And we lurch into what is roughly Act Two of our little dramedy, though don’t hold us tightly to that–right now, the team and I are having great fun following these characters down some unexpectedly windy roads, so much so that we’re in no rush to get to Act Three. Nor am I positively sure that Act Three IS the last act. Yes, we still know where we’re ultimately going, but the more I know and learn about Jarod and his father, different avenues towards that destination spring up on the map and they take us interesting places. So long as you, the reader, feel that there’s motion and that nothing’s getting bogged down, I think that’s cool. How are we doing so far at maintaining a storytelling pace that keeps you hooked and yet gives you a satisfying slice of the overall saga with each installment? Let us know; I’m eager to hear your thoughts.
I know Ed Brubaker’s disappointed. He thought it would be funnier than this. But we’re way, way off the map. That’s what doing an adventure/crime story as a weekly serial creates–an awful lot of chances to turn and swerve and, in general, fling the original map out the window and just drive.
To belabor the metaphor, Pete took the wheel more than usual with this one, particularly in the last few pages, where the pacing was all him. I swear, sometimes I wonder if that boy’s not darker than we all give him credit for. (Pete, not Galahad.)
Hope you’re still enjoying and passing the word along to your friends. Next week, we’ll be taking a break for Comicon San Diego, but we’ll be showcasing some spectacular pieces of fan art which tickle me–and then we’re back the following week as we move into Act Two of our narrative and meet the Galahad Enterprises support staff. At last, more comedy.
And don’t forget to check in next week to read about some of our big Thrillbent announcements we’re making at San Diego. All I can tell you right now is that we’ve been wanting you to come back more than once a week…and we’re finally ready to give you cause.
Up now. If you think you understand the dynamic we’re establishing between Nocturnus and Galahad…fooled you.
Listen, if you’re reading this and you dig Thrillbent, do me a favor. Tweet about it. Facebook the link. Sound the horn. Spread the word. That’s how we’re gonna expand, through social media and through your help. In return, I’ll promise to do a MUCH better job post-San Diego Comicon about blogging and sharing what we’ve learned–that’s my solemn vow. We’re all in this together, I keep saying, which I kinda like. Teamwork.
–and, see? Didn’t I warn you that there would be dark to balance the light? It was Pete’s idea to cram Nocturnus into a sidecar, by the way. Really good. I love how uncomfortable Pete makes him look. Also, reminder to self–we need to sit down soon and catalogue exactly what that Battle Staff can and can’t do.
Downloads coming later this afternoon–at the last second, I made a quick change to the comic as posted, no time until this afternoon to adjust the PDF and CBZ files, so they’re coming later, ASAP.
Listen, if you’re reading these installments and enjoying them, do us a favor–recommend us to your friends. The more word-of-mouth we get, the more successful we can be and the more free comics you get to read. Follow us on Twitter @Thrillbent, visit the forums and chime in–spread the word. Thanks!
“[M]ost engaging stories get you to want something for the characters. The characters don’t have to be good people or they don’t even have to have admirable goals, yet because of the way the story is told, you end up wanting them to get something or attain some goal. You’re rooting for some kind of outcome, even if it is a comeuppance.”
That’s about the smartest thing I’ve heard about the craft of writing all year. And she’s absolutely right. It’s good advice. My only corollary to that is that I need some sense of what the character him/herself wants. I may not need to be hit over the head with it; it need not be something that the character even realizes is needed; it may change throughout the story. But the most basic definition of a story is “Somebody wants something and something’s in his way,” and I’m more likely to be engaged if I at least think I know what those two “somethings” are. They can be simple, they can be complex, but–particularly if you’re a beginning writer–I’d rather you err on the side of revealing too much than too little.