Why We Write

NOTE: This is an updated version of a post I wrote five years ago, about the writing process, or at least “my” writing process. As we near the release of Magicians Impossible I wanted to revisit this piece, and add some additional flavor. 

I’m not much for talking about my “process”. There are plenty of places you can look to read about “process”, and there are plenty of people who are happy to share what their process is. They’re all interesting and informative, and also contradictory and probably of little use to you. That’s because they’re talking about their process; they aren’t talking about what process works best for you. Some insist on powering through the first draft and revising after it’s finished; others swear by revision as you go. Some obsess on word count or pages per day; others are concerned only with “good” pages. Some brave souls rise at 5am and write for three hours before starting the day proper; others write in the evenings when the day is done. Some say you need to write every day; others say weekends are fine. They’re all right … and they’re all wrong.

So here’s a piece about my process. Please feel free to ignore it.

For me it all starts with the idea. Sometimes it’s a detailed idea; other times it’s just a rough sketch. From there I think about whose story “my” story is; the characters. Male or female, child or adult – I’ll try various combinations and complications before settling on POV. From there, assuming the story I’ve put together is any good, and the characters I’ve conceived are going to be interesting enough to follow, I clear the decks, close my door and start writing. I outline before I draft, I treatment after I outline, I look for leaks and plug plot holes the best I’m able, and once that’s done, I start writing. Because if I don’t, this happens:

Pictured: What happens when you don’t plug leaks, or when your manuscript/screenplay hits an iceberg.

But before I do any of the above … I listen to music. Music may in fact be the most important part of my process. If I haven’t decided on what music I’m going to write to, chances are I won’t be able to do any writing, and what I do write will be shit.

Okay maybe not shit, but difficult.

My favorite approach to this is to assemble a playlist or mixtape to accompany whatever particular project I’m working on. This is music that gets me into “the zone”, but more importantly into the character’s heads. I’ll tailor a playlist to a specific character, and use the songs I choose to illustrate their personalities, their hopes, their fears, their everything. I’ll create several such playlists for any given project, and I’ll listen to them when I’m focusing on a particular character or subplot.

Pictured: my soundtrack

There are a couple of reasons for this. The first I already mentioned; to get into the characters and the world they inhabit. But the second is more basic; to get me going. Because some days you just … can’t … get … into … the writing part of writing.

You have lousy sleep or a lousy day. You’re at one of those points in the story where you’ve lost the plot. You want to do anything but write. Every writer has days like this. But since I started creating playlists those days are fewer and come further between.

That’s where the playlist comes in. Because you’ll sit there and you’ll listen to it, or you’ll throw it on your iPod and go for a walk, and pretty soon the story will come back to you. And once the story comes back to you, you’re able to write it down.

Now, this music doesn’t have to be of the period the project is set in; in fact I’d strongly advise against that. The reason you create a playlist is not to be authentic but to be real. To connect with the characters and the story on an emotional level. So unless you grew up listening to Civil War era grassroots music, using that music to score your Civil War era story is going to make it a dry museum piece. Ask yourself what your characters would listen to if they were alive today (and seeing as they are your characters they are alive). Would they be into rock? Punk? Country? Hip-hop? Put yourself in their headspace and assemble a list of songs that relate to them, their trials, and their troubles. See them as living, breathing people, not just words on the page and an idea in your head. Once they become “real” to you, they will be to the reader.

Some examples: my first (unpublished) novel was a murder mystery set in Renaissance Italy. It was written primarily to 60s British Invasion and 90s Britpop. There are two main characters, each with alternating perspective chapters. One was 50-something, the other a 20 year-old. Any time I was writing for the older character I lived on a steady stream of Rolling Stones, The Hollies, Manfred Mann, and the Yardbirds. For the 20 year-old, it was Blur, Oasis, Elastica, Inspiral Carpets, Happy Mondays, and so on.

Squadron, a TV series I’m developing with Copperheart Entertainment, was largely written to early 90s alternative; grunge mostly, but a lot of Pogues, Dropkick Murphys, early U2, Depeche Mode, and Duran Duran. I wanted to capture a feeling of excitement in the lives of WWI flyers, all young twenty-somethings taking to the skies to vanquish their enemies. Because a substantial portion of the story deals with the after effects of being the most famous killers in the world, I balanced fast paced rock with more introspective music for the quieter moments.

There are other examples. A suspense thriller I wrote some years back (also unsold – see the pattern?) was scored to a lot of Madchester-era music, which is appropriate given the main character has walled herself off from the world and is living in something of a nostalgia bubble. It made sense for her to be into the music she was into as a teenager, like she never grew past 2000. A thriller I wrote for a prod co about an EMT on the edge had a lot of 70s Punk in the mix – The Diodes, The Demics, The Clash, The Ramones. Music that reflects the thoughts of a main character living on the edge.

And there’s Magicians Impossible.

The Magicians Mixtape (which will be released on Spotify September 12) is pretty eclectic, featuring Metric, The Kills, The Dread Weather, T. Rex, David Bowie, The Jam, The Vaselines, XTC, The Human league … the list goes on. That playlist is distilled from about seven separate ones I created, each focusing on a major character or moment in the story. Because a novel has more working parts than a screenplay or comic book, I needed to go into greater musical depth. The end-result 50 track mix loosely follows the plot of the book and is a great accompaniment (though I recommend you listen to it after reading the book).

That all being said if your particular project is of a period where music – contemporary music – is available, use it. If there’s an emotional component also, even better. The novel I’m drafting right now features music as a major plot point; specifically one-hit wonders of the 80s and 90s. The music the main characters – all teenagers – would have grown up listening to because that was the music of their parents’ generation.

So that’s it, really. That’s my process and it probably only works for me. But maybe it’s worth a shot if you’re stuck on a plot point or something with your story that just isn’t working for you. If you can’t figure out where your character goes next, why not think about the music they would enjoy and the memories that would be associated with it?

In the end, you need to find what works best for you, and stick to that. Don’t let people like me or anybody else tell you what you’re doing is wrong because it’s not wrong; it’s right for you. As long as what you do works for you it’s better to stay on that track than try and write like someone else.

Because they can already do that. Your job is to write like you.

Haunted When The Minutes Drag

I moved around a lot as a child. By the time I was 12 years old I’d lived in 8 different cities and two different countries. I got very used to (and very good at) making new friends and even better at saying goodbye to them. In fact, my entire childhood is pretty much compartmentalized, with memories tied to a specific place and time, and those memories extend to TV, music, movies, comics and so forth.

For the longest while I thought this was normal; that everyone moved with the frequency we did. Then I later realized that my life was the exception; my friends were kids born in their city or town and grew up there and would very likely remain there for. They were lifers; I was just a face and a name passing through, staying put for a short time, then one day I was gone and my face and name would fade from their memories. I doubt many, if any of the people I went to school with in Vancouver or Edmonton or Greensboro remember me at all. I was the anomaly, not them, and while I once liked the excitement of new cities, new homes, and new schools, over time I came to hate those moves. I came to hate having to say goodbye. I wanted stability. I wanted a sense of place. I wanted a home, not a house.

Pictured: the writer as a brooding young man

Pictured: the writer as a brooding young man

I bring all this up because I’m at work on my next project, a novel largely inspired by the years I lived in Brockville, Ontario (roughly 1986-1992). While wholly a work of fiction – it’s a horror/sci fi/mystery hybrid – it’s still drawn from the reservoir of memories of my years in that town. It’s about many things I experienced there, and after I left. Mostly it’s about saying goodbye.

It’s been quite the experience so far. Like opening old wounds. Sure, you remember the good but to create real drama you have to zero in on the bad. I’m taking my mind places it hasn’t gone since, well, since those darker days. It hasn’t been pleasant, but it’s been necessary. Both the good and the bad have given me fuel, but so have the mundane moments; shooting pool, hanging out at the arcade, renting crappy horror movies form the local video store. Those moments that seem inconsequential at the time that take on mythic importance so many years later.

When I lived in Brockville I hated it, but I think every teenager hates where they grew up. It was boring, it was stale, and I felt trapped. Even when I got my driver’s license and my first car I felt tethered to home like I was attached by a big elastic. Just when I thought I’d achieved freedom there was something to snap me back. Had I lived someplace exciting like Toronto or New York I’m sure I’d have things to complain about them too, but age changes things. Your memories of that “miserable” time become more golden. You realize that, while they were far from what some would call “the best years of your life” they were special, they were meaningful, and they mattered because they made you the person you are now. Your work ethic, your personality, all of it formed in that blast furnace called High School. It was when you made the decision, conscious or otherwise, to be the person you wanted to be.

Unsurprisingly, if you know anything about me, music has been a great gateway to those years and memories. The infamous box of old mixtapes that inspired Mixtape have come in handy here, as have the assorted yearbooks, photo albums, magazines, notebooks and so on that have been following me around for almost 30 years. Unlike Mixtape, this new project has that element of the fantastic that hopefully means a wider audience than the ‘musical memoir’. It’s very different from Mixtape but shares a lot of its DNA. If you take the cast of my comic and all of a sudden dropped them down into Invasion of the Body Snatchers you essentially have this new thing. Like Mixtape, it has unlocked old memories and opened old wounds. Much of my dislike of those years is because that was the period my parents’ marriage hit the rocks. It was not a happy time. There was yelling and arguments at the dinner table, on outings, even on one infamous birthday celebration (mine). I couldn’t wait to get out of there and when I did I never looked back or went back.

For a while, anyway.

In college when people asked me where I was “from” I never had an easy answer. “Directly” you could say “Brockville” but it wasn’t where I was “from”. When you lived in 8 cities over 12 years you can’t say you’re really ‘from” a certain place. I still saw people from Brockville, and remained friends with them through some of college but we were all moving in other directions. New friends, new horizons; those old familiar faces reminded you of the person you were not the one you wanted to be. So for a very long time I buried Brockville and those years deep, until a good fifteen years had passed since I said my formal goodbye. That story has been documented elsewhere so I won’t bore you. I will say that once I started to plumb the depths of my experiences growing up I became a much better writer. I had a POV, I had a story, I had a voice that was unique yet familiar. My experiences weren’t so different from many others whether you were from Providence, Rhode Island or Buenos Aires, Argentina or Monroe, New York.

One of the great tragedies in life is that we grow up thinking we’re alone and that nobody anywhere understands our problems or what we’re going through, only to learn well after the fact that on every street, in every school, in every town small and large there were people our age going through the same things we were. You can’t help but be haunted by your past and the memories you have of that long ago and far away land. Whether you realize it or admit it, it’s a part of who you are. And I think by embracing the past, warts and all, you stand a much better chance of navigating the present.

If writing is therapy I suppose this new project is mine. Especially being a father now I’m trying to come to terms with the person I was versus the one I am right now and the one I hope to be. To teach my son how to be a better person than his father is. To show him that despite a world that seems dark that there are joyous moments to behold. That even when he’s upset or unhappy and wishing he lived anywhere but here (wherever that will be), that in time it’ll be a lot easier to remember the good moments than dwell on the bad.

So that’s it. Now take care of yourselves. I have a novel to get back to.

Pictured: that moody young man discovering his muse

Pictured: that moody young man discovering his muse

Free Stuff!

Pulp Cultured is a great website that takes a daily look at comics, movies, TV, and video games. I know; “there’s hundreds of websites on the internet that do just that, Brad”, you say. And you’re right.

But in Pulp Cultured’s case, they’re running a contest to win one of five signed copies of Mixtape #1 on their Facebook page. All you have to do is “like” the page, share the post, and submit your best playlist…or mix tape if you will.

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Need a refresher on what they thought about Mixtape? No problem –  check out their RAVE reviews of Mixtape #1, Mixtape #2, and Mixtape #3

And don’t forget Mixtape 1-5 are available on ComiXology right now.

Mixtape #2 arrives in comic book stores next month.

MX2

Spooktober

Can’t believe we’re into late October already. Since I last checked in I finished the first draft of MAGICIANS IMPOSSIBLE, MIXTAPE #1 returned to comic book stores, and I took a very much needed break from work to focus on being just “dad”, which has been awesome.

But I’m, back on the clock now, editing Magicians, clearing some old projects off my desk, and hoping to update this website with a little more frequency. To be honest, balancing being a stay-at-home dad with being a stay-at-home writer has been a bigger challenge than I anticipated. Something was going to fall by the wayside, so no surprise it was blogging that took the hit.

So, hopefully you’ll see more activity here soon. And as a picture is still generally considered to be worth a thousand words, here’s a quick 3K

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Yes, that’s 150 signed copies of Mixtape #1, now available through Space Goat Publishing’s official store http://www.merchgoat.com

So … if you’d like a signed copy, there you go!

Awesome Mixtape Vol. 1

Just a very quick, and brief update to inform all of you that Mixtape is now on ComiXology!

MX1

That’s right — the biggest platform there is for digital comics will be releasing Mixtape Vol. 1 in weekly installments between now and September 2nd. Mixtape #1 is available through the link above. And#2 just went up yesterday. Check out this great re-branded cover:

MX2

Mixtape 3, 4, and 5 will roll out on ComiXology over the next three weeks. And that’s all in advance of the physical re-release of Mixtape #1 in September.

A lot of people don’t know, or forgot, that the original 2012 release of Mixtape only saw issue #1 make it into stores. So naturally I’m thrilled the entire series is getting its chance to find an audience and build upon its existing one. Strangely enough now feels like a better time to launch a comic book about teenagers and  their feelings and, of course, music. In the wake of Guardians of the Galaxy’s popular “Awesome Mixtape Vol. 1”, with the news Apple Music is creating an option where you can curate and send a digital “mix tape” to a friend, people are more nostalgic for cassette tapes and mixes now than they were three years ago. And it’s also fitting that Mixtape #1 will drop 25 years to the month after the events in that issue.

The physical copies will roll out bi-monthly starting in September, and we expect Vol. 1 to wrap in May of 2016. A collected edition will hopefully arrive sometime in the fall of 2016. Then, assuming this release goes well and scores us thousands of fans, it’s on to Volume 2, Naturally we want to see how this re-release goes before committing time, resources and money to it. So I’m really hopeful that people buy Mixtape, tell their friends about it, tell them to buy it, and everybody wins.

Every life has a soundtrack. Even yours.

Mixtape is mine.