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I don't really ever use Tumblr for advertising. But so many of the questions that come in about writing and plotting are answered in much more depth in my Masterclass. (Yes, you have to pay. They have also been answered here on Tumblr and over on my blog for free, but you will have to find them.)

It's been one of the most popular Masterclasses since its release in 2019, and these days I get to hear from people who published books and blame me, which is nice.

So consider this a rare commercial, mostly because it may actually make life easier for some of you.

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PSA: Don't use Open Office

I keep seeing people recommending Open Office as an alternative to Word, and uh... look, it is, technically, an open source alternative to Word. And it can do a lot of what Word can, genuinely! But it is also an abandoned project that hasn't been updated in nine years, and there's an active fork of it which is still receiving updates, and that fork is called LibreOffice, and it's fantastic.

Seriously, if you think that your choices are either "grit your teeth and pay Microsoft for a subscription" or "support free software but have a kind of subpar office suite experience", I guarantee that it's because you're working with outdated information, or outdated software. Most people I know who have used the latest version of LibreOffice prefer it to Word. I even know a handful of people who prefer it to Scrivener.

Open Office was the original project, and so it has the most name recognition, and as far as I can tell, that's really the only reason people are still recommending it. It's kind of like if people were saying "hey, the iPhone 14 isn't your only smart phone option!" but then were only ever recommending the Samsung Galaxy S5 as an alternative. LibreOffice is literally a version of the same exact program as Open Office that's just newer and better – please don't get locked into using a worse tool just because the updated version of the program has a different name!

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David Tennant and Michael Sheen at the BAFTA 2020 presenting the award for Best Mini Serie. They did it Staged style 😍

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Random writing thought: the best stories are often the ones that only you could have written — but also the ones that you could only write at this one moment.

I couldn't write All the Birds in the Sky from scratch now if I tried. But the me of 2013 couldn't have written The Prodigal Mother either.

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SFX Magazine Issue 372 - Designing Good Omens ❤ 😊

PRODUCTION DESIGNER MICHAEL RALPH REVEALS HOW THE SHOW’S CENTREPIECE SET, WHICKBER STREET, WAS GIVEN A DEVILISHLY CLEVER UPGRADE FOR THE SECOND SEASON

WORDS: DAVE GOLDER

Invisible Columns And Thin Walls “The new studio is Pyramid Studios in Bathgate – it used to be a furniture warehouse. And unfortunately – or fortunately, because I accept these things as not challenges but gifts – right down the middle of that studio are a series of upright columns. But you’ll never spot them on screen. I had to build them in and integrate them into the walls and still get the streets between them. And it worked.

“There’s all sorts of cheeky design values to those sets. Normally a set like this is double-skin. In other words, you do an interior wall and an exterior wall, with an airspace in between. But really, the only time a viewer notices that there’s that width is at the doors and the windows. So I cheated all that. I ended up with single walls everywhere. So the exterior wall is the interior wall, just painted. All I did was make the sash windows and entrances wider to give it some depth as you walked in.”

GOOD OMENS HAD A CHANGE of location for its second season, but hopefully you didn’t notice. Because Whickber Street in Soho upped sticks from an airfield in Hertfordshire to a furniture warehouse in Bathgate, Edinburgh. It’s the kind of nonsensical geographical shenanigans that could only make sense in the crazy world of film and TV, and production designer Michael Ralph was the man in charge of rebuilding and expanding the show’s vast central set. “I wish we could have built more in season one than we did,” says Ralph, whose previous work has included Primeval and Dickensian. “We built the ground floor of everything and the facades of all the shops. But we didn’t build anything higher than that, because we were out on an airfield in a very, very difficult terrain and weather conditions, so we really couldn’t go much higher. Visual effects created the upper levels.”

But with season two the set has gone to a whole other level… literally. “What happened was that the rest of the street became integrated into the series’s storyline,” explains Ralph. “So we needed a record shop, we needed a coffee shop that actually had an inside, we needed a magic shop, we needed the pub. To introduce those meant we had to change the street with a layout that works from a storylines point of view. In other words, things like someone standing at the counter in the record shop had to be able to eyeball somebody standing at the counter in the coffee shop. They had to be able to eyeball Aziraphale sitting in his office in the window of the bookshop. But the rest of it was a pleasure to do inside, because we could expand it and I could go up two storeys.”

For most of the set, which is around 80 metres long and 60 metres wide, the two storeys only applied to the shop frontages, but in the case of Aziraphale’s bookshop, it allowed Ralph to build the mezzanine level for real this time. According to Ralph it became one of the cast and crews��� favourite places to hang out during down time.

But while AZ Fell & Co has grown in height, it actually has a slightly smaller footprint because of the logistics of adapting it to the new studio.

“Everybody swore to me that no one would notice,” says Ralph wryly. “I walked onto it and instinctively knew there was a difference immediately, and they hated me for that. I have this innate sense about spatial awareness and an eye like a spirit level.

“It’s not a lot, though – I think we’ve lost maybe two and a half feet on the front wall internally. I think that there’s a couple of other smaller areas, but only I’d notice. So I can be really annoying to my guys, but only on those levels. Not on any other. They actually quite like me…”

Populating The Bookshop “The props in the new bookshop set were a flawless reproduction from the set decorator Bronwyn Franklin [who is also Ralph’s wife]. It was really the worst-case scenario after season one. She works off the concept art that I produce, but what she does is she adds so much more to the character of the set. She doesn’t buy anything she doesn’t love, or doesn’t fit the character.

“But the things she put a lot of work into finding for season one, they were pretty much one-offs. When we burnt the set down in the sixth episode, we lost a lot of props, many of which had been spotted and appreciated by the fans. So Bronwyn had to discover a new set decorating technique: forensic buying.

“She found it all – duplicates and replicas. It took ages. In that respect, the Covid delay was very helpful for Bron. There’s 7,000 books in there and there’s not one fake book. That’s mainly because… it’s a weird thing to say, but we wanted it to smell and feel like a bookshop to everybody that was in it, all the time.

“It affects everybody subliminally; it affects everybody’s performance – actors and crew – it raises the bar 15 to 20%. And the detail, you know… We love a lot of detail.”

(look at the description under this, they called him 'Azi' hehehehe :D <3)

Aziraphale’s Inspirational Correspondence “There’s not one single scrap of paper on Aziraphale’s desk that isn’t written specifically for Aziraphale. Every single piece is not just fodder that’s been shoved there, it has a purpose; it’s a letter of thanks, or an enquiry about a book or something.

“Michael Sheen is so submerged in his character he would get lost sitting at his own desk, reading his own correspondence between takes. I believe wholeheartedly that if you put that much care into every single piece of detail, on that desk and in that room, that everybody feels it, including the crew, and then they give that set the same respect it deserves.

“They also lift their game because they believe that they’re doing something of so much care and value. Really, it’s a domino effect of passion and care for what you’re producing.”

Alternative Music “My daughter Mickey is lead graphic designer [two of Ralph’s sons worked on the series too, one as a concept artist, the other in props]. They’re the ones that produced all of that handwritten work on the desk. She’s the one that took on the record shop and made up 80 band names so that we didn’t have to get copyright clearance from real bands. Then she produced records and sleeves that spanned 50, 60 years of their recordings, and all of the graphics on the walls.

“I remember Michael and Neil [Gaiman] getting lost following one band’s history on the wall, looking at their posters and albums desperately trying to find out whether they survived that emo period.”

It’s A Kind Of Magic One of the new shops in Whickber Street for season two was Will Goldstone’s Magic Shop, which is full of as many Easter eggs as off-the-shelf conjuring tricks, including a Matt Smith Doctor Who-style fez and a toy orang-utan that’s a nod to Discworld’s The Librarian. Ralph says that while the series is full of references to Gaiman, Pratchett and Doctor Who, Michael Sheen never complained about a lack of Masters Of Sex in-jokes. “He’d be the last person to make that sort of comment!”

Ralph also reveals that the magic shop counter was another one of his wife’s purchases, bought at a Glasgow reclamation yard.

The Anansi Boys Connection Ralph reveals that Good Omens season two used the state-of-the-art special effects tech Volume (famous for its use in The Mandalorian to create virtual backdrops) for just one sequence, but he will be using it extensively elsewhere on another Gaiman TV series being made for Prime Video.

“We used Volume on the opening sequence to create the creation of the universe. I was designing Anansi Boys in duality with this project, which seems an outrageously suicidal thing to do. But it was fantastic and Anansi Boys was all on Volume. So I designed for Volume on one show and not Volume on the other. The complexities and the psychology of both is different.”

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Hi Mr. Gaiman! I saw your name during the credits for the TV show Lucifer on Netflix. Did you have any direct involvement with the TV show itself, outside of initial character creation?

I played the voice of God in episode 26 of Season 3.

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I made a gif for everyone who needs to send away 2023 or unfrighteningly welcome 2024 (yeah I admit, I might have watched too much ofmd Izzy recently :D <3)

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Don't go calling after ghosts.

I am here - flesh, blood, bone

and devotion.

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Your personal triggers and squicks do not get to determine what kind of art other people make.

People make shit. It's what we do. We make shit to explore, to inspire, to explain, to understand, but also to cope, to process, to educate, to warn, to go, "hey, wouldn't that be fucked up? Wild, right?"

Yes, sure, there are things that should be handled with care if they are used at all. But plenty more things are subjective. Some things are just not going to be to your tastes. So go find something that is to your tastes and stop worrying so much about what other people are doing and trying to dictate universal moral precepts about art based on your personal triggers and squicks.

I find possession stories super fucking triggering if I encounter them without warning, especially if they function as a sexual abuse metaphor. I'm not over here campaigning for every horror artist to stop writing possession stories because they make me feel shaky and dissociated. I just check Does The Dog Die before watching certain genres, and I have my husband or roommate preview anything I think might upset me so they can give me more detail. And if I genuinely don't think I can't handle it, I don't watch it. It's that simple.

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this is such incredible advice for creating any kind of art i have to put it over here to remind myself

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A question I get asked a lot while working at a public library is "how do you deal with homeless people?"

And the answer is, we don't.

The unhoused people who come here seeking refuge 99% of the time understand that they will be kicked out if they misbehave.

The people you have to watch out for are Jessica, who only came because the kid she didn't want had to visit for a homework assignment and she just *needs* to yell at her child for asking to borrow two books or stay an extra five minutes, or Michael, who came in to look at porn on our computers for whatever fucking reason, or Karen who just wanted to come by to throw a fit that the particular book she wanted was checked out and harrass our staff about our collection being too limited.

99% of the time, the people we need to ban are middle to upper-middle class white people while the homeless and mentally ill/disabled people mind their own damn business and are honestly some of the best patrons we have.

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The most important question about s3, is David Tennant going to be set on fire?

If Amazon decide not to commission Season 3, I will personally set David on fire to make up for it.

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Had to make an entire account just to tell you this, and I'm sure you've heard it before, but I figure it never hurts to repeat it--what you've done for me as a queer person, specifically with Good Omens, has rewritten my perspective on every piece of media I've ever consumed. When I watched the finale episode, it was about 2 a.m., and I remember being confused as to why I was so shell-shocked, why I couldn't talk about it for weeks afterward, and still can't without my chest tightening like a middle schooler at her first concert. Sure, it's emotional, but so are a lot of stories, and none of them have impacted me in the same way.

The thing is that to my bones, I had this certainty that it would never happen. I've watched/read queer love stories, ones that ended happily and ones that didn't, ones as side plots and ones that are the plot--but if I ever encountered one with actual uncertainty, with the double-meanings and the overemotional turmoil, I thought, "Oh, that's how it's going to be," and I resigned myself to wait for the writers or the actors to say they're TOTALLY together, we just didn't need to be obvious about it. And Good Omens isn't, in the trailers, wholly about a romance. Of course it is, but there's some plot squished in amongst all the romance, so I thought it would be one of those uncertainty-stories, where I'd know and you'd know they love each other but we didn't need to make a big deal about it. I didn't think they'd say it. I certainly didn't think they'd kiss. I watched Crowley stalk up to Aziraphale and grab him by the coat and I still thought, "Nah. Not gonna happen."

The only writers who had ever represented people like me in relationships like mine with any authenticity, who gave value to the drama and the camp, were romance writers. If it wasn't in the romance section, I was resigned to being a side note or a shoo-in, a love INTEREST instead of a love STORY. And I didn't realize how earth-shattering it would be to be, for lack of any suitable word, Jane-Austened like that. Can't speak for all queer people, but I just wanted to thank you for giving that to me and my partner--who still, for the record, cannot do much more than giggle like madmen at gif-sets and plot how to get our other friends to watch it too.

Thank you. That means a lot.

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Hey Neil, did you and Hozier coordinate the release of good omens season 2 and the release of his new album within weeks of each other to inflict maximum emotional damage on your fans, or was that just, like, a cruel joke of the universe?

Perhaps what you think of as emotional damage is really an opportunity for growth and change. And instead of it being a cruel joke, it was an opportunity to grow twice as much.

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Hello Mr Gaiman just wanted to say I find it marvelous how every time someone asks you if you've heard of a certain person, be it an author or an actor or whatever, and somehow you don't only know of them but you know the person in real life ams call them your friend always gives me a little giggle! and as someone who's very shy and finds it very hard to make and keep friendships, do you have any tips on how to make more friends?

Go to places where the people are. Not the famous ones, but the ones who will be famous thirty years from now. And hang out with them.

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hi neil!

i’m a 17 year old author and im publishing my first childrens book this year (around christmas). do you have any advice on motivation? i’m terribly scared it won’t do well. you’re my biggest literary inspiration and i thought you might be able to help.

i write and illustrate out of pure passion, however i’m hard on myself when it comes to my audience reach.

love, bri

It's fine if books don't do well immediately. And some books will never find their audience. What you do, is not worry about the book you have coming out, and instead you work on the next one.