Original Content

Please note that all of this is original content I designed. Some of it is homebrewed from existing systems, and generally used to bolster and improve those pre-existing rules sets, but the lot of it was created almost from whole cloth. I would never slight other designers and so on by suggesting their work did not affect or inspire me, but that's literally all they did.

Just like I can't explain to you how to make characters for D&D -related material, I am not publishing all of my personal rules set, nor am I making in-game information that is under copyright available to anyone who doesn't already own the book(s) for the games I'm covering. (I hope.) Most of what I'm working with is old, either in the Creative Commons or has an Open Gaming License of some kind, and is either available inexpensively or for free online.

I've played a boatload of games throughout the years and kept notes on all of them. At this point, I couldn't tell you what I made-up and what I got from TV and movies, radio, Internet, or other games. And that's not a cop-out: Someone would have to edit out the TM and copyrighted material from everything I have to make it suitable for publication.

A lot of this stuff was previously published on The Weirding, making it no less original. I am now running two gaming blogs, so crossover and repeats are always possible, but I certainly have not plainly and openly ripped-off anyone; no one makes the game I want to play the way I think it should be played, so I did.

The majority of what I'm posting was created for other games, whatever game that is, but it is still original content. It comes from campaign notes I made but never got to use, or did get to use, and used a lot throughout the years. In many instances, I wasn't sure what I had abbreviated or even written and had to go with I had. I keep up with these posts, so I will come back in to change and update information as I go.

I know I told you this in an earlier post but, especially due to not knowing much about the different Open Gaming Licenses (and, yes, I've looked into it, but I'm not a lawyer), it is important to reiterate. If I screw-up something, just let me know so I can do whatever needs to be done to make it right. I use whatever I find interesting and don't always keep up with where it comes from, but never do I do these things with malice in mind or in the hopes of assuming ownership of things that are not mine. 

For goodness' sake, I run a website (or did) dedicated to RPG and comics, etc.; I'm just a fan and games player who has designed a lot of gaming material over the decades. Meaning that I'm too small for it to be worthwhile to anyone to bother me. We're just about having fun here, not wading into legal issues.

© The Weirding, 2024

On the Disappearance of Serial Fiction (2010)

With each soap opera that ends, with almost every comic book I read, with what I know of the latest incarnation of Dungeons & Dragons, I am disheartened by this nation's move away from truly serialized fiction. I am holding-out hope that this is all an industry move (no matter which industry) and that the audience itself hasn't folded-up and drifted away, but I remind myself that one generally follows the other -- that is, where there is demand, a supplier will emerge -- so I am left to wonder what happened to serialized fiction.

The comic book industry, in particular, has fallen into a rut, with every story in every title having to fit into the rigidly-defined four-part, or the rare six-part, "arc" (I hate that word) so they make for convenient trade paperback (TPB) reprints. I've told you before that a story "arc" is simply a storyline -- that is, a plot. In a typical, self-contained, story -- which is, basically, every story told in every medium outside of serialized fiction (a movie, a novel, a song, et.al.) -- you have one, maybe two, main plots, often complicated by several sub-plots; in serialized fiction, you can have many major plots, each with its own web of sub-plots. In fact, serialized fiction demands several plots at once to keep it going, and sub-plots are often expanded into main plots at one point or another.

One of the reasons people grew tired of serialized fiction is that serialized fiction grew tired: Jean Grey can only come back to life 30 or 40 times before readers quit giving a flying fuck (someone remind me to put that in a letter to Marvel). This is, easily, the reason for many of the soaps' demise. Yes, there are more women in the workplace today and, yes, this is a factor, but all the originality went out of soap operas when I was a kid, and that was 20+ years ago! Granted, you could argue there was little creativity there to begin with, but I'll remind you that soap operas are serials, thus the story has to keep going, and they are TV shows, thus whatever gets the most ratings is destined to be repeated, ad nauseam, so -- as is far too usual -- creativity is not as important a commodity as it should be.

Professional rasslin (I know, it's "wrestling" to some of you, but it'll always be rasslin to me) is one of the best examples of serialized fiction today -- that's one of the reasons we used to cover it, and still do from time to time, though we now tend to cover only the IRL stuff and not the fictitious world of characters which comprise it. Video games are another, but to a far lesser extent. Ironically, movies themselves are becoming slightly more serialized, with every idea that makes it to the silver screen being dragged-out into a trilogy and forced into spawning a "franchise." However, few movie franchises contain the single device which all serial fiction installments require: the cliffhanger.

Now, to be fair, serials don't lend themselves well to the pick-up audience -- irregular readers/viewers/listeners. Obviously, with so much backstory, it can be difficult for serials to pick-up new audience members. In days past, comic book characters got a short blurb declaring their powers and origin, or (more insipidly) would have some reason to repeat this information in thought or dialogue balloon, every issue. These days, that blurb is even shorter (see recent Uncanny X-Men by Fraction, whose efficiency is alarmingly effective), and/or the whole thing is handled at the front of each issue in a "Previously..." page.

All of the industries like to push the "jumping-on" points, but new audience members expect to be somewhat lost until they get a few episodes under their belts, and the way to handle this is to focus on one major plot in each, and every, episode -- thereby giving the pick-up reader (comic books) something to follow -- while forwarding others only slightly. The next issue then presents a different storyline, but forwards the previous episode's storyline in some way, thus drawing the pick-up reader into the new issue's plot, as well. After a handful of installments, the new audience member has a pretty good idea as to what's happening. Again, audience members don't expect to know everything by the end of the first installment they experience -- that's part of the fun!

I realize the industries are largely to blame for the disappearance of the serial, which is ironic, since serials are the most lucrative form -- whether it's called a "franchise," "property," "series," or some other synonym. The audience has also been weaned-off of it, as there are so many options today that too few are willing to invest in them -- especially since they realize it may be canceled in short order (TV), they may be forced to buy a slew of other installments to know what's going on (comics), etc. -- and the industries have responded by turning serials into "arcs" and self-contained installments, in an attempt to please everyone. But there is something else, and that is that far too few writers today know how to write serialized fiction.

For the form to not only survive, but flourish, the industries have to do the one thing they fear most: take the hit. In today's world of too many options, a whole lot of products have built a substantial audience of their own by simply doing what they do; they call it "niche," and it's as good a name as any. Time and again, Marvel Comics has been able to hang on by a thread, thanks to the "niche" audience of die-hard readers and collectors, yet they continue to thank that audience by hanging them out to dry whenever the market is on an upswing.

Products that go out of their way to be unique face the same problem as those which continue dumbing-down to appeal to a larger audience: no one can relate to them. If collectibility is the only incentive to subscribing to a title or buying an issue, as opposed to waiting for the TPB, it's a small one, at best -- especially with second- and third- printings. And continually raising the price to boot? The only thing we can count on Marvel to do is kill the market; that's it's only consistent trait.

Drop the constant crossover "events," write a series as a serial, learn from your mistakes, and quit repeating them!

© C Harris Lynn, 2010

The British Invasion: Alan Moore, Neil Gaiman, Grant Morrison, and the Invention of the Modern Comic Book Writer

The British Invasion

© The Weirding, 2018

First Annual Perry County Writers' Conference Appearance

I will be speaking at the First Annual Perry County Writers' Conference this Saturday, April 28, from 10am to 4pm, Central.

Come see me, and all the other attendees, and chat about comics, screenwriting, storytelling and sequential art, and whatever else!  Other guests include Clay Harris, Sue Franks, Sally Brannen, Julietta Martinelli, Don Singleton, Rob Snyder, and many others.

You can find more information on the First Annual Perry County Writers' Conference in Linden, TN (April 28, 2018) on their official Facebook page.

The Perry County Writers' Conference is sponsored by the Perry County, Tennessee Cultural Arts Commission.

© The Weirding, 2018

10 BEST ADVICE FOR HOLLYWOOD SCREENWRITERS

Many people looking to break into Hollywood seek advice, and most advicers out there are very serious. By coupling my limited experience with my extensive knowledge of stereotypes and sweeping generalities, I have written 10 VERY GREATEST ADVICES FOR HOLLYWOOD SCREENWRITERS* that you can take to heart. I included expressive emoji for actor "hyphenates" so they can follow along.
* This advice might not help you get a job or sell a script.

1. CASTING
Ask yourself two questions:

"Do I want to do The Sex with this actor?" and, "Do I have ANY CHANCE of doing The Sex with this actor?"

If the answer to either is "No," that actor is not right for the part because they are not serious about their craft. 💆

2. DRUGS 
You hear a lot of tragic stories about hopeful, young creatives moving to Hollywood to pursue their dreams only to become hooked on The Dope. They lose their way, their money, and their careers. The key to avoiding this is buying a lot of drugs at once so you get a discount price, then sell them to the aforementioned people. 😎

3. SUCCESSFUL PITCHES
Bring a gun to your meeting. Lay it on the desk, conference table, or your lap BEFORE pitching. 🙌

4. NETWORKING
Find a way to draw attention to yourself. If you do not live in LA, consider repeatedly disrobing in, or near, high-traffic areas. If you are already in LA, you will need to find another way to set yourself apart from the crowd. See #2. 👯

5. FALLING IN WITH THE WRONG CROWD
Also known as musicians and actors. HIGHLY RECOMMENDED +++++ 🎸

6. MAINTAIN A PROFESSIONAL ATTITUDE
The truth is that everyone talks shit, especially in showbusiness. The key to a successful career is learning how to do so PROFESSIONALLY:

If you only talk trash about others' work, you can call it "CONSTRUCTIVE CRITICISM" and hook a job as a D-person; if your trash-talk is political in nature, you are a shoo-in for cable "news" networks, talk radio, and awards shows; if your shit-talking is petty, facile, humorless, and personally-motivated, you can submit it to SNL for immediate Consideration. 💩

7. OWN A CAR
Nobody walks in LA, yet no one owns a car. Request ridiculous amounts of "gas money" from "friends" you drive to auditions and meetings. Use that money to buy drugs you can then sell to said "friends" following their rejection. Be sure to leave these people at their destinations so they are forced to call and ask you to pick them up - that way you can charge them for gas money TWICE. Also, you have a place to sleep. 🚙

8. ALWAYS CARRY AN UMBRELLA
The weather never changes in Southern California, but you should always be prepared! People will think of you as, "That asshole with the umbrella" - until it rains!

Then you will become known as, "That asshole RENTING the umbrella." 💦

9. KNOW YOUR DEADLINES
You will need time to rehearse your excuses when you miss them. ⏰

10. DEALING WITH ACTORS
Don't. 💀

I hope you find these advice helpful. Some may say these are "bad advices" from a "bitter cynic" who is "procrastinating" instead of "working." Those people are not the boss of you - and, if they are, they should be avoided. Should this post disappear or be reported, it is because THEY do not want you to know the keys to Hollywood success. Enjoy being creative and work harder at being happier.

If you need help with that, hit me up - I'm the guy by the car with the umbrella. 👍

© The Weirding, 2017

Introducing Me to You

First of all, I have to thank my absolutely fabulous friend. Thanks MOD, you still rock Babe.

Now to kind of tell everyone a little about myself. As ManoDogs said in his post, my name is Christine. I'm a writer, blogger, wanna-be goddess. I'm an old broad with a young heart, and a middle-aged woman with an old soul. I love life, look for the good in most things, and get a kick out of inventing weird theories. Oh, and I'm a total geek!!!

One of the things that most people don't realize about me is that I'm a huge fan of the old school Marvel Universe. I was reading comics before it was really a cool thing to do. But I remember the heroes from the 70s. I always wanted to be one of those hot females drawn in those pages. I was even Cat Woman for Halloween one year because I thought she was prettier than Bat Girl or Supergirl.

I believe in angels, aliens, and ghosts. That doesn't mean I've ever seen any of them, just believe in them. I think everything in this world has a purpose. I'm one of those tree-hugging hippies, believe in natural remedies and look for ways to save the planet, even if it's just in the smallest of ways. I believe in the power of love and think good music is the key to world peace.

I have a warped sense of humor, I usually have a strange outlook on the world, and I believe that many of the world's ancient legends have something real behind them that got the stories started in the first place. I talk to my writing muse on a regular basis, but she's kind of a snag and doesn't listen to me very often.

I'm a dork. I'm a dreamer. I'm a dingbat. But above all else, I'm me!!!!

(c) Christine Senter

How to Pitch a Comic Book Story

Nathan Cosby gives great advice on both his Twitter account and his blog, as well as provides some fun and interesting diversions in the comic book vein, and his advice on pitching a project in comics is as good as it gets.

Also, Brian Michael Bendis will be in Arizona next weekend to give a writers' class.

© C Harris Lynn, 2010

On OMIT (One Moment In Time)

Comics Alliance published an article yesterday in which the author discusses why Amazing Spider-Man #641, O.M.I.T., wasn't necessary. Apparently, Quesada "breaks down" the minutiae behind the whole Mephisto/wedding/Aunt May storyline which single-handedly redacted 20+ years of Spider-Man history.

David Brothers does a good job of explaining why the story was unnecessary, saying:

More than any question of Mary Jane's motivations, more than Spider-Man being constantly off-balance and behaving like a schmuck throughout the story, the biggest problem with "OMIT" doesn't have to do with the story itself. The biggest problem is a question: Who wanted this story?

He goes on to suggest that regular readers had been enjoying "some of the best Spider-Man stories in twenty [sic] years," while "O.M.I.T."'s most vocal critics proudly boasted of no longer reading the title, and ASM #641 was as much a kick in the face to the former as it was yet another round in the chamber for the latter. However, one commenter takes him to task and explains precisely what I said about the entire thing sometime back:

I quit Spider Man [sic] because I can't think of a better example of lazier, sloppier, and more personally fan-offensive writing in the history of comics. [The handling of the story] is nothing short of a slap in the face to the fans. And it's SO LAZY.

I've said it at least a handful of times here: I love comic books and I'd love to work in the industry, specifically at/with Marvel on at least two characters (Moon Knight and Daredevil), and I understand that some of my criticisms may -- if not already have -- ruin[ed] my chances of doing so, but seeing as how we're talking about my goddamn money, I'll say whatever the hell I want and deal with the consequences like a big boy. Unfortunately, I doubt the Devil will "wave his magic wand," as Caesar so succinctly puts it, and change that for me; I'll have to deal with the decisions I make, and as a reader -- and, specifically, a writer -- I was flat-out offended by the entire concept! So my decision was to voice that opinion and not read Spider-Man.

If you are that bad a writer, QUIT! There's a Johnny Cochrane for you: "If you must O.M.I.T., you ought to quit!" Step away from the keyboard and get back to the drafting table, Joey Q; you are a phenomenal penciler, but any two-bit hack who can chicken-peck his way across the QWERTY can pull the crap you did on ASM.

Again, at the risk of cutting my own throat (I'm fucking talented, and that used to count for something, so for whatever it's worth -- I'm the man, not the work), Marvel Comics haven't been very good since Joe Quesada took the helm. Period. How many mega-crossover events, reboots, retools, and reshoots should we subject ourselves to? The overall quality of the entire line -- the Marvel Universe -- and the Marvel brand itself has suffered from, what seems to be, one man's misguided vision.

The great thing about art is that there is more than enough room for mistakes -- hell, some of the best works were hated by their creators -- but Joe Quesada doesn't seem to get that his vision for the Marvel Universe is not winning the Marvel brand any fans. Either that or he just flat-out does not care.

Quesada's -- and Marvel's -- position on their characters is clear: They are properties -- not characters, not art, not entertainment; comic books are product, not art. These are commercial properties to be exploited for maximum financial return and anyone who fails to understand that, frankly, deserves a "slap in the face." I disagree, Frank Miller disagrees, Alan Moore disagrees, and many, many others disagree... but, you know. Whatever.

Marvel's Submissions Editor, C.B. Celuski, explained Marvel's position in about 140 characters yesterday. To quote someone else, "'Nuff said."

© C Harris Lynn, 2010

RIP: Edward Kean - Head Writer, Howdy Doody

85-year-old Edward Kean, former head writer of the children's classic TV show, Howdy Doody, died August 13^th from emphysema. Kean not only served as the head writer, he also wrote the Howdy Doody theme song, and is even credited with coining the word, "kowabunga."

One family friend called Kean "prolific" and said "He influenced an entire generation [Baby Boomers] through his writing." Howdy Doody aired on NBC from 1947 to 1960. Edward Kean wrote for the show for seven years, leaving in 1954.

© C Harris Lynn, 2010

Serial Fiction, Arcs, and The Big Story (in Supernatural)

While covering the Supernatural story, I read a lot of comments similar to Ernie's, which asked what those Winchester boys would do after season five. This is particularly poignant in the case of Supernatural, because them boys are fighting the real Big Baddy of Judaeo-Christian mythology: Lucifer. Like Ernie said, "Where the hell do you go from there?"

Supernatural aside for now, what occurred to me is, "Why do you need a big story arc, anyway?" When you get right down to it, large arcs of the kind we are discussing are antithetical to the form. After all, serial fiction insists the story continue, regardless. You leave cliffhangers to entice the audience to return and if you ever "finish" the story, it ceases to be a serial! The whole series is over.

In the case of Supernatural, "hunting the Unknown" is the larger storyline, so the only way the Winchesters' story could actually end is if the Unknown ceases to exist (whether or not they manage to hunt it off themselves) or they decide to quit hunting. Finding their father, rescuing him from Hell, fighting the Yellow-Eyed Daemon, et.al. - these are all story "arcs" like those found in too many comics these days, not the story itself; The Story in Supernatural is that the Winchesters and a small network of dedicated Hunters fight the Unknown.

I've frequently opined as to how I dislike the whole "arc" business and I know for a fact that I wrote a long discourse on the matter at some point, though I couldn't find it in the archives (because there are some 5000 posts on The Rundown and a search for "arc" brought up 650+ results!). The crux of my argument though had to do with the "Starting a Brand New Arc" promotion comics used to do every week, a few years back. Still, it isn't just the commercial aspect which bothers me, it's the idea itself:

Every time a new plot is introduced and not immediately dealt with, it's technically a "new arc." Obviously, they mean "story" - as in, Wolverine is dealing with a drug cartel and the story spans several issues, thus whenever the climax (and denouement) of that story is reached, the "arc" is finished. Technically speaking, Wolverine needs to have grown/changed in some fundamental way for it to qualify as a story, but because comics characters - especially those of Wolvie's caliber - are products, they can never really change that much, so even though "story arc" is technically correct in this sense, the word was just being bandied-about for commercial reasons and I was tired of hearing it.

"Arc," the word itself, is interchangeable with "adventure," "case," and the like. So, aside from it being a buzzword they rammed down my throat, it was also disingenuous. Serial fiction means "series" and hundreds of stories are told throughout the course of a long-running series, so every episode/issue in which something happens is technically an "arc," unless nothing happens outside of the ongoing, overarching story. For example, if Sam and Dean locate and dispatch a daemon, that's a story - that's an "arc" - and dispatching the beast ends that arc; if, by doing so, they learn more about how to stop Lucifer, then it ties-in to the larger "arc," but still exists as its own story - thus one "arc" is finished while the other is forwarded, meaning the episode actually dealt with two arcs; if that daemon was Lucifer, then the larger "arc" is finished, entirely. But the show still goes on, because The Story is that Sam and Dean hunt beasties; finally dealing with a larger storyline does not (have to) end the series - after all, though their mother's death and father's disappearance is what started their joint career as Hunters, the Unknown doesn't simply stop occurring once that single case is solved.

So long as Sam and Dean develop further as characters because of whatever happens, that story - or "arc" - is finished. So, every week they solve a case, a "new arc" has technically been "closed" and the next episode either returns to the larger matter of finding/freeing their dad, defeating Lucifer, etc., or begins a "new arc." Supernatural has had, still has, and always will have more stories to tell, so long as them Winchesters continue to hunt; nothing, above and beyond that, need happen or be in-play for Supernatural to continue.

I haven't seen any of this season's episodes, so some of the following might already have been dealt with, but here are just a few suggestions for storylines I wouldn't mind seeing:

• Hooking back up with that English chick. She was stoopid hot and the episode where she and Dean had to pose as a couple was, by far, the sexiest episode in the show's history. ¹
  
• One of the brothers falling in love - whether with a citizen or a Huntress - so long as she doesn't turn out to be an Agent of the Unknown.
• Dean knocking some chick up.
• Establishing a base of operations from which to work.
• The authorities recognize Sam and Dean as authorities on the paranormal and basically deputize them as the "X-Files" unit.
• Sam goes back to school. This would tie-in with the base of operations establishment idea above.
• The boys organizing a larger cell of Hunters - again, tied-in with the "settling-down" idea.

I mean, I could go on and on. And, by the by, should Mr. Kripke or any of the producers be reading, I am more than willing to join the union to write any and all of these episodes. Just... you know. Just putting that out there.

Anyway, yes, I see your point, I just don't think Supernatural needs a major, overarching... arc aside from hunting Menaces. Once this current storyline is closed, the characters will have grown by way of their experience, and it's off to another Bug Hunt.

---
¹ I cannot frigging believe they killed-off the hot daemoness Sam was all into (literally speaking, a few times... ahem)! She was so good-looking and it brought an entirely new element into the mix.

© C Harris Lynn, 2010

Female Force: Stephenie Meyer

Bluewater Productions and Twilight-inspired retailer, Dazzled by Twilight, announced the production of an exclusive edition of the upcoming release of Female Force Stephenie Meyer.

Dazzled by Twilight, the largest retailer in Forks, Washington, the town where the fictional characters of Stephenie Meyer’ wildly popular Twilight saga takes place, will be the only resource to buy a limited-run, 32-page version of the Meyer’s biography comic featuring a custom, alternate cover. A special edition poster of the cover will also be available through the store.

"Stephenie Meyer's vibrant storytelling has captured our hearts, and the hearts of millions of readers and moviegoers, and we are excited to offer this Dazzled by Twilight Exclusive Edition of Female Force - Stephenie Meyer - direct from the heart of Twilight in Forks, Washington." said Annette Root, the store’s owner.

Female Force: Stephenie Meyer is scheduled for release the same day the movie hits theaters - November 20th. The Dazzled by Twilight edition can only be purchased at the retail location (61 N. Forks Ave, Forks, WA) or Dazzled By Twilight’s online store.

“When I visited Forks, I was really captured by the warmth of the community and how they have embraced the Twilight books,” said Bluewater’s president Darren G. Davis. “I’m very pleased to join forces with Dazzled by Twilight to bring more attention to this great town.”

The comic, written by Ryan Burton (Flying Saucers vs The Earth) examines Meyer’s rise to popularity, her Twilight saga novels, the launching of the successful movie franchise and her future plans. According to Burton, a very recognizable and iconic vampire will serve as the story’s narrator. The title is being drawn by Dave MacNeil and the Dazzled By Twilight cover is painted by Azim Akberali.

Meyer, Named USA Today's "Author of the Year" in 2008, is the first fiction author featured in the Female Force series. The series, to date, has published biographies on such influential women as Hillary Clinton, Michelle Obama, Oprah Winfrey, Sarah Palin and Princess Diana. Female Force offers a broad examination of strong and influential women who are shaping modern history and culture.

© C Harris Lynn, 2009

Twilight's Stephenie Meyer to Get a Double-Shot of Female Force

In time for the November theatrical release of The Twilight Saga: New Moon, Bluewater Productions announced that the best-selling author of The Twilight Saga, Stephenie Meyer, will not only be the focus of a new Female Force biography comic, she will appear in two versions!

Female Force: Stephenie Meyer, scheduled for release right before the movie hits theaters on November 20^th, provides readers two options: a standard, 22-page version and a double-sized collector’s edition, containing a variety of extras!

"We... turn the tables on Meyers, and she becomes the featured protagonist," said Bluewater's president, Darren G. Davis. "And we are going to tell her story in a very fun - respectful - and unique way."

The comic, written by Ryan Burton (Flying Saucers vs. The Earth), examines her rise to popularity, her Twilight Saga novels, the launching of the successful movie franchise, and her future plans. According to Burton, a very recognizable and iconic vampire will serve as the story’s narrator.

"It's an equally strange and great feeling to write about an author of this magnitude, especially in a format that's near and dear to my heart. I think it's brilliant that Stephenie Meyer's story will be read by both fans of her work, and fans of the comic book medium," Burton said.

The alternate 40-page collector's edition will include the history of Forks - the Washington peninsula town where her stories take place - as well as other bonus material not found anywhere else. Female Force: Stephenie Meyer is being drawn by Dave Macneil and Vinnie Tartamella provides the cover art.

Meyer, named USA Today's Author of the Year in 2008, is the first full-time (fiction) author featured in the Female Force series (others have penned books, but have other careers). The series, to date, has published biographies on such influential women as Hillary Clinton, Michelle Obama, Oprah Winfrey, Sarah Palin, and Princess Diana. Female Force offers a broad range of strong and influential women who are shaping modern history and culture.

"Stephenie Meyer has captured the imagination of millions. She has parlayed her stories into a cottage industry and that’s why we felt she was, indeed, a Female Force." Davis added.

"(Also, I’m hooked on the books like everyone else!)"

Davis notes other prominent and influential female authors', business executives', entertainers', journalists', politicians', and activists' biographies are currently in development for the Female Force series.

The monthly comic book series, launched earlier this year, has drawn considerable media attention, including features on CNN, MSNBC, Fox News, and Live with Regis and Kelly. It has also been featured in such periodicals as People, the Los Angeles Times, Chicago Tribune, USA Today, and thousands of blogs and other media outlets, such as The Rundown.

© C Harris Lynn, 2009

Strange, Weird, & Wonderful Seeking Submissions

I post paying markets over on Weird Ink regularly, but as it is dedicated to writing and blogging, I realize some visitors may never bother to check it out. I decided to cross-post this press release here because the magazine is also accepting submissions for artwork.

Strange, Weird, & Wonderful Magazine was founded in 2008 as a free pdf. periodical with equal dedication to writers and readers that share a love of Horror, Fantasy, Sci Fi, and all things Paranormal.

At Strange, Weird, & Wonderful Magazine we believe, "there's talent everywhere," and four times a year, we'll give you 35,000 to 100,000 words of the best fiction and related articles available.

As for writers, authors, & artists we want your best material, because like us, we know our readers expect no less. Everyone that receives Strange, Weird, & Wonderful Magazine has requested it and chances are they will read and view your work. We want stories with depth, breadth, characterization, and plot development. We want images that we can't get out of our mind, even after the pages have all been turned. We want each of you to take pride in knowing that your work will be available alongside the best in your field. Again, we believe talent is everywhere, help us prove it!

We currently pay a flat rate of $25 per fiction piece, and $20 per article. Our rates for artwork are negotiable. Please query first.

Our website is currently under construction: www.strangeweirdandwonderful.bravehost.com or www.strangeweirdandwonderful.com.

Submit to swandwsubmission@aol.com.

© C Harris Lynn, 2008

On Continuity and Comic Books

This here's going to be the last one of the day, folks. I know it's been slow and I apologize for that, but I'm taking it slow now because of this wrist thing and I can only do so much. Still, you've got 2+ years' worth of archives to enjoy and I implore you to do exactly that! I'll be here tomorrow and throughout the rest of the week, so no worries.

Anyway, after the One More Day debacle, a lot has been made of continuity in comics. To be sure, there are a lot of pros and cons to be weighed in both directions (strong continuity vs. none at all), but as a fan and reader, I have to admit, I enjoy continuity. I like to experience the trials and tribulations of these fictional characters, and if nothing ever changes for them, then I might pick up a single issue every few years or so, as opposed to subscribing. In fact, if comic books had no continuity whatsoever, I never would have gotten back into them in the last few years; after I hit about 17-18 or whenever and started getting laid on a somewhat regular basis, unless Frank Miller did a DD/Elektra wedding book, I would have been done. The bi-annual pulling-out of my collection for a short-run read-through would have sufficed for the rest of my entire life - truly!

To this day, the real passion I felt for the genre and hobby is almost never there. The last time I felt it was with GA: Y1 (that looks so bad as an acronym - Green Arrow: Year One is better) and XXXombies - and the latter is something I would have enjoyed, anyway. Nothing else has really - literally - hit me in the pit of my stomach the way comics used to, and just to see if they still could or if the fault lay with me, I have pulled-out the old magazines from time to time and felt that surge of true passion - not nostalgia, not a wistfulness; true, unfettered, unbridled passion for the form and genre - so I know the fault lay with the material, not with me. Hawaiian Dick excites me (stop right there) but until I get more of the run, I can't say for certain; it looks like it may be a return to greatness and I sincerely hope it is, but let's not jump to any conclusions just yet.

So I have been considering the points so many have made on continuity lately and then I ran across my run of the Marvel Handbooks and it hit me all at once: continuity is not the problem. Continuity is not really an issue at all: it's all of the discombobulated continuity.

Iron Man has its own continuity, yet Iron Man within the Avengers has a continuity which is often at-odds with the former. And Iron Man within the context of, say, Spidey's continuity is an absolute mess - and this all leads to overall continuity issues. The real problem is that some creators want strong continuity, while others prefer none, and they tend to fight it out through the titles themselves instead of instituting an overall, storewide policy and sticking to it.

And how you fix this problem is as easy as I am after 4-5 stout beers: institute a generalized continuity and demand all creators stick to the program.

Instead of having all those * - Ed Notes telling us when, exactly, this issue fits between Iron Man's recent Power Pack and Civil War exploits and whatever has been happening the last 20 issues, why not just rewrite the content to provide the readers with the general idea that it happened somewhere within this general timeframe?

Yes, I am a comic book writer and artist, so I know exactly how frustrating and time-consuming rewriting anything in the form is, but hear me out. I am not suggesting scrapping four pages and rewriting an entire sequence just to "fit it in" - why would you have to do that unless you actually really screwed-up and should have to? (that squeaking was the simultaneous wincing of artists throughout Comicdom, as they considered the possibility of working for me as an editor) - why not just redo the dialogue to suggest something and leave it up to the reader to fill-in his own No-Prize continuity?

Great example: "Haven't you tangled with n before, Iron Man?" He doesn't even have to respond; that the secondary, speaking character mentions the fact suggests a generalized continuity that exists throughout the universe - not just within the title and not just to be retconned later. Voila!

"But it isn't always that simple, MD!"

Then you screwed-up and you should rework the sequence and scrap the entire story, if that's the case. It's your effing job; deal with it. Three weeks to print? Pull out the "Elseworlds" logo and run the story with the *We'll be back next month! - Ed. Note you wouldn't have to be writing if you hadn't screwed-up! (That very loud gasp was the combined efforts of said creators throughout Comicdom as they just realized that I may very well be an editor one day.)

Go with the generalities and leave the details to be filled-in by the fans; this keeps continuity while still allowing a lot of room for play.

Further, stop with all of the inane (and very forced) parallel continuities. Why are there so many SAME characters running around, doing SAME things? Do we really need a Lana Lang and a Lois Lane (we do on Smallville - those young lasses are HOT!)? Note that most of these faux-pas arise from - what else - retcons and continuity problems, anyway (Carol Danvers in every form; Madelyne Pryor and Jean Grey and Dark Phoenix and Phoenix and Phoenix II and...). All of these people get killed, then a doppleganger shows up in their place, then is retconned, then appears 50 issues later as a real doppleganger and no one questions where the hell she's been for the last 10 years nor why she's suddenly returned...

Superheroes are supposed to comprise about ¹/₁₀^th of the world's population, so if they need a PI agency, wouldn't they already know about Dakota North or Felicia Hardy's operations? And wouldn't they probably go with one or the other? Why are there so many characters with the same powers, the same basic personalities, the same basic appearance? You want to ramp-up the drama here and there, why not "bring back" about half the rip-off characters that fill the MU Handbooks and wack 'em!?

It's such a dumbing-down of the form and such a slap in the face to the audience... I would stand up in my living room and cheer if I read one character walk past another and say, "Weren't you retconned? Where the hell have you been?" Apparently, I'm the only fanboy who would question his ex-girlfriend's sudden reappearance some four years later - particularly when I walk in to find her folding my clothes as though nothing ever happened.

I propose - because it's going to happen anyway, so I'm proposing on the back-end to take credit for it later - calling this whole matter "The Quesada Factor."

Have Wolvie walk by Maddie Pryor and go, "Weren't you Quesadaed? Where the hell have you been?"

© C Harris Lynn, 2008

Series Greenlighted Without Pilot Script

Talk about a weird situation:

FOX has greenlighted a new series, Inseparable, from actor-turned-producer, Shaun Cassidy, and begun casting... without a script! That's right: the writers' strike has killed pilot season, but FOX decided to get a jump on things once it is over by moving forward without the script.

Cassidy developed the project for CBS a few years ago, but when they passed on it, it languished. He revived the idea and sold it to FOX mere months before the strike began. While a pilot script has been drafted, there is no way it can begin filming until Cassidy returns from strike. This way, when the strike is over, the show will literally already be in production.

This is one of those weird industry things many people on the outside don't know and one I guess I should cover over to Weird Ink, but I'll explain it briefly here: the actors cast for this show will be goofing-off a lot. See, they will be under contract to this show, so they can't take another job in the meantime, but since it isn't actively filming, they have to basically be "on-call." This is similar to when a writer submits a story to a magazine that does not allow multiple submissions; you have to wait until the magazine either accepts or rejects the manuscript before you can send it out again. This process can take months and months, which is why so many of us have fought this practice so vigorously. The generally agreed-upon standard now is 90 days; if you have not received a decision from the original magazine to which you sent your mss within 90 days, you can begin submitting it to other venues. Check your contracts carefully though; not all sources play by these "accepted" rules.

Leno and O'Brien to Return, Sans Writers

Both Jay Leno and Conan O'Brien will return with new episodes January 2^nd after two months of repeats thanks to the ongoing writers' strike. Neither will have on-staff writers, so it is unclear how the formats will be different from normal - especially since neither has ever been all that funny.

Conan has his moments, but his show owes much to his predecessor's (David Letterman's), in that the brunt of the "humor" is intentionally stupid; Conan can be funny, but his show is generally just non-sensical. It doesn't matter that it is purposely so; being intentionally stupid is not necessarily funny: look at Adam Sandler.

Jay Leno has never been funny.

Speaking of David Letterman, his show may return soon, as his production company, Worldwide Pants, is set for independent negotiations with the WGA. If these negotiations pan-out, his may be the first late-night talk show to return with new episodes and comedy writers. E! Network's Chelsea Lately has continued producing new shows during the strike, and the fair Ms. Chandler is getting funnier with each episode.

TV, Sequential Art, and Scripting

A series of serendipitous events inspired me to post something earlier this week, but I've been so torn as to exactly where to post it that I've kept from doing so. But like any good idea, it has refused to go away and I've thought about it at least once a day since it occurred to me, so I figured I'd go on and lay it out real quick:

I was reading the past two months' Daredevil because last month started a new 5-issue arc and I was going to wait until I got all 5 issues and read them all back-to-back (I'm not a great fan of antici...), but DD is such a great read that when I couldn't sleep, I went on and read the two I already have. And about halfway through, the pacing comes to a complete halt as we hit an exterior wideshot, where a new scene is initiated, changing the tone and signaling the beginning of the story itself - the real start of the first act, basically. (...pation.)

It was so well executed that I wanted to bring it up and discuss the whole thing - pacing, setting, changing locations, initiating new scenes - everything that made it so successful. The TV was on and I don't remember what I was watching, but when I looked up, they used the same technique! And I had been thinking that I was going to mention that the way it is used in comics is the same way it's used in television already. When I saw that, I started wondering if the idea would be better served here or over to Weird Ink.

Then I read a friend's blog, where he was going-off about how he basically thought himself superior to those of us who watch TV because he didn't get into the whole American Idol or Dancing with the Stars routine, etc., etc. And I hear this sort of shit a lot - a lot. While he was being somewhat humorous about the whole thing, you could tell that he truly believed what he was saying, and a lot of self-proclaimed intellectuals feel similarly. I really wanted to respond that, excepting the reality TV shows (for which he reserved the brunt of his loathing), these shows were scripted, too! Someone had to write these shows in order for them to be made, so was he then discounting the relevance of the written script? Or dismissing acting, directing, or any of the other creative posts TV employs in its production? But, again, he was mainly cheesing on the reality TV phenomena and I tend to agree that it's beneath most thinking people.

ANYway, film - both movies and TV - are just as much sequential in nature as comics and animation, and just like those mediums, it depends on how well it's done as to whether or not one calls it "Art." Still, when it comes to scripting, and working from a script (whether as an actor, director, illustrator, or what have you), the methods are the same.

Having gotten that out of the way, then surf on over to Weird Ink, where I explain the Establishing Shot and how it works in sequential art.

That's Life

Life Magazine's last issue will hit stands tomorrow.

Started as a photography magazine back in 1883, Life has gone through many changes throughout its run, but publisher, Time, Inc., has decided to pull the plug on the print version. It will still be available online, however.

Time, Inc. garnered the name and magazine in 1936 for $92,000.

Don't forget to check out my writing blog, Weird Ink, for all sorts of writing tips, tricks, advice, markets, and more.

The Days Flu By...

The 2006 Winter Edition of The Weirding has been somewhat postponed... YES, AGAIN!

Details can be found on the Oddblog, but the long and short of it is that I was stricken with the flu about 2-3 weeks back and I didn't take very good care of myself, so it only got worse and is still hanging around. Add to this the whole holiday bit and the fact that I must go and visit this year (some of my relatives simply won't be around next year -- at the very least, they won't be able to participate -- and I have to see them), and you have an idea of where we're at.

Basically, some of the features will be up by Christmas day (Monday) and the rest will be linked-up throughout the week and probably into the New Year. After that, only the Oddblog will be addended to on a continuing basis between editions; editing, web development, and small additions (particularly to the S.A.F.E. RPG System) will also be made in-between issues, but major updates and changes will follow a quarterly schedule.

Thanks so much for your support and understanding, and we sincerely apologize for the inconvenience, but we'd rather produce quality than push a half-assed product out the door in order to meet a deadline; that is, in fact, the difference between "product" and what we are doing.

If you simply must blame someone, I'm the guy; I am the sole contributor of original content this issue, as well as the only designer, and I got The Crud and didn't act intelligently or quickly enough to stave it off before it got to where I just couldn't perform my daily functions.

I would like to give out a particularly loud Thank You to our own IntricateGirl for help with edits and web development on this issue and hopefully more in the future. While I'm at it, let me also reiterate my eternal gratefulness to Mayren for her continued and very welcome contributions here, which have allowed me the time I needed to not finish the website. And let us not forget Sean Lovett... even though I have no idea where he's gotten off to as late...

Please don't forget their other blogs and efforts, which they are sometimes a bit reticent to inform you of (why, I do not know).

And yes, readers here will get the Submissions Guidelines before they are made available on the site -- probably later this weekend -- but be aware that the 2007 Spring Edition will not be available until March/April of next year, so there's no real need to rush and have your submission tied-up for that long if you want to submit it elsewhere. We will accept multiple submissions (you can submit the same content to us, as well as other publishing markets, concurrently), but once the piece is accepted, the contract will not allow you to publish it elsewhere and we don't pay until publication. For those of you who are not familiar with how the slicks and rags handle it, this is pretty standard. Details will follow soon.