March Projects Update!

Almost let the month elapse without an update. Let's get to it.

Conventions and Appearances
  • Despite a small turnout and limited merchandise to sell, I had a good time at the Boston Comic Book and Toy Spectacular. It was really just a warm up to prepare me for...
  • The Boston Comic Con! I'm really excited about this show. It should be one of the biggest Boston has had, and I'm certainly doing my part to make it a great show. So far I've drawn 7 FREE sketches for con attendees, and have a few more still on my list.
  • Today, I received a shipment of books that I'll have for sale at the show... Tyler James Comics Presents... Vol. 1 collects three different stories, by four different artists, all written by me. It's a Boston Comic Con Exclusive book.
  • I have some family coming in for the big show next weekend, so that should just make things all the more interesting. I'm expecting my most successful show yet. Obviously, I'm pumped.
Tears of the Dragon

A good news/ bad news situation.
  • First, the bad news. Tears was submitted to Zuda Comics in January. I haven't heard from Zuda saying Tears was accepted into a competition. Since the three month acceptance/rejection decision is up in just a few days, I've concluded it's a rejection from Zuda.
  • The good news...I'm glad. I am so psyched about the promise of Tears of the Dragon that I'm going full-steam ahead with it anyway! I'm happy to keep full rights to the property, and a rejection from Zuda just makes me all the more determined to make sure Tears is a huge success. Koko Amboro is on board, and we're going to continue to bring this story to life. Most likely, it will debut as a webcomic, with print collections to follow.

ICE: Interrogation Control Element
  • My strategy more than half a year ago was to partner with three different artists on three different stories, giving me three cracks at a Zuda Competition. While I've produced, what I think, are three high quality comics, so far, I'm 0-for-2.
    Regardless, it's been a great experience. I've worked with other comics professionals and managed multiple projects to completion. Thi is great experience.
  • ICE is my last hope from this initial strategy. Luckily, I believe that it is probably the comic with the most chance at success on Zuda.
  • I've sent out a few submissions packages to publishers, pitching ICE. So far, I've received no response. So, I'm prepping to submit ICE to Zuda as originally planned.
  • Paul Little has been coloring ICE and doing a bang up job thus far.
  • So, when I get the official Tears rejection notice from Zuda and can thus submit another comic, I'll be firing off ICE, and playing the waiting game once more.

Screenplay/Graphic Novel Project
  • Last month, I finished the third draft of my screenplay. So far, it's been reviewed by 6 readers, and the response has been very positive. My favorite response so far, from a complete stranger- "This is a movie I would go see, and tell my friends to go see." Yeah, can't ask for more from a review than that.
  • The script still needs work of course...if Nora Ephron had to do at least 6 drafts of When Harry Met Sally, lord knows how many drafts I'll need to do. I'm going to get a few more reviews before I start a new draft, though. And I'm currently looking into getting some professional coverage. However...
  • The biggest news of the month...I'VE STARTED DRAWING COMICS AGAIN! It's been months since I've completed a comics page. Sure, I've been coloring, and lettering and formatting and all sorts of other activities related to making comics. But it's been a long while since I've penciled and inked a comic page. But the hiatus is over.
  • Now, I've kept this project close to the chest for a while now, for several reasons, which I'm sure I'll get into over time. And I'm not ready to reveal anything more about this project at this time. But I can tell you that I'm 4 complete pages in, and loving it so far. And what the hell, here is the tiniest of sneak peaks.

Creating Comics! Classes

Other Projects
  • Nothing new to report on Super Seed or CounterTERROR, but hoping to have some news regarding those projects soon.
  • The article series My Writing Process will finish up next month, and then I'll move forward with my plans for a follow up.

In short, things are busy. A lot of plates are spinning and I'm enjoying what I'm doing. Can't ask for much more than that, right?


Boston Comic Con: A Full Sketch Queue!

I'm pleased to report, I've filled my queue for FREE SKETCHES for the Boston Comic Con. I hoped to do five sketches for con attendees, but it looks like I'm going to end up doing six. It's been a great experience, and has given me the opportunity to draw a number of characters I've never drawn before. Sketches requested have included Hulk, Deadman, Rorschach, Grendel, Harley Quinn, and a "my choice" request. Fun stuff.

I'll post them all after the Con.

Remember, the Boston Comic Con is April 4th and 5th, and should be a big show.

And if you were meaning to write me for a free sketch but haven't, I could be convinced to do a few more...tylerjamescomics@gmail.com.


My Writing Process Part VII: Memorable Scenes

It's that time again. If you've missed any previous installments of this series on writing process, fret not. Parts I, II, III, IV, V, and VI are just a click away. Let's get started on today's topic...

VII. Memorable Scenes

When we remember movies we've enjoyed or comic books we couldn't put down, even the great ones, it usually is not the entire story from start to finish we recall. What we remember are scenes. Want your creative works to move people and stick in their heads long after they've put down the page or left the theaters? It's actually pretty simple. Fill your writing with a series of strong scenes and before you know it, you're going to have a story people remember and can't stop talking about.

Before continuing, let's talk briefly about what a scene is. The simple definition: a scene is where something specific happens, in a specific place, at a specific time. Remember that. Place and time. Two things every scene must have. If you change either place or time, guess what? You have a new scene.

Generally, there are two types of scenes. Action scenes (chases, fights, sex, etc.) and dialogue scenes (on the phone, over coffee, in bed, etc.) Most scenes in comics and film are a combination of the two. Regardless of the type, the purpose of every scene is to move your story forward. That's it. Simple right?

To illustrate the concepts and suggestions for crafting your scenes, I've included two very memorable scenes from movies. These scenes are very different and the movies are very different, but in terms of scene structure and craft, they are very much the same. So grab your popcorn, watch them both, and we'll then we'll continue. Sound good?

Scene 1 - Suicide Kings (1997)

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Scene 2 - When Harry Met Sally (1989)

Enjoy those? Good. Now let's deconstruct.

Why are these great scenes? Well, yes, the acting was strong. Dennis Leary and Meg Ryan both completely stole their scenes with strong performances. And certainly the dialogue was very well written. "...or me and Mickey Mantle are gonna pay you a visit." Awesome. (We're going to talk more about crafting strong dialogue next time.) Still, there's more at play hear than sharp dialogue and strong performances. How can we craft scenes this strong? Here are some tips.

First, start with CONTEXT. The first thing to determine when drafting a scene is the purpose of the scene in your story. How is it moving the story forward? When and where does it take place? What characters are in the scene, and what are they doing there. This is the scene's context. For most scenes, you can sum up the context in a sentence or two.

In the Suicide Kings scene, the context is that Dennis Leary's character needs to find the woman in order to help track down his kidnapped boss. In When Harry Met Sally, the context is that Harry and Sally's relationship changes when Harry sees her in a new, more sexual, light.

Now develop the CONTENT. What aspects of your character's lives do you want to reveal in the scene? How are you going to reveal them? What are you actually going to show? What is the most interesting and appealing way you can deliver what needs to happen to move your story along (the context) to your audience?

In Harry, it's not just Billy Crystal who is surprised. This is the first time the audience gets to see the sexual side of cute-as-a-button Meg Ryan as well. Dramatically and comedically, the best way to reveal that was to have her fake an orgasm in public. Yup, that gets the job done. In Kings, we get a bit of insight into Leary's character's past. Up until this point in the movie, we've seen Leary get very angry and threaten violence, but we've also seen him be charitable, and not actually commit any violent acts. Interestingly enough, his first response isn't to resort to violence, he actually sympathizes with the guy. But all the while, the audience suspects that if pushed, Leary's character is one who could fly off the handle. But none of us saw the toaster coming.

Two scenes. Each very different. Both extrememly mememorable. Here are some more tips to keep in mind when crafting your scenes.

All scenes need to turn.
"Turning" is a phrase used a lot in storytelling. It's actually quite a simple concept, in that something specific should change in every scene you write. Think about the specific value at stake for the characters in your story. It could be love, forgiveness, revenge, you name it. Think about how that value is charged at the beginning of the scene (positive, negative, a little of both?) Then think about how that value is charged at the end of the scene? If the value remains unchanged from start to finish, then the scene has not turned. It's a non-event. And you'll need to ask yourself, why is this scene in my story?

Usually, when you have a scene that doesn't turn, the answer to why it's in your story is for the purpose of exposition. (ex. This is the scene where I reveal that Jack's dog was killed when he was six.) Professional writers know that that exposition by itself is not a good enough reason to include a scene. If the exposition is important, a good writer will find a way to include it amid the action of a scene that turns.

What turns in the scene from Harry? The scene starts with a confident and cocky Billy Crystal, gabbing casually about his one-night stand and sexual prowess, once again seeming to win an argument with Meg Ryan. But once she fakes her O, the tables turn completely. She wins the argument that women can fake believeably and Billy Crystal is left speechless. The scene opens advantage Crystal. It closes advantage Ryan. This is a scene that turns.

Scenes are unified around "Desire, Action, Conflict, and Change." This is a gem from McKee, and worth taking note of. If all of your scenes involve a character with a strong external or internal need or want (desire), who takes dramatic steps to achieve that want (action), meets formidable resistance to attaining that goal (conflict), and his internal or external course is altered because of it (change), you're going to have compelling scenes.

Foreshadowing is a powerful tool. Whether you're writing for comedy or drama, it's necessary that you set up your scenes. Lew Hunter says, "Anticipation is often as wonderful, or as suspenseful, as the realization of the end result." In Suicide Kings, the toaster scene was foreshadowed by Leary's earlier interaction with a bum who asked him for money. At first, Leary gave the bum some money, but when the bum pushed his luck, Leary got enraged and almost killed the guy, only to be stopped by his partner. This foreshadowed the altercation in the toaster scene. When the dirty old man tells him off, the audience knows there is no one to stop Leary from bringing the pain on this man, and we cringe with anticipation, even before we see him wrap the toaster around his hands.

Memorable scenes have "toppers." Toppers are the closing lines or actions that add one last bit of punch or umph to the scenes. So many great scenes have them, that it's worth considering adding them to your key scenes. In Harry, the topper is the old lady, having watched Meg Ryan in awe, tell the waiter, "I'll have what she's having." Funny. (And, interestingly enough, this line was not in the screenplay, but added on set, suggested by the talented Mr. Crystal.) And how about the Suicide Kings line? "Sorry about the toaster." After such a brutal scene, it's amazing how one line can induce a chuckle. And it makes the scene all the more memorable.

To illustrate how I've been trying to follow these principles, what follows is a short scene from my screenplay/graphic novel project. In the scene, three boys MATT, SOOTCH, and TROY, have lost their football in the neighbor's yard, which is guarded by BRUTUS, a mean old dog. Sootch, a tiny asian, is tasked with retrieving it.


Sootch, Troy, and Matt compare twigs. Sootch's is the




It's you, Sootch.


Mine's the shortest?
Big surprise.

The boys stand next to the tall fence with a large sign that
reads, "Beware of Dog."

Troy peers through the fence.


Don't worry, dude.
Brutus is
totally asleep.


Brutus rests in the yard, eyes closed, just inches from the


Sootch pulls away from the fence.


You positive, Troy?


Yeah. He's out.
Let's do this.

Matt and Troy boost Sootch over the fence.


Sootch lands silently, striking a cat-like pose.

I am ninja.

Brutus lets out a grunt, but his eyes stay closed.
Sootch creeps toward the ball, eyes trained on the sleeping dog.

He carefully bends down and palms the ball, just inches from
BRUTUS. He picks up the ball.

Brutus opens his eyes and for a moment, they stare each other


Matt and Troy are mortified.


He's dead.


Sootch hauls ass toward the fence with Brutus in hot pursuit.
He tosses the ball over the fence, screaming all the while.

Just as Sootch is about to reach the fence, Brutus leaps at
him, but is violently jerked back by his just-too-short chain. Sootch bounds up and over the fence.


The boys congratulate a panting Sootch. An angry Brutus BARKS
through the fence.


You can't throw for crap,
but you
sure can run.

Now, let's review my scene by running through my scene tip checklist...

- Did the scene turn? Yup, at the start, the boys were fearful and without the ball. At the end they retrieved the ball and were elated.

- Was there desire? Sure, they wanted the boal.

- Was there action? Yes, Sootch, though reluctant, took up the challenge of recovering the ball.

- Was there conflict? The angry Brutus definitely brought the conflict.

- Was there change? Sure, they have the ball, and Sootch, who up until this point in the script had been bagged on repeatedly for being a lousy athlete, got to be a bit of a hero.

- Was this scene foreshadowed? Kind of. We saw a beware of dog sign earlier in the script, and when the ball was lost over the fence initially, the look of fear on Matt's face suggested it was trouble.

- Was there a topper? Certainly. Troy's line at the end adds a little punctuation point to the scene, and is a nice counterpoint to Troy's first comment earlier in the script, about how there will never be an Asian quarterback in the NFL.

Is this the greatest scene in the world? Certainly not. It's actually a fairly small scene in the script. Still, for a small scene, it follows the conventions that have proven to make scenes memorable. Now, do all the scenes in my screenplay hold up to this scrutiny. Hmm...that I'm not sure about. Should they? Most definitely.

NEXT: VIII. Sharp Dialogue


Creating Comics #6: New Adult Class Starting Soon!

Well, I just wrapped up my Creating Comics! Class for middle schoolers last Wednesday, so I suppose it's a good time to announce the next class!

Creating Comics! Writing For Comics & Graphic Novels will start up again mid-April, once again an offering of Newburyport Adult and Community Education Center.

The spring catalog of classes just arrived, and it was a nice surprise to see not only did I get quite the course write up, but they added a Super Seed image to spice up my course offering solicitation.

This will be the second time running the course, and while I'll keep the same basic framework, I'm planning to do a lot more exploration of story structure. And I'm also going to incorporate a small drawing component.

So, if you or someone you know lives in the North Shore area of Massachusetts and would be possibly be interested in the course, follow this link to register. If you have any questions about the course, feel free to shoot me an e-mail at tylerjamescomics@gmail.com.


Pin-Ups #4: She-Hulk

Wow. Been a long while since I posted a finished pin-up on this blog. These past six months have been incredibly writing focused, and I definitely need to dust the cobwebs off my pencil, ink and color skills.

This is a pin-up I did for Steven Forbes, who writes the weekly Bolts & Nuts column over at Project Fanboy, and has done some editing for me. He said he likes strong women, and well, they don't come much stronger than She-Hulk.


Creating Comics #5: Jam Comics!

Only one more week to go for my Creating Comics! class with the students at Nock Middle School in Newburyport. It's been a good time, and the kids are incredibly creative. Here's an exercise we did in class that was a lot of fun...JAM COMICS! The directions were simple.
  1. Each student was given a comic page and told to draw the first panel.
  2. After drawing the first panel, the student would pass the page to the next student in line.
  3. Each panel had special rules the students needed to follow.
  • Panel 1- Introduce a Main Character and Setting/Situation
  • Panel 2- Introduce a problem.
  • Panel 3 – Introduce a supporting character.
  • Panel 4 – The problem gets even worse.
  • Panel 5 – The character tries to Fix the problem.
  • Panel 6 – The resolution? Did he/she/it fix the problem.

4. Each page was six panels long, and told a one page comic story.

Here are some examples of the work done by the students...and I did a few panels as well.


Boston Comic Con: Want A Free Sketch?


April 4th and 5th, I'll be tabling at the Boston Comic Con. Soon, I'll be starting the art on my original graphic novel after several months away from the drawing table. To get my skills back up to speed, I'm going to do some sketches over the next few weeks. Want one?

Here's the deal:

If you are attending the Boston Comic Con and would like a FREE SKETCH, email the following information to tylerjamescomics@gmail.com:
  • Your name
  • Sketch character request
  • The day or days you'll be at the Boston Comic Con
I'll draw FREE SKETCHES for a LIMITED NUMBER of people who request them.

All you'll have to do is stop by artists alley at some point during the convention, say hello, and pick up your FREE SKETCH. Not a bad deal, huh?

While at the table, you'll also be able to check out issues of Super Seed, art from CounterTERROR, Tears of the Dragon, and ICE, and my new Boston Comic Con exclusive...Tyler James Comics Presents...Vol. 1.

Remember, this is a first come, first serve opportunity, so if you're interested and definitely plan on attending the show, send me an email now at tylerjamescomics@gmail.com.


Boston Comic Book & Toy Collector's Spectacular

I had a good time this past Sunday at the Boston Comic Book & Toy Collector's Spectacular. There was a good group of artists in attendance, Billy Tan was there, and quite a few ladies dressed in super-heroine outfits (which was nice.)

I was a last minute addition to the con. As a result, I didn't have nearly enough Super Seed comics to sell, as my inventory was depleted after the last convention. I sold out of the issues I had around noon. Luckily, I still had some ashcans and prints to sell. I had prints of Tears of the Dragon, which got a very warm reception and a lot of interest from con-goers. I also managed to do a few sketches at the con. It was a small show, but a nice warm-up for the big show coming up next month. Hopefully, my books will be restocked and ready to sell.

I was pleased to talk to a few people who had checked out my stuff online here on this blog, and were asking specific questions about ICE and Tears. Very, very cool. I think this internet thing might just catch on.

These were a few sketches I did while sitting at my table. It had been a long time since I've drawn Yordania, the warrior princess heroine from Tears of the Dragon.

These ladies are performing a play called "The Super-heroine Monologues" next month in Boston. They definitely spiced the show up.

My table was set up next to illustrator Jason Casey. Jason produces some outstanding prints, mostly movies, comics and pop-culture stuff. A really nice guy.


ICE #11- Color Preview


Colorist extraordinaire, Paul Little has managed to squeeze in some work on ICE (in between his gigs for Image/Shadowline and the many other creators eager to take him up on his services.) I think he's doing nice work with textures on these colors, and am really looking forward to seeing what he does with the rest of the pages.


Events, Appearances, Promotions #7: Appearing at the Boston Comic Book & Toy Spectacular

Title pretty much says it all. I'll be taking up half a table once again at the Boston Comic Book & Toy Collector's Spectacular. This show is being put on by Monkeyhouse Entertainment in association with Primate Productions (I kid you not.)

Marvel artist Billy Tan will be there, and it looks like there's a small crew of other local comic book talent that will also be in attendance. Chris Gibbs will be there, who I met at the last Boston Comic Con, and he has a CounterTERROR pin-up for me that I'm excited to get a look at.

Unfortunately, I did not replenish my personal supply of books, so the merchandise I have for sale will be limited. Still, I hope to continue to make connections and build relationships with local artists and maybe do some free sketches for the first time.

If you're in the Boston area, think about stopping by.

The Details:




Come have a day of collecting fun and

meet other collectors!




10 a.m -4 p.m

Boston Radisson Hotel


6TH Floor Ballroom

Admission $8 children under 12 free

Advance passes available $12

allows admission at 9:30

Paypal only to monkeyhouse55@aol.com


My Writing Process Part VI: Beat It

Where we've been... The Great Idea, Research is Key, The Killer Pitch, Characters That Make You Give A Damn, and Structurally Sound.

But today, oh today, is where we really have some fun with this writing thing. I hope the fire's in my eyes and my words are very clear, so let's...

VI. Beat It

The title of this series of articles is "My Writing Process" and in this one, I want to emphasize the MY. After all, there is more than one way to skin a cat (good God, who came up with that idiom? I mean, I'm a dog person, but still...) and certainly more than one way to build a story. But this process has been working for me, so that's why I'm sharing.

By this point in the process, I've already put in a lot of work, spending time doing idea development, research, character grids, and I have a general idea of what happens in the beginning, middle and the end of the story. Now it's time to stitch it together. It's time to plot the major beats of my story.

What do I mean by a beat? A beat is actually the smallest unit of a story. It's simply an action/reaction interaction of significance. Stories can have hundreds or thousands of beats. No, this article isn't about how to generate all of them. That comes in the writing. But what I find necessary to do prior to sitting down and writing is to figure out the major beats of my story. Once I've plotted the major beats, it becomes very easy to connect the dots and write that story. What follows are the major beats I focus on discovering prior to writing.

Opening Image: If you're writing for a visual medium like comics or film, it's important to make a good first impression. As such, I've been trying to pay attention to the opening image, and make it significant.

Here's a good example of a killer opening image. This silent splash page is how Frank Miller's award winning Sin City series kicked off. The story is about the death of a mysterious, beautiful girl named Goldie, and she's pictured here right off the bat. This image also establishes the noir feel of the comic.

Set-up: Figure out how to introduce most or all of the major players in your main storyline. It should be an interesting open, and one that reveals the character's status quo. In the set-up, you need to plant an idea of what is missing in the hero's life, what he wants and what she needs.

In my Sin City example, the set-up is that Marv, a hard-nosed brute, goes home with a beauty and doesn't question why she's interested in a loser like him.

Catalyst: This is the first major change in the status quo for your character. Stories usually start in balance, and the catalyst is that first moment that throws the story out of whack. This should happen early in your story, but generally, not before you've had a chance to briefly establish what life was like before this first turning point.

In Sin City, the catalyst is that Marv wakes up next to a dead Goldie. He knows he didn't kill her, and that's about all he knows.

Big Event: Hot on the heals of the catalyst, the big event is one that changes your main character's life in a major way. This big event is almost always a direct result of the catalyst, but raises the stakes, taking things to the next level.

Before Goldie's body is even cold, cops come for Marv, clueing him in to the fact that he's been set up. Marv fights with the cops and becomes a wanted man in Sin City. That's the big event.

B Storyline: Now, I'll admit, depending on the length and type of story, I don't always include B-storylines, probably to the detriment of my story-telling. However, it's a good idea to do so. In B storylines, you get the opportunity to introduce and develop new characters, and reveal more of the theme of the story. Pacing wise, B-storylines give your audience a break from the main storyline.
Sin City doesn't have a big B-Storyline, but it does have one. After Marv's first run in with the cops, he goes to see his parole officer. Here a new character (one who will also show up later) is introduced, and we learn more about Marv (he's always in trouble and not taking his medication.)

Fun and Games:
This is where you deliver on the promise of your story. Again, envision the imaginary trailer for your story. What would it feature? Super hero's kicking ass? Slapstick comedy? Gruesome murders? This is the point in the story where you throw a lot of that stuff in.

Marv wants answers and he doesn't care who he has to beat down to get them. For Marv, this truly is fun and games.

Pinch: About half-way into the story, comes the pinch. This is another major turning point in the story. The pinch should be a twist, and often provides a point of no return for the character, where they become completely committed to their course of action, or their motivation is strengthened.
In Sin City, the pinch is when Marv kills a priest in the confessional booth. (Yup, no turning back after that!) He's worked a trail of thugs back to a priest, and finds out the conspiracy is deeper than he could have ever imagined.

Crisis: Yet another turning point. Usually the low point in the script. The unthinkable happens, and all hope looks lost.

In Sin City, this is when Marv realizes exactly what he's up against. He's found Goldie's killer and the little SOB kicked HIS ass. One of his only friends is killed. And the person behind it all is a one of the most powerful men in Sin City.

Showdown: Generally, the climax of the story...this is what you've been building toward. When your protagonist and antagonist square off, the stakes the highest they're ever going to be. Many times, the showdown also involves the merging of the A and B storylines.
In Sin City, this is Marv's battle with Goldie's killer. It does not end well for the killer.

Resolution: How does the thing end? Did the protagonist achieve his or her goals? How did he or she change or grow from the beginning? How are the loose ends tied up?
The resolution in Sin City is that Marv tracks down Cardinal Rourke, the powerful man ultimately behind Goldie's death, and kills him, before being shot by cops, tried and condemned to death.

Final Image: Again, comics and film is a visual medium. When posible, leave the audience with a stirring image to replay in the brains. Bonus points for tying that final image to the opening image in some way.

I'll let Sin City's final image speak for itself.

Are there more beats? Of course. More major beats? Certainly. And certain genres have more specific beats not included above. For example, most romantic comedy feature "the cute meet." That's a major beat in that kind of story. But I've had a lot of success working with those major beats I just listed, and if the story calls for it, I can always add or subtract major beats in the plotting process.

To further illustrate, what follows are the major beats for CounterTERROR, my action/horror mash-up comic.

Opening Image: The National Counter-terrorism Center (NCTC.)

Set-Up: It's New Year's Eve and NCTC analysts have located a known terrorist in NYC and they've dispatched a team to bring him in. Meanwhile, FBI counter terrorism specialist Dorian McCullough, on mandatory medical leave, plans to enjoy the night with his fiance.

Catylst: The terrorist infects himself with a weaponized, flesh-eating virus.

Big Event: The SWAT team is also infected, and Dorian McCullough is dispatched to try to save Montoya, the one SWAT officer not infected.

B-Storyline: Dorian's fiance is pissed at him, and decides to take the subway to Times Square, unaware that another virus will be released there as well.

Fun and Games: Dorian and his partner race around the city trying to stop the spread of the virus.

Pinch: Dorian has to put down a former partner infected with the virus.

Crisis: Dorian's fiance is trapped in the subway with hundreds of the infective, and the virus is released in Time's Square.

Showdown: Dorian stops the spread of the virus with minimal casualties, but the main perpetrator gets away.

Dorian gets to his fiance, and finds her alive.

Final Image:
(Not gonna say. Still hope to tell this story someday, and it's got a shocker of an ending.)

So, that's my major beat sheet for CounterTERROR. Basically, these are waypoints that will keep me on track throughout my story. With these in place, it becomes a much easier exercise to connect the dots of my story. Hope this discussion helps, and as always, comments and feedback appreciated.

Next: VII. Memorable Scenes