Hunter x Hunter (2011) Anime Review

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The manga Bakuman is about two young manga artists (Takagi the writer, Mashiro the artist) who work their way up through the manga industry at it’s top selling publication- Weekly Shonen Jump. Written by two veteran manga creators, it’s a masterpiece on many levels, and at its core it’s both a critque of the industry and a how-to for those who want to become future manga artists. Another way to describe it is if Scott McCloud made his incredible Understanding Comics as a story about a young pair of creators working their way up through the ladder at Marvel Comics instead of in textbook form.

In chapter 8 of Bakuman (“Carrot and Stick”) there is a scene where the two young heroes first meet their editor Akira Hattori, and he tells them that there are two types of manga creators- “the Genius type” and “the Calculating type”. The Genius is the natural creator who draws comics they love and because of their natural talent and passion for their subject matter is able to come up with a hit manga that blows the audience away. The Calculator, on the other hand, looks at it from the audience’s point of view and tries to make something that will appeal to the greatest number of people regardless of their actual feelings about the subject matter.

In a lot of ways, through Hattori the creators are talking about classic writer dichotomy – the Pantser who makes it up as they go along and the Plotter who plans it all out – just taken to an extreme. And, of course, in reality just like that classic writer dichotomy, it’s rare for any writer to be a Genius/Pantser or Calculator/Plotter alone as almost all creators are some mix of the two extremes. Even a Panster will usually at least think about what will appeal to their audience, and a Plotter will generally pick subject matter they’re naturally attracted to and passionate about to some degree. (Few people are good at writing things they honestly hate or dislike, especially if they have any choice.)

As a result, it’s uncommon that you can look at any work and say “that was created by a Genius” or “that was created by a Calculator,” because after all, any work is normally a mix of the two and it’s hard to tell how much of each is involved. There are, however, exceptions to this, and one of those exceptions is something I came across on Netflix a few weeks back when I was looking for something to watch which I exercised- an anime called HUNTER X HUNTER (2011).

Hunter x Hunter is a manga/anime about a stubborn 12 year old boy named Gon who leaves his home village to become a Hunter- a person who travels the world seeking whatever it is they’ve chosen to seek. In his pseudo-modern fantasy world, there are Treasure Hunters, Monster Hunters, Bounty Hunters, Delicacy Hunters, and many other kinds, who brave dangers to find their targets. All of them, however, much first pass the Hunter Exam, which is where the story starts, and get a Hunter License that gives them free access to the world and status as members of the elite. Gon’s (missing) father was one of these great men, and through following his footsteps, Gon hopes to find him and experience the world himself.

Hunter x Hunter (2011, because it’s the second attempt to animate the Hunter x Hunter manga), which can also be read as “Hunter Hunter,” is perhaps the most calculated anime/manga I have ever seen in 20+ years of anime fandom. It started in 1998, and it’s like someone took all the popular elements of the hit manga of the previous two decades, disected them, and then based on extremely careful analysis produced the most planned piece of storytelling I’ve ever seen. I’m not just talking characters and plot elements, I’m talking story, pacing, backgrounds- you name it, there is not a single original element in this story- none. It’s like they had a computer analyze the history of manga and this was the end product.

Yet, and this goes to the skill of the creator Yoshihiro Togashi (creator of the also hit anime/manga YuYu Hakusho back in the 1980’s) I don’t mean that it’s unoriginal in a bad way. In fact, for what it is, it’s actually very well done, and in fact is almost perfect in a textbook sort of way. Whereas most manga are a rough exercise in creative serial pantsing, with the creators only thinking a few chapters ahead, Hunter x Hunter is extremely well plotted and thought out. Everything happens at a carefully measured pace, everything is introduced at exactly the right time in the right way. The humor is in the right spots, the chapters all end on cliffhangers of sorts, and there’s no sense of it being rushed, it’s a piece of art without a line or comma out of place.

Well, calling it a piece of “art” might be pushing it, it’s really a machine designed for maximum appeal and marketing potential. And, like any machine, there’s a certain cold, mechanical nature to it that keeps it from being in the same class as stories like Naurto, One Piece, and even Bleach, which are also top series from the same era. The creator definitely reaches to those levels, but he doesn’t quite make it because of the calculated nature of it all. It’s like Hattori says in that Bakuman chapter- the Calculator has the greatest potential for a hit and long-term success, but they don’t have the same potential as the Genius has for creating a true smash hit story that excites the audience.

In any case, I’d definitely recommend Hunter x Hunter (2011) as a watch, whether just to enjoy it as a well-told story, or to take it apart as a creator and see how the whole thing was so well put together. Either way, it’s time well spent.

Rob

The Street Fighter

When I mention the name Street Fighter, most of you probably picture something connected with this…

This is pretty natural, since the Street Fighter series of video games is a serious contender for the most popular game series of all time, and is without a doubt the best of the console arcade fighting games. However, prior to 1991’s release of Street Fighter 2: The World Warrior, for almost twenty years people would have had a completely different picture in their heads. This one…

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1974’s The Street Fighter is perhaps one of the greatest martial arts movies ever made. The short version is that at the start of the 70’s Bruce Lee helped to create a martial arts movie boom, and the Japanese company Toei decided to get in on the action by producing a series of what could almost be called Karate Exploitation movies. Kung Fu was big, so they decided to cash in by producing Karate movies, and their flagship film, The Street Fighter, was based around a rising action star name Sonny Chiba.

The Street Fighter was released in Japan, and then worldwide to massive audience acclaim, and if you watch it then it’s not hard to tell why. The movie is shot surprisingly well with a decent budget, the script is just strong enough to keep it interesting, Chiba is charismatic as heck, and the fights are extremely well choreographed. But, on top of all that, the movie has a unique twist- Terry Tsuguri (Chiba) isn’t a heroic character at all, he’s a bastard of the first order who is more like an chaotic force of nature than a lead character. It’s a movie about lesser villains fighting worse villains, and the innocent people caught between them, and that gives the audience something different than the usual good vs. evil fare that tends to fill martial arts movies.

So, if you’re in the mood for some brutal karate action (it was the first film in American history to earn an X-Rating for violence) with a sense of style and one of the coolest theme songs of the 70’s, then check it out here on YouTube.


 

Voice Dream Reader

I always look for ways to improve my reading speed for books, and recently I came across the iOS app called Voice Dream Reader. It was a little expensive for an app, being $12, but it had glowing reviews and it sounded like what I was looking for, so I purchased it to give it a go.

To say that I was impressed is an understatement. Simply put, Voice Dream Reader is a fantastic program for reading on your iPhone or iPad which reads pretty much everything except Mobi (Amazon Kindle) files. But that isn’t the most important part! It’s real shining area is that it’s an amazing Text to Speech reader that turns any book into an audiobook being read by any of 100 different voices in 20 languages, with more high-quality synthetic voices being added all the time.

So now, I can read something, and then just switch to having it read to me as I go out to walk the dogs or run errands, and all without having to buy an expensive audiobook or worry about losing my place. It also syncs nicely with Dropbox or Google Drive for getting books onto the App with ease.

Awesome!

I’ve already used it to power through one book in record time, and plan to keep using it to help get through my Summer reading.

That said, I should note two things:

1) While the default voice “Heather” is comes with is really good, there are better voices in their catalog, but you have to pay between $2-$5 for each extra voice. The one that most impressed me was “Will”, which almost sounded like a real person.

2) These are still synthetic voices, and there is no comparison between them and the performance from a real audiobook reader. While synthetic voice technology has clearly made huge gains, a real reader brings the book more to life with things like inflection and tone changes that indicate different characters are speaking. Voice Dream doesn’t do that, but it still makes for a pretty good listening experience once you get used to it.

 

The Power of Privilege

The concept of Privilege (in the modern social justice sense) was coined by Peggy McIntosh in 1988 in her essay White Privilege and Male Privilege: A Personal Account of Coming to See Correspondences through Work in Women’s Studies, and was intended as a new way of looking at social inequality. At its core, the concept is very simple- we are all born with certain social advantages and disadvantages and we should be mindful of this fact when dealing with/judging other people. It is meant (in its original academic intent) as a lens through which to view society and how people treat each other.

This sounds like a great idea for reducing inequality, and it can be- it’s a tool for encouraging empathy and sympathy with others through self-reflection. We definitely need more empathy in this world, as people all too often get locked into their own little bubbles of “reality” and generally don’t think a lot about the situations and perspectives of others. The philosophy that’s come up to surround the concept of Privilege is that we should be mindful of the advantages we have in life, and be using those advantages to help those around us who are less fortunate. Whether it’s being mindful of the challenges faced by women in a sexist environment, the struggles faced by the LGBTQI community, or even the advantages that being of the dominant social group in a society (white in the United States, for example), using the concept of Privilege to encourage empathy, equal media representation, and equality has the potential to make the world a better place for everyone.

Unfortunately, human nature being what it is, it hasn’t quite worked out that way.

While those passionate about social justice and inequality have been fast to see the benefits of using the concept of Privilege in a positive way, by in large, it has also come to be used in a number of negative ways as well.

1) As a way to force others to do your work for you while feeling you’ve accomplished something.

While the concept of Privilege should be used to further equality, instead it’s become a way to try to guilt people into following your own social agendas while doing as little yourself as possible. This happens time and time again in discussion of the arts and issues of Privilege, where those advocating social justice talk about diversity and the need for more viewpoints to be represented. Of course, this isn’t a bad thing, and diversity of viewpoints is good, but the problem is how and why they’re doing it.

Time and time again on Social Media, I see the same pattern. A discussion thread starts on the topic of inequality in the media or arts, or veers in that direction, and it turns into a giant debate about the representation of minorities in writing, audio drama, comics, film, etc. Okay, that’s fine, we’ve all seen discussions like this and it’s a good and healthy debate to have, but here’s where things will get sneaky.

Next time you see one of these debates, start to count the number of times words like “you” and “you should” and similar statements pop up. Then, for fun, try counting the number of “I” and “we” based statements. You’ll find that “you”-based statements will outnumber “I”-based statements in those discussions almost 10-1.

Why is this significant?

Well, you see, the point of the thread isn’t to talk about how WE are going to make media more equal, it is about how YOU are going to make media more equal. See the difference? It’s a pile of social justice believers trying to guilt each other (and the many more liberal minded people in the audience) into doing their work for them so that they can accomplish their goals while doing as little work as possible themselves. On top of that, it lets those with the social justice agenda feel they have accomplished something (slacktivism) while actually doing very little. I’ve seen countless threads where people will endlessly argue about how YOU should change your art to support their ideas of social justice, but for some reason they never get around to talking about how they are doing it. It’s a game as old as time- why do the work when you can get someone else to do it for you? And Privilege has turned into a big ole stick they can use to force you into it.

The concept of Privilege should be a way to help people reflect on how they can improve their work and themselves, but instead it’s all too often become a tool by which those with social justice agendas push others into furthering those agendas. And, of course, if people try to stand up those foisting their agendas on others, they’re told to “check their Privilege”…

2) To shut down conversation.

Sadly, while Privilege as a concept is meant to encourage discussion and exploration, in reality is it most often used to do the exact opposite. Wielding the word “Privilege” like a club, those in the pursuit of social justice often use it to silence the voices of those that they don’t agree with (because if you don’t agree with their ideas social justice, you’re evil, right?) and if someone says something or argues against them in a public forum the phrase “check your Privilege” is whipped out like a trump card to end the conversation.

  • “But, what if Venusians are partially responsible for their own economic situation and need to find new ways to rethink their lifestyles?”
  • “Check your Privilege! Venusian economics are the result of years of oppression by the Martians! How dare you sit there in your middle class Martian house with your middle class Martian job and suggest that there could be more complex causes to the situation than Martians being evil!”
  • “This was a show written by cats about feline life in the feline community, of course there aren’t any non-felines.”
  • “Check your Privilege! There should be more dog characters, or are you just racist?”

And if you try to argue against those who have slapped down the Privilege card, you are by default perceived to be siding with the status quo/oppressors, and are thus a Cat sympathizer/Martian supremacist who should no longer to be listened to by the community by virtue of your wrong-ness. You have offended the social justice/social media status quo that all right-thinking people should be following, and if you continue to argue you will be unfriended, blacklisted, and no longer welcome at significant social events.

Again, this was a tool for creating conversation and exploring the deeply nuanced nature of society, but now it’s become a tool for those in pursuit of social justice to shut down discussion and free speech with which they disagree- thus accomplishing the exact opposite. Speaking of nuance, this is another problem with wielding Privilege as it is all too often used in social media today…

3) Its very use in debate creates an automatic oppressor/oppressed dynamic

The moment the word “Privilege” enters a conversation, the person using that word is automatically labeling the person they’re using it against as siding with “the oppressor” against whatever minority viewpoint they support, and labeling themselves as a member of (or ally of) “the oppressed”. From the moment the word enters the conversation in a debate context, the person using it is claiming the moral high ground and framing the whole conversation around a struggle for equality that they support. Even if the person they’re using it against has valid points or arguments, it doesn’t matter- they’re automatically on the defensive and perceived by the audience to be supporting the “wrong” position and must now fight to justify themselves and their argument. (Something the person who just whipped out the word “Privilege” no longer needs to do because now they’re standing up against a bully, and who doesn’t want to side with the underdog?)

Going back to the previous point, the word “Privilege” has turned into a conversation killer than automatically gets all “right thinking” people to rally behind you. It biases the conversation, and poisons the whole debate by attacking the character of the person who is arguing against whatever position the social justice advocate is advocating. In a lot of ways, it’s indirectly calling anyone who argues against the social justice stance a “Nazi” and making them argue their way out of being a Nazi in the audience’s minds. (And who listens to Nazis? Other Nazis! That’s who!) This makes the whole argument a losing struggle, and one which will almost certainly end in a meaningless mess, which is natural because…

4) The whole concept of Privilege as used on Social Media is largely meaningless anyways.

The truth is, the whole way people use Privilege in online debate is pretty much a joke. To claim someone has Privilege over others is already a racist/classist/culture-ist statement, after all, we’re all individuals with different life experiences. The first rule of respecting others is recognizing that we all (rich, poor, black, brown, white, purple, polka-dotted, etc.) have our own unique experiences that come from our unique upbringings and that we shouldn’t be trying to label people or lump them into groups. When one person whips out the “Privilege” card, they have no way to knowing what the life is like of the person they’re arguing with, and even if they do know that person, there are so many things about ourselves that we hide from those around us. Taking a stance against “Privilege” is automatically attempting to label and classify others who you don’t know, and don’t have the right to classify. (Or, if you do, they get the right to label and classify you too!)

On top of that, anyone on the internet is automatically Privileged, since most of the world barely has TV, much less internet access. So it’s already a bunch of Privileged people arguing over who is more or less Privileged, which is pretty silly, when you think about it.

Like I said, meaningless.

Final Thoughts

So, after all this, should we stop using the word Privilege and throw out the whole idea? I mean, if it’s doing as much harm as it is good, is it worth keeping around? Like anything, the answer is- it depends. As a lens for viewing society and encouraging self-reflection, I think Privilege is a pretty good tool. It really could help us to make society better by making people think about things outside of their own little Monkey Sphere.

That said, the way people are using Privilege in the social media world has to change. Using it as a tool to beat others into submission to your personal social-political agendas is just wrong, and produces the opposite of conversation and diversity. Change comes from ourselves, and being leaders, not from pushing our beliefs on others and using social peer-pressure to force them to do what we want them to do. True diversity comes from free speech, and people being allowed to say and express things that you may not agree with. While everyone has the right to comment on what others do, and should discuss issues of inequality and social justice, shutting down voices doesn’t accomplish that goal and only breeds anger and resentment.

It’s a complex issue, and I don’t claim to have the answer, but the next time someone whips out the word Privilege in a conversation, think about what effect it has and why they’re really using it. Are they using it to really promote actual discussion of inequality, or just to promote themselves?

 

Rob

 

TyranoBuilder- Visual Novel creation made simple

I’ve always been interested in visual novels as an art form, to me they’re the idea of Choose Your Own Adventure stories taken to the next level. I also love the sheer democratic nature of them, not only in the choices you can make, but also the fact they’re so easy to make. At least, they are in theory, and software like Ren’py, Novelty, and now TyranoBuilder have been working to make that into a reality.

TyranoBuilder is a “new” (in English) piece of software for graphically building visual novels that’s just been released (on STEAM for $16.99). It lets you make visual novels that you can then sell royalty free as phone apps and on various online stores. It looks pretty cool, and after reading through the tutorial documentation (which I highly recommend reading before you try playing with it) I’d say it’s one of the slickest methods for making visual novels I’ve ever seen.

Scenes are built on a timeline based dragging and dropping various elements into play, which makes it dead simple to put a scene together. Graphics, music, dialogue and other elements can be easily assembled in any way you choose, and then you can branch those scenes off into other scenes which allow the reader to control the flow of the story in any way you see fit.

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And while people think of visual novels as being linked to anime, remember that visual novels don’t have to be in an anime style. While it’s certainly the most popular style, I’ve seen them used with pencil sketches and even heard of people using pictures of themselves and their family as the characters in stories! You could also use free 3-D character software like DAZ Studio to generate characters of your own, or some other character building software like Heromachine and use them as part of a visual novel story.

If you’re interested, here is a page of story/planning resources for Ren’py (another visual novel maker, and the biggest player before Tyrano Builder’s release). That resource page, under software, includes a number of pieces of flow-charting software like Chatmapper which could be used to script/plan a branching visual novel story pretty well. And, here is a collection of free backgrounds and character (sprites) for use with Ren’py or Tyrannobuilder:

Visual novels seem to be having a bit of resurgence recently, likely because of services like STEAM and the Apple/Android app stores making them easy to actually sell and distribute as content. Heck, technically even stories like the critically acclaimed Walking Dead “game” are really just a form of visual novel, just with much more playability and advanced graphics. As a result, many different types have popped up, from Space Opera like Sunrider to deep Historical pieces like The Rainy Port Keelung.

If I had the time, I’d probably do a little visual novel making myself! Looks pretty fun and easy!

Enjoy!

Rob

Jackie Chan: My Stunts

In a follow-up to my piece on What writers can learn from Jackie Chan from last week, I hunted down a copy of the documentary Jackie Chan: My Stunts from 1999. In a lot of ways, this documentary is the 90 minute version of Tony Zhou’s 14 minute analysis, with Jackie revealing all the old-school techniques they use to do stunts in his films.

I have to say that seeing him show off his approach to producing stunt-driven action films is really inspiring. It really shows you how much thought and detail go into what seem like the simplest stunts, and how the movies he does are more vehicles for the Chinese-opera type sequences than they are movies in the traditional sense. I love how much emphasis he also places on the human element, which is something Hollywood has a pretty spotty track record on.

Now I really want to sit down and watch a bunch of Chan’s older films that I haven’t seen yet! Luckily, YouTube has a pretty good selection of them.

 

Rob Talks the Love of Podcasting with Jack Ward

I recently paid a visit to the Sonic Society’s Sonic Speaks podcast to talk with the incomparable Jack Ward about the history of my podcast- Kung Fu Action Theatre. In the interview, we talk about how I got into podcasting, my experience running KFAT, and my eventual decision to stop doing audio drama. Along the way, we discuss writing and the transition of going between being an audio dramatist and a prose fiction writer, and the challenges that come with learning to tell stories in audio before you’ve mastered prose.


It was a fun chat, and I hope we can do it again sometime. It made me think a lot about the differences between writing for audio and prose that I hadn’t considered, and I think I too learn from the exploration. If you’re planning to do Audio Drama, or make the jump from Audio Drama to fiction writing, it would definitely be a good one to listen to.

What Jackie Chan can teach us about writing action

Following up my post on what writers can learn from Akira Kurosawa, I’m going to do another blog post on writing- this time based on the nine rules that Tony Zhou outlines in the video below about how Jackie Chan masters action comedy. Naturally, it will be easier to follow if you’ve watched the video, so check it out first.

Jackie Chan – How to Do Action Comedy from Tony Zhou on Vimeo.

Action is primarily a visual creature, and is a natural fit for film, but can you do it well in prose? I would say yes, but let’s see if Tony’s 9 Jackie Chan “rules” can be applied to prose writing.

Jackie Chan’s 9 Principles of Action Comedy (as noted by Tony Zhou)

1. Start with a DISADVANTAGE

This one is pretty obvious. If your goal is to build tension, then having your character at a disadvantage in a scene in a must, whether they’re supposed to fight or just trying to run away. The more of a disadvantage you can put them at, the better, although I should note that Jackie primarily makes action-comedies. There is a reason Batman doesn’t most start fights at a disadvantage- because he’s a kick-butt reader surrogate and is supposed to make the reader feel powerful. If you take that away from the reader, they’re not going to like it much. (Although even Batman does occasionally start fights at a disadvantage for variety and dramatic purposes.)

 

2. Use the ENVIRONMENT

Tony is actually combining two points here in the video under one.

The first point he brings up is that Jackie uses the environment in his fights, which makes them more real and unique in a sense. If you can offer your reader something they haven’t seen before in a fight, like a character fighting with a ladder, then that can show that you’ve actually taken the time to think through this fight scene and make it interesting for the reader. If you emphasize the environment properly, it gives the reader a sense of place and can be used to help set up shots.

Speaking of which, the second point is really to set up your shots! If you want to have an action scene, then give the reader a sense of the terrain before and during the action sequence. Don’t be afraid to foreshadow or even lead a little with your descriptions like Jackie does in his movies. In the example they give, Jackie does a shot of a stuntman being knocked down a spiral staircase before he himself uses it shortly for his own actions- and there’s no reason you can’t do this kind of thing too! Use people, objects and even descriptions to lead the reader through the action, and make it easier for them to follow.

 

3. Be CLEAR in your shots

This is a trickier one for writers than you might think.

Normally, writers increase the pace of action scenes by using short, clear sentences and paragraphs to increase the pace of the action and story. They also focus on the very key elements of the events happening to keep from letting description bog down the action as it’s happening. However, to be truly clear about what’s happening you need to describe the action, and you need to do it in a way that paints a clear picture in the reader’s mind so they can follow it without being confused.

So you have to find a balance:

  • Too much description = slow reading and pacing.
  • Too little description = reader confusion.

This is one of the things that makes writing action so difficult- finding that sweet spot that conveys a clear image of the events for the reader to experience and enjoy while at the same time not bogging them down with too much, or disorienting them with too little detail.

 

4. Action & Reaction in the SAME frame

Not sure if this one can apply to writing. The only think I can think of goes back to #3, about being clear in your shots and #2b about letting the reader know where the action is going before it does. If any of you have other thoughts on how this one could be applied, please leave it in the comments.

 

5. Do as many TAKES as necessary

For writers, this is really about how much time you want to spend on your action scenes and effort you want to put into detailing them out. Especially in the modern self-publishing world where getting books out fast is often linked with financial success, it can be hard to spending days, weeks (or months) planning an action scene or sequence, but there are times when quality really is linked with time spent.

Again, like most things with writing, it comes down to balance.

You need to know what you’re capable of, and how much time you’re willing to spend, and then use that time accordingly. If you think you’ll benefit from storyboarding out a whole action scene first and you have the time, then why not? (It might also make a great extra for loyal readers, or to get people to join your mailing list.) But, if you’ve got two weeks to finish this book or the rent doesn’t get paid next month, then you’ll probably want to just do what you can and move on.

 

6. Let the audience feel the RHYTHM

This goes back to #3- let the audience understand what’s happening and they’ll be able to appreciate it more. Also, too many quick cuts (jumping from different points of view, or jumping between simultaneous action at different places) can prevent the reader from really appreciating what’s happening. Both POV jumping and jumping between scenes are effective tools for dramatic pacing in a book, but if you overuse them the reader can get confused or tired by it- so as with garlic and salt in cooking, use them in controlled moderation to avoid leaving a bad taste in the audience’s mouth.

 

7. In editing, TWO good hits = ONE great hit

This is a film editing trick, and I don’t think it can be applied to prose action writing. However, if anyone has some thoughts feel free to note them in the comments section below, I’d be interested to hear them.

 

8. PAIN is humanizing

This one is pretty self explanatory- we empathize with suffering, especially suffering we’ve experienced ourselves, and it brings us closer to the characters and makes them more human. Don’t be afraid to let your characters be hurt, even if it’s just superficial hurts it still reminds us that they’re people and made of flesh and blood like the audience.

Obviously, it also adds to the drama when characters are hurt, because it puts them at a disadvantage in the action and forces them to try even harder to get out of the hole they’re in. If your characters are macho tough-guys, then maybe you don’t want to show them being hurt too much, but if you want the audience to really feel for the character, showing them suffer is a great way to do it. Writer Chuck Palahniuk (of Fight Club fame) once advised that if you want to connect with the reader describe a character’s feet or their mouth, because both places are filled with nerve endings and give us intense sensations in real life.

 

9. Earn your FINISH

Story can be said to be about struggle. Nobody wants to watch a story about a guy who just walks through park and nothing happens, or someone doing something that isn’t hard or difficult for them to do in some way. While you don’t have to make it a series of ever-stronger bosses like a Jackie Chan movie, you should do your best to show that the character had to overcome something (mental, physical, emotional or social, or some combination thereof) to reach their goals and achieve victory.

Don’t be afraid to stack the odds against your characters, and let them have to do something outside of their comfort zone to win. Of course, if you overdo it, it can become ridiculous, so make sure your poor character does at least have a slim chance of winning in the reader’s minds.

 

Final Thoughts

I’ve always been fascinated by the art of writing action in prose form. I think it comes from growing up on comics and action films and then transitioning into literature, where unfortunately the ability to write action varies widely by writer. It’s not an easy skill, and it’s one I struggled with when I was writing my Little Gou short stories and novel, especially since that was literally an attempt to write kung-fu adventures! I don’t claim to have mastered it, and I think I learned a few new tricks watching this video and thinking through this article, but in any case it’s a skill any writer can benefit from developing- whether you’re writing kung fu in old China, car chases through Cairo, or gunfights under the Texas sun.

I’d love to hear your thoughts on this! Please comment below!

Rob

FORCEdraft

Forcedraft

A while back, I blogged about WRITE or DIE!, which is a devilish little productivity tool designed to counter writer’s block by making noises, showing horrible images, or even erasing your text if you stop writing. I used it for a while, and I have to admit it works pretty well, but what if you’re someone who prefers to write at a slightly more leisurely pace or just needs a little freedom from distraction? Not everyone is suitable for the breakneck production speeds Write or Die! encourages.

Well, for you, there’s FORCEdraft– which as it says above is literally a program that won’t quit until you’ve reached your goals, and which will lockdown and block access to your entire PC until you reach those goals (or tell it to quit, if you wussed out and used that option). I actually stumbled across it a while ago and downloaded it, but it wasn’t until recently that I started to use it- and boy am I glad I did!

FORCEdraft lets you set a time goal or word-count goal, and keeps everything from distracting you until you reach that goal. Even if you change your mind- too bad! Once it’s running, nothing short of turning off your computer will stop it. I discovered this when I did a test run and realized that it doesn’t automatically stop when you reach your goal, and I didn’t know how to turn it off. I tried every single trick I could think of and the darn thing wouldn’t let me stop it! (In the end, I discovered by accident that you turn it off by clicking on the logo at the top of the screen and then it will save and exit. And it’s saving constantly, so if there was a crash your work would be fine.)

Since that first trying experience, I began using the program and came to like it so much that I added it to my startup programs so it comes on when it boot up my PC. (In menu mode, not writing mode- I’m not that hardcore! Having to write 500 or more words to get access to my PC would be good for productivity, though!) I’ve found I liked it so much I actually donated to the author, and am now using the PRO version which offers a few extra little bells and whistles. (You can change the screen colors, and it has a clock and word counter.)

It would also be great for writers using the Pomodoro Technique, or something similar, as you could set the timer for 25 minutes, do your block, and then set it for the next 25 minute block after you’ve had your break. However, whatever your schedule, I suggest you check it out if you’re looking for something to increase your writing productivity. I love it because I can craft my prose in a stress-free environment, but still know I have goals that I must meet before I can do anything else. (Including check my mail or Facebook!)

Rob