson)

Shark Attack: Scanline VFX on Iron Man 3 (Joel Mendias)

Gaming Degrees : University of Utah Panel

Signs of Alien Life (Alien Dave)

Internet & Social Media for Writers & Artists (Matt Miner, James Wymore, Dani Dixon, Jenni James, Aaron Patterson)

2:00 – 2:50 p.m.

Manu Bennet: Travels from Spartacus to Arrow to the White Orc, Azog.

Network TV Food Fame (Viet Pham, Romina Rasmussen, Janell Brown, Brendan Cook, Ryan Call (M)

Utah Women in Film (Susan Phelan, Connie Wilkerson, Taunya Gren, Daniela Larson, Josh Jones (M)

The Happiest (Creative) Place on Earth: How Disney Inspired Me as an Artist (Heather Ostler, Justin Kunz, Chad Morris, Rhiannon Paille, Lisa Mangum)

Writer’s Round Table: Book Authors Discuss Their Work (James Wymore, Heather Ostler, John Steiner, Frank Cole, Larry Correia, Dave Butler)

Creating a Comic Book & Graphic Novel: From Start to Finish (Michael Lovins, Dani Dixon, Jess Smart Smiley, Jake Parker, Mike Baron, Aneeka)

Salt Lake Comic Con Film School, Part 1: Script Development, Casting & Preproduction (Aaron Hultgren, Charan Prabhaker, Larry Curtis, Bryan Laffler, Mario De Angelis, Tom Durham, Jonathan Martin)

3:00 – 3:50 p.m.

On Gaming: A Q&A with John & Brenda Romero

Crowdfunding 101: Achieving Success on Kickstarter & Indie-Go-Go (Howard Tayler, Jackie Estrada, Blair Sterrett, Jake Parker, Batton Lash)

Salt Lake Comic Con Speed-Run Panel (2 hrs.) (Kari Johnson)

Having a Sustainable Career in the Video Game Business (Brandon Welch)

Superheroes and Survival: Spotlight on Jake Black (Jeff Vice, Jake Black)

Women in Writing, A Discussion between Young Adult & Middle Grade Writers (Laura Hickman, Heather Ostler, Ally Condie, Lisa Mangum, Rhiannon Paille, Mettie Ivie Harrison, Jenni James)

Salt Lake Comic Con Film School, Part 2: Principle Photography, Post-Production & Promotion (Bryan Leffler, Kohl Glass, Mario De Angelis, Vincent J. Roth, Jonathan Martin, Curtis Hickman)

4:00 – 4:50 p.m.

William Shatner

Photoshop & Special F/X from Sketch to Real Life, Part Two (Rayce Bird, Daniel Presedo)

Speed Metal & Monsters: High Octane Beast in Fiction & Film (Paul Genesse, Dave Butler, Craig Nybo)

Can Science Fiction & Fantasy Save the World? (John Steiner, Brandon Mull, Tom Durham, Kohl Glass)

Advice I’d give Myself: Authors Look Back at Breaking In (David Farland, Kevin J. Anderson, Larry Correia, Richard Paul Evans, Rebecca Moesta, Obert Skye)

Creating Kids Comics (Dani Dixon, Jess Smart Smiley, Bill Galvin, Quinn Johnson)

Self-Publishing vs. Small Press vs. Big Publishers: Which is Best? (Tracy Hickman, Howard Tayler, Adam Sidwell, Michaelbrent Collings, Nathan Shumate, Rhiannon Paille)

5:00 – 5:50 p.m.

Utah Video Game Industry: The Epic Panel

Drawing the Funny: Humor & Satire in Comics (Howard Tayler, Pat Bagley, Blair Sterrett, Carter Reid)

Build-A-Story: Professional Writers Improv Storylines based on Audience Suggestions (Craig Nybo, Paul Genesse, Dave Butler, Dan Willis, Bob Defendi)

Skinwalker Ranch  (Ryan Burns, Alien Dave)

Independent Film Actor’s Survival Guide (Charan Prabhakar, Clint Vanderlinden, Isaac  Singleton,  Leeana Pareja, Elizabeth Knoweldon, Andrea Ciliberti, Rusty Joiner, )

I’ve Created My Comic Book, Now What? Publishing Opportunities for Independent Comic Creators (Matt Miner, Tyler Kirkham, James Wymore, Barry Gardner, Quinn Johnson, Aneeka)

Games as Culture (2 hrs.) (Patrick Hayes)

6:00 – 6:50 p.m.

Adobe Photoshop (Daniel Presedo)

The Art and Business of Voice Acting (Warky T. Chocobo, Bryan Leffler, Tanglwyst de Holloway, Isaac Singleton, Jr.)

Creating in Someone Else’s Universe: The Pros and Cons of Being a Writer and/or Artist for Hire in Comics (Howard Tayler, Chad Hardin, Quinn Johnson)

The Aesthetics of Sight and Sound: Music and Art in Video Games

Everything You Ever Wanted to Know About Screenplay Writing and Were Afraid to Ask (Michaelbrent Collings, Bryan Young, Daryn Tufts, Kohl Glass, Tom Durham)

Plot-Driven vs. Character-Driven to Writing What You Know vs. Research to Outlining vs. Discovery Writing to Keeping a Writing Schedule vs. Tapping into Creative Energy: What’s an Aspiring Author to do? (Adam Sidwell, Frank Cole, Brad Torgerson, Chad Morris, Lisa Mangum, Aaron Johnston, Jenni James)

7:00 – 7:50 p.m.

Awards Program

SyFy Ghost Hunters Unite!

Post-Apocalyptic: The Future of Dystopia (James Wymore, Ally Condie, Robison Wells, Barry Gardner)

Breaking into the Video Game Industry (Justin Kunz, Josh James (M), Brandon Tibbitts, Brandon Welch, Troy Johnson, Paulette Baretsky, Joi Podgorny)

Star Trek’s Reboot, vs. Star Wars’ Revival: The Rise of J.J. Abrams (Bryan Young, David Kenny D., James Wymore, Tom Durham)

Writing for Animation on Television (Jake Black, Aaron Hultgren, Chris “Doc” Wyatt)

Effective Horror: What Works, What Doesn’t, and Why? (Michaelbrent Collings, Carter Reid, Mike Baron, Nathan Shumate, Peter J. Wacks)

8:00 – 8:50 p.m.

Dr Horrible’s Sing-Along Blog Sing Along

Superhero Films: What’s Coming Up? What Can DC Learn From Marvel Studios? (Kohl Glass, Nathan Best, KennyD., Quinn Johnson)

Sci-Fi and Fantasy on the Small Screen: The Best of What’s on TV (Danni Dixon)

The Independent Filmmaker’s Survival Guide (Bryan Young, Hraefn Wulfson, William Pace, Tom Durham, Jonathan Martin, Chris “Doc” Wyatt)

Choose Your Own Apocalypse (Zombies vs. Robots vs. Aliens) (James Wymore, Eric James Stone, Larry Correia, Carter Reid, John W. Morehead)

When is it Too Much? Violence & Intensity in Middle Grade & Young Adult Fiction (David Farland, John Steiner, Brandon Mull, Aaron Johnston, Robison Wells)

Warky Live and in Fashion: Video Games in Lyric & Song (Warky T. Chocobo)

Fisking Slate over Public Schools

I took a break from working on Monster Hunter Nemesis to check Facebook, and of course I found a link to something so astoundingly dumb that it demanded an immediate fisking. It is such a jaw dropping level of stupid that my first thought was that it was a brilliant piece of satire by a free market libertarian who really hates collective do gooders, but the article is from Slate, and I don’t think anybody over there is clever enough to pull off something like that.

The article itself is your typical white guilt liberal pontificating on topics they don’t quite grasp and lecturing everyone about how to live in a manner that best assuages their white liberal guilt.  This article is dumb, even by Slate standards, and that is saying something, but there is some value to be taken from it as it is an excellent look into the thought process of ass kissing statists. If it was satire by somebody who has run into all of these same arguments before (I’ve seen all of these points pop up in various school choice arguments, only I’ve never seen them bundled so completely) then high five. Good work. If this author actually believes this tripe, then I’m amazed she figured out how to turn on her computer to type it.

http://www.slate.com/articles/double_x/doublex/2013/08/private_school_vs_public_school_only_bad_people_send_their_kids_to_private.html

As usual the original article is in italics. My comments are in bold.

If You Send Your Kid to Private School, You Are a Bad Person

A Manifesto

No kidding. It is actually subtitled “A Manifesto”. We’re off to a great start.

By Allison Benedikt

You are a bad person if you send your children to private school. Not bad like murderer bad—

Wait… Are we talking actual bad murderer bad, or murderers that liberals have the hots for bad, like Che Guevara? Or murderers that liberals don’t like to own up to like Kermit Gosnell bad? Because you know, liberals are into nuance and stuff.

but bad like ruining-one-of-our-nation’s-most-essential-institutions-in-order-to-get-what’s-best-for-your-kid bad.

So using a lot of unnecessary hyphens bad.

So, pretty bad.

Apparently. But please, Allison, educate us poor knuckle draggers why we should put the future of failing liberal institutions based on outdated philosophies dating back to the industrial revolution over the welfare of our children.

I am not an education policy wonk: I’m just judgmental.

Well you’re a liberal, so that goes without saying.

But it seems to me that if every single parent sent every single child to public school, public schools would improve.

And I can’t wait to hear how you figured this part out. Especially since everybody is always whining about overcrowded classrooms, so when a kid gets pulled out and sent to private school, you just freed up more public school resources, and *gasp* the parent paying for private school is still paying taxes which pay for the dumpy public school… but hey, I’m getting ahead of myself.

This would not happen immediately. It could take generations. Your children and grandchildren might get mediocre educations in the meantime, but it will be worth it, for the eventual common good.

Wait… Let me get this right… I need to needlessly screw up my children and grandchildren’s chances in the hope that maybe, just maybe, our shitty public schools might be decent in forty or fifty years. And this is the high note she picked to open her essay with. Holy shit.

Yes, comrades, sacrifice your offspring for the common good… Sure, that sounds bug nuts to most parents who don’t routinely put cigarette butts out on their children’s skin, but don’t worry, folks. Allison is just getting warmed up.

(Yes, rich people might cluster. But rich people will always find a way to game the system:

That’s correct, Allison. The reason people like me are “rich” is because we “game the system”. If by “game the system” you mean that I see to the well-being of myself and my family rather than meddling in other people’s business with utopian nonsense, then I totally agree.

That shouldn’t be an argument against an all-in approach to public education any more than it is a case against single-payer health care.)

Well, obviously Allison is in favor of single-payer health care (in the same essay where she talks about another government run system being hopelessly broken) because this time it will totally be better.

So, how would this work exactly? It’s simple!

A magical leprechaun will ride a unicorn down a rainbow and shoot awesome free healthcare out of its ass? Oh wait, we’ve moved back to the subject of how she wants to screw over decent parents again. Sorry.

Everyone needs to be invested in our public schools in order for them to get better. Not just lip-service investment, or property tax investment, but real flesh-and-blood-offspring investment.

Uh… What about all of the people who went to crappy public schools or whose kids already were in crappy public schools who fled to the private sector, or who would if they could afford to? And I can only imagine how much you despise those wretched home schoolers. Oh yeah, they’re murderer bad too, but not groovy Che murderer bad, just to be clear.

Your local school stinks but you don’t send your child there?

Hell lady, I actually MOVED because of how mediocre the local schools were. I could see they were sucking the life out of my children. I’ve got brilliant, imaginative kids with genius level IQs, and they were sullenly getting terrible grades and hating education because they were trapped in a dreary prison cell of a room dominated by mentally imbalanced rage monkeys and pill popping zombies, all under the supervision of a lazy ass, phoning it in until she could retire, teacher’s union parasite who thought the best way to deal with gifted kids was to give them tons and tons of useless brain dead busy work.

And that crappy school was fantastic compared to the junior gladiatorial academy I got to attend in California.

Then its badness is just something you deplore in the abstract.

Liberals are totally against deploring things in the abstract! (except global warming obviously, or other people’s healthcare, or other people’s wages, or other people’s business, or other people’s choices).

Your local school stinks and you do send your child there? I bet you are going to do everything within your power to make it better.

Yes, because caring parents have proven so capable of taking on entrenched teacher’s unions. I forgot that to liberals, everything in the world can be solved if you just CARE HARD ENOUGH, unless of course you care against something that favors democrats, because then you can go screw yourself. 

And parents have a lot of power. In many underresourced schools, it’s the aggressive PTAs that raise the money for enrichment programs

Wait… If I’m going to have to pay for this out of my own pocket after I’ve already been taxed for it, why don’t I pay for something actually GOOD instead?

and willful parents who get in the administration’s face when a teacher is falling down on the job.

BWA HA HA HAW! Snort. Yes, folks, that’s a liberal lecturing us on how easy it is to fix union employees when they screw up. 

Everyone, all in. (By the way: Banning private schools isn’t the answer. We need a moral adjustment, not a legislative one.)

Sure… Because you meddling busybodies have such an amazing track record of never ever legislating against things based on your feelings.

There are a lot of reasons why bad people send their kids to private school. Yes, some do it for prestige or out of loyalty to a long-standing family tradition or because they want their children to eventually work at Slate.

Oh horseshit, lady. I’ve seen more profound writing on the placemats at Denny’s.

But many others go private for religious reasons, or because their kids have behavioral or learning issues, or simply because the public school in their district is not so hot.

Sounds good to me.

None of these are compelling reasons.

I missed the part of the Constitution where it said that my freedom was limited to things that brain damaged collectivists found compelling.

Or, rather, the compelling ones (behavioral or learning issues, wanting a not-subpar school for your child) are exactly why we should all opt in, not out.

Did you actually just write that none of those were compelling except for the ones that are? (and remember kids, you need a super good education to write for Slate!)

 

I believe in public education, but my district school really isn’t good! you might say.

 

Yes. I did just say that.

 

I understand.

 

No. You don’t. If you did understand you wouldn’t be trying to guilt trip caring parents for doing what was best for the interests of their children.

 

You want the best for your child, but your child doesn’t need it.

 

Liberal Slate links to the liberal NYT to prove a liberal point. If there’s a stat in there provided by the DNC it is like Ouroboros eating its tail.

 

If you can afford private school (even if affording means scrimping and saving, or taking out loans),

 

Because apparently scrimping and saving are bad words now. (except us “rich” folks who “game the system” that consider that kind of thing normal behavior) And taking out loans is bad, unless you are taking out a loan to pay for your Gender Studies degree from a university because then the government should like totally bail you out.

 

chances are that your spawn will be perfectly fine at a crappy public school.

 

Unless they get shot by gang bangers in one of those gun free zones you guys love so much.

 

She will have support at home (that’s you!) and all the advantages that go along with being a person whose family can pay for and cares about superior education—the exact kind of family that can help your crappy public school become less crappy.

 

Funny. I can also choose to send my kid to a good school where she’s not miserable all day, AND still have all this awesome stuff at home too!

 

She may not learn as much or be as challenged, but take a deep breath and live with that.

 

How about you take a deep breath and live with the fact that your existing system is a complete train wreck and people who love their children don’t want to participate in your continuing failure?

 

Oh, but she’s gifted? Well, then, she’ll really be fine.

 

No. Actually she wasn’t. But what do I know? I’m just the loving and involved parent. It takes a village of white guilt suffering elitist liberals to tell us how to live.

I went K–12 to a terrible public school.

I went K-8 in a public school that probably made yours look like Harvard. My graduating class had 20 kids. Half of us could speak English. Of those, half could read. My town was half illegal immigrant. Our principal was a drunk. We had a handful of decent teachers but most sucked. Because I was bored out of my mind and unruly, my 4th grade teacher declared that I was retarded and recommended that I be medicated. Nope, turned out I was gifted and just bored out of my mind, but she was too lazy and apathetic to even try. She became principal after the drunk retired.   

My high school didn’t offer AP classes, and in four years, I only had to read one book.

The Good Earth? My condolences. And also, bullshit. I don’t care if you went to the Central Detroit Penal Academy for Gifted Drive-By Shooters, there would have been more than one book on the curriculum.

There wasn’t even soccer.

Only a liberal would cite a lack of soccer as a hardship.

This is not a humblebrag!

Yes it is, you pretentious liar. White guilt liberals always do this thing where they have to cite their suffering to show solidarity. Look at me! I’m a victim too! I understand your plight!  Sure, your kids in the hood can’t read, and they’re getting shot at by gangbangers, and they’re getting beaten on the bus, and they have to put up with coke heads and rapists, and they’re pregnant at 14, but I understand because my white suburban school didn’t have FUCKING SOCCER!

And since I’m a right winger, I don’t “humblebrag”. I straight up brag about my achievements and I OWN THEM. I had a shitty education. I had a poor upbringing.  The high light of my high school education was getting my face beaten in by four gang bangers because I was in the wrong place at the wrong time and looked at somebody funny. Despite being a product of shitty to mediocre public schools, I worked my ass off. I’ve gone through multiple careers and tried and failed and then tried again. I grew up with a functionally illiterate father but I’m a bestselling novelist.

I’m not a whiny ass victim, so of course I brag because I’ve lived the American dream and succeeded. Now I’m going to continue the American Dream and GIVE MY KIDS A SHOT AT A BETTER LIFE THAN I WAS GIVEN. That’s sort of the idea. My grandparents immigrated here so they could have a better life than their parents, and my parents had a better life than their parents, and I’ve had a better life than my parents, because we’ve all started out standing on the shoulders of those that came before us, and now I’m blessed to help my kids. I did that hard stuff so now my kids don’t have to. They have a head start and I’m excited to see what they accomplish with their lives. That’s how the American Dream works.

Allison, you’ve got the American Dream exactly ass backwards. Your kids shouldn’t suffer to assuage your pathetic hang ups. It is your duty to suffer in order to give your kids more opportunities, you selfish imbecile.

I left home woefully unprepared for college,

By how woefully unprepared you were to write this essay, I’m not surprised.

and without that preparation, I left college without having learned much there either.

Yeah, you certainly sound like a winner. An ignorant drop out? Why yes. That’s exactly who I want to take parenting advice from!

You know all those important novels that everyone’s read? I haven’t.

And even though you’ve been out of school for how long, you’ve been too busy watching episodes of Honey Boo Boo and laughing at how obviously dumb all the rednecks must be in flyover country, that you’ve been too damned lazy and apathetic to read any books during that period. I’ve written more books than you’ve read.   

I know nothing about poetry, very little about art, and please don’t quiz me on the dates of the Civil War.

Holy shit, Allison! They’ve got the internet on computers now! I’m assuming you typed this screed on a computer. Fucking go to Wikipedia already! (Though I guess that would explain why so many modern democrats don’t know that they were the slavery party…)

I’m not proud of my ignorance.

Of course you’re not, which is why you just bragged about it in a self-righteous essay while you told people smarter than you about how they should live their lives.

But guess what the horrible result is? I’m doing fine.

Bitch please. You write for Slate because you couldn’t master a fry cooker.

I’m not saying it’s a good thing that I got a lame education.

Oh, I’m sorry. Is that not what I just read? When Slate’s editor gets back from working his shift at Starbucks you may want to talk to him about message clarity.

I’m saying that I survived it, and so will your child,

Unless they get beaten to death by the local drug dealers, or they get hooked on drugs, or they get shot by a gang, or they get raped in the bathroom, or they drop out because their school absolutely sucks, or they graduate totally ignorant and unemployable and go on to utterly fail at life, because oh, I’m sorry, Allison the fucking suburbanite is on the internet lecturing people who deal with actual shitty public schools in inner city hell holes about how they should just suck it up like she did. I mean come on, she didn’t even have soccer.

who must endure having no AP calculus so that in 25 years there will be AP calculus for all.

You don’t read books, you don’t know when the Civil War happened, and you write for Slate. I’m not taking any bets on your mad calculus skillz.

By the way: My parents didn’t send me to this shoddy school because they believed in public ed. They sent me there because that’s where we lived, and they weren’t too worried about it. (Can you imagine?)

Seeing how apathetic and lazy you are about your profound ignorance, yes, I can imagine that rather easily.  

Take two things from this on your quest to become a better person: 1) Your child will probably do just fine without “the best,” so don’t freak out too much, but 2) do freak out a little more than my parents did—enough to get involved.

You’re like a fortune cookie, only with more self-loathing.

Also remember that there’s more to education than what’s taught. As rotten as my school’s English, history, science, social studies, math, art, music, and language programs were, going to school with poor kids and rich kids, black kids and brown kids, smart kids and not-so-smart ones, kids with superconservative Christian parents and other upper-middle-class Jews like me was its own education and life preparation.

She’s an upper-middle class suburbanite. This is my shocked face. But don’t worry. She went to school with people who looked different. Yay! Sure, she’s dumber than pencil shavings, but diversity! 

Reading Walt Whitman in ninth grade changed the way you see the world? Well, getting drunk before basketball games with kids who lived at the trailer park near my house did the same for me. In fact it’s part of the reason I feel so strongly about public schools.

What the fucking fuck? That’s your best defense of public school? Getting wasted at the trailer park? Okay, that does explain a lot, but why didn’t you just skip that whole go to class part and cook meth all day instead? At least then you would have learned some basic chemistry. “Well class, today we’re going to learn how to huff paint so that you can have well rounded life experiences.”

Many of my (morally bankrupt) colleagues send their children to private schools.

Let’s see, you want to sacrifice your children’s well-being for political correctness, and you’re a spoiled, ignorant, stuck up suburbanite trying to display street cred solidarity with people who are actually suffering, and you’re calling your colleagues morally bankrupt?

I asked them to tell me why. Here is the response that most stuck with me: “In our upper-middle-class world, it is hard not to pay for something if you can and you think it will be good for your kid.”

Nobody ever told you that. Nobody actually talks like that outside of anonymous Slate, Salon, or Mother Jones straw man quotes. But then again, I don’t hang out with a bunch of white guilt ridden pseudo-journalists so maybe you guys do, but just in case you need a future quote, let me rephrase that response into Normal American for you: “They’re my kids and I’ll do what I think is best for them, so fuck off, you nosy busybody.”

I get it: You want an exceptional arts program and computer animation and maybe even Mandarin. You want a cohesive educational philosophy. You want creativity, not teaching to the test. You want great outdoor space and small classrooms and personal attention. You know who else wants those things? Everyone.

Why don’t you go ask some parents in Washington DC what they wanted before Obama screwed them over on school choice? It probably wouldn’t be arts and computers and Mandarin. It would be I don’t want my daughter pregnant and hooked on crack at 12.

Whatever you think your children need—deserve—from their school experience,

They need—deserve—you to pull your head out of your ass and allow people to exercise their personal freedom in how they live their lives.

 assume that the parents at the nearby public housing complex want the same.

Good. I’m all in favor of school choice.

No, don’t just assume it. Do something about it. Send your kids to school with their kids.

Oh look. It’s the soft racism of the left again. People in “public housing complex” don’t want what’s best for their kids, so it is up to suburbanites like Allison (or her poor kids, if she actually has any) to fall on the sword to lift them up. Oh whatever would we do without you, noble majestic liberal?

Use the energy you have otherwise directed at fighting to get your daughter a slot at the competitive private school to fight for more computers at the public school. Use your connections to power and money and innovation to make your local school—the one you are now sending your child to—better.

Do you sleep in a helmet?

Don’t just acknowledge your liberal guilt—listen to it.

Sorry, since I’m not a fucking idiot I don’t have any liberal guilt. If you actually admit to having liberal guilt, it is because you suck and are a complete failure at life. Cowboy up. Take responsibility for yourself and your family and quit listening to rudderless losers like Allison.  

So after reading all of that dreck, if you want to watch something actually interesting about the issues of failing schools, check out Waiting for Superman.  http://rcm-na.amazon-adsystem.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=monshuntnati-20&o=1&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=B003Q6D28C

I have a new book out today: INTO THE STORM

Into the Storm is out now.

Into the Storm (2)

 

From Amazon: http://rcm-na.amazon-adsystem.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=monshuntnati-20&o=1&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=B00EUSMLLE

A knight of Cygnar follows a strict moral code. His integrity is beyond reproach. He holds himself to the highest standards whether dealing with friend or foe. And he values honor above all.
The year is 606 AR, and Cygnar has been sorely pressed by its enemies both at home and abroad. In Caspia, the conflict with the Protectorate is about to erupt into full war with the looming invasion of Sul. The Cygnaran military is desperate for soldiers with the skill, strength, and bravery to take up the devastating galvanic weaponry of the new Storm Division. In this climate, every soldier is valuable, even those fallen from the honor expected of a Storm Knight. A group of such men—thieves, drunkards, and worse—comprise the Sixth Platoon. All they need is someone to lead them.
Lieutenant Hugh Madigan, a peerless warrior knighted during the reign of deposed King Vinter IV, has spent years in obscurity, punished for his loyalty to the former king. Now he has been ordered back to the front and given command of the Sixth, his task to turn a platoon of miscreants into elite soldiers fit to be called Storm Knights. Time is short, and war is coming. One way or another, Lieutenant Madigan must lead his men into the storm . . .
This is one of the projects that I did for Privateer Press for their Warmachine universe. For all of my regular fans I will say that you do not need to be familiar with that world or the game to enjoy this one. My goal was to write it so that it would be a great intro to the world, and I am really super pleased with how this one came out.
For those of you not familiar with Warmachine, think steampunk Dirty Dozen crossed with fantasy Band of Brothers, only with heavily armored knights wielding mad science lightning swords and steam powered fighting robots invading a city of religious fanatics.
And it is totally badass. I loved these characters, and I knew it was good when I wrapped it up and I was bummed that it was somebody else’s world so I couldn’t just go completely nuts and do whatever I wanted with them in the future. It was a lot of fun playing in somebody else’s sandbox.
I really enjoy this book, and I hope you do to. 🙂
And just because I love this cover art, here is the original picture.
Into the Storm (2)
And the fact that the dude with two lightning swords happens to look like me is a complete accident. Honest. The artist had never seen me. So I chalk that up to badass happenstance. 🙂

Ask Correia 15: Pacing

I recently got this question on Facebook, and I started answering it, but then it ballooned into a really big response, so I figure that means it is time for another Ask Correia blog post:

Hey Larry. I have been reading a lot of your How To’s on writing and they’ve really helped me a lot. I came up with a question of my own after struggling to get my story together. In EVERY one of your books, your pacing is perfect. You keep the reader intrigued from the first page and it is exciting all the way through, even if the characters are just eating breakfast. I was wondering how you keep the pace so perfect for each book and don’t dive into so many different events that the reader would just lose track of? When I put my story together I realized that it was just a mess of separate events which was my awful attempt at keeping an exciting pace haha.

That’s a really good question. Let’s talk about pacing.

One of the best compliments I get from readers is when they tell me that they read my book in one sitting, or they read it over two nights, or something like that. Keep in mind that my average book is 150,000 words, and I tend to write longer than average stories, so when I hear that it tells me that I’ve done my job*. My goal is suck the readers in so that they really want to keep reading.

*A quick note on what our jobs are, writers are just entertainers. It is our job to provide entertainment to our readers. Writers are not special snowflakes destined to right society’s wrongs or whatever. Nobody likes those high and mighty pretentious “message” writers, so don’t be that guy. You want to cram a message or theme into your story, go for it, but you’d darned well be entertaining first and foremost.

So pacing, how do you pace your story so that the reader is entertained the whole way through?

Think of your story like you are looking at a chart. There is a line on that chart that moves up and down for how intense your story is at any point in time. On an interesting book that line is going to move, up or down, but preferably always trending upward toward the climax.  If you want to keep the readers glued, you are going to move that line up or down depending on what you are trying to accomplish in each scene.

Intense or calm aren’t synonyms for good or bad. A scene can be calm, but be awesome. I have a rep for being an action writer, and when people think about my books they tend to think of the intense parts. But a book can’t be all intense, because if every single scene is intense, then intense becomes the norm. Intense becomes average, and now the book is boring.

If your line stays the same, starts out pegged, and is pegged the entire length of the novel, the reader is going to get tired. If you stay intense for too long, readers are going to get bored. Think of some of the brainless summer blockbuster action movies you’ve watched.  If it is explosion, explosion, explosion, slow motion running in front of an explosion, explosion, the end, you probably tuned it out, and now you’ve forgotten about it, because who cares? There was no time to actually care about the characters or the story, because the story was explosions.

Wow. I can’t believe I just said that, considering my reputation, but sometimes the answer isn’t to blow more stuff up. The answer is to make the reader care, and then blow stuff up. The real reason people like my books is because they like my characters. Sure, I constantly throw them into dangerous situations, but the only reason the dangerous situations matter is because the reader cares what happens to the people involved.  If the characters don’t matter, if they aren’t real, then who cares? And this is even more important for books than for movies, because at least with the movie you get the visual spectacle and the special effects. With the book, you can describe the most awesome explosion ever, but if the people around the explosion are boring cardboard cutouts, the reader isn’t even going to bother to invest the imagination into it. You need to make the explosion matter.

So don’t peg the line and keep it there the whole time. You are going to need scenes that allow the characters and the readers to take a breather. Use these scenes as tools in your tool box. Invest in the characters, explain the story. You don’t need to write the boring parts. Nobody cares about those. Elmore Leonard (a freaking brilliant writer) used to say don’t write the parts that people skip.  So the key here is to take those quiet scenes, but make sure they are still important. Tell us a story during these scenes. Let us get to know your characters and explore the interesting world you created.

The opposite is just as bad. If you start boring and remain boring the whole time, and your idea of pacing is to grind toward the inevitable end… Sucks to be you. This type of grey, ponderous writing is most often seen in the Dying Polar Bears genre of sci-fi that wins tons of awards and sells fifteen whole copies. But I don’t read or write bleak ass fatalistic bullshit, so I’ll stick to advice about enjoyable fiction written for entertainment.

The original question mentioned making things like eating breakfast interesting. Sure, but I’m not actually writing about the characters eating breakfast, breakfast is just the event that is happening while I’m accomplishing something else.  The scene is going to be exploring the character’s relationships, interests, or growing my world. (I can only think of one brilliantly written scene in a novel that actually was just several pages all about eating breakfast, the science of Captain Crunch in this case, from Cryptonomicon, but most of us aren’t Neal Stephenson).

I had scenes in the first part of Hard Magic that on the surface are about life on a dairy farm on the surface, but in reality they are all about Faye’s upbringing, her character, and her relationship with her adopted family. One of my favorite scenes in Dead Six is Valentine’s team in the ready room hanging out while some of them play video games and others lift weights, but that scene cements the camaraderie of these characters and makes them into real people.

Don’t think of your scenes as being all one thing or another. Like this action scene is for action, and this dialog bit is for plot. You can develop the plot during your action bits. You can increase intensity and shift the mood during the quiet talky bits. A good villain can build more menace during a pleasant conversation than they can burning villages. Think of No Country for Old Men (the movie), with the “Call it, Friendo” scene with the hitman talking about the gas station owner’s lucky quarter. Wow. That was intense, but it was just two guys talking about a coin flip. In reality it was a great bunch of character development showing off the antagonist. (and when your antagonist is scarier, you now worry more about the protagonist).

You can take intensity up through all sorts of things. You don’t need a sword fight or an alien attack. An argument between characters, a car crash, a bit of bad news, whatever, it all depends on the story you are telling. If you are writing a YA teen-angst princess novel then it could be that her socks don’t match her shoes, whatever, it all depends on your audience. But the important thing is that you move that line up and down.

So back to pacing, I like to start at one level, then move it up or down depending on what I’m trying to accomplish in any given bit, but always cranking the overall pace ever upwards toward the climax. And by then, when I get to the finale, I can do some truly big awesome scenes, but if I’ve done my job the reader will plow through 40 pages of action because it actually matters to them now.

If I’m looking at my manuscript and there’s a bunch of slower bits in a row, I may need to move that intensity line up for a scene to keep it fresh. Changing gears will get the reader’s attention. The running joke is that if fifty or sixty pages have gone by and I haven’t blown anything up, I get really nervous.

Look at your story critically as you write it. Are there parts where you are starting to feel really bored writing a scene? That is a good hint to mix it up. If you are getting bored with this bit then your reader probably is too. If something is starting to drag, switch your focus to something else. Now do the same thing as you edit. If you begin to skim your own writing, uh oh, that’s a warning sign. Sure, that stuff might all need to be in there for you story, but maybe you can break it up? Or maybe you can take the important bits, shove them into other, more interesting scenes, and then cut the boring part all together.

Sometimes you’ll be writing and you’ll think some bit is super important, but it really isn’t. You are just too close to it to see clearly. This is where good alpha readers or a good editor is worth their weight in gold.  When I have my alpha readers go through a book, I’ve really only got two important questions for them: 1. Were you ever bored? 2. Were you ever confused? Any other little bits they give me will be useful, but I’m really looking for a consensus on those two things.  You can get away with a lot of things as an author, but being boring is the unforgivable sin. Note though, that I say consensus, because never put too much faith in any one reader’s opinions, because they might simply be wrong. But if I send it to 10 readers, and 7 tell me that they were really bored/confused during one part, that tells me that it needs some work.

Now all of this stuff is going to get easier the more you do it. I don’t actually draw this pacing graph. I just kind of go with it by gut feel. The more you write, the more you will come to understand how you write, and what your strengths and weaknesses are. Sometimes pacing issues are simply lack of experience with storytelling.

One tip that I find really helps is that I like to write a whole lot of short scenes, rather than fewer really big scenes. That just fits my writing style. Mike Kupari, after having written two books with me now, likes to say that if we’re writing a scene and it hits 5,000 words a single bead of sweat will run down my brow. The reason behind this is if I can’t fit all of the info I need into a 5k bit, then it is probably too much, and I’m better off spreading it out somewhere else. That’s just what works for me though. Some readers might find my writing choppy though, and they’ll prefer the giant languid development scenes. There really isn’t a right way and a wrong way to do it, because if you’ve got readers sufficient to pay the bills, then you are doing something right.

Another part of the question was “so many events that you lose track of”. I probably am not the best person to answer this one, as I’ll throw a zillion plot elements into a story if I think they are awesome, and I don’t always see all of them through to a conclusion. Did I tell Agent Franks’ story in MHI? Nope. You had to wait for the sequel to figure out what the heck his deal was. Did I explain why Faye got so powerful during Hard Magic? Nope. That was the plot of Spellbound, and even then the whole thing wasn’t explained until Warbound. I guess what I’m saying is that you don’t have to answer every question you raise. Real life doesn’t answer every question either. My goal is to flesh out the world, not hold my reader’s hands. Sometimes the answer the reader comes up with is better than my real answer, and sometimes I’m saving that plot element to resolve in a different story. Why didn’t you explore more about what happened between Francis and his political fight with FDR? What is the deal with the Scarab from Dead Six? Whatever happened to Management in MHL? Well, wouldn’t you like to know? But those are stories to be told in other books.  🙂

That said, be careful, as there are some things that you must answer for your readers or they will get pissed off at you. So basically, if you promise to tell how a certain plot element turns out, you have to tell it.  If your alpha readers get to the end, and their response is “WTF!? What about so and so!?” Then you’d better get to editing to explain it.

So introduce as many different subplots and elements as you want to make your world more interesting, but be careful. This is actually related to pacing as this becomes a juggling act, and if you are juggling so many things that you bog down your main story, then your readers will become bored. There are a few big epic fantasy series floating around notorious for this where you will hear a constant complaint from the fans about plodding through whole books of boring, pointless secondary stuff, where the readers feel ripped off that they don’t get to read about the main story progressing.  That’s a pacing fail.

And just keep in mind that you can’t make everybody happy. A pace that is perfect for one type of reader will absolutely suck for another. Basically you need to look at your target audience and write books aimed at making happy the people who will give you money. There are some super popular series out there which bore me to tears, but since their authors sleep on giant piles of money, they must be making their readers happy, and at the end of the day that’s all that matters. Make your readers happy.