Thursday, June 4, 2026

Trouble With Timelines in Your Tales (Storytelling Advice)

Time is one of those aspects we either pay a lot of attention to, or ignore almost completely when it comes to our books. However, the concept of a timeline is extremely important when it comes to our stories making sense, and all the pieces fitting together. For that reason it's a good idea to make sure that the order of events adds up, and that you present this order to your audience in a way they can easily follow.

Because if your readers can't follow your timeline, they aren't going to be able to make sense of your story.

Things can get complicated if you're not careful.

But before I get into the meat of today's post, remember, don't forget to sign up for my newsletter to get all my updates right in your inbox. Also, if you've got a bit of spare cash that you'd like to use to help keep the wheels turning, consider becoming a Patreon patron! Also, be sure you're following all of my followables, check out my LinkTree.

Lastly, for hundreds of extra articles on gaming, weird history, and for more free fiction, check out my Vocal archive, too!
 

"When" Is An Important Question (That Needs A Simple Answer)

 
From high fantasy settings to investigative procedural novels, the question of when something happened is going to vary in importance to the plot. For instance, when did the Dark Lord forge their great macguffin? Whether it was 500 years ago or 10,000 years ago likely isn't going to matter, as long as the time in question is mostly gone from living memory. How long has our protagonist been married to her husband? Long enough for their marriage to get stale, and for the plot of the edgy romance novel to come into play.
 
However, that's a mechanical issue for you as the author. You need to know when certain events happened... but then you need to be able to turn around and explain to your readers exactly how this timeline is constructed so they don't get lost.
 
So how did this happen, exactly?
 
The major advantage you have is that books are (usually, anyway) told in chronological order. So as long as your story begins at the beginning of the book, and ends at the end of the book, you already have a functional method in place. However, you still need to check your timeline to be sure that what you're telling your readers makes sense... and in this case, that your events are consistent.

There are few things more frustrating than having a timeline that doesn't add up, or which confuses your readers. For example, if a book opens in July, and the next chapter is full of snow, your readers might rightly ask how many months did the chapters skip? But if the narrative continues like it's only been a few days, that is going to be a problem... especially if this isn't part of the plot, like a sci fi atmospheric disturbance, or some kind of weather control supervillain.
 
And this applies to all parts of your book. Whether you're stating that it's now Friday in chapter 4 when chapter 3 ended on Monday night, or you state it's been three weeks since your protagonist was shot, or you had a full moon in chapter 5, and you need to know when the next full moon is going to occur, those are things you need to keep track of, and stay consistent with. Because if you have an error in those things, at least some readers are going to notice... and the more obvious the error, the more confused they're going to be by what's happening.
 
I say all of that to offer this advice... treat time the way you do size in a narrative. By which I mean that if you don't need to give specifics, don't. You will save yourself so much time and energy by letting things remain vague when you don't need to be specific.
 
If the audience doesn't need to know the exact height of a character, don't mention it. If they don't need to know how many miles away a city was, don't list it. And if they don't need to know what day of the week, or even what month of the year it is, don't bring it up. Because any time you drop something specific, that is now something you have to keep track of, and you have to keep it consistent with your audience. It's one more moving part that can gum up the works... so don't make more work for yourself than you have to.
 
Lastly, if you do tend to keep things vague in your descriptions, then your audience will notice when you get specific, and pay even more attention to those facts. So if you want them to be putting a mystery together, or building an event timeline as they read, that's one way to highlight that pertinent information for them.
 

Support The Literary Mercenary


If you want to see me produce more work, consider some of the following options!

The Azukail Games YouTube Channel (where I contribute video content)
The A.L.I.C.E. Files (a channel full of short stories, many of which are mine)

And if you happen to have some spare dosh lying around, and you want to be sure my supply doesn't run low, consider become a Patreon patron, or leaving a tip by Buying Me a Ko-Fi!

Also, if you're curious about how to write for tabletop RPGs, don't forget to check out my show Tabletop Mercenary, which you can find on both the Azukail Games channel!




Like, Follow, and Come Back Again!


That's all for this week's Craft of Writing! For more of my work, check out my Vocal archive, or at My Amazon Author Page where you can find books like my sci-fi dystopian thriller Old Soldiers, the Hardboiled Cat series about a mystery solving Maine Coon in Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife, or my most recent short story collection The Rejects!
 
And to stay on top of all my latest news and releases, collected once a week, make sure you subscribe to The Literary Mercenary's mailing list

If you'd like to help support my work, then consider Buying Me A Ko-Fi, or heading over to The Literary Mercenary's Patreon page! Lastly, to keep up with my latest, follow me on FacebookTumblrTwitter, and now on Pinterest as well!


Friday, May 29, 2026

Can You Spot The Clues In "The A.L.I.C.E. Files"? (What Are Your Theories?)

As most regular readers know, for the past several months I've been working with Alice Liddell on a new YouTube channel that we launched called The A.L.I.C.E. Files. While I give more details in older posts like The A.L.I.C.E. Files Is Launching Soon (A Sci Fi Reimagining of Alice in Wonderland on YouTube), the general gist is that it's an ongoing audio drama with two separate stories going on. The first are the files themselves, which are narrated pieces of stand-alone fiction taken from the archives of the mysterious Carroll Institute, and which can be enjoyed on their own like any other fiction anthology. The other story, though, follows "Alice" and her position within the Carroll Institute as she meets her coworkers, learns things about this bizarre place she now works at, and realizes she is in the center of a far bigger web than she ever anticipated.
 
However, with the 7th episode Hearts and Tarts dropping, we're putting a little more gas into the show, and revving up the mystery elements with some actual clues in the videos and scripts themselves for viewers to really sink their teeth into so you can all delve deeper into the story as it unfolds, while coming up with your own theories about what's going on in this truly bizarre place!
 
And the deeper you go, the more there is to explore!

Before we get into the nitty gritty this week, don't forget to sign up for my weekly newsletter to get all my updates right in your inbox. Lastly, to be sure you're following all of my followables, check out my LinkTree!

Lastly, don't forget to check out my Vocal archive for additional fiction, articles, explorations of weird history, and more! And, of course, check me out on Blue Sky, since that's what we're talking about today!

Is This A Budding ARG?


An ARG, or Alternate Reality Game, is an interactive narrative that uses the real world as a jumping off point, and which employs transmedia technologies to tell its story. That all sounds pretty technical, but if you've ever been over to the YouTube channel Game Theory, you've come across several examples of this. Suffice to say, this is a fancy term for when creators set up a mystery for people watching their show, reading their book, playing their game, etc. to solve that extends beyond the actual piece of media itself. It's when you end up playing a video game, finding a clue that makes no sense in the game itself, but then you follow that clue to a private YouTube channel, it gives you a video, and in the video there are other clues for you to follow, deepening the mystery as it stretches across platforms.
 
Full disclosure, we aren't going quite that big with The A.L.I.C.E. Files (at this point, anyway). However, there have been subtle clues going back to the trailer about some of what's been building in the background... it's in Hearts and Tarts, though, that we decided to open the door and really invite people to put their theorizing caps on, though.


 
Without giving anything away, I wanted to invite folks who enjoy these kinds of games to at the very least check out this episode, but it will make more sense if you go back to the beginning of the series and start with The A.L.I.C.E. Files Trailer, working your way forward. Though the one clue I will give you is that the files Alice has witnessed so far are not clues, in and of themselves. However, the information mentioned in the dossiers and write-ups that she mentioned may contain some references, Easter eggs, and possible starting points for building your own theories.

So, if this is the kind of thing you enjoy digging into, consider sharing what you think is a clue, and what you think they all mean, in the comment sections of our videos! We're hoping to get our community invested in figuring out exactly what's happening, and what is waiting for Alice in her uncertain future... especially now that she's had contact with [REDACTED]!
 

Support The Literary Mercenary


If you want to see me produce more work, consider some of the following options!

The Azukail Games YouTube Channel (where I contribute video content)
The A.L.I.C.E. Files (an audio drama channel I launched with Alice Liddell)

And if you happen to have some spare dosh lying around, and you want to be sure my supply doesn't run low, consider become a Patreon patron, or leaving a tip by Buying Me a Ko-Fi!

Also, if you're curious about how to write for tabletop RPGs, don't forget to check out my show Tabletop Mercenary, which you can find on both the Azukail Games channel above!




Like, Follow, and Come Back Again!


That's all for this week's Business of Writing! For more of my work, check out my Vocal archive, or at My Amazon Author Page where you can find books like my sci-fi dystopian thriller Old Soldiers, the Hardboiled Cat series about a mystery solving Maine Coon in Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife, or my most recent short story collection The Rejects!
 
And to stay on top of all my latest news and releases, collected once a week, make sure you subscribe to The Literary Mercenary's mailing list.

Thursday, May 21, 2026

Avoid Putting Asides In Your Stories (Without Careful Consideration, At Least)

It can sometimes be difficult to get information directly to the audience. After all, you can show them an entire scene, describe everything perfectly, and insinuate the threads you want them to weave together, but there will still be some folks who just don't get it. A common device used in stage productions, and even in some TV shows, is the Aside; those times when a character will speak directly to the audience, usually voicing unspoken thoughts that aren't heard by the rest of the characters onstage or in the scene with them.
 
While asides are a viable tool, it's important to ask yourself if it's the right tool to bring across the proper feeling for your story. Because like a lot of other things adapted from more visual mediums, it can often backfire when you try to use it in text.
 
Sometimes you don't need to swing a hammer, you know?

 
But before I get into the meat of today's post, remember, don't forget to sign up for my newsletter to get all my updates right in your inbox. Also, if you've got a bit of spare cash that you'd like to use to help keep the wheels turning, consider becoming a Patreon patron! Also, be sure you're following all of my followables, check out my LinkTree.

Lastly, for hundreds of extra articles on gaming, weird history, and for more free fiction, check out my Vocal archive, too!

Should You Set Asides To The Side?


We've all read fiction where we have the protagonist (or at least the point of view character) talking directly to us. Sometimes it's direct 4th wall breaking, like we see in Deadpool or She Hulk comic books, but other times it's just reading the direct thoughts of the protagonist in the form of an inner monologue. And while this is an established way of doing things, it's worth asking if this is the way you want your book to read.
 
It's all about the tone, here...
 
The main reason this is worth asking yourself is because asides have a tendency of cutting through tension, and giving you a method to tell your audience what's happening in your character's own words, rather than trying to show it through descriptions and actual dialogue. And while that can be expedient, it can also make it more difficult to take a story seriously, or to build proper tension.

For this reason it's important to consider what the benefits of an aside are in your story, what the drawbacks are, and how naturally an aside slips into your narration.
 
For instance, if you're writing a story from a first-person perspective, then asides will feel pretty natural even if they don't take the form of dialogue. On the other hand, having asides in third-person requires a third-person omniscient perspective, or for the asides to come from the narrator, as who else would have the ability to see into the minds of the cast in order to deliver these asides to the reader?
 
The key question you need to ask is how do you want to limit your readers' access to information, or present them with particular perspectives? Because if you are getting asides from the POV character, but no one else, you're still limited to their perspective, which can allow you to keep certain facts behind the curtain, so to speak, until they're presented in prose or dialogue. If you are able to present asides from different characters as the narrator, this can be used to enhance dread or tragedy as the reader sees the big picture, but also knows that the characters don't. And asides can also be used to tell jokes, turning the tool itself into a form of comedy.

This last is actually one of the most common uses for asides in books, and it's for that reason it isn't always advisable to use them. Because it can sometimes be difficult to deliver an aside without it feeling like a joke. Even if you have a literal Greek chorus that's intoning doom and tragedy, making an aside that straight-faced can also feel like a joke... and if that's not your intent, it can be a serious problem.
 
So, to reiterate the thrust of today's post, asides are a perfectly functional tool. So is a 12-pound sledgehammer. And in a task requiring that tool, and its lack of subtlety, it's absolutely the right choice for the job. If it isn't, though, then it's probably a better idea to use a tool with more finesse in order to get the job done.
 

Support The Literary Mercenary


If you want to see me produce more work, consider some of the following options!

The Azukail Games YouTube Channel (where I contribute video content)
The A.L.I.C.E. Files (a channel full of short stories, many of which are mine)

And if you happen to have some spare dosh lying around, and you want to be sure my supply doesn't run low, consider become a Patreon patron, or leaving a tip by Buying Me a Ko-Fi!

Also, if you're curious about how to write for tabletop RPGs, don't forget to check out my show Tabletop Mercenary, which you can find on both the Azukail Games channel!




Like, Follow, and Come Back Again!


That's all for this week's Craft of Writing! For more of my work, check out my Vocal archive, or at My Amazon Author Page where you can find books like my sci-fi dystopian thriller Old Soldiers, the Hardboiled Cat series about a mystery solving Maine Coon in Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife, or my most recent short story collection The Rejects!
 
And to stay on top of all my latest news and releases, collected once a week, make sure you subscribe to The Literary Mercenary's mailing list

If you'd like to help support my work, then consider Buying Me A Ko-Fi, or heading over to The Literary Mercenary's Patreon page! Lastly, to keep up with my latest, follow me on FacebookTumblrTwitter, and now on Pinterest as well!

Wednesday, May 13, 2026

How Much Content Do You Need To Make A Living?

The Internet is full of seemingly contradictory advice regarding exactly how much stuff you need to write before you'll accumulate an archive large enough to make a living. So whether you're trying for that 20-books-to-easy-street, or you're trying to peg exactly how big your audience has to be in order for you to make a living, I want to take a moment to throw a particularly large bucket of water right in your face.
 
Because the answer is very simple... you have to make as much as it takes.

It is, unfortunately, the answer no one wants to hear.

Before we get into the nitty gritty this week, don't forget to sign up for my weekly newsletter to get all my updates right in your inbox. Lastly, to be sure you're following all of my followables, check out my LinkTree!

Lastly, don't forget to check out my Vocal archive for additional fiction, articles, explorations of weird history, and more! And, of course, check me out on Blue Sky, since that's what we're talking about today!

No Man Knows The Day (And Only Liars Say They Do)


There's a reference to the end of days in the Bible that tells readers no man knows when that time draws nigh. Anyone who claims they know is either a liar, or a charlatan. This is something all the folks panicking on rapture-tok should have kept in mind, but it's also worth remembering for when it comes to making a living as a writer, artist, or professional creator of any stripe.
 
Because there is no guarantee. Your success could come with your next release, or the one after that, or the one after that. It might not come until you've been rotting in the grave for 20 years, and people rediscover your work. It might never come at all. There's no way to know.
 
Buy from living authors. In case you had doubts for some reason.

Now, as I've said before on this blog, the more swings you take, the more likely you are to be successful. The more books you write, the more videos you make, the more articles you compose, the better and better your chances are of finding an audience. That is not what's in dispute here. What is in dispute, though, are people who claim they have a system, that they can tell you exactly what you need to do to be successful, and that they know exactly how much stuff you need to make in order for you to get paid.
 
And that's a lie for two reasons.
 
The first, and most obvious, is that not every author is going to create the same kind of work. Everyone is writing their own books in their own style, and just because one author managed to finally start cashing checks when they released their 5th, or 10th, or 20th book, that's no guarantee that someone else is going to achieve the same feat.
 
The second reason, though, is that the environment has likely shifted between when one author managed a particular feat, and them giving this advice. The world is constantly changing, and what worked yesterday isn't going to work today, and by tomorrow it will actively harm you. It's the same reason you can't use the same social media strategy today that you would have used 5 years ago, why email newsletters haven't been a viable strategy for a decade, and why you can't just write another book and trust your publisher to handle the rest... the world has moved on since then.

These promises have taken all sorts of forms over the years. When I started off this blog, it was that you needed 400 posts before you had enough regular traffic to generate ad revenue. And guess what? The entire ad structure of the Internet shifted so badly that making money from ads became impossible. I've seen folks swear by the 20 novels formula, saying that if you get 20 books out on the market that will give you enough penetration that you'll build a following. Alice Liddell, who runs the YouTube channel Alice The Author, has over 30 books on the market, and she's scraping by just as hard as I am, if not harder some months. There are people who swear that once you hit 10,000 followers on Instagram it's all easy street from there, or that if you can build your YouTube archive to 100 videos and 5,000 subscribers or more that you'll be able to start coasting.
 
We need to recognize all these promises for what they are... piss in the wind.
 
Just like how crash diets and bro science swear up and down that if you do this cleanse, or adopt that workout routine that you're guaranteed to hit your goals, you should be extremely suspicious of anyone promising that once you release a certain number of projects that you'll be able to kick up your feet and relax.
 
Because as of right now I have half a dozen books on the market. I have over 200 roleplaying game supplements, including the full RPG Army Men: A Game of Tactical Plastic. I've made over a hundred videos for YouTube over the past several years. I've put out over 300 articles in my Vocal.Media archive, and thousands of posts on my two blogs. It's a rather impressive amount of work, in my opinion, but when it comes to coin of the realm, it's all just barely enough to scrape by on rent in government housing. With a roommate.

If You Want Us To Succeed, We Need Your Help


I've said this a dozen times or more before, but it's worth repeating. You, as the creator, cannot force your own success. You can write dozens of books, produce massive series of stories, or put together several long-running podcasts... but if no one watches them, reads them, or buys them, then you won't earn anything for them.

The only thing that gets authors paid is audience effort and interaction. Period. Because if 10,000 people all went out today and bought my cat noir books Marked Territory and Painted Cats, that would give me a bigger payday than I've had in 15 years. I would be able to rest, relax, and slow down for the first time in a decade. And if 25,000 people all decided to go and check out The A.L.I.C.E. Files and watch the episodes we have up so far? That would monetize the channel with a finger snap, and get money rolling in to help with expansions.

 
If people decided to keep buying my books and RPG supplements, and watching my videos even if I stopped making things tomorrow, I would still get paid for that consumption. And if I keep making things at a fever pace until I drop dead, but no one reads it, watches it, or buys copies, then I'm never going to get paid.
 
It doesn't matter how much you make... it matters what people interact with. No audience, no money. But for most of us it's a lot easier to focus on writing X number of books, or making Y number of videos, than it is to actually try to expand our audience. But if you want money, you don't need more books; you need people to read the ones you've already written while you work on the sequels.

Support The Literary Mercenary


If you want to see me produce more work, consider some of the following options!

The Azukail Games YouTube Channel (where I contribute video content)
The A.L.I.C.E. Files (an audio drama channel I launched with Alice Liddell)

And if you happen to have some spare dosh lying around, and you want to be sure my supply doesn't run low, consider become a Patreon patron, or leaving a tip by Buying Me a Ko-Fi!

Also, if you're curious about how to write for tabletop RPGs, don't forget to check out my show Tabletop Mercenary, which you can find on both the Azukail Games channel above!




Like, Follow, and Come Back Again!


That's all for this week's Business of Writing! For more of my work, check out my Vocal archive, or at My Amazon Author Page where you can find books like my sci-fi dystopian thriller Old Soldiers, the Hardboiled Cat series about a mystery solving Maine Coon in Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife, or my most recent short story collection The Rejects!
 
And to stay on top of all my latest news and releases, collected once a week, make sure you subscribe to The Literary Mercenary's mailing list.