Crisis Weekly nineteen

Crisis Weekly #19.

This one's another creative departure.  When I began considering writing it as something other than the usual narrative, I wanted to go with eight separate perspectives, but then I wondered if it would be more interesting, and more impactful, if it followed a single person as they aged.

The story itself takes the place of a huge moment that will otherwise not be depicted (two more installments, after all, with two other big things left to do), which I thought I could get away with, since the character who dies already had a big fight earlier, and I didn't really want to cover the same narrative ground.  The moments that stick out for me, in this thing, are the ones where I took risks, where I allowed myself to deviate, to try something different.  I think if this were a comic book, that's what would stand out for readers, too. 

This is the third installment this week, although technically only the second, as I delayed last week's for one of them.  If you remember, I skipped a week at Thanksgiving, so I'm really just catching up.  The first time I wrote a double-length script I told myself that's what I was doing, but as far as having the material for something that was supposed to be weekly, as advertised in the title, there really ought to have been, on average, enough scripts to cover every week.  So now there are, and so we're back on track.

Not that you cared.

Crisis Weekly seventeen and eighteen...

Because I had a three-day weekend, and the sister and niece were away, I decided to tackle Crisis Weekly a bit differently, with #17 and #18 both available today.

It's actually kind of funny, because the latter entry was always going to be my third and final double-length entry.  To tackle writing it on the same day as writing another one meant writing twenty-four pages of comic book script in one day, tripling what I'd done nearly every other entry.  I happened to have the time, and narratively the entries easily segued into each other, and perhaps even benefited from being written together. 

Anyway, it's always nice to have a little extra writing time, any time at all to myself, any extended length of time.  I may not always fill that time with writing, but it gives me a lot of room to play with, and hopefully I tend to use it wisely, even though I always want to do more and there always is more to do, so much I want to accomplish...

That leaves three entries to go, and then it's off to other projects.  Since I knocked out a script early in the week, it leaves me wondering if I will actually write four scripts worth of pages this week, if I'll go back on the clock on Saturday morning, as regularly scheduled. 

Ah, we'll see.

Crisis Weekly the sixteenth, Sapo Saga

This week is sort of an ode to Robin: Son of Batman, a short-lived spinoff of Batman & Robin, the New 52 iteration by Peter Tomasi and Patrick Gleason, which I loved and became one of my all-time favorite runs.  Gleason tackled Robin on his own, and as you can see from that cover gave Damian Wayne a unique supporting cast, the daughter of someone he'd actually killed, and a humungous Man-Bat named Goliath.

Yesterday my novella Sapo Saga was in the spotlight!  Thanks to its being written specifically for the A-to-Z Challenge back in 2016, it was eligible for a special book tour that's going on at the moment.  Jemima Pett featured Sapo Saga on her blog yesterday, and also happened to give the book a glowing review!  You can read it here.

Crisis Weekly, the fifteenth.

Crisis Weekly #15.

Holy crap!  I've been waiting to write the last line of dialogue in this one for months!  That's one of the joys of writing any story, knowing what's coming up and then finally getting to write it.  In that way, the writer's journey isn't so different from the reader's, they just get to get there first.

The whole thing will be explained later, but hopefully some of the clues will start to fall into place, and seem less like clues and more like bludgeons.  I once remarked on someone else's blog that I haven't really tried writing mysteries, but mysteries can come in all kinds of shapes.  We just tend to think of them almost exclusively as detective stories.  But they aren't always.  The Harry Potter books were, essentially, mysteries, so it was probably hugely natural for J.K. Rowling to write more traditional mysteries in the Cormoran Strike series, which I again evoke in this installment by returning the focus to Bloodwynd and his amputated leg.  But there's a lot more in it, too!  There's also a line of dialogue from one of the characters who hasn't really been featured a lot, but nonetheless has been playing a key role, and finally we get to see more of what that is, and again it's inspired by Rowling, something I wished she had done rather than what she did, in this instance.  But more on that later.

I love it when a plan comes together.