The Walking Dead | C h a z z W r i t e s . c o m

02/19/2022 • 5:47 PM 2

All of Us Are Wondering

The pandemic has altered our perceptions of what makes society’s gears turn. At their wit’s end, many people are exhausted of the fight against COVID-19. Not all changes are bad. I think the Great Resignation is a hopeful indicator that we’ll see more activism by labor in the future. However, the pandemic has also laid bare ignorance and institutional vulnerabilities. Watching the occupation of Ottawa, multiple failures have given birth to something ugly in the zeitgeist. I guess that ugly subtext was always there, but now that it’s out in the open, I wonder how these grotesqueries will change what we create in the next few years.

In my 20s, a friend often called me Mr. Cynical. After witnessing how a large contingent prizes convenience over the safety of others, I wasn’t cynical enough. A friend once insisted that people would come together in an emergency. Most will answer that call, sure. Others are too selfish to protect the vulnerable. I was cynical, but I did have higher hopes for us. George Carlin nailed it when he said, “Inside every cynical person, there is a disappointed idealist.”

What does this mean for writers and readers now?

I have a new book out, and like Endemic, the world at large has influenced my writing.

Our Alien Hours is about how humans react to the arrival of interstellar conquistadors. My editor made an interesting comment. “This is an unusual move for you. It doesn’t offer sunshine and lollipops.” She has a point. I always offer a bit of hope at the end of the journey and there are usually lots of jokes in the mix of action, suspense, and adventure. Always, that is, until Our Alien Hours. Offering too rosy a vision of alien invaders didn’t ring true to the scenario I posed. Resisting attackers who have the technology to cross the galaxy sounded so optimistic it was silly. Getting grim made more sense in this case. It’s that feeling you get when you watch the Korean sensation, All of Us Are Dead: Oh, no! Not her, too!

(Hint: The first episode of All of Us Are Dead is a hurdle, but after that, the series really picks up. They take the zombie genre in unusual directions that will be familiar to lovers of This Plague of Days and AFTER Life. I gotta love that.)

You’ve seen the memes. Does future lit have to be dumber?

“Zombie books of the future must have a scene where people run toward the zombies to get bit as they proclaim it’s all a hoax.” And, “We owe horror movie writers an apology. When the killer is breaking down the front door, a certain percentage of victims will definitely run upstairs instead of out the back door.” Heck, the human inclination to wish our problems away is the whole point of the Oscar-nominated Don’t Look Up! Given all we’ve seen, it’s hard to shake the feeling that plenty of idiots are in charge, or at least our leaders are willing to cave to the mob’s whims.

We want our fiction to ring true, but when there’s no one to cheer for, I’m out. I just don’t care for that at all. As writers, we’re going to have to strike a balance even as we endeavor to provide authenticity and a context of verisimilitude.

Here’s how one franchise failed in my estimation:

I find The Walking Dead‘s tone so relentlessly grim that survival seems pointless. I abandoned watching it because it seemed like so much rinse and repeat. It left me wondering why the survivors were fighting so hard to live since doing so seemed so joyless. There is a follow-up to TWD. It’s basically, TWD, The Next Generation. I couldn’t detect any fun to be had in that enterprise, either.

Train to Busan is brilliant, and the staging makes for an awe-inspiring film. However, if you stretched it over eleven seasons like TWD, it would surely wear out its welcome, too.

What are our options as writers?

Well, we could give in to despair, steer into the skid, and admit that the inspiring utopian Star Trek future we dreamed is beyond our reach. I don’t think that’s the way to go, though. Of course, in horror, readers demand the icy finger of grim reality delivering shivers down their spines. Those readers aren’t looking for Margaret Atwood-level character development from the villain. The maniac who dips his victims in hot wax isn’t that complex or worth knowing beyond a gesture toward a bad childhood. We’re in the entertainment business and that market wants to know how the victims react. Horror villains from Jason to zombies to vampires are rarely real characters. Instead, they usually represent Mortality itself as a force of nature. The entertainment value is measured differently in that genre. We don’t need to know the complexities behind the killer clown in It. We resonate with the kids he drags into the sewers.

Note to all fiction writers about educating readers versus entertaining them! Please, whatever you write, set out to entertain first. If your primary goal at the keyboard is to educate, stick to writing textbooks. Thanks!

Now, where were we?

Next option:

Balance out the horrors of grim reality with happy escapism. Write more romances where quirky people somehow get married to their frenemy accidentally. Ooh, the storm is here, the bridge is out, and golly gee! This romantic little B&B only has one room left and look at that queen-size bed! Romance has always been the most reliable powerhouse of genres. To get us past the pandemic so we finally arrive intact in the New Roaring ’20s, writing fiction that looks the other way is a sure bet. A hundred years from now, if there are any historians left, they won’t be combing old romances for clues to how we dealt with COVID-19. And that’s a good thing. I’m all for getting your comfort wherever you can find it.

Don’t forget hopepunk. It’s not a big genre, probably because it is so difficult to execute with authenticity. Go this way and who knows? To counter the difficulties of the pandemic, it could be the genre that explodes in the next couple of years.

Or, we could reflect reality.

Remember The War of the Worlds, the Tom Cruise movie from 2005? It’s an alien invasion story, but it’s really about how war affects refugees. Both the film and the book explore our foibles, failures, and vulnerabilities. Survival is the goal, but the journey rotates around heroism, family, commitment, and communication.

In Our Alien Hours, I didn’t look away from doom. The book is about communicating the experience of facing death and danger. Heroes and fools both make interesting choices. The phrase “the human condition” has always sounded empty to me, but after writing Our Alien Hours, that’s not true anymore. The outcome may sound grim, but the trip offers noble and true moments as we face mortality together.

My next book will offer more hope for the human race, but it won’t get there dishonestly. Salvation must be earned. I hope by the time I publish my next book, we’ll be at the other end of this pandemic. We have a long way to go yet.

~ Our Alien Hours just launched. For a gritty but not gory alien invasion, you can pick it up here.

For links to all my books, head over to my author page at AllThatChazz.com.

Filed under: pandemic, writing, alien invasion, alien invasion stories, All of Us Are Dead, books, future lit, Our Alien Hours, publishing, Robert Chazz Chute, Science Fiction, self-publishing, The Walking Dead, Train to Busan, War of the Worlds, writing, zombie genre, zombies

02/26/2014 • 7:07 PM 2

“Writing a book by committee is a great idea in every way!” said everyone but the writer.

Imagine all the people from all the classes you’ve ever taken in one room. Each group has its own character, but today we’re going to focus on the outliers and oddball characters with whom you’ve gone to school. I’m not talking about those who stand out for their smarts and sweetness. I’m talking about the girl who, just before the last bell rang, reminded the teacher about extra homework for the class just before the long weekend. Remember the annoying guy who always had another question or inane comment to add long after a subject was beaten to death? And don’t forget the person who was really stupid, but for some reason thought he should speak a lot. Worse, he was smug about it.

Now put all those people you didn’t like in school and put them in charge of your work in progress.

That pressure behind your eardrums is your brain trying to escape.

This scenario isn’t entirely theoretical.

Recently, I listened to two different podcasts about two of the most successful television shows that exist. These were true fans…but:

1. On several points, they seemed determined to be confused about plot points even though the answers were readily available on screen, if only they’d looked.

2. Several weenies missed subtleties that weren’t really that subtle. It’s not the fault of the show’s writers if you aren’t paying attention. If you’re missing something, stop tweeting while you watch The Walking Dead.

3. Someone objected to issues within the shows that are non-issues. e.g. Is Leonard’s mom on The Big Bang Theory really a licensed psychiatrist? If true, she’s terrible! Answer: it’s a comedy and you aren’t supposed to like that character and it’s a comedy and it’s a comedy and oh, for the love of Thor! Stop!

4. These dedicated amateurs had one or two good suggestions (I’m guessing by accident.) The rest of their requests for changes were objectively terrible, like dumping beloved characters that made the shows work, for instance.

There’s a reason we don’t write by committee.

It’s good that writing is a lonely job. You don’t get book ideas and plot points from other people. The elements develop organically, rising up from character and logic and by answering the question, “What’s next?” And then answering it again and again until you stop writing or die. The writing grows from the act of writing.

Input is helpful after you’ve done the work, sure, but don’t even ask a trusted friend what to do when you’re still in the second draft. He doesn’t know. How can he? You wouldn’t ask if you should turn left or right when all he knows is that you’re somewhere in New Mexico.

“Is this the right direction? Should the Mom die in the middle of the book?” A good friend will tell you to keep writing and hang up on you so you can get back to it. Finish something before you show it to anyone. You’re in command. Steer your ship solo. Lots of people will have their say later.

Everyone has an opinion on everything, even more so when they know less about the subject.

Once upon a time at a writing conference, an author asked me about the book I was writing. I gave him the broad strokes and he said, without hesitation, that my second act was “wrong”. If there’s a high school suicide in the first act, then the main character has to be torn up about it.

“Not if he hated the suicidal kid’s guts to begin with,” I replied.

“Dude!” he said without a microbe of doubt, “High school kids don’t act that way. They shouldn’t act that way!”

“In my book they do.”

Summarily dismissed, I slunk away and have since dedicated my life to hating Stephen King with the fiery heat of a thousand suns. (No! I’m kidding! The offending author was not Stephen King. I love Steve! Him, I would have believed.)

Here’s the crux:

There are few rules in writing, but one I’m sure of is this, “If it plays, it plays.” You can make anything work in context. You can sell anything if the story sells it.

My luckless hit man is a funny guy in big trouble.

People doubted me, but I created a sympathetic hit man named Jesus (in second-person throughout, no less.) I create a lot of anti-heroes and no, I don’t care if readers love and agree with all my characters. Loving and agreeing with characters is overrated. Interesting is more important than loving.

Many of my stories don’t yield an easy happy ending but give unexpected, yet satisfying endings instead. I rarely do happily ever after, but you’ll often find transcendence there.

My main character in This Plague of Days is on the autistic spectrum and hardly ever speaks (and when he does, it’s often in Latin phrases.) When Doubting Tommy asks, “How the heck are you going to make that work?”, the answer is, “Watch me.”

My mission isn’t to write something easy that entertains. My mission is to write something different that entertains. Too much consultation, especially early on, would squelch my process. We don’t write by committee because committees are how most things don’t get done. Committees are where good ideas go to die. Committees are where you’ll find three reasonable, intelligent and helpful people compromising with one insane fascist to arrive at something closer to crazy than good.

Choose your beta readers, editors and allies carefully and don’t show them anything too early in your process. The book is only yours as long as you’re writing it. After that, it goes out to the world and it’s up to thousands of readers to decide if your vision pleases them.

Make sure that, whatever you write, it pleases you.

~ The latest All That Chazz podcast is up at AllThatChazz.com. You’ll also find helpful affiliate links to my books there so you can buy them, which is quite a happy coincidence, isn’t it? Thanks. For a topic sort of related to this one, you can also get the latest update on Season 3 of This Plague of Days here.

Filed under: All That Chazz, publishing, Writers, writing tips, All That Chazz, beta readers, characters, crime novels, ebooks, editors, horror, main character, opinions, plotting, Podcast, publishing team, readers, Stephen King, suspence, television, The Big Bang Theory, The Walking Dead, This Plague of Days, vampires, vision, writers, writing, writing advice, writing books, writing process, zombies

10/08/2013 • 10:19 PM 10

Are readers changing and what does that mean to writers?

A friend of mine is an old-school, English major sort of guy. He was extolling the virtues of literature as we once knew it: contemplative novels; long treatises on the nature of the human condition; and “serious” novels chosen by a small cabal of unknown gatekeepers. His eyes gleamed for the nostalgia of MFA glories, tiny lit mag aspirations and the New York Times bestseller lists of old world, analog publishing.

This is the sort of conversation that takes me places I didn’t expect to go. Only in talking it out, and writing it out here, have I discovered and understood what I think about New versus Old writing, reading and publishing.

The “issue” is, have readers’ tastes changed?

All generalizations weaken questions and answers, but there’s validity waiting down there in the dark. Let’s delve.

Pre-WWII, many schools in the first world taught Latin and Greek. Long recitations of poetry were valued. My mom was an excellent example of that brand of scholarship. Two days before she died, riddled with cancer and taken low by the drugs meant to ease her pain, she recited, “The Village Blacksmith” by Henry Wadsworth Longfellow. My father listened, tears in his eyes, as her voice came, suddenly strong. “Under the spreading chestnut tree, the village smithy stands…”

Latin’s gone and Greek’s forgotten, unless you’re Greek. Rote recitation has ebbed. Penmanship as a skill is dismissed as obsolete. With the economy what it is and university fees rising, majoring in English is quite a luxury. I’m sure there aren’t as many women’s studies or Medieval studies programs as there were when I was in university. There’s a greater emphasis on job prep now. If you’re some kind of doctor or engineer, you can still make university pay. It seems we have less time to think about big issues, though. Like what happens when the doctor fails and what awaits us in the Abyss?

I guess, for that, there’s idiotic YouTube distractions and warm, fuzzy Facebook memes.

The rest is up to us, the writers.

Some curricula we’ll miss and others we’re glad to let go.

I feel very lucky to have received the one course in university I relished most. The Foundation Year Program at the University of King’s College was the history of philosophy and the philosophy of history. Best course ever. They called it a “programme” because they were the sort of Canadians who aspired to reek of British universities’ plummy pretension. Those Brit professors they emulated would look on us as snow-shoed colonials, but where else in Canada could you ask “what is the soul” and watch duelling professors fight over the answer for half an hour?

It was a great opportunity. Job skills were approached somewhat tangentially for many of us. We don’t know how to weld or split the genes for Monsanto that will kill us. With the death of newspapers, our journalism degrees are largely quaint and useless, but damn, we’re great conversationalists.

**But that’s more nostalgia. What about now?**

Many high school students and their families are seriously challenging the value of a university degree given that no jobs are waiting. Add in the costs of paying off that bill for most of the rest of their lives. Or never.

University fees have put on a lot of weight and are suddenly much less sexy. As the middle class shrinks down to the working poor, the dream marriage of career and long, happy retirement is doomed.

The generations who dressed up for air travel and studied Greek laid the groundwork and built the infrastructure for our modern civilization. They were sharp enough to use slide rules to deliver humans to the moon and back and dumb enough to invent the atomic bomb.

From what I’ve observed, “kids today” are probably up for the great and bad challenges, too. However, our politicians suck and so bridges and highways crumble and kids starve.

All civilizations that manage to rise, fall. We’re on the slide. As writers, we can help slow the inevitable, discourage idiots from hastening the collapse and/or entertain everybody on the way down.

What are the “classics” going to be for students now?

To Kill a Mockingbird? The Old Man and the Sea? Romeo and Juliet? Goethe?

I don’t think so. What students across North America and beyond will have in common as adults are these new classics: Breaking Bad, The Walking Dead, and Glee. These are our culture’s touchstones at the moment.

And get used to a much more transient definition of “classic”.

Lucy crying at Desi for a job at the club is classic comedy for today’s waiting-to-die-on-a-ventilator-in-a-few-minutes generation.

For us? I’m not sure they make funny sit-coms anymore. And I don’t think I’ll be in an old age home some day screaming deafly, “Anybody remember that Frasier episode where Niles had heart surgery?”

This year’s college freshmen aren’t talking about their common love of Tolstoy. Take any pair of well-educated, first year roommates and, if and when they talk culture, they’ll be talking about the good old days of The Sopranos and The Wire. They’ll speak of Hollywood all the way back one decade, when the movie machine didn’t suck like Dyson vacuum cleaners. That’s if they aren’t talking sports.

Pop culture, not Euclid, is our commonality now. When you’re looking to make new friends on a bus trip, don’t ask what your sexy seat-mate loved about Dante’s Inferno. (Trust me, I tried it. It’s not the touchstone I’d hoped for.)

The habit of reading is established (or not) in our early years or in jail. But it’s not all on parents and educators and the prison industry. The market has changed, too. Our attention is fractured by so many choices. Writers are competing with Grand Theft Auto and free Internet porn. Talk about quixotic aspirations!

What does this mean to writers? I’ll tell you what I told my friend about writing and publishing:

1. Authors are expected to produce more books faster to gain readerships and hold them.

2. Series and serials are in. Writing books like a TV season (as someone complained of This Plague of Days recently) is in. No, I mean to say it’s IN! As in, that’s what I meant to do!

3. Pop culture references are in. They light up the cozy familiarity cells of the brain. Trying to make books “eternal” with zero pop references? Out.

4. More genre mash-ups are in. I sure didn’t see zombie erotica coming, so slice that mash as thin as you want. Keywords are relevant. Bookshelf labels are much less relevant.

5. Pulp. We can push back the walls of what readers expect from pulp, too. The Cuban assassin in my crime novels is politically aware and has a lot to say about drug addiction. My latest work tackles global warming, US foreign policy and the nature of God, though the recipe’s nutrients are hidden in the neuro-fudge cake of zombies versus vampires.

6. Niches are in. Appealing to a deep niche is achievable. Trying to appeal to wide audiences is out, or at least it’s something that happens to you. It’s probably not something you can make happen.

7. Ebooks are here to stay. Seems obvious, but there’s still some resistance from publishers on the remote island of Manhattan who don’t know the war is over.

8. Shorter books are in. I once thought that meant short stories are coming back, but by my sales stats, either I was wrong then or I’m impatient now. The economics and timelines of more books, faster, demand shorter books.

9. Intermediators will return with honor. The more books you write, the more you wish you had help. This week I lost four hours of writing to formatting a print book. We, the relentless writers and publishers, need help. We’ll be looking for more minions and partners, though, not publishers. After months of sixteen hour days, I am exhausted. Viva la outsourcing!

10. Hybrid authorship is becoming more appealing, as long as we retain our e-rights and audio rights. Once the Big Five stop chiseling their contracts in stone, call me.

11. Book prices will still be all over the place, charging what the market will bear.

12. Jonathan Franzen will still complain about social media comprising the end of the world, but Huffington Post will give up publishing his rants. The Amish aren’t Huffpo‘s demographic. The irony of complaining about social media on the Internet will swallow itself whole and disappear in a flash of yin quantum, pixelated justice, balancing out Franzen’s Neo-Luddite yang. Gee, I hope media starts ignoring Anne Coulter sometime soon, too.

13. Blog posts like this one won’t survive. Too Long To Read and too snooty by half. Unless you’re deep in my niche, who’s got the time for these presumptuous pronouncements about my betters?

Relax.

Breaking Bad taught as much or more about the dangers of hubris than any Greek tragedy.

Everyone’s reflex to hate the future is just resistance to change away from the comfortable. Nostalgia is not thinking. It supplants thinking. It’s an old blanket that’s getting ratty.

We will adapt until the grid collapses and we start eating rats and insects to survive. Then we’ll have more time to devote to those deep conversations we’re not having. Those end of the world stories around campfires are going to be awesome.

~ Find out more about my books and podcasts at AllThatChazz.com and ThisPlagueOfDays.com. Defy expectations and love me for me, because I miss Heavy D.