Stephen King’s Top Ten Rules For Success

23 06 2018





Writers: Get This Book!

18 06 2018

“The best selling character eats, nods, opens, closes, says, sleeps, types, watches, turns, runs, shoots, kisses, and dies….The most important thing to note is that in the best selling novel someone is doing something as dramatic as surviving or dying, and they are not, as their less-selling friends prefer, yawning.”

This is a quantitative analysis of best sellers. What best-selling characters are most prone to do. How the plots are structured. How men and women write differently. How the novels are titled. Down to percentages of “the” in best-selling text.

The book reinforces everything you may have seen in other writing books: active characters, dynamic plots, use of  arcs, etc. But for me, this book gives a concrete foundation for all of the advice.

I’m already adapting my plots accordingly. What I have taken away so far: my characters need to express “need” in detail. I tend to underwrite. I tend to think things do not need explanations. I thought I was being economical, but I’m realizing that I’m just not committing to my characters.

Writing an action pulp series is helping me to realize I need to be bolder in my choices. This book is helping me to see that this boldness will produce results.

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Hey! I’m In This!

15 06 2018

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Every reaction, no matter how violent, always reaches some equilibrium state. This final anthology in the Enter the… apocalyptic trilogy shares stories of what the new normal looks like after the end of days.

Contributing authors include:

Richard Jones, Kevin Wetmore, Lou Antonelli, Alice Weyers, Tim Starnes, Donyae Coles, Nicholas Gregory, Emily Devenport, Timothy Turnipseed, Chad Schimke, Davyne DeSye, Zac Roe, Tom Barlow, Tim Burke, David M. Hoenig, Tori Stubbs, Bruce Golden, Holly Saiki, Lisa Timpf, Mark Wolf, Peter Talley, Allyson Russel, Anthony Addis, Richard A. Shury, Russel Hemmell, Madison Keller, Calvin Spears, Adam Breckenridge, Keith Hoskins, Amelia Kibbie, Cullen Thomas, Stephen Miller, Geneve Flynn, James Austin, Elizabeth Eve King.





Which Would Be The Better Vampire?

1 06 2018

There’s a vampire who has existed for centuries. He is fluent in a dozen languages. He has traveled the world. He has been present at all major historic events. He is expert in the humanities and sciences. He plays several musical instruments so well he can move you to tears. He is suave, unflappable, and incredibly smug.

Would it better if he fed by ramming his head up his victim’s butt, or for his butt to expand cartoonishly to engulf his victim?

Update: I got one vote for each so far.





Creating Tension: Writing Lessons From Balticon 2018

28 05 2018

At Balticon this past Saturday, I watched a panel about Creating Tension with Scott Andrews, Mark L. Van Name, Gail Z. Martin, and Chuck Gannon.

All agreed that for tension to work, the threatened character must be relatable and the stakes recognizable. Maybe summarize the details of what would happen if All Was Lost.

Andrews: It is best to end a chapter with a cliffhanger to keep the reader engaged. Disquietude can act as cliffhanger by using awe, mystery, or curiosity. Entering an awesome new environment can pull the reader into the next chapter. The reveal of an important question can pique curiosity.

Van: Lee Child says unanswered questions keep the reader on edge. In foreshadowing a menace, heighten tension through proximity. For example: the threat is first mentioned, then later detailed, then seen at a distance, then when the protagonist has to hide from it. Morbid humor works, for that read the memoirs of soldiers.

Gail Z. Martin says that Jim Butcher novels will almost resolve a conflict completely, then introduce a last complication.

Gannon says that tragedy is two honorable characters working toward opposing ends (he made clear this was not an original thought, but I can’t remember who he was quoting). Trust your instincts above any plot formula.

Other panels reinforced reading Romancing the Beat and Save the Cat.

 





Love/Hate In SF/F/Horror: I Like Clowns.

25 05 2018

clowns

I love a good clown. Clowns are way underrated. They have deep history, culture, and skills. I believe an individual can fear clowns, certainly. The courophobia trend in our society is drummed up hysteria and a further example of how innocent love of art is shunned. You want to see a skillful, good human being? Harpo Marx, who is the tramp, along with his brothers in the above photo.

I hate when a character who is a Jesus analog has the initials “J.C.”.  Jesse Cutler of “Preacher”. The martyr/healer/magic black man from “The Green Mile”. Lots of others I have blotted out. Yeah, Garth Ennis, it’s all blasphemy, har har. Steve, we get it…he’s really Christalicious.

I love me an innovative monster design! “The Shrike” in the Hyperion novels. The elk-thing in the movie “The Ritual”. I’ll go to Days of Knights and read AD&D modules just to say “Holy Eff this is cool.”

I hate when a story’s Hell is lifted from Dante’s “Inferno”. I tend to be a stickler for reference material, in that a writer should use all of the material or not use it at all. Even Dante says “Inferno” is an allegory and not a roadmap. I can’t take “Inferno” seriously when Dante reserved the 9th Circle for some local politician he despised.

I love a good jerk who does the right thing. I am discovering they are tough to write. What if we replaced Elric with Ignatious O’Reilly from “Confederacy of Dunces”? Maybe Stormbringer could possess O’Reilly’s book of metaphysics or his stained bedsheet?

I hate when I write a draft and find all my characters are two dimensional, like the women are sexpots, or the minorities there to add “veracity” to the setting. To fix this, I give each character her own goals and character arc. I think of a person I know who fits this character and bring my love of that person to that character. But man, that first draft makes me disappointed in myself as a human.

(You may note that I say “love of that person”. I found that when I write a character based on someone I actively hate, or who supports values I despise, that character comes out flat, irritating, and unconvincing. So far, I’d say the trick to good writing is pitting good people against each other.)

I love a good caper. I haven’t read much Donald Westlake, but man is he great! Like Westlake’s stories, I love movies where doofuses pull together for the prize (“It’s A Mad Mad Mad Mad World”, “Kelly’s Heroes”, “The Ladykillers”).

I hate when the villain is a corporate toady or a mindless soldier. We are surrounded by business owners who are compassionate contributors to our society. We know men and women in the military who are intelligent, kind, and spiritually deep.

I love intimate, tight, even claustrophobic environments. I love stories where the magic or horror could be playing out next door and you’d never know it.

That said, not crazy about home invasions or serial killers. I like plausible, not Torn From Today’s Headlines.  That’s my quirk.

I love a well-written fight scene. Noir has them. Horror does okay by them. But Fantasy fights read like diagrams from Black Belt Magazine. Even martial arts experts will tell you that fights are bloody, clumsy, and usually stupid. Think of a fight you’ve seen. Was it a ballet of violence? Or a rugby scrum with livestock?

I hate that as I write this I have the voice of some grumpy old soothsayer going off in my head. Harlan Ellison. Or just about every other genre columnist who is 50+ years old. Can’t wait to pontificate in a voice I can call my own.

I love all-you-can-eat Chinese Buffet. Just saying.

 

 

 





Deadpool Is More Edgy Than You Think. Your Writing May Benefit….

24 05 2018

 

 

 

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Does Deadpool want to be transgressive? Or does Deadpool just want a white picket fence with a beautiful breeder wife and family? Or does he want to do whatever’s funny at the time?

This article from The Guardian wonders.

Contrast it with this article from Film Hulk about creating emotional resonance.

Can Deadpool have depth? Can any horror comedy? For such questions, I make comparisons to “Shawn of the Dead”. Surely Shawn of the Dead was evocative and memorable.

But had Shawn of the Dead wanted to be a franchise like Deadpool, I could see only two options. It would have to put off Shawn’s maturing, which would have made Shawn a glib punchline like Ash from “Evil Dead”. Or each sequel would have to be a new life lesson where the character is changed, which could reduce DP’s zany energy to “The Addams Family”.

All of the movies are horror comedy, sure. But I worry that DP is going to burn out quickly cycling through cartoon shocks, like ED did. I like that DP tests boundaries, not only in breaking the fourth wall and its casual inclusiveness. What other superhero is enthusiastic about having children? What other hero fails with such spectacular realism? What hero isn’t a millionaire living in a mansion?

The DC Universe is gritty. Do you care about it? I have a hard time caring, because the heroes seem to care about so little. Is DCU’s grittiness realistic? Not when Superman destroys whole cities without carnage or remorse.

The only thing DP lacked was Negasonic and Yukio bickering. You know, the thing we never see superhero couples doing, especially teens:

Negasonic: “Just swing the chain.” Yukio: “But you like my Gogo Yubari kick!.” N: “We don’t have time!” Y: “You took like a year to power up!”

The Film Crit Hulk and Deadpool have given me a lot to think about.

  1. Back story creates empathy.
  2. Relationships must evolve.
  3. “Grittiness” is not the same as “realism”.

 








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