Author Archives: natechen

Pawn’s Gambit and Other Stratagems

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I don’t make much of a secret about my Timothy Zahn fanboy status. I’ve written approving reviews of several of his novel series and stand alone books. Today we look at something different but still decidedly Zahn. Pawn’s Gambit and Other Stratagems is a collection of short stories and one novella.

In spite of the title, Pawn’s Gambit is not unified by a theme of strategy to the stories. They are, by and large, just fun stories that touch on the idea of point of view. The title story, Pawn’s Gambit, is something of the exception as it is exactly what you’d expect from the title, especially as written by this author. The narrative revolves around a man kidnapped by aliens as part of an experiment to work out how humans think by watching them play strategy games against alien players. It sounds like the perfect job to me but it actually carries a fairly sinister hidden purpose and, in the end, only one player gets to go home.

But as I said Pawn’s Gambit is actually the odd story out in the collection. The centerpiece of the novel, Cascade Point, is a Hugo winning novella that revolves around a space captain who works with a faster-than-light drive that lets him see into alternate timelines and has to grapple with seeing the possible outcomes of his decisions on a day to day basis. The question of what could have been is a more literal one for him that it is for most people and it turns out glimpsing the answers can be worse than not knowing.

Stories like The Price of Survival and Hitmen – See Murderers revolve around what we know, when, and how it distorts our decision making process. Reality may be objective but our ability to grasp it is pretty limited. Likewise, stories like Protocol caution us about our limited understanding of others and The Giftie Gie Us reminds us that even our understanding of ourselves can be limited.

Whether the protagonist is a telepath who thinks to find the truth about human nature but is foiled by his own id or a wizard who’s magic carries a terrible price that paradoxically drives him to use it all the more, Zahn’s stories are simple, effective and engaging. What’s more, unlike much science fiction, they don’t speak to the intricacies of culture, science or progress but rather delve deep into human nature and the limits we will undoubtedly face no matter how advanced we think we’ve become. And that makes Pawn’s Gambit more than worth your while.

Genrely Speaking: The Mockumentary

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Welcome back to Genrely Speaking and wow it’s been a while since we did one of these. Partly because of the schedule I’ve been working on and party because the list of genres I feel qualified to talk about has been steadily shrinking. Today we’re going to look at a characteristic genre that is actually quite new in many respects.

A mockumentary is a work of fiction that takes the format of a factual documentary, “behind the scenes” making-of piece or reality TV show. While everything discussed in the mockumentary is fictional the “facts” of the story will presented as if they were just that – facts. (The “mock” in the title has less to do with insult and more refers to being an approximation of reality, although it can mean both.) While mockumentaries are almost entirely done on TV or in movies aspects of the genre can work their way into other media. In fact Isaac Asimov’s Foundation series, while not a mockumentary in the truest sense, frequently quoted from a fictional galactic encyclopedia to give a perspective on events. A more recent example of a written mockumentary, one intended to serve as such, is Max Brooks’ World War Z.

The most famous mockumentary in modern pop culture is undoubtedly the sitcom The Office (in both the British and American incarnations) and people will tend to associate the term with comedy, particularly as it satirizes the easy target that is reality TV.

The highlights of a mockumentary include:

  • Interviews with experts and people who were on the scene. These may include characters who lived through the events the mockumentary is documenting, historians who have studied the characters in question a great deal or technical experts who explain the ins and outs of the way things work.
  • Ambiguous characters. A mockumentary is a genre that cares more about characters than about events, but the structure of the story naturally tends to give you a lot of contradictory information about them. Like in a mystery story – and real life – the things people say about themselves and the things other people say about them rarely mesh in a mockumentary. Part of that is differences between the way characters see themselves and each other, part of that is because some of the information you get in a documentary is bound to be false (deliberately or not) and so mockumentaries must be the same.
  • A lot of world building. There’s a lot of chances to slip in tidbits about a fictional world in a mockumentary. Was there an extinct race of elves on one continent of your world? Maybe a major character had an interest in collecting artifact from their civilization, a fact brought up during an interview with a close friend. The audience not only learns about your character’s interest in archaeology they learn the world once had elves. You can be more direct as well. In a mockumentary about deep space colonization you can have an expert on shipbuilding explain why a specific faster than light drive was chosen for an expedition and explain the “science” behind the drive at the same time. The possibilities are endless.

What are the weaknesses of a mockumentary? With ambiguous characters around every corner it can be harder to get attached to them simply because the narrators aren’t trustworthy. In most fiction the reader assumes they’re getting straight facts even if the work is written in the first person. But a mockumentary frequently introduces contradictory narratives to keep us on our toes. Even when the audience gets to see events “as they really happened” they still have to decide whether they trust the personal testimonies given after the facts. Constantly looking out for spin from fictional characters can be exhausting and too much like real life for some people

On top of that, it’s easy for mockumentaries to get caught up in the minutia and lose sight of the story. Too much time spent exploring all the viewpoints in a story, too much emphasis put on worldbuilding details instead of plot progression, and the story can fall apart. Even if the writer does a brilliant job audiences can still get fatigued with all the work needed to track it all.

In short, it’s very easy to overwork your audience with a mockumentary.

What are the strengths of a mockumentary? While characters will undoubtedly come off as ambiguous due to the way they are presented they can still be studied in much more depth in this genre than in most. A mockumentary is as much about the testimony about an event or series of events as the events themselves. What people say about something a simple as a car accident on the street can reveal a lot about who they are and what kinds of priorities they have. Done right, a mockumentary can provide powerful character studies.

I don’t think the mockumentary is ever going to “take off” and become a powerful force in the literary or entertainment worlds. They require a lot of work on the parts of both the creators and the audience, and the kinds of stories you can tell within the strictures of the genre are pretty limited. But that doesn’t mean the genre is bad – in fact, there are few other genres suited to the kinds of stories it wants to tell. The fact that without it we would have missed out on those stories is probably enough to make it a good genre.

The only real question is if it will ever be great. I can’t answer that but I have no problem with watching to see if it can.

Show Don’t Tell: A Nuanced Discussion

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I was discussing a film with a friend recently and we had a disagreement over how good it was. I felt the climax of the movie was poorly supported and came off weak. He disagreed, pointing out things that were in the film but that I felt didn’t support the climax very well, because I was told them by the movie, rather than shown. Since “show don’t tell” is such a foundational rule of writing I figured that was the end of the matter. But he asked me a question that made me think: “So does that mean every story needs to be told the same?”

The answer is no. But there are things that work well and things that don’t and long experience has given writers a pretty clear idea of what is what. When a writer says “show don’t tell” what they really mean is “showing produces a stronger reaction than telling.”

People who read this blog know that I feel the purpose of fiction is to provoke some kind of reaction – usually an emotional one – through their writing. So the best tool in the box is usually showing, because it will give you a stronger reaction than telling. But, like most generalizations, show don’t tell has a lot of nuance to it.

Let’s break this down by looking at the way this idea is applied in the first season of the CW’s show The Flash, particularly in the first season (and a few episodes of Arrow). The showrunners behind The Flash have done a great job with using show and telling to emphasize the important bits of their story. Let’s look the ways this principle plays out. Be warned – there’s going to be spoilers.

The show begins with a flashback to Barry’s youth where we see the night Barry’s mother died. This is the defining moment in Barry’s life and the most important plot point in the first season of the TV show. The climax of the season hinges on the impact this moment had on his life and character. It’s only natural that we see it, so that our impression of the moment is as powerful as possible.

The night Barry’s mother was murdered comes up in the series several times between the beginning and ending of the series’ first season, each time when the emotional impact of the event on Barry’s life will play a pivotal part on the way the episode unfolds. These flashbacks serve to put the incident back in our minds in a powerful way and make us ready to understand the new nuances of Barry and The Flash which the episode’s challenges will tease out, or to keep us in the zone as the mystery of Sarah Allen’s murder is pushed forward. Since the incident is important the show shows us to keep it fresh in our minds.

However, there are two times when Sarah Allen’s murder is brought up without a flashback but the memory is still important to what is happening. Not on The Flash, but on the CW’s other superhero show, Arrow. You see, Barry Allen was introduced on Arrow, and Oliver Queen, Arrow’s protagonist, was initially suspicious of him. Barry explaining his backstory and his reasons for being in Starling, his quest to find impossible things in the hopes he could one day explain his mother’s murder, are part of how Barry earns Oliver’s trust.

A season later, when Barry is a full fledged superhero and he pays Oliver another visit, the two men clash over methods. The still unresolved death of Barry’s mother is brought up again to show that Barry’s no stranger to the hardships of life. In both cases, the showrunners chose to tell, rather than show.

Why? Because these moments were about the conflict between the characters over things in the present, not about how the past shaped them. Yes, Barry’s past was relevant to the choices he was making and he had to explain himself, but the emphasis wasn’t on the events that shaped him. It was on the situation he was in and how people would relate to it. A strong reference to the past would have overshadowed the situation in the present, as the two were not directly connected.

There’s another time The Flash’s showrunners chose to tell rather than show – in the first season Joe West had suspicions about Harrison Wells and the Reverse Flash. They meet for drinks and exchange barbs. At the end Wells gives Joe a name to look up. Later they meet again and Joe tells Wells what he learned – that Harrison Wells’ fiance died in a car accident. Again, there’s no flashback to the death because the point of the moment isn’t to show us how the Reverse Flash took over the life of Harrison Wells or to elicit some kind of understanding of the Reverse Flash.

Rather, the point is to build the mystery around the character and keep us guessing as to his exact motivations and methods. A mystery is hard to maintain when the facts are being presented in the strongest way and the motivations of a character are put full front, so the showrunners chose to tell rather than show, to keep the strength of the presentation from undoing the desired effect.

In the end there are many reasons you may decide to tell, rather than show. But they will almost always boil down to one – you tell instead of showing when showing would create a reaction contrary to the one you desire. A good story is a tightly woven web and it doesn’t have enough space to give everything full voice. The impact of some threads of the story may need to be reduced in order to allow the climax of the story to shine. In those cases by all means tell and don’t show. But make no mistake, the rule to show rather than tell exists for a reason. When you show your story makes the strongest impact. A story that focuses on telling, not showing can work, if mystery is a major theme for example, but that kind of story is going to be fairly unique in its structure and content, not suited to the majority of topics.

Not every story has to be the same in the way it’s told. But if you’re trying to tell a normal story with an emotional climax, with no gimmicks to support the notion of telling rather than showing, then stick with showing. Or be prepared to be regarded as an underwhelming story.

The Hero’s Journey and The Lord of the Rings

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Periodically when I’m writing something I find a need to do some research and, since the hero’s journey was going to be a plot point – albeit a small one – during The Antisocial Network I figured I should read up on it some. One of the things people kept emphasizing as I read about it was that the two biggest movie franchises of the 20th/21st century, Star Wars and Lord of the Rings, were perfect distillations of the formula. I can buy this with Star Wars. But it’s laughably inaccurate with Lord of the Rings (less so with The Hobbit, but that’s not what we’re looking at).

The basic hero’s journey consists of several basic stages, most of which the Lord of the Rings doesn’t adhere to or entirely subverts. Let’s take a look at them one by one, shall we?

  1. Establishing an ordinary world. Of course Tolkien and the Jackson films do this but that’s not surprising. Every story give some exposition and establishes the status quo before we get into the action. Nothing to see here.
  2. The call to adventure. This is the only part of the monomyth or hero’s journey that I find convincingly echoed in Lord of the Rings. Frodo does learn shocking facts about himself and the world around him that spurs him to take action. He learns about the nature of the ring he’s been left and the threat it poses and it frightens him.
  3. Refusal of the call. This is where things go off the rails. See, I can’t see any point in the story where Frodo refuses the call. He takes the ring to Rivendell on Gandalf’s advice but he never really seems to not want to do it – it’s a chance to see Bilbo and he’s always wanted to travel. Again, at Rivendell, no one has to convince Frodo to take the Ring to Mordor – he volunteers. Quite unexpectedly. In truth Frodo, while not eager to bear the Ring, still bears it without flinching. The closest we come to this trope is when he offers the Ring to Gandalf, thinking it might be safer with him. This could be considered a refusal of the call but it’s pretty far from how this trope usually plays out.
  4. Meeting with the mentor. Again, Frodo doesn’t seem to have any mentor character. Gandalf comes close, of course, but he doesn’t really equip Frodo for his task as Frodo can’t really be equipped for what he has to do. He is given talismans in the form of Sting and Bilbo’s mail shirt, as well as Galadriel’s phial, not to mention the Ring itself but these don’t come from Gandalf. On the other hand it’s Gandalf’s mention of Bilbo’s pity which ultimately opens the way for the quest to be completed. Again, there are echoes of this trope but nothing that really fits with it.
  5. Entering the unknown. This is the stage where the hero and his companions leave what they’ve known and enter the unknown. Theoretically this must happen when the hobbits leave the Shire, as they’ve never really traveled much, unless we see departing Rivendell as the moment when they enter the unknown… except most of Frodo’s nonhobbit companions have been to the places they’re going and… you see how the archetype isn’t making much sense by this point.
  6. Tests, allies and enemies. At this stage the hero and his companions face challenges, defeat enemies and get stronger… except in Lord of the Rings they don’t. Get stronger, that is. Yes, Merry and Pippen get larger, stronger and a little more martially ready later in the story and Gandalf ascends to a new level of wizardliness but other than that the characters don’t really become more formidable from the time they’re introduced. In particular the “hero” of this journey, Frodo, is a bit of an albatross in the story, doing more to expose his companions to danger than save them. Again, there are all kinds of challenges in Lord of the Rings, it’s just that none of them result in the kind of growing power in Frodo’s hands that the hero’s journey would lead us to expect.
  7. The supreme ordeal. At this stage in the story the hero is supposed to face the shadow, his nemesis of the story, go through a symbolic death and rebirth and emerge victorious by dint of the lessons learned through his struggles. While Frodo’s going into and emerging from Mount Doom might count as death and rebirth the fact is when he faces his ultimate opponent, the One Ring, he loses. He can’t overcome it and destroy it, Gollum must do so – and quite inadvertently at that. Again, the hero of this story isn’t the “hero”…
  8. The reward. Heroes are supposed to get something for all their work. Frodo is awarded PTSD. Okay, he also gets the adoration of a nation for a short period of time. This one applies, sort of.
  9. The road back. Again, this trope applies as Frodo does have to make a return journey, bidding farewell to his friends.
  10. Restoring the World. At this point the hero is supposed to use his newfound powers and the rewards he gathered during his adventures to make the world a better place. And again, the four hobbits do this, cleansing the Shire of the evil influences that have come upon it and restoring just government. It’s just that the hobbit who plays the smallest part in this is Frodo. His incredible exertions have won him to respect at home and the journey has left him diminished, scarred by heavy burden and long journey. His friends have grown and he has paid the price.

It’s important to note that there are a number of superficial similarities to the hero’s journey in The Lord of the Rings. Several characters seem to embody the tropes of the monomyth at various points – Gandalf’s death and rebirth leading him to the height of his powers, Aragorn being rewarded for his struggles with the crown of a kingdom and Merry and Pippen being forged into heroes of the Shire. But the so-called monomyth, while a common storytelling convention, is not the one Tolkien was working from. I’m not saying the monomyth is bad. But don’t let it blind you to what’s really going on.

J.R.R. Tolkien was a Catholic and his writing was deeply steeped in Catholic traditions. Perhaps it shouldn’t surprise us, then, that the hero at the heart of the story is not a person who ascends to apotheosis but one who steadily diminishes himself on behalf of others. It’s the courage and sacrifice of Frodo we admire and the truth that there’s rarely rewards awaiting those who make sacrifices that gives the story its ring of truth. Writing conventions are all well and good, but don’t let them shackle you.

Sounds like a good idea to mull over next week, doesn’t it?

Star Wars Episode Eight: Course Correction

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So let’s pick up where we left off last week. The Star Wars character Rey has had some Mary Sue elements stuck into her character but that’s not the end of the story. I really feel that The Force Awakens suffered for these elements but I have to stress that they weren’t the sole reason or even the biggest reason I felt the movie was subpar. The holes left in Rey’s character exist for one of two reasons, in so far as I can tell.

The first is that the film didn’t have enough room to squeeze in all the kind of narrative support that make the wish fulfillment aspects of Rey’s character function within the larger story framework. The story is chock full of characters to be introduced, situations to be sorted out and story to be imparted. The whole film moves so fast that none of this information really gets examined deeply. This is a bad habit I see in a lot of recent movies, and Disney movies in particular, where filmmakers just throw a character archetype or well known plot on screen and expect the audience to fill in the blanks while the story glosses over the lacking character and plot development in favor of more spectacle. The studio wanted a blockbuster show and the other, more important stuff, got cut.

Now spectacle isn’t bad but Star Wars, for better or worse, hasn’t ever been exclusively spectacle. And furthermore, the archetype of a character without power suddenly unlocking hidden power – Rey’s archetype – clashes badly with the established Star Wars lore. For the first time we’ve gotten a Star Wars film that feels like it was made to be a blockbuster, and that’s sad. Understandable, given the investment Disney made in the movie, but disappointing none the less. So one reason Rey may not have gotten the development she needed was studio mandate. That’s lame, but it’s part of showbiz.

The second reason for Rey’s off balance character development is even more speculative. There’s a possibility that the film is setting up a story arc where Rey’s burst in power is a result of the Dark Side, the fast, easy and seductive half of the Force. With a quick burst of power fueled by her anger and the Dark Side much of what Rey does can be explained away. This doesn’t have any more support than the prevailing interpretation of the story, that Rey is just an absurdly powerful and fast learning Jedi, but it would better explain things in conjunction with the lore than the idea that Rey has amnesia and has forgotten previous Jedi training.

Of course, the biggest problem with this theory is that it doesn’t have support, the problem that the whole movie has to start with. In truth, it has less support than others, since Rey never actually shows any signs of Dark Side influence when using the Force. But it could have been the intent and, more importantly, it brings me to the question of how the poor writing around Rey’s character could be salvaged.

The first is if Episode Eight runs with the idea I just laid out. If we find Luke training Rey hard to cure her of a taste for the Dark Side it would go a long way to show that the existing Star Wars lore is being respected and open up opportunities for a lot of interesting ways for Rey’s character to go. She currently doesn’t have a clear direction for character development or arcs so by giving her an ongoing struggle with the Dark Side the writers would both do her character a real favor and take advantage of the opportunity to explore themes the franchise has dabbled with previously but never delved into in any meaningful way.

Another entirely viable option would be to make the next film primarily about Finn. He felt more like the main character of the first film, with his broken indoctrination and significant streak of cowardice giving way to new ways of seeing the world and the start of real personal courage. If Rey moves back out of the spotlight some the lack of polish in her character is less jarring. That doesn’t really solve the problems in her writing as such but if the film is constructed in such a way as to make the problems irrelevant then it still does some good work.

The third possibility is to give Rey a new and very personal challenge. The fact that she is never significantly set back through the course of the film is the greatest weakness of the character. Unfortunately, the writing of The Force Awakens severely crippled Kylo Ren’s ability to serve as a good antagonist in future films and I can’t see any new meeting between Rey and Ren having the dramatic weight necessary to be that setback. Hopefully the Knights of Ren that were hinted at will provide some of that needed threat so that Rey’s character can really shine.

The big lesson here is that even bad writing can be redeemed, most of the time. The real question for the typical writer is, would it be worth the time? All three of the solutions I suggested for Rey’s character problems require a certain amount of narrative gymnastics to function. Most writers find themselves better served by drawing what lessons can be had from bad writing and moving on, as the resources of Disney probably aren’t backing your less than stellar outing (and it probably doesn’t have Star Wars level brand recognition, either). The hard truth is, while a weak writing project doesn’t doom you as a writer, it can doom the ideas you invested in it.

At least until you can adapt those ideas into a new form for a later project.

Unless your Disney playing with Star Wars. At this point, nothing can really kill that project. But I’m still hoping they draw lessons from it and make it better.

Star Wars, John Wick and Mary Sue

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“Mary Sue” is a derogatory term for the protagonist of a work of fanfiction. Fan fiction, for those who don’t know, is a story about characters from a work of published fiction, TV, movies or comics. written by a fan rather than the people who produce that work. Any fan who has ever written down a new adventure for the crew of the Starship Enterprise has written fanfiction. It has no standards for publishing or quality, it just has to be written down by a fan of the work in question.

Generally a Mary Sue is a character of either gender (but typically female, probably because fan fiction authors tend towards the female – sometimes male characters are referred to as Gary Stu) who represents the author in a fanfiction. The label has grown in many ways generally it refers to any character who gets to live out a fantasy without effort, risk or negative consequences, as this tends to be the way fanfiction authors write themselves into stories. Early critiques of the Mary Sue archetype refer to the character as “perfect” within their own narrative but that’s not a meaningful qualifier, as it’s quite subjective when applied to characters in a story.

There’s a certain amount of jealousy inherent in the “perfect” critique, the kind of jealousy that you typically find when people see a singer on American Idol and figure they made it to the finals because she’s pretty or he’s handsome. It ignores the hard work and effort the person has put in to reach the place they’re in and yes, maybe there were some elements in there that weren’t “fair” like being born with a certain amount of natural talent or good looks but there has to have been more to it than that. But when we’re talking about characters it gets a little more complex.

I think Mary Sues provoke a strong reaction from people because they tickle that same jealousy vibe in our mind. But, at the same time, we want to see characters in fiction who are extraordinary. Otherwise they wouldn’t be anymore entertaining than our own circle of friends and we’d just spend our time with real people rather than these shadows and phantasms. So a good writer gives us characters who are more perfect than us but also gives those characters situations far beyond anything we could realistically tackle, situations that push those characters to the very utmost limits of their abilities.

I’ve said time and again in this space that the point of a writer is to provoke emotions from their audience. Mary Sues provoke contempt because they seem to achieve things safely and effortlessly when we know that, in real life, things are typically achieved through effort and peril. A competent writer avoids this by creating in us a certain admiration for the character as they overcome adversity, allowing us to experience the rush of empowerment while the character overcomes challenges that only a person of their skill could possibly accomplish. A poor writer doesn’t show this adversity, or shows it poorly, and earns our contempt as a person who wrote a Mary Sue.

When people complain about Mary Sues I think they frequently mean characters who get to live out a fantasy without facing any difficulties. Without risk, effort or consequences the character comes off as flat, dull and uninteresting.

Let’s examine a character who is a Mary Sue by the traditional definition – which is to say, he’s pretty much perfect. The character John Wick, from the movie of the same name, is considered the perfect hit man. From the very beginning we see people in the Russian mob who know what he’s capable of deferring to him. When he finally snaps and destroys a team sent to kill him with little trouble we start to realize just how deadly he is. For the whole rest of the movie the Russian boss is terrified of this force of nature who is coming for him and anyone who can get out of John’s way does.

However John Wick still has his problems. His wife was ill and died at the beginning of the film. He’s injured during a botched attempt to kill the son of the mob boss and takes refuge in a hotel for assassins where, in theory, no business is conducted. But there’s enough money on John’s head to persuade someone to break the rules and try to kill him in the hotel. John survives because an old friend helps but suffers more injuries in the process. His next move against the mob results in his being captured and, again, he escapes only with help.

Finally he offs the boss’s son but his friend is discovered and killed in retaliation. John finally finds the boss and wipes out his bodyguards in one last confrontation that ends with a brutal grapple between John and his nemesis that John barely wins. He staggers away in the rain, barely able to remain upright.

While John could easily be classified as a Mary Sue by the traditional definition, given his hyper competent fighting prowess and obvious wealth on display through the film, most people don’t consider him one because the amount of difficulty he endures throughout the film makes us feel admiration for his endurance, determination and single mindedness.

Unless, of course, you deplore violent movies in general and that ruins the experience for you. Because that movie… pretty violent.

But to the point – the fact that no one seriously considers John Wick a Mary Sue is one of the reasons I tend to use my own definition of the term. Because John does show us the power fantasy of being able to take revenge on the powerful, wealthy and downright criminal creeps who feel free to occasionally make our life miserable. But the price he pays for it is horrendous, the kind of price only a fictional character could pay. The risk of his own life was made apparent during every fight, the effort comes with every grunt of exertion and every moment of pain, the consequences made clear more and more people turn against John.

Now to the final point of this post. By this point I hope you’ve all seen Star Wars: The Force Awakens because we’re going to talk about it a bit in a spoilery way. And by “it” I mean Rey.

There’s been a lot of talk on the internet about how Rey may or may not be a Mary Sue. By the traditional definition she’s not – straight up. She flat out runs from the lightsaber – and by proxy the Force – when it’s first offered to her and she makes a number of fairly minor mistakes along the way, enough that no one would consider her perfect.

But given the reasons I think people react badly to Mary Sues I think I know why people see her as one.

Rey clearly represents three fantasies fulfilled. First, the fantasy of finding a place of belonging after being an outcast. She finds a home for herself by leaving Jakku and joining BB-8, Finn, Han, Chewie, Leia and the rest of the resistance. She risks leaving Jakku and possibly never meeting those who left her there again. While facing the reality that no one’s coming back for her isn’t necessarily a huge risk it undoubtedly cost a lot of effort – enough that I’m willing to let the ease with which the rest of the cast accepts her slide. Han did want to ditch her at first and Finn kind of needed her there for a couple of obvious reasons. The movie wasn’t focused on intense character developments so lack of further effort to live out this first, very character driven fantasy is fine. That the responsibility of finding Luke and bringing him back into the fold falls to Rey also makes it clear her living out this fantasy is going to have consequences for her in the future. While responsibility isn’t always a negative consequence it frequently can cause problems and is definitely a consequence.

The second fantasy Rey lives out is the fantasy of being very good at a number of mundane tasks like flying, fixing and fighting. The risks there are pretty obvious, every time she does these things she’s taking her life in her own hands. The biggest example of this when she take the Millenium Falcon into the air the first time. There’s a lot of good piloting in there but a fair bit of bad piloting as well. She could very easily kill herself and Finn doing this but she manages not to and I’m willing to give her this one on sheer audacity. The effort in this is set up in the opening montage as we see Rei’s life on Jakku – it’s clearly hard and difficult and will have equipped her to do all of the things we see her do in order to survive – except maybe pilot a starship but again. A pass for the audacity. I like that kind of thing, in moderation. There aren’t that many consequences for this but only because the consequences you’d expect from this kind of hypercompetency are overshadowed by the next bit.

The third fantasy Rey lives out is the fantasy of power beyond the lot of mortals.

Or, y’know, she can use the Force if you want it to sound mundane.

Point is, Rey has supernatural powers. She doesn’t start with them, not in any noticeable way, in fact the movie spends a little time hinting the powers might actually belong to Finn, not her, so these are new things to her character. She uses the Force in four cases. They are:

When she repels Kylo’s mental attack and counter reads him. Rey doesn’t run any risks here, failure doesn’t leave her any worse off and success is all up side, but it clearly costs her something and it has the consequence of making him angry and her drawing the attention of the big bad as a potential resource – just like any skilled person would be, only more so. Not a particularly Mary Sue event.

When she forces a guard to let her out of her restraints and leave his weapon behind. Again, failure doesn’t leave her worse off – well, maybe strapped down a little tighter – and success is pure profit. She does have to work at it, Rey tries three times before succeeding. While Kylo gets angry again and puts the guards on Rey this is still pure profit over where she was with no noticeable consequences. But this kind of surprising move twice in a row starts to raise eyebrows, especially because we know this isn’t the kind of thing a person can pull of without a lot of training.

When she uses telekinesis to rip the lightsaber from Kylo. A third time, this is a situation with no risk. She wouldn’t be any more weaponless if she hadn’t tried this. Worse, it’s apparently effortless as she overwhelms Kylo without a struggle and again this doesn’t bring her any negative consequences. Pure Mary Sue.

When she channels the Force during her lightsaber duel and defeats Kylo Ren. You’re probably tired of hearing this but her situation literally can’t get any worse when Rey tries using Force combat so she wasn’t really risking anything. Worse, as soon as Rey opens her eyes she’s in an unstoppable battle trance and proceeds to demolish Kylo. She even avoids negative consequences like guilt over killing him when the earth splits in two and conveniently separates them. That last bit is really bothersome.

In short, Rey’s Force abilities mostly got her out of sticky situations in a rather convenient fashion without much rebounding on her. Seems to fit the bill, doesn’t it?

So Rey is a little bit of a Mary Sue, or at least the way she’s written could easily provoke the same kind of reaction from people. There was definitely some poor writing at work in there. But saying that Rey had a touch of the Mary Sue identifies the symptom – what was the problem? Why did Mary Sueisms work their way into Rey’s character arc and what steps can be taken to shore up the weak writing in the future? Or at least in stories we write where characters explore similar themes?

Well, I think that’s a post for next week. Hope you’ll join me then!

A Word for the Ladies

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I’ve kind of gotten in the habit if writing something for Valentine’s Day but this year, with the one-post-a-week thing going and the way The Antisocial Network fell out, I wasn’t able to get the post in before the day itself. So what to write about? Especially with a post that will be going up the week after the day itself?

Well, I’ve never written about the traditional stuff so I decided to do something a little more “traditional” this year. So, this year a message for the ladies, with a few suggestions for relationships. This may seem a bit curious coming from a fellow who has never dated and probably never will, but I’ve seen a lot of relationships that failed and a few that worked and I have the advantage of a man’s point of view. Which, let’s face it, women don’t have (even though sometimes they think they do). Now this is not advice for finding a guy nor is it advice for telling if he’s a good match for you or not. This is advice for people who have gotten past these basic steps and are trying to keep a relationship working.

You see, most relationships I’ve seen don’t die out because he was Mister Wrong or because the partners weren’t well matched. They fail… well, for a lot of reasons. While each case has its individual quirks and bad decisions in it there are some broad themes I’ve seen in failed relationships and this year I thought I would share some of them with the womenfolk. Particularly because, while I’ve seen the failings of men addressed in ways I find accurate many places before, I’ve rarely if ever seen the failings of women addressed in ways that jive with what I’ve seen.

Most relationships I’ve seen fail long before they actually fall apart, not because women (or men) were doing something wrong but because they weren’t doing needful things. So what do I think you need to do to keep your relationship healthy?

  1. Learn how your partner communicates. A lot of people who are a lot smarter than me have written about the differences in the ways people communicate, especially the way people communicate affection. The biggest perk of reading about communication styles is your mind is opened to the possibilities. The problem is no one conforms very well to the models I’ve seen put forward. The better way to understanding them is to get to know your gentleman’s family. Friends can do as a substitute in a pinch but family has known him longer and (hopefully) better. Comparing notes with them is probably the fastest way to get to know your beau’s ways of communicating, whether in terms of affection or otherwise.
  2. Expect communication to change over time. One thing that I hear a lot of complaints about is that men stop pursuing women after the relationship has gone on for a while. Sometimes that’s true. But frequently what’s happened is that more general displays of affection have become more personal. Instead of bringing a rose, he cleans out your car. Instead of taking you to dinner he does your taxes. Men try and know the best ways to address specific needs. Sure, all women like roses and dinners but eventually he wants to do something for you specifically so the generic “romantic” ways men show their affection for women tend to get squeezed out over time. If you’re tuning in to the ways your partner communicates affection then hopefully you’ll catch on to these changes quickly. Of course, he needs to be in tune with your communication frequencies as well, so if you’re not feeling the affection it’s okay to talk to him about it. But there needs to be a balance between his style of affection and yours. Furthermore, if the ways you communicate with your partner aren’t changing over time then your relationship is probably in more trouble than otherwise.
  3. Pursue him. This may sound like a silly thing but you’d be amazed how many women I see not doing this. In today’s society it feels like the entire responsibility of showing desire is on men. Men show up with gifts, write notes and take women to dinner and the simple presence and good favor of women is all that they can expect in return. That’s unhealthy. Be invested in your partner. Dig into his goals and ambitions. Show up in his life at unexpected times. Show that you desire him, because that is almost always the thing men question most in a relationship. Again, how you do that is specific to who you’re together with. But if you get points 1 and 2 down this one should follow naturally.
  4. Work together. Don’t settle for just spending time together. Movies and dinners are all fine and good. But working in the yard, in volunteer positions, even in personal businesses is a great way to get to know your partner and build solid bonds. Many relationships can’t manage this kind of thing and may fall apart in the attempt. The intimacy you build is different from what you get from anything else and you don’t always like what you see when you work together with someone. But without that kind of insight your relationship is going to be very shallow and is much more likely to fall apart.

Doing these things is not a magic formula for keeping your relationship together. But they make you active and invested in your relationships and they’re the things I see women in successful relationships doing. They require a lot of effort, a lot of personal investment and it leaves you open to a lot of pain. But if you want the relationship to work then its what needs to happen. At least, that’s my advice for ladies this February. Enjoy!

The Antisocial Network – Chapter Sixteen

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“I hate hospitals. How did you stand being in here so long?”

Rachada shrugged. “When you’re comatose it doesn’t bother you as much. Besides, my dad is a surgeon. I got used to hospitals a long time ago.”

“Rough break.” Eric paced around the room, which admittedly was bigger than most hospital rooms he’d been in, trying to ignore the prickly feeling of illness he always got when he visited a sickbed. “What did the doctors say?”

“Clean bill of health.” She tapped the side of her head. “It was all up here and the CAT scans didn’t find anything wrong. They’re going to do another MRI later to see if there are any signs of nerve damage but I doubt that I would have regain consciousness so quickly after you corrected the nerve blockage if there was. I owe you a favor.”

“I wouldn’t have known how to fix it if Vent hadn’t shown me. You probably could have done it yourself if you knew how.”

“But you’re the one who went out of your way to find out how to reverse it and make sure I got the solution.” Rachada smiled and settled herself into a more comfortable sitting position on the bed. “I think that makes you the one I owe the favor to.”

Eric flung himself into one of the rooms overstuffed chairs as if sitting more emphatically would make him more comfortable there. “If that’s the way you feel.”

“I guess that’s settled then.” Rachada folded her hands in her lap and gave him a searching look. “Eric, how sure are you that you’ve really prevented the Network from launching another brainworm?”

“Preventing it from ever happening again is probably impossible. After all, he’s still a smart guy and he’s got a lot telepaths backing him up. So it could happen again, but not any time soon. You guys,” Eric gestured around to encompass Rachada’s coworkers scattered through the rest of the building, “need to look into a way to eradicate dangerous brainworms if you want to make them impractical as a weapon in the future.”

Rachada gave him a curious look. “I thought you said the First Telepath didn’t intend his brainworm as destructive.”

“He didn’t. But that doesn’t mean that someone else couldn’t build one that way. And if he builds another one odds are it’ll wind up just as dangerous as the first one.”

She treated Eric to another one of her small, mysterious smiles. “Are you sure you don’t want to work for the FBI? Dr. Thorwald is pretty sure he’s going to get a full taskforce funded in the next month and we could certainly use the help.”

For a moment Eric seemed to think about it, glancing around the room from under half-lidded eyes. “I don’t think so. It doesn’t seem like my kind of thing.”

“Going back to the theater, then?”

“No.” The answer came immediately that time. “I’m not even sure it’s possible for a telepath to do live theater ethically. There’s so many things you do on stage that wind up leaking into headspace. Maybe some day Vent and I can work out some way to safeguard against it but in the mean time… I’d rather not worry about mesmerizing the audience in the wrong way. And I’d rather not have to fight the temptation to psychic my through an audition.”

“This is why you belong in the FBI, Eric. You’re worrying about the right things.” She sighed. “But if you don’t want to stay and work at least try to stay in touch.”

Eric pushed himself up out of the chair and stepped over to the side of the bed. “Count on it, Cherrywood. I’m pretty sure the FBI didn’t hound me into jail because of you so if there’s any owing favors going on it’s from me to you.” He patted her on the hand and smiled. “Stay safe. Make your parents proud.”

“Thanks. And I’ll pray your parents will have understanding . Unless you’re planning to study medicine? The law?”

Eric laughed. “I’m thinking of becoming the first Doctor of Telepathy.”

“That will do the trick, I’m sure.”

He slipped out of Rachada’s room, burying himself in layers of anonymity. No one Eric passed in the halls gave him a second glance save for the tall, white haired man with the intense beard who’s name tag proclaimed him to be Rachada’s direct superior. But Dr. Thorwald didn’t do more than glance at Eric as they passed, a brief moment of confusion that passed as the two men parted ways.

The FBI probably needed to think up a way to deal with people who could just walk in and out of their buildings at will, too. Of course, the trick wouldn’t have worked if he hadn’t gotten into the building with other employees but that hadn’t been too difficult. And he clearly wasn’t the only one who’d pulled it off.

At first he wasn’t sure what was waiting for him in the small lobby outside the building’s medical ward wasn’t a meme. It had all the trappings of the First Telepath, the worn flannel shirt, near-skeletal proportions and distant odor of stale booze, but he was looking through a magazine when Eric approached. When the First tossed it down on a nearby table it made a realistic thump and the other magazines on the table fluttered in response. The magazine was real enough, so there must have been a real hand underneath. And, once he was looking for it, he could pick up on the gentle way the First Teep was nudging people’s attention away from them.

“Hello, Echoes.”

“FT.” Eric had settled on Vent’s way of talking about the First as the least pretentious. “To what do I owe this honor?”

“I know you took something from me.” Eric backed slowly away as the First advanced, radiating hostility. “I want it back.”

Eric placed himself strategically next to a wall with a door to one side and a hallway to the other . “Sorry, FT. I know a good way to forget things and what I got from you wasn’t worth remembering.”

The tension in the air slipped a bit, then redoubled. “Not worth remembering? I am the Network, Echoes. You’re very name means imitation, who are you to judge me?”

“The funny thing about echoes is they don’t have to explain themselves to other people. An echo is a reflection of you.” Eric gave the First a cocky grin he wasn’t really feeling. “You made me because you thought it was fair to look into other people’s minds without permission. Why complain when your echo does it to you?”

The First Telepath hesitated, a wary feeling tinging his memetic projection. “Return what’s mine, Echoes, or the Network will be closed to you.”

“Fine. Take your Network, I don’t really care.” The brass ring popped out of his right hand, spinning quietly and ready to scrounge for thoughts again. “Just keep in mind that if you cause trouble I can keep digging through your head until we sort out what your real problem is. I’m not a shrink like Rachada or Vent, so I’m not about to do it for charity or money, but if it’s what it takes to get you off my back I’m sure we can work something out.”

They stood for a moment, the tension teetering on the brink of something nasty, then the First Telepath turned away. “Fine. Do as you want, Echoes. But whatever you’re hoping to accomplish, without the Network there’s no way it will work out.”

Eric watched the other man leave, people nervously moving to the sides of the hallway as he stalked away, avoiding his radiating anger even as he kept them from fully noticing he was there. Once the coast was clear Eric went out by the back entrance, just in case Tails or Hugo had tagged along with the First as backup. He didn’t want another brush with them. Maybe the First Telepath was right. Maybe he couldn’t accomplish what he wanted without them.

But for the time being he didn’t have anything he wanted to do. And that was okay with him. It was time to go home, get his bearing and work out a plan.

Then maybe he would talk to Vent. After all, there had to be some use for his new talents. It was just a matter of finding them.

The Antisocial Network – Chapter Fifteen

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After a experiencing short term memory loss in an entirely new way – all while under attack by a semisentient mental disorder – getting thrown off the top of a building wasn’t quite as upsetting as Eric would have expected. Some part of his brain had figured out that he wasn’t really in that much danger here. Hubris, possibly, since all the experts seemed to think things happening in headspace could still hurt him, but it was a gamble he was willing to take. The building rushed by at an incredible speed and most of Eric’s attention was drawn to the man who was holding him but Eric was able to see around the First Telepath just enough to see their reflection in the windows of the building just beyond.

Or rather, their lack of a reflection.

The blurred silhouette of a diving bird was the only thing Eric could see in the glass as they rushed downwards. For a second he was confused but then he remembered what Vent had said about his personal headspace being based on what his body was seeing and manic grin split his face. “A bird. We’re seeing through the eyes of a bird. That’s so cool!”

“Perceptive, aren’t we?” The First’s eyes narrowed. “And remarkably possessed. Let’s find your limits, shall we?”

There was a wrenching sensation and suddenly Eric found himself flat on the ground. Everything looked big for some reason and the First Telepath was little more than a receding sensation in the back of his mind. He looked around in confusion, then panic hit him for some reason. He looked up on instinct just in time to see the falcon swoop down, talons outstretched, and grab him.

There were some really uncomfortable sensations that compounded his already throbbing headache and then he was back in empty headspace with the First Teep approaching him in a rather unfriendly manner. Head in one hand Eric asked, “What happened?”

“You just enjoyed a rat getting eaten by a peregrine falcon. I apologize if you found it unpleasant but you were the one who intruded here.” The First picked Eric up by the scruff of the neck, pulling his shirt tight under his arms. Eric had just started wondering if he could make his shirt vanish, since his meme was really just a projection or something, when the other man clamped one hand to his head and pushed.

Not in the literal sense, of course. Like most of the things Eric had experienced since becoming a telepath the sensation seemed to start at the back of his head near the joint with the neck but it quickly spread to encompass his entire skull. Headspace blurred again and suddenly Eric found his life flashing in front of his eyes. From the way the First Telepath watched the proceedings he could apparently see it too.

Most of the scenes that flashed by were from the last few years as he tried to go from being a med school student to a working actor. There were a lot of glimpses of life back stage – although more often as stage crew than an actor. Scattered throughout were the occasional quiet, forceful discussion that passed for an argument with his parents about how he was misusing his gifts. Those would eventual stop the First got to memories from the last year, after he’d stopped talking to them.

Not that Eric really wanted a total stranger poking through his memories, no matter how depressed they were likely to make him. He tried to push back but couldn’t find the strength to make any headway. He tried kicking at the other meme’s legs but that didn’t help any either. In a last ditch effort he grabbed at the First Telepath’s head and tried to dig into his memories.

At first he couldn’t make any headway, every attempt to push into the mind behind the First Teep’s meme was easily pushed back. But as Eric got a firmer grip on his opposition he heard a click and a whir and the metal ring from the rogue brainworm emerged from his hand and wrapped itself around the other meme’s arm.

The smell of stale beer and cigarettes, a constant undercurrent through the entire encounter, suddenly became so strong Eric could taste it. Headspace wavered and bent, his own memories fading and morphing into an unfamiliar office. Men in police uniforms hustled past the door as two men argued in a way that would have been considered downright uncivilized in the Han household.

Hours spent in a police cruiser before the promotion to detective. Weeks trying to crack cases obstructed just because people wouldn’t trust the cops enough to talk to them. A wild gunshot from a strung out drug dealer. Physical therapy. Psychiatrists.

A long descent into alcohol and nicotine. Nearly loosing his job. Antidepressants.

And then the breakthrough. The ability to read minds. A hundred ideas for new ways to do his job. But just one person who could read minds wouldn’t be enough. He’d need more. Lots and lots of mind readers who would help him out. Like snitches. An information network that would let him get any information, find any person, crack any case just by skimming other people’s thoughts.

And then there was Vent with his nifty brainworms and-

With a jolt Eric came back to himself. For a few seconds – or maybe hours – he’d lost himself in the flood of memories. But with Vent came memories of the brainworm and, with a sharp snapping sensation, Eric found himself holding the metal band again. There was a weird tangle of brass wires and delicate looking pipes wrapped up in the center of it.

Headspace around them had turned blank once more and the First Telepath was sitting on his haunches, his meme staring aimlessly off into the distance. Eric turned over the mess in his hands and got glimpses of the First building a brainworm and discussing the details with Vent. The First Teep’s meme twitched once and Eric took it as his cue to exit. It was time to get back to his own body.

And he was away, as quick as thought.

The Antisocial Network – Chapter Fourteen

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Vent tilted his head from one side to the other, immediately prompting images of Stallone in the Rocky films to run through Eric’s mind. For a split second Vent’s meme wavered like it had back in his mother’s mind, whetting Eric’s curiosity about what had happened there, but he pushed the question into the back of his mind along with the Stallone impression he’d nearly started into and waited to see what Vent was going to do. Vent, for his part, didn’t seem to notice, or at least didn’t comment on, the brief distortion.

Instead he exhaled slowly, something Eric understood more than heard, since their meme’s didn’t have lungs or mouths, and suddenly headspace around them began folding like the world seen through a kaleidoscope. There was a sensation of stale beer and old cigarettes, again more an impression than a real smell or taste, then they were suddenly on the edge of a new patch of headspace.

A pair of memes was there to meet them. One sported familiar pigtails and a giant hammer. The other was impossibly thin and tall, like a hairless specter in a worn plaid shirt. Neither one felt particularly welcoming. At a guess Eric figured the new meme was Hugo and, given the very abrupt way they’d met and parted, Eric wasn’t counting them as friendly by default. He lapsed into his default defensive mental routine, wrapping himself in the layers of anonymity, trying to become the most unremarkable, featureless meme he could.

Vent straightened up and grasped at the lapels of his coat like a man about to take the podium but Hugo got the first word in. “What’s this thing, Vent?” Hugo swept around Eric and he got the sensation of being watched. “Brought a new toy for the First to look at? I’m not sure he wants to talk to you, though.” Hugo drifted over to Vent – literally, his legs didn’t move and there was no real floor for his feet to rest on. “Want me to take it to him? I’m sure he’ll get back to you if he’s interested in your new project.”

A pressure at the back of Eric’s mind nudged him towards the center of the headspace up ahead.  Vent stepped up between Hugo and Tails, pulling their attention towards him, and said, “Unfortunately I’m not here to pitch a project to the First Telepath. Frankly I’m not any more interested in collaborating with him than he is with me, I think the days of fruitful cooperation between us is over. Particularly given the work he’s done recently. Very counterproductive.”

“I beg your pardon? You never bothered to listen to what he was trying to do when you were here, how can you possibly know what would help or hurt it?” Tails sounded personally offended, not surprising given how defensive she’d been about telepathy when they first met. Hugo didn’t say anything in reply but Eric did feel the attention from Hugo move over to Vent.

And just like that the three of them were clustered in a circle, Vent holding forth about their recent run-in with FT’s custom built brainworm, and no one was paying attention to Eric. He drifted away from them and towards the center of the headspace, doing his best to keep the smell of sour booze and cheap tobacco in mind. It only took a few seconds for the headspace to shift from blank space to a dizzying view of the top of a building. Eric wasn’t very good with skylines but he was willing to bet he was back in Chicago.

As Eric looked around trying to get a handle on exactly where he was the sharp wind brought a strong whiff of cigarette smoke to his nose. A quick sweep of the rooftop and he spotted another meme on the opposite corner of the roof, looking down at the city below. Eric hesitated, not sure what to say, and settled on something straight to the point. “Hello?”

The other meme turned around slowly, almost like it didn’t want to know what it would find. Eric noted that it was the first meme he’d seen that looked… formal. Even Vent’s steampunk getup had more of an outlandish look than anything. This meme, and Eric was willing to bet just about anything it was the First Teep, was dressed in a very humdrum suit and tie and it held a burning cigarette between two fingers. “Who are you?”

It was the obvious question but Eric found that he didn’t have a considered answer on hand. He went with the option Vent had suggested to him. “Call me Echoes. Are you the First Teep?”

“That’s what they call me.” The coal on the end of his cigarette brightened for a moment, then a cloud of smoke puffed into existence by the meme’s head and drifted off. “I don’t remember hearing of any telepath going by Echoes. And believe me, I hear about most of them.”

“Probably true.” Although with Rachada and who knew how many others working for the government, Eric was willing to bet he didn’t know about them all. “I’ve been doing the whole teep thing for less than a week.”

There was a sudden sharp prick on Eric’s awareness, like a focusing of attention. “Is that so? Hugo mentioned a new guy coming in and leaving right away just a few days ago. He didn’t call you Echoes, though.”

“The name is kind of a new thing.” Eric cast about for what to say next. The last few hours had unfolded kind of fast and, in retrospect, he really could have done with a little more planning before plunging right into the heart of things. “Not what I wanted to talk about.”

“I don’t have a job for you at the moment.”

“Not looking for a job, either.” That did prompt him to wonder if Hugo and Tails go paid for the work they did for the Network and, if so, where the money to do it came from. “The truth is, I’m a telepath because of a brainworm you sent out a while back.”

The First nodded, tapping his cigarette absently and leaving a scattering of ash as he walked over to Eric. “No surprise there. You’re hardly the first.”

“Look, I’m not going to argue whether it’s good to have a mindless thing running around, handing out telepathy to people at random.” Eric shrugged, doing his best to stand up in front of the First Telepath’s increasing scrutiny. “The big problem right now is that the thing stopped working right.”

The First tilted his head in curiosity. “Stopped working?” He tossed the cigarette down and ground it out. “How so?”

“It was driving some of the people it infected crazy. And, as someone that experienced it first hand, it was a lot more disturbing than I think it needed to be.” Eric took a few steps away, trying to maintain a more comfortable distance. “I can’t give you the full specifics but Vent’s nearby, talking with-”

“Vent.” He covered the distance to Eric in two quick steps. “You were working with Vent? No wonder.”

That didn’t sound good. Eric backpedaled further. “Look, I get that you two don’t seem to be on the best terms but-”

The First Telepath grabbed Eric’s meme and suddenly the two of them hopped up and off the rooftop into a dizzying dive towards the ground below.