Latest Posts

Holding Back the Worldbuilding

Senlin Ascends

I recently read the first book in Josiah Bancroft’s Books of Babel steampunk fantasy series, Senlin Ascends. It’s a great book and I’m excited to dive back in with the next books in the series. Obviously this sort of fantasy might not be your cup of tea, but the book made me think about a specific aspect of worldbuilding that applies to my current WIP: Holding back.

It’s early days in my own new novel, and I’m pantsing it pretty enthusiastically right now. But I do have a general idea of where I’m headed with this story, and despite not sitting down to craft a history or any kind of detailed study of my fictional universe, I have some definite ideas about how this world evolved into what it is, and what’s going outside the specific concerns of my characters and the setting. It’s just that I won’t get to a lot of it for a long time—maybe not even in this book.

The Long Game

And that’s okay. In Senlin Ascends, Bancroft drops a bunch of references to aspects of his universe that never pay off in the first book. I assume they’ll pay off in the sequels as he develops those ideas—but maybe he won’t ever really get into it. And that’s okay.

When I’m excited about a fictional world I’m building I have to fight the urge sometimes to just dump it all on the page as I’m going, to hurry up and get it into the story. Because I’m excited about these ideas, and part of me worries if I don’t explore them immediately I’ll forget them, or at least many of the details. But there’s good reason to wait—one, these sorts of unexplained details tantalize and get your reader excited about what’s coming. Two, these sorts of unexplained details deepen your universe and cement the illusion of reality you’re going for, because there’s always more to discover. And three they act like a pressure valve—if you ever get stuck in your main story, you can just veer off to explore that weird thought you had 40 pages earlier.

That urge to just get it all out is pretty powerful, but a lot of writing is what not to include. In fact, the ability to self-edit your work in real-time is sometimes all that separates what’s publishable from what’s not. As is the ability to not make all your main characters a guy named Jeff whose superpower is charm.

The Man With No Name

Writing is 50% reading, and that reading should be broad and all-inclusive. Reading within a single genre or a narrow slice of stuff you’re naturally interested in might make you a bit of an expert in what’s selling in that genre, but it won’t make you a better writer—for that you need to challenge yourself and read stuff you don’t immediately connect with.

For example, I started reading Milkman by Anna Burns, which recently won the Booker Prize. It certainly wasn’t a book I’d naturally pick up and start reading in the bookstore, but sometimes it’s good to just read a book just because it won a prize. If you’ve heard Milkman, it might be because of it’s one gonzo literary stunt: There are no proper names in the whole book. It’s told from a first-person point-of-view without using anyone’s actual names. The first line is “The day Somebody McSomebody put a gun to my breast and called me a cat and threatened to shoot me was the same day the milkman died” and that’s how the rest of the book goes—characters are referred to by relation (Ma, Third Brother-in-Law, the Real Milkman, etc) but nobody and no place receives a real name.

And, frankly, it’s exhausting.

McSomebodying

Look, I’ve tried this myself. I’ll bet a lot of writers have—the unnamed protagonist, at least, smothered in mystery and soooo psychologically ripe. It’s probably something every writer at least flirts with, that Clint Eastwood archetype of the unnamed character. Burns takes it to an extreme, and it’s an effective trick, to be honest, though I found it to have diminishing returns. At first it was interesting and intriguing, but over time it got to be a little much trying to remember how many Brothers-in-Law there were, and trying to care about characters that appeared for a few pages, were never named, and then shuffled off into literary oblivion.

But, and this is the whole point, at least Burns had a purpose here. Her choice to eschew names was purposeful, and that’s the key. When my own unnamed protagonists failed it was usually because I made that choice for no particular reason, just because it felt cool in the moment, or because I’d neglected to name the character at first and didn’t feel like fixing it. Purpose is the key—if you choose to do something kind of gonzo like an unnamed character, have a reason before you start.

On the flip side, writing a story without naming any of the characters can be a great way to measure your ability to actually craft characters; if you don’t name them, you’re going to have to rely entirely on your ability to make your characters deep and detailed. When there are no names to differentiate who’s doing or saying what, it quickly becomes apparent if all of your characters are essentially the same flat empty space. This can be a great exercise to force you to think harder about how you create interesting people to populate your stories.

Of course, I haven’t won any Booker Prizes, so feel free to ignore me <pours himself a drink, stares sullenly out window).

I Should be Dead and Other Moments of Clarity

The moment you realize you’re basically middle-aged inspires a lot of different reactions in people. Some folks get depressed and think about roads not taken, some people get obsessed with their physical condition and their conversational gambits contract down to various discussions of workouts and nutrition. Some people note it calmly and get back to work, some people have full-on crises, and some people dive into a deep smothering container of denial.

Me, I considered the unlikely fact that I survived my youth.

Je Suis Un Idiot

There’s no dramatic story behind this. I didn’t survive an avalanche or a terrorist attack, I wasn’t doing Drew Barrymore-level drugs when I was ten years old. My life’s been pretty undramatic.

I was, however, quite the idiot.

The sheer number of things I’ve done that should have resulted in my death, dismemberment, or incarceration is astounding. Again, I want to stress that this is not some hint at a dark, kind of cool secret life. This is just standard-issue jackassery that at the time seemed edgy or fun, or was simply not thought about at all. Some of it involved substances. Some of it involved just my own sense of immortality and occasionally a kind of desperate boredom I think is probably restricted to younger folks.

The scariest part? I didn’t think too hard about these scenarios at the time. I was unaware. What if I’m unaware now?

No Cure for Stupid

I mean, it stands to reason if I thought driving along Route 1&9 in New Jersey at 95 miles per hour in a 1978 Chevy Nova whose brakes barely worked was okay when I was 25 years old, I might be thinking some similarly asinine and dangerous activity I’m doing right now is okay. Which means I might kill myself and take out some small portion of the world completely unintentionally, and I’ll die with an expression of utter bafflement on my face.

It’s that realization that I’m a moron that’s so disturbing. I kind of always knew I’d die while, say, trying to drive my car over an opening drawbridge because I’m late for Happy Hour, with Waylon Jennings singing the Dukes of Hazzard theme on the stereo, but I always imagined it would be on purpose, you know? Not the result of a mild mental impairment I’ve been dealing with my whole life.

Oh well. If I’m lucky my eventual death via stupidity will result in something so spectacularly stupid it will at least guarantee that my memory will be eternal, like a plaque in the ground reading Here is the Spot Where Jeff Somers Once Set Himself On Fire Trying to Mix a Flaming Moe.

The Truth About Pantsing

Someday writers everywhere will gather in Central Park like in the beginning of The Warriors and a cult-like leader will strut about an ersatz stage demanding to know if we can dig it, and then everyone will form up into two armies: Pantsers and Plotters. The War of Literary Identity will be epic for about twelve hours and then everyone will realize they’re actually Plantsers and a new Pax Litterara will bloom.

Even though your personal approach to plotting is, you know, personal, there remains this sense among a lot of writers that there are rules to all this stuff, and that therefore there is a right way to Pants your way through a story. One school of thought is that if you’re a Pantser that means you don’t do any sort of planning whatsoever, that every novel is like an eighth-grade jazz ensemble—everyone just sort of playing something and then miraculously in hour two of the set everything comes together for ten wild minutes and a song is achieved. In other words, there has to be a lot of wasted time as you noodle about without any plan, until inspiration combined with luck results in a plot.

In my experience, this isn’t true.

No Stairway

The way Pantsing works for me is similar to working out a guitar part for a song. I’m no musical genius, and my knowledge of music theory isn’t broad. I play for my own pleasure, and I build my little songs using a pretty simple process: I start with a chord progression that sounds kind of interesting, then I start noodling with scales over that progression until something resembling a song emerges.

That’s pretty similar to how I write a novel: I start with something foundational, either a scene or a character or a premise, and then I noodle over that until something resembling a story emerges.

The key here is just that—the key. In my musical noodlings, I’m operating within the framework of a musical key, which dictates the notes that will sound good over the chords. It’s chaos and noodling, yes, but noodling within a framework. It’s the same for writing—yes, I’m throwing words around to see what sticks, but it’s within a framework. Pantsing is not, I don’t think, just starting with a blank page and then relying on automatic writing or something to come up with a plot. Unless it is, for you, in which case, you do you.

The framework is vital, for me. It can be so broad and flexible as to be nigh invisible and infinite, but it has to be there. Otherwise you’re that eighth-grade jazz ensemble. You might get lucky, but you can’t repeat a trick you didn’t understand in the first place.

Imagining a Reader

Well, it’s 2019, and we’re all still here writing. Or at least I hope we are. No matter how many things I publish, how many manuscripts I complete and feel good about, there’s always an up-and-down quality to enthusiasm. Every writer experiences dark moments when they lose confidence in what they’re doing, or feel like their careers are stalled or perhaps ended forever. It’s inevitable.

When this happens in terms of what I’m working on, it’s pretty awful; whether you’re 3,000 or 30,000 words in, that sudden sense that your WIP is boring and not worth the effort can lead to day drinking and poor Netflix choices which can then slur into a spiral of lost time that undermines everything else you’re trying to do.

When this happens to a WIP I try a little psychological trick: I imagine my reader’s reaction to what I’m working on.

The Audience is Key

I’m a huge believer in getting your work out there. The act of creation is just half of it—the other half is getting your words in front of eyeballs to be appreciated, critiqued, and hopefully enjoyed.

When I was a little kid, I shared a bedroom with my older brother. When we were small, we’d lay in bed at night and entertain each other with stories. We just made shit up, and it was a blast, and I can remember the feeling of excitement when I had a good idea for a new story at night. I anticipated my brother’s reactions, and couldn’t wait to lay my genius on him. The fact that most of my stories at the time were satires of Star Wars which thought the height of humor was renaming Luke Skywalker Luke Mudd is beside the point, dammit. I was eight.

That anticipation sometimes solves my enthusiasm deficits. I imagine someone reading the story I’m working on, and getting to that big twist or that moment where I really sharpen and define the premise, and I imagine their reaction. I imagine that excitement—we’re writers, so we’re readers. We know that excitement that wells up inside when you realize the writer is about to do something really, really cool.

I imagine that. And then I want that moment. And often that clicks me back into being excited as a writer, and I get a second wind on the WIP.

Of course, if that fails, there’s always the aforementioned day drinking, which has gotten me through just about every other crisis in my life. To paraphrase The Simpsons, Booze: Teacher, mother … secret lover.

The Joys of Being Old: Suddenly I Snore Like a Motherfucker Who Swallowed a Snore Machine

Aging, on the whole, isn’t so bad. There are trade-offs, to be sure, but overall I’ve found getting older to be mostly a positive experience, if you can believe it, largely due to the incredible jackassery my younger self engaged in on a regular basis. It’s easy to view a little gout and the inability to appreciate Soundcloud rappers as a small price to pay for a broader perspective and deeper understanding of the universe around you.

One aspect of getting older that I don’t appreciate is the Sudden Onset nature of many of these relatively minor afflictions. It’s like, you go to bed one night as You, expected and understood as a physical entity, and you wake up as You 2.0 with a bizarre new problem. For example, one evening a year or so ago I went to bed and snored like a motherfucker who swallowed a snore machine.

Jeff ‘The Buzzsaw’ Somers is Supposed to be a Cool Nickname

I can’t swear I’d never snored before, but it was a pretty rare occurrence. I know this to be fact because The Duchess is essentially The Princess and the Pea when it comes to sleep—the slightest disturbance in the force wakes her up. She has transformed our bedroom into a dark, cold, silent cave, and if I move the covers too briskly getting into bed, she pops awake and there are consequences. This is exacerbated by the fact that she goes to bed much earlier than I do, so creeping in there can be a challenge.

I tell you this so you’ll understand that if I was a regular snorer it would have been noted. So, like I said, I went to bed the night before as Normal Jeff, operating as per specifications, and then invisibly transformed into Jeff What Snores Like a Motherfucker, somehow. There was no warning, and it’s been a steady deal ever since. I snore, period. I am now a person who snores. Some fleshy part of my head that I don’t have full control over has gotten weak and lazy in my middle age and given up doing its fucking job.

The Implements

I have an endless, infinite faith in science and its ability to solve all my problems, so I began researching snoring. I installed an App to track my snoring performances, and JEBUS CHRISTUS it was a revelation.

You see, I sleep really well. So initially when The Duchess told me I snored like a motherfucker who had swallowed a snoring machine it’s not that I didn’t believe her, exactly, but it seemed impossible. I slept so soundly, how could I be unaware of this thunderous noise I was making? But the App recorded you when your snoring became noticeable, and I woke up the next day with all these audio recordings of me buzzing away like a character out of an old-timey cartoon.

So I began trying things. I tried Breathe-Rite strips, which open up the nasal passageways, as well as nasal dilators, which do the same thing from the inside of your nose. I tried mouthpieces that adjust your jaw position. I found these things called Theravents that you stick on your nostrils which essentially, as far as I can tell, solve the problem by forcing you to breathe through your mouth. The latter two actually do work, although the mouthpieces kind of irritate my teeth, and the Theravents cause … excessive drooling.

Drool

There are few things that, in my opinion, separate me from the animals. The ability to play video games. The understanding that pedestrians always have the right of way. The knowledge that neat is always the best way to enjoy whiskey no matter what anyone else says. And a lack of drooling.

Now, though, I have a trade off: I can snore and keep my precious bodily fluids inside my mouth like a normal person, or I can stop snoring and wake up with a disgusting flood of saliva everywhere. This is a non-ideal scenario, but since in both cases I am sleeping soundly but in only one is The Duchess not straddling me with a gun in my face like in the film Goodfellas, my choice is clear: Drool.

So there you go: I am a snoring, drooling mess. Happy New Year!

The Art of Following

FRIENDS, many of you know that I’m married, and not to just any person, but to The Duchess, a formidable woman who can bench press me and whose mastery of Retail Science is unparalleled. What she sees in me will forever be a mystery, and I am a lucky man to have her. That doesn’t mean being married to The Duchess is all gravy, though; there’s a cost. A bitter cost largely measured out in hours spent following her around various stores while she shops.

England Expects that Every Man Will Do His Duty

Why The Duchess wants me there when she shops is another mystery, frankly, as I am a sullen and unenthusiastic shopper, and also quite ignorant of the ways of fashion. I can only assume that the strange and unexpected affection she has for me overpowers her common sense, leading me to accompanying her to places where one is expected to understand the difference between boot cut things and skinny things, places where more than seven colors are acknowledged to exist.

My role when accompanying The Duchess on these trips is mainly to follow her around. There is an art to this.

The art largely involves maintaining a suitably aloof and bemused expression—note, bemused, not amused, as the former implies I am a willing participant in this madness while the latter implies that I will be severely beaten by an unamused wife when I get home—and endurance. You have to be in good shape when you follow The Duchess around, because it’s a marathon, not a sprint. And there are no complimentary cocktails or snacks, usually. Although, sometimes, in particularly ritzy stores.

This can, but does not have to, also involve striking poses as you stand around attempting to look like this is totally how you always intended to spend this particular afternoon, as if decades ago you pulled out your Book of Intentions and penned in that day for ‘following my beloved around like a vagrant who hopes to get a dollar from her just to go away.’ There are a lot of mirrors in these shops, and I find myself to be very attractive, and so adopting the poses I imagine Very Attractive Men of Mystery use in their daily lives makes me feel like maybe I’m generating buzz among the shop employees, maybe they’re going into the back and chatting about this really cool man of mystery who’s entered the store standing like a superhero, possibly intending to purchase every item in the place with his credit card that’s so advanced it’s not black or platinum but rather invisible.

The Chores

Once you’ve got the art side of shopping with the Duchess down cold, there are some basic duties that come with the position:

1. Picking up The Duchess’ things. The Duchess, in an excess of excitement, often drops whatever she is carrying and/or wearing as she rushes to the sales rack, and it is my sacred duty to pick up her jacket, sweater, wallet, keys, shoes, and anything else that has exploded off of her in a burst of kinetic shopping energy.

2. Making Small Talk. The shop staff will be barely tolerated and acknowledged by The Duchess, who knows more about their products than they do. As she races about, I form a sad fellowship with these people and make conversation to reassure them that despite being completely ignored by my wife, they do in fact exist.

3. Paying. This is not because I am a man, or because I have all the money. In fact, The Duchess outearns me by a significant amount. But The Duchess has little time for the details of shopping, and once she has decided on, say, a rust-orange turtleneck, size medium, marked 40% off with an additional 25% off coupon applied, she is off to the next shop, leaving me to fumble out the credit card and make more awkward conversation with the staff.

Like I said: Not all gravy. This line of work isn’t for everyone—especially the posing.

Holiday Card Armageddon

One of the few pleasures of growing old, in my crusty opinion, is the clarity you get about yourself and the space you occupy on the saint—asshole spectrum. I lean heavily towards asshole, and while I’m not proud of it I’m at least aware, and if I choose not to do anything about it, it’s on me. How do I know I’m kind of a prick? Well, it’s always been there: the self-centeredness, the cruel snark, the emotional laziness. As I age the signs simply become more overt.

For example, I’m engaged in a multi-year experiment to see how long it takes you to be removed from people’s holiday cards lists.

Lump of Coal, Here I Come

When I was a young man, I put a lot of effort into my holiday cards as part of my I AM AN ADULT DAMMIT charm offensive. I drew doodles, I hand-wrote poems, I made those things sing, baby. Of course, it wasn’t because I loved everyone on my list so damn much. I wanted everyone to be impressed and tell me how awesome my holiday cards were.

Now I am old and it takes me 1/85th of my life just to wake up in the morning, so that kind of effort is obviously impossible. As is any kind of effort at all, to be honest. On the one hand, I’ve turned into 110% Grinch, and the holiday season just irritates me in every single way to the point where I want to become a Super Villain who goes out at night to tear down holiday decorations and hand out toothbrushes at Halloween, and on the other hand holiday cards increasingly seem like Old People Facebook, a way of pretending you’re in touch with someone.

I mean, I get holiday cards from cousins I haven’t spoken to in decades. What the fuck?

So, about, jeebs, probably fifteen years ago now I stopped sending out holiday cards. And the volume of cards received dropped steadily as people got insulted or assumed I’d finally drunk myself to death, but I’m still getting a dozen every year. Which is either folks not cleaning up their mailing lists, or people vindictively trying to make me feel like a dick for not reciprocating.

Which: Respect. That’s something I would do. I picture them with Peter Capaldi’s eyes from Doctor Who when they mail the cards to me.

I WILL END YOU. WITH XMAS CHEER.

Joke’s on them: I’m gonna pursue this goal until I get zero holiday cards. And then I’ll have one of those Mad Men zoom out moments where I sit alone in a diner and stare at my coffee as I realize I am mortal and an asshole no matter how much I like myself.

So, just one more reason for me to accept the fact that I am not a good person, and will probably become less good as I age, until I die alone and unremarked-upon, eaten by cats and buried by disinterested city employees. Huzzah! That calls for a drink!

The No Pants Cocktail Hour Podcast

Like drugs in my childhood, everyone’s doing podcasts. I am generally speaking the last person to get on any sort of bandwagon; not because I am cool and aloof, but because I am slow and lazy. Also, I have to figure out a way to make everything all about me and not have to collaborate with anyone, which makes projects hard to start sometimes.

But, I finally had an idea for a podcast that fits all my self-absorbed requirements: I’ll talk about myself! Or, more accurately, my fiction.

The No Pants Cocktail Hour

So here’s the idea: Each episode I’ll pick a short story of mine that’s been published. I’ll discuss the story, its inspiration, process, and anything else I think might be interesting, and then I’ll read the story. Complete with some sound effects and other fun touches. Well, fun for me. For you? Your mileage may vary, but that’s pretty much the Somers House Words at this point.

I even made a twitter account for it, so you know I’m 100% serious. Odds that account has exactly 1 tweet 5 years from now are pretty good, but I mean well.

The first episode is a bit of a cheat; I already had a recording me reading my story Ringing the Changes, so I added commentary and voila! a podcast. You can find the podcast in various places, including right here:

No Pants Cocktail Hour Episode 1: Ringing the Changes

Author Jeff Somers discusses and reads his short story “Ringing the Changes,” which was selected for Best American Mystery Stories 2006. www.jeffreysomers.com &nbsp;

I’ll aim for a new episode every month in 2019 until someone shows up to ask me to stop in person.

Doctor Who and the Curious Case of the Copious Companions

Last year I wrote an article for Writers Digest about figuring out if you have too many characters in your story or novel, which brings me to Doctor Who.

I’ve had a tumultuous relationship with the show. When I was a kid, my older brother, Yan, was obsessed with Tom Baker’s Number Four, and as a result I kind of avoided it on principle. In college I chose to become obsessed with the even more obscure and even more British show The Prisoner. When they rebooted the show in 2005, I kind of ignored it, and only started watching with Matt Smith’s Number Eleven, then worked my way (somewhat) backwards from there.

What’s been interesting over the eleven seasons of the show that have aired since the reboot is the collective character arc of the Doctors. Number Nine was so desperate to flee his past he basically ignored it and pretended not to have one, but subsequent doctors slowly strapped on the old stuff, evolving into unhappy lonely gods and oncoming storms and self-loathing madmen in a box. The two showrunners who guided nuWho through it’s first 10 seasons, Russell Davies and Steven Moffat, shared a certain love for silly epicness—their stories were frenetic, loud, frequently illogical, and usually kind of fun, but things got very cluttered as the old-school stuff barnacled on with some new twists until the whole character and the universe he inhabited was very loud and very distracting.

So, in the new season, a new showrunner took over. Chris Chibnall, known for his work on Broadchurch (and some Who scripts over the years), was brought in to basically do a soft reboot, clean things up, find a new tone. In a sense, the casting of Jodie Whitaker as the 13th Doctor wasn’t just about a long-overdue gender swap, but also about the character’s arc, which had hit maximum self-loathing with twelve and come through the other side to acceptance. Whitaker’s Thirteen is lighter, freer, happier. She’s shed a lot of the dead weight, and the new season is meant to be a return to basics—history lessons, alien invasions, and a Doctor who has rediscovered their curiosity and dedication to a moral and ethical universe.

To be honest, I thought the ten episodes of the new season ranged from meh to meh-meh. There were bright spots—Whitaker’s performance as The Doctor is breathless fun—but overall I wasn’t terribly excited by the stories. With Moffat and Davies there was a lot to complain about, but there were usually a couple of bangers in each season you could sink your teeth into, but Chibnall’s first go left me a bit cold. And I finally figured out why: There are too many companions. Chibnall needs to read my article and cut a few.

Too Many Cooks

In the unlikely case you’re not familiar with Doctor Who but are still reading (because you love me?), the companions are the (typically human) everyday folks the Time Lord picks up and brings along on his adventures. Their main function is to have someone the Doctor has to explain things to, of course, but they usually wind up becoming pretty important characters to the Doctor’s arc and the show’s storytelling.

In the first 10 seasons of the new show, the companions have usually been limited to one, with a few satellite companions who would cycle in and out. Amy Pond and her husband Rory were an exception, but Rory as a character was so utterly defined by his orbit around Amy they were basically a single binary companion.

As a result, the companions had interesting arcs in their own right—Rose from the first four seasons transformed from a shop girl into someone willing to sacrifice everything for love. Donna went from a trashy, irritating woman to a figure of almost unimaginable tragedy. Martha transformed into a kick-ass warrior. Amy became perhaps the first true friend the Doctor ever had. Clara, who initially over-existed as The Impossible Girl, slowly evolved into something akin to a formerly-human version of the Doctor (and hey, might still be out in that fictional universe, perhaps starring in a TV show in an alternate universe called Professor What). Bill Potts began as a curious, spirited woman who didn’t let a lack of funds hold her back, and wound up finding acceptance and love in a way she couldn’t have anticipated.

Which brings us to the crowded TARDIS of Thirteen’s run. She’s got three companions, and they’re all fine folks in their way. The problem with the new season is, they don’t get to do much in each episode, and they don’t get to grow much as characters, because there’s too many of them.

Fine, Upstanding, Really Boring People

In the past, having just one companion or, sometimes, a main companion and some satellite companions, allowed the show to focus on the companion’s development over the course of the season. This year, Chibnall introduced four folks in the first episode: Graham, an older gent recently in remission from cancer, his wife Grace, a force of goodwill, her son Ryan, a nice enough guy who has father issues and resents Graham’s attempts to charm him, and Yasmin Khan, a rookie police officer struggling against the boredom of her low-level postings and the patriarchy. Some spoilers to follow, in case you need the warning.

So far, so good. You can see what Chibnall is trying to do—bring in some gender and racial variety, ground the crazy alien madwoman in a box with some down-to-earth folks. Plus, he’s seeded in a few bits of conflict that can pay off later. And to be fair, some of it does pay off. Graham and Ryan begin the season with an awkward relationship, and end it very much family. But otherwise, not much happens and the three surviving companions (I said there were spoilers) are basically in the same positions as at the beginning of the season. Graham is a genial grandfather type who carries emergency sandwiches. Ryan is a snarky kid uncertain how he fits into the world. Yaz is an earnest young woman who has experienced racism and sexism. None of them can be said to have grown much, or been explored much.

And, frankly, this comes down to screen time. There just isn’t room in any given episode to deal much with their characters. If you’ve ever seen an episode of modern Doctor Who, you know they blaze by at warp speed; the main prerequisite for an actor taking on the role is the ability to say 5,000 lines of pseudo-sciency dialogue in about thirty seconds. With one companion, you can devote a few minutes to their personal arc. With three, it’s hard enough to figure out plot reasons for all of them to have something to do, much less explore their personal journeys.

It’s different in a novel, of course; you can just add a few thousand words here and there to expand and explore your characters. A TV show has a specific number of seconds to tell a story, and sacrifices must be made. But Doctor Who would be well advised to lose a companion, maybe two. And if your own characters aren’t much changed at the end of your story, consider if you need to spend more time with them—and maybe have fewer of them, to boot.