Akting Out

Writing is simultaneously the most thrilling and exasperating thing I’ve ever done. I can get so engrossed in whatever’s pouring out of my head that I’m often startled by outside interference; be it a touch on the shoulder or someone calling my name, the latter of which usually takes at least three tries to get my attention. On my best days, I feel like I’ve run a marathon; take Mondays, usually my best day for writing. I sit in the kitchen trying to pound down breakfast, ever aware of the time, and trying to close out this bloody scene before my friend pulls up and we have to head to work. After an hour or so, I pull away from the keyboard, smile, sigh, and prepare to pat myself on the back when….WHADDAYA MEAN I’VE ONLY WRITTEN FOUR HUNDRED WORDS?! IT’S BEEN AN HOUR! WHAT HAVE I BEEN DOING ALL THIS TIME?!

Ah, yes. There’s twitter, my Google Reader, and less frequently, Facebook (I’m trying to cut back the habit).

Oh, I know what you’re thinking, I do. But Avery, if you just close those out and focus only on your writing, you’d probably get a lot more done. And it makes sense in theory, doesn’t it? DOESN’T IT?!

I was diagnosed with ADHD when I was twelve; my mother was good enough to give me a choice as to whether or not I wanted to be medicated. I declined. Writing with ADHD can be extremely difficult, as the urge to get up and do anything else becomes harder to resist, the longer I sit. On the flip side, it means I’m a fairly accomplished multitasker; I can follow my news feeds, stay up on twitter, and accomplish my daily word count of five hundred words. I once had my goal set at one thousand words a day but found that it was almost impossible to reach; I didn’t like having to lower my goal (and thus my standards), but it forces me to work harder. If I have a great day (usually on the weekends) and write over two thousand words, it means I can coast for a bit.

I’ve come to the conclusion that I absolutely abhor first drafts with every little atom of my being. I despise them. They’re wrong. They are not fit to be used as toilet paper, much less public consumption. Then again, I speak only for my own writing; yours is probably much better. As I continue to write my first novel (and become ever aware of the looming deadline to get this thing out by the end of the year) I’m trying to become more accepting of the idea of revisions, but it’s a process. So I end up frustrated, re-writing the same scene over and over again. The good news is that I’m always satisfied with the final result, but I feel as though I’ve wasted a lot of time arriving at that point. Tessi, the Barefoot Author, put up a really good post about her own dealing with rewrites, and was good enough to share her own work. Glad to know it’s not just me, although she seems to be dealing with it better than I am.

Writing under contract is a lot more difficult than I thought it would be. Granted, my publisher is awesome; he puts no pressure on me. All of my deadlines are pretty much self-imposed. But I feel as though if I don’t finish this book, and I don’t keep my word to have it released by the end of the year, then I’ve let him down. He chased me down and gave me everything I wanted in order to sign me as an author. The least I can do is justify the investment.

I confess that Universal Warrior: Atherean Defenders is approximately seventy thousand words long—with only two (barely) cohesive chapters. And somehow, I still have to have this thing done by the end of the month—which allows for an end of 2011 release date. So there’s a lot of work to be done and not a lot of time to do it. Anyone wanna trade passions for a minute?!

I’m reading this kick-ass book called First Draft in Thirty Days; I’ll use what I learn from here on the sequel to Atherean Defenders, entitled Heir To Fire. Yes. I just dropped a hint.

So that’s all for now, this is what it’s like on the front lines of the creative process, at least from my utterly insane perspective. Thanks for reading, best of luck in your own endeavors, may the words flow freely and the dreams shine brightly.

(c) Avery K. Tingle for Akting Out LLC

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Me: “I’d love to fly one day. Actually break free of Earth’s gravity under my own power and just take off.”

Sam: “We should jump out of a plane someday.”

I’m not a religious person; more of a spiritual one. I believe in karma almost as strongly as I believe in God; every last thing we do, in this life, or the next one, we will answer for. I know this as surely as I’m writing this blog.

I figured that part of my karma was watching people all around me settle down in permanent relationships. I’ve always thought it was the most awesome thing in the world; to have someone know all of the worst things about you, and love you anyway.

Samantha once told me that she loved me because of my faults; they made me who I am.

And then I’m reminded; almost nothing is unforgivable, and everyone deserves a second chance. We just have to earn it.

Samantha and I met six years ago; despite being, well, whatever I was, with no fixed address, I still thought I had what it took to be a husband and father. Anyway, we were states apart when we met by chance, but that first conversation we had was epic; we chatted for nearly four hours (which is funny, because I can’t talk to anyone for four hours) about everything ranging from our favorite football teams (she’s a diehard Packers fan) to our unifying faith in God. A deeply religious good-girl with a wild streak and weakness for bad boys, Samantha had a smile that was visible from across the world and eyes that see straight through you. Those eyes scared the hell out of me, back then; all of those walls I had spent years building up had come crashing down in a single day.

Keeping Sam at a distance wasn’t as easy as I made it out to be, even across the country. Nothing about me frightened her; I told her the worst thing I had ever done in my life and she didn’t even blink. I wanted to scream at her; CAN’T YOU SEE HOW BROKEN I AM?! RUN! GET AWAY! GET AWAY NOW!
But she didn’t. No matter what I said, no matter what I did…she was right there, never further than an email or phone call away. I honestly think that was the first time in my life I had known complete and total acceptance from the opposite sex. Yeah, I had absolutely no idea what to do with that.

Although we didn’t become a couple for years, we managed to stay friends. Finally, three years ago, unable to stay in Michigan without getting arrested and having burned everyone I was close too, we finally met.
The first night we met, she cooked for me; sour cream chicken. We stared up at the stars and asked each other what we wanted out of life.
And although the circumstances were all wrong back then, we decided to give being a couple a shot.

Things were not all bad, nor entirely our fault; Samantha has a beautiful daughter I quickly bonded with, and she spoke to my kids over the phone. But the beginning of our relationship marked my going straight; I had no idea how difficult the adjustment would be. Plus, the rug was yanked from under her after her family fell apart and her mother, decided to leave the state. I was working overnights, she was working during the day, we barely saw each other on the weekends, and when we did, we usually took the chaos of our lives out on each other. But our fights were never hateful; we never called each other any names…just two very intelligent, very passionate people with similar beliefs and different pathways battling it out.

Still, the good times were awesome, although I couldn’t see it back then. Sam’s humor was very G-rated (I likened it to Disney) and it used to grate on me. She could meet someone once and years later, they’d still remember her. I didn’t like it because I wished I could connect with people like she did. I rode the emotional roller-coaster harder with her than anyone else, even becoming engaged for a moment.

She was the only woman I ever came that close to marrying.

Still, in the end, with us unable to come to any common ground, we reluctantly called it quits.
And then, something amazing happened; we got ourselves together.
She moved to Texas, continuing to raise her daughter and pursue the same dream she’s been after as long as I’ve known her. She lost weight. Her confidence went through the roof. She gained the ability to see the world through other’s eyes.

And me, well, I (somewhat) got over myself.
Put all the anger away. Made peace with my family. Saw my kids. Began resolving my diabetes. Figured out what I wanted to do in life. Even *gasp* maintained employment at the same job for more than two years.
When my last relationship collapsed (which was more my fault than I’d like to admit), I reached out to Sam, just to see what was up; I hadn’t talked to her in over a year.

Occasional conversations turned into an every-night thing (Skype rocks) as we filled each other in the happenings of our lives. To be completely honest, it didn’t take long for old feelings to reach the surface again. So when she made plans to come up here to visit old friends, I offered to let her stay at my place. The rest is history.

Samantha is crazy and she’ll be the first person to tell you that. She’s stubborn, hard-headed, a little too intelligent for her own good, extremely driven with an unshakable faith in God that guides everything she does. Plus, she doesn’t realize it yet, but she really doesn’t believe in fear or excuses. And don’t ever, ever lie to her. Trust me on this, please?

I honestly didn’t think I’d ever get a second chance with this woman; after everything, I didn’t think I deserved one. And with us living, once again, states apart, nothing is guaranteed and we both know that. We also both believe in earning what you want, so I look at it as God throwing down the gauntlet and asking me; “How badly do you want this?”

I’m not self-destructing this time. I’m not falling back into the same patterns that cost me everyone else. So here’s hoping.

And for now, I’m glad I got a second chance at The One That Got Away. J

Thanks for reading.

(c) Avery K. Tingle for Akting Out LLC

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I can do almost nothing without music, least of all, write. Plus, I can’t listen to anything with lyrics because it intrudes on the creative process.
I’ve fielded a few questions as to where I find the music I listen to, as most of what I like comes out of a video game or trailer. So I thought I’d share here, complete with links, my ten favorite tracks for writing. Enjoy!

1). Prelude by Pusher Music-I first heard this in the trailer for Transformers: Dark of the Moon and have been hooked on it ever since. Slow-building and intense, I put this on if I need to write a building scene before a conflict. This music…you just know something epic is going to happen, like there’s gonna be this big battle, and this music sets it up.

2). Heart of Courage by Two Steps From Hell-God, I love this group. I must have at least thirty of their tracks but this is by far my favorite. I first heard it in the trailer for Mass Effect 2, and yes, I admit, I imagine something similar to what’s here when I need to do a scene like this. In fact, a large part of Universal Warrior: Atherean Defenders was written to this. A group of reluctant heroes must band together, and work together against something that will destroy them all. It simply has to be done, nothing else matters. I use this music to write scenes like that.

3). To The Last Man by Jack Wall-Another one from the Mass Effect 2 soundtrack, this track inspires my characters to get the hell out of wherever they are. It’s like “Oh shit, we did what we had to do, but now they know we’re here, and there’s a couple million of them, so let’s get the hell out of here.” Especially the last twenty seconds or so of the track. Sure, my guys will fight their way out, but still, no one’s trying to prove anything. Sorry, couldn’t turn up a link for this one.

4). Hope Always by X-Ray Dogg-Upbeat, positive, happy! The conflict is over, the wounds are being licked, but everyone is grateful to still be alive. I also use this to wake up; puts me in a good mood almost all day. First heard it on the trailer for the new Karate Kid movie.

5). Hell’s Army by Epic Score-This is “Let’s Do This” music. Dark, ominous, with rapid beats, this is what I imagine Universal Warrior: Heir To Fire (the sequel to Atherean Defenders) too. All of the bad guys are together, and there are more of them than there are good guys. They’ve been waiting for this moment to strike, they believe that what they are about to do is the right thing, and this is the last little powwow before they strike.

Quick hits; After the Fall by Two Steps From Hell (slow, calming down, rising from the ashes), Protectors of the Earth by Two Steps From Hell, (uplifting, rousing, the good come together), Turning of the Tide by Future World Music (rousing, building, epic battle seemingly going the wrong way until the good guys spring something the bad guys weren’t ready for), Red Warrior by Audiomachine (quickening, the Chosen One), Time Will Remember Us by Epic Score (slow, peaceful, inspiring, epic battle remembered).

So that’s it; my top tracks for writing. Truthfully, I have more than two hundred tracks organized into four playlists I use for writing, but this is what I listen too more than anything else. Anyone out there have anything they’d recommend, or anything they have to listen too when they’re doing something?

Thanks for reading.

(c) Avery K. Tingle for Akting Out LLC

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As fiction writers, some of us find ourselves watching our characters settle their differences, as Eminem once put it, “in the bloodier way”. Some writers have been fortunate enough to go our entire lives without getting into a single fight (their characters always seem happier, too), while others have been in too many. The experiences one has with physical fighting almost always determines how plausible their fight sequences will be, and a poor fight sequence, no matter the medium, can often spoil an otherwise good story.

Alan Baxter, author of RealmShift and MageSign, hopes to make writing fight scenes easier with his companion piece “Write The Fight Right”. In this e-book, Alan, an accomplished martial artist, is good enough to demonstrate the subtle nuances of what makes a good fight while simultaneously warning others of the danger of real-life fighting.

I wish I had this book when I was still a kid, and still thought I was king of the world. Alan’s mastery of fighting is daunting and extremely well-expressed here. Nothing is overlooked, from the importance of descriptive footwork, how to detail character is in trouble, utilizing all five senses, especially the sense of smell. Even writing plausible scenes that involve weapons is included. The detail in each chapter is staggering; Alan simultaneously tells us how to create brutally realistic fight sequences while, on every page, all but screaming at us not to pursue real-life, in-the-street fighting. He’s right.

The book is only about twelve thousand words, but it’s also only $1.99. This is an absolute must-buy for fiction writers who even think they may write a fight sequence. Action and adventure writers will benefit from it as well. At its asking price, you can’t really go wrong.

If you want to learn more about Alan Baxter, or his books, hop on over to his webpage and give him a shout. Purchase Write The Fight Right from Smashwords for only $1.99.

Personal Note: I’ve been studying martial arts for more than twenty years, I only recently began training for the art, rather than the violence. Before that, I used to do a lot of fighting. I got hurt a lot, and I hurt a lot of people. As I get older and understand more the consequences of my actions, Alan Baxter’s “Write The Fight Right” was a humbling reality check. Movie and video game fighting is fun, and safe; real-life fighting is as dangerous as it gets. I think I’d almost rather have a gun put at my head then fight again because my survival odds are better. There’s nothing fun or cool about beating someone into unconsciousness and perhaps crippling them for life. This is especially true for martial artists, who are trained to do this very thing. Avoid a fight if you can; screw the name-calling and your ‘rep’. Just walk away. It’s not even about you living to fight another day, it’s about what you live with if you go too far.

(c) Avery K. Tingle for Akting Out LLC

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Worthy

While I’m a huge comic book fan, until recently, my preferences have run more towards DC. Even as a Marvel fan, I never really cared for Thor. When the movie was announced, I wasn’t that enthralled by the previews; Sir Anthony Hopkins as Odin was my primary reason for wanting to see this film. Although I read up on recent events on Thor’s timeline to be a little more familiar with what to expect from the movie, I went into this with almost no expectations. I came out believing that Thor may be one of the best films Marvel Studios has ever produced, right up there with the original Spider-Man.

Penned by J. Michael Straczynski (scribe of the incredible Superman: Earth One) and aptly directed by Kenneth Branagh (Harry Potter and the Chamber of Secrets), Thor is success on almost all levels; stellar character development performed by a top-flight cast, sweeping views of Asgard’s majesty fused with up-close, dirty takes on small-town Earth life, rousing action sequences and story that dares to be just a little original.

Newcomer Chris Hemsworth shines in the title role, displaying all ranges of emotion from arrogant warrior to fallen hero to reborn heir-to-the-throne, and Natalie Portman keeps up in her role as astrophysicist/love interest Jane Foster. She appears to be enjoying herself a lot more in this film than in the last two Star Wars movies. Sir Anthony Hopkins is, as always, brilliant in his portrayal of Odin; here is a king and god who is very much aware of his own shortcomings, especially when it comes to his two children. Every decision visibly weighs heavy on him. Idris Elba (Luther, Daddy’s Little Girls) is impeccable as the all-seeing Heimdall, and Colm Feore (Face/Off) was chilling, pun intended, as Laufey, King of the Frost Giants. The standout performance has to go to Tom Hiddleston, who played the god of mischief so well that he nearly steals the spotlight from Thor. This story is not just about Thor’s beginning’s; it’s about Loki’s as well, as he discovers his true origins and turns sibling rivalry into a very deadly battle with millions of lives on the line. What I liked most about Tom Hiddleston’s performance is that I couldn’t help but pity Loki and the little-brother syndrome, despite everything he does, in the end, he just wants to be loved and adored like his big brother. Tom Hiddleston brought plausibility and humanity to the role of Thor’s arch-nemesis, and in my opinion, is the best role in the film.

The soundtrack and scenery are epic; ranging from the glorious, beautiful city of Asgard to the dusty streets of middle America, this is a gorgeous film. This is also testament to the proper use of 3D, which may not have been necessary for this film to succeed, but its usage here is subtle and hardly noticeable, without inducing headaches. This is the best 3D film I’ve seen since Tron: Legacy.

We’re also treated to a cameo appearance of Clint Barton (future Avenger Hawkeye) well-played by Jeremy Renner (The Hurt Locker).

Overall, comic book fan or not, almost all moviegoers should enjoy this film. It has a compelling, well-executed story, beautiful scenery, a moving soundtrack, and a good sense of humor. Whosoever shall see this movie shan’t be disappointed, but thy fans eagerly awaiting the Avengers film hast more to look forward too.

PS: Want a second opinion? Hop over to Josiah Muskrat’s Facebook page and check out his review of Thor.

Thanks for reading.

(c) Avery K. Tingle for Akting Out LLC

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For those of you who haven’t seen “The Matrix” (if you haven’t seen it, seriously, stop reading and go watch the Matrix, right now. I’ll loan it to you if you need a copy.), the title of this blog was inspired by an two scenes from the iconic film; in the first, Neo (Keanu Reeves) visits the Oracle for the first time and meets a child who is telekinetically playing with a spoon like Laffy Taffy. She gives him the spoon, and of course, Neo being new to this and all, can’t do it. The girl tells him not to focus on bending the spoon, which is, of course, impossible. She tells him instead to realize the truth; there is no spoon. It is he who must bend, not the spoon.

A short time later, Neo and Trinity (Carrie Ann Moss) are standing on top of an elevator in a shaft, about to shoot the last cord holding the elevator in place. If this goes right, the elevator will plummet, and they’ll be rocketed to the roof and land safely. If it goes, wrong, well, there’s really too many things to list, but the end result is, they’re dead.
So just before Neo pulls the trigger and sets the plan into motion, he whispers to himself “There is no spoon.” And pulls the trigger. I won’t spoil what happens, but if you don’t know, really, please stop and go watch this movie.

I field a lot of questions about writing, but the one I hear the most is; how I do I do it right? What if I do it wrong?
That’s the beauty of writing, and every writer’s first step; there is no right or wrong way to do it; you just do it. No, really, it is that simple. There’s no trick, no gimmick, and most importantly, no frakkin shortcut; you just write.
It doesn’t matter is you misspell every single word that you put on paper; the only thing that matters is that you put it on paper. You don’t have to worry about right or wrong at this point; you don’t have to show it to anyone (that comes later). You don’t have to worry about formatting, grammar, or any of that other nonsense that keeps most of us up late at night. You want to write something? Fine, do it. Quit worrying about it and do it.

The best writing in the world comes from what’s purely written, when the author isn’t worried about what it looks like. When you’re just writing with reckless abandon, whatever story you’re trying tell comes through pretty clearly. Yes, you will make two million writing mistakes along the way. At this point, it doesn’t matter. True story; I took part in National Novel Writing Month two years ago and just went crazy. It led to a publishing deal two years later.

There is no right or wrong when it comes to writing. Don’t get hung up on the process and just do it. You may be surprised at what happens.

There is no spoon; it is you that has to bend.

Thanks for reading, and good luck. More to come.

(c) Avery K. Tingle for Akting Out LLC

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The ‘Fast’ Franchise Cashes In

Ten years after the first film’s release comes (what should be) the climax. This enjoyable, albeit predictable film serves more as a thank-you to longtime fans at the expense of those who’ve never seen any of the movies.
All of the major players from the last four films are accounted for, brought together for one last run. This film is heavy on character development and fan service, eschewing fast rides and blistering races. Whether or not you enjoy this movie may depend on your familiarity with the universe.

Fast Five picks up immediately following the conclusion of the fourth film, where O’Connor (Paul Walker) and company have managed to spring series antihero Dominic Toretto (Vin Diesel, who is all but typecast at this point in his career) in an exciting, yet completely implausible escape sequence.
In the time that’s passed, O’Connor and longtime girlfriend Mia Toretto (Jordana Brewster) have fallen on hard times, living as federal fugitives constantly on the run.
In the midst of an unexpected complication, the two turn to old friend Vince (Matt Schulze, the script overlooked no one) who hooks them up with a risky, but high-paying gig. Despite Dominic’s intervention on this job, things go wrong, and suddenly the group escalates to, as O’Connor puts it, “The top of the wanted list.”

With the walls closing in, Toretto plans one last job that will enable them to disappear. In order to pull it off, they need to pull in the best. And we’re off to the races. Pun intended.

Justin Lin has helmed the franchise since the dubious Tokyo Drift, and he doesn’t let up here. This film is an action flick through and through, tightly shot and expertly paced, while the action sequences themselves are frenetic, but not jarring. The result is a film that is very well put together.

Dwayne Johnson is a great, two-dimensional addition to the cast as Federal Agent Hobbs, who channels Tommy Lee Jones in his relentless, southern-spoken pursuit of Toretto. Johnson was introduced to threaten Toretto, whose ruthlessness and physical superiority has been a staple of his character. Watching Johnson and Diesel play off of each other, building to the inevitable showdown between the two, is one of the film’s highlights. The fight is worth the wait, but again, you may have to suspend your sense of belief for a bit.

Unfortunately, it looks like gorgeous rides and generous blasts of nitrous are no longer necessary at this point in the series. There is one flat-out race in the entire film, and even then, all participants drive the same car. If you’re movie to see rides shown off at top speed, you will be may be disappointed. The story is absolutely mediocre as well, even though it’s still a lot of fun. In the end, after all the planning and sophisticated trick driving, it comes down to…well, you’ll see. The climax is implausible but a blast to watch, more reminiscent of the Italian Job than The Fast and The Furious.

Fast Five’s selling points are also what works against it; the characters, the camaraderie, and the banter are enjoyable if you’re new to the series, but a lot of the inside jokes will be lost on you. Still, for an opening summer flick, this film is very much a lot of fun and worth eight bucks at the door, even more so for longtime fans. Old-schoolers and action-film fans will enjoy this, but newcomers may want to wait for Vudu.

(c) Avery K. Tingle for Akting Out LLC

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