There's a different breed of monsters out there for you to incorporate into your stories. They're not your typical two-headed, six-eyed variety either. This isn't a new concept, but it is a powerful one, and it delivers a knock-out blow when you're trying to scare your reader. Let me explain.
Over the recent holiday season, pretty much from Halloween through New Year's Day, there were marathons galore. The ones I particularly enjoyed were the old Twilight Zone and Outer Limits episodes. There were a couple that had common secondary 'themes' and those were what gave me the idea for this post. What helped to expand on my idea was a couple of books I also read over the holidays; again, with the same type of undercurrent in them. Gems, every one.
There I was, sitting and enjoying the Twilight Zone marathon, when a particular favorite of mine came on. The title is The Monsters are Due on Maple Street. It's a revealing peek into what happens when you deliberately place very normal people into a very abnormal situation. The fact that aliens are behind it is not really important for purposes of this discussion. What is important is what events were set in motion and what resulted. Okay, I'm giving the basis of the plot away here, but that's alright. If you can find this episode somewhere out in cyberland, I highly recommend watching it anyway. It seems this group of aliens decide to take over the earth, but their plan is to do it one neighborhood at a time by letting us basically destroy ourselves. Sadly enough, it was a sound plan and easily carried out. They didn't even have to lift a finger (or whatever they had at the end of their 'hands'). All they had to do was introduce paralyzing fear, and that was easier than you might think.
They did it in steps. First and foremost, communication with anyone outside the area was cut off. Isolation. Very important. When you're unable to seek comfort and assistance from the outside, you are forced to rely on whoever is closest. That's all well and good, but what if you can't trust whoever is closest? That's where the horror begins.
Next, they began to plant the seeds of mistrust. First they cut the power to homes here and there. Everyone began to unite, to bond, to prepare to ride out whatever storm had descended upon them. Then, the power would come back on here and there in specific homes. Uh oh. Why, the people are asking themselves, is so-and-so's power back on and not mine? Now, the people are beginning to split into groups and becoming 'them' and 'us'. A few more parlor tricks and they begin to fight and destroy each other. Didn't take too long and it wasn't hard to accomplish at all. Those 'nice', 'decent', 'caring' people in Happytown, USA, turned into bloodthirsty killers. Monsters. Every one.
The Outer Limits marathon had a delightful tale to offer by the name of Abduction. A group of high school students are suddenly cut off from the rest of the world--again, isolation. No communication with anyone other than the rest of the group. Everyone in the school had disappeared and their movements were restricted to the hallways and one classroom. A creature (this one really was a creature in the true sense of the word) appeared to them and offered a proposal. He/it explained that they were chosen to participate in an experiment and it was a very simple one. All they had to do was to make a choice. In order to survive, they had to pick someone from the group that should die, and the rest would be allowed to live and resume their lives. Simple. Naturally, time was a factor here. He gave them the hour by which the decision would have to be made and disappeared.
Now, this was an interesting one. They, of course, followed the 'normal' course of human behavior--they united and began to bond to try to figure out what was really happening and what they could possibly do to save themselves. None of them had previously associated with each other in the course of their lives, but all of a sudden, here they were. After much soul-searching and discussions--some angry and violent--they discover that one of them had circled their photos in a school publication and had brought a gun with him to school that day. It was the 'you think you're better than me' type of thing, and frankly, some of them did feel that way. They were all caught up in the uncertainty, peer pressure, and prejudices of their daily lives and it all came spilling through. They began to divide and turn against each other and one couldn't help but wonder if the boy had planned to execute those who's photos he had marked. They learned that's why they were chosen; the alien(s) had selected those the boy had marked, knowing how strongly he felt about each of them.
Nice, young kids placed in a desparate situation and asked to make a terrible choice. Well, the ending here isn't really relevant (although, in this case, things did turn out for the best), but it is the process that's fascinating from a writing standpoint. It was very easy to create a sense of horror and fear just using 'regular' people and preying on their fear of the unknown and watching them basically try to destroy each other without any regret or sense of consequence.
If you want to see perfect examples of the art of creating 'monsters' of this type, I have two books to recommend that I read over the holidays. Oddly enough, they are both by Stephen King. The first is The Mist. I would like to say here though, that, while the book is very good and does clearly illustrate the human condition under duress, the film is much stronger and will have a greater effect, especially the ending. A different ending was written for the movie and I will tell you, it is very upsetting, but unfortunately, very necessary. I have the feeling that's the way real life would turn out.
Anyway, for purposes of creating our 'monsters', King does it well in The Mist. He creates a perfect sense of isolation by cutting off communication and power. Factoring in horrifying creatures who rip people to pieces only adds to the fear. No one knows what the things are or where they came from (although, naturally, there is suspicion they're the result of experiments on the army base outside of town), but again, this is secondary for our purposes. Once you take away security and the 'known', there's always someone who begins to stir things up. In this case, you have a woman who decides it's all caused by the wrath of God and she divides the group into a 'them' and 'us' type situation. She preaches hatred and fear and the result is decent, hard-working people--neighbors--become vengeful, cold-blooded killers and little by little, the group begins to destroy itself from within. Monsters? Oh yes.
My last example is King's latest, Under The Dome. This sets the stage immediately since the dome comes down right away and so begins the isolation. They can see those outside the dome, but cannot touch them, so in a way, the sense of isolation is more cruel. There is someone here who takes total advantage of the situation by turning the townspeople against each other for his own purposes. This person probably wasn't going to be nominated for sainthood before all this happened anyway, but the unexplained 'event' really fed his fire for control. He became a 'monster' in the true sense of the word and it wasn't hard to recruit others to his way of thinking. The town split into factions, the 'them' and 'us' thing again, and well, you get the idea. The end? Well, I'll let you read it--it's worth your time, but this is yet another example of the creation of monsters from among us.
If I had to pick my favorite 'monster' movie of all time, it would be an old black and white film called 'Them'. It's about giant ants, believe it or not, and while it doesn't exactly keep me up at night, I always enjoy watching it. I love monster stories and films about giant spiders and the deadites from Evil Dead, but let me tell you, the one movie that scared me into nightmares was Jaws. I had been in the ocean and never before realized what was out there--really out there. T-Rex's and killer gremlins may be creepy, but sharks are real and so is the danger. Scarier? Much.
But, people? Can people be scary? Scarier than poltergeists and zombies? Just regular, normal, God-fearing people that you nod to in the grocer and share your paper with in the diner? You bet they can. If you want to truly scare your readers, feed them some real possibilities about their own behavior and that of their fellow man. Let them see how easily the familiar and the normal can become the unknown and the terrifying in the blink of an eye. Next time their power cuts off, maybe they'll think twice about who to run to. And, maybe they should do just that...
Wednesday, January 27, 2010
Tuesday, December 8, 2009
Blah, Blah, Blah, Yap, Yap, Yap: Put A Cork In It, or Not?
When you think about writing stories or novels in any genre, the subject of dialogue always arises. For purposes of this discussion, dialogue will include not only conversations between characters, but also characters' thoughts, characters' speeches, statements, etc. Now, I'm not going to get into the importance of dialogue itself, because that should be a given. Characters need to communicate with each other, with the writer, and with the reader, and they need to do it appropriately--i.e., 'within character'. No. The question I'm going to raise here is, when is it time for one's character(s) to just shut the *&#$ up and let the story move forward. Is there ever a point when your characters simply talk too much? Unfortunately, there are times when this is the case.
We all know the importance of our readers getting to know each and every one of our characters. Only then can they share in all their experiences. A character must have a past, a present, hopes, fears, and all that good stuff, and the way a reader learns about them is through dialogue. Yes, descriptions are important--kind of third party type statements like 'Jack grew up in a rough area of the city...', or 'Emilie had always feared wide open spaces...'. All that's fine and dandy, but I believe it's through their own words that a reader can truly know what makes them tick. But, like was said when I was a kid: 'Sometimes it's better to be seen than heard', and this does apply here.
Our characters speak through us, true. However, in a way, we speak through our characters as well. It's a flow thing. No, we're not really serial killers or corrupt cops or monsters in the mist or even heroes who save mankind, but the voices do come from within the writer. Sound nutty? Of course it is. We wouldn't be readable writers if we didn't hear the voices of our characters. What I'm getting at is consider how you write a letter or a postcard. Do you do a 40 pager that requires 18 stamps or obscure the caption on the postcard by writing down, across, and along all the sides (you know, the kind of behavior that causes the postal employees to go postal)? Or do you say only what needs to be said. That is not to say you're notes are rude and uninteresting. Brief and to the point does not have mean boring and hateful. It simply means brief and to the point. That's what our characters need to be.
In order to allow our readers to get inside our characters, they need to talk. They need to talk about how they feel about themselves, their childhood maybe, their deeds (whatever those may be), and they most certainly need to do it in more than two word sentences. The point I'm trying to make here is, make sure you know the difference between sharing perspectives and blabbering like an idiot. You know the type. You begin reading a story, the setting is intriguing and there's an event that occurs in the first chapter that hooks you hard. Then, you move forward and one or more of your characters begins talking. And talking. And talking. And... You get my drift.
They witnessed an event and are making a statement to the police, or something really monumental happened in their life and they're sharing it with a friend. They explain what they've seen or heard and include a few tidbits about their own life in relation to it and pretty much should stop there. But, they do not. They begin describing their teen years and the vacation they took when they were four, and my, my, isn't the sky a lovely shade of blue today, and twelve pages later, they're still droning on. Come on, you know what I'm talking about. Those stories where you stop really reading and start skimming, kind of glancing over the page and noticing the quote marks never seem to end, and you start flipping pages so you can get back to the storyline before you forget what you read on page one. Now, you've done it. You've lost the reader, and I'll guarantee, the next time they see your name on something, they'll think lots of talking, but very little story. I'll think I'll pass. Is that what you want?
We've discussed before the fact that some pieces are strongly event-driven while others are strongly character-driven. Both are fine--they're simply different styles of telling a story. In a character-driven tale though, notice there is much more dialogue and less straight descriptive passages. The characters voices give you the feel for the places and events. Let me give you some examples of really well written character-driven stories where the characters 'know when to hold 'em and know when to fold 'em'--so to speak.
Jon Loomis' books, High Season and Mating Season are two great examples. Strongly character-driven stories with tons of dialogue, but never is it too much to digest. Places are described, people, feelings, memories, characters interact, and at times, there is what may be considered 'small talk' made, but never does it cross the line into 'oh no, that character's making a speech again'. Dave Zeltserman's Bad Thoughts and Bad Karma are another example. Dialogue is exceptionally critical in the telling of these two stories, and again, the line is never crossed. What needs to be said is said and yes, there's 'regular' dialogue in there that's not specifically related to events but let's us get inside the characters' heads and relationships with each other, but that's okay. It's done well and never overdone.
I don't need to give you examples of the ones where the characters are simply too 'talky', you know what they are because you've read some. We all have. We all also have put them aside after a few chapters of that and never gone back to them. You don't want readers doing that with your stuff, do you? Whether we are chatty cathy's in our own lives is our own cross to bear (and the cross of those around us as well), but don't turn your characters into those annoying people we sometimes get cornered by. You know the ones. You are out and about and you see someone you know and you make the fatal mistake of asking how they are. Four and a half hours later...
I'm going to give you a tip that's a sure-fire way to avoid including meaningless rambling by a character in a story. When you feel you're done with it, put it aside. It doesn't have to be for a specific length of time, but do put it aside. Then, pick it up and read it. But, and here's the kicker, don't read it as a 'writer'. Read it as a 'reader'. You will be amazed at how many times you'll think to yourself, 'no one would really say that' and quite a few 'who cares about that', and you'll edit them out or rework them. You'll identify whose mouth needs a cork stuck in it and whose doesn't.
Oh, and by the way. Next time you're out of town, no postcards please. I have a life...
We all know the importance of our readers getting to know each and every one of our characters. Only then can they share in all their experiences. A character must have a past, a present, hopes, fears, and all that good stuff, and the way a reader learns about them is through dialogue. Yes, descriptions are important--kind of third party type statements like 'Jack grew up in a rough area of the city...', or 'Emilie had always feared wide open spaces...'. All that's fine and dandy, but I believe it's through their own words that a reader can truly know what makes them tick. But, like was said when I was a kid: 'Sometimes it's better to be seen than heard', and this does apply here.
Our characters speak through us, true. However, in a way, we speak through our characters as well. It's a flow thing. No, we're not really serial killers or corrupt cops or monsters in the mist or even heroes who save mankind, but the voices do come from within the writer. Sound nutty? Of course it is. We wouldn't be readable writers if we didn't hear the voices of our characters. What I'm getting at is consider how you write a letter or a postcard. Do you do a 40 pager that requires 18 stamps or obscure the caption on the postcard by writing down, across, and along all the sides (you know, the kind of behavior that causes the postal employees to go postal)? Or do you say only what needs to be said. That is not to say you're notes are rude and uninteresting. Brief and to the point does not have mean boring and hateful. It simply means brief and to the point. That's what our characters need to be.
In order to allow our readers to get inside our characters, they need to talk. They need to talk about how they feel about themselves, their childhood maybe, their deeds (whatever those may be), and they most certainly need to do it in more than two word sentences. The point I'm trying to make here is, make sure you know the difference between sharing perspectives and blabbering like an idiot. You know the type. You begin reading a story, the setting is intriguing and there's an event that occurs in the first chapter that hooks you hard. Then, you move forward and one or more of your characters begins talking. And talking. And talking. And... You get my drift.
They witnessed an event and are making a statement to the police, or something really monumental happened in their life and they're sharing it with a friend. They explain what they've seen or heard and include a few tidbits about their own life in relation to it and pretty much should stop there. But, they do not. They begin describing their teen years and the vacation they took when they were four, and my, my, isn't the sky a lovely shade of blue today, and twelve pages later, they're still droning on. Come on, you know what I'm talking about. Those stories where you stop really reading and start skimming, kind of glancing over the page and noticing the quote marks never seem to end, and you start flipping pages so you can get back to the storyline before you forget what you read on page one. Now, you've done it. You've lost the reader, and I'll guarantee, the next time they see your name on something, they'll think lots of talking, but very little story. I'll think I'll pass. Is that what you want?
We've discussed before the fact that some pieces are strongly event-driven while others are strongly character-driven. Both are fine--they're simply different styles of telling a story. In a character-driven tale though, notice there is much more dialogue and less straight descriptive passages. The characters voices give you the feel for the places and events. Let me give you some examples of really well written character-driven stories where the characters 'know when to hold 'em and know when to fold 'em'--so to speak.
Jon Loomis' books, High Season and Mating Season are two great examples. Strongly character-driven stories with tons of dialogue, but never is it too much to digest. Places are described, people, feelings, memories, characters interact, and at times, there is what may be considered 'small talk' made, but never does it cross the line into 'oh no, that character's making a speech again'. Dave Zeltserman's Bad Thoughts and Bad Karma are another example. Dialogue is exceptionally critical in the telling of these two stories, and again, the line is never crossed. What needs to be said is said and yes, there's 'regular' dialogue in there that's not specifically related to events but let's us get inside the characters' heads and relationships with each other, but that's okay. It's done well and never overdone.
I don't need to give you examples of the ones where the characters are simply too 'talky', you know what they are because you've read some. We all have. We all also have put them aside after a few chapters of that and never gone back to them. You don't want readers doing that with your stuff, do you? Whether we are chatty cathy's in our own lives is our own cross to bear (and the cross of those around us as well), but don't turn your characters into those annoying people we sometimes get cornered by. You know the ones. You are out and about and you see someone you know and you make the fatal mistake of asking how they are. Four and a half hours later...
I'm going to give you a tip that's a sure-fire way to avoid including meaningless rambling by a character in a story. When you feel you're done with it, put it aside. It doesn't have to be for a specific length of time, but do put it aside. Then, pick it up and read it. But, and here's the kicker, don't read it as a 'writer'. Read it as a 'reader'. You will be amazed at how many times you'll think to yourself, 'no one would really say that' and quite a few 'who cares about that', and you'll edit them out or rework them. You'll identify whose mouth needs a cork stuck in it and whose doesn't.
Oh, and by the way. Next time you're out of town, no postcards please. I have a life...
Wednesday, November 25, 2009
My Guest Blog
It was my pleasure to guest write on Paul Brazill's blog on November 24, 2009. My topic was where ideas can come from. I appreciate being invited to be a guest on Paul's site, and have included the link below.
http://pdbrazill.blogspot.com/2009/11/guest-blogger-j-f-juzwik-where-do-your.html
As long as we're on the subject of Paul's blog, make sure you head over there and join in to follow. There's always something cool brewing over there!
http://pdbrazill.blogspot.com/2009/11/guest-blogger-j-f-juzwik-where-do-your.html
As long as we're on the subject of Paul's blog, make sure you head over there and join in to follow. There's always something cool brewing over there!
Tuesday, November 17, 2009
Sequel or Prequel, Single or Double, Trilogy or Octology? When should enough be enough?
Okay, you've finished your novel and its a gem and a half. You had started with a specific plotline in mind, but instead, you let the story go its own way. It began as a cozy type mystery, and somehow managed to transform itself into classic noir, with characters who could literally step right off the silver screen in all their black and white glory. Best of all, none of your main people died--they just set the traps, evil took the bait and justice triumphed yet again. Finally, as a crime author, you feel incredibly rewarded. Damn, you're good. And now..., well..., should I..., but maybe if I...uh oh. I've created a world with people and events that are cool and slick and just left them hanging out there--somewhere. Just tossed them aside like an old boot. But what else can I do?
I'll tell you what you can do. Pull them back from whatever black hole you condemned them to and simply continue. That's right. Continue. Easy? No big deal? Whoa. No, it isn't easy and yes, it is a big deal. Let's look at why.
The first point I think we should explore is what exactly are you trying to accomplish. What is your desired endpoint? Are you trying to write a series based on a character or characters or a chapter book? Chapter books are a lot of fun to write and even more fun to read. King's Green Mile and Dark Tower Series, in my opinion, are perfect examples of chapter books, and really well-crafted ones at that. I have a chapter book series coming out soon through DiskUsPublishing called Choices. It has six parts, and while each chapter is separate and distinct from the others, Chapter One leads into Chapter Two, Chapter Two leads into Chapter Three, and so on. Together, they form one complete story. They could be read out of sequence, but relationships between the characters would be marred, if not lost, and like any chapter book, the parts should be read in the order the author intended.
What about writing a series? Well, personally, I define a series as two or more books that focus on the same character(s) having different experiences in each book. For example, with a crime series, perhaps you might have a certain PI that solves different cases in each book or you might have a certain police detective that solves different cases in each book. Whichever character your focus is on, that character would be present in all the books, but his/her experiences, events and interrelationships would change in each one. Now, having the same character appear over and over can sometimes create a problem all by itself.
Let's say, you have decided at the onset to write a trilogy--three books using the same main character. That's all well and good, but there is one thing you need to be careful of. In your first book, do introduce your primary character and let us in on this person's life and background, thoughts and hopes, fears and needs. Let us get to know this character really well, then let us in on what happens to and around him/her. Okay, the first book is complete. We've gotten to know your character really well and can't wait to share more of their life experiences. On to Book Two. Oh no. Do we really have to hear about his failed marriage again? Boring. Do we really need to hear how she failed to become a cheerleader in high school again and that's why she has nightmares?
If there is one thing I cannot abide it is having read the first in a series, then picking up the second book, as noted on the jacket or in the promos, and encountering a recap of everything I read previously in Book One. Give me a bit more credit than that--my long-term memory isn't that faulty. I'm not going to let three years go by between the books--I'll remember who did what and who lived where and so on. Give me just a couple of bits and pieces, maybe a couple of short memories the character may have and move on to the new stuff. Don't let three-quarters of the second book be verbatim from the first one.
Too many writers think they have to restate everything just in case a reader picks up the second book first. Oh my. They won't know about this, or they won't know about that, so I need to repeat it all in every book in the series. I beg of you. Please do not do that. Most readers, and I do believe that this applies to most, are intuitive enough to know when what they pick up is part of a series and they will make every effort to seek out the first part and move forward. If, for whatever reason, they decide to begin with part six and then skip around, well, so be it. That's their choice. We, as writers, do not need to worry whether they will not enjoy the story as much because they didn't find out in the very beginning why Johnny sleeps with the lights on or Mary despises brown cats. Who cares? We should have enough of a story in there to hold their interest whether it's Book One or Book Twelve, and that's the kicker.
Now we come to probably the most important thing about writing a series. It's not a question of whether to repeat information about places or persons. It's a question of how interesting your stories are. We need to introduce characters that grab the reader and make them want to know more and more and share more and more with that character. When it comes to the second book, sure, the experiences and events are going to change, but while your character is going to be the same one, they shouldn't so much change as grow. When it comes to the third and subsequent books (should there be more), your character must continue to grow in order to remain interesting.
If they have a certain endearing quality or quirk, keep it the same. That's what makes them unique. But to hold your readers' interest, they must grow and develop just we do in the real world. Then, there's no limit as to how far your imagination can take them.
I'll tell you what you can do. Pull them back from whatever black hole you condemned them to and simply continue. That's right. Continue. Easy? No big deal? Whoa. No, it isn't easy and yes, it is a big deal. Let's look at why.
The first point I think we should explore is what exactly are you trying to accomplish. What is your desired endpoint? Are you trying to write a series based on a character or characters or a chapter book? Chapter books are a lot of fun to write and even more fun to read. King's Green Mile and Dark Tower Series, in my opinion, are perfect examples of chapter books, and really well-crafted ones at that. I have a chapter book series coming out soon through DiskUsPublishing called Choices. It has six parts, and while each chapter is separate and distinct from the others, Chapter One leads into Chapter Two, Chapter Two leads into Chapter Three, and so on. Together, they form one complete story. They could be read out of sequence, but relationships between the characters would be marred, if not lost, and like any chapter book, the parts should be read in the order the author intended.
What about writing a series? Well, personally, I define a series as two or more books that focus on the same character(s) having different experiences in each book. For example, with a crime series, perhaps you might have a certain PI that solves different cases in each book or you might have a certain police detective that solves different cases in each book. Whichever character your focus is on, that character would be present in all the books, but his/her experiences, events and interrelationships would change in each one. Now, having the same character appear over and over can sometimes create a problem all by itself.
Let's say, you have decided at the onset to write a trilogy--three books using the same main character. That's all well and good, but there is one thing you need to be careful of. In your first book, do introduce your primary character and let us in on this person's life and background, thoughts and hopes, fears and needs. Let us get to know this character really well, then let us in on what happens to and around him/her. Okay, the first book is complete. We've gotten to know your character really well and can't wait to share more of their life experiences. On to Book Two. Oh no. Do we really have to hear about his failed marriage again? Boring. Do we really need to hear how she failed to become a cheerleader in high school again and that's why she has nightmares?
If there is one thing I cannot abide it is having read the first in a series, then picking up the second book, as noted on the jacket or in the promos, and encountering a recap of everything I read previously in Book One. Give me a bit more credit than that--my long-term memory isn't that faulty. I'm not going to let three years go by between the books--I'll remember who did what and who lived where and so on. Give me just a couple of bits and pieces, maybe a couple of short memories the character may have and move on to the new stuff. Don't let three-quarters of the second book be verbatim from the first one.
Too many writers think they have to restate everything just in case a reader picks up the second book first. Oh my. They won't know about this, or they won't know about that, so I need to repeat it all in every book in the series. I beg of you. Please do not do that. Most readers, and I do believe that this applies to most, are intuitive enough to know when what they pick up is part of a series and they will make every effort to seek out the first part and move forward. If, for whatever reason, they decide to begin with part six and then skip around, well, so be it. That's their choice. We, as writers, do not need to worry whether they will not enjoy the story as much because they didn't find out in the very beginning why Johnny sleeps with the lights on or Mary despises brown cats. Who cares? We should have enough of a story in there to hold their interest whether it's Book One or Book Twelve, and that's the kicker.
Now we come to probably the most important thing about writing a series. It's not a question of whether to repeat information about places or persons. It's a question of how interesting your stories are. We need to introduce characters that grab the reader and make them want to know more and more and share more and more with that character. When it comes to the second book, sure, the experiences and events are going to change, but while your character is going to be the same one, they shouldn't so much change as grow. When it comes to the third and subsequent books (should there be more), your character must continue to grow in order to remain interesting.
If they have a certain endearing quality or quirk, keep it the same. That's what makes them unique. But to hold your readers' interest, they must grow and develop just we do in the real world. Then, there's no limit as to how far your imagination can take them.
Tuesday, October 20, 2009
Can Crime Be Fun?
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.
_____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.
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.
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