Writing it certainly can be, if you let it. Creating a crime fiction tale can be quite an enjoyable and challenging experience. With NaNoWriMo coming soon, for my own use as well as others out there, I thought I'd include a sample checklist for planning purposes. Even though NaNo is a wide-open type writing endeavor, working from a basic plan is extremely helpful to keep you going in the right direction. Having one, like the following, can be a very useful tool.
_____Title: This is what entices and grabs your reader. While you may have woven a wondrous tale of suspense and terror, it's not going to mean a thing if no one is pulled into read it. That's why your title is so important. You want to keep it simple, but not too vague. Names of characters, places, or events within your story can be used, along with a hint of the storyline. Tease the reader with promises of fear and isolation. Inject a sense of worry and apprehension before they arrive at the first paragraph, and use your title to accomplish that.
_____Location: Where's your story going to take place? This is a big decision. You have to decide before you begin if you will be utilizing a real-world location or if you're going to just make it up as you go along. Whichever way you go in this, travel with care.
Using real cities and towns carries with it the responsibility of accuracy. Unless you are really familiar with a specific area, I would recommend avoiding using it. For all you know, one of your readers was born in the town in your story and they know for sure there's no library on the corner of Fifth and Main. Once they've identified that flaw, believe me, you've lost them. Either avoid real places altogether or research them thoroughly.
If you decide to create a location, don't think the rules of accuracy don't apply. Consistency is the keyword when making up locales. Readers will pick up on errors in make believe towns too and you can lose them just as quickly as with real ones. Map out your fake town or city, note your street and business names so they don't change from chapter to chapter.
_____Time: Here's another component that can require a great deal of research. This refers to the time period your story is set in. Whatever era you choose, everything has to be considered. Your characters have to dress, behave, and speak appropriately. The vehicles, buildings and businesses all have to look and function as they did during your chosen time period. If your story is set sometime in the future, the world you create must reflect that. The technology in your story may not actually exist in the real world, but to be believable in your story, again, consistency is the key. I would suggest mapping it all out to make sure your gadgets aren't different in function and appearance on pages 4 and 14. Again, readers are sharp; they'll catch it--imaginary or not.
_____Outline: Whether or not to outline before you actually write is a personal preference. Some use the outline process for novels only and others use them for all their projects. Outlining should be done if you feel it will help you to develop your characters and storyline. The only thing I would caution you on is if you do outline, make sure you don't set it in stone. As you create, if your story takes a turn in another direction, feel free to let it go. Be flexible enough to adjust your outline if the situation warrants it. An outline is a tool--a guide. It is there to assist, not constrict.
_____Characters: Now, we're at the core. Your characters are the backbone of your story. They have to be three dimensional and as real as you can make them. Readers need to be able to identify with your characters in some way. There needs to be something about them or their lives your readers can relate to. They shouldn't just be names and physical descriptions. Take the time to give them lives. They need a past as well as a present. They need families, friends, likes, dislikes, fears and favorites. Here's where an outline, at least for the characters, might be of benefit to keep their relationships with other characters, places, events, etc., consistent. Imaginary or not, consistency is important here too. To hold the reader's interest, your characters must be feeling, thinking beings. Whether they are good, bad, or a little of both, they must appear genuine. Then, and only then, will your reader care about them and what happens to them.
_____Weapon/Crime: Last, but certainly of great importance, is your crime and your weapon of choice. This is something you generally decide early on. For instance, you may choose murder as your crime and if so, your possibilities for a weapon are endless. Depending on who your killer is, you could go with a gun, a knife, poison, or get up close and personal with strangulation. Remember though, research is of great importance here too. Weapons need to be time-appropriate. Make sure the gun your killer uses was manufactured when your story takes place. Make sure the poison used was available to that particular population and make sure your depiction of its effects is also accurate. You don't want to get too over the top. Nothing turns a reader off more quickly than an overly dramatic scene with a victim gasping and coughing all over the room, writing the name of their killer on the walls with a tube of lipstick and then falling down in a heap clutching a cufflink torn from the killer's shirt. If the reader thinks it's hokey enough, they may look up your poison and when they find out it causes an immediate unconscious state, suppresses respiration and death occurs shortly after, they've closed the book on your story and picked up the TV remote. In the future, when they see your name on a story, they'll pass it up because you've lied to them once, and they will remember and make sure you don't get the chance to do it again.
These are some points to consider when sitting down to write crime fiction. The most important one though is to enjoy the process from start to finish. Try different settings, different lengths, characters and time periods. Let your stories twist and turn and go their own way. Let them surprise even you. This will all translate into enjoyment for your readers, and don't we, as writers, owe them that?
If you are going to do NaNo again this year, or if you're going to give it a try for the first time, look for me. I'm in there as suspense2009. NaNo is a lot of work and takes up a great deal of time, but I can speak from personal experience when I say that you can end up having the time of your life. You could also end up with a marketable project at the end of it--or as in my case, a few months down the road with a lot of editing and polishing. Use it for what it is--it is a chance to just sit down and write and enjoy every minute of it, and that's what we've been talking about here today. Never forget that, regardless of what it is you are writing, enjoy the time you devote to it, the project itself, the characters you create, the events you cause to occur, the whole process. Believe me, your finished product will end up being so much the better for it.
Tuesday, October 20, 2009
Friday, September 25, 2009
Did I Ever Tell You You're My Hero? Of course, there is still your paralyzing fear of pillow shams...
Heroes. We need them. We love them. They are all-knowing, kind to small animals, and an enviable lesson in perfection. Oh, really? How incredibly BORING! Yesterday, perhaps, this was what we looked for, and desparately needed. But today, I believe we might be looking at it from a different perspective.
The dictionary defines a hero as "1. A man distinguished for exceptional courage, fortitude, or bold enterprise. 2. One idealized for superior qualities or deeds of any kind. 3. The principal male character in a drama, fictional work, etc." Interesting, because the third definition is not necessarily in line with definitions one and two. The principal male character can, at times, be a really nasty fellow, who has no morals or conscience whatsoever. Now, that's fine, from a writing standpoint, because that's not the kind of hero we're discussing in this post.
Note that neither definition one nor two mention any type of 'goodness', yet all those characters in literature, as well as television and films, that we've categorized as heroes have all been fighters for peace and justice for all. They have generally been crimefighters, and have either preempted crimes from occurring or, through the use usually of some super power, detained the perpetrators following commission of a crime. They wore symbols of some type and most possessed the ability to fly (thus, the cape), had a type of extra sensory ability to see through walls and hear conversations from miles away, etc. Then, of course, there were the tights. They pretty much all wore tights, didn't they? So calm, so devoid of anger, so dedicated, so..., so YUCK! Perhaps in days past, these were the symbols of right and might that we looked up to, but of late, it would appear a different kind of hero has emerged. One who is not quite so perfect, not quite so dedicated, and never--I mean NEVER--would get within ten feet of a pair of tights. Who is this new champion of the underdog? I give you--a human being.
Yes. That's right. A human being. A down-to-earth, regular old, sometimes morally challenged, possibly incredibly flawed, human being. The kind of hero we aren't just able to look up to and admire (in a strange sort of way), but one we can actually relate to in a real sense. He can't see though walls, or hear conversations from miles away, and has to rely on his own judgment, which may or may not be anything to write home about. He wears no cape to assist with flight either, so he takes cabs, buses, drives his heap with the broken exhaust pipe, or just plain walks. He's a real person who, for whatever reason the writer chooses, decides to go beyond his regular nine to five day and do something grand. Maybe he succeeds, maybe he fails, but it is in the 'trying' that he fills our hearts with a little bit of hope that maybe this old world isn't quite as dark as we originally thought it was. And, after all, isn't that what heroes are supposed to do?
Without giving anything away to those who are unfamiliar with the following (and you should be ashamed if you aren't), a couple of examples of human type heroes (flaws and all) can be found in the film, Gone Baby Gone, and in Dave Zeltserman's novel, Small Crimes. Believe it or not, there's one in the film, Sling Blade, too, in a dark and damaged way. Characters in these, each in their own way, try to right a wrong, prevent further wrong from occurring, or do the wrong thing for all the right reasons. Unfortunately, when all is said and done, they don't necessarily end up on a float in a tickertape parade in their honor, but still, they follow their hearts, their minds, their conscience, etc., to the end of their chosen quest.
They are remarkable characters and quite unforgettable as well. They may not be 'good' in the most fundamental sense, but they are heroes still. They are the characters you concentrate on in the story, the ones you want to know the most about, and when you walk out of the movie, turn off the set or put the book down, they are the ones you will think about and wonder--if maybe he had only...; what if he had waited until... It doesn't matter if it's over and you will never see, or read about, this character again. You'll always wonder if somehow something had been different--even just a bit--if he could have maybe been saved too...
Whether or not you decide to include a 'hero' in your story (be it crime or horror), all depends on the story. It may seem odd to say, but not every story has a 'hero' in it. As we mentioned at the onset, the hero is not necessarily the 'good' guy, and just because you have one, that doesn't automatically make him the savior of lost souls. As the writer, you are the only one who knows for sure if any one of your characters is a true hero, but if you do have one, just remember this. Make him someone your readers can envision, get to know, relate to in the most real way possible.
Whatever you do, don't have him shower and shave every morning, only drink fruit punch, and consistently help old ladies at crosswalks. Give him a drinking problem, make him obsess over the color of his shoelaces, paralyze him if he encounters a certain shade of blue--I don't know. Make his complexes rational--make them completely irrational--but, make him flawed. Perfection gets old and extremely annoying after awhile. As a reader, as well as a writer, I like to read about those who walk the straight and narrow, just as much as anyone else. But, I also like to read about those who stumble on that road, and perhaps even fall a few times and skin their knees before they get up. But, you see? That's the point. They may stumble and fall, but they do get up and keep going, and keep trying to accomplish whatever it is they set out to do. When all is said and done, they may be bruised and bloody, but they've done something that seems grand, in the great scheme of things, without seeking the spotlight or a headline or two, and, in my heart, they will always be my heroes.
The dictionary defines a hero as "1. A man distinguished for exceptional courage, fortitude, or bold enterprise. 2. One idealized for superior qualities or deeds of any kind. 3. The principal male character in a drama, fictional work, etc." Interesting, because the third definition is not necessarily in line with definitions one and two. The principal male character can, at times, be a really nasty fellow, who has no morals or conscience whatsoever. Now, that's fine, from a writing standpoint, because that's not the kind of hero we're discussing in this post.
Note that neither definition one nor two mention any type of 'goodness', yet all those characters in literature, as well as television and films, that we've categorized as heroes have all been fighters for peace and justice for all. They have generally been crimefighters, and have either preempted crimes from occurring or, through the use usually of some super power, detained the perpetrators following commission of a crime. They wore symbols of some type and most possessed the ability to fly (thus, the cape), had a type of extra sensory ability to see through walls and hear conversations from miles away, etc. Then, of course, there were the tights. They pretty much all wore tights, didn't they? So calm, so devoid of anger, so dedicated, so..., so YUCK! Perhaps in days past, these were the symbols of right and might that we looked up to, but of late, it would appear a different kind of hero has emerged. One who is not quite so perfect, not quite so dedicated, and never--I mean NEVER--would get within ten feet of a pair of tights. Who is this new champion of the underdog? I give you--a human being.
Yes. That's right. A human being. A down-to-earth, regular old, sometimes morally challenged, possibly incredibly flawed, human being. The kind of hero we aren't just able to look up to and admire (in a strange sort of way), but one we can actually relate to in a real sense. He can't see though walls, or hear conversations from miles away, and has to rely on his own judgment, which may or may not be anything to write home about. He wears no cape to assist with flight either, so he takes cabs, buses, drives his heap with the broken exhaust pipe, or just plain walks. He's a real person who, for whatever reason the writer chooses, decides to go beyond his regular nine to five day and do something grand. Maybe he succeeds, maybe he fails, but it is in the 'trying' that he fills our hearts with a little bit of hope that maybe this old world isn't quite as dark as we originally thought it was. And, after all, isn't that what heroes are supposed to do?
Without giving anything away to those who are unfamiliar with the following (and you should be ashamed if you aren't), a couple of examples of human type heroes (flaws and all) can be found in the film, Gone Baby Gone, and in Dave Zeltserman's novel, Small Crimes. Believe it or not, there's one in the film, Sling Blade, too, in a dark and damaged way. Characters in these, each in their own way, try to right a wrong, prevent further wrong from occurring, or do the wrong thing for all the right reasons. Unfortunately, when all is said and done, they don't necessarily end up on a float in a tickertape parade in their honor, but still, they follow their hearts, their minds, their conscience, etc., to the end of their chosen quest.
They are remarkable characters and quite unforgettable as well. They may not be 'good' in the most fundamental sense, but they are heroes still. They are the characters you concentrate on in the story, the ones you want to know the most about, and when you walk out of the movie, turn off the set or put the book down, they are the ones you will think about and wonder--if maybe he had only...; what if he had waited until... It doesn't matter if it's over and you will never see, or read about, this character again. You'll always wonder if somehow something had been different--even just a bit--if he could have maybe been saved too...
Whether or not you decide to include a 'hero' in your story (be it crime or horror), all depends on the story. It may seem odd to say, but not every story has a 'hero' in it. As we mentioned at the onset, the hero is not necessarily the 'good' guy, and just because you have one, that doesn't automatically make him the savior of lost souls. As the writer, you are the only one who knows for sure if any one of your characters is a true hero, but if you do have one, just remember this. Make him someone your readers can envision, get to know, relate to in the most real way possible.
Whatever you do, don't have him shower and shave every morning, only drink fruit punch, and consistently help old ladies at crosswalks. Give him a drinking problem, make him obsess over the color of his shoelaces, paralyze him if he encounters a certain shade of blue--I don't know. Make his complexes rational--make them completely irrational--but, make him flawed. Perfection gets old and extremely annoying after awhile. As a reader, as well as a writer, I like to read about those who walk the straight and narrow, just as much as anyone else. But, I also like to read about those who stumble on that road, and perhaps even fall a few times and skin their knees before they get up. But, you see? That's the point. They may stumble and fall, but they do get up and keep going, and keep trying to accomplish whatever it is they set out to do. When all is said and done, they may be bruised and bloody, but they've done something that seems grand, in the great scheme of things, without seeking the spotlight or a headline or two, and, in my heart, they will always be my heroes.
Saturday, August 22, 2009
Coffee...? Tea...? Pea Soup...?
In this post, we are going to deal with a subject that some may consider taboo when creating a horror and/or crime tale, but this subject has been integrated very successfully in certain tales and/or movies involving horror or crime. Now, what could that almost controversial subject matter be? Well, believe it or not, it's children. You might be thinking at this point, that there are children in just about every movie, whether it be horror or crime, and why the mention of controversy. It's because we're not going to be discussing the peripheral use of children in stories. We're going to explore the use of children as focal points in tales of terror and/or mayhem, sometimes even portrayed as the initiator of same. Children, terrifying? Children, dangerous? Children, capable of violence? Oh, you bet. That, and then some. Let's explore some outstanding examples.
You might think that when a story or movie has dealt with a child in the genres of crime or horror that the subject matter was treated in a highly sensitive manner. Well, you would be very wrong. Consider The Exorcist, the story of a young girl possessed by a demon, implied to be The devil himself. If you've seen the film, you will agree that there was nothing sensitive about it. The girl was violent, profane, and terrifying. The film was too, but I'm specifically talking about the child herself. They pulled no punches with this one and scared the socks off those of us who saw it in the theatre and then had to drive home alone down a succession of dark streets. Oh mama...
Others I personally have really enjoyed that used children as their focus were Children of the Corn (where the sweet, innocent [hah] children sacrifice adults), Blue Heaven (a novel that involves children witnessing a brutal murder and then are pursued by the killers), Child's Play (where a killer possesses a child's doll), Poltergeist (where a small child is literally physically taken by evil spirits from a house built on an ancient burial ground), Pet Sematary (a child brought back from the dead who stalks and murders), The Good Son (one nice brother in the family and the other a violent killer), The Omen (the child of Satan himself is born into the world), and Rosemary's Baby (another birth of Satan's son--I'll never forget that line 'What have you done to its eyes?').
So many stories, so many films, all use children in some fashion. At times, they are the ones who terrify and murder; at other times, they are the victims of a seen or unseen force, and find a strength within that surpasses that of most adults. Either way, they are all remarkable characters and make for a very interesting read or viewing.
How the times have changed though. There is one film that I regard as the ultimate classic example of a disturbed and extremely dangerous child. That film is The Bad Seed. Yes, it is in black and white--it is that old, but worth seeking out and watching. It introduces the theory that violent behavior in children could possibly be genetic and shows a mother's pain trying to resolve demons from her own past and, at the same time, trying to save her young daughter from a life in an institution or prison. It is an emotional roller coaster ride and extremely well written. The acting is top-notch and looking into that child's eyes will absolutely horrify you. Then, the movie ends, and no--I won't give it away. My point in bringing this up is after the movie ends, the entire cast goes before the camera and smiles and acts SO normal. I read somewhere that, considering when this movie had been made, they didn't want anyone leaving the theatre with dark thoughts or actually believing anything evil had occurred. Yes, times certainly have changed, haven't they.
While things are most assuredly more out in the open these days and filmmakers and authors do want you to end up with dark thoughts and actually believe that the evil events did occur, as writers, we still have to use caution and common sense when incorporating children into our plotlines. Children can be brutal, but if they are to be brutalized, we must be careful to make sure we are not exploiting that somehow. Children are, after all, children--they are innocents--and whatever role they play in our storyline, we must tread cautiously. They can be killers or they can be victims. However a child or children figures into your particular story of crime or horror, just remember to use a little bit of common sense, and always let your heart guide you along the way.
You might think that when a story or movie has dealt with a child in the genres of crime or horror that the subject matter was treated in a highly sensitive manner. Well, you would be very wrong. Consider The Exorcist, the story of a young girl possessed by a demon, implied to be The devil himself. If you've seen the film, you will agree that there was nothing sensitive about it. The girl was violent, profane, and terrifying. The film was too, but I'm specifically talking about the child herself. They pulled no punches with this one and scared the socks off those of us who saw it in the theatre and then had to drive home alone down a succession of dark streets. Oh mama...
Others I personally have really enjoyed that used children as their focus were Children of the Corn (where the sweet, innocent [hah] children sacrifice adults), Blue Heaven (a novel that involves children witnessing a brutal murder and then are pursued by the killers), Child's Play (where a killer possesses a child's doll), Poltergeist (where a small child is literally physically taken by evil spirits from a house built on an ancient burial ground), Pet Sematary (a child brought back from the dead who stalks and murders), The Good Son (one nice brother in the family and the other a violent killer), The Omen (the child of Satan himself is born into the world), and Rosemary's Baby (another birth of Satan's son--I'll never forget that line 'What have you done to its eyes?').
So many stories, so many films, all use children in some fashion. At times, they are the ones who terrify and murder; at other times, they are the victims of a seen or unseen force, and find a strength within that surpasses that of most adults. Either way, they are all remarkable characters and make for a very interesting read or viewing.
How the times have changed though. There is one film that I regard as the ultimate classic example of a disturbed and extremely dangerous child. That film is The Bad Seed. Yes, it is in black and white--it is that old, but worth seeking out and watching. It introduces the theory that violent behavior in children could possibly be genetic and shows a mother's pain trying to resolve demons from her own past and, at the same time, trying to save her young daughter from a life in an institution or prison. It is an emotional roller coaster ride and extremely well written. The acting is top-notch and looking into that child's eyes will absolutely horrify you. Then, the movie ends, and no--I won't give it away. My point in bringing this up is after the movie ends, the entire cast goes before the camera and smiles and acts SO normal. I read somewhere that, considering when this movie had been made, they didn't want anyone leaving the theatre with dark thoughts or actually believing anything evil had occurred. Yes, times certainly have changed, haven't they.
While things are most assuredly more out in the open these days and filmmakers and authors do want you to end up with dark thoughts and actually believe that the evil events did occur, as writers, we still have to use caution and common sense when incorporating children into our plotlines. Children can be brutal, but if they are to be brutalized, we must be careful to make sure we are not exploiting that somehow. Children are, after all, children--they are innocents--and whatever role they play in our storyline, we must tread cautiously. They can be killers or they can be victims. However a child or children figures into your particular story of crime or horror, just remember to use a little bit of common sense, and always let your heart guide you along the way.
Monday, July 20, 2009
The Times They Are A'Changin--small is now the new BIG!
Writing crime fiction is an interesting and challenging endeavor. We have explored various aspects of crime, and even various types of crime. But just as important to discuss are the various levels of crime. In this post, we will discuss what are commonly referred to as "small crimes", and their place in works of fiction.
Now, you might think to yourself, small crimes? Is there such a thing? Isn't a crime a crime? Not according to various police districts around the world. I have read many articles, along with their unfavorable comments from the general public, about police departments being 'unable' to investigate what they term as 'small crimes'. This is due, as was explained, to a shortage of staff. What constitutes a small crime in the eyes of the law you might ask? According to the articles I've read, they all pretty much agree that small crimes would be certain thefts, criminal damage (defined in one as vandalism), common assault, harassment and non-domestic burglary (what?). Exceptions would be if any of these involved the elderly, the disabled, were racist or homophobic in nature, or a victim who had been repeatedly targeted. In those cases, the small crime would be classified as 'aggravated' and would possibly--I stress possibly--be pursued further. If, however, the crime was screened and determined to be small, it would be recorded, but not pursued. Interesting.
While it is very tempting to use this platform to make a social comment regarding how completely deplorable this practice is, I'll leave that up to you, the reader. I will say only that a crime against a person or a person's property is still a crime/violation, however 'small' a third party may determine it to be. And, it is the fact that in 'real life', if you will, the police do not strenuously pursue what they consider to be 'less serious' offenses, if at all, that lend these crimes perfectly to a work of fiction.
How could that be, you might be asking yourself? Who cares about tiny little crimes in a story anyway? Well, frankly, it's the new rage among a lot of crime writers because writing this type of fiction is a tremendous challenge. Oh, come on, right? How hard can it be to write about somebody commiting an act of vandalism? Okay, on its face, it may seem like a lot of drivel, but think again. How difficult can it be to incorporate a small crime, or crimes, in a story and still keep it interesting? I personally feel it would be quite the challenge, and in remembering some of the stories I've read recently that had utilized the 'small crime' plot base, the writer obviously dedicated a tremendous amount of time and effort to grab my attention from the first sentence and hang on to it until the very last word.
The way I see it, they accomplished that in one of two ways--the first, by having created incredibly strong characters. This can tie back to how you gear your writing--it is character-driven or event-driven? If you're the type of writer who allows their characters to drive the piece, then this is ideal for you. Your characters need to be complete in the sense that they have a past, a present and a potential future of some sort. They don't just need to have a few memories or whatever, they need to be so real that the reader sees them around every corner. Of course, whatever style you use, your characters should be written that way, but it is especially important when utilizing the small crime scenario. One or more of your characters could commit some type of small crime or crimes due to a compulsion or quirk of theirs. Maybe they are a prelude to a 'larger' crime, maybe not though. Don't assume the small crimes have to necessarily lead to grand theft auto or mass murder, because they could, but they do not have to. The small crimes, in and of themselves, or the drive to commit them, could simply be what make up and drive your character to whatever interaction with others and/or end awaits him.
Secondly, if you are the type of writer who allows events to drive their story, utilizing these little bitty crimes is perfect for you as well. Your character could be obsessed with performing some type of ritual that is, in reality, a small crime, or a series of them, in hopes of attaining some type of status or twisted reward they feel they're entitled to. They could perhaps use a series of small infractions occurring throughout to either taunt the authorities, or if they are planning to do something on a larger scale, they could be using the small crimes to try to redirect suspicion away from themselves to another individual. That way, when the larger event occurs, the police would already have someone else in their sights--someone they suspected, but never approached because the previous events had not been deemed serious enough.
The possibilities are endless using this type of scenario, but they take a lot of planning and plotting. All stories do--yes, but depending on what your premise will be, that will determine what type of plan and plot. And always remember how critically important the strength and depth of your characters are. Give them control, and the belief that they can successfully pull these off right under the noses of the police. That's not to say they'll never get caught in your story; although, it's okay sometimes to let the bad guy get away. Honestly, that can be fun too. But getting back to the small crime thing, I would strongly advise picking up some stories that use this base. You will find them fresh and innovative and impossible to put down. Don't let the phrase 'small crimes' mislead you into thinking you're going to read about someone overstaying their welcome at a parking meter--although, come to think of it, that might have potential...
The fact that in 'real life' police probably wouldn't be taking too hard a look at these petty offenses gives your criminal infinitely more freedom in your story to do pretty much as he/she pleases, and this is what makes for an interesting read. The more believable a crime fiction story is, the more potential it has to actually occur, and, for me (an avid reader of the genre as well as a writer), that's what keeps me hanging on and coming back for more of the same.
Now, you might think to yourself, small crimes? Is there such a thing? Isn't a crime a crime? Not according to various police districts around the world. I have read many articles, along with their unfavorable comments from the general public, about police departments being 'unable' to investigate what they term as 'small crimes'. This is due, as was explained, to a shortage of staff. What constitutes a small crime in the eyes of the law you might ask? According to the articles I've read, they all pretty much agree that small crimes would be certain thefts, criminal damage (defined in one as vandalism), common assault, harassment and non-domestic burglary (what?). Exceptions would be if any of these involved the elderly, the disabled, were racist or homophobic in nature, or a victim who had been repeatedly targeted. In those cases, the small crime would be classified as 'aggravated' and would possibly--I stress possibly--be pursued further. If, however, the crime was screened and determined to be small, it would be recorded, but not pursued. Interesting.
While it is very tempting to use this platform to make a social comment regarding how completely deplorable this practice is, I'll leave that up to you, the reader. I will say only that a crime against a person or a person's property is still a crime/violation, however 'small' a third party may determine it to be. And, it is the fact that in 'real life', if you will, the police do not strenuously pursue what they consider to be 'less serious' offenses, if at all, that lend these crimes perfectly to a work of fiction.
How could that be, you might be asking yourself? Who cares about tiny little crimes in a story anyway? Well, frankly, it's the new rage among a lot of crime writers because writing this type of fiction is a tremendous challenge. Oh, come on, right? How hard can it be to write about somebody commiting an act of vandalism? Okay, on its face, it may seem like a lot of drivel, but think again. How difficult can it be to incorporate a small crime, or crimes, in a story and still keep it interesting? I personally feel it would be quite the challenge, and in remembering some of the stories I've read recently that had utilized the 'small crime' plot base, the writer obviously dedicated a tremendous amount of time and effort to grab my attention from the first sentence and hang on to it until the very last word.
The way I see it, they accomplished that in one of two ways--the first, by having created incredibly strong characters. This can tie back to how you gear your writing--it is character-driven or event-driven? If you're the type of writer who allows their characters to drive the piece, then this is ideal for you. Your characters need to be complete in the sense that they have a past, a present and a potential future of some sort. They don't just need to have a few memories or whatever, they need to be so real that the reader sees them around every corner. Of course, whatever style you use, your characters should be written that way, but it is especially important when utilizing the small crime scenario. One or more of your characters could commit some type of small crime or crimes due to a compulsion or quirk of theirs. Maybe they are a prelude to a 'larger' crime, maybe not though. Don't assume the small crimes have to necessarily lead to grand theft auto or mass murder, because they could, but they do not have to. The small crimes, in and of themselves, or the drive to commit them, could simply be what make up and drive your character to whatever interaction with others and/or end awaits him.
Secondly, if you are the type of writer who allows events to drive their story, utilizing these little bitty crimes is perfect for you as well. Your character could be obsessed with performing some type of ritual that is, in reality, a small crime, or a series of them, in hopes of attaining some type of status or twisted reward they feel they're entitled to. They could perhaps use a series of small infractions occurring throughout to either taunt the authorities, or if they are planning to do something on a larger scale, they could be using the small crimes to try to redirect suspicion away from themselves to another individual. That way, when the larger event occurs, the police would already have someone else in their sights--someone they suspected, but never approached because the previous events had not been deemed serious enough.
The possibilities are endless using this type of scenario, but they take a lot of planning and plotting. All stories do--yes, but depending on what your premise will be, that will determine what type of plan and plot. And always remember how critically important the strength and depth of your characters are. Give them control, and the belief that they can successfully pull these off right under the noses of the police. That's not to say they'll never get caught in your story; although, it's okay sometimes to let the bad guy get away. Honestly, that can be fun too. But getting back to the small crime thing, I would strongly advise picking up some stories that use this base. You will find them fresh and innovative and impossible to put down. Don't let the phrase 'small crimes' mislead you into thinking you're going to read about someone overstaying their welcome at a parking meter--although, come to think of it, that might have potential...
The fact that in 'real life' police probably wouldn't be taking too hard a look at these petty offenses gives your criminal infinitely more freedom in your story to do pretty much as he/she pleases, and this is what makes for an interesting read. The more believable a crime fiction story is, the more potential it has to actually occur, and, for me (an avid reader of the genre as well as a writer), that's what keeps me hanging on and coming back for more of the same.
Thursday, June 25, 2009
Ladies and Gentlemen: Step Right Up and Pick a Crime, Any Crime!
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?
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?
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.
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