Saturday, November 28, 2020

Before We Die: Season 2 Review

One of the standard guiding principles for second seasons of TV shows is the same but bigger. That principle is alive and well in season two of Sweden’s Before We Die.

After finishing season one last week, the wife and I decided to forge ahead with the second season without taking a break. At only eight episodes (to the first season’s ten), it wasn’t difficult to watch the entire season by Thanksgiving night.

Season two picks up six months after season one ends. Hanna (Marie Richardson) has taken down the Mimica crime family a few notches—they went from running a fancy restaurant to a pizzeria—but she still doesn’t know the identity of the police officer who works directly for the Mimicas. To ferret out the leak, Hanna’s boss assigns her to the Organized Crime division. There, she and her partner, Bjorn (Magnus Krepper) stumble upon a group of corrupt cops dubbed The Circle. These folks are pretty darn bad, killing and stealing at will, all with a diffuse organization not easy to discover and even harder to bring down.

All of this would be difficult enough, but throw in the return of Christian, Hanna’s son, from his exile at the end of season one, and you get another complication. That is, until Bjorn and Hanna decide to let Christian try and infiltrate the Circle. He didn’t come back with Blanka, the daughter of the Mimicas, and he doesn’t want to talk about what happened down in Costa Rica.

Now, I’ll admit that as soon as the plot became another infiltration by Christian into a dangerous group, I was a little irritated. We had already seen this kind of thing in the first season. And some of the scenes between Christian and Hanna, Bjorn, and the police captain were just as irritating. “We should bring him in, get him out,” they’d say. “No, I’m really close,” Christian would counter. And then he’d go back. But the ingredients in this story were just different enough that I quickly moved past my difficulties and just went with the flow. It didn’t help that in the Twitter posts from last week (about season one) a user commented that the second season wasn’t as good as the first. True, but it was different enough to stand on its own.

You see, Christian infiltrates the Circle really, really well. Lena (Maria Sundbom) takes a shine to the young man and things get hot. Yet he has to keep this aspect of things secret from his mom and the other cops, so you end up having the young man (Adam Pålsson) alone playing all sides. Palsson does a good job here, especially considering the other things the character is fighting.

Second seasons always bring in new characters and one of the best is Laura (Shada-Helin Sulhav) as one of the Mimica’s foot soldiers. Laura is cold, calculating, imaginative, and resourceful in her quest to do what’s asked of her. My wife and I both hated the character…which just meant it was an excellent one. Laura’s primary goal is to befriend Blanka, who has returned to Stockholm and is looking for Christian.

If there is a plot point that was irritating—and I mean Kim Bauer in “24” getting caught by that mountain lion irritating—it’s Blanka befriending Laura. It’s smack-your-head stupid, but hey, whatever.

What really holds Before We Die together are the relationships and the push/pull each have against the larger story. It’s fun to see just how far each one is willing to go to achieve a goal. 

There's another couple of scenes in which the characters speak English. Having spent so long reading the sub-titles, it was a fun surprise to realize "Oh, I understand that." Which brings up an interesting question: why English? Is English always the default second language for most of the rest of the world?

Oh, and do yourself a favor: don’t look this season up on IMDB or whatever. Just leave yourself open to the show as it unfolds out over eight hours. We did that and the surprises—almost always in the last thirty seconds of each episode—will be that much better.

Season two of Before We Die doesn’t quite reach the level of the first season, but, taken together as one long 18-hour story, it’s still highly recommended. 

Saturday, November 21, 2020

Before We Die: Season 1 Review

If you need something else to be thankful for this month, let it be that services like Amazon make available foreign TV series as good as Before We Die (Innan Dor) from Sweden.

Released in 2017 and aired on PBS prior to landing on Amazon, Before We Die centers on Hanna (Marie Richardson), a police office with a jurisdiction in financial crimes. She's a straight arrow, so much that she sent her own son to jail for dealing drugs. I think you can imagine how much of a wall this act puts between mother and son.

Flash forward two years and Hanna has a lover, a fellow cop, Sven, he of Organized Crime. As the show opens, Sven is investigating a motorcycle club in Stockholm. This club is at odds with another group, a Croatian family who has a restaurant in the city. As you can imagine, the Mimica family is not all what they seem.

Neither is Sven. He's actually carrying on a secret investigation into the Mimica family, and he's got an infiltrator by the name of Inez. They communicate via old-fashioned cell phones. Things go bad for Hanna when Sven disappears.

The first few episodes deal with Hanna and her team searching for Sven. Later, she'll become more involved in his investigation, digging deeper into what he's uncovered and how it all fits together.

There is a lot to love about this show, but it all centers on Hanna. I'm not familiar with Marie Richardson but holy cow did she ground the show. As a middle-aged guy, I really enjoyed the lead character in my age bracket. It was a joy to watch her grapple with what she discovers, including the true identity of Inez. Okay, minor spoiler here, but you can probably kinda guess it (and it is revealed in the last seconds of episode 1). Inez is her son, Christian. He's working with Sven having garnered a job as a dishwasher for the Mimica family. Their tumultuous relationship plays out over the entire ten-episode run of season 1 in splendid fashion.

Christian is the only actor I recognized. He is played by Adam Pålsson. Americans will know him for the titular character in Netflix's Young Wallander. He does a fantastic job as the ex-con who is taken in by the family and given more and more responsibilities in their criminal activities. Christian makes some interesting choices, and Pålsson sells the blow back very well.

One of the fellow cops Hanna brings in is Bjorn, played by Magnus Krepper. He's a tough, rough, no-BS kind of cop. The one who'll bend the rules if it leans toward justice, or at least as he sees justice. Krepper shows Bjorn as intense yet the veteran cop is about to be a new dad.

Any good crime drama is nothing without a compelling villain, and Alexej Manvelov, as Davor Mimica, is wonderfully restrained yet terrifyingly deadly. He, too, has a secret that he keeps from his family, including his sister, Blanka (Sandra Redlaff). She's engaged to non-family member Stefan but she also has eyes for Christian, so there's some jealousy going on.

I'll admit that some of the themes and ideas and plot points you've seen before. I know I have. There were a few story beats I guessed, but there's one, late in the series, I didn't. It's one of those revelations that, like The Sixth Sense, will make you want to re-watch the show from the beginning.

But those story beats do not diminish this excellent show. My wife (who selected it) and I thoroughly enjoyed the series and are eagerly anticipating diving into season 2 this weekend.

Highly recommended.

Wednesday, November 11, 2020

Book Review: The Way We All Became The Brady Bunch by Kimberly Potts

Perhaps the most surprising turn of events sparked by the Covid pandemic and the subsequent order to work from home was my rediscovery of The Brady Bunch.

I'm an avid watcher of MeTV, especially the westerns on Saturday and the science fiction shows later that night. More often than not, the cable box remains on that channel into Sunday morning. Earlier this year after I watched my church's broadcast on YouTube, I reverted back to broadcast TV and caught the opening of what the channel calls The Brady Brunch: a two-hour block on Sunday mornings of episodes of the Brady Bunch. Back in the spring, MeTV was running the series in order and it was the episode when the family flew out to Cincinnati and had an adventure at the King's Island theme park.

I'd forgotten how much I enjoyed this episode and I watched that group of four. Then I did it again the next Sunday. And the next. After reaching the end of the run, MeTV started doing themes: all Marcia, all Bobby, etc.

My interest in the show piqued, it was serendipity when podcaster Ken Mills interviewed Kimberly Potts on his POP podcast. Turned out Potts was there to talk about her new book: The Way We All Became the Brady Bunch: How the Canceled Sitcom Became the Beloved Pop Culture Icon We Are Still Talking About Today. (Yes, it's a long title.)

Perfect! I got the book on my Kindle and, in between two digital covers, had nearly all my Brady Bunch questions answered.

Of all places to start, Potts began the book with The X-Files. The penultimate episode recreated the famous interior of the Brady house. That a science fiction show in 2002 would choose to craft a story around a cancelled family sitcom is one proof of how endearing the Brady Bunch remains.

The book is chronological, starting with the seed of an idea in the mind of creator Sherwood Schwartz and going all the way up to 2019 when the Brady kids--now, middle aged--participated in the HGTV renovation of the actual Brady house and literally everything in between. A few facts that fascinated me.

Schwartz conceived of the idea in 1966, but the network wasn't ready for a show with a mixed family. It wasn't until the 1968 film Yours, Mine and Ours starring Lucille Ball and Henry Fonda premiered that ABC gave the show a shot.

I didn't really know how bad Robert Reed was on set about the scripts and how Schwartz was running the show. While the actor never feuded in front of the child actors, he was a pain, so much so that he boycotted the fifth season finale...which turned out to be the series finale. That the episode dealt with Greg's high school graduation is a pretty crappy hill on which to die. Still, Reed returned for every single reunion show for the rest of his life. Yet, through it all, he loved his six TV kids, even taking them on a vacation and giving them all small home movie cameras, the footage of which became a TV special.

Speaking of specials, Potts discusses all the various spin-offs and specials along the way, including a forgotten-by-me thing called The Brady Bunch Variety Hour. Yes, it really happened, and there's proof on YouTube. I kept a list and I plan on seeking out as many as I can. Did you know Reed and Florence Henderson guest-starred on the Love Boat in character? I have got to find that one.

I enjoyed Potts's description of the sheer volume of tributes throughout the years, from sitcom to dramatic show, that paid tribute to The Brady Bunch. Much like Star Trek, The Brady Bunch never truly went away. It just morphing and changing with the times.

And it’s the simple love for this show, the loving parents, the six kids, and Alice (!) that had propelled this show into the 21st Century. Kimberly Potts’s book is essential reading if you want to learn all there is to know about this sitcom.

Why has it endured? It all comes down to Sherwood Schwartz’s vision for the show, a lesson we all can learn:

The Brady Bunch was going to be another example of what he believed was one of the most important ideas in life: that any group of people, no matter how different, no matter how little they might seem to have in common, could learn to live together. He wanted the show to be groundbreaking and modern, to reflect this new and significant sociological change with he prevalence of blended families, and it did. He couldn’t have planned for the decades-long impact his slice of Americana would have on television and every other avenue of pop culture, but it did indeed achieve that, too.

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@Barrie Summy

Saturday, November 7, 2020

Do You Save Excised Text?

When it comes to deleting text from you work in progress, do you up and delete it or do you save it?

I’m revising the existing chapters of my current work in progress before I hit that mark where I’ll be crafting brand-new words. As of yesterday’s writing session, I realized that a chapter/scene I had written really isn’t necessary. Actually, I’ve already excised two scenes because I think they’ll slow the pace. I can get the same information across with a tweak to an earlier chapter.

So what to do with the now deleted text?

I am using Scrivener for this particular book. If you’ve never used this program, it’s a little like Windows Explorer (or Finder for Mac folks) with each scene/chapter its own unique folder. There is also a ‘research’ folder at the bottom of the file structure. Typically this is used to house whatever research a writer needs to craft the book.

I have a folder I call “Excised text” and I’m pretty sure you can guess what that is. It is the folder into which I place all the content I will not be using.

Sure, I could—and do—simply delete it from the main sections of the book, but I also want to keep a record of it. In my comp book, I note that I’ve removed certain scenes. On my notecards, I’ll note that I’ve remove the scene from the main flow—but I keep the card in its original spot. I guess that’s the historian part of me. I want the record to show that on such and such a day, I removed a scene. It’ll also act as a road map if, when I’m finished, I go back and reconsider if the excised text/chapter really does belong. I’ve got all that text at the ready.

It’s a pattern I’ve always adhered to, going back as far as my grad school days.

How about you? Do you merely delete text/scenes you don’t need, or do you save it…just in case? I’m a process guy and I’d love to know how other writers treat text they don’t want to use.

Saturday, October 31, 2020

NaNoWriMo 2020 - Remember Two Things

Well, here we are again. It’s November and tomorrow kicks off National Novel Writing Month. It’s a fun exercise in which you write a 50,000-word novel in the 30 days of the month. That averages out to 1,667 words a day for thirty days.

You may think that it too daunting a challenge. I’m here to tell you it is not.

I know. I’ve done NaNoWriMo in November multiple times. I’ve also done it in a January, a February, a March, and various other times.

It is entirely doable, but take two key lessons I’ve learned in writing a novel in a month.

Stay Flexible


If there’s one thing you must keep in mind as you write your story this month is to stay flexible. Writing a novel is not a sprint. It is a marathon. Each day, however, can feel like a sprint, and I treat them that way. The sprint is the 1,667 words. But here’s a huge weight you can lift off your shoulders.

Don’t get too bogged down in the daily weeds. Maintain the overall goal: 50,000. Some days, you’ll blow past the 1,667 mark. Others you may fall short. You can make it up. Don’t lose sight of the end goal: a completed story. In the end, it won’t matter if you didn’t reach your daily goal for a third of the days and exceeded it on the rest. All that matters is a 50,000-word completed novel.

Have Fun


In every NaNoWriMo novel I’ve written, there is a wonderful urgency to get the words down. That’s good. But you are also the first reader of the book you are writing. Entertain yourself! Have fun.

My writing times are always in the early mornings before the day job starts. Now that I’m working from home because of the pandemic, I have some extra time (because I don’t have a commute). I rise at 5:00 am for these writing sessions. Yeah, that’s sleeping in because I used to wake at 4:30.

The family is asleep and I am by myself with my characters and story. I open the laptop and start the daily writing. And I am gone out of this world and into the world of my story.

And I’m grinning at times. My heart races at other times. Heck, I’ve even teared up writing certain scenes. The thing is, I’m wholly invested in the tale.

It is one of the best feelings out there.

So have fun, stay flexible, and enjoy NaNoWriMo 2020.

Saturday, October 24, 2020

The Freedom to Change: The Haunting of Bly Manor

Two years ago, Mike Flanagan delivered The Haunting of Hill House, a horror show with a great emotional center I never saw coming. Now, in 2020, we get a spiritual sequel in Bly Manor, and Flanagan has pulled off a wonderful feat: daring to be different.


Unlike Hill House, I kind of predicted Bly Manor would have a nice emotional core. In that, I wasn’t disappointed. It was exactly that and more. But where Hill House was a horror show—complete with mystery and jump scares—Bly Manor dares to be less a horror show but more like an eerie tale of menace.

Loosely based on Henry James’s The Turn of the Screw—a book I’ve never read—Bly Manor is narrated in the present day by Carla Gugino to a small group of people. She tells the story of Danielle Clayton, a young woman who, in 1987, takes a job as the live-in nanny/teacher for a pair of children—Miles and Flora—at Bly Manor, tucked away in the English countryside. Rounding out the small group is the housekeeper (Hannah), the chef (Owen), and the gardener (Jamie).

Oh, and the ghosts.

That’s not a spoiler. It’s what you’d expect from a story taking place in a giant manor house. But who the ghosts are and why they’re there, that’s the mystery.

I’ll admit I haven’t watched Hill House since it debut in 2018 so I cannot remember all the intricacies. But I do remember some of the jump scares and genuinely terrifying moments. I expected that here as well.

Flanagan, however, had a different idea. Instead of manufacturing simple scares just to make viewers jump, he crafted a well-told story over nine episodes (one less than Hill House). The story’s leaner and swifter, pulling you along nicely.

We get a good dose of flashbacks and present-day action doled out in just big enough scoops to make the mystery tantalizing. My wife had recently see a filmed version of The Turn of the Screw so she knew a few plot points going in, but I didn’t. All I did was let the story wash over me.

The actors were stellar. A few of them—Henry Thomas, Victoria Pedretti, Oliver Jackson-Cohen, and Kate Siegel—also starred in Hill House. It was good to see them again. But the newcomers were just as good. Benjamin Evan Ainsworth, who plays Miles, can turn from innocent child into something else on a dime. That was unnerving. Another standout T'Nia Miller who played Hannah the housekeeper. There was always something buried just underneath her skin, and Miller was outstanding at her portrayal, especially episode five. And the scenes where she and Rahul Kohli (who played Owen the chef) interacted were very good.

It was probably around episode three or four that I realized Flanagan was doing something different with this new show. It wasn’t as scary. True, there was a palpable sense of foreboding, but not scary. Initially, I wanted the scares, but then I was content to watch the show he made. The longer the show went on and I finally noted what Flanagan had done, the more impressed by it I was.

Sure, Bly Manor could easily have just been Hill House 2 with even more jump scares and more lurid stuff, but that’s not what he did. He told a different kind of story, and I’m really glad he did. It let us viewers know that for however long he creates stories like this, they won’t just be cookie-cutter shows. They will be distinct stories with a similar, but unique style.

And it makes me even more excited to see what he comes up with next.

Saturday, October 17, 2020

Proactively Trimming a Book's Fat

I think it's common knowledge that a good rule of thumb for reviewing your own work is to read it aloud. I do it all the time. I find easy-to-miss grammar snafus, but I find this method especially good with dialogue. I'll always read the dialogue (with voices!) to hear how it sounds. If I find my mouth adding words or saying the prose differently, I change it on the page.

Side note: if you have a computer that has the capability of reading text to you, that's also a good way to go. Just be sure you have a computer that'll sound more or less normal.

The reason I bring it up this week is that I completed my index card outline for my next major novel on Thursday morning. It's around 100 scenes or so--some smaller than others. It was kind of an exciting thing to be writing that last index card right as my alarm to signal it was time for me stop working on my new book and get ready for my workday.

Later on Thursday, I cornered--er, asked nicely--the wife if she'd be game to listen to me go through each notecard and tell her the story. She agreed, but initially didn't know what I was asking of her. She much prefers to read the drafts after I've finished them. She's a voracious reader, knows what works and what doesn't, and I rely on her all the time to course correct a story.

All I needed her to do is take the tale on a test drive. Did it make sense? Did the scenes flow nicely. Was there a huge plot gap in the middle of my story? Did she even like it?

We sat at the kitchen table. Initially, I laid out the first forty scenes or so, but swiftly realized it was much better with just the stack right in front of us. I talked over each scene, one by one, taking her through the story.

There's a look she gets when she glazes over and I stopped when I saw that. What was the problem? It was the sub-plots. They seemed extraneous. I reminded her they were sub-plots, but I adjusted on the fly and just kept to the main POV character--since it is her story.

The entire process was incredibly enlightening. I got to tell the story to someone else, serving as a way to get it out of my own head. I took notes along the way, mostly with nips and tucks my wife suggested.

But I came away with the idea that some of the sub-plots likely bogged down the story.

Look, I've written books like this before and I've written books without an outline at all. Each method has its merits and I stand behind both of them. But for this book in particular, I needed to verify that the story structure was solid. It was. Side benefit: I might actually have fewer scenes to write since I'll be proactively cutting some fat.

Saturday, October 10, 2020

Recursion by Blake Crouch: A Time Travel Book with Heart and Thrills

 

(Imagine my surprise yesterday when I finished this review and went to post it on DoSomeDamage...only to discover my fellow author, Beau Johnson, also reviewed it. No, you are not suffering from False Memory Syndrome. Perhaps that is yet another key indicator of how good this book is.)

How often do you read a book in which the last sentence is the perfect end to the story?

Well, I finished one this week, and the last line was awesome.

Recursion by Blake Crouch is a thriller with a huge scoop of science fiction, specifically time travel. It was the most recent selection for my SF book club although I wasn't the chooser. We generally keep our selections within the genre--I actually picked the Sherlock Holmes book The House of Silk by Anthony Horowitz--but occasionally we get books like this one. But this is one that really leans into the thriller aspects and it kept me engrossed all the way through.

As the story opens, New York police detective Barry Sutton has lived eleven years without his teenaged daughter who was killed in a hit-and-run accident. He's meeting his now ex-wife to commemorate their daughters birth. There have been a lot of things called False Memory Syndrome, a condition where folks remember whole other lives. 

In the reality of the story, these are alternate timelines.

Soon, Barry meets Helena, a scientist with a mother who suffers from Alzheimer’s. Her goal is to invent a tool that can help map her mom's memories before they are all gone. What another character realizes is that this machine can be used to travel back in time to a specific, vivid memory. And, when a time traveler arrives at the point in time where the traveler actually left, all the other timeline's memories cascade on them...and everyone else.

And there's a race...against time. 

I really enjoyed it. Loved it, actually. As recent as this past weekend, I hadn't even started it. I started listening while doing chores...then started finding new chores to do so I could keep listening. The Houston Texans helped by sucking so I stopped watching and started listening to this book. The premise drew me in pretty quickly and just kept me going.

The alternating narrators really worked in the audio. Enjoyed both of them. 

Really liked the moments when a certain timeline caught up with a character. When I was explaining this to the wife, what came to mind (but not during the reading) was the end of the movie Frequency back in 2000. Also had lots of echoes to Replay by Ken Grimwood.

Go no further if you don't want the spoiler, so if you don't, I thoroughly enjoyed Recursion and would highly recommend it.


SPOILERS for the end



Lastly, it is very rare that a last line of a book is this awesome, but this one is. Again, this is where listening to an audio version really brought it home. I was standing in line at the DPS on Tuesday. Outside, morning sun, looking at all the other folks doing what I'm doing. Crouch is talking from Barry's POV and building it up to talk to Helena. This is after he's killed the bad to prevent the whole thing from even starting. And he has realized that life has pain and that, as humans, we just have to deal with it. 

And then the last line! "And he says...."  I barked out a "HA!" as the credits rolled, grinning big time. Loved it! Crouch let the reader finish the story, creating our own, unique timelines.

Saturday, October 3, 2020

Butterfly Moments

How do you know when something you’ve written or planned out is good?

That’s my question for the weekend, folks. Thanks!

Okay, I’m kidding, but it’s an honest question, and I’d love to hear your thoughts.

For me, it has something to do with the butterflies in my stomach and the racing pulse.

This week, as I’ve been planning out my next book, I’m still doing the notecard method I mentioned a couple of weeks ago. My routine is up at 5:30 to write/prepare/think for an hour before I have to prep for the day job. In that time, with no music, TV, or anything other than my cup of coffee (in my awesome Halloween mug!), I visualize the story unfolding. 

With a schedule like this, I have already spent the last day idly mulling various aspects of the story. I’ll write them down in my comp book and then get started writing the notecards, one at a time. Oh, I’ll spread out a dozen or so to remind myself where I am in the story. 

There were a couple of days this week when, as I’m seeing the movie in my head, I can actually feel the butterflies in my stomach flying around. I start writing faster (and sloppier), trying to get down all the details. 

In other moments, I can literally feel my pulse pounding in my wrist and arms as I’m writing. I realized it’s not just the coffee, but the story that’s making me excited.

Will others find those scenes exciting? I hope so. It does depend on me writing compelling prose to suck in other readers, but I’m comforted knowing that if folks like the stuff I like and *I’m* digging these scenes, there’s a good chance others will, too.

Time will tell. 

But I love those butterfly moments.

Saturday, September 26, 2020

Glitch TV Show - An Unexpected Delight


“Just watch the first episode and let me know what you think.”

That was the request my wife made about Glitch, a TV show out of Australia now streaming all three seasons on Netflix. What was it about? Dead people crawling out of their graves.

Sold.

The show has a solid cast of characters, but the anchor is James (Patrick Brammall), a local policeman in the fictional town of Yoorana in southern Australia. He is called to a local cemetery in the middle of the night for a rather unusual reason: people have crawled out of their graves, in perfect health, but with no memories of their past lives. James enlists the aid of a town doctor (Genevieve O'Reilly) who conducts tests on The Risen. The stinger? One of them is James's wife, Kate (Emma Booth). We know her backstory a bit: she died of cancer and now James has married Kate's BFF, Sarah (Emily Barclay) who is now pregnant. 

The other formerly dead folks include Paddy Fitzgerald (Ned Dennehy), a man who died almost two centuries ago, Charlie (Sean Keenan), a World War I veteran with a statue modeled after himself, Kirstie (Hannah Monson), a young woman with a tragic past, Maria (Daniela Farinacci), an Italian wife who died in a car crash with her child, and Carlo, a man who early on sets the rules for The Risen: as he passes a certain point over a bridge, he disintegrates.

The Science? 

One of the best things about Glitch is it never loses focus on what really matters: the characters. What would it be like to have died of breast cancer and return healthy (and with breasts)? What would it be like to be the victim of a murder and come back, barely remembering who your assailant was? What would it be like to be a gay man in a world in which that was not only a crime but something to keep hidden. 

The creators of Glitch, Tony Ayres and Louise Fox, know that the foundation of a good show is characters we care about, and the wife and I instantly were drawn into the complicated life of James. Here is a married man with a pregnant about to give birth who not only has to figure out why and how dead people have come back to life but one of them is his dead wife whom he stil loves. Patrick Brammall excels in his role as James, often showing his emotion only by facial expressions. The anguish is clear on his expressions and his actions. Even when he makes choices we don't agree with, we felt for him. 

But my wife and I also felt for the other characters, some more than others. Another standout is Chris (John Leary), James's fellow policeman and the single character who remains unaltered by the science of the show. Leary shows Chris coming to terms with what his eyes show him (Kate alive? Other dead people alive?) and the sometime duplicitous actions by James. As the show went on, he became the one character I sincerely wanted to survive. Leary's performance, like Brammall's, are all in his actions, some you expect, and others you don't see coming. Chris has to live with the choices he makes. I shan't tell you, one way or another, what is his fate. You'll have to watch to find out.


By having multiple generations of people awakened, you get to see how, say, Paddy, deals with the 21st Century (he of the 19th). Ditto Charles, the veteran of the Great War. Kirstie and Kate have less of a learning curve, but their backstories still prove compelling.

Back to the science (or magic?) of how these people returned to life, the show does give an explanation, and it is enough of one to pass muster. But there's not a lot of focus paid on it. All attention is given to the characters, the ones who have come back and the ones who, somehow, are also "altered" and who seem to be out to kill the Risen.  

Who are they and why are they trying to kill The Risen? The show keeps their origins vague for the most part--better to propel the mystery of the show--but some characters change during the course of the 18-episode, 3-season show. 

The Ending

I've read a few articles about the show and fans were notified that season 3 was going to be it for the show. But, the showrunners promised, while the show was cancelled, a satisfying conclusion was to be delivered.

And they delivered. In spades. And tears. 

Not to give away the ending, but the wife and I were simultaneously satisfied and wiping away tears. It was an excellent ending, well earned, and wholly predictable when you look back on it. But even if you guessed how the show needed to end, it doesn't take away from the emotion of the moment. 

Any show that brings tears to my eyes is a good show. That Glitch, a show with a very unusual beginning, did so, makes it a wonderful 18 hours of television, and one of the best things we've seen on TV in 2020.


Highly recommended

Saturday, September 19, 2020

The Humble Index Card

Like many a wordsmith, I've tried multiple ways to get a story out of my head and onto paper. I've outlined, planned, and written stories without and outline. I've even tried the index card method, but it has been a long time since I employed this method.

But I'm trying it again with my current book.

What is the Index Card Method?

The way I do it, one index card equals one scene. It's not necessarily a chapter a scene, but I know that some scenes will be long enough to be a chapter. I've read a few books in recent years that have something like 125 chapters and I know that every scene is a chapter. I'm not a huge fan of short-as-a-page chapters. I prefer to group them together into larger chapters. You?


Anyway, the beauty of index cards is the ability to see the story laid out on your table or on a corkboard. You can lay them out any way you, but I've done mine this way just about every time I use this method. The scene number is in the upper left. The upper right is the setting, while the middle top line is the POV character. In this case, Keene is my main character. 

In the body of the card, I list the action. I am using a blue ballpoint pen for the first time in forever. Not sure why, but I started that way and I'm running with it. Every time a character appears on stage for the first time, I use all caps and underline the names. You can see that listed here with a pair of HPD detectives. 

For this card in particular, in pencil, I wrote a question to myself. It's a guide for my thinking about the story and whether or not this scene is actually needed. If it's not, I can discard and not bother writing it.

With the "NEED" comment, that's also a note to myself. When I get around to writing this chapter in a few days, I'll need to work in that little comment. 

The "EXPAND" comment refers to the 1.0 version of this book that's already written. I'll likely not simply rewrite/retype this chapter when I get to it, but I'll revise what's already written in my 1.0 manuscript. This note, in red ink, serves as a reminder to expand on something that's already in the text. 

Every morning, after I've poured my coffee, I'll lay out the existing cards and move forward. I'm up to scene 27 so I don't necessarily have to lay out the first dozen scenes or so, but I lay out the last dozen. I'll follow my thought process and then start writing new scenes. I have a comp book in which I write additional notes, mainly about structure and overall thinking. Together, I have an ongoing mindmap-type thing that I can re-read along the way. Also, when this book is done, I can re-visit all my thought processes, especially if they veer away from the index cards.

Yeah, it can happen.

Do you use index cards? If so, how.