Chapter 07: July [Unedited]


The trick is for the visitors to not overshadow the home characters unless some other purpose is at work, but the stakes do invariably rise.


always admired the ability of characters to show up in other characters' stories and entirely different imprints altogether. He took notes.


loved the idea of those gigantic creative universes because individual events carried a literary butterfly effect to all corners of them.


Interweaving stories was a skill that I learned very early on as a child because I loved the idea of crossovers introduced to me by comics.


Another thing it will allow me to do is to tell concise and credible stories from numerous different points of view - including antagonists.


Now, a vessel exists to be able to expand the series and universe with minor characters who are more than capable of carrying major stories.


This practice invariably increased readership as some are finicky - needing to sample work before committing the mental effort to follow it.


Treating Criticality as a monthly serial kept the fans engaged during my writing of SSC2 since each, unedited chapter was offered for free.


Very episodic in nature, the pacing of Criticality is swift, so I was able to take some liberties with content flow. It has its own appeal.


If SpaceStation Colt is the literary work written like a movie, Criticality is the literary work written very much like a television series.


Cameos to the respective series will be made - wouldn't have it any other way. That not only increases their stock but it's exciting too.


No less epic, Criticality focused on the often overlooked civilian aspect whereas SpaceStation Colt detailed the core militaristic element.


Criticality is really SpaceStation Colt 2.5 because it fits within SSC2 and SSC3, affects, and is affected by the overall series continuity.


Creatively, I was at the top of my game and began shooting free throws with my left hand in deciding to write Criticality at the same time.


In the zone from inspiration but unconscious from motivation, I pushed myself and fed off of the creative energies which SSC2 had generated.


always despised the idea of having to wait (sometimes years) until larger projects were completed to tell stories that were on his mind now.


Soon, that formula will branch out to other projects, but this time I'd be tackling Action novels with either Fantasy or Horror elements.


At the core of what I'm writing are Action novels with Romance and Science Fiction elements - violent stories for sensitive intellectuals.


Technology is one tool in the arsenal for telling a Science Fiction story, and I credit my reading/studying of Action novels for that tact.


SSC wasn't lacking in any way, and it cracks me up that SpaceStation Colt wasn't even seen until the story was almost half over - by design.


The other part that Science Fiction is more casually known for is its technology. I made sure to step this up in SSC2 and had fun doing so.


The often missed part of Science Fiction is its vision which gets people to talk about difficult subjects. There's nothing geek about that.


Also, I'm not writing propaganda, so my personal beliefs don't need to enter into it in a manner that skews the actual story's objectivity.


If it did, I'd never have effective antagonists or conflict, and everybody would just sit around agreeing all day - not my idea of utopia.


might not agree with the views of some characters, but this had nothing to do with his decision to write about those noteworthy viewpoints.


Distancing myself from the politics of the characters' opinions always allowed me the ability to tell stories from multiple points of view.


On responsibility, mine is not to preach but to present. Characters have opinions and audiences get to decide. It's like pure journalism.


Numerous opportunities presented themselves during the writing of SSC2 for me to provide social commentary on a range of different topics.


A line from my song, 'War of the Arts', best sums this all up: "After all, what's more powerful: Having the power to kill or not using it?"


The wholesale use of death, written as a commodity, can desensitize an audience to its impact. My intent was not abundance but importance.


could never kill a character off 'just because'. Death is a literary device that I use sparingly and think through thoroughly beforehand.

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