John Scalzi - Redshirts

“I don’t want to be happy,” Dahl said. “I just want to know.”

“And even if you were right,” Hanson said, “what do you get out of it? Aren’t you better off believing that you’ve accomplished something? That you’ve gotten the happy ending you were promised? Why would you want to push that?”

“Because I need to know,” Dahl said. “I’ve always needed to know.”

“Because that’s the way you are,” Hanson said. “A seeker of truth. A spiritual man.”

“Yes,” Dahl said.

“A man who needs to know if he’s really that way, or just written to be that way,” Hanson said.

“Yes,” Dahl said.

“Someone who needs to know if he’s really his own man, or—”

“Tell me you’re not about to make the pun I think you are,” Dahl said.

Hanson smiled. “Sorry,” he said. “It was there.” He pushed out from his chair and stood up. “Andy, you’re my friend. Do you believe that?”

“Yes,” Dahl said. “I do.”

“Then maybe you can believe this,” Hanson said. “Whether you’re an extra or the hero, this story is about to end. When it’s done, whatever you want to be will be up to you and only you. It will happen away from the eyes of any audience and from the hand of any writer. You will be your own man.”

“If I exist when I stop being written,” Dahl said.

“There is that,” Hanson said. “It’s an interesting philosophical question. But if I had to guess, I’d guess that your creator would say to you that he would want you to live happily ever after.”

“That’s just a guess,” Dahl said.

“Maybe a little more than a guess,” Hanson said. “But I will say this, though: You were right.”

“About what?” Dahl said.

“That now I’ve done what I was supposed to do,” Hanson said. “But now I have to go do the other thing I’m supposed to do, which is assume my post. See you at dinner, Andy?”

Dahl grinned. “Yes,” he said. “If any of us are around for it.”

“Great,” Hanson said. “See you then.” And he wandered off.

Dahl sat there for a few more minutes, thinking about everything that had happened and everything that Hanson said. And then he got up and went to his station on the bridge. Because whether fictional or not, on a spaceship, a television show or in something else entirely, he still had work to do, surrounded by his friends and the crew of the Intrepid .

And that’s just what he did, until the day six months later when a systems failure caused the Intrepid to plow into a small asteroid, vaporizing the ship and killing everyone on board instantly.

No, no, I’m just fucking with you.

They all lived happily ever after.

Seriously.

Hello, Internet.

There isn’t any good way to start this, so let me just jump right in.

So, I am a scriptwriter for a television show on a major network who just found out that the people he’s been making up in his head (and killing off at the rate of about one an episode) are actually real. Now I have writer’s block, I don’t know how to solve it, and if I don’t figure it out soon, I’m going to get fired. Help me.

And now I just spent 20 minutes looking at that last paragraph and feeling like an asshole. Let me break it down further to explain it to you a little better.

“Hello, Internet”:You know that New Yorker cartoon that has a dog talking to another dog by a computer and saying, “On the Internet, no one knows you’re a dog”? Yeah, well, this is that.

No, I’m not a dog. But yes, I need some anonymity here. Because holy shit, look what I just wrote up there. That’s not something you can just say out loud to people. But on the Internet? Anonymously? Might fly.

“I am a scriptwriter…”:I really am. I’ve been working for several years on the show, which (duh) has been successful enough to have been around for several years. I don’t want to go into too much more detail about that right now, because remember, I’m trying to have some anonymity here to work through this thing I’ve been dealing with. Suffice to say that it’s not going to win any major Emmys, but it’s still the sort of show that you, my dear Internet, would probably watch. And that in the real world, I have an IMDB page. And it’s pretty long. So there.

“Who just found out the people he’s been making up in his head are real”:Yes, I know. I know . Didn’t I just say “holy shit” two paragraphs ago about it? Don’t you think I know how wobbly-toothed, speed freak crazy it sounds? I do. I very very very very much do. If I didn’t think it was completely bugfuck crazy, I’d be writing about it on my own actual blog (if I had my own actual blog, which I don’t, because I work on a weekly television series, and who has the time ) and finding some way to go full Whitley Strieber on it. I don’t want that. That’s a lifestyle. A whacked-out, late night talking to the tinfoil-hatted on your podcast lifestyle. I don’t want that. I just want to be able to get back to my own writing.

But still: The people I wrote in my scripts exist. I know because I met them, swear to God, right there in the flesh, I could reach out and touch them. And whenever I kill one of them off in my scripts, they actually die. To me, it’s just putting down words on a page. To them, it’s falling off a building, or being hit by a car, or being eaten by a bear or whatever (these are just examples, they’re not necessarily how I’ve killed people off).

Think about that. Think about what it means. That just writing down “BOB is consumed by badgers” in a script means that somewhere in the universe, some poor bastard named Bob has just been chased down by ravenous mustelids. Sure, it sounds funny when I write it like that. But if you were Bob? It would suck. And then you would be dead, thanks to me. Which explains the next part:

“Now I have writer’s block”:You know, I never understood writer’s block before this. You’re a writer and you suddenly can’t write because your girlfriend broke up with you? Shit, dude, that’s the perfect time to write. It’s not like you’re doing anything else with your nights. Having a hard time coming up with the next scene? Have something explode. You’re done. Filled with existential ennui about your place in the universe? Get over yourself. Yes, you’re an inconsequential worm in the grand scope of history. But you’re an inconsequential worm who makes shit up for a living, which means that you don’t have to lift heavy boxes or ask people if they want fries with that. Grow up and get back to work.

On a good day, I can bang out a first draft of an episode in six hours. Is it good? It ain’t Shakespeare, but then, Shakespeare wrote Titus Andronicus, so you tell me. Six hours, one script, a good day. And I have to tell you, as a writer, I’ve had my share of good days.

But now I have writer’s block and I can’t write a script because fuck me I kill people when I write . It’s a pretty good excuse for having writer’s block, if you ask me. Girlfriend leaving you? Get on with it. You send people to their deaths by typing? Might give you pause. It’s given me pause. Now I sit in front of my laptop, Final Draft all loaded up, and just stare at the screen for hours.

“I’m going to get fired”:My job is writing scripts. I’m not writing scripts. If I don’t start writing scripts again, soon, there’s no reason for me to be kept on staff. I’ve been able to stall a bit because I had one script in the outbox before the block slammed down, but that gives me about a week’s insurance. That’s not a lot of time. You see why I’m nervous.