Cool Things: Casablanca

It’s time for another classic film. I first saw Casablanca some time when I was in middle school, perhaps even earlier. I knew it was a cultural landmark, considered by some critics the greatest movie ever made, period. I know that I watched it and, even at a young age, enjoyed it a lot. Later, when I was in college taking my Introduction to Literature course it would be used as an example of film as literature. I had watched Casablanca many times in the years between my first viewing and college, but I still found the film to be enjoyable. But I was surprised, when the film reached it’s climax and the twists were coming fast and furious, almost the entire class gasped when the plot took a particularly dramatic turn. I thought everyone should have seen this film already. I mean, it’s a classic, right?

Well, just like plenty of people have never listened to classical music it seems plenty of people don’t watch classic movies either. But even if you never watch any other black and white film let me encourage you to watch Casablanca.

Plot summary time – Casablanca is a film set in World War II. It begins with the murder of two German curriers carrying important documents, which will help a famous member of the anti-Nazi underground, Victor Lazlo (Paul Henried), escape to the United States. The Nazis, working together with Unoccupied France, are aiming to keep him from “spreading lies” outside of Europe.

Events come to a head at Rick’s, owned by Richard Blaine (Humphrey Bogart). As a U.S. ex-pat, Rick feels he has no stake in the political conflict playing out at the tables of his cafe. But it turns out he has a personal one when Lazlo is accompanied by Rick’s old flame Ilsa Lund (Ingrid Bergman). He’ll have to sort out his loyalties and feelings before all is said and done.

On the face of it, Casablanca could turn out to be a horrible movie. It’s got a lot of trite plot elements – love triangle, club owner, Nazis. But the writing is brilliant and develops the main story, and a wealth of side stories, in a staggeringly short period of time, maintaining dramatic tension with aplomb. Of course, the tension may hang together simply because the writers didn’t have an ending until right before it was filmed.

Casablanca is a classic in the way it shows the conflict in its characters. Rick’s not the only one who doesn’t know how to deal with the situation. Practically everyone but the hardline resistance members and Nazis seem to be of two minds about what they want – respect or profit, romance or cause, a dozen or more conflicts plague the characters and they never come out with pat answers. We see them struggle and bobble them right up until the end.

More than that, Casablanca entertains. Where so many movies could wander into melodrama or preachiness, Casablanca concentrates on making sure we enjoy every step from beginning to end. From Claude Rains’ fantastic performance as Louie, the Prefect of Police, to the musical battle between Lazlo and the Nazi Major, we smile, we laugh, we are engaged.

Casablanca is a great movie for the writer, as well. The characters are well built, introduced and developed. The dialog is good and the dramatic tension is great, deliberate or not. The next time you need a film for the weekend you could do much worse than this classic.

Water Fall: Ashes to Ashes

Seven Weeks, One Day before the Michigan Avenue Proclomation

Helix

Normally I don’t leave funerals too mad to see straight. But burying Mona Templeton, my friend of four years and wife of a man who had been my friend for even longer, after she was killed in the line of duty a week before was not a normal experience. Sometimes life seems monotonous, but death – that’s different every time you see it. The fact that Mona was dead was bad enough, the fact that she had been killed by what is known, in official government circles, as a conspiring traitor but we field agents tend to call a megalomaniacal asshole just made it worse. On top of that, since Mona’s job was as a field analyst for a government agency that doesn’t technically exist, she couldn’t even be given public credit for all the great work she’d done. It’s not just a case of waiting until the files are declassified before the truth is told, the Federal Government’s official stance was that nothing we did would ever be made public. Being an unsung hero may sound romantic, but when one of your friends become one it looses some of that shine.

But the real kicker was the whole Senate Oversight Committee, that nonexistent government body overseeing our nonexistent government office, putting in an appearance. They stood around and looked stricken, shook hands with the family, mouthed platitudes, gave a dozen and one offhand lies to explain their presence. Then they came and shook hands with me. Told me they were sure this tragic situation would be handled soon. They had every confidence in my ability to see things through. As if they had any idea what the real situation was. As if I needed any encouragement to find Open Circuit, who had been slipping away from me for eight years, who had just killed my friend and fellow agent.

It’s not like I didn’t lay them out on the ground because I wasn’t angry. Or because I had a weird sort of mutual respect/dislike society going with their ringleader, Senator Brahms Dawson. Or even because, for all their inability to see the forest for their egos getting in the way, they were still United States Senators and technically due some sort of respect for that.

It was because Mona and Darryl Templeton, and their families, deserved better than that.

I took hold of that reason, simple but sturdy, and wedged it between myself and my temper and somehow made it through the memorial service. But as soon as it was done I stalked out of the funeral home and into the parking lot, where I found the first luxury car around and kicked it’s tires until my foot hurt. Then I sat down on the sidewalk and sulked. Throwing a tantrum wasn’t helping any, but my dad said it never did so maybe that shouldn’t have been a surprise.

“You’re lucky all the security guards are inside.”

The voice barged into my thoughts, prompting me to come back to reality. I looked up to find a tall, athletic African American man, my former boss Robert Sanders. We went way back, me and Sanders, and the memories were not exactly fond ones. “What do you want, Sanders?”

“To talk to you,” he said, taking a seat on the curb next to me. “Although I’m regretting it more every second.”

“So make us both happy and go away.”

“You know sidewalks outside funeral homes are built six inches higher than standard?” He fished around in one of his suit’s jacket pockets and pulled out a lighter and a package of cigarettes. “It makes it easier for men to come out and cry on them.”

I snorted. “Really?”

“I just made it up.” He tapped out a cigarette. “You listening now, or you want to go break your foot on another tire? I can wait.”

“Since when did you start smoking again? I thought you gave it up.”

“Since Mona died.” He flicked the lighter and a flame popped into existence.

Unreasonably annoyed by it, I reached out and stuck my finger into the flame, barely hot enough to register as a dip in the flat, low expanse of the surrounding temperature. Thanks to my native gift with heat, instead of getting a nasty burn I forced the temperature of the flame back down to a moderate seventyish degrees, extinguishing it. “Don’t use Mona’s death as an excuse for your bad behavior.”

Sanders shot me a look that was pure venom. I met him with my normal sour face. For a minute, to anyone passing by, we probably looked like we were about to start pounding each other. In fact, for a brief second I thought that’s what it was going to come to, and I was okay with that. At five foot three, one hundred and thirty pounds, I was easily loosing to Sanders in terms of reach, weight, muscle and to be honest, probably skill. However I could also bend a two inch thick bar of iron with my bare hands just by forcing it to melt, and he couldn’t. Being able to push the thermometer around has its perks.

But whether he just wanted to avoid third degree burns, he was still a little more into the spirit of the occasion than I was or he was just too tired for a scrap, after a minute or two of glaring Sanders threw his cigarette on the ground and tucked his lighter away. “You know, I said I wasn’t in the mood for this today.”

“To who?”

“I gave it up for Mona, you know.” I assumed he meant smoking, as the statement didn’t really apply to his mood.

“I didn’t.” I thought about that for a second. “Wait, wasn’t that two years ago? Or have you been on-again-off-again when I wasn’t looking?”

“I didn’t know you cared enough to pay attention, Helix.”

“I don’t.” We were dancing around some issue that Sanders obviously wanted to avoid but I didn’t know enough to guess at what that was, so I played along.

“It was actually almost three and a half years ago.” He fidgeted for a minute. “She said I couldn’t stick with anything and I wanted to prove her wrong.”

“So you quit smoking for three and a half years.” I stared at him for a minute. I knew Sanders had been interested in Mona back when she joined the Project. There wasn’t anything unusual about that, Sanders was interested in just about any woman that joined the Project. But Mona already knew Darryl at the time and most of us considered their marriage just a matter of time. Until that moment I’d never suspected Sanders had been any different. “That’s a little bit extreme, don’t you think?”

“Yeah. I guess.” He forced a weak smile. “But that all’s probably pretty boring to you, isn’t it?”

And now he was concerned about me. I wasn’t sure how many more shocks my system could take, especially since I was pretty worn out as it was. So I got to my feet and motioned for him to do the same. “Come on Sanders, you need to get the heart moving. There’s obviously not enough blood going to the brain right now.”

“Funny.” He slowly climbed to his feet anyway.

“Like you’ve been doing any better.”

“My jokes are usually good. Yours never are.” He was still subdued but some of the usual animation was coming back into his features. “Helix, I need you to back us up on something.”

“Alright.” Sanders wasn’t my boss anymore, but he’s entitled to a certain amount of solidarity just because, like me, he’s been doing this job practically forever. Still, there are certain questions to be asked. “Who’s us?”

“Darryl and I. We need you to help us convince the Senate Committee to-”

“Hold up.” I cut him off with a raised hand. “We are talking about the Committee headed up by Senator Dawson? The man who hates me? Who’s handpicked protégé joined Project Sumter and got me as a watchdog to make sure she wasn’t causing mischief? That Committee?”

“That’s the one,” Sanders said with a grim nod of the head.

I laughed in disbelieve. “Sanders, where in all that did you hear anything that makes you think those people are going to let me convince them of anything?”

“Because you’re the talent with the highest case closure rate and most talents discovered in the Midwest. If we go by talents found, you’re highest in the nation, at least on active duty. Darryl’s head of the Midwest Analysis department. I have the most seniority among field team oversight agents.” I snorted but Sanders pressed on before I could say anything more. “At least as soon as the paperwork goes through and I am officially oversight for Gearshift, that new guy you found a couple of weeks ago. The Committee isn’t a monolithic group, Helix, there’s only one other senator firmly on Dawson’s side. One usually sides with Voorman and two waver back and fourth. Getting Teresa into the Project used up a lot of Dawson’s political capitol, if we push now he’ll have a hard time standing up to three very senior agents if we present a united front.”

That actually sounded legit. Sanders is better at political manipulations than I am, in fact he’s been the point political agent for Michael Voorman, our Senior Special Liaison, since he made Senior Special Agent, so I was willing to take his assessment on faith. Not that I was about to admit that. So I adopted a skeptical tone and said, “Right. What exactly are we convincing them to do?”

“Let Darryl join one of our field teams and participate in the hunt for Open Circuit.”

“What?” 

A note for those thinking of joining Project Sumter or any other secretive branch of the Federal Government’s alphabet soup: No matter how preposterous the things that come up in the course of doing you job, you should not scream when discussing them. Especially in broad daylight while you are standing in a public place.

I grabbed hold of myself and lowered my voice back to a low murmur. “That’s a horrible idea, Sanders! Why would we do that? Why would they let us?”

“Because we’re going to-”

No, we’re not,” I snapped, grabbing him by the front of his jacket and pulling him down to something a little more like eye level. “Listen, Sanders, they make those rules for a reason. Usually, good reasons, and the rule that an emotionally compromised investigator gets pulled off a case is one of the good ones. Darryl’s wife has been killed. If that’s not emotionally compromised, I don’t know what is.”

Sanders retaliated by grabbing me by the shoulders and shaking, which left me a little woozy since he still definitely had all the reach and mass over me. “I know all that. But don’t you think he deserves a chance to see this to the end?”

“Deserves? Don’t give me deserves, Sanders.” I shoved him back a step, or more likely I pushed and he took a step back to humor me. “Nothing in Project Sumter runs on what people deserve. Talents don’t deserve to hide their whole lives, they don’t deserve to have no future in the ranks than Special Agent just because Abraham Lincoln wanted to make a symbolic point a hundred and fifty years ago. Mona didn’t deserve to get killed in the line of duty. But we’re trying to do things right, and if Darryl goes back out into the field he’s going to miss things, make dumb decisions and possibly even get more people killed. That’s not right, and I’m not going to help you two make it happen.”

“And that’s the end of it?” Sanders shook his head. “Helix, he’s been on your side since the day you joined up.”

“I know. That’s why I’m on his now. Whether he realizes it or not.”

With a sigh, Sanders held up his hands. “I get you, Helix. Really, I wasn’t expecting much different. But I said I’d try.”

A group of four other people were coming out of funeral home, one split off and came our way, the other three went in the other direction. I nodded at them, smoothing my suit out as I did. “We should probably get back in there. People will wonder where we went.”

Sanders nodded, performed a similar check on his own suit and followed me back towards the entrance. As we passed him, the man coming our way reached up, as if to tip a hat he wasn’t wearing, and said in a gruff voice, “My condolences, Mr. Hoffman.”

I wavered a half step, giving the man a closer look. He didn’t seem immediately familiar – I’d remember if I ever met anyone with hair that red. Then he was past me, heading down the sidewalk. The rear door of the car at the end of the street popped open and let him in, then he disappeared from view when it slammed closed.

“Did he think you were someone else?” Sanders asked.

“Daniel Hoffman is the name on this year’s fake driver’s license,” I replied, still staring at the car as it drove off. “But I don’t know why he’d know it.”

“Maybe he knows the Templetons, and they mentioned it?”

“Maybe.” I shook my head and started back towards the funeral home. “Not important right now. Let it go.”

——–

Circuit

I climbed into the back seat of the car, resisting the urge to take my nonexistent hat off. I was heavily disguised with makeup and wig, and that’s pointless if you continue to dress like you always do, so I had given up my hat with reluctance.

“You look strange with red hair.”

I glanced at the young lady who had made the pronouncement. “I would look even more strange if we were pulled over and the police found me with black hair and red eyebrows.” Although I very nearly had to sit on my hands to keep from scratching at the makeup holding the false eyebrows and built-up bridge of my nose in place. Instead, I cleared my throat, trying to get a more normal tone of voice back after the gravelly accent I’d used the few times I’d spoken in the last two hours. “And I’m not sure you’ve really known me long enough to be a reliable judge of whether I look strange or not, Hangman.”

“I’ve been following you a lot longer than you think, Circuit. You look strange.” She absently flipped her hair over one shoulder and began working it into a braid. Even dressed in worn and frankly tacky clothing, the gloss in her brunette hair, manicure on her fingers and general air of good health stood out as hints to her upper middle class upbringing. She was just as out of place in the beat up old car as I was, which worried me as we couldn’t afford any kind of scrutiny from anyone at the moment. There was too much that was too close to completion to deal with complications at the moment.

I leaned forward in my seat to talk to the driver, Heavy Water, a massive African-American man who ran point on most of my field operations. “Heavy, is this car safe?”

“Bought with cash two weeks ago, six states away, boss,” he said without hesitation. “So far as I can tell the closest it’s ever gotten to breaking the law is going a few miles over the speed limit – and I’m not sure it can even do that anymore.”

“That’s fine then.” I sat back in the car seat. “I just wanted to be sure you didn’t use your own unique abilities to find us transportation. Not that I normally object, of course.”

“Sure thing, boss. I know how to lay low.”

Hangman fidgeted for a moment, then said, “So, were you seen?”

“Of course. I could hardly help that.” I gave her a reassuring smile. “But I wasn’t recognized, and I don’t think I will be again.”

“Oh. Good.” She glanced away, but I could see the curiosity eating away at her, so I was prepared for the next question when it came. “What were the loose ends you were taking care of?”

I was prepared for her to ask the question. That didn’t mean I wanted to answer it. For a moment I indulged in cowardice and just stared out the window at the city streets rolling by. Then, finally I said, “I went to pay my respects.”

“To who?”

“A woman who died recently.” The buildings outside were more rundown than when we had started out but as we went along they were slowly improving again. I took a deep breath, reminding myself it was foolish to believe in signs, especially when I only payed attention to those I liked. “She was killed in the line of duty. I didn’t know her personally, but she was a very admirable woman.”

“Oh.” She paused again and I laid my head back on the headrest and closed my eyes. “What killed her?”

A Time for Gimmicks

You may have noticed that the first actual, for reals chapter of Water Fall contains a timekeeping gimmick. Specifically, it references the Michigan Avenue Proclamation and when the narrative is in relation to it. In case you were wondering, that refers to the events of the prologue, which the story itself will make clear in time. The Proclamation is a central even in the book and in the Project Sumter world as a whole. I wanted to start the book with it, to give the opening a bigger impact, but I also wanted the readers to be aware of how the story was stacking up next to it, and I wanted to tell what happened before the Proclamation, and not as a flashback per se. So I settled on “X much time before/after the Michigan Avenue Proclamation” format and decided to just put a note before each chapter. Note that time will pass within some chapters, so one chapter might start two weeks before the proclamation but end only eight days before it.

There’s plenty of precedent for this kind of gimmick to help people keep track of the timeline of a story. A great example would be the TV series 24, where each one hour episode of the series corresponds directly to an hour of the day. At pretty much each commercial break, before and after, a digital clock display would tell you exactly what time of day it was. It was a great way to keep suspense (how are they going to wrap this up before the day ends?) and remind people of where in the day they are (more than just early afternoon).

I was a bit worried about using a timekeeping gimmick, mainly because there was no comparable device in Heat Wave. I also don’t plan on using them in other Project Sumter stories, although that may change in the future. However, the whole point of gimmicks is to get your point across. If they’re doing that, great. If not, then they’re dead weight and need to be cut.

For some writers there’s an automatic desire to cut out gimmicks. Maybe it’s a desire for originality, maybe you just want to avoid the same ol’ same ol’, but if you find yourself bothered by this anti-troperism, keep in mind that these things are your tools, and to be used wisely in the creation of your story, not your enemy to be fought.

While overusing tropes and gimmicks is dangerous, odds are that if you try too hard to be original everywhere, you’re just going to wind up reinventing the wheel at some point, and you might not even realize you’ve done so. Being aware of your tropes and using them deliberately is the best way to make sure you’re avoiding the pitfalls that other writers have already mapped out and experimented with and taking advantage of all the best parts of them.

Writing is an act of creative expression, but if you express yourself better by borrowing from others there’s nothing wrong with that. You’re still going to be expressing something of your own, and there’s nothing on Earth that wasn’t a part of something else before so you’re in good company when you recycle. Don’t be afraid to use a gimmick if it fits.

Jared Black Returns!

Have you read the Kingdom of Jackels novels? If so, rejoice! (Hey, you! Rejoice!)

Jack Cloudie, the fifth novel in the series, has finally come across the pond to our benighted shores. While residents of the great old United Kingdom can read all six books in the series already, we must be content with what we have. And let me tell you, what we have is pretty good.

In Jack Cloudie the Kingdom will go to war, not that that’s anything new, but this time they face the people of Cassarabia and their womb mage creations. This time, the Royal Aerostatical Navy will have to face airships like their own. This time, Jared Black won’t be in his native element, the water. Can they win? More importantly, will we enjoy the ride?

The answer to the second question is an unqualified yes. If you love high adventure, satire or Jared Black, this is a book for you. The cranky old Commodore is back, once again plying his wits, vast experience and exhaustive knowledge of just about everything against the world and the contrary members of his own nation. This time he’s been called in to ride herd over an experimental armored airship, built by the now-defunct House of Quest, that has been sent out to figure out how the Cassarabians are getting the nonflammable gas they’re using in their airships. And he’ll have to do it without one mortal consideration for his aging bones or life of difficulty, so there’s nothing left to do but rail at the world and grumble his way through.

On the other side of the battle lines, Omar ibn Barir, former slave, is working his way through the ranks of the Cassarabian army towards a revelation that will shake his country to the core. Not that Omar ever sets out to do these things. Mostly, he just wants to save the girl and do his duty. But the simplest goals often have the most complex implications.

Like all the Jackelian novels, Jack Cloudie is a rousing tale of adventure. While it does feature the Commodore, he once again sits comfortably in the secondary character line-up, so don’t go in thinking these are the trials of a slightly overweight old submarine captain. Airships, genetic engineering and many other factors come into play. Like all Jackelian novels, Jack Cloudie contains elements of satire, particularly strong in this tale, but as saying more than that definitely qualifies as a spoiler I’ll just say they’re there. Note that, while Cassarabia is a theocracy with weird practices, it is not, in and of itself, the primary focus of Hunt’s satirical guns. So if that kind of thing bothers you or entices you, be aware that it’s, at most, a minor subtheme.

All in all, if you like steampunk, satire, high adventure, airships or Jared Black, this is a novel for you.

Water Fall: Dark Desks

Seven Weeks, One Day before the Michigan Avenue Proclomation

Massif

I exist in a perpetual haze.

It’s not drug induced or anything and I’m not exactly what you would call absent minded, but I was born with the ability to see and, to a limited extent manipulate, movement. And I mean all movement. For example, the air is in motion. Everyone knows that, but I can see it. Problem is, I have trouble seeing anything behind the air that’s moving.

Other people live with transparent air, unless they happen to be smokers or something, but I’ve never been able to see through more than ten feet of the stuff, and even then most of the details are different in ways that are hard to explain. It’s almost like being in a different world. I can’t drive, reading for more than ten or fifteen minutes gives me a headache and I have a hard time telling people apart.

I’m saying all this so you’ll understand that the day I walked in to the office and realized I could see my desk on the other side of the floor, it bothered me. It was something unusual, and for a person who’s job is half cops and robbers and half spy versus spy unusual is bad. There are thirty-six steps from the door to my row of desks, and my desk is the third down; I knew that for certain because it’s the kind of thing I have to commit to memory as soon as I move to a new office. I also knew it was way outside of what I’m normally able to see with any kind of clarity.

I’d seen that kind of thing before, usually on the shooting range when I let people shoot at me – don’t ask. Bullets create that kind of clarity of vectors when they streak towards their target, which makes it easy for me to pick out where they’re coming from.  Which probably meant that my desk was at the center of some kind of constant force, pushing outward. Kind of like a constant wind or a sustained explosion, although what either one of those would be doing at my desk is anybody’s guess. And again, this would not be business as usual.

The upside to all my visual impairments is that I can be virtually indestructible under the right circumstances, which the Project Sumter dossier on vector shifts describes as, “any time the subject has their feet on the ground.” I actually come with training in how to walk so as to maximize my contact with the ground, if you’ll believe it. So I started towards my desk, planting my feet with deliberate care and keeping as alert as possible for any sign of trouble.

Trouble was waiting for me, sitting there with her boots up on my desk and earbuds in, eyes closed and paying no attention to her surroundings at all. She was petite, dressed in beaten up gray cargo pants that might have once been some other color, wearing a formfitting blue tank top and absently tapping her fingers on her stomach in time to some unheard song. The air around her seemed to shimmer and pulse slightly. I stared at the girl, and at the time I didn’t think she could be older than sixteen, trying to figure out how she had gotten into the office and to my desk. We have pretty good security, it took one of the most dangerous criminal minds in the nation seven or eight years to find and break into our offices and that was only because he tricked us into helping him out.

Now I’d swear, with the music on and all, there was no way she should have been able to hear me coming. My wushu sifu put me through a whole series of exercises to stifle the sound my footsteps that are really effective, even with heavy Western shoes on, but almost as soon as I got up to the desk the girl opened her eyes and pointed at my desk. I followed the pointing finger to a reddish blob which I guessed was a folder left there by my supervisor.

Harriet’s worked with me for the last year and a half and she’s developed some systems that help us get around my vision problems. One is the color-priority system. A red folder means I need to read it right away, helping important stuff to stand out from the mess of other papers that wind up scattered around the office. Since Trouble looked like she was content to wait until I’d read whatever was in it before talking to me I picked it up and flipped it open.

Trouble’s photo had been clipped to the top, smiling back at me with a sardonic grin. According to the file, her codename was Amplifier. Under that were places for a lot of personal information that had been redacted, although I did learn she was four years older than I had thought, followed by the codeword for her unusual talent and a brief description. Project Sumter uses the word talent to refer to pretty much any kind of unusual, innate ability to manipulate the forces of nature, usually in a way modern science can’t explain. Unusual was a pretty apt word, in this case, because in four years with the Project, I’d never heard of a wave maker. The file said I could expect her to manipulate the volume and frequency of sound waves, both consciously and subconsciously, so as to maximize acoustics and achieve other effects. That would explain why I could see her clearly, save for that pulsing effect. Sound is air in motion, too, and if Amplifier controlled the sound around her it probably had a steadying effect on the air itself.

The file said she also had unusually sharp hearing, which might explain how she heard me walking up.

I quickly squinted through the next couple of pages, which was basically a brief summary of what Amplifier had been up to since the Project discovered her. The last page was a summary of said discovery. A quick glance at the signature on the bottom confirmed that yes, like the majority of talents in the Midwest in the last five years, Special Agent Double Helix had found her. I flipped the folder closed, mostly satisfied, and waved to get her attention.

Amplifier sat up and took her ear phones out then raised an eyebrow. “I can hear you if you talk, you know. My dad never used to believe that but I would think you guys would get it.”

“Welcome  to Project Sumter,” I said, ignoring what sounded a lot like a conversational land mine. “I guess you’ve been here for a few weeks but they keep me running far and wide most days so it’s no surprise we’ve never met.”

She smiled slightly and shrugged. “If you say so. I’m guessing you’re Aluchinskii Massif?”

“That’s me,” I said, sliding into my chair. I thought sitting down might get us on eye level and make things more comfortable but I was surprised to find I was still a good four or five inches taller than she was. So I leaned back in my chair some to get as close to level as possible, keeping care to leave one foot on the floor, and made the best of it. “It’s pronounced like ‘massive’ by the way. The ‘f’ makes a ‘v’ sound.”

 “Is that something you have to say a lot?”

I shrugged. “Not really. Most people just call me Al or Massif. It’s never a problem unless people see it in writing.”

“Right. Teresa texted me and told me you and your boss would be filling in for her team. I guess they’re busy today.”

“That’s right.” I briefly sifted a hand through the stack of stuff in my inbox and then gave up looking for what I wanted. “I think Harriet’s going to be out of the office, at least for the morning, so you may just be stuck with me for the moment. I’m guessing you’re applying for a position, based on what I’ve seen, but I’m not exactly sure where in the process you are. Have you gone along on an active field case?”

“Yeah. Something out on Diversy Street, that turned out real weird. We watched a school building for about five hours then there was a big ruckus and Teresa wound up sending me home without even making me sign anything.” She scrunched her nose up, showing an opinion on the Project and its love of documents that I found vaguely nostalgic. Most agents were like that for a year or two before they resigned themselves to their fate. “Anyway, I don’t think it technically counts.”

“No,” I said, doing my best not to wince. The Diversy Street incident had been a mess. and it probably wouldn’t have counted under any circumstances. “Even if it had, you were in the field with Double Helix. He’s notoriously tough as senior talent, he probably wouldn’t have signed off on your first field run anyway. It took me four tries to pass.”

“Pass?” Amplifier tilted her head. “I thought the point was just to make sure we got a good idea of what field work was like. I didn’t realize it was a test.”

“Well…” Technically, it wasn’t. And we weren’t supposed to explain what it was. “Let’s just say there’s more to it than just showing up and looking pretty.”

“Well obviously,” she said with a grin. “You passed.”

“Thanks.” Nothing like a kind compliment to get your day off to a good start. “I can’t really arrange for another trip into the field right now, both because my supervisor is out of the office right now and because I’m kind of in-between assignments myself.” I picked the folder back up and squinted at it some more. “It doesn’t look like we have a complete record of your capabilities. The basic function of most of the known talents is well documented, but between personal discoveries and home made gadgets to help things along, new talents tend to broaden our understanding of talent almost as much as the scientists we employ.”

“I guess that makes sense,” she said. “Do I get to see a list of what you guys know already, or what?”

I tossed the folder back on the table and shrugged. “I don’t think that’s the way it works. The Records department took a complete statement from me, then sent it on to the right parties, who called me in for questions on anything they found interesting. I’m pretty sure it still works that way. Makes it easier to process the results and keeps you from leaving out something you might think is unimportant, but it keeps smart guys from having to come up here every time we find someone new.”

Amplifier hopped to her feet and said, “I guess I should get over to Records, then. I can follow directions,” she added as I stood up also. “It’s not like I need an escort.”

“Relax,” I said, shushing her with my hands. “You actually do. I’m not sure how you got in the building this morning, but you’re not an official member of the Project yet, so you actually shouldn’t have been let in. If nothing else you need someone to go along and keep security off your back. Plus, it’s policy not to let talents who aren’t working for us be interviewed in any way, shape or form without a talented agent along with them. It’s kind of like having your lawyer along.”

“Oh.” She relented and let me lead her across the offices and towards the elevator that would take us up to the large, locked room where our interim Records department was being kept. “Why didn’t Helix ever mention that to me? He was always along for stuff before, but he never said why. You would think that would be kind of important for me to know.”

“Helix is our senior talent in this branch. Unlike most people, he does his job with almost no consideration for possible personal or political complications from doing it, so most people tend to stay out of his way and play nice. Unless they’re really high up the totem pole, he can cause them more grief than it’s really worth. He was probably counting on that reputation to keep you out of trouble.” I called the elevator and then gave her what I hope was a reassuring smile. “I’m going explain things or they’ll waste a bunch of time trying to track him down before they interview you.”

“You just called him a ‘senior talent’ again.” She folded her arms over her chest. “That’s something else he never mentioned.”

“Well, that’s because it’s not really, technically his job description.” I waved a hand absently. “You won’t find it on an org chart or anything. It just means he’s the talent in this branch with the most time in the field. It gives him a little more clout with management and proves he’s worth our respect, too. Most field agents last three to five years before they quit or have to be reassigned to other duties. Helix has been out there for eight, and that’s impressive in it’s own right. Senior talents know more about the way the job works and what kind of things to expect than anyone else, so the regional management, people we call Special Liaisons, tend to keep them near the regional office, held in reserve for major problems that require a heavy hitter. In the mean time, they do a lot of paperwork and other light duties.”

“Gee, thanks,” Amplifier said, looking a little miffed.

“Actually, training new talent is one of the major things that will get a senior talent called out of the office. We’re rare enough, and turnover is high enough, that recruiting and training new hands is one of our top priorities.” The elevator dinged and we stepped out into the Records office reception area, which was basically an over-glorified security foyer.

“So tell me something, Massif Man,” Amplifier asked. “If that’s true, what kind of disaster is going on that pulled him out of the office today? And why did you get left behind?”

“Just Al is fine, really,” I said.

“Right, and you can call me Amp like Jack and the rest of Helix’s team does.” She waited for me to say something and, when she got impatient, leaned against the elevator door and said, “So?”

Since it was clear she wasn’t going to move until she got an answer I caved. “Like I said, turnover in field work is high. He’s out of the office today because he’s attending a funeral.”

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Sequels

So I’ve been thinking about sequels lately, for the obvious reasons (starting Water Fall this week) and the not-so-obvious ones (check out next Wednesday’s post for more on that.)

The biggest question most people wrestle with is, how good is the sequel? But for the writer, the bigger question is, what makes the sequel good? In movies, sequel status is almost a death knell. For books, sequels are much more viable and, in fact, the publishing industry usually wants fiction to be serial in nature, rather than a bunch of stand alone novels, since the pre-existing audience makes selling the story much easier. On the other hand, even among books, the first book in a series is frequently viewed as the best, perhaps simply because the ideas and the presentation are fresh and the reader approaches them without expectations, or at least with fewer.

That’s not to say that there are no cases of a sequel being just as good as, if not better than, the proceeding works. But it’s a rare thing, and when it does happen most people are surprised because they recognize that it’s the exception and not the rule. So what are the things that set those rare exceptional sequels head and shoulders above the rest?

Well, as is so often the case, there are at least three main things (probably more, but humans like threes, so that’s how many you get.)

A larger story at work. There are many great examples of this, but I want to be consistent in this post and use something most readers will recognize, so I’m going to pick the classic Star Wars trilogy. The Empire Strikes Back is widely considered the best movie from the trilogy (not by me, but I still feel it’s at least as good as the original, although in different ways) so it’s fair to say it was a sequel that equaled or exceeded the original. One of the things that made it work was the fact that George Lucas wanted A New Hope to feel like part of a larger story. With a galaxy wide rebellion in progress, of which he basically only showed us one small part, it comes as no surprise to us that there’s more story.

Sometimes authors or film makers do a story, wrap everything up, publish and then realize they’ve got bottled lightning as their story just flat out takes off. This can result in awkward sequels getting written, because there was no more story planned for afterward. The simplest way to get around this is to set your story in a world that’s really, really big, with more than enough going on in the background to allow for another story or two. Of course, you can always be planning to slowly spin your stories into one, titanic mythos, as well… Whatever you do, it never hurts to make your world and characters bigger than the bounds of their story,

Excellent use of characters as a resource, rather than an obligation. There is a kind of compulsion, once you have a story you like, to include every aspect you liked about it in the next, especially in terms of characters. This is to be avoided. Your new story needs new characters to stay fresh, and to make room for them sometimes old characters will have to get less screen time, or even catch a busThe Empire Strikes Back introduced us to people like Lando Calrissian, Yoda and Boba Fett, while the droids and Obi-wan Kenobi got less screen time (although it seems we couldn’t give up Old Ben entirely, even if he was dead…)

Finding the right mix of characters to properly carry out your story is an adventure in trial and error, but as a general rule some kind of re-balancing of characters has to be done. Your main character is probably going to be a constant, although even that’s not an iron clad rule, but new faces have to crop up to give new dynamics to relationships, and old faces have to step back some in order to really make the sequel work.

New developments, as opposed to retreading the same ground. Coyote and Roadrunner do not have sequels, just variations on a theme. The situation must change some from story to story, or people will rapidly loose interest. Star Wars does this particularly well by starting off the second film with a Rebel defeat and chasing them across the galaxy while their heaviest hitter takes a break for self improvement. Then it throws a massive plot twist and a cliff-hanger ending into the mix for added impact. It’s this novel, heavy-hitting formula that makes it so many people’s favorite part of the trilogy. (It’s also only possible because it’s the second film in the set, but that’s neither here nor there.)

Carefully examine the pacing and plotting of your stories, and make sure they’re different from each other. It’s a good rule for all fiction writing, not just stories that are a direct sequel to something else. Also, make sure the plot points themselves aren’t too similar, and that different characters from among your leads and rogue’s gallery are making an impact.

Of course, there’s no recipe for instant great book, but with these three things in place, sequels begin to look a lot like books that stand on their own, rather than just a continuation of what came before. Once a story is judged on its own merits, the some of the stigma of being a sequel is gone. More importantly, by actively trying to make it as fresh as possible you ensure that the story is as good as it can be on its own merits, thus making it as strong as possible. Which is all a writer can really hope to do, anyways.

Under Siege: Two and a Half Years in Leningrad

Leningrad (which was and is known St. Petersburg) was the seat of culture in Soviet Russia to the same extent that Moscow was  the center of administration. In the late 1930s it was also a city, and in fact Russia was a country, in pain. Brutal purges had swept through the Soviet power structure, particularly in the military circles, and left people reeling. Families lost fathers and mothers and the cream of up-and-coming Soviet leadership was exiled, if they were lucky, or executed, if they were not.

It was also a city literally on the brink of war. There wasn’t a great deal of territory between Leningrad and the Soviet border with Nazi Germany. Although the Winter War with Poland had bought Russia some breathing room, the Russian soldiers along the frontier weren’t at readiness, even though the Wehrmacht was quietly gathering troops there. Most people weren’t concerned, since the Kremlin assured them that any war would be fought on German soil, not Russian.

Hitler had other plans.

On June 22nd, 1941 Operation Barbarossa sent nearly one hundred and thirty divisions of Wehrmacht troops across the border and into Russia. The offensive would grind to a stop just outside Moscow and the people of Russia would be fighting for their lives for years until they could finally begin to push the Germans out. The story of the war on the Eastern Front is a trial that equals and exceeds just about anything that happened in Western Europe, but it remains mostly unknown in the West.

Some part of this is undoubtedly due to the distance between us and the Cold War, which quickly transformed Russia from ally into enemy. Part of it may be a natural tendency to focus on what we’ve done, rather than what others have. Regardless, if pressed to name one major event on the Eastern Front, the vast majority of Americans will mention the battle of Stalingrad. If pressed they probably won’t be able to think of another.

However, until Stalingrad the symbol of Russia under attack was Leningrad. Depending on when you date the beginning and end of the siege, one can say it lasted for anywhere from about 875 to 900 days. Not the longest siege in history, but certainly one of the most destructive.

From the moment the noose drew closed, Leningrad was in peril. The Soviet propaganda insisted that Comrade Stalin and his military chiefs wouldn’t allow the Nazis to last long on Russian ground. In keeping with that line, whether people believed it or not, not many people (especially children) were sent out of the city nor were sufficient supplies for the city brought in. The city couldn’t be made ready for siege without someone being accused of being unpatriotic.

The Nazis didn’t even plan to keep the city once it was captured. It was valuable as a symbol of Russia, and once it was proven Germany was able to take possession of it in spite of the best resistance the Soviets could muster, and once all the propaganda value in Hitler driving down Nevsky Prospekt was gathered, the city was to be demolished and the population dispersed into the countryside, sparing the Third Reich the expense of provisioning the city and ruining the legacy of Peter the Great for good.

Reality turned out a bit different. Operation Barbarossa didn’t quite manage to sweep up Leningrad, but it did manage to surround it. Instead of a brutal occupation followed by swift destruction the city instead wound up facing the more-brutal specter of starvation. Worse, the greatest weapon in the Russian arsenal was a two edged sword – General Winter would not distinguish between friend and foe. With no way to easily transport in fuel for the power plants, winter in Leningrad would be fatally cold.

The last months of 1941 and 1942 would take an unbelievable toll on Leningrad’s people, showing off every facet of human nature.

Bureaucratic brilliance would keep the rations, such as they were, moving to the men and women in the street, while at the same time the same bureaucrats would interfere with the projects Leningraders would rely on to keep them motivated and alive from day to day. Ingenuity would help the people find things to eat long after the official stores of meat and vegetables were all but exhausted, but sometimes that boiled down to trading everything one had on the black market. And that came after all the birds and vermin had been hunted down. Even now, there is debate about what extent cannibalism was practiced. Certainly, many were executed for it.

There were amazing feats done throughout the siege. In the first winter the primary means of supplying the city was a long truck route that wound across the frozen water of Lake Ladoga. The opposite shore was still in Soviet hands and a small town there became a supply depot. Hundreds of trucks wound their way back and forth across the ice round the clock, sometimes under air attack, to deliver the supplies that would keep Leningrad alive. It was hazardous and not just because of the attacks, for with little in the way of landmarks it was easy to get lost. Stories tell of one driver who reached the far shore hours late due to loosing his way, to find a note on the assignment board addressed to him. “Because of you,” it scolded, “five hundred Leningraders will have no bread ration!”

The bizarre and gruesome also reared it’s head. One man would walk to work through the killing cold, unwilling to stay home lest the will to live simply leave him through inactivity. On the way he would stop in a frozen streetcar, where there was always another man sitting. At first, the man thought his companion was simply going to work, just like he was. It took nearly a week for him to realize there was only one living man in the vehicle. In fact, people dead of cold or starvation were everywhere in the city, popping out of snow banks in the spring or just dropping over dead as they passed through the halls of their apartments.

Dmitri Shostakovich’s Symphony No. 7 was dedicated to the city. Though Shostakovich did not care for the Soviet government he felt a need to stand with his country, Russia, greater than man’s mismanagement and in need of the spirit to endure another bitter conflict. With great effort an orchestra was assembled in the city and the piece was performed. Not only performed, but broadcast over loudspeakers and radio, so that the enemy could hear. To accompany it, the General overseeing operations ordered a massive artillery bombardment. In it’s own way, an act of defiance.

When the city finally found itself free of attackers in late January of 1944, what was left was a city transformed. It had entered the world a city of sorrows, struck by many small griefs by it’s own government. It left a city united by sorrow.

The most conservative estimates place the death toll well over half a million civilians dead in Leningrad as a direct result of the fighting or an indirect result of cold and starvation brought about by the siege. Others estimate between 1.1 and 1.5 million. The numbers are inexact in part due to the undocumented flood of refugees into the city from the surrounding area before the Germans encircled it and in part because of the difficulty of keeping any kind of records during the siege.

There was pride in survival, even as the Soviet authorities did everything they could to take what glory there was for themselves and hide the disastrous mistakes they made and their costs. The siege of Leningrad is a testament to human endurance, made all the more amazing because many of the people who lived through it continued and, in a few rare cases today, continue to live in the same city. Their lives are a testament to the spirit of their city and their people.

Further reading:

 The 900 Days: The Siege of Leningrad, by Harrison E. Salisbury – The first comprehensive English language history of the siege. While Salisbury was hindered by the fact that he wrote while the Soviets were still in power and many kept silent out of fear of them, and while many records were still secret, the bones of the siege are there and it serves as a foundation for further reading.

Leningrad: State of Siege, by Michael Jones – A more recent history, taking advantage of new accounts and private diaries left to children and now made available to researchers, focusing primarily on eyewitness testimony.

Leningrad, The Epic Siege of World War II, 1941-1944, by Anna Reid – Another recent history, this draws on old archives and extensive translations of Russian works, as well as personal, individual interviews by and previously unavailable materials.

One Year!

What do you know! I’ve officially been on the interwebs and making regular posts for one year. That’s quite an achievement if I do say so myself (and I do 🙂 ).

It’s been a rough ride, what with me slowly figuring out how all the buttons and knobs on WordPress work and publishing an entire novel online. I’ve slowly put together a routine and marshaled a decent following. In fact, just last weekend I hit 50 people who follow via WordPress – here’s a shout out to Nhan Pham of Nhan-Fiction, customer number 50! Thanks for following.

The two most active followers would probably be renxkyoko, who appears to share my love of the manga Skip Beat, and L. Palmer, who looks at the world in a wonderfully quirky way. Thanks to them, and all the other people who have signed up for e-mail following or just stalk me via WordPress. I hope to be able to continue writing for many years to come.

P.S. After the initial writing of this on Friday the 29th of August, the fast-changing nature of the Internet came into play – by which I mean that I picked up a new follower. Welcome Marcela Cava Balsa! Hope you enjoy the show.

Water Fall: Prologue

It’s amazing how quickly a car running a red light can turn into an international incident.

At 7:42 PM, Central Time, on a Friday in late October a van pulled into an intersection along Michigan Avenue, cutting off traffic to the blaring of car horns. It was a nondescript white vehicle, with a decal touting a company called Hoffman Plumbing. Later investigation would reveal that no such company existed in the city. It was the first of four vans, which quickly positioned themselves to cut off all traffic entering the crossroads. The drivers were apparently not worried about property damage, as they collided with more than one other vehicle in the process of blocking traffic.

The driver of the lone car that had gotten stuck in the intersection with no way of escape sat there for a moment, confused, before the he and his passengers were hustled out of it by men from the vans. In the confusion no one was sure exactly how many there were, although based on estimates of the vehicles’ carrying capacity and eyewitness interviews there were somewhere between fifteen and twenty people, total.

However many people there were, they were well coordinated. In less than two minutes traffic along the busy street was completely blocked, the intersection itself was clear of cars and pedestrians, and large speakers were being unloaded from the back of each van.

Those watching carefully might have noticed the woman breaking off from the main group of interlopers and climbing straight up the side of a nearby storefront at this point. The fact that she was wearing all black, and climbing without aid of any kind of visible equipment, would definitely have helped her get attention if it weren’t for the fact that all eyes were on the intersection.

Most of the men that had piled out of the vans were dressed in black coveralls and wearing ski masks. But the two who were moving into the center of the intersection were still dressed to stand out.

One was of average height, with broad shoulders and wearing a three piece, pinstriped suit. Witnesses agreed that his clothes seemed to bulge slightly, as if he was carrying some kind of concealed gear. He also wore heavy, knee high boots that didn’t really match the rest of his clothes. Instead of a ski mask, he wore a fedora and a scarf wrapped around the bottom half of his face, and his gloves had wires running into them.

The other had clearly started with the same outfit as the stage hands. But over his black coveralls he’d strapped a bulletproof vest. He rested one hand on a pistol at his waist. And he was big, about the size of the average football linebacker. All together, combined with the fact that four men with shotguns were hanging a few steps behind, it was enough to ensure the complete attention of anyone on the street.

So there were plenty of witnesses when the man in the hat raised one hand, snapped his fingers and all the lights on the block went dead.

In fact, an EMP hit everything within a quarter mile. It disrupted phone lines and ruined cellphones, knocked out power, fried computers, shut down cars, caused the loss of most of the day’s record of business in over a hundred stores and, perhaps most importantly to the person who caused it, destroyed the CCTV footage of every security camera and automated traffic monitor in the area. All records of what happened next were reconstructed from eyewitness testimony.

The speakers that had come from the vans crackled inexplicably to life, apparently protected in some way from the magnetic attack that had just destroyed the surrounding electronics. The voice of the well dressed man boomed out across the road and could easily be heard by most people in the crowd.

“People of America,” he said, his voice as cultured and controlled as any politician or highbrow actor. “I welcome you to a moment in history.”

A troubled murmur rolled through the crowd, but the leader of the band spread his hands wide as if in welcome. “You wonder what I mean, and rightly so for we all live in the midst of history every day. But most of us take no notice of it, because we’ve been told that history is made by those with power and who here can claim much of that?”

There was second shifting in the crowd’s attitude, from worried to vaguely belligerent. The well dressed man smiled and gestured to his much larger accomplice. “Some might say power comes from physical might backed with modern weaponry. Others would argue that it is money and the influence it brings that gives one control of history.” He chopped a hand through the air dismissively. “Lies, all of them. Told by people who prefer you living in quiet desperation to stretching yourself to you utmost and discovering you are strong! I come here to day to bring the lie to light. I come here to tell you there are other kinds of power in the world, and with them freedom and opportunity the likes of which would never have been possible just one year ago! Open your eyes and see!”

With that, the well dressed man shot into the air. One moment his feet were solidly on the ground, the next he had risen to a height of nearly twenty feet, arms fully spread, his fingers splayed out like a stage magician who had just finished his trick. “There are among you men, women and children who have abilities that surpass the thing you call common sense. Some of you know them, and work to help them remain hidden – friends, neighbors, brothers and sisters, daughters and sons! Some of you are like me, able to challenge the very notion of normal but forced into living quiet lives, afraid to use your gifts because you do not know how others might react. Some of you have never seen a person such as me before, and either wonder at the possibilities or tremble at the implications. But regardless, you all now know one thing beyond the shadow of a doubt: We exist, and now the world must adapt.”

The crowd was really worked up by that point, some people crowding the vans and the handful of black clad men who manned them like makeshift roadblocks, others yelling questions lost in the noise, some ignoring the scene entirely to yell at one another. A few were trying to take pictures of the flying man and discovering that their cellphones were dead.

Of course, with a crowd that was growing by the minute all squashed into what was supposed to be a major thoroughfare of a large city, the attention of the police was inevitable. In fact, according to reports the first officers arrived on the scene less than five minutes after the first van moved to block traffic, just after the well dressed man began giving his speech. The numerous traffic violations and the unauthorized public address, to say nothing of the flagrant firearms violations, gave the officers plenty of cause to take the whole group into custody.

Unfortunately, dispatch had been laboring under the impression that they were dealing with a traffic accident and not a brewing riot, and had only dispatched one cruiser, which had a hard enough time making it to within a block of the scene due to the way traffic was backed up. By the time headquarters would have any idea the situation was different it would be a moot point.

The two officers from the dispatched cruiser traveled the last block to the intersection on foot, arriving as just in time to bump into a pair of officers who had been patrolling the area on bicycles. The four of them together managed to work their way to the front of the crowd just in time for the flying demonstration.

Say what you will about the police, they are well trained to quickly and efficiently react to a mind-boggling array of possibilities, most of which the general public never even contemplates. Flying men is not on that list, but after a certain point one simply becomes jaded. They showed no signs of being disturbed at seeing a man hovering twenty feet off the ground, seemingly under his own power. In fact, they were paying more attention to his armed companions.

In this they may have been behaving more wisely than the crowd. Not that outsmarting groupthink has ever been a great achievement.

Three of the policemen casually rested their hands on their weapons. The last officer cupped his hands and called out, “Sir, I need you to come down from there with your hands in the air.”

Some in the crowd called out, “They’re already there! Along with the rest of him!”

Ignoring hecklers is another core cop skill, and all four officers had it in spades. The officer turned his attention to the armed men. “You five there need to put your weapons on the ground slowly. We’re going to get ahold of the precinct and arrange for you all to be taken somewhere we can talk about this nice and privately.”

The first rule of volatile crowd situations is to deescalate things as quickly as possible.  That only four officers would attempt such a thing may seem surprising, but the fact is that the vast majority of people accept police authority, even when they’re upset that it’s being directed at them. Most people accept that law enforcement is a necessary thing, and they’re not out to cross it.

They also realize that cops have to assert their authority against anyone who levels a direct challenge to it or they’ll quickly loose it. In short, messing with the police is never a good idea, and when the city police department has more people in it than the standing armies of most countries the idea starts to look downright ludicrous. The structure and psychology of the system says that one cop is fairly safe in most situations and two should be downright invincible.

Later analysis suggested that the rabble rousers were counting on this mindset.

“Ah!” The floating man twisted twenty degrees in midair, without making any kind of obvious movement, so that he faced the police more or less directly, wavering uncertainly for a moment or two and then coming to a stop. “The keepers of law and order. I’m afraid there’s little you can do to contain the situation now.”

“Look, I don’t know what you want,” the spokesman officer said. “But you’re not going to get it by shouting at the crowd here. Come on down and stop blocking traffic. We can-”

“You are absolutely right!” The other man replied, his artificially amplified voice easily drowning out the officer. “What I want is an end to secrecy! What I want is an end to lies! What I want is an end to injustice! What I will settle for is…” He raised one hand over his head.

Every piece of iron within a city block rattled in response, the bicycles two of the officers had arrived on actually slid into the crowd and knocked several people over and the four vans rocked slightly on their wheels.  A large, flat iron and plexiglass case flew out of the back of one of the vans, came to a stop a few feet in front of the floating man then shot up another dozen feet before flying straight down and burying itself six inches into the pavement with a teeth-rattling bang. For a split second there was total silence as the man viewed his handiwork. Then he spread his hands high and wide, saying, “Freedom!”

He drifted a few feet higher and seemed to stretch his hands even further, as if he could somehow grab the edges of the city and carry it away with him. “If you chafe in this world of secrets and silence, then I offer an alternative. This is the age of information, and with it we have been controlled. But one circuit out of place ruins a whole computer, and a single weakness is the end of a network. I am the Open Circuit, the fatal weakness in the status quo! If change is what you desire, then there is a place for you with me!”

“That’s enough.” The cops were starting to look nervous, well aware than their authority was growing more and more tenuous in the face what appeared to be a serious Messiah complex. But the spokesman maintained a calm façade and pressed on. “If you won’t come willingly we’ll place you under arrest and-”

He was cut off by a series of rapid gunshots. The sudden noise panicked the crowd and cause the police to rapidly unholster their weapons, a move that just caused more panic around them. Only one officer managed to spot the source of the gunshots, the woman in black, her bare feet clinging impossibly to the fourth story of a large building, firing a submachine gun into the air. No bullets were found anywhere near the scene, so it was concluded that the weapon was probably loaded with blanks. According to the officer’s report, once her clip was empty she crawled across the side of the building and disappeared around the corner.

This ploy succeed in creating quite a distraction. When taken together with the way all four vans that had been driven into the intersection burst into flames a few seconds later, there was no one paying any attention to the people in black, who had completely vanished by the time anyone thought to look for them again. The only indications that it hadn’t all been some kind of mass hallucination were the burning vans and the display case, still buried in the ground and quickly surrounded by people who presumably had more curiosity than sense.

Any evidence the case might have offered was destroyed by gawkers long before it could be secured.

A cordon of additional police cars arrived five to ten minutes after the departure of the flying man and his accomplices. They did their best to contain the crowd, reassuring them that they were being asked to stay as witnesses, and secure the scene. Paramedics arrived as well, though there were thankfully few injuries to deal with, mostly people knocked over in the panic caused by the gunshots and burning cars.

Just behind the paramedics came a trio of plain, unmarked gray vans. These contained another fifteen to twenty people in rather nondescript business clothing. But they didn’t look much like businessmen or businesswomen. They were wearing earpieces, carrying sidearms and generally handling themselves like people who expected respect, not polite chit chat. In short, they didn’t seem out of place.

Most of them fanned out to check in with the police and paramedics, presumably to assist however they could. Three pressed their way through the crowd, which quickly made way for them.

The largest was a huge bear of a man, Hispanic, with gray salted through his dark black hair and neatly kept mustache. He looked like nothing so much as a retired wrestler and people easily yielded to his size alone. Beside him a blonde Pole, just as tall if not as big, walked with a careful, measured step. A few steps behind trailed a much shorter, wiry man who carried a megaphone and seemed to burst with nervous energy, absently cracking his knuckles or fiddling with the handle of the loudspeaker he carried.

The intersection itself was clear, and once the three men were through the crowd they split up. The two taller men went to look at the steel case buried in the street while the shorter made a loop around to each of the vans, still leaking occasional tongues of flame and smoldering as the last of their upholstery burned. As the short man passed by each van the fires seemed to vanish and its chassis would groan and creak as it rapidly cooled.

With the fires out he walked over to his two companions, who were studying the case intently. It was about waist high on them, and the clear top let anyone with eyes see the sheet of paper within. He looked it over then sighed and glanced up at the biggest of the three and said, “We need to take it in.”

The big man nodded and bent his knees and got a good grip on the case. Then, without even a grunt of effort, he ripped it out of the pavement and laid it gently to one side. The short man just shrugged and turned his attention back to the crowd.

They were already staring at him. So he raised the megaphone to his mouth and said, “Alright, people, listen up. I’m Special Agent Double Helix, of Project Sumter, your  government’s formerly secret agency for dealing with these situations. As we’ve had permission to work directly with the public for about ten minutes, we’d like to ask for your understanding and cooperation, since we’re all a little new at this…”

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Writing, Philosophy and the Colors of Magic

Mark Rosewater is the head designer for Wizard of the Coast’s card game Magic: The Gathering. He’s also a former scriptwriter for the TV show Roseanne and has a degree in communications. He also goes to great pains to interact with the audience of the game and share information with them. One subject that frequently comes up is the color pie.

Now a brief aside, for those unfamiliar with the game – and yes, this does all tie back to writing so I hope those who are interested in my thoughts on that subject won’t tune out. In Magic, players gather land cards and use them to cast a variety of spell cards. Each spell can be one (or more) of five colors (or no color, but that’s much less common.) In order to make the game more interesting, each color tends to do different things with it’s spells. The layout of what color gets what effects is referred to as “the color pie.”

The mechanics of the pie itself aren’t what’s really important to us, so we’ll gloss over that part. What is important is that each color’s abilities are heavily influenced by it’s philosophy. The philosophies of the color pie are as follows:

White wants every one to stand in line for their pie, and will make sure that everyone get’s a piece that’s the same size.

Blue wants to know what’s in the pie, to study the recipe and try to improve it.

Black just wants as much pie as possible, by whatever means are necessary, and hang the consequences.

Red wants pie now, and doesn’t really care about what it takes to get it. Even if the pie is technically on fire when it arrives.

Green wants organic pie, and as much of it as possible.

Each of these philosophies gives different gameplay. For example, White is all about fair play and order, it’s not going to arrange an “accident” for its enemies in order to get its way, though Black might, neither is it going to run about doing things at random, although Red might. That brings us back to Mark Rosewater, the color pie guru.

See, in the time he spends talking with the people who play the game and getting feedback one question that gets asked a lot is, “Why can’t my favorite color do this?” Where “this” is something that the color wouldn’t normally do, like Red spinning a clever illusion to protect itself from attackers. Red sets it’s attackers on fire. (Works a lot better.) The answer Mark gives, every time, is, “That doesn’t fit your favorite color’s philosophy.”

Okay, so you’ve made it this far and there hasn’t been anything about writing yet. So what lessons can we learn about writing from the way Magic handles the color pie? The answer is simple. Your characters have to be consistent to who and what they are at all times, with meticulous attention to their attitudes, ideas, predispositions and prejudices, whether they’re good or bad for you, them or the story, just like the color pie of Magic, or else their impact will become muddled and your story will suffer.

For a simple answer, it sure was long, huh?

Okay, let’s break that down. First, why is an example from a game designer even relevant to a writer? Don’t get into a haughty snit if you’re not a fan of card games or other geeky hobbies. Magic: The Gathering has lasted twenty years and continues to experience growth in sales and mainstream acceptance. Whatever Wizards of the Coast is doing with it, they’re doing right. Mark, as one of the public faces of the game, insists that the color pie is a big part of it and he’s in a position to know. They do research into this stuff.

Second, just like comic book fans tend to identify with some specific character such as Wolverine or the Flash as their “touchstone” in a comic universe, many people who play Magic identify with a specific color. People care about these things, and if they’re not consistent, they cease to be as meaningful. For Magic, the difference between the play styles of the colors is a big part of what gives them their identity. Look at chess. The black and white pieces all work the same. There’s no identity there. The colors of Magic have identity because they’re different, and those differences must be maintained.

As a writer, your characters are what people identify with and touch base with. You have to stubbornly work to keep them distinctive in order to keep people engaged with them. If all the characters start to look the same, they lose value immediately. It’s better for you to have a character that is passionately hated for consistently unpleasant behavior than for you to tinker with the character and wind up with a totally forgettable character. Keep attitudes and dispositions consistent and a character becomes much more believable.

By the same token, actions have to match attitudes or credibility is lost. If a character isn’t likely take part in a plot of his or her own free will, hound them. You have total control over their circumstances. Put other characters in their path constantly, bend circumstances until they have no choice and then hit them with the consequences of avoidance – lost time, missed opportunities, hurt feelings and anything else you can think of. This stuff is the meat and potatoes of the story.

This isn’t to say that characters shouldn’t change over the course of your story. The characters of your story are very dynamic, and free to discover new parts of themselves or go through revelations that challenge and change the way they think. But we have to see the hows and whys of that change, and if you’re not very deliberate about them then you risk damaging your character’s impact. It’s also important not to do too many of these changes at once, or your readers will have trouble keeping track of everything that’s happening. They already have a lot to track in real life.

But in real life, as in card games and writing, consistency is key. It’s a skill well worth developing for the sake of all three endeavors.