• Tyler E. C. Burnworth

Writing Omega #1

In The Beginning...

I didn't know what I was doing. I was readily convinced, for no reason at all, that I could write a comic book. I had never done so before, and I was not prepared for the challenge ahead in the slightest.

I did, however, have an idea. And this idea started with a painful procedure that I recommend no man ever subject himself to:

I got fixed.

Snip-snip. Voice jumps an octave. I'm down for three days, practically bed-ridden.

In the middle of a binge-athon of the Twilight Zone, my wife presented me with a birthday gift, and what better one to get a writer than a notebook and a fancy pen? (Seriously, this pen was awesome, one of those calligraphy types) and the notebook was a piece of art on its own; weathered leather cover with parchment page interiors.

I was instantly inspired.

I started out this journey writing a diary from the perspective of a young boy whose boring, run-of-the-mill lifestyle was suddenly interrupted by a band of space villains who took over his father's ship and enslaved him. 

I'm not sure if it was the recent trauma I had experienced at knifepoint (or the realization those failed anesthetics cauterized into my mind forever) but I felt an immense connection with this kid.

After my recovery, I returned to the blank page feeling like I'd finally yanked Excalibur from the stone. So I had this concept about a kid and his dad, space pirates, and...that was about it.

So I did what every wise man should do when he's out of ideas: I told my wife about it. Lydia reminded me that character was my weakest area of writing, that I've always had great story ideas, but my characters always ended up being sock puppets, forced to act out the story in very obvious and flat ways.

It was the missing piece of the puzzle, the Golden Snitch that had eluded me for the past 15 years of my writing.

I always wrote the STORY first, CHARACTERS second. What would happen if I reversed the process?

Finding Omega happened.

Lydia, being the perceptive socialite that she is, helped me fashion the most dynamic characters I've ever written. I feel the difference in this story on an emotional level like nothing I've ever written.

From page one and on, I established a fatalist antagonist with a warped sense of justice, a naive boy with a foul mouth, a young father who struggles with his priorities, and a young girl raised in the dichotomy of utilitarian emphasis in a materialistic society.

I'm excited every time I sit down to write an issue of Finding Omega. It's the first time I'm letting the characters have lives of their own. I am the writer, but it is the people in the writing who decide what their story is.

I couldn't have made it this far without help. I have to personally thank my wife, Lydia, for her tremendous contribution to the characters; Louise Scheve for being first on my list of Beta-Readers; Randy Carrasco, for motivational talks; Austin Brooks, for magically transforming my words into images; Eugen Betivu, for bringing those images to life in vibrant color; Mike Vosburg for mentorship and industry insights; and a slew of others, too many to mention by name, who have contributed in various ways to building the bridge that got me here.

Thank you, one and all.

Until next time, then.

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