Writing and Crying

Is it a good thing to make someone cry? If it's your reader, it certainly is. I'm not an easy person to make cry, so when I read Steve Erickson's Our Ecstatic Days and cried copiously, I was curious. What what he trying to do to me? And why did it work? And why did I feel so good about feeling so bad?
There are plenty of reasons to cry: pain, anger, humiliation, sadness, mourning, happiness, empathy, or even witnessing noble acts or feeling holy awe. Most of these motivations are not used by writers. I suppose you could write a book so long-winded that the reader would cry from lower back pain when picking it up. I've certainly been made angry by a book, but it's not a long-term relationship so I don't usually cry. Apparently, the further up the scale you go, the more likely it is that a reader will enjoy having a good cry.
A good cry should leave a person feeling "value-added." You've taken them somewhere and shown them something of worth, something that enhanced their human experience. I cried over Our Ecstatic Days because Erickson showed me my worst fears but I didn't have to actually live through it.
Robert Frost said "no tears in the writer, no tears in the reader." I guess that means first we suffer for our art and then it's the reader's turn! If you think that's a hard order, just try and make your reader laugh!

Are You Feeling Lazy?

Oh, I knew it would happen. The well runs dry, the couch beckons and I find myself not writing. Though tonight I am lazy, I am still a kind person;I do not want you to fall into sloth as well.

So, to that end, I found two inspiring articles from two of my favorite blogs.

http://www.lifeoptimizer.org/2008/02/21/16-powerful-tips-to-overcome-laziness/


http://www.lifehack.org/articles/productivity/determine-never-to-be-idle-a-simple-productivity-strategy.html

Yesterday I wandered around the house reciting, "I will not be idle, I will not be idle." over and over. Today, I have no such illusions. If you find yourself in the same predicament despite my attempts to lead you into productivity, just remember you can say that you are "planning" your next twenty pages.
Cheers!

Relationships Rule!

What would life be like without relationships? Relationships, good and bad, are the cause and effect of our lives, and, not surprisingly, the relationships we create between characters creates a majority of our book's plot. Consider these typical character relationships:
1) The main character (M.C. from now on) and the love interest. Who does the M.C. love? Our choices in love are revealing. We choose someone who embodies a part of ourselves that we want or need to explore. However enchanting the beloved is, we are also falling in love with our future selves. Sometimes we attract others who sense parts of us that we thought we had left behind. Not all love is good for us. How can we complicate our M.C.'s life with love?

2) The M.C. and the best friend. Who do we relate to the most? Usually our friends have common values and different skills. We agree on deep levels but complement each other on the surface. In plots, the best friend or side-kick makes up for whatever weakness the M.C. lacks. Is your M.C. always getting lost? Then maybe his sidekick has innate GPS. Sometimes our friends complement our love interest by fulfilling needs that he or she cannot.

3) The M.C. and the antagonist. What do you have in common with the person you most dislike? Probably more than you'd like to think. Our enemies often have the very faults we fear having ourselves. Sometimes our enemies remind us of mistakes we've made, losses we've suffered or childhood figures. Consider why the M.C. hates the antagonist. Play up the that dark mirror. Think of Luke and Darth Vader.

4) Mix and match relationships. You know it's never simple in real-life. Some of our best enemies were once friends, and sometimes the reverse is true. Write your characters' relationships as they develop and change.

One of the great perks of writing a book is that you get to decide how things turn out. So, dig into the archives of your heart and let your characters say those unspoken words.

Is Your Antagonist a Bore?

Okay, so we've unleashed him to thwart the main character at every turn; he's clever, cunning and he'll make the good guys really suffer. But is he interesting? Imagine being trapped in a corner at a party by a dull sociopath. (Wait, didn't that just happen to you a few months ago?) Don't make your reader experience that.
1) Give him a past. Lavish some thought on how he became who he is.

2) Give him a pet. Or a potted plant. Or a penchant for picking up litter. Give him one nice quality to add dimension.

3)Give him a quirk. This will make him seem more real and you can use the detail to build suspense. He likes to eat Skittles? By the end of the book, the reader should break into a cold sweat whenever a Skittles wrapper is seen on the ground.

Assumptions:
1)You know that I don't mean that only guys can be bad guys, right? Women make terrific villains.
2) You know that "bad guy" stands for "romantic rival" if you're writing a romance.
3) You know that the "bad guy" can be a shark, a virus, the government, an addiction, a mental illness or even a concept like greed or pride.
4) It's okay to eat Skittles while typing.

Is Your Antagonist a Dog?

I was reviewing my plot today when something dawned on me. It was a musty, drooly thought. My antagonist was dragging my plot off into the backyard and burying it! Indeed, my antagonist had gone to the dogs. Here's how to tell:

1) Your antagonist chases cars for no reason. If your main character is always on the run, make sure your antagonist has a good reason to be in pursuit, other than the fact he's the bad guy. Give us some plausible and understandable motivation.

2) Your antagonist barks and barks, but you've chained him to a tree. My antagonist makes lots of threats, but he doesn't actually do much of anything other than stand around looking terrifying. Why? Because I am overly fond of my main character and I hate to have him suffer more than a hang-nail. Bad idea. Let the conflict loose.

3) Your antagonist is easily fooled. Fake throwing a stick and a dog will chase after thin air. Repeatedly. We love dogs for their gullibility. But an antagonist needs to be complex and at least as smart as the main character or there will be no satisfaction when the hero prevails.

In short: Give your antagonist good reasons for doing wrong, make them clever and let them do some damage.

Denis Johnson is a Poet

And, yes, he is a novelist too. And that is why I turn to his poetry to show the effects of the sounds of words on meaning. You see, if he were only a poet, you might wonder what these techniques had to do with your fiction writing, right? Anything goes in the quest for a cool scene, so prepare to steal a few riffs from poetry. If Denis Johnson does it, it's got to be good.

Here's the deal: different sounds evoke different emotional or symbolic meanings.
Some hiss and sizzle: s, sh, ch ("hiss" and "sizzle" actually sound like they mean, which is known as onomatopoeia, a great word to use in Scrabble)

Some explode or stop you in your tracks: k, t, p, g

Some are smooth: w, m, n, y

Some are fuzzy: th, v, z

Some are slow and sombre: o, oo, uh, ah

Some are quick and sharp: ih, i, eh, ee

Short words are quicker than long words.

Now for the applications (all Denis Johnson):

"a semi-truck against the bruised roses/of sunset/" from Grocery on Venice Beach. (Notice the vowel sounds: ah, eh, ee, ah, uh, oo, o, uh, uh, eh. That's 3 quick vs. 7 slow. Very sombre.)

"a chilly wind was taking/ small sticks and the like down the block" from All-Night Diners
(Notice all the quick vowels, and notice too that the second line has only one-syllable words adding to that sense of little things blowing down the street)

If you haven't read his poetry, you really should. They are skeletons of novels. Try this one: "Our Sadness"

Then go read the comics. You'll need to.

The End is Only Beginning

Take a look at these endings. Which do you think work best? Notice how different genres have different styles of endings. I'm enjoying tearing books off the shelf and carefully reading the last lines. When I read a book for pleasure I am so immersed in the story, I don't notice how the writer has been leading me along.

1) "Never you mind, honey," she said quietly, reaching under the jacket and carefully straightening out the collar, "Honey, never you mind..." Larry McMurtry, The Last Picture Show.
Listen to the rhythm in that ending! Even if you don't know the characters, their relationship is plain as day. McMurtry is considered "general" fiction, which means essentially, he was writing westerns extremely well, so the "general" public read his books, and he was no longer "genre." Sometimes it's who reads you that defines what genre your book is, not what genre you write!

2) Her hand tightened on his until her finger nails dug into his skin, and she said:
"O.K.,Bert. To hell with her!"
"Goddamn it,that's what I want to hear! Come on, we got each other haven't we? Let's get stinko."
"Yes--let's get stinko."--James M. Cain, Mildred Pierce.
No question that this is one hard-boiled noir mystery, is it? It was written in 1941; hence the slang. I imagine it must have been quite edgy at the time.

3) "As he peered ahead into the great land that stretched before him, the way seemed long. But the sky was bright, and he somehow felt he was headed in the right direction." E.B. White, Stuart Little.
I love how the landscape reflects Stuart's optimism. Setting really is a useful tool for conveying character and mood. This ending also is open to further books. (Remember, if you want to write a sequel, don't end like Hamlet. ) Do you remember how the first Harry Potter book ended with Harry considering how much fun he was going to have with Dudley that summer, teasing him with the threat of magic? Sequel-city.

4) "They would listen to each other's voices and they would breathe each other's breath. And they would wait for that power that would pull them like a chain into whatever came next, into that distant world where broken souls were wrenched out of their histories." Kevin Brockmeier, The Brief History of the Dead.
The end really starts a few sentences back, but I didn't want to spoil the plot if haven't read it. Literary fiction, wouldn't you say? You can really hear that omniscient narrator putting in his two cents. If you write literary fiction, you get more latitude to be introspective. Unfortunately, you probably can't have as many car chases or weapons. Ah, the sacrifices of style!

I've been giving Romances too little attention, so I think I'll head to the used book store and today and grab a few. From what I hear, they tend to have happy endings. Good. Cynicism is over-rated.