Words To Live By – Boredom, Star Wars, and the Unavoidable Lull

The first Wednesday of the month, writer Jeff Bowles muses on life, creativity, and our collective destinies as makers of cool stuff. You’re a writer, but have you ever thought about how or why? Here are some words to live by.

Boredom, Star Wars, and the Unavoidable Lull

So I’ve been away from my writing duties here at WtbR for a few months. Heck, I’ve been away from most of my creative obligations, not just blogging, which might be the reason I’ve been so bored sitting at home, knocking my tin cup against prison bars of digital entertainment, paperback novels, and maybe a household chore or two. Read that book you’ve read a half dozen times before? Watch the same old movie series you’ve been watching since you were a kid? Do I even have to ask?

Okay, what are we up to today? Star Wars or Star Trek? Star Wars or Star Trek? Maybe Indiana Jones? Hmm…

The reality is that some lucky beings on planet Earth are built like machines, incredibly industrious, real honest to god workhorses. Boy do I envy the workhorses among us. I’m just not one of them. I can admit that to myself now.

Unfortunately, and it took me far too many years to discover this about myself, I’m more of a work-in-exhausting-spurts-and-then-crash kind of guy. I’ve always been like this, even when I was in school. Sooner or later, mental and emotional exhaustion would get the better of me, and it’d be hell just to turn in assignments on time, keep a steady workflow going.

I’ve previously written about my experiences with schizoaffective disorder, at last diagnosed five years ago, so I won’t bore you with the details again. Suffice it to say, there are reasons—real and concrete medical and psychological reasons—that I can’t compete with so many avid worker bees out there. My mind and personality just don’t keep up; the flesh is willing, but the spirit is weak.

My family lost someone dear to us back in March, my wife’s mom, who was a wonderful person and a key figure in our lives. At that time I’d been running pretty hot as far as creative output went, having kept up with a reasonable workload, more or less, for a year or so on end. But her passing stopped me in my tracks, and I’ve sort of been floundering all summer long.

Didn’t write anything new. Didn’t even edit anything old, and I’ve got a whole unpublished novel sitting on my computer’s hard drive, an odd and hopefully entertaining piece of work I finished up at the tail end of last winter, the COVID winter, the one when we were all locked indoors anyway.

All this incompletion frazzles me. Our society tells us we’re not complete if we’re not working, and at that notion I’ve always thumbed my nose. Not because I’m a rebel or even a lazy slug (I mean, arguments could be made), but because for me, constant work has never been desirable or even possible. It hurts me that I need so much downtime. I’d like to be as dependable as a racehorse, constant as the northern star (God bless Will Shakespeare, had a phrase for everything). It’s just not how I’m built, I’m afraid. I need recuperation time, rest and relaxation that lasts however long it needs to last. There’s no way around it, at least not any I’ve found.

So does that make me an ineffective person? Worse yet, does it make me a failure in the professional sense? I feel like some people might say yes, but honestly, I’ve tried to take the bull by the horns, and well, the bull almost always has its way with me.

Schizoaffective Disorder is no joke, man. Very often I can’t trust my own conscious experience, and that’s lame, because consciousness is all human beings have. It’s the only thing given to us by default, our birthright, our entire universe. Never mind school assignments or projects that never get off the ground. What about the amazing feeling you get when you’ve completed something grand? I love that feeling. Don’t take that feeling away! I’m not done with it yet!

I’m glad to be back at Writing to be Read, but the truth is I don’t feel 100% yet. Yes, I’ve been playing video games and watching old movies and generally feeling bored out of my mind. But that’s what recuperation looks like for me. Read ‘em and weep. Or don’t.

I like to write about my everyday experience. It helps me parse through things that need careful consideration. You can’t fight your own mind. I mean, you can try, but it’s sure to cause literal raging headaches. I’m interested in learning about other long-term work habits people employ out there. Leave a note in the comments section below if you’re so inclined. How do you get your work done? Is it a struggle in the long term, or is it the easiest thing in the world for you?

Look for another Words To Live By next month. Count on it. Just don’t expect me to show up for dinner. I’ve got some more recuperation to get through. Star Wars or Star Trek again? Star Wars or Star Trek? Maybe Battlestar Galactica? Hmm…

Boredom never looked so … unavoidable. Until next time, folks.


Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative work can be found in God’s Body: Book One – The Fall, Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, Love/Madness/Demon, is available on Amazon now!

Love Madness Demon Cover Final

Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!

__________________________________________________________________________________________________

Want to be sure not to miss any of “Words To Live By” segments? Subscribe to Writing to be Read for e-mail notifications whenever new content is posted or follow WtbR on WordPress. If you found it useful or entertaining, please share.


Craft and Practice with Jeff Bowles – Narrators of a Different Color

Craft and Practice

Each month, writer Jeff Bowles offers practical tips for improving, sharpening, and selling your writing. Welcome to your monthly discussion on Craft and Practice.

There’s an entire school of thought behind the use of standard third-person perspective in narrative fiction. Often enough, beginning writers are encouraged to see it as their go-to, which isn’t horrible advice. Let’s do a quick POV lesson, in case your memory is hazy.

First-person: I walked to the lake.

Second-person: You walked to the lake.

Third-Person: He walked to the lake.

Conventional wisdom says most readers stomach lucky number three best. I think that might be a load of hogwash, but let’s assume it’s 100% correct. What would be the benefit of writing fiction—or creative nonfiction, for that matter—from a quote, unquote “nontraditional” perspective? Your own edification, right? And maybe something else.

Third-person is the norm because it provides helpful breathing room between us and our readers. It’s easy to tell a story this way, natural. We’re used to it, having read it a million times before. By the same token, I have noticed it’s become increasingly more common for storytellers to dabble in other modes. First or second-person, past or present tense, limited omniscience or full-blown mind-of-God territory. First-person present tense, by the way, is notoriously apt to cause chaos.

“I write on the blog post for a bit, and then I check my email. It occurs to me I’ve never met a sultan of Saudi Arabia, so it’s possible these diet pills are phony. Oh well. I chuck them in the trash and head outside to clear my mind. It smells like a forest fire out here. Hey, what gives?”

This is stream of consciousness stuff, easy to write but difficult and unwieldy to beat into proper shape. All the verbiage points to me, me, me, now, now, now. It can get same-same after a while, difficult to chew through. Not always, but often enough.

I’ll give you the benefit of the doubt and assume your new forest fire/phony diet pill story is perfectly well written, thank you very much. You did the job, tale told effectively, end of discussion. In that case, one crucial question comes to mind. Is your narrator any fun to read?

What do you mean, what do I mean? What’s a fun narrator supposed to sound like? Well, I guess they can be any of the following: idiosyncratic, faulty, confident, psychotic, mentally sound, likable, unlikable, funny, unfunny, jaded, naïve, a super focal lens, an individual with something to say, a personality worth delving into.

Maybe you’ve never considered it this way, but in my humble estimation, narration of this kind is a blank check. Most things worth achieving sound unlikely at first. Think of it like speed dating. You known instantly upon sitting across from someone whether or not you’d enjoy their company. Is your speed-dater worth engaging in conversation? Are they fun to listen to?

Gut check time. How well do you write dialogue? I only ask because I’ve realized throughout the years not everyone is as keen on it as I am. Sharp and amusing with zero fat left to trim, that’s my favorite kind. But what’s yours? Informative but not dull? Wacky and a bit irredeemable? More importantly, do you think you could extend a few lines of it to encompass an entire story? I’m willing to bet you can.

The simple truth is most writers create bland characters by default. Not you, of course. Perish the thought. Mentors and teachers might encourage us to pre-fill character sheets or go to public places and write down snatches of conversation we hear. I’m not saying that’s bad advice, but I can confidently tell you it’s more efficient and effective to let characters tell us who they are rather than to impose our sizable wills upon them. Don’t bloat yourself up with too much preparation. On the fly, hit the page and let your creations speak to you. A little honest individuality is enough to distinguish your work from the work of others, and that’s a good thing.

Rule makers have tried to enter this arena, but I don’t think they’ve done a great job setting any concrete prescriptive measures. Is addressing your reader directly breaking the fourth wall? No, not really. If you think about it, first-person narration divorced from context is unnatural anyway. It was much more common in centuries past for authors to speak to their readers through narration. As we discussed earlier, stability is easy to achieve by providing a little breathing room. This is a blank check, remember? Anything and everything is achievable, provided you’ve got the skills to stick the landing. That’s the thing about experts. If they tell you something can be done, they’re most certainly right. If they tell you it can’t, they’re most certainly wrong.

Style remains essential in this domain. My final advice is this: If you’re currently working on something you’ve written in first-person, try playing with your style a little, write it like you’d write some nice extended dialogue, just as far as you’re comfortable, nothing too crazy—unless you like crazy. You might just surprise yourself. Scratch that. Your narrator might surprise you.

Don’t be stiff or formal. Get into the nitty gritty and pour a serious helping of personality gravy on those otherwise boring and bland mashed ‘taters.

On that note…

See you next time, everyone. Have an awesome May, will you?


Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative work can be found in God’s Body: Book One – The Fall, Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, Love/Madness/Demon, is available on Amazon now!

Love Madness Demon Cover Final

Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!


Want to be sure not to miss any of Craft and Practice with Jeff Bowles segments? Subscribe to Writing to be Read for e-mail notifications whenever new content is posted or follow WtbR on WordPress


Jeff’s Game Reviews – PS5 vs. Xbox Series X – Which Should You Buy?

This image has an empty alt attribute; its file name is jeffs-game-reviews.png

PS5 vs. Xbox Series X

2020 will likely go down as one of the most challenging years in modern history, not in the least for commerce, business, and technology. Small mom and pop stores and large corporations alike felt the crunch, and one industry in particular suffered unexpected misfires even the incoming Biden administration felt compelled to investigate.

I’m speaking, of course, of the video game business, specifically digital entertainment powerhouses Microsoft and Sony and their brand-new home consoles, the Xbox Series X and PlayStation 5. Both companies came to the market in November 2020, and both probably regret they did. Don’t get me wrong, having used each system extensively, I can attest to the quality of both. Neither has been without launch jitters and bugs, but Microsoft and Sony have, in their own time, gone a long way toward patching and improving problems as they’ve come up.

The real trouble with the Xbox Series X (and its kid brother, the Series S) and the PS5 is that they were both released without a steady supply of fresh product in the pipeline. A lot of excitement built up in the gaming community over the course of 2020, and by the time the launch window finally arrived in November, you would’ve needed to be exceptionally lucky or downright Google-gifted to snag a preorder. Add to that a huge issue with reseller bots buying consoles at unprecedented rates and creating a kind of gaming black market on eBay, and you’ve got a recipe for mass frustration.

But let’s back up a bit. Assuming you can in fact get your hands on a system, which should you choose? The truth is subtler than you might expect. Though graced with different architecture, the PS5 and Series X run third-party titles in a virtually identical manner. Games look great, sharp, clear, detailed. You’ll need a decent 4K television to see this stuff in full next-gen glory, but assuming you don’t mind upgrading, I can guarantee an excellent experience either way. That being said, services, content, and a few hardware points do enough to properly differentiate Series X from PS5. In the end, it all comes down to individual preference, so let’s look at each in turn.

Xbox Series X

Microsoft released two consoles last autumn, but the Series S is meant to be a less powerful and cheaper option designed for gamers who don’t care too much about 4K or enhanced performance or owning the biggest and baddest on the block. It’s a full $200 USD cheaper than Series X, and therefore makes for an appealing option. The Series X is the real star here, however, so let’s zoom in on it.

Consider this article for a full rundown of the Series X’s technical specifications. Needless to say, there’s a lot of power under the hood. The Xbox brand has one major trump card called Gamepass. For a monthly fee, players can gain access to a huge library of old classics and modern stunners. In fact, if you were so inclined, you might not even need to buy games at full retail value again. The Series X is also bolstered by its impressive zeal for backward compatibility. Almost every single title available on the previous generation’s Xbox One, including older Xbox 360 and original Xbox games, is playable here. Most if not all older titles benefit from lighting-fast load times and post-processed HDR (High Dynamic Range color and lighting). In addition, the system has quick resume functionality, which allows players to jump back into their games precisely where they left off, even if the system has been in sleep mode for weeks or even months.

It all goes for $500 USD, the same price as PS5. Happens to be the smaller of the two systems, too, which is admittedly a non sequitur. PS5 is massive, just massive, but Series X is fairly large as well. It is currently a bit easier to find at online retailers,. PlayStation sales are through the roof, but if you want a system right now, you could do worse than Series X.

See my video review of the Xbox Series X

PlayStation 5

Ask any diehard Sony fan why they keep coming back to PS and you’re likely to hear one answer above all others: the exclusives. See this article for a full list of tech specs for PS5.

Truthfully, Sony has the better history producing first-party games. The list from the last few years alone is impressive, the PS4 having been the exclusive home of some truly great titles like Spider-Man, Final Fantasy VII Remake, God of War, Ghost of Tsushima, Grant Turismo Sport, and many others. Fewer old PlayStation games are backwards compatible, but the ones that are sure pack a punch.

Another great feature is the PS5’s controller, dubbed the Duel Sense. It has impressive haptic feedback sensitivity, including articulate rumbles at multiple contact points and adaptive triggers that adjust tension on the fly. It feels great in your hands, but time will tell how many new games take full advantage. Sony is keenly aware of Microsoft’s desperation to pull into pole position with its myriad services and freebies, so expect the PS landscape to include sudden unannounced benefits as the months and years mount up.

The PlayStation 5 is arguably the buggiest of the two consoles even half a year after release, so take that into account when making your purchase. I fully expect Sony to hunt these known issues down and patch them appropriately, but Microsoft has had a bit more pep in their step on this point.

Check out my video review of the PS5

Conclusion

Not everyone is interested in new gaming consoles right now, and that stands to reason. Those who are have driven the gaming marketplace to dizzying new heights. The PS5 is the fastest selling game system in US history, which is pretty amazing considering the fact it’s almost impossible to find. Big box retailers don’t carry them at physical locations, which means the internet remains your only method of procurement. I can guarantee you’ll have an excellent time playing on either of these two behemoths, but look, if you don’t mind waiting, then go ahead and wait. You won’t have to tear your hair out running the online circuit from Amazon to Best Buy to Target to Walmart … see what I mean? Both companies have produced great pieces of hardware, and that’s the honest truth. Excellent exclusives or tempting membership benefits and services, you decide.

I’ll be back with another Jeff’s Game Reviews here on Writing to be Read. Until then, keep your trigger fingers at the ready, folks. Never know when you’ll have to do a little console hunting. Take care.


Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative work can be found in God’s Body: Book One – The Fall, Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, Love/Madness/Demon, is available on Amazon now!

Love Madness Demon Cover Final

Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!

__________________________________________________________________________________________________

Want to be sure not to miss any of “Jeff’s Game Reviews” segments? Subscribe to Writing to be Read for e-mail notifications whenever new content is posted or follow WtbR on WordPress. If you found it useful or entertaining, please share.


Words to Live By – For Dora

For Dora

It’s been tough around the house this month. My mother-in-law passed away after a long battle with liver disease. She’d been having severe problems for months, but as my wife said a few nights ago, we always thought we had more time with her.

I haven’t felt like writing. Even typing up a blog post like this is draining. Writing is a bit of a safe haven for me. Easily tumbling down the rabbit hole, so to speak, laying aside my heartaches and disappointments, entering worlds of my own design, inhabiting people who don’t really exist.

Dora was a writer herself, and a voracious reader, too. I stayed with my wife and her family a lot in the days I was first starting to tinker with short stories. Because Dora was enthusiastic and willing, I often asked her to read my fist drafts. Her comments were always complimentary, because it wasn’t in her nature to poke holes in something her kids had poured their hearts and souls into.

Her kid, that’s what I was. The family has two daughters, and both were married within a year of each other. Dora never differentiated between the four of us, or at least, she tried her best not to. If everyone was gathering in the same place, it was about the kids and whether or not we’d eaten, her kids and how we were getting along in life, the importance of the kids’ enjoyment of holidays, birthdays, work promotions, collegiate successes.

I have no bad memories of her. Truly, anything contentious between us didn’t live long enough to become an issue. She was always patient and friendly with me. I loved reading her yearly Christmas poems, which she sent to the entire extended family. Never missed a year or an opportunity to fret over one or two words. I liked that about her, a certain willingness to own what she’d created. She never tried to publish anything professionally, but the rest of the family agrees she should have.

Marriage, as it turns out, can be one hell of a rollercoaster ride. My wife and I will be celebrating our twelfth anniversary in September. Most of our friends have been married a far shorter time, which means we can dispense wisdom without pretense. Our marriage has been anything but perfect. Thwarted expectations, mental health issues, a lost house, lost job, grad school, which was pretty tough for me, because I do tend to have a sensitive mindset, things can set me off easily.

I have guilt over whether Dora knew how much I appreciated her, because I doubt I ever communicated it properly. I know my wife and father-in-law are suffering, but the truth is they’re both stronger than I am. There’s been so much in the last year to cause us all grief and misery. No shame shaking your fist at the bumpy ride behind and ahead of us. There’s nowhere else for me to be, nothing else I’d rather be doing. Dora was a presence in this house, this family. She was a pillar, holding things up in that matronly way that looks easy but can’t possibly be effortless. Life will be different now. Better or worse, I don’t know, but different for sure.

I can help my wife by making calls, figuring out logistics, being a shoulder to cry on. I’m not perfect, but then neither was Dora. Sometimes I expect her still to be here, watching movies or making dinner, reading, chatting, clipping digital coupons. One of the last things she did for me was to read the first novel I self-published. She loved it, told my wife I was talented and that I was never to give up.

She would’ve said that regardless of whether she enjoyed reading it or not, but I believed her wholeheartedly anyway. That’s what she meant to me. I was proud to be one of her kids. I’m still proud.

I’ll see you next month in Words to Live By. In the meantime, give someone important a hug. If they’re not a hugger, hug them even harder. Tell them you have my permission.


Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative work can be found in God’s Body: Book One – The Fall, Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, Love/Madness/Demon, is available on Amazon now!

Love Madness Demon Cover Final

Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!


Craft and Practice with Jeff Bowles – Characters in Need of Color

Each month, writer Jeff Bowles offers practical tips for improving, sharpening, and selling your writing. Welcome to your monthly discussion on Craft and Practice.

I’m a big fan of color. Maybe it’s the art lover in me, but I can’t stand boring compositions. A little passionate red, cool and withdrawn blue, yellow to energize, purple to pacify. My stories are always full of color. I design them that way so I don’t get bored in the telling. Attention span of a cocker spaniel, I assure you. I figure if I’m getting bored, my readers don’t stand a chance.

In this edition of Craft and Practice, we’ll look at colorful characters. Where do they come from? How can we more easily create them? Let’s assume you find them preferable to stock characters that are functional but not especially inspired. I’m here to tell you that you don’t need much in terms of preparation. Outlines, character sheets, written histories, throw them all out for the time being. The trick here is to open yourself up, to trust your instincts and your ability to create something sort of magical and unique to your abilities, to your point of view. It’s not so much that preparation can hamper our ideas or dampen our expression of them. This is true some of the time, but not always. It’s more that the tighter we constrict our creativity―that’s constrict rather than channel; one is suppressive by nature and the other is purposefully expressive―the more likely we are to produce wooden and inflexible components.

Your characters don’t want to be inflexible. Trust me on this. They long to be unpredictable, passionate, full of life. Some writers like to work with a net. Perfectly understandable. It’s cleaner and in some sense easier. But I’d like you to consider the possibility that extra work at the conclusion of a writing project is worth more in the long run than an equivalent amount of preparation. The final product is bound to be less like everyone else’s stories and more like your own, and that’s a win in my book.

Let’s run a brief exercise to illustrate the point. Character A asks Character B for something to drink. Character A doesn’t visit other people’s homes very often, so the request doesn’t seem rude or presumptuous. Character B is a friendly sort, charitable in all the ways it matters, and if it’s possible to provide hospitality and comfort to Character A, then that’s precisely what Character B will do. Outcome: Character A gets to drink. Huzzah!

Notice that in just a few brief character descriptions, I’ve told you everything you need to know in order to enjoy the scene. Do you care what Character A’s first car was? Not unless it has direct bearing on the scene at hand. Do you care if your protagonist prefers Pizza Hut to Domino’s? Not as such, because they’re not eating right now. They’re, you know, drinking. What if childhood trauma involving fruit punch makes them thirstier than the average beverage enthusiast? I mean, that may be pertinent information. Put it in and see how it reads. In this way, story serves character, not the other way around. These imaginary folks living rent-free in your head, they might change their spots entirely by the time you’ve written THE END. In fact, we sort of need them to. It’d be damn boring if they didn’t. I’m saying the desired effect is best achieved organically. Think about your standard rising action chart

Notice the trajectory, one smooth line shot straight toward a conclusion. Don’t design your plot or your characters in this manner. Just don’t do it. Trust me, that line reads a whole lot better when it’s perforated, imbalanced, full of ups and downs, at last arriving at that ultimate destination. In real life, human beings do not proceed along a straight trajectory. Great actors know this. They understand innately to respond to moments as they come. One foot in front of the other, not all the feet all over the world all at once.

Imagine going onstage with a dozen pages of notes stapled to your forehead. This scene should be easier to perform because you have at your disposal so much background information. Right? Wrong? Yes? No? How’s your performance? Natural or constricted? I mean really, is that stuff helpful, or is it dead weight? A given scene tells me I should be afraid of snakes. The next one tells me I’m falling in love with someone who owns a lot of snakes. The core of my character remains, but the dictates of motivation, action, and reaction are all over the map. Am I in love with snakes and afraid of love? No, of course not. My name is Character A, and I’ve just been bitten by a rattler. See? No preplanning required.

Here’s another classic scenario for you to consider. You can night drive from Los Angeles to Las Vegas without ever seeing further ahead than the thirty feet of illumination provided by your headlights. The road is there, it promises to deposit you at your destination, but even it has no idea what will happen along the way. Maybe you don’t end up in Vegas at all. Maybe your characters have decided they’d rather go to Reno. Are you going to tell them no? They’ve already hit the ATM and booked serviceable lodging!

Thinking of your work in terms of performance is a good habit to cultivate. Just try it. Write a simple scene for which you’ve planned nothing. It’s not important where these characters have been, how much money they have, what their likes and dislikes are. All that matters is the spontaneous influencing the spontaneous. That’s the meaty part, the gold in the gold mine.

Fluff is a chore to read. If you don’t believe me, dig out one of your first serious pieces of writing and tell me how much of it is pertinent and how much ought to be nixed. I know, painful, right? Reminds me of the first piece of honest criticism I ever received, “I only have three problems with this story. The beginning, the middle, and the end.”

The good news about this craft is that there are a million and one ways to skin a cat. I’ll be back with more Craft and Practice next month. No cat-skinning required. See ya!


Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative work can be found in God’s Body: Book One – The Fall, Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, Love/Madness/Demon, is available on Amazon now!

Love Madness Demon Cover Final

Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!


Want to be sure not to miss any of Craft and Practice with Jeff Bowles segments? Subscribe to Writing to be Read for e-mail notifications whenever new content is posted or follow WtbR on WordPress


Words to Live By – Where Lie Your Roots?

Jeff Version_Words to Live By 2

The first Wednesday of every month, writer Jeff Bowles muses on life, creativity, and our collective destinies as makers of cool stuff. You’re a writer, but have you ever thought about how or why? Here are some words to live by.

Where Lie Your Roots?

It’s been a slow week for me out here on the Colorado prairie. Not planning to announce any upcoming book or music releases, no urge to get out of the house and see the world again. I assume it’s right where I left it. Such a long time ago! Do they still have fast food out there? Do children still laugh? Asking for a friend.

I did finish the rough draft of a new book the other day. I’ve been working on it for three and a half months, so it was gratifying to finally type THE END. About 70,000 words in total, and guess what else? I wrote it without any preparation, no outline or notes or character sheets or research conducted the hard way. And I like how it’s turned out. Kind of proud of myself, actually. I think it would’ve been a very different book if I’d had no clue how good stories are put together. My family gave that to me, the freedom to ponder and learn and express, regardless of whether or not they figured it would, quote unquote, “Get me somewhere”.

This is at the heart of Words to Live By for this month. Where lie your creative roots? Reaching deep into the nutrient-rich soil, I hope. Have you been making time for inspiration? Have you lately nurtured those people and circumstances essential to your own creative growth? I believe every one of us has common mythic imaginations. Joseph Campbell spoke about it all the time, and so for that matter did Carl Jung. If not for that thick, tangled, extra-nerdy root system of mine, I doubt I’d have had the confidence to improvise a whole book. Think I’m going to call it Emily Greer’s Resurrection Mixtape, which sounds dumb until you realize what it’s about. I’ve documented my writing habits elsewhere on Writing to be Read, but because I developed Schizoaffective Disorder about five or six years ago, I’ve had to lighten my daily workload considerably. For me there’s a fine line between healthy production and the kind of overproduction that only exhausts and triggers me.

Have you ever met a writer who’s lost his or her ability to be a fan of stuff? Like they broke that button a long time ago and never bothered to have it repaired? I’d hate always feeling that way. As long as they keep making movies for nerds, I’ll doubtless keep paying to see them. It was something we always did together, my family and I, the magic of a darkened movie theater, popcorn, candy, soda; complete and total escape into stories bigger than the side of our house! I started borrowing amazing science fiction novels from my brother, started singing for the other kids on the playground, developing that taste for performance. By the time I got to college, I was hooked. My biggest leap forward at that time was to write a full screenplay for one of my theater classes.

“This isn’t bad, Jeff,” my instructor told me near the end of the semester. “You’ve got a knack for writing. You ought to continue developing it.”

So I did. I worked hard, studied hard, and yes, that did include watching movies and TV shows many people at the time considered junk. I knew this stuff was cool then and I’m certain of it now. There are a lot of cultural touchstones to keep track of when you work in genre fiction. I’m a nerd, which means I’m already full of useless trivia. But what about you? In what ways have your experiences with storytelling shaped what you do and the way you do it?

I get much of my writing style from comics. Big surprise there. Comic books are dynamic, bombastic, colorful. They’re also short, which is perfect for a mind like mine. From the likes of Marvel and DC, I learned the value of punch-you-in-the-gut storytelling. Can’t say I took personal instruction at the feet of masters, but just read some of my work and tell me you don’t see far more super than man.

Heh, that’s a good one, more super than man. Going to have to remember that.

Because I write relatively little each morning, I end up with a lot of free time on my hands. I’m also a bit of a homebody, which has only become more pronounced in the days of COVID. What do I do all day long if not to write? Because honestly, ten years ago I’d work for hours on end and never bat an eye. I read comics, of course, and I watch movies I’ve seen a million times before. I’m a huge fan who also writes and occasionally gets paid for what I create. The point is not to elevate my tastes above anyone else’s. I do like some pretty awesome stuff, but that’s subjective. I’d rather you elevate yours over mine. What catches your imagination most? What gets you excited to be creative? Watch Captain America or Batman for the umpteenth time and pretend you’re immune to feeling bored, frustrated, disagreeable. How deep do your roots go?

The things I love charge me up and make my work possible. Do you feel the same about the stuff you love? If there were no Avengers, no Justice League, no Star Wars, I might not have ever become a writer. Thank god I did. It’s been one hell of a fun life so far. 😊

I’ll be back next month with another Words to Live By. Until then, everybody!


Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative work can be found in God’s Body: Book One – The Fall, Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, Love/Madness/Demon, is available on Amazon now!

Love Madness Demon Cover Final

Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!


Craft and Practice with Jeff Bowles – Throw Away Your Outlines FOREVER!

Craft and Practice

Each month, writer Jeff Bowles offers practical tips for improving, sharpening, and selling your writing. Welcome to your monthly discussion on Craft and Practice.

My wife recently showed me a new favorite anime series of hers that perfectly illustrates a point I’ve been making about storytelling for years. I didn’t used to like anime all that much, and I’m not sure how you feel about it (if you feel anything about it whatsoever), but like many writers from my part of the globe, I had a certain bias toward a more Westernized approach to storytelling. I didn’t much like the aesthetic of anime, the tropes or the style, but I also wasn’t seeing the big picture. Anime is often judged on its aesthetics, but it should be praised for a preference for bold storylines, creativity, color, imagination, a kind of libertine approach that is no-holds-barred, that exceeds and usually subverts audience expectations.

The truth is there are a million writing advice columns saying it’s a bad idea to head into a writing project without some kind of plan. Sometimes, especially in speculative fiction, copious amounts of planning are advised. Character sheets, outlines, beat sheets, world building tools, map making, story bibles, and a number of other idea-gathering methods are common, and for good reason, I suppose. But in the traditions that gave birth to a medium like anime, form follows function, structure often inhibits form. In other words, rigidity and an unwillingness to let stories guide themselves is at the heart of lots and lots AND LOTS of bad writing.

To produce an animated television show, of course, quite a bit of planning is required. Scripts have to be written, art must be created, there’s a need to hire actors and hold recording sessions, and then post production is always a long process. Large groups of very talented people make this stuff. The animation industry is a machine, one so well-oiled the product itself is viewed and loved all over the globe, regardless of culture or regional storytelling preferences. In contrast, someone who writes fiction or poetry or who dabbles in screenplay, stage production, or even video game writing, is very much a free agent. But I’d like to ask you to throw all that out the window for a moment, because I want to direct your attention toward something crucial. Storytelling can and perhaps should be artful in addition to being solid, confident, and competent. Storytelling, the best kinds of it anyway, should meet and then exceed audience expectations, and I know of one sure-fire way of doing that: be the author who surprises the author.

Surprise yourself. Anime is an interesting medium to study because it absolutely loves the element of surprise. I know that in the new show my wife introduced me to, every episode contains a wealth of sea changes that completely redirect the flow of the narrative, creating an experience audiences simply cannot predict from one half-our segment to the next. It’s an intense ride, one that has equivalents in Western storytelling. Stephen King, for instance, is famous for espousing a very seat-of-the-pants approach to writing novels. He’s struck by an interesting what-if scenario, starts writing an introductory scene, establishes some initial paradigms, a few working story dynamics, and then he’s off to the races for the next couple months, having no clue where he’ll end up or how he’ll get there.

It’s worth noting that story synthesis requires the introduction, development, and resolution of disparate elements. For example, if I tell you to write a first chapter including a gun, a nun, an assassin, and a vengeful widow, you’ve got four disparate elements that must follow that exact line: introduction, development, resolution. So let’s say the widow is on a quest to kill the assassin who took the life of her beloved, but her religious convictions lead her to a local church where she gets down on her knees and begs a nun to talk her out of committing the ultimate sin of murder.

Where does the story go in chapter two? Imagine the possibilities, reason out the next most likely scenario to occur, given what’s just happened in chapter one (have to use your reasoning, logical brain for this). Repeat that method throughout approximately thirty or forty chapters, and you’ve got yourself a book. Again, if the author of a great story is surprised while they’re in the process of telling it, the reader is likewise guaranteed a similar reaction. It doesn’t mean you’re a sloppy storyteller. It means you’re willing to take a leap of faith, play jazz a little bit, stretch your abilities and find out in an improvisational way what works and what does not.

As you come up with ideas in the moment, you’re likely to want to check them against a few basic questions: does this concept make sense in context? Would my characters really do this and why? How does this dynamic irrevocably change the narrative, and does it take the story in a direction I’m not prepared to go? Constant alterations, redirection, redactions, and tweaks will be required, and you may also find your finished rough draft is in need of serious inserts, deletions, and edits, but the benefits outweigh the grief. Stories that surprise, that don’t hold the audience’s hand, that respect the audience’s intelligence, that’s what can result.

To return to Stephen King for a moment, there is a preponderance of disappearing, reappearing elements in his stories. Some of his most famous novels set, break, and then reset paradigms constantly and consistently. In The Stand, for instance, notice how a story initially about a small group of disparate and scattered pandemic survivors becomes a tale of strong familial community and then a post-apocalyptic holy battle of good vs. evil. King wrote that book without any planning at all, and whenever he got stuck because, you know, he hadn’t planned anything, he simply did something drastic and unexpected to break paradigms he himself had set. Gathering all the pandemic survivors in Boulder, Colorado and setting them up with good lives isn’t enough. There has to be a traitor in their midst, and if a bomb suddenly goes off and kills some fairly important protagonists, what’s the difference? At least we get some more breathing room to play with that wicked story.

Anime also teaches us paradigms can be created and implemented with the intention of shattering them and reassembling and continuing a story on the fly. Just like, I’m afraid, too much outlining can turn an otherwise well-written book into a predictable mess. Decent surprises telegraphed and ruined, characters that behave irrationally because they were and are slaves to dense, inhibiting structure, it’s a bit of a nightmare. It must be noted that in the professional world, a writer isn’t always given the opportunity to create stories on the fly. Publishers and studio executives, game developers, whoever you’re writing for, they like to be sold on ideas before they see a finished product. Call it an insurance policy. But if by chance you don’t care too much about impressing or working for these folks, if you’re of a more independent disposition, I urge you to try a writing approach that eschews too much planning and allows for absolute spontaneity. You may just be thrilled with the results.

I’ll be back next month for another Craft and Practice. See ya, folks, and thanks for stopping by!


Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative work can be found in God’s Body: Book One – The Fall, Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, Love/Madness/Demon, is available on Amazon now!

Love Madness Demon Cover Final

Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!


Want to be sure not to miss any of Craft and Practice with Jeff Bowles segments? Subscribe to Writing to be Read for e-mail notifications whenever new content is posted or follow WtbR on WordPress


Jeff’s Game Reviews – Hitman 3

Reviewed on Xbox Series X – Also available on PS5, PS4, Xbox One, and PC

The thrill of the kill is everything in the Hitman series. Are you a master craftsman of death or just a sociopath for hire? Who cares? Finding almost limitless possibilities to achieve your objectives and wipe your targets off the map is every bit as fun now as it was when the original game debuted way back in 2000. A sharp reboot in 2016 and a great follow up two years later bring us up to this little gem of a next-gen title, Hitman 3. This series about creative and covert assassinations has been around a long time. So what’s changed?

Well, certainly not the production values, which are often glorious to behold. Played on the new Xbox Series X in stunning 4K HDR, the game’s graphical achievements are evident at almost every turn. Lighting effects are brilliant, environments are large and incredibly detailed, and character models are just advanced enough to ensure players the new gaming generation is off to a good start. Even the music is fantastic. Fully orchestrated and grand, just like a prime entertainment experience ought to be.

Your mission, should you choose to accept it, is to bring down the super-secret apparatus our bald-headed, barcoded protag, Agent 47, has spent an entire bloody career killing in the name of. It’s not crucial to have played the previous two entries in the series, but the campaign is well-written and well-acted, so you may want to go back and give the others a shot once you’ve cleared this one. Gameplay is essentially stealth-based, punctuated by moments of tense action, not unlike a good Bond or Bourne movie. Show up at a location, infiltrate, assassinate, get out. But the myriad ways to go about your grim work provide an impressive array of opportunities for fun and creativity. Sure, you can slink your way around, steal a disguise here, set up a killer trap there. Or you can be a bull in a China shop and bludgeon and murder your way to your targets. The choice as always is yours, but rest assured, you’ll never want for options.

Hitman 3 is a bit on the short side, with only six maps and therefore six overarching missions. But the replayability of the game is and should be a factor in your purchasing decision. Are you the sort to want to play huge missions again and again to get all the bloody nuance? Or is once and done enough for you? Developer IO Interactive is now working on a hotly anticipated 007 game, so you might want to get in your covert murder and espionage practice while you can.

Check out the video review here.

The most accurate thing to say about Hitman 3 in relation to its predecessors is that its scope and scale are a tad more robust. Yes, only six maps, but those six maps are gorgeous, huge, and contain so many fun secrets and hidden nooks and crannies you’re crazy if you’re not at least a little bit interested in diving back in after you’ve finished the campaign. Sometimes boneheaded AI and the intense and frequent need to save your game make it feel old-fashioned, but the more time you spend with Hitman 3 the more you realize just how sophisticated it is.

It’s not what you do, it’s the way you do it, your ability to bring down mega-baddies with style and finesse. The game rewards you for not being seen, setting up kills in advance, clearing stages quickly, and so on. Very rarely does Hitman 3 hold your hand. Its main interest is in providing you a worthy sandbox, and it does so with flash and ingenuity.

I must admit that after early experiences with the Hitman franchise when I was a young adult, I haven’t been all that excited to play a new one in quite some time. I’m terrible when it comes to stealth gameplay. Really, just awful at it. Give me a machine gun and an open field to mow down any day. But Hitman 3 has made me rethink its prominence in the popular gaming imagination. It can be so rewarding to sit on top of a target for five or ten minutes, shadowing them like a pro, waiting for the perfect time to strike. Similarly, discovering alternate paths to my objectives, appropriating disguises and equipment, scaling walls and being an unseen agent of chaos, it all makes for an engrossing ride, one for which I’m glad I paid full admission.  

This is a game for the meticulous, the completionists among us, and it’s incredibly rewarding on those levels. New players may find it tricky and challenging at first, but patience is a virtue. And so is a good garrot wire. Can’t leave that behind.

Jeff’s Game Reviews gives it an Eight out of Ten.


Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative work can be found in God’s Body: Book One – The Fall, Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, Love/Madness/Demon, is available on Amazon now!

Love Madness Demon Cover Final

Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!


Craft and Practice with Jeff Bowles – A Matter of Time

Each month, writer Jeff Bowles offers practical tips for improving, sharpening, and selling your writing. Welcome to your monthly discussion on Craft and Practice.

I’d like to tell you there’s a magic bullet for the writer’s life, that one tip or trick or another will make you successful, skilled, well-known, or whatever else you’re looking for on your individual journey. If that were the case, we’d all be bestsellers and poet laureates, and yet somewhat mystifyingly so…

Why do some people strike out while others hit it big? Why does it seem like so many have to struggle more, or fail more, or publish less? I wish I knew. Then again, I wish it weren’t such a big deal. After all, personal dreams are a wonderful thing, but they don’t often hold up against cold hard reality. That the two sometimes become the same thing is an obvious miracle, but let’s not belabor the point. If you were here for mysticism instead of writing advice, I’d tell you to buy a good quartz crystal and an all-seeing eye pendant. The trick this month, the tip I’m offering, is simply to say that in most scenarios you’ll encounter in your creative career, patience will be a virtue. Because time is always the overriding factor. Always. And time can be a fickle thing.

Sometimes it looks like the long wait from a submission to an acceptance. Or even a rejection to a rewrite. It can also appear as years of struggle to produce a single wonderful piece of writing. If you’ve ever read an advice column that promised the moon, you know how disappointing and damaging unrealistic expectations can be. No matter what your goals are, sometimes accomplishment boils down to luck. That’s simply the nature of the beast. And luck doesn’t often spread evenly, as I’m sure you’ve discovered in your own life.

Then again, sometimes it’s all about the hard work, the sleepless nights. There are very, very few overnight sensations. I’ve seen individual writing dreams come true, up close and personal, and it only ever seems to occur after years and years of battling it out in the trenches. You can look at it in terms of struggle and strife, or you can adopt a more holistic point of view. What I’m suggesting here today is that the prime factor of your eventual success is a matter of time. That’s all.

Time.

Because no amount of talent, drive, dedication, or luck will ever disqualify or surmount one very important point: you have to get from here to there, from A to B. I think it’s important to have goals, especially when you’re just starting out, but you may realize at some point you don’t have as much control of the universe as you thought you did.

There will be periods of droughts and downpours, of veritable writing gluts and creative starvation. And what can you do about it? If you make enough professional allies and friends, you’ll most likely notice that some of them succeed more readily than others. Most people don’t have such fragile egos they can’t stand to see contemporaries and comrades doing better than them. Then again, we writers can be a sensitive and touchy bunch, and truly, it can hurt to watch other people get the things we want. I guess the real question is how much pleasure can we derive from work that doesn’t seem to be getting us anywhere. Placing no focus whatsoever on its perceived relative quality. How much do we enjoy doing what we do?

Because I urge you to enjoy it more. Perhaps easier said than done, but there’s great pleasure to be found in the moment-to-moment, the day-to-day. I want you to write like only you can write because only you can write that way. Make sense? I want to hear your individual voice, and I want you to recognize it deserves to be heard.

Time can be your friend as easily as it can be your enemy. I suppose what I’d really like to do is walk up to the next struggling, frustrated writer I see and tap them on the head, ask her or him what the big deal is. Don’t you know your success is only a matter of time? Because that’s the truth, isn’t it? Don’t worry so much about what will or won’t happen. Worry about this scene you’re writing, that sentence you’re tweaking. In other words, focus on what you can control and disregard the rest. Don’t sweat it, because honestly, what’s there to sweat?

The simplicity of my message might offend this writer, because how can I say their success is a matter of time when nothing good or great has happened for them yet? How can I be so casual about the fact they haven’t proved themselves? Writers love to prove themselves. I might direct them to the precepts of Quantum Law, which stipulate that while there is only one you in the here and now, the future holds limitless possibilities for who you’ll become and what you’ll do next. Playing with pretty big odds, actually. Forces quite beyond your ken. Keep your nose to the grindstone, work when you can work, play when it feels right to play, and try to develop a little bit of trust, a little faith in the process and in your ability to do what’s right for you, to be at the right place when and only when it’s the right time.

Cliché and sound advice seem like the same thing sometimes, so don’t fret when I indulge in a certain truism: it’s not about the destination, it’s about the journey. Fact is fact, my friends. It’s all just a matter of time. I’ll see you next month in Craft and Practice.


Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative work can be found in God’s Body: Book One – The Fall, Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, Love/Madness/Demon, is available on Amazon now!

Love Madness Demon Cover Final

Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!


Want to be sure not to miss any of Craft and Practice with Jeff Bowles segments? Subscribe to Writing to be Read for e-mail notifications whenever new content is posted or follow WtbR on WordPress


Jeff’s Movie Reviews – Wonder Woman 1984

Jeff's Movie Reviews

A Little Less Wonderful

by Jeff Bowles

When the first Wonder Woman film hit theaters three years ago, it was met with substantial fanfare. The Greek goddess superheroine is more than just a cultural phenomenon, she’s a feminist icon, a symbol of strength and nobility for millions of people all over the world. Her first major foray onto the big screen meant more to some people than anything else DC Comics has ever produced, so yeah, its sequel has quite a bit to live up to.

Wonder Woman 1984 is, if nothing else, an interesting product of its time, 2020, a year in which it was supposed to have been released in theaters in July. Coronavirus forced Warner Bros. to push the film until December, and the studio chose to do so by mixing a theatrical release with a special limited release on the home video streaming platform, HBO Max. So you can watch this movie right now at home for a small membership fee, kind of a remarkable thing in the history of cinema. New movies always used to be, you know, out at the movies. But now, who knows?

Subsequently, the flick has been met with much less fanfare than its predecessor enjoyed. Wonder Woman 1984 has been a success of sorts, but it’s doubtful to make much of an impact beyond that. The reasons for this aren’t merely limited to its precarious release schedule. The story makes some choices that keep it from being quite as wonderful as it deserves to be.

See the source image
Gal Gadot as the titular hero in Wonder Woman 1984.

For one, Wonder Woman 1984 revolves around a somewhat ridiculous McGuffin that allows for wishes to come true. This is a comic book movie, of course, which I have to admit I’m a huge fan of, even when they’re loud and dumb. But it’s almost as if the entirety of the plot was constructed on a simple and somewhat lazy notion to resurrect one key dead character. That would be Chris Pine’s Steve Trevor, Wonder Woman’s traditional love interest. The movie works best when the two share screen time. Their chemistry is relatable and infectious, so it’s no surprise writer/director Patty Jenkins wanted to pull him back into the fold.

Also returning is Gal Gadot as the titular hero, and she’s still great. More comfortable this time around, perhaps, but then, she’s played the character a total of four times now. SNL alum Kristen Wiig joins the cast as a relatable if slightly goofy foil/villain whose wish to be just like Wonder Woman goes wrong in all the right ways. The Mandalorian’s Pedro Pascal plays Maxwell Lord, a DC bad guy who first appeared in a 1987 Justice League comic and who has now been given the 1984 self-help guru treatment. Pascal gives the guy a lot of juice. A lot of juice. Perhaps its best not to say too much more about it than that.

One of the problems with the movie is that it doesn’t seem to feel the need to indulge in 80s-themed nostalgia in any major way, not like other recent shows and movies set in the decade have done. Odd, considering they wanted me to know the year it takes place months and months before it ever came out. Oh, there’s some paltry lip service to the year 1984 scattered here and there. An early action set-piece takes place in a mall, for instance. But again, no 80s tunes or anything? No Simple Minds? No New Coke references? What gives, dudes?

Wonder Woman 1984 comes together all right in the end, but really, it’s just another example of a DC Comics adaptation that’s barely handled well enough to justify its own existence. I’m a pretty big comics fan when it comes down to it. Gosh, it’s getting harder and harder to compete in that space. They’ve already announced Wonder Woman 3. Let’s hope Patty Jenkins and Warner Bros. bring a bit more punch to the superhero party next time.

Jeff’s Movie Reviews gives Wonder Woman 1984 a Six out of Ten.


Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative work can be found in God’s Body: Book One – The Fall, Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, Love/Madness/Demon, is available on Amazon now!

Love Madness Demon Cover Final

Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!


Want to be sure not to miss any of Jeff’s Movie Reviews? Subscribe to Writing to be Read for e-mail notifications whenever new content is posted or follow WtbR on WordPress