They say as an author you should never read the reviews of your own work. As an author I can say with authority you can and inevitably will read reviews of your work, especially when it’s your first novel. The good news is Magicians Impossible has been relatively well-received especially for a debut. It received multiple starred reviews, it made some top ten lists, it made some Best of 2017 lists.
I got some great fan mail too. People telling me Magicians broke them out of a reading rut.Some even saying it was one of the best books they ever read.
But of course not everybody liked it. And I’m not going to address any of that because why would I? Not everything is going to be someone’s cup of tea. A book, like any work of art, is what it is; it never changes. And how a person responds to it is 100% on them.
That said there is one recurring criticism of Magicians Impossible that I would like to address.
For some readers it all has to do with how quickly Jason seems to master his levels of magic. Some seem to feel it all happens in a couple of days. Some say a week. Those who paid attention would guess correctly that it more or less takes a month.
Here’s the correct answer. Spoilers lurk within so if you haven’t read Magicians Impossible why on earth are you visiting my website?
I mapped out the events of the book before I put words to paper, just to get it straight in my mind. Using October 2018 (the year after the book’s 2017 release) as a guideline I made a calendar of events so I’d know what happened and when.
Damon’s opening mission takes place on Friday September 28th. His funeral is Monday October 1st. The events that transpire up to the climactic events of Murder Hill happen between October 1st and October 29th – so four weeks total.
The bulk of Part One – everything from Damon’s Funeral through Jason’s visit to the Oracle takes place between October 1st and 5th. After the Oracle, Jason is on lock-down with no further training, and spends the next two weeks honing his Adept and Archmage skills. He doesn’t next advance in levels until the Louvre mission, which takes place on October 23rd when he “blinks” on his own for the first time, showing him he has the abilities of a War Seer (Level 4). He later wields an Enchantment spell (Level 3) on the Paris metro. Since it’s established that levels of magic are cumulative, it’s not out of the ordinary for you to leap ahead a level then backtrack to master the previous one. All told that’s a span of 19 days.
The rest of the story – the Temple of Bones, Jason’s visit with Damon, his throwing in his lot with the Golden Dawn, the Battle of the Citadel and Murder Hill takes place between October 24th and the 30th. There’s a three day (October 25-28) span between Jason deciding to join the Golden Dawn and his theft of the Sphere of Destiny. In that time he hones his newly acquired skills as an Enchanter and War Seer. He crosses over to the Diabolist Level on Murder Hill.
Now some would argue a month is too quickly to learn these skills let alone master them. But those people ignore the events at Murder Hill on July 4, 1999 when Jason was 12 years old and first exhibited the abilities of a Mage. But as he never got his Hogwarts letter or was recruited into the Invisible Hand those skills lay dormant until he crossed the threshold into the Citadel, where those powers began to be unlocked, by passing through the many doors and chambers of the Invisible Hand’s fortress.
So if you yourself was questioning how someone with no training could and advance so quickly, I hope the above clarifies it. And if not, maybe the below will. This is the calendar I put together three years ago when I was just drafting Magicians Impossible. Some details may have changed but I pretty much adhered to this breakdown.
There are other criticisms I’m sure and I take no issue with any of them, not even the ones that accused me of ripping off books or video games or TV shows I’ve never read, played, or watched. I wasn’t even completely sure I should even address the timeline, but for people who surfed on in looking for answers, maybe this will do that.
[As a follow-up that’s not to say Magicians Impossible definitively takes place in 2018 or 2017, just that in my mind it takes place later this year]
I had planned to end this year’s blog with a more general update on things. What’s going on in my life. What movies I’ve seen. What books I read. The TV I watched, the music I listened to. I’ve also been waylaid a bit, both with family obligations, and with a banger of a head cold that’s kept me out of the loop for a bit. Frankly, I’ve been in a state of near exhaustion for the last month. So I was going to just let 2017 sputter out on its own without me.
Then my sister forwarded the obit.
Let me tell you about John Ballachey. “JB” as he was known to his students. JB taught history. He was, I believe, head of the department, but I may be mistaken in that regard. He’d taught at our school since the late 1960s, even teaching history to the parents of some of the kids in my class.
He was an institution.
It sounds cliché to speak of a teacher who inspired you, but in JB’s case this was all true. I’m a huge history buff today and that’s largely due to him. He made learning fun. He didn’t care about dates and events that occurred on them. He wanted you to see the connections. Many times our classes were about what could have happened at certain junctures, as opposed to what ended up happening. It was, in essence, storytelling, based on historical fact. You needed to know your facts with JB and he wouldn’t hesitate to call you out for it. And the thing was, you wanted his approval, that wry grin and winning smile that told you “good job” without his having to say it. I was a fair-to-average student in many regards, but for two subjects; English, and History. I succeeded in history class because JB made it an adventure to learn.
JB wasn’t just a teacher though. He was also a longstanding member of the local Operatic Society, appearing in dozens of musical productions. I appeared with him in late 1989, sharing a scene with him as a reporter in a production of Damn Yankees (with JB playing the team owner). We all had a hoot – him especially. For the week leading up to the performance he’d grill me mercilessly, asking if I remembered my lines (I had, I think, three). But he clearly enjoyed making me nervous, just like he enjoyed all his students. If you encountered him on the street he’d always grin, and ask how you were, even though he knew how you were doing in his class.
He was also encouraging in my burgeoning career as a filmmaker and storyteller. In Grade 12 he happily agreed (despite being busy with teaching) to perform a small role in a 1-act play I directed based on a Woody Allen comedy bit. Despite having only a couple lines he hammed them up like crazy and got the biggest laughs of the show. There was something of a performer in JB, beyond the stage, beyond the classroom. I always felt after the fact that he had no real aspirations for the stage – he really just enjoyed being in front of and around people, be it an audience, be it a classroom of students. Despite having a mild stutter he didn’t blanch, even when he fought for the words on the tip of his tongue.
I don’t think I saw him at all after high school – maybe around graduation or shortly after though I did get to tell him I’d been accepted into film school, which earned hearty, friendly punch to the arm in that guy-ish way. I don’t remember what he said, but I like to think he was proud that I was going out into the world to make history of my own – just one of many kids he taught. I think he was proud of all the kids who passed through his classroom. To teach for so long you found yourself teaching the children of former students might have made you feel your age, but not JB.
I’m told that while he embraced world travel in his later years he remained involved in the community, in theatre, and the choir, and made animal welfare his passion after he’d hung up his teaching shoes. I am told though, second-hand, that he did know I was making a name for myself as a writer in the film and TV biz, and thought that was fantastic news. I’m sure he felt that way about all his former students – the lawyers and doctors, and the ones who went on to teach history themselves.
Looking through his memorial page, I saw a lot of names I hadn’t thought of in more than 25 years. Students, colleagues, parents, children. All who were touched by an extraordinary teacher. You realize now, in adulthood, what an impact your teachers had on you. To me, teaching is one of the noblest of professions – the one that truly keeps the world spinning.
I never got to tell JB any of this, but I’m saying it now for all the teachers out there. I want to say how much you do matter, to every child you teach, to every parent whose child is entrusted to you. And know that, even after those kids graduate or advance a grade and move on, they never do forget how much you meant to them.
Godspeed and good-rest, Mr. Ballachey. You were one in a million.
Sent from iPad
On November 11th I had my final author event of the fall. My hometown (or as close to a hometown as I’ll ever have). It was the best attended event yet, owing to the friends, family, and colleagues who came out. I didn’t have time to talk with everyone or to thank them for coming out to support me and Magicians Impossible, but I appreciate each and every one of them.
So, what’s next? For Magicians? For me?
I just finished the first draft of what will hopefully be my next novel a week ago. It was a challenge – maybe even more difficult a book than Magicians was to write – but I’m pleased with how that first draft came together. Right now it’s sitting in the drawer until 2018 when I plan to open that drawer up, pull it out, and start going over it with the red pen.
In the meantime I’m beginning development on a new TV project with some producers I have a long-standing relationship with. That was another reason for the trip; to sign the paperwork and make the deal real. It too will have to remain on the down-low for now, but it’s a project I’m very much looking forward to doing. It’s based, in part, on my own life, which is probably saying too much already. Rest assured once it’s made public a lot more about what it is will be much more clear, and may even delight some long-time fans of me and my work.
Until then I’m taking a couple of weeks off – now through Thanksgiving. 2017 has been a very busy, sometimes punishing year. between fatherhood, writing this new novel, doing Magicians promo, and inking the TV deal I’m absolutely exhausted. But I won’t be sitting idle during my Stay-cation; I have books to read, movies and TV to catch up on … and ideas to put to paper. The writer’s brain is never completely at rest, and I routinely find my best ideas when I’m not at my desk, working.
It’s been a strange journey, being an author. It’s a side of the writing biz I’ve never experienced before, but it’s been fun having the chance to step out from behind my desk to meet people, to read from my work publicly, to sign copies of a thing that sprung solely from my mind. So much of writing is solitary; even more so when you’ve largely worked in the film and television fields. Just knowing that my book is sitting on bookstore and library shelves continues to amaze me.
And I’m just getting started.
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:
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.
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.