Bob Defendi's Blog, page 6

Death by Cliché 4 In the Can and FanX and Other Cons

At almost 2 am Thursday morning, I finished Death by Cliché 4 and turned it in to my writer's group. I then took a celebratory lap. I'm sorry, that should read "nap." And by nap, I mean I passed out for five hours. Five hard, hard hours.

So that's done. Thank god. It's over. Put a fork in me. Now I need to get the first submission ready for five. In time for Thursday. It is the Dark and Hungry God. It must be fed. It comes round once a week. Whether I'm ready or not.

Also, Friday we received our schedules for FanX. I'm on three panels. Considering that we have greatly reduced schedules this year, I'm going to consider that a lot.

My schedule is as follows:

Friday:

Build A Story: Professional Storytellers Create from Scratch :: 151G

Friday March 17, 2017 :: 2:00 pm to 3:00 pm

Saturday:

5:00 pm

Choose Your Own Apocalypse: Dragons vs. Undead vs. Elementals :: 151G

Saturday March 18, 2017 :: 5:00 pm to 6:00 pm

7:00 pm

The Art of Horror: Why People Loved to be Scared :: 151G

Saturday March 18, 2017 :: 7:00 pm to 8:00 pm

Before that, I'll be speaking briefly at SaltCon. Just two panels, this Friday.

Also, I believe I agreed to add a new con this week at Weber in June. I don't have a lot of details on that one yet. I believe it's new. So it was a weekend of convention news.

I don't have much else. My brain is still spinning. I'm putting off my next big rewrite of DbC 3. I don't wanna.

Aside from DbC 4, just odds and ends. Talk to you next week.

This Blog Title Intentionally Not Funny

So. This week we held Life, the Universe, and Everything (LTUE), the academic symposium for science fiction and fantasy writers. We laughed. We cried. There was likely a knife fight over Keynesian Economics. I'm not sure, I was in the Green Room singing Hamilton, insinuating that the movie The Accountant was based on the life of Larry Correia, and looking for a spoon so I could do a proper koala bear impersonation. Occasionally, I would emerge, bleary-eyed, to do a panel.

On one such panel, a panel I suspect that I actually pitched, we discussed the secrets of writing humor. The panel called "I'm in it for the laughs" (Which, if I pitched, was probably supposed to be called "This Panel Title Intentionally Not Funny"), involved Michaelbrent Collings, Frank Morin, Michelle Witte, and myself pretending really hard that we know how humor works. Frank Morin was moderating, so he was the one who had to do the least amount of lying. However, I made a solemn oath in that panel, and I take such oaths seriously, so I'm fulfilling it now.

You see, I had big intentions for this panel. I was going to sit down and catalog all of the major formulas of joke writing. Rule of three. Comic drop. Forced Congruence. All of them. A quick google search had shown no good resource for this, and I thought they should all be in one place. Unfortunately, I also had a demo for the Star Wars RPG to run on Saturday. The Star Wars game was two hours of people counting on me to be entertaining. The list of joke forms, in a panel, would be taking other panelist's time so it could run no longer than five minutes, and it would take much longer than the game's ten hours to prep. My priorities became clear and it just never got done.

Luckily, about five hours before the panel, Howard Tayler mentioned he had a presentation with such a list. This surprised me because I'd asked him for one previously. This shouldn't have surprised me because months or years after I'd asked for that list, when he actually wrote this presentation, he asked me for sections of my book DbC2 to quote inside, so I totally was part of preparing this. But, I've been accused of many things. Observant has never been one of them. Howard sent me the presentation. The day was saved (in passive voice, because Howard was very, very tired).

After reading the list in a staccato, rapid-fire fashion at the end of the panel, about a dozen people looked up with shaking, desperate pens from their attempt to take notes and asked where they could get a copy of that list. I promised I'd make this blog post. Then I promised Howard that he could approve it first. Then he promised to take his giant New Rock sci-fi boot off the small of my back.

So here we are. The list. I won't give a full presentation on each. That's another panel and it's Howard's purview. I'll go a little deeper into Rule of Three, just because that's the one he used my stuff in, so I feel like I'm on comfortable ground there.

Comic Drop

A comic drop is when you take a person of high status and you lower them a peg. Political satire is comic drop in purest form. Comic drop is NOT funny if the person already exists in a low state. That is called "punching down." You can only punch up. As Krusty said on the Simpsons, you can't throw a pie into the face of a schlub. You have to throw the pie at someone with dignity.

Rule of Three

Rule of three shows that things are funny in patterns of threes. Look at my joke about my green room antics, above. The general patter of a rule of three joke is beat, beat, punchline. For this one, I'm going to quote Howard, who goes on to quote the first and second drafts of Death by Cliché 2: The Wrath of Con.

Here’s a snippet of text from Bob Defendi in which a world-class swordswoman is really , really enjoying the carrots in her stew:

"These carrots could make apples jealous. These were the kings of carrots. These carrots could unite the races and bring about world peace. These carrots were to food what the reverse short sword grip was to parrying."

This bit was funny, but it felt like it might be misfiring a bit. As we reviewed it we found that there were four elements, which made the joke seem a little long. Rather than cut anything, we simply reordered the elements, putting the first one last.

"These were the kings of carrots. These carrots could unite the races and bring about world peace. These carrots were to food what the reverse short sword grip was to parrying. These carrots could make apples jealous."

Payload, Then Pause

Payload, Then Pause states that the funniest part of the joke, the punchline, should go as closest to the natural pause as possible. In Howard's example above, I led with the apples line, which he pointed out was actually the funniest analogy. Howard looks for the funniest word in a joke and often rewrites the joke to put that as close to the natural pause as possible.

Recontextualize

Recontextualize is a joke form where the reader believes you're talking about one thing and then you twist the joke at the end. For instance, I often tell people, "I miss you, Jim." "So I'm buying a scope."

Wordplay

The wordplay in its basic form is the pun. In its highest art form, it is the "Who's on First?" routine by Abbot and Costello. Most witty banter falls into wordplay. Half of the stuff dripping from a Joss Whedon script lands here.

Repetition

Repetition is returning to the same joke multiple times, in new and interesting ways. The classic form is the callback, where you revisit an old joke to bring completion, often twice to invoke Rule of Three. A secret about that carrots joke above is that Howard doesn't really love it because of what he wrote there. Howard loves it because it's a running joke that plows relentlessly through that scene, as others are trying to demand that woman's attention. (Howard knows this of course, but it's an example of how one bit falls into multiple joke forms. That one bit hits probably hits every joke form on this list except Double Down and Noises Off.)

Another interesting use of repetition was employed by David Letterman. When he had a huge joke land during his monologues, he'd put that punchline in his pocket for whenever he got in trouble later during the same bit. For instance, I once saw an episode where he said that he saw two men talking, confused, and one of them said (in a hick accent) "Them bats is smart. They use radar." The delivery was perfect and the audience died laughing. For the rest of the monologue, if a joke fell flat, he would stare out into the audience walk way too close to the camera, and say, "Them bats is smart. They use radar." He would instantly have the audience back on his side.

Double Down

Double down is a form of joke where you set up a joke, a second character undercuts or denies it, and instead of backing off, the original character recommits to the joke, but harder. With Howard's permission (and he'll cut this if I don't have it), here is an example bit of dialogue from Schlock Mercenary:

"No other casualties to report, sir."

"Really? What about your arm?"

"I'm currently left-handed."

"Your right arm is missing."

"It's not missing. It's fused to a bulkhead on deck twelve."

Surprising, yet Inevitable

Many jokes will have some aspect of surprising yet inevitable. Like a good story, a joke often catches you off guard with the ending that you should have seen coming, but didn't. Jerry Seinfeld's observational humor was a master of surprising yet inevitable. He would spend entire routines talking about things we spent all day interacting with, but never really considered.

Noises Off

The key to the Noises Off joke, as Howard tells it, is that the pie fight you see in your head is always funnier than the pie fight you see on screen. The setup is that you see or hear two characters describing or commenting on the action without seeing the action itself. Now, Lilo and Stitch had the Noises off line in it, ironically, not in a Noises Off joke. In it, Lilo was on the phone while her house was being attacked and Stitch, the alien superweapon, was trying to save her. In a classic Noises Off joke, we'd get this from the other side of the phone and never see what happened in the house. In the movie, we get it backward, and Lilo hangs up on the person the moment after she delivers news so we only get a hint of the reaction. So while it isn't a true Noises Off scene, it culminates with the most perfect Noises Off line ever written:

"Oh good, my dog found the chainsaw."

Reach Further

Reach Further is a variation of the double down joke form. In double down, a second person interacts with the first. In reach further, the joke teller sets the joke, takes a beat, then takes the joke further on his or her own. Here's the example Howard used from Jim Gaffigan, and I love it too much to find another:

“Growing up my parents had fine china you couldn’t even put in the dishwasher. ‘Don’t get that wet, you need to clean it with a kitten.’”

Quite the reach. And then? He doubles down.

“‘It needs to be a white kitten’”

Forced Congruence

I will end this post the same way Howard ended his presentation. With forced congruence, and perhaps the greatest line of comedy ever written. It is self-explanatory:

“The ships hung in the sky in much the same way that bricks don't.”

—Douglas Adams, The Hitchhikers Guide to the Galaxy

DbC 2 Turned In and LTUE

I set myself a goal of editing a quarter of DbC 2 each night until it was finished. When you're doing the actual final proof it's not that hard to do sixty pages in an evening. Often you go twelve pages without an edit, and when you get there it's either a comment that left for the copy editor so he wouldn't change something or a minor change like a comma. About three times in an evening I would need to make a real change.

Anyway, Thursday and Friday I'm not actually home, so I finished that Saturday and submitted it. I expect word any moment that they received it. (Monday morning edit: word received). So that's put to bed. Now I just need my audio guy to finish his studio so we can begin the audiobook.

Meanwhile, I've been prepping for Life, the Universe, and Everything, a local academic symposium. They've asked me to run a game demo and I've chosen to run a Star Wars adventure for Fantasy Flight Game's current RPG. I've modeled the base structure of their beginner sets. Friday night I ran it for my game group. We went long, but about an hour. So on the day of, I'll need to either cut or come up with an alternate plan. Right now, I intend to poll the group at the beginning and ask them if they want the full version of the adventure or a stripped down version. If they want the stripped down version, I'll heavily edit two skill-intensive encounters that eat up a lot of table time, and possibly cut a redundant encounter which mainly teaches initiative and the edition of a second range band. If they want the full version, we'll run it as is, and see about moving to the game room when our time in the demo room expires. It will mainly depend on if they want to devote three hours to the game or just the two.

Other than that, I'm probably moderating a panel or two. I should probably look into that.

All right. Obviously, I know I'm moderating some panels. In fact, one of the panels I asked to be removed as moderator. Usually, I love moderating, but I feel it necessary to talk less when I moderate and I might have the strongest subject credentials on that panel, so I decided to head that one off early. I have often ended up at panels, seen that one of the biggest authorities on a subject had been made moderator, and offered to take over for the same reason. Anyway, the staff was happy to accommodate.

Other than that, I've been playing Blood Bowl II. I feel like finalizing DbC2 earned me continued goof off time. I finished my first tournament as the Dark Elves, my favorite team, but I haven't rolled a single stat gain on a player and that's killing me. I'll probably try another team tonight. Maybe the Undead or Wood Elves or Dwarves. (Monday morning edit: Tried Undead and Wood Elves, Wood Elves won me over, and after four games, they already earned a stat gain on a wardancer.)

So that's my week. Next week you'll get an LTUE report.

TTFN.

Final Edit Time. Also, SUNDAY, SUNDAY, SUNDAY!!!

This was a pretty big weekend. I usually write these Sunday afternoon, but this one was delayed until the evening, after possibly the most exciting Superbowl in...I don't know...ever? Thirty-one unanswered points? A 25 point comeback? The first overtime in Superbowl history? The Fox streaming feed going out and having to watch a chunk of the fourth quarter in Spanish? It was eventful, I'll tell you that much.

I found the flood originally straightening up for the playtest in the playtest room in the basement, so that's how the weekend started. In between, I played a lot of Blood Bowl II, which seemed particularly appropriate for Superbowl Weekend. I won the campaign mode literally ten minutes before kickoff. I started up an Old World League Tournament after, but then paused it to write this.

Also during this, I emailed my copyeditor to find out if I'd lost an email somewhere. Back at the end of December, I'd turned in my full rewrite of DbC 2 for him to go over. He usually has a pretty quick turn around, and he'd sent me a few facebook messages early on that led me to believe he'd jumped right into a second round of edits. During the big game we emailed back and forth a few confused date emails, but it came down to the fact that he had finished but the email had never actually been sent. So now I have the edits. It should be a non-issue for me to get them out this week.

I still have flood damage to repair. I also need to prep a big Star Wars demo for Life the Universe and Everything, a symposium in Provo. It will have an audience, so I want it to be as professional as possible. Anyway, a full enough week, but I'm looking forward to it.

TTFN.

It Never Rains, But It Floods

So by the time you read this, the lion's share of my taxes should be done, meaning that I'll be done categorizing all of my deduction. (I just have a couple hours left as I set this blog post up.) I still have to copy down all the totals onto the worksheet my tax guy provides, but I'll do that when I have all my tax forms. I also paid Sales Tax (personally) for the first time. Before, I've always either been exempt or performed sales through venues that handled the sales tax for me (online retailers, for instance, or the settling up process at the end of Salt Lake Comic Con). So basically, there will be about an hour left to do sometime in the future, but I'm waiting for paperwork to put all that together.

A new adventure reared it's head this weekend, however. We'd blocked the door to the conference room I built for playtests in my house (not a huge deal, we'd just set a few things in front of it that needed to be carried to another room) and needed to clear it for a session this weekend, so no one trips. Upon doing this, we discovered that another room in the basement, one under the kitchen, has had some minor flooding. But while the flooding was minor, there were hundreds upon hundreds of pounds of boxes sitting on top of the water, and they had to be moved. Also, I have a bad back.

I managed to get about 90% of the way through before I completely blew out my ability to, you know, move. Luckily, I had an able bodied friend coming over that night and he happily moved the last five or so boxes the five or ten feet necessary to make sure that nothing still sat in water.

So, over the next week or two, I'll need to unpack all the boxes that got wet and assess the dollar damage done. Find out if it's worth filing an insurance claim. I literally have no idea yet. Some of the boxes are RPG books, some are paperbacks, so the range could be anywhere from $100 to thousands. I just don't know yet.

I had decided that if my taxes were done in less than a week, I'd start a new project. If they took longer, I'd let myself take a break a play a computer game before going back to 80+ hour weeks. If you take out the time I spent dealing with the flood, the taxes probably took just under a week, but now that I have at least two weeks of late night damage control box sorting ahead of me, I decided that I might as well give myself a break.

So I'm playing Blood Bowl II. The violence is refreshingly cathartic.

Still Tax Time, and Also Plotting

Well, that game didn't take two weeks. I finished Empire: Total War yesterday evening. That means that I'm back to 80+ hour weeks until I finish my taxes. If my taxes take long enough--they'll also include reconciling my game company books for the end of the year--I'll call that good and start a new game. If not, I'll probably leap straight into getting DbC 3 ready for submission.

As a side note, for those following at home, I think I said that I play Rise of the Tomb Raider next, since it's a Christmas present. I realized last night that it might be the only game that's 4k HDR ready I actually own when I get my new computer with my tax return, so I've bumped it to the end of my Christmas present list. Either way, I probably have one more EU4 game in me before I burn out on it, so I'll try the Ottomans next and then retire that game from my schedule. At that point EU4 will surpass everything but Skyrim for hours played in my library.

This has been game chat.

Back to the subject at hand. Taxes. I had an embarrassing moment last week when I learned that I'd been overly cautious in sending out 1099s to my freelancers over the years. So I've already sent them email statements on what they earned last year and apologies for making them wait for 1099s in the past. Anyway, I called my tax guy and he (or rather one of his assistant) straightened me out.

So last night I published the Actuator RPG for James Wymore. This is a slightly different product for us because it isn't involved with any of our lines (and I didn't write it or help develop it). But when James told me he was doing it, I knew that if he handled the art, I could have it edited and pagemade with relatively little effort, and I already have an RPGNow/DriveThruRPG store in place, but that stuff would be a headache for him on his first time releasing an RPG product. Also, I knew that that I'd see lots of pitfalls and have some insight he'd need, which mainly involved me saying, "It isn't that kind of a market," or "This is what you'd need to do that," in Facebook chat every time I saw him thinking of something that might get him into a little bit of trouble. (And by trouble, I mean that the product wouldn't do what it can do, most efficiently, not that he'd get into literal trouble. He didn't try to violate copyright law or anything.) Anyway, most of my job there was just reminding him how small the RPG marketplace is compared to the fiction marketplace, so his expectations are realistic. I felt like the Grinch most of the time. Also, my editor and I badgered him into offering it for free.

Meanwhile, right now I'm ramping into the climax of DbC 4. I should finish the long night of the soul this week, and maybe the first chapter of the climax. That means that in two to three weeks, that book will be done, so I'm plotting 5 in earnest. Five looks to be shaping into a heist/con style story, which is a genre I haven't written before. Luckily, my friend Dan Willis has, and he sent me his plotting notes, which was very helpful. Also, I'm watching lots of movies like The Sting and Ocean's Eleven to get the rhythm. I'm a plotter, but this will have to be tightly plotted, even by my standards. I need to know every twist on page 1 if I'm to pull them off on page 300. They can be fixed in rewrites of course, but the more I have to do that, the more painful those rewrites will be, so this is definitely a "measure twice, cut once" situation. I've been laying groundwork for it throughout DbC 4 as well, so hopefully, it all comes together nicely.

One nice bit of happenstance: I have three audiobook queues. One is the list of authors I read actively. I think there are currently 28. One is the queue of audible books I've purchased for other reasons, such as sales, that don't fit in that first queue. The third is a slot for a "Project-Related Work." With DbC, that's usually a comedy, to keep my "funny juices" flowing. Podcasts will force books into my schedule not in those queues, but those are the organized ones. But this week Mary Robinette Kowal's excellent Valour and Vanity happened to make it to the top of that first queue. Imagine my delight when it turned out to be a heist story. Checked two boxes with that one.

Anyway, that's my week and my month, and hopefully not more than that. I will stare my taxes in their steely eyes and stab them in their heart. Then I'll conquer Eastern Europe.

Ah, Tax Time

I was speaking with my mother last night. The conversation went something like this:

"As soon as I finish playing this game I'm playing, I have to start on my taxes."

"Oh?"

"Yeah. I'm hoping the game takes at least two more weeks."

For those following at home, the game is Empire Total War. I tend alternate my PC games between the oldest unplayed in my library and a newer "player's choice" game. The game after Empire Total War will be Rise of the Tomb Raider, which I got for Christmas. But I digress.

I have a tax guy. Or gal. I don't know. I turn it in and someone at the company does it. Last time it was the head of the organization because I messed up on my HSA and no one knew how to deal with the penalty for that. Usually, it's a minion. I highly recommend having a tax person walk you through the pitfalls of being a private business owner when you first go into business as a writer. For instance, don't write the word "Research" on a deduction. Evidently, that's a red flag.

I was lucky in that I found a tax guy (it was definitely a guy at the time) that was very affordable and sat down and spent an hour or so with me the first time, just walking me through the hurdles. Since then, he's passed away and his company has been absorbed, and the price goes up each year, but only 20 dollars so it will be a while before it gets as expensive as some of the big companies. In the meantime, all the people in the office know me by name.

So the big push is that I need to get tax forms OUT for the people I send royalties to by the end of the month. That means I should probably reconcile my end of year books for Final Redoubt Press as well. 1099s need to go to by January 31st. If the game takes two weeks, it will need to pause for that, obviously, because that needs to happen in the next day or two.

After that, I have to do the big push for my taxes themselves, and that used to take me two weeks, but since I started digitizing my receipts, I think that takes less time. It might only have taken a week last year. We'll see.

Anyway. I need a new gaming PC. And the guy who inherits my old gaming PC, and who uses them to Hangout with us on Saturdays REALLY needs my old gaming PCs. (Each week that goes by the chances go up we lose him for good as that really old machine just dies forever). And so I need to get my taxes done. So that I can play whatever comes after Rise of the Tomb Raider. Looks like one of the Command and Conquer games. And so he can use Google Hangouts without three reboots a night. Wish me luck. Hopefully, we will not lose contact with a friend and I will be neither commanded nor conquered.

Rogue One as a Prequel

So, a lot of people are talking about how Rogue One is a better Star Wars prequel than the prequel trilogy. For this week, let's take a step back and see how Rogue One succeeded in fitting in so neatly before Star Wars. I'm not going to rag on the prequel movies in this post. We're just going to look at what Rogue One did right. You can draw your own conclusions about whether the prequel films also did some or all of these things right. So let's again get with the spoiler space. 

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What Rogue One did first and foremost was tell a good story, and where it succeeded most was where it concentrated on that story. The few times it genuinely failed was when it tried to force its references to the earlier films (earlier in the years they released, not in the universe chronology.) Dr. Evazan and Ponda Baba showing up on the same planet as Saw are a good example of perhaps too heavy of a hand.

Don't get me wrong, the story doesn't stand on its own. If you take someone who hasn't seen Star Wars, they will be completely lost, but within the context of the Star Wars universe, this is a good self-contained movie. Apart from minor roles and cameos, all the characters are new.  Their struggle is personal and motivated by their own person inner demons.

So instead of a lot of blatant ham-handed connections, they held themselves to just a few ham-handed connections and tried, in general, to keep their prequelism more subtle. They took episode 4, 5, and 6 and they projected back from there. Here are some of the little things they did to help you feel like you were watching the inciting incidents of the original Star Wars Trilogy:

Blatant

The Movie Ends with the Tantive IV racing away from Darth Vader with the Death Star Plans. Vader is beyond pissed at this moment, explaining why he is at a 10 at the beginning of Star Wars (maybe at an 11), when he rarely gets above a 3 or a 4 at any other point in the films.

Also, we see that Leia is lying to his face throughout the opening of the film, stoking his rage, and they both know it. That scene has always struck me as tonally different from the rest of the movies. That's probably because of Prowse's performance, later dubbed over by Jones, but now we have an in-universe reason.

We now know why the Death Star had the flaw it had. A nice little retcon.

And of course, we now have an full movie outlining the events described in the crawl of Ep 4, so obviously, there's that.

More Subtle

We see Red Five die, making room for Luke. I believe we see Wedge's spot open up as well. According to Sam Witwer, they hired the actor that performed Wedge's voice in Ep 4 to come back and do voiceovers in Rogue One, but then realized that Wedge was the only one who reacts to the size of the Death Star when they approach it in the Battle of Yavin, and he couldn't have been in this movie.

We see that AT-AT's used to have weak armor and a slightly different design, explaining why the pilots tried to shoot at them with normal snowspeeder guns in the Battle of Hoth, and didn't start the battle with a backup plan.

We hear two stormtroopers discussing decommissioning the BT-15s, setting up the line in Ep 4 where two stormtroopers discuss the new BT-16s while Kenobi is disabling the tractor beam.

Red Leader and Gold Leader were in the film. Red Leader, whose actor is no longer with us, was completely built from A roll and B roll from Ep 4. Gold Leader's actor is still alive and returned to perform additional voice work.

They have an analog version of the Dejarik holochess game in Saw's fortress.

K2 Starts to say "I have a bad feeling about this." but gets cut off.

Super Subtle/Pure Fan Service

They have blue milk in their home in the opening scene, like Luke's home in Ep 4.

They mention the Whills, which were mentioned in Lucas's original Star Wars script. They also use the phrase, "May the Force of others be with you," also from the script. Finally, and we're out of prequel territory here, but they wanted to have a blue squadron in Ep 4, but it wouldn't work with the bluescreen technology of the time.

As with every Star Wars film, the Wilhelm scream is heard, this time when Jyn pushes the stormtrooper off the cliff.

Sam Witwer, who worked with the voice actors, reputedly took great pains to make sure the stormtrooper performances fell into line with Ep 4 stormtroopers, who "never went above a 5." Evidently, the stormtroopers in ep 4 were all voice recorded by some LA DJs.

As you can see, they worked hard, on many levels, to make this movie work. Whereas some films (again, not necessarily referring to the prequel trilogy here) do nothing put openly wink at the audience, the Star Wars connections in Rogue One are buried deeply in its DNA. Whereas most movie remakes and prequels wave their arms blatantly at the audience, Rogue One works their magic down into the deepest fabric of the film. Some of it works. Some of it misfires, but as a whole, it comes together into a cohersive and well-made piece of storytelling.

And that's all any of us could hope for.

Character Archetypes in Rogue One

So. Rogue One happened. And as someone who is just old enough to demark their lives by the time before Star Wars and after Star Wars, you can probably guess what my next couple blog posts will be about. That's right. So let's get with the spoiler space. 

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So, for those who went through this with me on Episode VII, you'll remember I use the Dramatica archetypes, but for those just joining us, let me remind you, briefly, about archetype pairs again.

In the Grand Argument Theory of storytelling put forth by Dramatica, the characters are broken into archetype pairs who each take one side of an argument. How these character interactions turn out make the story's ultimate statement on that aspect of the argument. For instance, the sidekick and skeptic character argue the merits of doubt and faith (through their actions, if not directly). How these characters fare show the story's message on which is more important: faith or skepticism.

So the archetypes are as follows:

Protagonist/Antagonist: Hero/Villain. These two are pretty self-explanatory.

Reason/Emotion: These two characters argue the merits of intellect versus passion.

Sidekick/Skeptic: These two characters argue the merits of faith versus doubt. Loyalty vs self-interest.

Guardian/Contagonist: The guardian tries to keep the protagonist on the true path, while the contagonist tries to steer them down a crooked path. For instance, most people think that Darth Vader is the antagonist in the Star Wars trilogy. He isn't. He's the contagonist because his ultimate goal is to corrupt Luke, not to kill him. He doesn't oppose Luke, he opposes Obi-Wan. Fatally, in fact.

So I don't know if Chris Weitz and Tony Gilroy consciously use these archetypes. Dramatica didn't invent them, they produced them from observing and distilling many, many successful stories. However, they have an interesting take on at least two of the Interactions. One I've used myself. So let's examine how this all pans out in Rogue One.

Protagonist/Antagonist: Obviously, Jyn Erso and Orson Krennic. Jyn is our plucky hero and Krennic our Nazi-like villain. There isn't anything very surprising here.

Reason/Emotion: K-2SO/Boshi Rook. Our mentally damaged droid and our mentally damaged pilot. It's most interesting in the fact that they almost never interact. The movie doesn't spend a lot of time dwelling on this argument. It actually brushes K-2's side under the rug by making him come from a place very close to emotion most of the time, and what arguments it makes about reason and emotion it tends to make with through our protagonist and contagonist, leaving these characters to carry more emotional character arcs, which I'm fine with because K-2's is arguably the most moving in the film. I can't complain they only pay lip service to reason. "I won't tell you the odds of her using it against you. But it's high."

Sidekick/Skeptic: Chirrut Îmwe/Baze Malbus. Our character of faith and our fallen faith character. I don't think there's any question where the film places the winner in this argument. In fact, even when the skeptic is being all skeptical, he is still absolutely loyal. "I don't need luck. I have you." The most interesting thing they did here, and one of my personal favorite tricks, is making the two inseparable best friends. Essentially, making them two halves of the same person, only truly complete when they act together. These two, in many ways, were the heart of the film.

Contagonist/Guardian: Cassian Andor/Galen Erso. It's no surprise that Galen is the guardian. His first act is to sacrifice his own freedom to save his daughter, and his every act after that is to keep her, and after that the galaxy, safer. His final acts are to get the word of the Death Star to the Rebellion. The interesting part comes in Cassian, who's tasked with killing him, and can't bring himself to do so. However, if you expand the contagonist to include the Rebellion leadership as a whole (or at least elements of it) you can at least argue that the contagonist still does him in.

The really interesting take is the protagonist and the contagonist. In most stories, the contagonist is trying to turn the protagonist away from their true path, but Rogue One follows where Return of the Jedi originally led us. In this story, the protagonist is having none of that, and it's here job to bring the contagonist back to the light. And she does so. Does Jyn change? Yes, but in her core principles she never really wavers and once she decides that the Rebellion's cause is worthy of her attention, after her reconciliation with the path her father took, she begins warping everyone around her to her way with the strength of her personality.

Cassian, K2, the Rebellion itself. One by one, she brings people to her side. Only Chirrut sees her for who she really is at the beginning of the movie, and it isn't terribly surprising since she's been hiding from everyone, including herself. In fact, you could make the strong argument that until she stops hating her father and sees the Death Star in use, she doesn't really see herself either. Only in that moment does she realize that she isn't the person who can just stand around and let the Empire win.

Maybe the most interesting pairing in the movie Rogue One is Jyn vs Jyn. The Jyn we know at the beginning, the scarred, discarded little girl that Saw Gerrera pulled out of that hole all those years ago, and the hero waiting within, that awakens when she realizes that her father wasn't a monster, and heroes can sacrifice their lives not just by dying for a cause, like her mother, but by living for one.

Like her father.

Messing Up is Data Too

So the weekend before last, I totally blew it. I had a 99 cent sale. My second. It was the first sale after the publisher moved me into the LitRPG category, and that move did great things for my overall numbers. This time I wouldn't be competing against Harry Potter and (strangely enough) Game of Thrones for the top ten spots in the category. Okay, I totally still would since all TV and Movie adaptations are there as well, but they don't fill that category quite as completely. Anyway, I was really looking forward to the data.

I set up several ads. Many podcasts announced the sale just before the sale went live. I had a few feeds promise to drop an ad into their feed the day of. Then, I completely forgot.

I can't tell you what happened. My Christmas vacation started. Rogue One came out. My alert to remind me to check on them went awry. I set everything up a week or more in advance and when the day came up and my alert didn't fire, I just completely forgot the date.

I remembered when there were just a few hours left in the sale. I checked the numbers. It would be inaccurate to say I'd sold nothing, but the blip was hardly noteworthy. I probably sold as many books the first two days after we shifted categories as we did during the two days of the sale.  A hiccup, really. I just completely messed up.

I should have checked those feeds the moment I got home that night first night as it started at midnight. I should have sent off friendly reminder emails so the ads hit the feeds first thing in the morning Saturday. A little late, but not too far off. If I'd been on the ball, we probably could have saved the sale.

But I didn't.

I was pretty depressed that day, for three or four hours. I just couldn't believe I'd messed up so badly. I generally don't make mistakes that big. I kicked myself for hours. Probably didn't help that one of my friends took that moment to light into me about how I should be with one of the big three publishers, as if I needed to be reminded about twenty-five years of failure and rejection at that moment.

But, I decided, that I needed this data too. This failure data. Now I know exactly what I sell when I have a sale and I don't push it with timely ads (and what I sell is Bupkis.) For you to know how effective something is, you need a baseline. I now have an idea just how spectacularly effective my first sale really was, because my second sale was a shocking realization that if I do nothing to draw attention to the promotion, there is no attention.

Now, I'll point out that the publisher does do some to draw attention to these sales as well, but this was a publisher-wide sale, so my book was on sale with at least 20 other titles at the same time (probably more, I didn't count). If I hadn't done anything on that first sale, they probably would have still driven some attention to the promotion, but now I know what the draw is of the Amazon sale by itself, and that is almost nothing.

So now I have my baseline. Now I know just how little mention even a day or two before the sale actually does to drive sales. This is all good information.

I just need to use it properly, going forward.