Tag Archives: what not to do

Setups, Flawed Characters, Ginger or Maryann?

Last night I finally got my files uploaded for the print version. They’ve been reviewed, and I had a problem with my title page, so I have to get that fixed this morning, and then upload the interior file again. But it seems like that was the only issue, so I might be able to order a proof copy tonight.

This morning I’m doing some thinking about first acts, how I understand them, and how I approach them. What follows may be a lot of me talking to myself, so don’t let all the yous get to you.

For me, the first part of a book is all setup. The actual story, the thing your characters are going to have to work through—you’re not into that yet. In fact, the point where you actually get into that doesn’t even happen until the end of this section.

Now, you can’t just do nothing here. You can’t just go about describing the characters, their environs, their backstories, etc, and not having anything going on to engage the reader. That’s about as much fun as watching someone else play Barbies. There should be something going on, something the reader is going to want to know more about.

So you’ve got a character (or characters) and a something going on. And part of what the reader wants to know is: how is this something going to affect the character? When is she going to a) either become aware of what’s really going on, and/or b) have to deal with this? And then what’s going to happen? While she’s reading on, to get to that moment when things come together and you come to that point of shoving your character through the door into the story world, you’re feeding her lots of important information about the world and the people in it, you’re planting seeds, doing a little foreshadowing, but, most importantly to me, you’re setting up your character arc.

The stories I love best are those in which a character learns and grows, is changed by the events of the story. I think I probably especially love characters who seem a little hard to love when they’re first introduced.

Take Lost’s Sawyer as an example. (Oh, I’d like to.) He’s not a nice man. In fact, he’s a criminal. Not only is he nasty to everyone on the island with the name-calling and the constant lashing out, he also does things like gathering up and “claiming” as many supplies as he can so that he can profit from everyone’s plight. I think there’s a part of Sawyer that remains inherently selfish at the core, which keeps his character consistent. But in a show in which the challenges presented by the island transform many characters, helping them find the inner hero that may lie within all of us, I think Sawyer is the one whose change is the most dramatic, and therefore the most moving. (Or I could be just blinded by the dimple. It happens.)

Spike is another example of this kind of character. Someone who starts off really enjoying the killing, especially of slayers. Until he falls in love with one, and is changed by that love, and by his story into someone who ultimately—does something spoilery that’s pretty selfless. You know what I’m talking about.

So yeah, I guess I’m into that. Characters need to have a starting off point in which they are somehow less that they’re going to be at the end point. And in a series, in which they’re going to appear in more than one story, that means they’ll need even more room to grow.

They have got to be likable in some way, and often, with flawed characters, that’s a matter of empathy. When a reader talks about characters that seem real, what they’re saying is that they felt empathy, they recognized something that they’ve felt, or at least something that they understand, in something that your character feels. There has to be something they connect to. This is why they tell us to make the character care about something.

Spike had Drusilla, for example, showing that he was capable of some kind of love, even if it wasn’t the nicest relationship to watch. Later, he formed the same kind of obsessive attachment to Buffy. And we really got to see how it hurt him, to be so constantly rejected by her, to feel that she was so unattainable, because he was so unworthy. To feel the hopelessness of that obsession, even if one hasn’t been a vampire obsessed with a slayer who won’t have them–a lot of people can still relate to, and be moved by, those kinds of feelings. And that’s what keeps them tied to Spike as he waits for his moment, his opportunities for growth (internal, not always conscious), and to win the Slayer’s affections (external).

But be advised, it doesn’t work for all readers all the time. If you present flawed characters, not everyone is going to connect, empathize, or wait around for them to get better. Sometimes a reader will be so turned off by something your flawed character did or said that, not only will she give up on them, but the book, and you as an author. Our different tastes, experiences, the issues that can pull us in or make us throw the book at the wall, that’s all part of what it is to be human and sentient, and makes all these varied stories possible.

After all, it’s this variation in taste that makes possible questions like:

  • Angel or Spike?
  • Sawyer/Kate or Sawyer/Juliette?
  • Marvel or DC?
  • Ginger or Maryann?

And where would the internet be without that?


Filed under books, characters, Hush Money, ideas, love, romance, story structure, Talent Chronicles, tips, writing

Fire bad, tree pretty, sequel hard

It seems simple enough, right? You already know a bunch of your characters, you’re comfortable in your world, you’ve got a solid story under your belt, and you know what you’re doing, right?

Oh, no. This is not as easy at it looks.

But you knew that, right? I mean, you’ve read enough sequels to know that getting it right is a dicey business.

Here’s my problem with reading sequels: I read them back to back. I hate waiting to find out what’s going to happen next, and waiting six months to a year?? Oh no. Lack coping skills. So yeah, I have to stick my head in the sand to avoid spoilers, especially on the big ones, but it’s a small price to pay. Equal opportunity binge-er here! I also don’t watch TV and instead wait for the entire season or, preferably, series, to be out on DVD before starting to watch the episodes back to back.

Anyway, when you don’t have six months to forget the details, when you’ve just read the book, tossed it aside, and pounced on the next one, eager to find out what happens, re-reading everything you just read is incredibly frustrating. As the ebook trend grows, as “out-of-print” becomes a thing of the past and more people are able to find all the books in a series, in order, whenever they stumble upon it, this will be an issue for even more readers.

The answer, I think, is to start each book like it’s totally new and fresh. Forget about the previous book and every adorable word you put in there, every remarkable moment you lived through with those characters that you want to reminisce about (but suggesting that they want to reminisce). The reader’s here to find out what happens now.

In the first book, when you’re starting out, you know that you’re developing a character for the reader. You’re not dumping her, her vital stats, living arrangements, most traumatic moments, and grocery list on page one. You’re doling out tidbits as you go, as they become relevant to the story.

Well book two? Same goes. The event of book one are now part of the character, part of the backstory of book 2. You know better that to dump a lot of unnecessary backstory into your book, right?

Objection, your Honor! Relevancy?

Now, in case you haven’t figured this out, this is me, talking to myself. Heroes ‘Til Curfew is kicking my butt. What I know about not bogging a story down with irrelevant backstory and useless detail, and what I seem to really want to write, are two different things.

This is way harder than I thought it would be.

I’ve never written a book two before. I’ve never completed a book one I thought was worth following up on before. So now I’m in this whole new world in which I see this whole series of books before me…

This is a skill-set that I seriously need to learn. And I will.

While I work on this, any thoughts? Advice? Commiseration? Are there book twos you’ve just thrown at the wall because you didn’t want to hear about book one anymore?


Filed under Heroes 'Til Curfew, Hush Money, story structure, Talent Chronicles, tips, what not to do, writing

Indies: Why I haven’t read your book

The #1 reason is simply that I haven’t found it yet. But since I shop a lot and meet with a lot of buyer frustration, I thought I’d make a list of the most common reasons why I don’t click the buy button. You may have your reasons, and that’s your business. This is one person’s experience and what you do with the info is up to you.

Preface: I’m an avid ebook enthusiast and I DO NOT OWN A KINDLE! Clutch the pearls, I know! You just don’t even know what to do with that one, do you? The fact is that there are a number of people who, for whatever reason, pass on the Kindle in favor of other ebook device brands. These brands include, but are not limited to: Sony, Nook, Kobo, iPad, Cybook… In fact, let me just link you to a list of examples. As far as I know, Kindle is the only dedicated reader device that reads the secure (DRM protected) Amazon format(s).

With ebook sales currently representing such a small percentage of the total book market, I am constantly asking myself why indie authors choose to alienate any part of that population by not offering their books in other formats.

So, we’re already into the list:

#2. You DRM’d your book on Amazon. Amazon has become THE place to shop for indie reads, without question. I go there first. And I try to buy there because I think that buying your book in Kindle format helps your rankings there which will ultimately be more helpful to you than if I buy it elsewhere.

But I can’t buy it there if you DRM it. In the details, it must read “Simultaneous Device Usage: Unlimited”. That’s the only way I’m going to be able to convert it to a format my reader can use after I buy it. And if I wanted to read it on my PC, I would hardly have dropped a couple hundred bucks on a device, would I? And I’m a reader, not Gadget Girl. I’m not about to run out and tie myself to a cell phone contract, with an extra $15-$30/mo tacked onto it, to get a phone I can’t figure out, so that I can read your book on its dinky display. (Yes, the next shock, I neither have nor want an iPhone.)

#3. You’re not on Smashwords. That’s usually the next place I go to see if you’ve got other formats available someplace else. I search the title first, and then the author. I usually don’t find what I’m looking for.

(If DRM is the deal-breaker for you, if this “protection” is what keeps you from offering your book to ALL ebook device owners, I urge you to do two things: read up on some of what Joe Konrath has to say about ebook piracy on his blog, The Newbies Guide to Publishing [here’s one link, but there are more], and poke around MobileRead forum to see what formats have already been broken [um, all of them?]. Understand that the pirates don’t care about DRM because they’re the ones who CAN and DO break everything. You’re only keeping your books out of the hands of those who wanted to pay you. Do not flame my comments, because I do not want to argue about piracy.)

#4. Rarely, but it does happen, I will do a web search for you and your book, in hopes that you have a website at which you offer your book for free download (ok, I can hope), or offer the various formats through a service like Payloadz.

#5. Your book is too expensive. It’s not about what your work is worth, it’s about my budget. (It’s not you, it’s me.) We’ve gotten past the auto-no part of the list that’s just about availability, but now you’ve priced yourself out the market–the market of me, anyway. What I want to spend on an unknown is $.99. I will spend up to $2.99. I probably won’t spend more.

I rarely spend over $5. If I do, it’s because someone else really liked your book and told me I have to read it, or there was something so incredibly intriguing about the concept that I pretty much had to. But that is sooooo rare. Seriously, if you’re not selling like hotcakes, please don’t count on this. A 70% royalty x no sales = $0. A 35% royalty on $.99 is more than that.

What if you got me to read that first book for $.99? What if I bought your next 3? What if I told my friends?

(Those of you who have given your books over to epublishers who are trying to price you like NY books, while not making you look like NY books…I’m sorry. It’s just too high. If I wanted to pay that, I’d buy from an established name.)

#6. Your blurb/product description didn’t grab me. More than likely, if I take a pass on your book because of the product description, it’s because it actually turned me off. Maybe it wasn’t well-written. Maybe it failed to describe the story or made it seem like you and I wouldn’t be a writer/reader match. Often I see product descriptions that look like the author just didn’t try.

#7. I couldn’t get through the excerpt/sample. Now, I do a lot of impulse buying, but I’m really trying to get in the habit of taking the time to read at least a page or two of the free samples provided. This will save me a lot of pain. I’ll admit that I read and pay attention to the excerpts A LOT more when the price is higher than $.99. Because that purchase is a bigger decision.

This is finally where it gets to the point about your work. It may not be that I think it’s “bad”. Sometimes I just feel that it’s not for me. If your language is the really…flowery or purple, if it feels overwritten to me, or clumsy, or drags… These are things that make me suspect I’m not going to enjoy the book and it’s going to be a pass for me. I do the same thing to paperbacks in the bookstore when I can, so you’re getting equal treatment.

#8. Only after all that do I even get down to the reviews. Seems odd because reviews are something I go to right away for trad published books. And part of that is because trad published books are all pretty much equally available to me through various outlets, priced at about the same rate, generally have more compelling descriptions, and may or may not have excerpt material. I read reviews of trad published books because, again, the price makes the purchase a much more significant buying decision and I need to be careful about it.

To be honest, I’m hardly buying any trad pubbed books since the Agency pricing model for ebooks put the smackdown on discounting and made trad pubbed books in my price range practically extinct. I’m getting a lot more of my reading from the library than I was before Agency pricing. (The library and Adobe DRM support: the reason I don’t own a Kindle, now you know.)

Last word on reviews: by the time I’m looking at reviews, I’m looking for reassurance and a reason not to buy.

Other factors:

Cover art- A lot of people say professional cover art is a big deal. It’s not so much, for me, but I know it is for a lot of people. If your cover is really good, it may have a better shot at grabbing me. I don’t know.

Length- I like to know how long the book is, and I’m more likely to buy if I know the word count and what I’m getting into. The likelihood of me buying an indie novel over 100K words is very small. I prefer shorter novels, between 50K and 100K. I have a hard time believing that novels over 100K won’t be full of tangents, thoughtologue, redundancy, and an overall lack of editing and author attachment to every precious word. Maybe yours is different, but it’s probably not for me. I’ve read too much filler in the realm of “full-length” traditionally published novels.

Paper only!- Again, an availability issue. I understand why indie books cost what they do, and I do not hold that against you. But I won’t take that kind of risk with my money. Plus, I don’t want to read paper anymore. I’m in the process of getting rid of my paper books. The only thing I buy in paper anymore is manga/comics, some non-fiction stuff, and books for my little one. There’s just no way I’m spending $15-$20 on a book. But if you put it up in an eformat, at a reasonable price…

If I like your book, I will tell my friends. I’ll probably leave you a review. Maybe post about it somewhere. If you have other stuff, I’ll probably buy it all up.

If you can refrain from arguing with me about DRM and piracy (understand that I do so rabidly detest DRM, and how I feel it’s being used by the distributors to manipulate me as a consumer, and offers you, the author, no substantial protection against piracy–I actually can’t talk about it without getting worked up, so I won’t), I would love to hear why you’re in print only, or only in Kindle format, or how and why you chose your price point, etc.

And for readers, what makes you pass on books? What’s your price-point? What device are you using?


Filed under self-publishing, tips, what not to do, writing

Blueprint Series part 12: Fleshing Out Part 4

You know what you need to bring your story to a conclusion, but how are you going to make that into a whole quarter of your story? Does it have to be? We’re going to talk about that and some other stuff today as we work prepping part 4 of your story. (Click here for part 1 of this series on story development.)

To answer my own question above, my personal opinion: No, your 4 parts do not have to be equal quarters and your Part 4 doesn’t have to be quite as long as Part 2 or Part 3. But neither should it be so truncated that it seems a lot shorter.

This is one of the many balancing acts we face in writing. Your final act should be that exciting thrill ride we talked about yesterday, full of jarring impacts and forward motion. But it also should not be over so quickly that your reader feels she’s just invested hours in a build-up to something that was over too quickly. That’s a risk if you move from your SPP directly to your final showdown against the antagonist. At the same time, if there’s a long and complicated sequence of events to set up that showdown, your risk slowing everything down and disappointing your reader in a different way.

I just thought I’d throw some worries at you while you think through this, because I’m mean like that. As you’re outlining, you may find that you have more scenes or fewer scenes in your Part 4 than you did in other parts. Maybe it will take you more words to describe all that action, and that will maintain your balance. Hopefully you’ll be writing your climax using the kind of exciting language that will make it a fast read, make your reader power through to keep turning pages to see what happens, and that will provide the balance you need.

What you do not want to do here, is to plan a lot after your exciting climax. Don’t you DARE make me walk back to the Shire with you. Seriously. I’ll go home with your character to see how it all worked out, to see her get her reward, but I don’t need another journey right now, and I certainly don’t want another adventure of any kind.

I’ve got my post-victory buzz on. Don’t bring me down, man.

So let’s look at the Blueprint…

Step 12: Fleshing out part 4

  1. What is the climax of the story?
  2. How do the characters come to terms with their inner demons?
  3. Are there any loose ends to tie up?
  4. What is the happily ever after moment?

Not a lot of questions to work with there, but, at this point, you don’t need them. There is nothing extraneous in your climax. It deals with setting up the antagonist and knocking him down. And to do this, the protagonist overcomes her inner demon, that thing that’s been holding her back all along. It’s her grit, determination, and what she’s made of herself through the training that living through this story has given her, that allow her to win. Not luck, not some guy (unless he’s a co-protag and she saves him right back), not some kind of out of nowhere magic. Your protag saves the day and defeats her foe. She couldn’t have done it back when we met her, but she’s a different person now. Right?

Do you have any loose ends to tie up? Any subplots that need resolving, mysteries to be explained, identities to be revealed Scooby-Doo style? Like I said above, once you’ve impacted the reader with the emotion of the win, getting to THE END as quickly as possible is usually best for everyone. Every page she has to turn after that risks diluting the emotional high she paid for in the book price and hours invested in reading.

(It’s probably obvious that I don’t believe in epilogues. Epilogues that do not advance the series are most often gratuitous frolicking in the story world for an author who just doesn’t want to let go yet. Some readers also don’t want to leave the story world and these characters, and enjoy a drama-free scene of martial bliss 9 months later or whatever. Put it on your website and give those readers a reason to check that out and look at your other projects. The only epilogue type I favor is one with the purpose of dropping a seed that will grow into the next book. Horror movies are good at that type of final scene, but then, making you uncomfortable is the point of a horror movie. And making you feel WIN! is the point of romance, IMO.)

What’s your Happily Ever After moment? You’ve just saved the world from a monstrous, soul-sucking demon from hell? What are you going to do next? This is where you give the protagonist her reward, or the clear promise of it, for all her hard work through the story. Because what’s harder than changing and growing? Sometimes part of this moment in your story is about your protagonist realizing what she’s learned and how she’s changed, especially in stories for younger readers who expect that moral of the story, -what we’ve learned from this after school special- type moment. Often stories end with a punch line. This isn’t so much a joke (although it is often humorous and further breaks reader tension) as a bit of an emotional punch, and is often particularly affected when it is seeded throughout the story in some way.

It seems like we’re done (except for writing), but I still have at least one more thing I want to talk about. Tomorrow I’m going to talk about Battling Threads in your story, and how you might consider dealing with your subplots. Even if you don’t plan to add a subplot, there are still threads of different types that weave in and out of your main action story, and it’s important not to leave them hanging or let them grow into a tangle that impedes your main plot.

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Filed under Blueprint, romance, story structure, tips, tools, what not to do, writing

Blueprint Series Part 9: Fleshing Out Part 1

Thanks for visiting part 9 of the series. We’re really going to start fleshing out your story this week. In keeping with the 4-part structure we’ve been discussing, we’ll be going over one story section each day and working on some of the things that will help you build your outline. I’ve added a section into the Blueprint that deals with following up with your different threads and subplots. Check the download page to get the latest version. And if you’re just finding the series, click here for part 1.

Step 9: Part 1

  1. What is the hook or question that happens within the first few scenes?
  2. How will you introduce the hero? What will allow the reader to connect with the hero?
  3. How will you introduce the heroine? What will allow the reader to connect with the heroine?
  4. When and how do the hero and heroine meet?
  5. What is the theme(s) of the story?
  6. How will you allude to the theme(s) in Part 1?
  7. What events will you foreshadow and how?
  8. What are the hero’s inner demons? How will you show that?
  9. What are the heroine’s inner demons? How will you show that?
  10. What’s at stake for the hero? When the FPP happens what does he have to gain and lose?
  11. What’s at stake for the heroine? When the FPP happens what does she have to gain and lose?
  12. Are there other characters introduced in Part 1 who will continue through the story? List them, their relationships to the characters, their functions in the story.
  13. How does the FPP come about?
  14. How does the FPP unveil the antagonistic force?

Part one of your story is all about setup. It’s showing us what your character’s life is like before everything changes and she is pulled into the story proper. This is the place where you’re really doing a lot of planting and foreshadowing. You’re showing us what your characters want and need, what they’re afraid of. You’re planting elements that seem like background now, but may become oh-so-important later. When the FPP comes around at the end of part 1, a lot of these pieces will take on new significance for the reader, as she will automatically be in a position to understand how the FPP changes everything. She’ll know, without having it spelled out in exposition, what your character has to gain, what she’s afraid to lose, and why she must move forward into her story. Because you’ve shown all that in your setup.

Opening Hooks: Questions are important to me at the beginning of a story. What will happen next? Will she or won’t she? Why does she feel that way? How did this circumstance come about? What kind of a world is this, where things like this are possible? … Whatever it is, the books that really draw me into a story are the ones that give me some kind of a question that makes me want to turn the page and find out more.

Perversely, nothing turns me off of a story like feeling strung along and left in the dark. There’s a balance between creating intrigue and creating reader confusion. Good critique partners and beta readers will be invaluable to you in deciding if you’ve done your job right. For now, just remember throw the reader some breadcrumbs and answer some of these questions while you create others.

Getting readers invested: Readers follow your story by identifying with, and investing emotionally in, you characters in some way. Figure out what it is about your characters that will make your reader root for them and want them to succeed, whether it’s some need or trait we all tend to have in common, or something compelling that your character really cares about and needs to accomplish. Once you’ve figured out what that is, remember to find a way to show (not tell) it in your setup.

Theme: Some people hate the idea of theme. I love it. I believe in it. And no, I don’t believe writers always have a theme when writing or planning, but theme emerges all the same. I can usually find one in anything that’s been worth reading. It’s really about the question What is this story about? and the answer that doesn’t just summarize the plot. It could be about finding your place, discovering or embracing who you are, the places where Truth hides–this is the place to think a bit dramatically, I suppose. It’s about what you’re saying, beyond simply telling a series of events. It’s about why you’re passionate about telling this story. You may not know what your theme is at this point, but once you find it, you’ll be able to craft details and dialog to enrich the thematic experience for the reader.

Inner Demons: This goes back to your character arc stuff. These are the things your character needs to get over in order to win at the end of the story. In your setup, you can choose to show us what the character is afraid of and why, or you can save the why for later. You can present us someone who’s so distrustful of others that he’s never going be able to be the kind of team player your characters need to achieve the story goal. You can show us someone who is so beaten down by past failures that they can’t even conceive of trying again. Lots of different kinds of demons to slay out there.

Stakes: FPP’s Happen. Should be a bumper sticker. When yours happens, what’s at stake for the character? She must move forward. Why? What will happen if she doesn’t? What will she gain if she succeeds in gaining the story goal? Of course, she’s reluctant to go forward. Why? What will she lose if she tries and fails? Set it up and show us, so you don’t have to tell us.

Other Characters: Since these are notes you’ll be using to develop your part 1 scenes, it’s a good idea to list all the players you need to introduce, so that you can start thinking about at least giving them a mention or a walk-on in your setup.

FPP: If you don’t have some kind of an idea of how your First Plot Point happens by now, you really should. This is the most important moment of your story. The moment that makes it a story. If you’ve got no idea how it happens, make figuring that out a priority.

You might have introduced your villainous character somewhere in your setup. At the FPP, something else is revealed about him. He’s not just the mean, he’s evil. He’s not just greedy, he’s a demon (literally). He doesn’t just casually hate your main character, he actually has a plan in place to destroy her.  What new thing about the antagonistic force are you going to show the reader through the FPP?

There are a lot of questions to think through here, but that’s what makes Part 1 the easiest chunk to put together. By the time you get all of this stuff answered, it pretty much builds itself. Good luck with it.

Tomorrow, we’ll be on to fleshing out the first half of the middle.

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Filed under Blueprint, goals, tips, what not to do, writing

You lost me.

I LOVE my library’s online audiobook program.  I just wish they had MORE.  For the most part, everything you want to read is wait-listed.  Today I found myself without a book to listen to while I worked on my sewing stuff, and so I browse the available titles in Romance.

Of course, when the website says Romance, they really mean Women’s Fiction, and so there’s always the possibility that I will unwittingly stumble upon the dreaded Chick Lit which…just don’t get me started.  If you love it, great for you.  It’s not what I enjoy reading and I’d like to a clear indication up-front if something’s going to be romance or some meandering heroine’s journey with a romance on the side.

So anyway, to try to make myself try new authors, when I don’t have any waitlisted reads that have become available, I choose something I’ve never heard of from the available titles and do my best to read it.  My Chick-Lit sensor started blaring as I read the description, but I really needed to just choose something and get on with my work, so I stopped dithering and downloaded.  After all, maybe I’d be pleasantly surprised.

This book starts out with a prologue about a young girl having a traumatic experience.  From there, Chapter 1 says Five Years Later, and starts with the heroine on an airplane.  The heroine is obviously not the girl.  No connection with the girl or the prologue scene is obvious.  What is this story about?

Fully half an hour into the reading, I still don’t know.  I’m JUST finding out where the plane is going, and once the heroine lands and continues her journey to the spot where she’s headed (for no concrete reason) the author finally gets around to the general and not great reason why the heroine has chosen this place she’s going for R&R.  What does the heroine want?  I still don’t know.  And because I don’t know–I don’t care.  I don’t care about the several year history of the relationship she was in with the guy she wasn’t really into, and I don’t really care about her career.

What I do care about is that I can’t go through another 13 hours of listening to this, even if it’s just playing in the background while I work.  And I think that says something about my tolerance–or intolerance–for absolutely killing a beginning with backstory and not letting the reader in on even a hint of what this story is going to be about.

It’s like talking to one of those people who wants to babble on incessantly to hear themselves speak, but really has nothing to say, only you don’t realize it until it would be impolite to just walk away in mid-sentence.  And it’s also kind of like talking to one of those people who wants to play I’ve got a secret! and wants you to beg to be let in on it.

I don’t have to be grabbed by throat in the first line, but please don’t expect me to take it on faith for half an hour that at some point this really will be a story and not a backstory.


Filed under what not to do