The Game of Thrones Series Finale

So, it’s done.

After 8 seasons, Game of Thrones is finished and over and done and well, yeah…

Since departing from the actual books because George R. R. Martin hadn’t finished them, the series has definitely gone down in terms of quality, in my opinion. But at the same time, it’s important to remember that for writers of television and films, it’s nearly impossible to render an adequate translation, as it were, of a book property onto the screen. Certainly, there are exceptions. But for the most part, the book is always better because it gives the reader more in terms of nuance, background, point-of-view, character development and more. When adapting for the screen, writers must show everything in such a way that the audience knows what is going on. Tidbits of internal monologue, for instance, are stricken because you can’t really show a character having a discussion with themselves.

From that perspective, the seasons that departed from the books have been adequate in terms of delivering storylines and plot that moved the series ahead. But they have, unfortunately, failed to deliver the same level of satisfaction that many fans craved from the series as a whole.

And when the series finale unfolds the way it did last night (and in preceding episodes), there are bound to be fans enraged by the conclusions reached by the writers to bring the series to an end.

For me, as a writer, there are obvious reasons why I was disappointed. Perhaps the most crucial being individual character arcs.

When we create characters, we set them on a journey of discovery. Along the way, they are beset by challenge after challenge forcing them to dig deep into the very core of who they are in order to overcome those challenges, or at least strive valiantly toward overcoming them. Sometimes they fail, and fail spectacularly. But if we’ve done our job properly, the reader is emotionally invested in the character or characters to a point that the journey they take leads the reader on a parallel journey of entertainment. At the end of that journey, the character is somehow transformed and the reader feels a level of satisfaction with the conclusions of that journey – even if they are not necessarily happy. Tragic endings can be just as satisfying provided the character has somehow been transformed over the course of the story.

Therein lies the problem with Game of Thrones.

Viewers have been emotionally invested in the series from the start. Everyone has their favorites and everyone has their villains. Along the way, we’ve seen characters rise to tremendous heights and truly evil villains enjoy their spectacular comeuppance. We’ve gasped, cheered, moaned, cried, and laughed as the series has unfolded. But in the end, that pattern of character story arc fulfillment deviated from the norm and as a result, we’ve been left…meh.

The real tragedy of Game of Thrones isn’t that it’s over; the real tragedy is that  – at the end – the show wasn’t that much fantasy at all. In fact, it was more reality than most viewers wanted.

We read books, watch TV, listen to music, sit in theaters, and every engage in art to help us deal with reality. In some ways, to escape it. In other ways to try to make sense of it – to gain perspective through the struggles of characters or self (if we create it) that enables us to bring that insight to our own individual worlds. For those who consume it, they are engaged in much the same process, albeit as passengers rather than the conductor.

And when reality is – as it is currently – with hatred and racism and bigotry and misogyny and ethical absence and complete disregard for the rule of law all on the rise, people expect an escape that leaves them feeling as though there is some sense in the universe.

Rather than more of the same.

The reality is that most people don’t have much of a story arc to their character. Most people go through life wishing things were somehow different; wishing they’d made different decisions; wishing they’d said “fuck yeah” instead of “I’d better not;” wishing for a second chance at the one thing they know fires their soul; wishing they’d apologized instead of defending a bad decision; wishing they’d taken that chance instead of playing it safe. And at the end of their lives, most people don’t go out with an incredible fireworks display, but rather with a quiet whimper of resignation and sad acceptance.

When the characters that we love or hate go out in a similar fashion, it does little to entertain. In fact, it only underscores our own place in the world – and reminds of us whether we’re on a spectacular journey or a mediocre merry-go-round.

Granted, it’s not necessarily the job of the writer to abide by any “rules.” And for all we know, Martin may well have planned the entire series to be as the writers of GoT finished things up. That after taking us on such an exhilarating ride, Martin may have intended the series go out with much the same whimper as it did last night. With some characters enjoying a better story arc than others, because in reality, some people have better lives than others.

And often, the people who do have a satisfying conclusion to their arcs, aren’t the people you would expect. Whereas the shooting stars who seem filled with such promise and potential end up sputtering out to some sort of blah ending. We all know people who peaked in high school and have ever since relived those glory days over and over in some vain attempt to buoy themselves. We also know the people who blossomed after enduring the crucible of high school and rose to extraordinary heights.

The simple truth is that despite all manner of external events, many people simply do not change or evolve over time. They stay locked in their own prison of prejudices and assumptions, convinced of their own certitude, unwilling to consider other perspectives or facts. As a result, their arcs fail to deliver a satisfying conclusion and that’s all there is to it.

The same thing happened with certain characters on GoT. Rather than fulfill the arc we hoped would happen (even if we did not even have a firm idea of what we wanted to happen for them) they simply…faded away. Worse, some of the villains we’d been hoping would experience true satisfactory justice ended up “escaping” in a rather muted fashion. Again, much the same as reality. 

Perhaps the message of Game of Thrones is simply this: not every hero receives grand rewards; not every villain receives satisfactory justice.

Which is, frankly, kind of depressing. And a bit too close to everyday life for many people.

Myself included.

Your mileage may vary, of course.

In the end, GoT was a great show.

It just sort of went out with a whimper.

When I really wanted a bang.

 

 

The Blog Relaunches!

Well, it’s been a couple of years since I posted out here in my blog, but I’m bringing it back. Given how restrictive Facebook and its algorithms have become in what they show to people who happen to like my page, or interact with me, the importance of this website has skyrocketed. From now on, lengthy posts will be published here and then shared elsewhere on social media.

What’s new? Take a look at everything happening right now…

1. DEAD DROP PODCAST: I started this podcast two weeks ago and I’m loving it. It’s a weekly update show, so to speak, about everything and anything that is happening in my professional life. I talk primarily about my acting, writing, and producing (see below) and share anecdotes and stories that I hope will help those who may be curious about any of those three topics. You can listen to the podcast on 7 platforms right now including Spotify and Google. Check out the homepage for the podcast here: http://anchor.fm and if you like it, become a supporter so I can make more episodes!

2. PATREON PAGE: I held out actually doing this but then Patreon decided to change rates and their processing so I had a deadline and launched it. It’s a cool way for me to share things that don’t normally get shared with people who want to support me, offer rewards, and more. If you’re a fan of my writing and my other work, swing by and think about becoming a supporter.

3. PAPERBACKS! Yes, I am finally getting Lawson into paperback! It’s been a long time coming but the new paperbacks are pretty gorgeous. I’m working to get them all available for sale, but the first ten adventures currently are, so grab them. Also, I will begin selling autographed versions through this website very soon (like, probably this week.)

4. POUNDCAKE: This is the new production company I’ve launched with my friends Branden James Maxham and Christopher Grace. They’re both incredibly talented individuals and I’m thrilled to be working with them. If you haven’t seen the official website then check it out here: http://poundcakeyum.com and be sure to follow us on Instagram as well @poundcakeyum There are a ton of cool projects being developed as we speak!

5. PINTEREST: Still figuring this platform out, but there ya go. I’m over there, so if you are, too, come by and give us a follow.

6. MERZENARIES: The forum here on this website is going to be a lot more active, so if you’ve ever bought anything here on the site, you’re automatically registered, just log in normally and you’re all set. And if you haven’t yet bought anything, register for the forum and you’ll be able to shop later when I open up the new autographed paperback section.

7. MOI: This is the name of the new non-fiction book I’m working hard to finish in time for the Fall. It’s filled with a whole lot of…well, let’s just say “unorthodox” information that a lot of folks might really dig being exposed to. Keep an eye out for updates. And I’m releasing some of it over on my Patreon page exclusively for supporters.

Remember: to get the latest news, get the DEAD DROP podcast!

THE CONTAINED: A New Digital Series Created by Jon F. Merz

By Jon F. Merz

It’s been a while since I last posted (mostly due to the fact that my hard drive crashed and that kept me away for about a week and a half). But the larger reason is that I’ve been incredibly busy preparing this amazing new project for its debut.

And today…we launch!

I’m proud to announce that THE CONTAINED is officially live! Based on the my first piece of published fiction (way back in 1996!), “I, the Courier,” THE CONTAINED is the story of one man’s journey to rediscover his forgotten past and battle against his nearly inevitable future. Along the way, he trips and stumbles down a winding road of conspiracy, corruption, and the very fate of mankind itself.

Imagine a world where people transport deadly diseases in their bodies for pharmaceutical companies. They easily travel across international borders, bypass national health laws, and help big pharma reap enormous profits. Hunted by assassins from rival pharmaceutical companies and always at risk from being killed by the very diseases they transport in their bodies, the life of a COURIER is high-risk and high-reward. For those that succeed, they become incredibly wealthy. For those that fail – a quick death is a merciful one.

THE CONTAINED is a brand new digital series from bestselling author Jon F. Merz, New Ronin Entertainment, and Human Punch Bowl featuring a cast of both fresh faces and veteran talent brought together in a maelstrom of high-octane adventure.

But here’s the thing: we need YOUR help to make this possible! Your donations – in whatever amount you can afford – will go directly toward the production of this incredibly exciting new series. You can help right now by going to the Indiegogo page and donating – we’ve got some very cool perks for those who do support us. And be sure to watch our exclusive awesome teaser trailer! It’s guaranteed to knock some awesome into your day!

Why I Love Failure

By Jon F. Merz

When most people talk about career goals, dreams, wishes, etc., they only talk about success. “Won’t it be great when I finally achieve this goal?” Or “won’t it be wonderful when I finally meet my perfect soul mate?” Our society is fixated on the idea of achieving success – so much so that kids who play sports are routinely rewarded with trophies and ribbons and medals even when they lose. “That’s okay, hon, even though you lost, you’re still a winner.”

Well, no. They’re not. At least not yet.

Part of the problem when we discuss the notion of success is that it immediately puts the notion of failure in a horrible light – as if failure is to be avoided at all costs, shut away in some dark closet and never spoken about in public. After all, if we’re focused on success, why would we talk about failure?

Here’s the thing: failure is actually awesome. It is by failing that we achieve our greatest successes – provided we have the endurance to weather the failure itself. If we fail and then get depressed and stuck in a rut of self-doubt, then failure can be truly debilitating. But if we embrace the failure for what it is: a sign that we have not yet reached our goal or performed up to standard and that we have a ways to go before we can stand triumphant, then failure is a fantastic motivator and an excellent waypoint indicator on our path to success.

I’ve made some of my greatest breakthroughs in life by failing – repeatedly. In recent years, my big breakthrough with ebooks came as a direct result of failing at selling any of them. I heard all about Joe Konrath selling thousands of copies each month, got annoyed and jealous and called him out on his blog. After talking and asking him to critique my efforts, things came up and delayed the critique so instead of waiting, I went back and looked at what I was doing wrong – where I was failing – and what Joe was doing right – where he was succeeding, made the changes and the rest has been history. I now sell thousands of copies of my ebooks each month as well. (Joe (and others) now sells tens of thousands of his ebooks, which only acts as a motivator for me to do even better…)

My business partner Jaime Hassett and I are still dealing with failures when it comes to getting THE FIXER TV series off the ground. We started this project in November of 2007 and have met with tons of people to back the project. Some of those meetings have yielded fruit, and others have been outright failures. Some of the more exasperating failures come as a result of dealing with idiots who say they want to get involved and then either back out or create some sort of insane drama to extricate themselves from the commitment. You honestly would not believe the stories we have to tell about our meetings; one day they’ll make for some fantastic entertainment. In the meantime, every new failure brings us right back to an intense appraisal about what we’re doing and our goals, as well as where we might have screwed up along the way. But as many times as we’ve failed so far, it only drives us even harder to be successful. And we will be very soon (news on that front is coming up, so stay tuned!)

The point is that failure shouldn’t be stigmatized as much as it has been. Failure is a fantastic generator of ideas and creativity. Okay, so we failed here, how do we make sure we don’t make those mistakes again? How do we get around this problem and achieve what we set out to do? I love talking to people who have repeatedly failed throughout their lives and not given into the temptation to quit and settle for less than what they dream is possible. Their stories are incredibly inspirational and motivating. And failure for them is something they wear as a badge of honor rather than as a scarlet letter of shame.

Nowadays, kids are routinely rewarded for failing, which I think is a dangerous trend. I understand the idea behind it, certainly, that it’s tough on a kid to lose and well-meaning parents want to cushion the blow to the ego, stem the insecurity, etc. But it sets a unrealistic expectation that will plague them as they grow older. And that is they will naturally expect everything they do, every activity they undertake, or every dream they have to be a walk in the park. We’ve all heard the stories of the college grad who didn’t get the job he applied for and had his mommy call up the employer and bitch them out. This is the notion of entitlement that arises when failure is improperly framed within a child’s mind at an early age.

The better technique for introducing failure to a child is to take them aside when they do fail, or lose a game, or perform to a lower standard, and teach them how they can look at the experience and take away from it the lesson on how to do better. Instead of slapping a trophy in their hand and telling them how great they are for losing, there’s nothing wrong with telling them the truth: “You didn’t do so well today. Why do you think that happened? What can you do to be better the next time?” You can cushion this talk by pointing out things they did well even though they did fail.

Our nation – indeed, our world – needs to produce a generation of kids that grow up understanding the critical role that failure plays in moving society forward. Failure isn’t an end point; it’s a new opportunity to get it right the next time through. Success only comes about as a direct result of failing – often many, many times (paging Thomas Edison…) – but not giving up. Failure, when coupled with an enduring spirit, is the surest route to achieving the success we all crave.

GORUCK CHALLENGE UPDATE

The daily runs are back on. I’m also doing the 60-day Insanity workout and Crossfit WODs. Today’s run was an exercise in pain and dealing with intense humidity. Good livin’!

Rise of the Authorpreneur

By Jon F. Merz

The big news this morning from Publishers Weekly is that bestselling author Terry Goodkind is going to self-publish his next novel. This is yet another indicator that there are seismic shifts happening and the ground beneath the feet of traditional (or legacy) publishing is cracking open and threatening to swallow a whole industry that has grown complacent thanks to its massive ego and basic business incompetence. I’ve talked about this for awhile now. Publishers still do not get it. As recently as last week, Stephen Zacharius of Kensington Publications Corp. (yes, the very folks who published my first four novels) commented on another blog about the “benefits” that traditional publishers offer authors – in other words, he trotted out the same tired bullshit lines about marketing, editing, ad infinitum. I responded on the blog, but my comment was never approved due to the proclivities of the blog author himself, but regardless – Zacharius’ claims are still a heaping, steaming pile of BS.

Marketing? Of the novels I’ve had traditionally published, not one got any sort of marketing push behind it. And Kensington’s own marketing plans for the first four novels of the Lawson series were supposed to include “National TV, radio, and print campaign” as was written on the cover flats they sent me. Yeah, right. Those plans never amounted to anything and I was forced to send out my author copies just to try to drum up reviews in major trades at that time.

Editing? Of all my traditionally published novels, exactly ONE has ever gotten editing done on it. Editors don’t edit any longer; they spend their time trying to acquire products and then have to pitch them to rooms filled with so-called professionals who claim to know what the reading public wants, but are, in reality utterly clueless about that very thing. (Exhibit A: my YA novel THE NINJA APPRENTICE was rejected everywhere with comments like “boys don’t read,” and “no commercial appeal” – since its debut as an ebook on May 8th, it has sold more than 1500 copies, garnered seven 5-star reviews, and is on the summer reading list at North Providence High School)

The fact is we are seeing a fundamental change in the entertainment industry. For far too long, writers have been marginalized by the industries they support. Look at the film/TV industry – if you don’t have writers, you don’t have any of the other industries that rely on those writers. No actors, no editors, no VFX, no nothing. Without writers, the industry has squat. The same for publishing. Without writers, you don’t have agents, editors, copyeditors, cover artists, sales reps, etc. etc. You would think that because writers are so important to so many people, they’d be willing to give us a decent share of the profits. You would, of course, be wrong. Writers have always settled for pennies. No doubt this is partly due to the insecurity that plagues the profession. “Oh, you think my story is good? Really? Wow. Cool.” Writers – especially new writers – lack confidence in what they produce. This has enabled the other industries to undermine their worth and get away with paying us far less than we deserve.

Right up until a few years back when the Kindle debuted.

And now, look where we stand – at the door to a whole new world of opportunity. Writers, for the first time, have control. We can publish our work independent of the massive, bloated conglomerations that dominate NYC publishing and we can do so while earning a 70% royalty on our work instead of the 17.5% that NYC wants to pay. We can set our own prices and then test those prices to see what the market will bear. We can change cover art if it’s not drawing consumers. We can tweak product descriptions. We can even go back to our backlist and re-edit the books if they don’t read well enough. We can respond to market changes faster than ever before. We can interact with readers, build our audiences, and enjoy a richer future than we dreamed possible before. In the past, the only way to assure our financially secure future was to hope and pray that one day the gods of NYC publishing would look down and bestow upon us a gifted position on the NY Times bestseller list along with six and seven-figure advances. It happened for a tiny minority of writers. The rest had to be content to scrimp and save and work-for-hire on jobs that paid them just enough to stay above the poverty line. Some of these writers had no health insurance; some saw their savings vanish in the economic crisis.

No longer.

This is the time of the AUTHORPRENEUR – an author unafraid to step boldly into the future and embrace the technology that puts them in charge of their own destiny. Authorpreneurs are business-savvy: they study the industry and learn what is working, what is changing, and how they can position themselves to take advantage of it. Authorpreneurs are never complacent: they continuously work on their craft and goal of becoming better writers and they never settle for what worked yesterday. Authorpreneurs wear many hats: in the beginning, they do it all – editing, rewrites, cover artist hiring, formatting, marketing – and they study the business world constantly for new ideas and innovations that can help them reach their audience.

Most importantly, authorpreneurs remember the importance of their readers. Our lifeline is the people who read our work. Without them, we have nothing. But unlike NYC publishers, who have tried to price-gouge consumers with ridiculously high ebook prices and attempted to wave off complaints by insulting the intelligence of those readers with comments like “it costs a lot to make an ebook,” authorpreneurs will never take readers for granted. We will always appreciate readers and give them their esteemed position within the equation. Writers and readers are the two most important parts. Everyone else is just in the middle…or in the way, if you prefer.

The rise of the authorpreneur is at hand.

And it’s about time!