Yes, that's right. I did say pick ANY crime. A lot of writers believe that when writing crime fiction, one or more of their characters has to be the victim of a homicide, and their villain has to be a mass murderer or a serial killer, at least. This couldn't be further from the truth. There are many different crimes and many variations of each and any and/or all of them can be included in a work of crime fiction. Let's explore this in greater detail.
Homicide: Here's your classic crime. There are so many different ways that this type of crime can be approached for your story or your novel. You could have a crime of passion, you could have a locked-door type of murder mystery, you could have a serial killer traveling across the country or between different countries, etc. There's no limit to the different ways and means that could be used to direct the focus of your tale on a homicide. This type of crime can be incorporated into the story or become the driving force behind it. Either way, the possibilities are endless.
Robbery: Here's one I don't see utilized too often, but that has great potential. When I say robbery, it could be someone robbing the corner store that gets caught up in something bigger or perhaps witnesses something else going on at the time. It could also be the something bigger in the story, like the theft of priceless paintings across enemy lines in a war-torn country, or multi-million dollar jewelry on display that had been discovered with a mummy at a show in a museum. The theft could be the focal point of the story, it could be what draws the main characters together, or a sub-plot in a thriller. So many different things to steal--so many different ways to steal them. Give it a try.
Kidnapping: Now, here's one you could really have fun with. Whatever you do though, please don't kidnap the 'rich kid' for ransom and blah, blah, blah. Get creative with your plan. Kidnap the poorest guy on the block. What do you want for him? Hmmm. How about the key to a safety deposit box in Switzerland? Crazy? Maybe. But it's a different and unique perspective. You don't even have to kidnap a person. Kidnap an animal, a work of art--I don't know. You could actually kidnap anything at all and demand anything at all in exchange. Lots of possibilities here too. Let your imagination run wild.
Espionage: You might think 'no, no, no. I'm writing crime fiction, not spy stories.' Well, perhaps, but you know, espionage is a crime after all. You don't have to have shoe phones and high tech gadgets in your story and spies in black trench coats meeting under streetlights in Austria in February. You can have a fella selling company secrets to a competitor, photographing prototypes and offering them to the highest bidder... Spying doesn't have to just mean stereotypical 'spies'. It is a crime, so come up with something previously unheard of and put it in your crime fiction story. It has the potential to be very interesting and really cool.
Terrorism: Again, this is a crime. It can involve a country, a company, a group of people, or whatever. Terrorism is defined as the act of terrifying, so what you could do with this type of crime scenario is pretty much open to interpretation. It could be sub-plot of your novel or story or the focal point. Either way, there are many doors that could be opened using this crime as a premise. It could involve a group of "terrorists" or a lone psychotic driven to "terrify". It could involve hostage situations or elaborate weaponry--this could make for a really interesting read.
Arson: Let's not forget about this one. Your villain could start fires to cover up another crime (any of the above, actually) or perhaps just be fascinated with fire itself. The crimes could be copycatting to direct suspicion away from the actual perp. The fires could be small and damage property only, or they could potentially bring down a skyscraper (although, bear in mind that has been done over and over in movies). You do need to really think this one through to keep your focus or incorporation of arson original. There's a lot that can be done with this crime as well--both as a focal point or as a sub-plot.
So many crimes; it's difficult to go through all of them. Just remember one thing though. If it's a crime, it's usable in crime fiction. Don't get caught up in the idea that somebody always has to die because that's most definitely not true. While stories of murder and mystery are fascinating to write and read, we shouldn't be afraid to push our imagination outside that comfortable circle and take on something different. Different types of crimes will involve different types of characters and plotlines, and, as crime writers, we would be giving ourselves the opportunity to continue walking on the same path maybe, but wearing a different pair of shoes while we're doing it--so to speak. Stretch your imagination, get involved in a completely different type of research, create characters previously unknown even to us... I'm willing to bet a good time would be had by not only the reader, but the writer as well--and, as a writer of crime fiction, I want to enjoy writing the piece just as much as the reader hopefully enjoys reading it. Isn't that what it's all about?
Thursday, June 25, 2009
Saturday, May 9, 2009
Blocking the Block: What To Do When Your Mind Shuts Down
"They inched their way toward the edge of the cliff--Ellen moving forward, while Richard was stumbling backward, keeping his eyes fixed on the knife in Ellen's hand..."
"Susan could hear the footsteps on the stairs. No one should be in the building at this hour, she thought. What will I do if it's the serial killer? There's no unlocked offices on this floor..."
"Terry could feel the car skipping and jerking. He knew he shouldn't have taken the mountain road, but that route was so much shorter than going through town. There had been rumors of strange sightings up here, but that was all just hype to sell newspapers, wasn't it?"
Wow. Nice and tense yet? When you reach points like this in a story, it's a pivotal moment for sure. No telling which dark path the tale will take you down from that point forward. Fun? You bet. Let's finish it. Wait. What? Who is Ellen again? Why was Susan there to begin with? Terry didn't live in the town on the other side of the mountain, did he? Oh no! Let me go back to the beginning and re-read and maybe I can...
HELP!
Okay, it's happened. You didn't think it ever would since it never had before, but odds are, sooner or later, you'd get 'the block'; two really nasty words to a writer. No matter how hard you try, you cannot create even one more paragraph in your story, not one more sentence, not even one more word. The plotline seems chaotic, the characters appear flat, and suddenly, the whole story begins to sag. This can't be possible. But trust me, it happens to us all. Now, you can do one of two things when it does occur. You can sit and feel sorry for yourself, become delusional, and lament the pitfalls of being a creative genius or you can remain in the real world, face it head-on and accept it as part of the creative process. Only then will you be able to leave the state of 'stun' and find yourself capable of moving foward with your project. How is that accomplished? Let's look at some potentially healing solutions.
1. One possible fix is what some writers I know use, and that is doing word puzzles. It doesn't much matter what form, just anything that involves making you think about words. For instance, crosswords are a popular choice, but again, any type of word puzzle will do. It keeps your mind focused on the words themselves vs. trying to string them together, and sometimes helps to clear the way back to creating a scene.
2. Another remedy, which I personally use, is reading. You don't necessarily have to read something of the same genre as that which you are writing either. If you are writing a horror short, read a light comedic novel. If you are writing a suspense flash, try reading a non-fiction article on global warming. Well, maybe not global warming... My point is, even if you are writing a murder mystery and you take time out to read a murder mystery, so be it; just take the time to sit and read. Don't think about your project while you're doing it--just read and enjoy.
3. One other activity that can end up being quite a lot of fun is what I like to call creating a 'story feed'. You can engage in this with writers you know or with total strangers. There are many online writers' groups, forums, etc., where you could start one. All you do is decide on the rule. For instance, each adds one sentence, then waits for two others to add theirs before you can add another. You could begin with that, then later change it to each adds a paragraph, but still waits for two others to add theirs before you can go back in. I have participated in these, and you would be amazed at what interesting stuff comes out of that. You can select a target genre at the onset, or you can leave that wide open and let it go where it will. Frankly, it's more enjoyable to let the story develop a mind of its own.
4. Another helpful tool is writing challenges, like National Novel Writing Month (NaNoWriNo). Most of us are familiar with that nightmare; I mean, delightful activity. It occurs during the month of November each year and each participant commits to writing a 50,000+ word novel during that month. No one reads your finished product; their computer only counts your words, so you could just put any old thing in there, let it validate your count, and get your winner's certificate But, cheating accomplishes nothing and you are only cheating youself out of benefiting from the experience. The benefit you get from a writing challenge like this is the fact that there is a deadline. Unless you are a professional, and make your living writing for a specific publication, you really don't have any deadlines. For some, without a specific date goal for completion, the mind tends to wander off course and we let it go. No big deal, but then we get frustrated and wonder why we have all those unfinished stories laying around. If you're one of those who functions better under time constraints, try one of the writing challenges to increase your self discipline, or simply 'pretend' one of the well-known zines can't go to press until your story arrives in their hands. Whatever floats your creative boat...
5. Lastly, and this I strongly recommend against, although some of my friends swear by it, just stay away from the writing/reading thing. Don't even write any letters to friends or relatives. Don't even attempt a shopping list. Reading and writing, in particular, are off limits. You set a deadline on this abstinence, mind you; it doesn't go on indefinitely, but you abide by it. When the deadline expires, you sit down and write. Write a word, write a line, write a 50,000 word piece, but write. Erase it all the next day if it's garbage, but write. If writing 'under the gun' (so to speak) works for you, then, by all means, give it a try. I've never tried this because I'm not sure I could scare myself enough not to cheat, but that's just me.
Whatever method works for you when the block comes, go at it 200%. Don't let this naturally occurring writers' curse bring your work to a permanent halt. The most important thing is to keep writing, keep creating, keep crafting. Don't leave Ellen, Richard, Susan and Terry hanging. They need you. And someday, your mind might even thank you for it too.
"Susan could hear the footsteps on the stairs. No one should be in the building at this hour, she thought. What will I do if it's the serial killer? There's no unlocked offices on this floor..."
"Terry could feel the car skipping and jerking. He knew he shouldn't have taken the mountain road, but that route was so much shorter than going through town. There had been rumors of strange sightings up here, but that was all just hype to sell newspapers, wasn't it?"
Wow. Nice and tense yet? When you reach points like this in a story, it's a pivotal moment for sure. No telling which dark path the tale will take you down from that point forward. Fun? You bet. Let's finish it. Wait. What? Who is Ellen again? Why was Susan there to begin with? Terry didn't live in the town on the other side of the mountain, did he? Oh no! Let me go back to the beginning and re-read and maybe I can...
HELP!
Okay, it's happened. You didn't think it ever would since it never had before, but odds are, sooner or later, you'd get 'the block'; two really nasty words to a writer. No matter how hard you try, you cannot create even one more paragraph in your story, not one more sentence, not even one more word. The plotline seems chaotic, the characters appear flat, and suddenly, the whole story begins to sag. This can't be possible. But trust me, it happens to us all. Now, you can do one of two things when it does occur. You can sit and feel sorry for yourself, become delusional, and lament the pitfalls of being a creative genius or you can remain in the real world, face it head-on and accept it as part of the creative process. Only then will you be able to leave the state of 'stun' and find yourself capable of moving foward with your project. How is that accomplished? Let's look at some potentially healing solutions.
1. One possible fix is what some writers I know use, and that is doing word puzzles. It doesn't much matter what form, just anything that involves making you think about words. For instance, crosswords are a popular choice, but again, any type of word puzzle will do. It keeps your mind focused on the words themselves vs. trying to string them together, and sometimes helps to clear the way back to creating a scene.
2. Another remedy, which I personally use, is reading. You don't necessarily have to read something of the same genre as that which you are writing either. If you are writing a horror short, read a light comedic novel. If you are writing a suspense flash, try reading a non-fiction article on global warming. Well, maybe not global warming... My point is, even if you are writing a murder mystery and you take time out to read a murder mystery, so be it; just take the time to sit and read. Don't think about your project while you're doing it--just read and enjoy.
3. One other activity that can end up being quite a lot of fun is what I like to call creating a 'story feed'. You can engage in this with writers you know or with total strangers. There are many online writers' groups, forums, etc., where you could start one. All you do is decide on the rule. For instance, each adds one sentence, then waits for two others to add theirs before you can add another. You could begin with that, then later change it to each adds a paragraph, but still waits for two others to add theirs before you can go back in. I have participated in these, and you would be amazed at what interesting stuff comes out of that. You can select a target genre at the onset, or you can leave that wide open and let it go where it will. Frankly, it's more enjoyable to let the story develop a mind of its own.
4. Another helpful tool is writing challenges, like National Novel Writing Month (NaNoWriNo). Most of us are familiar with that nightmare; I mean, delightful activity. It occurs during the month of November each year and each participant commits to writing a 50,000+ word novel during that month. No one reads your finished product; their computer only counts your words, so you could just put any old thing in there, let it validate your count, and get your winner's certificate But, cheating accomplishes nothing and you are only cheating youself out of benefiting from the experience. The benefit you get from a writing challenge like this is the fact that there is a deadline. Unless you are a professional, and make your living writing for a specific publication, you really don't have any deadlines. For some, without a specific date goal for completion, the mind tends to wander off course and we let it go. No big deal, but then we get frustrated and wonder why we have all those unfinished stories laying around. If you're one of those who functions better under time constraints, try one of the writing challenges to increase your self discipline, or simply 'pretend' one of the well-known zines can't go to press until your story arrives in their hands. Whatever floats your creative boat...
5. Lastly, and this I strongly recommend against, although some of my friends swear by it, just stay away from the writing/reading thing. Don't even write any letters to friends or relatives. Don't even attempt a shopping list. Reading and writing, in particular, are off limits. You set a deadline on this abstinence, mind you; it doesn't go on indefinitely, but you abide by it. When the deadline expires, you sit down and write. Write a word, write a line, write a 50,000 word piece, but write. Erase it all the next day if it's garbage, but write. If writing 'under the gun' (so to speak) works for you, then, by all means, give it a try. I've never tried this because I'm not sure I could scare myself enough not to cheat, but that's just me.
Whatever method works for you when the block comes, go at it 200%. Don't let this naturally occurring writers' curse bring your work to a permanent halt. The most important thing is to keep writing, keep creating, keep crafting. Don't leave Ellen, Richard, Susan and Terry hanging. They need you. And someday, your mind might even thank you for it too.
Saturday, April 4, 2009
Who are you? What are you? Who moved the rock?
Now, creatures of the world of literature, please take no offense. They're only words. Just my way of presenting the topic of creating creature characters in horror tales. Before we explore those possibilities, let's first discuss the concept of horror itself.
Horror is defined as "a painful, strong emotion caused by extreme fear, dread, repugnance, etc.". Sounds pretty ominous, doesn't it? While I agree, for the most part, with that definition, I don't believe the concept should be restricted to refer only to ugliness. We have all read horror stories that terrified us and kept us awake night after night. Then again, we have all also read stories and/or seen films that were categorized as horror, but instead of giving us nightmares, we were blessed with fits of laughter. At times, it was simply a failure of the particular media to scare us. Not to blame the writer or producer, but what scares one person silly may not even phase another. Some subjects may cause a universal type of fear, while others may affect only a few.
Then, there are those horror classics, too numerous to mention, that were written to bring a smile to your face. They are deliberately humorous and, more often than not, cross the border into ridiculous. So, when you begin writing a horror story, and you start lining up your cast of characters, consider your desired outcome. Do you want to scare the socks off your readers or infect them with a case of the giggles? That's what is going to set the stage for your creature lineup. Now, let's talk creatures.
Animals: There are all sorts of animals that can be used in horror stories. It is not really necessary to create imaginary ones, unless your mind goes blank or you can come up with one that's truly unique. Pick an animal, like a dog for instance, and have an evil spirit possess it. Choose any animal and have an evil spirit possess it. Your story doesn't have to be a variation of the same old, same old if you use this premise. Just don't stereotype your possessed animal and create interesting and unique human characters to compliment it. Your story can end up containing elements no one's ever seen before and it could become a classic in its own right. It all depends on you and where you permit your imagination to go.
Humans with animal characteristics: Now, here is where you need to be extra careful to avoid stereotyping. Bear in mind too that all creatures of this type don't have to be grotesque to be frightening. In fact, sometimes, the more hideous their appearance, the more ridiculous they seem. Now, if it is ridiculous you're after, well, there you go. But, if it's generating paralyzing fear you're after, let's go a different way.
Let's take the vampire. We are all familiar with this killer of the night, with his razor-sharp fangs, dead eyes, ravaged skin, long black cloak, coffin residence... STOP! Scary? Maybe a century ago, but not these days. Maybe it's just me, but don't you think his victims just might be able to see him coming? Of course, he could always change himself into a bat and fly through an open window... Do me a personal favor and PLEASE DON'T USE THAT unless you're looking for laughs, because you'll get plenty with that premise.
If you want to terrify your readers with a vampire however, take a different approach. Sure, he will still need the fangs, but make him deliciously handsome and charming. His dead eyes could become hypnotic, and his skin pale and smooth as the silk shirts he wears. Make him strong and immune to destruction from sunlight. Maybe he could feel a bit run down, but not burst into flames. No black cloaks and coffins either. Make him wealthy and fashionable and prefer a penthouse view. Make him a sexy and seductive murderer--an uncaring, remorseless, indiscriminate killer. Make your vampire someone you could be alone in an elevator with and never suspect what he really is.
The familiar; that's what makes us feel comfortable and safe. It is also what can cause us to let our guard down, and that's how the victims in your story should react. Your readers won't feel all warm and fuzzy when they finish your story, and they'll be putting lights on all over the house, checking the peephole in the front door, and wondering what the creepy new neighbor is planting in his backyard garden at 1:00 am every other Tuesday.
BTW: If you should find out any details about your neighbor, I don't need to know.
Horror is defined as "a painful, strong emotion caused by extreme fear, dread, repugnance, etc.". Sounds pretty ominous, doesn't it? While I agree, for the most part, with that definition, I don't believe the concept should be restricted to refer only to ugliness. We have all read horror stories that terrified us and kept us awake night after night. Then again, we have all also read stories and/or seen films that were categorized as horror, but instead of giving us nightmares, we were blessed with fits of laughter. At times, it was simply a failure of the particular media to scare us. Not to blame the writer or producer, but what scares one person silly may not even phase another. Some subjects may cause a universal type of fear, while others may affect only a few.
Then, there are those horror classics, too numerous to mention, that were written to bring a smile to your face. They are deliberately humorous and, more often than not, cross the border into ridiculous. So, when you begin writing a horror story, and you start lining up your cast of characters, consider your desired outcome. Do you want to scare the socks off your readers or infect them with a case of the giggles? That's what is going to set the stage for your creature lineup. Now, let's talk creatures.
Animals: There are all sorts of animals that can be used in horror stories. It is not really necessary to create imaginary ones, unless your mind goes blank or you can come up with one that's truly unique. Pick an animal, like a dog for instance, and have an evil spirit possess it. Choose any animal and have an evil spirit possess it. Your story doesn't have to be a variation of the same old, same old if you use this premise. Just don't stereotype your possessed animal and create interesting and unique human characters to compliment it. Your story can end up containing elements no one's ever seen before and it could become a classic in its own right. It all depends on you and where you permit your imagination to go.
Humans with animal characteristics: Now, here is where you need to be extra careful to avoid stereotyping. Bear in mind too that all creatures of this type don't have to be grotesque to be frightening. In fact, sometimes, the more hideous their appearance, the more ridiculous they seem. Now, if it is ridiculous you're after, well, there you go. But, if it's generating paralyzing fear you're after, let's go a different way.
Let's take the vampire. We are all familiar with this killer of the night, with his razor-sharp fangs, dead eyes, ravaged skin, long black cloak, coffin residence... STOP! Scary? Maybe a century ago, but not these days. Maybe it's just me, but don't you think his victims just might be able to see him coming? Of course, he could always change himself into a bat and fly through an open window... Do me a personal favor and PLEASE DON'T USE THAT unless you're looking for laughs, because you'll get plenty with that premise.
If you want to terrify your readers with a vampire however, take a different approach. Sure, he will still need the fangs, but make him deliciously handsome and charming. His dead eyes could become hypnotic, and his skin pale and smooth as the silk shirts he wears. Make him strong and immune to destruction from sunlight. Maybe he could feel a bit run down, but not burst into flames. No black cloaks and coffins either. Make him wealthy and fashionable and prefer a penthouse view. Make him a sexy and seductive murderer--an uncaring, remorseless, indiscriminate killer. Make your vampire someone you could be alone in an elevator with and never suspect what he really is.
The familiar; that's what makes us feel comfortable and safe. It is also what can cause us to let our guard down, and that's how the victims in your story should react. Your readers won't feel all warm and fuzzy when they finish your story, and they'll be putting lights on all over the house, checking the peephole in the front door, and wondering what the creepy new neighbor is planting in his backyard garden at 1:00 am every other Tuesday.
BTW: If you should find out any details about your neighbor, I don't need to know.
Wednesday, February 25, 2009
What Really Scares You?
According to the dictionary, horror is defined as "a painful, strong emotion caused by extreme fear, dread, repugnance, etc." Now, fear is defined as "an agitated feeling aroused by awareness of actual or threatening danger, trouble, etc." These two states of mind are intertwined and travel hand in hand, both in life and literature. The important questions that those of us who write horror need to ask ourselves are: How can I instill those feelings in my readers? What setting should I use? What type of character(s) should I focus on? What events should I include? All necessary points to consider. Let's explore each one.
How can we instill a sense of horror and fear in our readers?
It has been said by those wiser than I to 'write what you know'. We all know that statement can be taken literally, or not, depending on what you're writing. When discussing horror, however, what we need to do is 'write what the reader knows'. While it is true that not much surpasses fear of the unknown, it is often the things or people in our lives that we are most comfortable or feel safest with, that we can come to fear the most, depending on the circumstances. If you want to build a strong sense of impending danger in your reader's mind, begin with something familiar, something cozy, and lull them into feeling all warm and snuggly. Then? Take it away - take it all away. Leave them suspended in mid-air - alone and confused - and trust me, they'll be afraid. They will suddenly see an individual or a situation they have encountered countless times and breezed through as terrible and terrifying. Your plotline will accomplish this, so plan it out well beforehand. Make sure your sequencing is right and the flow is smooth. Make sure you don't come at them like a speeding train. After all, you don't want them jumping out of the way, do you...
What setting should I use?
Here again, I would stick with what your reader knows. Dark, dusty, seemingly haunted mansions at the top of a hill are creepy, for sure. But, how many of us have ever visited or lived in one? A city you've created has potential as a setting for a dark tale, but if you're going to use a real one, make sure you're accurate with street names, etc. For all you know, one or more of your readers was born there, and they'll know right away that the intersection of Third and Foster is in the middle of Lake 'whatever', so watch out for that. The city or town, or even the country can be of secondary importance though, if you use a setting like a deserted building, a home, an apartment complex, an alleyway..., you get the idea. It is possible to keep it simple and still give your reader second thoughts about taking that overlooked trash bag to the end of the driveway after dark, or going downstairs to try to find that flashlight after the power cuts off. The familiar and the comfortable - turn them into the remote and the deadly.
What character(s) should I focus on?
You can go different ways with this. Some writers include 'people' as horror characters, while others prefer the inclusion of 'creatures'. What you use character-wise is a matter of personal preference. Writing about vampires and/or zombies can immerse your reader in that 'other' world while they're reading your story, and that's great, because that's your goal. But, if you want the fear to stay with them long after they've put your book down, one suggestion would be to stay in the 'reader's' world.
Let me say though, that there's not a thing wrong with killer worms and giant squids, and I personally love reading stories like that. I especially enjoy movies that contain 40 foot man-eating ants and headless corpses chasing campers through dark woods. But, in all honesty, I have a greater fear of knowing I'm being stalked by someone I've never met, or coming home and finding the back door open when I know I closed it before I left. This having occurred the day after I read in the newspaper that several convicts escaped from the local jail and were armed and dangerous. Reality. Things that could 'really' happen. Scary? Oh yeah!
What events should I include?
This will depend on your plotline. Are you dealing with a stalker? Does he leave notes or little tokens for the victim? Are there anonymous phone calls? Knocks on the door in the middle of the night? These can be focal points or peripheral occurrences, depending on where your story is going. Being held captive in an unfamiliar location by person or persons unknown worked superbly well in a story I'm sure we're all familiar with because while there is a lot of the unknown, there is also the 'could happen' factor. Any occurrence that is unexpected and has an unknown or known yet terrifying potential outcome would be very workable. It all depends on what you want to do to whoever you want to do it to. However again, 'do it' to your reader. Make sure whatever events you include remain in their subconscious as a 'real' possibility.
People love to read scary stories. It's exciting, it's exhilarating really, especially if what they're reading about could actually happen at any time. So, have fun, and get your scare on...
How can we instill a sense of horror and fear in our readers?
It has been said by those wiser than I to 'write what you know'. We all know that statement can be taken literally, or not, depending on what you're writing. When discussing horror, however, what we need to do is 'write what the reader knows'. While it is true that not much surpasses fear of the unknown, it is often the things or people in our lives that we are most comfortable or feel safest with, that we can come to fear the most, depending on the circumstances. If you want to build a strong sense of impending danger in your reader's mind, begin with something familiar, something cozy, and lull them into feeling all warm and snuggly. Then? Take it away - take it all away. Leave them suspended in mid-air - alone and confused - and trust me, they'll be afraid. They will suddenly see an individual or a situation they have encountered countless times and breezed through as terrible and terrifying. Your plotline will accomplish this, so plan it out well beforehand. Make sure your sequencing is right and the flow is smooth. Make sure you don't come at them like a speeding train. After all, you don't want them jumping out of the way, do you...
What setting should I use?
Here again, I would stick with what your reader knows. Dark, dusty, seemingly haunted mansions at the top of a hill are creepy, for sure. But, how many of us have ever visited or lived in one? A city you've created has potential as a setting for a dark tale, but if you're going to use a real one, make sure you're accurate with street names, etc. For all you know, one or more of your readers was born there, and they'll know right away that the intersection of Third and Foster is in the middle of Lake 'whatever', so watch out for that. The city or town, or even the country can be of secondary importance though, if you use a setting like a deserted building, a home, an apartment complex, an alleyway..., you get the idea. It is possible to keep it simple and still give your reader second thoughts about taking that overlooked trash bag to the end of the driveway after dark, or going downstairs to try to find that flashlight after the power cuts off. The familiar and the comfortable - turn them into the remote and the deadly.
What character(s) should I focus on?
You can go different ways with this. Some writers include 'people' as horror characters, while others prefer the inclusion of 'creatures'. What you use character-wise is a matter of personal preference. Writing about vampires and/or zombies can immerse your reader in that 'other' world while they're reading your story, and that's great, because that's your goal. But, if you want the fear to stay with them long after they've put your book down, one suggestion would be to stay in the 'reader's' world.
Let me say though, that there's not a thing wrong with killer worms and giant squids, and I personally love reading stories like that. I especially enjoy movies that contain 40 foot man-eating ants and headless corpses chasing campers through dark woods. But, in all honesty, I have a greater fear of knowing I'm being stalked by someone I've never met, or coming home and finding the back door open when I know I closed it before I left. This having occurred the day after I read in the newspaper that several convicts escaped from the local jail and were armed and dangerous. Reality. Things that could 'really' happen. Scary? Oh yeah!
What events should I include?
This will depend on your plotline. Are you dealing with a stalker? Does he leave notes or little tokens for the victim? Are there anonymous phone calls? Knocks on the door in the middle of the night? These can be focal points or peripheral occurrences, depending on where your story is going. Being held captive in an unfamiliar location by person or persons unknown worked superbly well in a story I'm sure we're all familiar with because while there is a lot of the unknown, there is also the 'could happen' factor. Any occurrence that is unexpected and has an unknown or known yet terrifying potential outcome would be very workable. It all depends on what you want to do to whoever you want to do it to. However again, 'do it' to your reader. Make sure whatever events you include remain in their subconscious as a 'real' possibility.
People love to read scary stories. It's exciting, it's exhilarating really, especially if what they're reading about could actually happen at any time. So, have fun, and get your scare on...
Tuesday, February 17, 2009
Take Ten Paces Forward, Turn, and...huh?
Alright, crime writers, what might your choice of weapons be?
Do you prefer a subtle and painless type of kill, like sedatives or some other type of drug, administered unbeknownst to the victim? Or,
Do you prefer the up close and personal type of kill, like using a garrote, a knife, or even your own two hands? Or,
Do you prefer a detached, silent type of kill, like a handgun with a silencer? Or,
Do you prefer a devasting, attention-grabbing kill, like using a bomb or arson, sometimes taking others out along with your intended?
This is a question that we, as those who write crime fiction, must answer time and again. As diabolical as it sounds, this is an issue we must face and resolve at the beginning of every piece of crime fiction we create, whether it be a short story or a novel. When preparing to begin to tell our tale, we must first examine our characters and our general plotline. Those who use the outline process would do the same. We carefully plan out who will be the 'bad' guy, or guys if applicable, and who will be the victim, or victims depending on the story. Then the work really starts.
First, you would need to explore the relationship between your killer and your victim, or even if there is one.
If you are creating a serial killer type of character, then the victims would be 'selected' ones. History tells us generally speaking, serial killers kill all their victims the same way. Now, if we've learned anything from history, nothing is ever absolute. Once you decide how your serial killer disposes of his victims, you might want to re-think being too predictable. Your weapon could still be consistent, but perhaps vary the circumstances a bit. Just something to consider. When you choose your weapon though, with a serial killer scenario, you probably want to stay away from grandiose gestures, like bombs or arson. Up close and personal types of kills would probably be the way to go.
If you are creating a spree killer type of character, again, history tells us those types of killers stay on the move, so you might want to consider a less intimate method. Guns, silenced or not, might be a good bet, possibly even a knife. They come in, they strike, they're gone, and on the lookout for another random kill.
When your killer, however, has some type of relationship with their victim - a real one, as in friends, acquaintences, or spouses - you may prefer a more hands-on method, like strangulation. One thing your killer might consider however, is strangulation is always homicide, while a drug overdose could be misinterpreted by the police as an accident or suicide. This would be a great weapon to use in the case of a mystery, where you don't want your readers to even suspect a crime has been committed until further on.
Then, you have those who commit their kill and then set fires to mislead the police and try to destroy evidence. This can also be a good plotline and add to the air of mystery. Was the fire the result of faulty wiring or was it arson? Great sub-plot potential there. If your crimes travel the road of high-end terrorism or espionage, then bombs might be your pick.
There's a lot to consider when you sit down to write a crime story. Great - you know who will do the killing and you know who will be killed. But how? While your weapon may or may not be a focal point of your story, it is still an important one. Look at all your options and be creative. Choosing the right weapon could add a whole new layer of suspense to your storyline.
One last thing: Remember always, when it comes to making your choice, as is the case for any other aspect of your story, research, research, and research. Don't just say 'so and so dropped eight sleeping pills in her bourbon'. Maybe eight sleeping pills wouldn't kill anyone; maybe they'd just cause an upset stomach after a twelve-hour nap. Don't ever assume this, that and the other will be fatal and undetectable. Your readers may not be forensic pathologists or chemists, but they will be able to see through a flawed murder plot, and then you've lost them. And we never want that to happen, now, do we...
Do you prefer a subtle and painless type of kill, like sedatives or some other type of drug, administered unbeknownst to the victim? Or,
Do you prefer the up close and personal type of kill, like using a garrote, a knife, or even your own two hands? Or,
Do you prefer a detached, silent type of kill, like a handgun with a silencer? Or,
Do you prefer a devasting, attention-grabbing kill, like using a bomb or arson, sometimes taking others out along with your intended?
This is a question that we, as those who write crime fiction, must answer time and again. As diabolical as it sounds, this is an issue we must face and resolve at the beginning of every piece of crime fiction we create, whether it be a short story or a novel. When preparing to begin to tell our tale, we must first examine our characters and our general plotline. Those who use the outline process would do the same. We carefully plan out who will be the 'bad' guy, or guys if applicable, and who will be the victim, or victims depending on the story. Then the work really starts.
First, you would need to explore the relationship between your killer and your victim, or even if there is one.
If you are creating a serial killer type of character, then the victims would be 'selected' ones. History tells us generally speaking, serial killers kill all their victims the same way. Now, if we've learned anything from history, nothing is ever absolute. Once you decide how your serial killer disposes of his victims, you might want to re-think being too predictable. Your weapon could still be consistent, but perhaps vary the circumstances a bit. Just something to consider. When you choose your weapon though, with a serial killer scenario, you probably want to stay away from grandiose gestures, like bombs or arson. Up close and personal types of kills would probably be the way to go.
If you are creating a spree killer type of character, again, history tells us those types of killers stay on the move, so you might want to consider a less intimate method. Guns, silenced or not, might be a good bet, possibly even a knife. They come in, they strike, they're gone, and on the lookout for another random kill.
When your killer, however, has some type of relationship with their victim - a real one, as in friends, acquaintences, or spouses - you may prefer a more hands-on method, like strangulation. One thing your killer might consider however, is strangulation is always homicide, while a drug overdose could be misinterpreted by the police as an accident or suicide. This would be a great weapon to use in the case of a mystery, where you don't want your readers to even suspect a crime has been committed until further on.
Then, you have those who commit their kill and then set fires to mislead the police and try to destroy evidence. This can also be a good plotline and add to the air of mystery. Was the fire the result of faulty wiring or was it arson? Great sub-plot potential there. If your crimes travel the road of high-end terrorism or espionage, then bombs might be your pick.
There's a lot to consider when you sit down to write a crime story. Great - you know who will do the killing and you know who will be killed. But how? While your weapon may or may not be a focal point of your story, it is still an important one. Look at all your options and be creative. Choosing the right weapon could add a whole new layer of suspense to your storyline.
One last thing: Remember always, when it comes to making your choice, as is the case for any other aspect of your story, research, research, and research. Don't just say 'so and so dropped eight sleeping pills in her bourbon'. Maybe eight sleeping pills wouldn't kill anyone; maybe they'd just cause an upset stomach after a twelve-hour nap. Don't ever assume this, that and the other will be fatal and undetectable. Your readers may not be forensic pathologists or chemists, but they will be able to see through a flawed murder plot, and then you've lost them. And we never want that to happen, now, do we...
Wednesday, February 11, 2009
And you are...? And you are with...?
Characters, characters, and more characters. Who are these people? Do we even care who all these people are? Oh, you betcha! Character development is a critical component of any story, regardless of form, length, or genre. While our discussion may touch on horror or crime fiction characters, this is an element of writing we must all be very aware of.
'Susie walks slowly and silently down the dark hallway, fearing the moment she will reach the doorway at the end.' Really? Why? And, who is this 'Susie'? Why is she fearful of walking down a dark hallway? Is it because she thinks there might be a hole in the floor that might cause her to sprain an ankle? Or, is she afraid because as a child, her nanny used to drag her down this very hallway and chain her in one of the rooms? Does it matter which?
'Mary held the gun steadily in both hands, and looked into John's eyes for the last time. She smiled a soft smile, then pulled the trigger and he fell.'
What was Mary and John's relationship? Did he threaten to kill her and she was acting in self defense? Did Mary have a break with reality and think John was someone out of her past who used to abuse her? Or, is she a female serial killer who decided John would be her next victim? Do you need to know which?
These two examples are illustrations of a story's possible events. Now, just reading them as is, with no other information, they don't really hit you very hard as a reader, do they? Gee, somebody's scared. Oh my, somebody shot somebody. You move on and possibly skip the next few pages so you can find another event that might be a bit more interesting. Why? Characters. Or actually, the lack thereof.
When we write a character, be they major or minor, we can't just 'write' them. We need to 'create' them. We need to make them living, breathing, feeling beings that come right up off the paper and assault the reader's senses. The way we do this is to give them a life. We, as human beings, have pasts, we have memories, we have events that may have altered or helped to shape our lives, we have friends, we have likes, dislikes, etc. All these things are part of that which makes us what and who we are. Well, we need to also provide our characters with pasts, memories, events that may have altered or helped to shape their 'lives', friends, likes, dislikes, etc. All the things we have and are we must create for them.
Writers draw from different sources when they create characters. Some draw from their own lives, others draw from observations they make, still others use a combination of both. Whatever your 'inspiration', if you will, for the development of your characters, they must become three-dimensional; they must become 'real'. Otherwise, the things that happen to them, around them, or because of them, are meaningless. Nothing loses a reader's interest quicker than a story with characters you have no interest in; the reason being, you don't know them and frankly, can't know them either because the writer wouldn't let you.
We need to be able to open our hearts, our minds, and yes, our very lives, to these beings we create. It is necessary for us to infuse them with anger and hope, fear and happiness, sorrow and loyalty. 'Humanize' them. Make it so that the reader wants to laugh with them, cry with them, spy on them or tell on them. Make it so that the reader wants to bond in some way with your characters.
You can put explosions in there, gunfights, winged dragons spitting fire, and believe that's enough to carry the story, but unfortunately, without the core of 'real' people in there, the temptation is going to be strong for the reader to 'skim'. As writers, all our words are important. If they weren't relevant,we wouldn't have put them in there to begin with, right?
We want our readers to climb inside our stories from word one and stay there until we're ready to release them. One way to accomplish that is through the strength of each and every one of our characters. Don't be afraid to let your readers get to know them - and you.
'Susie walks slowly and silently down the dark hallway, fearing the moment she will reach the doorway at the end.' Really? Why? And, who is this 'Susie'? Why is she fearful of walking down a dark hallway? Is it because she thinks there might be a hole in the floor that might cause her to sprain an ankle? Or, is she afraid because as a child, her nanny used to drag her down this very hallway and chain her in one of the rooms? Does it matter which?
'Mary held the gun steadily in both hands, and looked into John's eyes for the last time. She smiled a soft smile, then pulled the trigger and he fell.'
What was Mary and John's relationship? Did he threaten to kill her and she was acting in self defense? Did Mary have a break with reality and think John was someone out of her past who used to abuse her? Or, is she a female serial killer who decided John would be her next victim? Do you need to know which?
These two examples are illustrations of a story's possible events. Now, just reading them as is, with no other information, they don't really hit you very hard as a reader, do they? Gee, somebody's scared. Oh my, somebody shot somebody. You move on and possibly skip the next few pages so you can find another event that might be a bit more interesting. Why? Characters. Or actually, the lack thereof.
When we write a character, be they major or minor, we can't just 'write' them. We need to 'create' them. We need to make them living, breathing, feeling beings that come right up off the paper and assault the reader's senses. The way we do this is to give them a life. We, as human beings, have pasts, we have memories, we have events that may have altered or helped to shape our lives, we have friends, we have likes, dislikes, etc. All these things are part of that which makes us what and who we are. Well, we need to also provide our characters with pasts, memories, events that may have altered or helped to shape their 'lives', friends, likes, dislikes, etc. All the things we have and are we must create for them.
Writers draw from different sources when they create characters. Some draw from their own lives, others draw from observations they make, still others use a combination of both. Whatever your 'inspiration', if you will, for the development of your characters, they must become three-dimensional; they must become 'real'. Otherwise, the things that happen to them, around them, or because of them, are meaningless. Nothing loses a reader's interest quicker than a story with characters you have no interest in; the reason being, you don't know them and frankly, can't know them either because the writer wouldn't let you.
We need to be able to open our hearts, our minds, and yes, our very lives, to these beings we create. It is necessary for us to infuse them with anger and hope, fear and happiness, sorrow and loyalty. 'Humanize' them. Make it so that the reader wants to laugh with them, cry with them, spy on them or tell on them. Make it so that the reader wants to bond in some way with your characters.
You can put explosions in there, gunfights, winged dragons spitting fire, and believe that's enough to carry the story, but unfortunately, without the core of 'real' people in there, the temptation is going to be strong for the reader to 'skim'. As writers, all our words are important. If they weren't relevant,we wouldn't have put them in there to begin with, right?
We want our readers to climb inside our stories from word one and stay there until we're ready to release them. One way to accomplish that is through the strength of each and every one of our characters. Don't be afraid to let your readers get to know them - and you.
Tuesday, February 3, 2009
Outline or No Outline: That is the Question!
Okay, you're all ready to tell your story. You know your characters' lives inside out; past, present, and future. All your locations have been thoroughly researched and you know them like the back of your hand. All of your events have been planned with split second precision. You sit down and place your hands on the keyboard. Your gaze moves slowly up to the blank screen. You take a breath, and place your fingers on the keys. The...? No, erase. He...? No, erase. She...? Or...? You've got a big problem.
This kind of problem doesn't just occur when you are beginning a writing project. It can also occur at any point, or even at the end. That's when you have to make a decision. You need to decide if you want to draw up an outline first and then begin to write your story, or just wing it. Believe it or not, there are advantages to both.
Personally, when I'm writing a short story, it is easier for me to just write 'off the cuff', so to speak. I get an idea in my head for the story and I just sit down and write it. When I'm finished, there may or may not be a lot of editing involved, but the story is pretty much done. There are points where I may run into a snag, but all in all, with a little time, I can work my way through. Now, when it comes to a novel length project, that's a whole other ballgame.
Novel length works can become quite complex, depending on genre. Character interaction is extensive, and adding numerous sub-plots is quite common. Even in this case, however, there are conflicting opinions.
I have spoken with writers who wouldn't go anywhere near their keyboard without a completed outline in hand. Then again, there are others who told me that they prefer to write their novel in novel form vs. writing their novel in outline form first, then putting in a few filler words to complete it. There was a real bitterness there, and I sensed a great animosity toward the whole outlining process, so I decided to try to find out why.
I had never used the process myself, so I was unfamiliar with an outline style. I put the word out in a couple of writers' communities that I belong to that I was looking for outline styles, and you wouldn't believe the varying responses that I received. Some abhor the idea of putting their plot down in III.C.1.a. form; but others? Wow. I was astounded by how much time and effort went into their 'pre-writing' process.
Their formats included various sections like 'brief intro', which should run approximately 500 words, then 'major crisis point', also to be approximately 500 words, add various 'minor crisis points', these to be approximately 250 words. Then, you have your character descriptions, and these should include every character in the story, however minor their role. These descriptions should include the character's background, role in the story, who they interact with and why, and..., etc., etc. These descriptions should also run about 500 words each. There were other categories, which included chapter by chapter breakdowns, and so on, and before you know it, you've got approximately 50 to 60 pages worth of outline. Now, they sit down to write.
Others responded with a much looser format. A paragraph describing how the story begins, the major event or crisis point, and a basic description of how the story ends. There were character descriptions, but they didn't have to be encyclopedia length. Once they drafted a rough overall sketch of their story, they were on their way.
Then, you have those who feel they may as well have their hands tied behind their backs as draft an outline. They feel as if they will be locked in to what the outline says, as if once it's written, it takes on a life of its own. There can't be any flexibility, or change in plot line or characters, and if they end up not liking the story anymore, there's no option but to finish it per the outline and then move on to another. Strange, but true.
So. What do you do? Well, let me tell you how I approached this dilemma. I still don't attempt an outline with my short stories because so far, I haven't found breaking them down into that much detail necessary as of yet. But with a novel I'm writing, the time had come for a big decision.
Now, I have already completed one that I could probably categorize as a 'novella' length project. Writing it was a lengthy process, but I wrote it from start to finish with just a few notes. But my second? That's a whole different thing. Before I began, I knew how I wanted the story to begin, had the middle pretty well worked out in my head, and I certainly know how I want it to end. But to get there? Whoa. So many characters, all necessary. So many interactions, all necessary. So many sub-plots, all necessary. All necessary components to pull this thing together. I wrote the intro and five hefty chapters and... Yeah. And, what? I got so overwhelmed with the complexity of it all, I thought to myself, try an outline.
I compromised though, and combined the complicated type with the simple type and my format runs somewhere in between. Not so involved that I am actually writing the story in outline form, but then again, no so loose that I am totally lost every time I finish writing a paragraph. And what was the result? I'm back on track with it and on my way to completion. At times, there are changes here and there, but that's okay. My outline forgives me.
So you see, the outlining process is like anything else. Too much of anything can be a bad thing; everything in moderation. If you decide not to outline, relax, create, and go with the flow. If you decide to outline, relax, create, and go with the flow. The process of telling your tale should not be a stressful one, so whatever road you take to get from start to finish, try to ride right down the middle. Makes for a really pleasureable trip.
This kind of problem doesn't just occur when you are beginning a writing project. It can also occur at any point, or even at the end. That's when you have to make a decision. You need to decide if you want to draw up an outline first and then begin to write your story, or just wing it. Believe it or not, there are advantages to both.
Personally, when I'm writing a short story, it is easier for me to just write 'off the cuff', so to speak. I get an idea in my head for the story and I just sit down and write it. When I'm finished, there may or may not be a lot of editing involved, but the story is pretty much done. There are points where I may run into a snag, but all in all, with a little time, I can work my way through. Now, when it comes to a novel length project, that's a whole other ballgame.
Novel length works can become quite complex, depending on genre. Character interaction is extensive, and adding numerous sub-plots is quite common. Even in this case, however, there are conflicting opinions.
I have spoken with writers who wouldn't go anywhere near their keyboard without a completed outline in hand. Then again, there are others who told me that they prefer to write their novel in novel form vs. writing their novel in outline form first, then putting in a few filler words to complete it. There was a real bitterness there, and I sensed a great animosity toward the whole outlining process, so I decided to try to find out why.
I had never used the process myself, so I was unfamiliar with an outline style. I put the word out in a couple of writers' communities that I belong to that I was looking for outline styles, and you wouldn't believe the varying responses that I received. Some abhor the idea of putting their plot down in III.C.1.a. form; but others? Wow. I was astounded by how much time and effort went into their 'pre-writing' process.
Their formats included various sections like 'brief intro', which should run approximately 500 words, then 'major crisis point', also to be approximately 500 words, add various 'minor crisis points', these to be approximately 250 words. Then, you have your character descriptions, and these should include every character in the story, however minor their role. These descriptions should include the character's background, role in the story, who they interact with and why, and..., etc., etc. These descriptions should also run about 500 words each. There were other categories, which included chapter by chapter breakdowns, and so on, and before you know it, you've got approximately 50 to 60 pages worth of outline. Now, they sit down to write.
Others responded with a much looser format. A paragraph describing how the story begins, the major event or crisis point, and a basic description of how the story ends. There were character descriptions, but they didn't have to be encyclopedia length. Once they drafted a rough overall sketch of their story, they were on their way.
Then, you have those who feel they may as well have their hands tied behind their backs as draft an outline. They feel as if they will be locked in to what the outline says, as if once it's written, it takes on a life of its own. There can't be any flexibility, or change in plot line or characters, and if they end up not liking the story anymore, there's no option but to finish it per the outline and then move on to another. Strange, but true.
So. What do you do? Well, let me tell you how I approached this dilemma. I still don't attempt an outline with my short stories because so far, I haven't found breaking them down into that much detail necessary as of yet. But with a novel I'm writing, the time had come for a big decision.
Now, I have already completed one that I could probably categorize as a 'novella' length project. Writing it was a lengthy process, but I wrote it from start to finish with just a few notes. But my second? That's a whole different thing. Before I began, I knew how I wanted the story to begin, had the middle pretty well worked out in my head, and I certainly know how I want it to end. But to get there? Whoa. So many characters, all necessary. So many interactions, all necessary. So many sub-plots, all necessary. All necessary components to pull this thing together. I wrote the intro and five hefty chapters and... Yeah. And, what? I got so overwhelmed with the complexity of it all, I thought to myself, try an outline.
I compromised though, and combined the complicated type with the simple type and my format runs somewhere in between. Not so involved that I am actually writing the story in outline form, but then again, no so loose that I am totally lost every time I finish writing a paragraph. And what was the result? I'm back on track with it and on my way to completion. At times, there are changes here and there, but that's okay. My outline forgives me.
So you see, the outlining process is like anything else. Too much of anything can be a bad thing; everything in moderation. If you decide not to outline, relax, create, and go with the flow. If you decide to outline, relax, create, and go with the flow. The process of telling your tale should not be a stressful one, so whatever road you take to get from start to finish, try to ride right down the middle. Makes for a really pleasureable trip.
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