As the first anniversary of the publication of Night Shadows approaches (February 16), I want to present two blogs regarding fear.
I once read an article stating how fear is an acronym for False Evidence Against Reality. The article went on to discuss how most fears aren’t as devastating when the reality of the situation is revealed.
For instance, I fear change. Change in my residence or employment usually produces a queasy feeling in my stomach. However, in the face of reality, the new apartment or job isn’t as bad as expected.
Many of us experience fear in one form or another and at different intensities. Anything from a mild anxiety about an upcoming dinner date to a long suffered phobia of spiders or heights. Tony Shalhoub portrayed a man with the ultimate in fears in the television series Monk.
Fear, however, is a bit different from being scared. Fears can be faced and, in many cases, overcome. The phobias some people have can be dealt with through counseling or outright confrontation with the fearful situation. Scared is heightened and lingering fear. Scared is knowing potential danger is imminent. The teenage camper, having seen her mutilated friends strewn about the woods is truly scared of what’s behind the door of the lonely old cabin she’s discovered. She knows the killer stalks her and is watching, waiting.
For me, scared was driving seven miles on a curvy, hilly, ice covered road with steep ditches on either side and no way to turn around. As a child, scared was being stranded on the other side of a large lake with no way to return except for trekking another hour back, knowing the trouble I’d be facing.
Horror movies rarely scare me. Sure there are moments that give my heart and stomach a short-lived jolt, but they’re rare. The twist at the end of The Sixth Sense didn’t really scare me, per se, but left me feeling very weird since, for me, Bruce Willis being dead was completely unexpected. Most horror films, though, are various versions of the same theme: the serial killer or mutated monster slaughtering the wayward young or ghosts, vampires, or other supernatural entities doing the same.
Radio and literature hold more potential to scare because they force you to use your imagination. One of the most famous radio incidents creating a mass scare was Orson Welles narrating the alien invasion of War of the Worlds in 1938.
I’ve collected hundreds of horror novels throughout the years and have been scared by only a few. Not very many have left a lingering sense of dread or maintained the imagination after the last chapter. There have been rarities leaving me wondering, “What if…” or “What would the next scene be?” because there was no real resolution in the story.
H.P. Lovecraft was a master at creating those lasting feelings for me. He wrote some truly scary material and years passed with several re-readings of a few of his stories for me to understand the attraction to his stories. Rarely did he show you the monster. One of his best stories, in my opinion, At the Mountains of Madness, draws you in so well with so much detail and description, you feel that you are right there with the travelers discovering an ancient vanished civilization in the Antarctic depths. When they flee the scene, you are desperately wanting to know what the main character saw when he looked back over his shoulder, what awful, nameless thing destroyed the mind of his partner…but Lovecraft doesn’t tell you. You are left wondering…wondering what could it be? For me, I loved that scared feeling imagining there really were super tall mountains at the South Pole hiding all sorts of unknown creatures.
I hope I’ve created some scary moments in my book, Night Shadows. I waited until later in the book before the monsters were ‘seen’ and known. Several readers have shared the fact they really didn’t want to turn out the lights the night after reading the story. I hope I have also left people with a lingering imagination, a sense of ‘what if?’
What scares me scares many people. The unknown, the possibilities in the unknown. Also the experience you have when–
Oh, crap! Don’t you dare sneak up on me and tap my shoulder. You nearly scared me to death.
Friday, February 10, 2012
Friday, February 3, 2012
Distractions
I’ve been a member of several writers’ critique groups over the years and I’ve come to realize a major factor in each group’s downfall has been the lack of writers. This may seem quite logical, but it’s true for any group. Knitters, martial artists, foreign language studies, puzzlers…if you are a part of a group and aren’t involved in the activity, the group suffers. A few more lackadaisical people and the group collapses, becomes less fun, or has less worth for those who are serious.
When I first started attending a critique group, there were about 15-20 or more who showed every week. I had heard many more used to attend. Why the dropout rate? Probably it started with something like this. “Sally, do you have anything to read tonight?” “No, I’ve been too busy this last week to write.” “Okay, but we really want you to read.” “I’ll try to have something next week.”
Well, as Yoda once said, “Do or do not do. There is no try.” You’re either writing or you’re not. So, the attendance dropped. By the time I stopped attending my first critique group, we were down to a core of about four or five with maybe two of us reading per week. It was a waste of my time to read for others who weren’t writing. I worked hard to have something every week, either a short story or another chapter from the ongoing book. I ceased going to the meetings not because I stopped writing, but because others did. I wasn’t going to stay with a group in which two or three people read and the rest of the time we just chatted. Plus, I didn’t feel those who weren’t writing, who weren’t keeping up with improving their craft, had justification to critique my material.
So, is it lack of interest or distractions that keep people from writing? Television, radio, Internet, phone, mail, email, kids, pets, spouse, something interesting out the window…all are part of a large group of distractions. I’m not perfect and my attention wanders at times. Much of my writing is done at a facility where people could come in at any moment. They’re distracting. I understand distractions and I’m willing to let a few excuses go by. When they become consistent, however, then I know the person really isn’t serious about writing.
In a recent interview I mentioned my ideal place to write. I said I wanted to be on a deserted island with no phone, no TV, no radio, no Internet, no people, with enough food and water to sustain me until I felt like rejoining society. Serious writers will make time to write, or will set aside a portion of the day or week and tell the rest of the world to leave them alone until a certain period has ended. Behind a closed door, with the TV, Internet, and cell phone turned off. If the radio is on when I’m writing, it’s tuned to a classical music station.
Don’t let your writing be a distraction to your writing. What I mean is, don’t stop after every sentence or chapter to go back and edit or change things. So many times in those critique groups I heard a repeat chapter one from a few people week after week. They took home our comments, did a rewrite, then came back, took home more comments and did another rewrite. The cycle continued. We never heard chapter two. Soon, they either gave up or decided the particular story wasn’t working out, so they switched to a new story and brought in a new chapter one.
Another example of a writing distraction is too much preparation. I realize every person has his or her individual writing style. Outlines that may take eight months to picking up a pen and starting in on something without a precise destination in mind. Whatever works for you, do it. However, if you are a type who sets up character profiles and setting profiles, don’t get bogged down in the minutiae. There must be a time when you start writing the first sentence.
One more example. Finish a story. Recently I have found myself falling into the trap of starting one story, getting partially completed, then jumping to another story, then a third, and I discovered I wasn’t completing a project. When I realized my problem, I stopped jumping around and set myself a goal to finish a particular story by the end of the year with at least one or two rewrites.
I’m not sure how long I took to complete “Beta.” I do know I did a few rewrites, character tinkering, scene additions, etc. Meanwhile, I was writing other stories. However, I never forgot I still had a completed story to ‘finish’ in the sense of polishing it up even more with each submission rejection. I’ve worked long hard on this book and even when correcting edits, still found it emotionally stimulating. I’m glad I persevered, and didn’t allow distractions to keep me from my goal.
Let your writing be your distraction from everything else, not the other way around.
When I first started attending a critique group, there were about 15-20 or more who showed every week. I had heard many more used to attend. Why the dropout rate? Probably it started with something like this. “Sally, do you have anything to read tonight?” “No, I’ve been too busy this last week to write.” “Okay, but we really want you to read.” “I’ll try to have something next week.”
Well, as Yoda once said, “Do or do not do. There is no try.” You’re either writing or you’re not. So, the attendance dropped. By the time I stopped attending my first critique group, we were down to a core of about four or five with maybe two of us reading per week. It was a waste of my time to read for others who weren’t writing. I worked hard to have something every week, either a short story or another chapter from the ongoing book. I ceased going to the meetings not because I stopped writing, but because others did. I wasn’t going to stay with a group in which two or three people read and the rest of the time we just chatted. Plus, I didn’t feel those who weren’t writing, who weren’t keeping up with improving their craft, had justification to critique my material.
So, is it lack of interest or distractions that keep people from writing? Television, radio, Internet, phone, mail, email, kids, pets, spouse, something interesting out the window…all are part of a large group of distractions. I’m not perfect and my attention wanders at times. Much of my writing is done at a facility where people could come in at any moment. They’re distracting. I understand distractions and I’m willing to let a few excuses go by. When they become consistent, however, then I know the person really isn’t serious about writing.
In a recent interview I mentioned my ideal place to write. I said I wanted to be on a deserted island with no phone, no TV, no radio, no Internet, no people, with enough food and water to sustain me until I felt like rejoining society. Serious writers will make time to write, or will set aside a portion of the day or week and tell the rest of the world to leave them alone until a certain period has ended. Behind a closed door, with the TV, Internet, and cell phone turned off. If the radio is on when I’m writing, it’s tuned to a classical music station.
Don’t let your writing be a distraction to your writing. What I mean is, don’t stop after every sentence or chapter to go back and edit or change things. So many times in those critique groups I heard a repeat chapter one from a few people week after week. They took home our comments, did a rewrite, then came back, took home more comments and did another rewrite. The cycle continued. We never heard chapter two. Soon, they either gave up or decided the particular story wasn’t working out, so they switched to a new story and brought in a new chapter one.
Another example of a writing distraction is too much preparation. I realize every person has his or her individual writing style. Outlines that may take eight months to picking up a pen and starting in on something without a precise destination in mind. Whatever works for you, do it. However, if you are a type who sets up character profiles and setting profiles, don’t get bogged down in the minutiae. There must be a time when you start writing the first sentence.
One more example. Finish a story. Recently I have found myself falling into the trap of starting one story, getting partially completed, then jumping to another story, then a third, and I discovered I wasn’t completing a project. When I realized my problem, I stopped jumping around and set myself a goal to finish a particular story by the end of the year with at least one or two rewrites.
I’m not sure how long I took to complete “Beta.” I do know I did a few rewrites, character tinkering, scene additions, etc. Meanwhile, I was writing other stories. However, I never forgot I still had a completed story to ‘finish’ in the sense of polishing it up even more with each submission rejection. I’ve worked long hard on this book and even when correcting edits, still found it emotionally stimulating. I’m glad I persevered, and didn’t allow distractions to keep me from my goal.
Let your writing be your distraction from everything else, not the other way around.
Saturday, January 28, 2012
Creating Character Quirks
When you hear the name Sherlock Holmes, what are some of the things you imagine? The distinctive deerstalker hat? The curved pipe, maybe a magnifying glass? It’s a classic image, somewhat created by those who portrayed Holmes on stage. Maybe some remember Holmes playing the violin during periods when a case particularly perplexed him. Or maybe his storing his tobacco in a stocking. Possibly the true fans will remember his use of cocaine.
Nero Wolfe brings to mind a large man with an aversion to women’s tears, his collection of beer bottle caps, enjoyment of fine food, a slight tilting of his head in acknowledgment or emphasis, often saying “Pfui!” when refuting some absurd point, his fondness for yellow pajamas, and of course, orchids.
An affinity for tweed, knitting, and gardening–besides solving crimes–are aspects associated with Jane Marple.
Above is just a sampling of memorable characters. They’re remembered throughout the years because each has one or a series of aspects that distinguish him/her, their own personal ‘quirks.’
In some ways, the creation of characters is easy. You have a private detective who solves crimes. This person has brown hair and brown eyes, and usually wears jeans and a T-shirt. See? Easy. However, this person is pretty bland and not at all memorable. It’s up to the author to add ‘spice’ and ‘life’ to the character. For instance, the detective stands only four feet tall, drives a motor scooter, owns a St. Bernard, likes Chopin, and has an addiction to Snickers. Or maybe the woman has only one hand, is constantly haunted by nightmares of an abusive mother, owns a crossbow, and paints her apartment green.
As long as the author is able to bring the character to life and stay ‘true’ to his/her creation, then maybe people would be interested in reading about this character. It’s up to the author to give a character something to make him/her different from everybody else.
Think about the character envisioned by Andy Breckman and David Hoberman and given life by Tony Shaloub. They created a detective with over-the-top obsessive disorders. Adrian Monk feared milk, wind, sausages, tossed salads, and went so far as to dispose of a single tissue by sealing it in a plastic baggie, then sealing that baggie in another baggie. Somehow, the idiosyncrasies worked and the television character became one of the most loved.
Sometimes, characters are defined by other characters. This is especially true with Stephanie Plum. Yes, she has some quirky aspects to her, but a lot of the humor and ‘character’ comes from Lulu, Maretti, Grandma Mazur, and Ranger.
Authors need to dig deep to find the unique pieces and parts for a characters, whether they want the person to be funny or strictly serious. When writing a story, the characters will often times ‘speak’ and let the author know how to form their personality. Other authors may want to do an intense character outline to define a particular figure in the story. There are many books about developing character, and some may find them useful. What each author must remember, though, is not to be bound and limited by those books. Each must find his or her own path and find whatever works for developing characters.
Who knows, maybe today somebody is creating another memorable character to stand beside Sam Spade, Elvis Cole, Ellery Queen, Perry Mason, and Pronzini’s ‘no name’ detective.
Nero Wolfe brings to mind a large man with an aversion to women’s tears, his collection of beer bottle caps, enjoyment of fine food, a slight tilting of his head in acknowledgment or emphasis, often saying “Pfui!” when refuting some absurd point, his fondness for yellow pajamas, and of course, orchids.
An affinity for tweed, knitting, and gardening–besides solving crimes–are aspects associated with Jane Marple.
Above is just a sampling of memorable characters. They’re remembered throughout the years because each has one or a series of aspects that distinguish him/her, their own personal ‘quirks.’
In some ways, the creation of characters is easy. You have a private detective who solves crimes. This person has brown hair and brown eyes, and usually wears jeans and a T-shirt. See? Easy. However, this person is pretty bland and not at all memorable. It’s up to the author to add ‘spice’ and ‘life’ to the character. For instance, the detective stands only four feet tall, drives a motor scooter, owns a St. Bernard, likes Chopin, and has an addiction to Snickers. Or maybe the woman has only one hand, is constantly haunted by nightmares of an abusive mother, owns a crossbow, and paints her apartment green.
As long as the author is able to bring the character to life and stay ‘true’ to his/her creation, then maybe people would be interested in reading about this character. It’s up to the author to give a character something to make him/her different from everybody else.
Think about the character envisioned by Andy Breckman and David Hoberman and given life by Tony Shaloub. They created a detective with over-the-top obsessive disorders. Adrian Monk feared milk, wind, sausages, tossed salads, and went so far as to dispose of a single tissue by sealing it in a plastic baggie, then sealing that baggie in another baggie. Somehow, the idiosyncrasies worked and the television character became one of the most loved.
Sometimes, characters are defined by other characters. This is especially true with Stephanie Plum. Yes, she has some quirky aspects to her, but a lot of the humor and ‘character’ comes from Lulu, Maretti, Grandma Mazur, and Ranger.
Authors need to dig deep to find the unique pieces and parts for a characters, whether they want the person to be funny or strictly serious. When writing a story, the characters will often times ‘speak’ and let the author know how to form their personality. Other authors may want to do an intense character outline to define a particular figure in the story. There are many books about developing character, and some may find them useful. What each author must remember, though, is not to be bound and limited by those books. Each must find his or her own path and find whatever works for developing characters.
Who knows, maybe today somebody is creating another memorable character to stand beside Sam Spade, Elvis Cole, Ellery Queen, Perry Mason, and Pronzini’s ‘no name’ detective.
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