WriteTip: Unauthorized Tie-Ins: If It Ain’t Yours, Don’t Write It

This tip isn’t about fanfic of the free kind fans write and post on various online forums for such. This post is about something related but troublesome. This post is about unauthorized novels and fiction written in existing universes owned by others people are planning to profit from and promote.

As a freelance editor, I get all kinds of submissions. But lately I have had to field several of this type, and it was deeply concerning. Here were people who were huge fans who actually had the audacity to think their ideas were so good they had the right to publish material based on a major franchise without permission or coordination with those who own and manage that intellectual property. Folks, if you want legal trouble, this is a great way to go after it. But it’s a lot of effort and wasted at that, for you to go about it this way.

Let’s talk about how tie-ins actually work. Someone, usually a publisher, buys print prose rights for doing tie-in works for a particular property (Predator, Alien, Star Wars, whatever). They then hire writers to pitch stories that they pass on to the licensor who decides which to green light and which get a pass. The next phase are extensive outlines and approval by the publisher and licensor before the person goes off to write. Then, when all that is settled, they write the novel or story, then yet another round of editing and approval takes place, then the book goes to copy editing, layout, proofing, and so on. All this before it gets published. Almost never does it happen from someone writing a novel or story on spec and selling it to a licensor. You don’t know the inside scoop on what else they are developing, the secret rules of either where they want the universe to go or where they want to avoid, and so on. So anything you write on spec will most likely be seen as an intrusion because it was not approved properly first and did not go through the various steps.

Seriously. I can probably count on one hand the number of times anyone successfully sold a prewritten novel in an existing world on spec to a licensor.

So why write it? Seriously. If it ain’t your world, don’t write it. Not without permission.

It takes a long time and a lot of effort to write good fiction. Especially novels. And tie-in novels require extra work—attention to detail, long research and reading everything in the universe you can find, and so on. Additionally, since many fans have different ideas what is best about the IP and where they want it to go, you are very unlikely to write something that the licensor will totally agree with from the start, and once you commit it to a full manuscript, chances are it will feel very final to them in a way that seems past the point of input and revision, at least to the degree they think it needs. So to them it’s easier to just pass than actually try to negotiate and discuss with you how to fix it or have you write it over from scratch. Additionally, many writers are resistant to changes anyway, so that could also be problematic and why risk the aggravation when they have their own ideas and plans and they are the only ones with the right to pursue them anyway?

I get that you are enthusiastic. But there is a difference between enthusiasm and presumption. Presumption is misplaced. Enthusiasm is not. And writing a novel in someone else’s IP without permission is the height of presumption.

It just makes way more sense, if you’re going to put out that kind of effort, to expend it into developing your own intellectual property—characters, world and story—that you can do whatever you want with. That’s something you control and you alone have final say on. Sure, you will want editors and publishers to sign off and help you make it better. And believe me, they will do their best to do that. But in the end you are working for yourself. And all the rewards—credit and financial and inner satisfaction, the most important of all—will be yours.

And speaking of money, here’s the thing. When you do tie-ins in someone else’s IP, it is work for hire. You may get an advance, and sometimes you get royalties (sometimes you don’t), but the bulk of profit is theirs. And usually the royalty amount is much smaller than for an original novel because the licensor will take more than the publisher and force them to accept less so they pass it on to you. Now, if you have not been hired, it’s pretty arrogant to undertaking working for hire on your own. You are assuming a lot. And that’s not necessarily a trait people admire or respect. But more than that, you are risking a lot. Months or years of effort could be a total waste, with a manuscript stuck in a drawer for life with no output for you to share it.

I know you’re thinking: I’ll just post it as fanfic. But what if the licensor hates it and, in fact, hires lawyers because you violated their copyright by writing it without permission and in order to avoid a lawsuit, forced you to turn over all copies to them and promise to destroy all files and never speak of or share it again? What if they force you to sign an NDA or something that you will never publish it or risk a lawsuit? Where will all the time and effort get you then?

Okay, these are worst case scenarios. They are likely rare too. Not worth the effort. But they are possible. And there are assholes out there who might just do it to make a point. It’s happened. So why risk that if you’re going to work so hard on something?

The point is there are way more reasons why it makes better sense to concentrate and dedicate your effort on doing something that is yours and totally benefits you rather than expending it and risking it on someone else’s intellectual property that might not only go nowhere but not benefit or hardly benefit you at all.

So that’s why If it ain’t yours, don’t write it is a good rule to live by, and it’s why when people bring me such projects, I usually decline to work on them. And that’s not even mentioning the liability I could be sued as a coconspirator or something if the licensor gets mad. Those legal matters are a whole separate post.

So just don’t do it, please. If you want to write fan fic, post it on the forums, but don’t dedicate serious effort to producing fan fic you hope to sell. Instead, write something so awesome, the licensor or publisher might see it then invite you to pitch and write authorized fan fic. THAT is the real prize, and having done it, I can tell you it never gets old. But only if you do it the right way.

For what it’s worth…

 

Works In Progress-Big announcements coming

So 2020 has been kind of a bust. I put out two novels in my John Simon Thrillers and had a couple short stories out in anthologies (Surviving Tomorrow, Weird World War III) but one of those was a reprint. I also edited Surviving Tomorrow, a charity anthology funding COVID-19 test kits, but beyond that I have written two other novels that will appear in 2021 or 2022. And that’s where I stand.

However, some stuff has started happening I can’t yet reveal but that is going to happen for 2021 and 2022. Let’s just say I should have one anthology out in each year, and I expect to have three novels out in 2021 and at least one in 2022 with more to come. This is good news because with parental health issues, my own medical situation, and general depression of living under an ominous pandemic and disappointing political situation, I have struggled to stay up and productive more than usual.

That said, I also expect to have at least three short stories out in 2021 (two in anthologies) and will probably do at least two more John Simon Thrillers before starting a new series. Who knows what else will develop, but it’s been so long since I updated you all, I felt I should at least say something. Hopefully, I will be back next week or the week after with big announcements of the anthologies. Just waiting on contracts to be finalized before I can announce.

Meanwhile, I hope you all had a pleasant and safe Thanksgiving and that your holiday season is joyful despite the circumstances and limitations we all face in the COVID era. Be careful, wear your masks, social distance, and keep your heads up.

For what it’s worth…

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WriteTip: No Deal is Always Better Than a Bad Deal

DISCLAIMER: I am no lawyer. And I am not an agent. So I am not one to give legal advice. This counts more as common sense so keep that in mind. I want to say this about contracts, and it’s learned from experience:

No deal is always better than a bad deal.

Recently, I’ve spent a lot of time negotiating contracts, and it’s got me thinking back ten years to when I first started out as a writer. For the first two or three years especially, it seemed like I was never going to get a sale, let alone a pro sale. And that made me feel like my legitimacy as a writer was very much in question. So one day, when a deal came along that paid pro rates and offered me that opportunity, I faced a real delimma. See, they were paying me ten cents per word. And that was at a time when 6 cents per word was the pro standard, so this was great pay. But in exchange they wanted my copyright and along with it the right to rewrite me however they chose without my involvement if they decided to do so.

Man, I really liked everything about that project. I really wanted to be a part of it. Until I heard the deal points. It’s evidence of my desperation that I spent a few days actually weighing it before turning them down. Now a days, it would be a nonstarter, and, in fact, a sign that I should never do business with those people again. That’s outrageous. Writers are not slaves. Our intellectual property is our most valuable commodity, and if our name goes on it, you shouldn’t change a word we don’t agree to. It doesn’t matter how much you pay us—that’s nonegotiable. But as it was, I really wanted to be seen as a pro with a sale to prove it, so I did spend a few days considering what to do before I made the decision to decline. And just to prove what shitty people they were, the editor told me how I’d regret my decision and what a fool I was being—clear signs, I now know, of sharks and jerks I should never go near. But at the time, I had a lot to learn, so I wondered for a period if I should have taken the deal.

Seven years or so later, I have zero regrets about that decision. In fact, I have found myself in the position on occasion as anthologist defending my writers against that very type of rights grab. To me, it’s a nonstarter. And it should be for you and any creative. Unless the work is an exiting IP work for hire situation, you should never be asked to relinquish control of it by anyone. Now, if you are unreasonable about reasonable edits and copy edits and style changes, then they have every right not to publish you. And you should expect as much. So don’t be a dick. Be reasonable. But that’s not the same as rewriting someone’s work without them. I would never want my name on work that was not entirely my own, would you? In work for hire, you might not have a choice but with your own original work, you always should and do.

So, again, I advise you to remember this one thing when it comes to selling your work or negotiating any contract:

no deal is always better than a bad deal.

Of course, I also advise you to seek advice of knowledgeable people so you know what is reasonable and what to expect. After all, some deal points are standard, and you may not understand or like all of them, but that’s part of the business and there are reasons for them. Publishers are in the business to make money, and the goal of each side in any contract negotiation is to negotiate terms most favorable to them. There’s always some give and take involved. But when you know industry standard terms, you can tell when you are being treated fairly and reasonably within bounds and when people step over the line, and to me, that is the difference between a bad deal and a good one. The thing is that the industry standard terms have been negotiated or hard fought by writers organizations, writers, agents, and publishers over a number of years and represent the most reasonable compromise between both groups’ expectations. You are never going to get a deal with a publisher that is not at least somewhat more favorable toward the publisher because they are the ones putting out the money and assuming the financial risk, and they also have more overhead than you do on a number of levels. But over time, writers and their representatives have worked hard to work out terms everyone can live with in regards to not only royalties but exclusivity clauses, options, reversion rights, and so on. So familiarizing yourself with what the standards are can ease your mind and reassure you that you are making the best deal possible, all things considered. (Hint: The boiler plate almost never reflects these standards, so never take the first thing offered. Always  expect to negotiate a bit. The exception may be contracts with magazine and such, but most of the time, negotiation is expected.)

In the end, a bad deal is very hard to live with. It will haunt you and come back to make you hurt over it and regret it many times over. Whereas the deal you thought you regretted passing up, will disappear with time. That deal I mentioned that could have been my first pro sale? This is the first time I’ve thought of it in several years. Why? Because I long ago moved past it and had successes and learned what is and isn’t fair and reasonable, and that gave me perspective that I had done the right thing.  But bad deals cannot be undone, or at least, they are very hard to undo—and very expensive. So never let yourself be talked into a deal that doesn’t feel comfortable. Because it’s far easier to wonder over and over “what if” than to ask yourself over and over “how could I have been such a fool.”

And that’s why no deal is always better than a bad deal. For what it’s worth.

WriteTip: 5 Keys To Writing Plot Twists

Today’s WriteTip is a guest post by Desiree Villena from Reedsy.

By Desiree Villena

When every TV show, video game, book, and film these days is competing to out-thrill the public, any author could be forgiven for thinking that “mind-blowing” has lost all previous meaning. But the truth is that writing plot twists well is a careful craft — not a simple escalation of arbitrary shocks.

To get it right, you need to come up with the plot twist in the first place, work it into the plot, cover up your trail appropriately, and then make sure that the sumtotal delivers as you intended. Here are 5 key tips for writing plot twists that actually work.

1. Eliminate the obvious.

All plot twists may be equal in a vacuum, but in actuality, some are more satisfying than others. A good plot twist is one that both surprises the audience and is narratively sound. You want to blow your readers’ minds away, not blow their minds up. Your twist shouldn’t arrive completely out of the blue — but your readers also can’t see it coming from the very first page. Try to strike exactly the right balance for a twist that makes readers enjoy the new angle that it provides.

How can you come up with such a plot twist in the first place? First, get the ‘surprise’ element right. Eliminate the obvious. Don’t underestimate your readers, no matter your genre: they’re smart, and they’ve seen it all already. Some plot twist tropes are more popular than others. Peruse them all to understand what the classic books and films did to make them exciting and original in their eras, and then add your fresh take to it.

2. Make it matter.

To the point of “narratively sound,” a plot twist can make a reader sit up and go, “Wait, what just happened?” It should not then make a reader wonder, “Why did that just happen?” A good twist won’t contradict the established story: instead, it should develop the story’s central premise, moving it in a new direction that absolutely makes sense for the characters. You can tell a poor plot twist from a good one when it’s obviously more interested in shocking readers than in furthering the story.

Spend some time asking yourself if your plot twist actually possesses a purpose and will offer payoff to the reader. If you find that you’re writing a plot twist solely for shock value, you’re probably doing it wrong. To see bad plot twists in action, just watch seasons six, seven, and eight of Game of Thrones and then observe all of the irate reaction posts that they birthed.

3. Clue the reader in.

There are two types of plot twists: those that come out of nowhere, and those that are built up through clues that are carefully positioned throughout the story. In A Song of Ice and Fire, the death of (spoiler alert!) Ned Stark exemplifies the former. On the other end of the spectrum is the second — the kind that tends to induce that famous “Oh, so that’s why all of those things happened!” revelation.

If you’re going for this second type of plot twist (hint: you should be), then you’ll need to get the game of Clue down pat. Work interesting clues into your story that will build up to your plot twist, but don’t be too obvious or draw unnecessary attention to them. Think about it as a breadcrumb trail: readers can successfully follow your path, but only if they’re paying close attention to the tiny crumbs on the floor. The Sixth Sense is a classic example of this; the reveal at the end might shock you, but upon re-watch, all of the clues are there for you to trace.

4. Avoid outright lying.

How exactly can you go about this subtly? Don’t forget the other foolproof trick up any twisty author’s sleeve: misdirection.

The Harry Potter series, for instance, is a minefield of misdirection: Harry thought in Sorcerer’s Stone that Professor Snape was the one working with Lord Voldemort, when in fact it was Professor Quirrell. He believed that the villain in Prisoner of Azkaban was Sirius Black. Spoiler alert: it was actually Peter Pettigrew. Your misdirection, too, can easily go so far as your POV character’s understanding of the events, and any red herrings that you plant can distract readers from the truth. But never forget the golden rule of plot twists: never outright lie to your reader.

Neither should you overdo it. Some writers get so carried away with their own “brilliance” in creating red herrings that there’s ultimately more evidence in the story for the red herrings than for the truth. This is a red flag to any reader — indeed, your manuscript might not even then make it past a discerning literary agent if this is your strategy.

To that end, take a step back at the end of your draft to make sure that your story remains sturdy under inspection. Is it crystal clear what the truth is upon re-read? Did you balance the red herrings and the real clues? Do your details give away too much? Or not enough?

5. Test it on beta readers.

Film studios will conduct screenings months prior to a movie’s official release to test the audience’s reaction to said movie. Negative feedback can send the film back to the set for re-shoots, and even change the script substantially. (Can you say “panicked third act rewrites”?) But the primary goal of such trial runs is to ensure that the finished product doesn’t get any damning reviews on the day of its release, and so you should also share your manuscript with trusted beta readers to make sure that your story delivers as you imagined (after you self-edit your manuscript, of course).

Prepare a tally of questions for your beta readers to answer. Were your plot twists unexpected? Did any of them become plot holes? Did your readers feel cheated at all throughout the course of the story, or was the reveal (and the payoff) satisfying? When they answer to your satisfaction, you can be confident about (no plot twist in sight here) your book release in the future.


Desiree Villena is a writer with Reedsy, a marketplace that connects self-publishing authors with the world’s best editors, designers, and marketers. In her spare time, Desiree enjoys reading contemporary fiction and writing short stories. Naturally, she’s a big fan of plot twists (when they’re done right).

WriteTip: Using The Rule of Threes To Up Humor, Tension, and Nuance

Today, we’re going to talk about The Rule of Threes, or rule of three, as some call it. It is a technique where you set up gags or bits so that they recur three times in a story, each time successively bigger and funnier or more dramatic. Wikipedia defines it as follows:
The rule of three is a writing principle that suggests that a trio of events or characters is more humorous, satisfying, or effective than other numbers in execution of the story and engaging the reader. The reader or audience of this form of text is also thereby more likely to remember the information conveyed. This is because having three entities combines both brevity and rhythm with having the smallest amount of information to create a pattern.

The repetition makes the payoff greater. In comedy writing, the first occurrence tends to be a smaller laugh. The second, medium. The third is hopefully a real guffaw. The actual events of the joke don’t recur each time. For example, if a banana peel were the joke, you might start by having someone fall on one. The second time they might dodge a banana peel because they expected to fall and someone else falls instead. The third time they find banana peels falling from a truck and everyone is slipping and sliding. A lame, silly example and a cliché, but it illustrates the point. Each successive recurrence gets bigger with a twist, until the third recurrence is much bigger and much funnier. The payoff breaks the pattern enough that it surprises us but not so much that it is a non sequitur. It is about something unexpected that breaks the pattern yet is connected to it enough so that we recognize it. Hence, the first two times, someone drops a banana peel. The third time, a truck full of banana peels breaks the pattern.

Using the rule of threes is a great way to plant humor in stories and pay them off over time for bigger laughs. The catch is that it must be familiar enough for the audience to understand, and it must be specific. The more specific, the better for comedy. As comedian Simon Taylor explains:

The rule of three creates an assumption by listing two similar items, then a third one that differs in a fundamental way: I like red wine, classical music, and committing brutal homicides. They then become more elaborate by having introductions to the items: I didn’t have time to pack much for the weekend, just: socks, undies … my ninja sword. To add to these, you can reiterate the assumption at the end of the joke by using what comedians call a “tag”: Man, I love the horse races: the big winnings, the fashion, the woman collapsing in a pool of their own vomit. It’s all fun.
(https://mrsimontaylor.wordpress.com/2010/ 12/03/the-psychology-of-comedy-rule-of- threes/)

The extra elements of introductions and tags act to reinforce the assumptions created by the first two items in the list. To take the second joke as an example, we hear the word “socks” and subconsciously associate it with categories such as “clothing,” “basic,” and “essential.” When we hear that “undies” is the next item, those categories are reinforced. In comes the “ninja sword” to contradict those categories, which is what causes some nice little chuckles.
In comedy movies and sitcoms, we see this rule applied time and again. Sometimes it occurs so often that audiences can see it coming and have come to expect it.

The same principle of repetition can be used to increase dramatic effect in more serious works because audiences pick up on the pattern and remember. Take “The Three Little Pigs,” the three ghosts of A Christmas Carol, or “Three Billy Goats Gruff,” even Goldilocks and her three bears. The three encounters each play out differently with different emotional and dramatic effects to raise the stakes and challenge the character, each adding to the one(s) before and forcing the character to confront something. In the end, they leave the character changed—usually for the better.

The first occurrence is a setup with a milder dramatic impact but an impact nonetheless. However, each successive recurrence increases in dramatic effect because the stakes go up with the repetition as the audience connects the character’s emotional and physical experience (nuance) dealing with the original occurrence and then each successive recurrence to up the tension of having to deal with a similar situation yet again. The ultimate result is increased drama and audience investment and a deeper emotional resonance and sense of nuance throughout your story.

If you haven’t employed this method before on purpose, chances are you have on instinct. Go back and look at some of your previous works if you’re not sure and see if that’s the case. If not, now you have a tool, but even if it is, being able to understand it allows you to use The Rule Of Threes to greater impact and effect.

[NOTE: Portions of this post were repurposed from my nonfiction book HOW TO WRITE A NOVEL: The Fundamentals of Fiction, which you can download for free on ebook here.]

The Same Bird: Reflections on Moving Forward After Trying Times

“The right wing and the left wing are both part of the same bird.”

I don’t know where that quote came from, but I’ve seen several people post it unattributed on social media, and after a very rough divisive week I think it’s our mantra for moving ahead or should be.

I don’t do politics a lot and I definitely don’t do it on this blog because it tends to be way too divisive and this blog is not about that. People who read this blog care about my writing knowledge and my work but not my opinions on foreign policy and politics and I get it because that’s exactly how I feel about my favorite authors too. So this post isn’t going to be political. This post is still about writing. Read on and see.

I think it’s important to remember that there’s more than one valid point of view and way of looking at the world, because people are different. No two people see things exactly 100% alike. I learned this through my travels to Mexico and Ghana and Brazil. And I’ve learned it from living in places where I was white but minority like El Paso as well as in places like Los Angeles, Kansas City, and St. Louis where the culture is very diverse.

To me, the best thing about having friends with different backgrounds, points of view, and world experiences is it gives you a lot of fodder for writing and character development. You can’t write well what you don’t know or are completely unfamiliar with. People try it all the time and fail miserably but the best writers write from knowledge and experience. They are good listeners, good observers of human nature, and tend to surround themselves with a variety of friends who don’t always agree with them on everything including politics. These writers learn to study the world around them for different points of view. It doesn’t hurt anything. It doesn’t necessarily even change your mind. But it does illuminate for other ways of looking at the same issue and reasoning about it that can sometimes provide insight, even if that insight serves only to bolster your existing point of view.

In the end, we’re all part of the solution and part of the problem, see? Regardless of how we see things. You can argue ‘til you’re blue in the face about who’s right and who’s wrong, throwing around polarizing, condescending terms like “on the right side of history” and accomplish nothing but raising your blood pressure. In the end, if we don’t find a way to work together toward common goals and common ends, we won’t go anywhere. All we’ll do is maintain stress and unhappiness. Who wants to do that?

So as we move forward after a difficult election into more difficult times —as Covid continues and so forth—I would urge us all to remember we’re all part of the same body of man, we’re all fellow humans, and that really we all have a lot more in common than we have different, and we would do well to spend more time celebrating that and less time focusing on what divides us as we move forward. I certainly think it would make for a happier world and a happier society. If you ask me, given what we’re dealing with right now, that would be a very useful and pleasant start. For what it’s worth…

Not My Usual Blog Post…But 2020

Ah, the Monday before a day we are all worried about happens to be the Monday after a tough weekend. Not only did we lose Sean Connery, but several other celebrities I had not heard of, and one I have—Rachel Caine, a beloved author, who succumbed to cancer. On top of that, my Uncle Tom Short died.

You know 2020 has been a real bitch. I have never seen a year this screwed up. I have had bad years and tough times, but this one just keeps piling stuff on, and when we are all a bit stressed, strained, and exhausted, it’s not so easy to deal with it all cheerfully or with good spirits, is it?

I have, however, kept writing, and I have started seeing some exciting developments. I have two anthologies in the works for 2021 and 2022 (details pending contracts). I have exciting developments with novels (details pending contracts). And there are other positive signs, too, so it’s not all bad, and maybe there are indications that positive things not only can still happen but are coming for us all.

One can hope, right?

My point in writing this is—I know we’re all struggling with discouragement, illness, and various issues. We’re facing the toughest and most frightening election in our lifetimes. And it just never seems to end. But I wanted to point out there are only two months left in 2020.

Did you get that?

THERE ARE ONLY TWO MONTHS LEFT IN 2020!

In other words, the end is in sight. And though we have no idea how 2021 will be, it’s hard to imagine it will come close to being as bad as 2020. It’s something to hope for and perhaps look forward to.

I’ll take anything at this point, won’t you?

Hang in there. Keep working on your writing or other hobbies. Keep loving your family and pets. And keep believing tomorrow will be better. Because someday all of that will pay off. That is definitely something worth looking forward to.

For what it’s worth…

Interview: Live From the Bunker (SciFi4Me)-Bryan Thomas Schmidt

I’ve had a crazy but very good week, with several projections in heavy negotiations and lots of prep, etc. so I did not have time for my usual WriteTip. So in lieu of that, here’s an interview I did with Sci4Me talking about my upcoming projects and so on. It runs about an hour. If you’re wondering what I’m up to, this should catch you up.

I’ll be back next Wednesday with a new WriteTip. Have a great week!

Review: THE ROSIE PROJECT an exercise in Point Of View

I don’t review books on here very often, and then only when I have nice things to say about them. There’s a reason for this: authors get mad and bad blood can be problematic in an industry where everyone knows everyone. But invariably as a writer, you tend to get critical of books and craft. You can’t just read for fun anymore. You get a glimpse at the inner works.

The Rosie Project by Australian author Graeme Simsion is an excellent example of a well drawn point of view, because you actually feel like you are seeing the world through the eyes of a character on the Autism or Asbergers spectrum (we’re never quite sure). Now the irony is the lead doesn’t know he’s on the spectrum, although he is quite capable of seeing these features in others. His name is Don Tillman and he’s a genetic researcher at a university, who in undertaking a research study he designed to help him find the perfect match for a wife (The Wife Project, he calls it) ends up meeting the imperfect match Rosie, a PhD student in psychology.

The two leads are exceptionally well drawn characters, but most of the supporting characters are not. In particularly, the supporting advisor characters of Don’s best friend and his wife never really full get realized. The story is aimed at the romantic comedy market and thus has a small cast of characters and only one point of view, primarily focusing on Don and Rosie. I found the plot grew more engaging as the book went along. What I did not find is a laugh out loud funny romp as some seem to describe it. There were certainly funny moments that I laughed, but mostly it was amusing. Autism and Asbergers are, after all, considered deviant states from normal (I hate the term disability), and as someone who had my own similar struggles living with ADHD, I don’t find that suitable for laughing at all. But it was fascinating. And unique. And surprisingly relatable, and it did make for a good story. Yet I write humor for a living and the best humor comes from situations and characters, not laughing at someone’s awkwardness, ignorance, or disability. So to me, the out of comfortable settings pieces worked best here as well as a few laugh out loud observations about the world around him, but overall, the struggle felt very real and that was no laughing matter.

Still, if you want to study how someone creates a unique point of view and brings it life in a very real, manifest way in a book, The Rosie Project would be a great place to start. The book’s faults aside, Don is very similar to Sheldon from The Big Bang Theory, and he is very well realized as we really come to understand how he sees the world and thinks with his own set of logic and understandings and how that shapes who he is and how he behaves. This is not always easy to do but Simsion pulls it off exceptionally well. And there are some poignant lessons here about love, compatibility, and the assumptions we make about both, too, that are good reminders of what really matters—not just are the perfect for me, but do I have fun with them, for example?

In the end, I would recommend this book even to those who don’t typically read romance as an example of fascinating craft and interesting characters, plus it’s short and light on its feet—a quick read and an amusing diversion with good insights into human nature.