Author Archives: James Scott Bell

About James Scott Bell

International Thriller Writers Award winner, #1 bestselling author of THRILLERS and BOOKS ON WRITING. Subscribe to JSB's NEWSLETTER.

The Random Dialogue Exercise

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by James Scott Bell
@jamesscottbell

Here’s a little exercise I teach in my workshops: take one of your dialogue-heavy scenes. Go to the middle and select a line at random. Now, pull down a random novel from your shelf. Open to a random page. Flip around until you find some dialogue. Pick one line of that dialogue.

NOW: substitute the line you just read for the line you selected in your scene. THEN: figure out how to justify it!

NEXT: Tweak the line so it fits the character. FINALLY: Rewrite the rest of the scene. Do this as a way to create or explore deeper levels of story or character. You may end up not using the dialogue line itself, but you will have opened up new vistas in your story and given your imagination a chance to play.

But if you do use the line, here is a big benefit: It creates a surprise for the reader. And surprise is the greatest page-turning prompt of all. Predictability is dull. So throw the reader off every now and then with something out of the blue.

Another benefit: you can use this exercise whenever you hit bad old writer’s block. Don’t know where your story is going? Having trouble plotting the next few scenes? Not sure who a character is? Try this exercise and get the mental pistons firing again.

Here’s a clip from my current WIP:

“Isn’t the view gorgeous?” she said.

“You better get right to it,” Dylan said, “because this is the last time we meet.”

“You can’t mean that.”

“I’m prepared to walk away.”

“I don’t think so, dear.”

“Watch me.”

“You haven’t even seen what I have.”

“I don’t care—”

“Or heard.”

“Heard?”

“So many things. You can be happy. We can be happy.”

“Look, you’re sick and you need help.”

“Don’t—”

“I know people. I can get you help.”

Now I perform the exercise. I’ll show you what I came up with using four very different novels off my shelf.

Using a line from An American Tragedy by Theodore Dreiser (1925):

“Or heard.”

“Heard?”

“So many things. You can be happy. We can be happy.”

“Look, you’re sick and you need help.”

“Oh, it doesn’t amount to anything, really. We just quarrel, that’s all, once in awhile.”

From The Gods Themselves by Isaac Asimov (1972):

“Or heard.”

“Heard?”

“So many things. You can be happy. We can be happy.”

“Look, you’re sick and you need help.”

“Sexually?”

From The Maltese Falcon by Dashiell Hammett (1929):

“Or heard.”

“Heard?”

“So many things. You can be happy. We can be happy.”

“Look, you’re sick and you need help.”

“Yeah, she had it tucked under her arm when she paid me.”

From L.A. Requiem by Robert Crais (1999):

“Or heard.”

“Heard?”

“So many things. You can be happy. We can be happy.”

“Look, you’re sick and you need help.”

“Well, we’re going to find out, but right now we’ve got a maniac to get off the street.”

Well now! Each one of these lines takes us in a different direction, doesn’t it?

The first one gets me thinking along the lines of Psycho, and multiple personalities.

The second one gives me a whole new aspect of character.

The third one is so obscure I have to do some more cogitating. I try to figure out why this woman would have been paid, and by whom. That’s a whole new plot point! That she could be working with someone. So I spend a few minutes jotting down ideas about that. Also, what did this mystery woman have tucked under her arm?

Since I’m writing a thriller, the last example really got my imagination scrambling. Which is, of course, the point of this exercise.

If I decide to use one of these lines, I’ll tweak it to make it consistent with the character’s voice.

But, after all this, I may just go back to the way I had it before. But wouldn’t that be wasted effort? Far from it! Because the writer’s mind is always stronger after this kind of workout—lithe, supple, and ready for action … hmm, maybe I should write a romance.

But not now, because I’m in the middle of my WIP and I’ve got a maniac to get off the street.

There are innumerable fiction writing exercises and prompts to jump start your writing sessions. What are some of your favorites?

Write From the Side of the Nose

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by James Scott Bell
@jamesscottbell

Here is another in our series of first page critiques. This one presents an important craft issue which I’ll discuss on the flip side.

Crossing the Line

He stood with his back to the doors leading to the balcony overlooking Lake Waco. His eyes remained focused on the 9mm Glock in the hand of Deputy U. S. Marshal Seth Barkley.

“What do we do now?” asked the blond-haired man. “Is this the part where you handcuff me and cart me off to jail?”

“You’re not ever going to see the inside of a jail,” Barkley responded.

“So you’re my judge and jury?”

“I’m the closest you’re going to get.”

“You can’t shoot an unarmed man.”

“You’re unarmed?” Barkley smiled. “What’s that in your hand?”

The man glanced at the dagger he was holding. “You know the old line about bringing a knife to a gun fight. You would shoot me before I got within six feet of you.”

“That’s a better deal than the one you offered your victims, but you’re right. Let’s make this fair.” The marshal reached behind his back and pulled his backup pistol from the waist of his jeans. He stooped down, laid it on the floor, and then kicked it with his foot toward the man.

“Pick it up,” Barkley said.

“No, you’ll shoot as soon as my hand touches the weapon.”

“I’ll shoot you either way. At least this way you stand a chance of living.”

Sweat poured down the man’s face as he looked from Barkley to the gun laying on the floor in front of him.

“You can’t do this, damn it, you’re a United States Marshal.”

Barkley unclipped the badge from his belt and tossed it to the side. The clink of the metal on the tile floor reverberated throughout the room. He holstered his weapon.

“Feel better now?” he asked, his eyes never leaving the eyes of his opponent.

“I didn’t do anything to those women they didn’t deserve.”

“So, you’re telling me you’re innocent in all of this because the women you stalked, tortured, and murdered asked for it?” Barkley said. The man went silent and glared into Barkley’s eyes.

The time was upon him, and his darkest fear realized. Seth Barkley was stepping over that imaginary line that would make him like his old man. His life would never be the same after crossing over from good to evil.

Barkley pulled his weapon and slowly eased the trigger. “This is for Kaitlyn,” Barkley said. He was now a vigilante, no going back.

***

JSB: The main point I want to make is about this piece deals with “on the nose” dialogue. That’s an old Hollywood term which means dialogue that is direct and predictable. Predictability is what makes reading boring. So learning to write “from the side of the nose” will immediately increase interest and readability.

Another problem that often shows up in dialogue at the beginning of a novel is that it overstuffs exposition. The result is that the reader gets the impression it’s the author talking, feeding us information, and not the characters talking to each other. You need to ask these questions of all your dialogue:

  1. Would the character really say that, in that way? If not, rewrite it, and don’t be afraid to cut.
  2. Is the character telling the other character things they both already know? If so, you should err on the side of cutting it. (You’ll sometimes see this when characters use each others’ names: “Hello, Frank.” “Nice day, isn’t it, Audrey?”)

The dialogue in this piece is back and forth, direct response, on-the-nose, and states things for the benefit of the reader. Remember my axiom: act first, explain later. And since dialogue is a compression and extension of action, that axiom applies here.

Here is a quick rewrite of the first few lines of dialogue:

“What do we do now?” asked the blond-haired man.

“You’re not going to see the inside of a jail,” Barkley said.

The man glanced at the dagger he was holding.

What’s left unsaid, what’s “between the lines,” is in the reader’s head now, and creating interest.

Here’s another way:

“What do we do now?” asked the blond-haired man.

“You’re not going to see the inside of a jail,” Barkley said.

“Shooting an unarmed man?”

“Do you pick your feet in Poughkeepsie?”

What?

Some of you will recognize that last line of dialogue from the classic cop movie The French Connection. Based on the real-life NY cop Eddie “Popeye” Egan, this totally off-the-nose line was used by Egan (and by Gene Hackman as Popeye Doyle in the movie) to completely throw off a suspect being interrogated. The suspect would get so rattled by this oddball question from the “bad cop” that he’d give up something to the “good cop.”

It works here because we, the audience, are also going, “What? What’d he just say? Why? Why is he saying that?”

Which means you have their interest!

Now, of course I’m not saying our writer should use that exact line. I am merely pointing out that “side-of-the-nose” dialogue works wonders. By side-of-the-nose I mean something that is not a direct response, and indeed at first hearing sounds like it doesn’t make sense!

Write, try it. Make up your own oddball line of dialogue. Even be random about it, and justify the line later!

Writing from the side of the nose is also helpful for avoiding exposition-heavy dialogue, like this: “You can’t do this, damn it, you’re a United States Marshal.”

They both know he’s a U.S. Marshal. You told the readers this in the first paragraph. Cut that line of dialogue and see how the action moves forward, faster.

Here’s another line you can cut:

“So, you’re telling me you’re innocent in all of this because the women you stalked, tortured, and murdered asked for it?” Barkley said. The man went silent and glared into Barkley’s eyes.

But, you protest, that explains this entire scene! To which I respond, act first, explain later. We don’t need to know why a U.S. Marshall is executing this guy at this moment in time. Leave a mystery!

Which brings us to the last two paragraphs, which are heavy with telling us what Barkley is becoming. As wth all exposition, ask: do we need to know that now? Here’s a shock: Almost always the answer will be no.

What if the scene ended this way:

“I didn’t do anything to those women they didn’t deserve.”

Barkley pulled his weapon. “This is for Kaitlyn,” he said.

What? End it there? Why not? The reader will be compelled to turn the page. And when he or she does, make them wait to find out what just happened. You could shift to another POV, or you could show us Barkley doing something, and through his actions we start to see what he’s becoming …

Bottom line: Check your dialogue and narrative for on-the-nose writing. Cut it. Surprise us with dialogue and details that are odd, surprising, mysterious, unpredictable.

Three other notes:

The first couple of lines give the impression we are in the “he” POV. But the scene ends in Barkley’s POV. Be strongly in Barkley’s head from the outset.

Barkley responded is redundant. Use said.

Barkley pulled his weapon and slowly eased the trigger. (You mean squeezed the trigger).

Okay, TKZers, your turn. I’m traveling today and probably won’t be able to comment. So take it away and help our brave writer.

Your Characters Must Earn Their Way Out of Trouble

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by James Scott Bell
@jamesscottbell

My treadmill movie the other day was Fast Five.

I don’t like to think too much when I exercise.
Fast Five free online
The movie, part of the wildly successful franchise, has two opening set pieces. In the first, Dominic Toretto (Vin Diesel) is rescued from a prison bus by his car-driving cohorts, led by Brian O’Conner (the late Paul Walker) and Dom’s sister Mia (Jordana Brewster). The three of them end up hiding out in Rio de Janeiro.

In the second set piece, Dom and his team set out to steal three cars off a moving train (why bother with a mere car dealership?) They need to pull this off without anybody on the train (including engineers, conductors, several DEA agents, and passengers with window seats) realizing that an off-road, tricked-out tow truck is tracking alongside as two guys use blow torches to peel off a large section of train car.

In other words, mindless fun.

There’s some betrayal, some fighting, some shots fired, one explosion, and naturally O’Conner ends up dangling from the side of the train just as it is approaching a steel bridge that will shave off the distressed con like Tom Selleck’s morning stubble.

Never fear, though. Dom is in a car! O’Conner manages to jump onto the back of the car right before the bridge … and right before Dom and car and O’Conner drive off the cliff.

They fall a couple hundred feet, splashing into a conveniently placed lake.

Unfortunately, as they come up for air, they are met by half a dozen local drug thugs with machine guns.

So far, so good (plot wise). They have gotten into trouble, then out of trouble, and immediately into more trouble.

We cut to a scene in a Rio warehouse, where Dom and O’Conner are hanging by their wrists, shackled by heavy chains.

The super villain, backed by his armed-to-the-teeth crew, informs our two heroes that he knows Dom’s sister is in possession of one of the stolen cars, and he wants to know where it is. If they will tell him, he’ll let them go.

Naturally, our leads swear, scoff, and glare.

Now, what does any super villain worth his salt do in such a situation? Begin the torture, of course. Get them to talk!

Right?

Wrong! Instead, the super villain says he can locate the sister himself, and quietly walks out with all but two of this thugs.

So now we have our two leads, hanging like sides of beef, under the watchful eye of a duo of armed goons.

What’s any goon worth his salt going to do? Use our heroes for target practice.

Right?

Wrong! One of the goons, without his weapon at the ready, walks right up to O’Conner so the latter can kick said goon right in the chest

But that won’t do anything, will it? After all, the two heroes are still in chains. All the thug has to do is brush himself off and restore order.

Right?

Wrong!

For it is here that Dom breaks his chains.

All he does, without any leverage whatsoever, using only his magnificent deltoids, is thrust his arms outward. His wrist manacles snap, and the chains break. This is so Dom can immediately head butt the other thug, who has pulled out his gun.

Meanwhile, O’Conner is able to wrap his legs around the first thug’s neck.

The sequence, from the super-villain walkout to the subduing of the twin (and, apparently, too-stupid-to-live) armed goons takes about ten seconds.

Over the whir of the treadmill I shouted, “Come on, man! You can’t just do that!”

Nevertheless, I kept on watching, for all that took place before the appearance Mr. Dwayne “The Rock” Johnson as the largest federal agent known to man.

Which leads, shortly thereafter, to two more of my favorite “Come on, man!” movie thriller tropes:

a) The locked, heavy-steel door that Dwayne “The Rock” Johnson smashes open with one kick.

b) Our heroes running across the tin roofs of Rio, chased by a dozen machine-gun-wielding agents, as bullets spray around their heads and legs, taking out windows and bricks and laundry, but never one single bullet hitting any of them anywhere.

This is where I ended my workout.

Those of us who write in the thriller, crime, mystery and suspense genres cannot get away with this. We cannot allow our readers to Come-on-man us.

Which means we cannot get our characters out of trouble by pure coincidence, Deus ex machina, or the temporary suspension of the laws of physics.

They have to earn their way out.

What do I mean?

A good novel is about a character’s life-and-death struggle (physical, professional, or psychological). The character, in meeting the challenges, must demonstrate strength of will. It is through the exercise of this strength that the character transforms (or, in the case of a tragedy) fails to transform.

The thriller writer gets his characters into deep trouble. Backs them into corners, as they say. The characters must get themselves out because of their own logical efforts. Breaking chains just ‘cuz is not a logical effort.

This does not mean, I hasten to add, that another character cannot show up to rescue your hero. But—and here’s the key—the circumstances for that rescue must be set up by the character beforehand

If your character is in physical peril, he can earn his way out by: a) exercising some physical prowess that has been set up in the beginning and conforms to reality; b) use some gadget he’s been hiding, also set up in the beginning (this was the function of Q in the James Bond movies); c) another character with whom the hero has had contact before. Often this is an enemy that turns ally, because of some act of kindness or moral persuasion. Thus, at the end of Casablanca, Louis lets Rick off the hook for killing Major Strasser. Why? Because he’s observed Rick’s increasingly heroic behavior and decided, finally, to show some spine against the Nazis.

The other kind of peril is the need to solve a mystery. This is, of course, the sine-qua-non of the classic mystery involving a sleuth. But it can also be a subplot in a thriller, or any other plot for that matter

In this case, the character earns the solution by an exercise of the mind. Miss Marple has her powers of observation and knowledge of the human condition. Holmes has his power of deduction. Bosch has the doggedness of his detective training. Castle uses his knowledge of fiction technique.

Thus, the mystery is solved when the final piece of the puzzle clicks into place in the sleuth’s mind. This is what my friend Tom Sawyer, former show runner for Murder, She Wrote, calls “the penny drop.” It’s that last little thing that happens, seemingly small (like a penny dropping on the floor) that the sleuth puts together with all the other cogitations to this point, to finally solve the whole thing. As Tom explains it in his excelent Fiction Writing Demystified:

As with other such devices it’s important, even if the penny drop is prompted for the protagonist by some lucky accident or coincidence, that most of the other elements of the equation are earned — the result of his or her doing.

So … never get your characters out of trouble without some sort of set-up that justifies the escape. You can have this figured out beforehand (plotters!) or you can get into a corner and then go back and figure out how to set up the escape (pantsers!)

Just remember what it says in the good book (of fiction writing): Thy hero shalt not escape by delts alone. 

What about you? Ever backed your hero into an inescapable corner? What did you do about it? 

How I Developed My Series Hero

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by James Scott Bell
@jamesscottbell

I’m happy to announce the release of my new Mike Romeo thriller, Romeo’s Hammer. It begins on a posh beach at Malibu, and ends just up the coast at Paradise Cove. In between a lot of stuff happens. (This is called a plot summary).

Today, I thought I’d say a little bit about how I came up with Romeo as my series hero.

I’d long wanted to write about a lone-wolf, hard-boiled seeker of justice. I’ve always loved this famous Raymond Chandler quote about the classic PI:

Down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. He is the hero; he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor—by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world.

He will take no man’s money dishonestly and no man’s insolence without a due and dispassionate revenge. He is a lonely man and his pride is that you will treat him as a proud man or be very sorry you ever saw him.

The story is this man’s adventure in search of a hidden truth, and it would be no adventure if it did not happen to a man fit for adventure. If there were enough like him, the world would be a very safe place to live in, without becoming too dull to be worth living in.

But I did not want to do another PI character. I love ’em, but we have enough of them. So I conceived a backstory that would cause a man to be on the run and off the grid. With a changed name. And who spent a number of years as a cage fighter.

What else could I add to make him more interesting for me? I decided to include my love of philosophy. I was nearly a philosophy major in college. But freshman year I was in a big philosophy class, with the smaller classroom discussions taught by a TA. This guy wore sandals and smoked Camels (you could smoke in the classrooms back then). He would take out a fresh cig as he spoke, hold it between two fingers, then strike a match, all while talking. He’d get a faraway look in his eyes as he went off on a metaphysical tangent. We students would watch the match burn down, waiting until it hit his fingers, which it inevitably did, and he’d shake the match vigorously to put it out—still talking! He’d drop the dead match on the floor and begin the process all over again. It always took him 2 – 4 matches to light up.

And I thought, if that’s what I might become as a philosophy major, maybe I ought to try something else.

But I digress. I’ve always loved philosophy and theology and thinking about deep things, especially in times of crisis. Give me Epictetus when things aren’t going my way, or Pascal when reflecting on ultimate truth. I wanted my series hero to be like that. So I made him a genius, a kid who was accepted to Yale at age fourteen. But then bad things happened … and we begin with Mike Romeo in Romeo’s Rules, in the present, with a tattoo on his forearm: Vincit Omnia Veritas. Truth Conquers All Things.

Plus, he likes flowers.

Most of all, though, he has that code Chandler wrote about. And at some point it struck me that I had a model for him in the back of my mind all along.

I was a mere pup when the TV series Have Gun, Will Travel was popular. But the character, Paladin (played by Richard Boone) was cool. (A paladin was a knight known for heroic deeds and the code of chivalry).

Paladin lived in the luxurious Carleton Hotel in San Francisco. There he ate the finest foods, sipped the finest brandy, and escorted the finest women to the opera. He could speak on virtually any subject.

But he was also a gun for hire. He’d go out on jobs, donning his all-black duds and six guns. His holster had a chess knight on it. Ditto his card.

The great thing about this western, unlike, say, Gunsmoke, was that Paladin very rarely shot anyone! Instead, he used his wits to outfox bad guys, or get good guys to do the right thing.

Most of all he lived by his code. One part of that code, which Mike Romeo shares, is that if someone is being bullied, justice demands the paladin step in and stop it. Here’s a clip from an episode of Have Gun, Will Travel. Paladin has just arrived in a town to meet his employer for the first time.

That’s Paladin. And that’s the sort of hero I had in mind when I conceived Mike Romeo.

Which makes writing the series fun for me. Maybe that’s the biggest key of all. You can put your hero through all sorts of tests. You can have him suffer the slings and arrows of outrageous fortune. But if he’s not someone you’d like to hang out with, the series can turn into a slog.

Fortunately, Mike Romeo is bringing me joy.

The Romeo’s Hammer is available here:

AMAZON

AMAZON INTERNATIONAL STORES

So….let’s talk series characters. Do you have one? How did you come up with him or her?

OR

Who is your favorite series hero, and why?

 

Ending Lessons From a Couple of Movies

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by James Scott Bell
@jamesscottbell

So the other day I watched Pretty in Pink, the 1986 Molly Ringwald film, written by John Hughes.

Why was I, a thriller author, watching Pretty in Pink? Because of James Spader. I’m a Spader fan, and I had been listening to Rainn Wilson’s memoir, The Bassoon King. Wilson (who played Dwight Schrute on TV’s The Office) was talking about his odd upbringing and high school days, and made a passing reference to being around rich kids who were like James Spader in Pretty in Pink. I didn’t recall that Spader was in the film.

So I went to the library and got the DVD and watched it.

I can see why Molly Ringwald captured hearts back then. She’s adorable and spunky and irresistible. The movie …

… okay, here netiquette demands that I insert a ***SPOILER ALERT***. I will be talking about the ending in detail, so if you want to see the movie fresh, now’s the time to go pour yourself another cup of joe.

As I was saying, the movie is about a high school girl, Andie (Ringwald), who comes from the wrong side of the tracks. She’s in school with a lot of rich kids, who look down their imperious beaks at her. Chief among these privileged snoots is Steff (Spader) who can’t stand that Andie won’t give him a tumble. When Steff finds out his best friend Blane (Andrew McCarthy) likes Andie, he tries to shame him out of it.

Andie is attracted to Blane, which is a cause of serious heartache for Andie’s friend, “Duckie” (Jon Cryer). Duckie loves Andie with a passion, but Andie loves him only as a pal.

Perfect John Hughes formula, eh?

Prom is coming, and no one’s asked Andie. She doesn’t expect it. But of course Blane does, and Andie is in heaven. Duckie is in hell.

But then Steff steps up his campaign to break up Blane and Andie. He tells Blane he’s got to choose. If he insists on seeing Andie, they will no longer be friends.

Blane is conflicted, but decides to break it off with Andie. He doesn’t return her calls. When she corners him at school, he makes up a lame excuse about having invited someone else to the prom and that it slipped his mind. Andie doesn’t buy it, calls him a liar, and runs out in tears.

Prom night comes. Andie decides to take a pink dress and do some of her quirky design work on it. She gets all ready to go to the prom, alone. When her dad asks her why, she says “I just want to let them know they didn’t break me.”

She gets to the hotel but is scared to take the final step inside the ballroom. She looks up. And sees Duckie. He has also shown up alone.

They run into each others’ arms and enter the ballroom together.

Blane, who is also sans date, sees them. He gets up to go to her. Steff tries to stop him. Blane tells him off (finally).

Blane goes up to Andie and Duckie. He apologizes. He says he always believed in her, he just didn’t believe in himself. Then he says, “I love you,” kisses her on the cheek, and walks out.

Duckie, the noble friend, says, “If you don’t go to him now, I’m never gonna take you to another prom again. This is an incredibly romantic moment, and you’re ruining it for me.”

Andie thanks him, runs out to the parking lot. She and Blane kiss in the rain.

The End.

Okay, here’s where it gets interesting. I felt the ending was not right. I thought:

a) Andie shouldn’t go running after Blane. He acted like a jerk. He gave her up over a measly threat from James Spader! Come on! He deserved to suffer for being so spineless.

b) Andie running after him so quickly brought her down in my estimation. She owed her loyal friend at least a dance.

c) Duckie deserved that dance, seeing as how he saved Andie’s dignity by walking into the prom with her.

d) The dialogue line “I love you” is almost always manipulative and lazy (see The Art of War for Writers, Chapter 39).

So as I’m thinking all that, I look at the Special Features menu on the DVD and see that there is a segment on “the original ending.”

And guess what? My instincts, and indeed those of John Hughes himself, were correct. In the ending that was in the script and which they shot, Andie and Duckie do dance together and then it fades out.

Which was, as they say, justice. But apparently test audiences weren’t so happy. A majority said they wanted the cute girl to end up with the cute guy!

An internal battle broke out over the ending. Most of the creative team wanted it to stay as shot, but the suits with the purse strings feared a negative audience reaction. Guess who won that fight?

So six months after the movie had wrapped, they got the cast back together to film the ending that’s in the movie.

And got negative reaction anyway! Even now, people are split on the ending. The stars (Ringwald, McCarthy, and Cryer) who were being interviewed on the DVD (these interview were filmed in 2006, twenty years after the release) talked about the controversy. Cryer remembered feeling robbed when they changed things. And he says people still come up to him, sometimes quite livid, insisting Andie and Duckie should be together at the end!

Why would they think that? Simply this: Justice was not served!

But, the other side insists, there was no sexual chemistry between Duckie and Andie. Molly Ringwald herself is of that opinion.

Ah, but there was another way it could have gone!  Andie and Duckie enjoy the prom together, then Duckie tells Andie to go to Blane. And when she goes to Blane it shouldn’t be to fall into his arms. Let it be left that they may end up together, so long as Blane proves he’s not shallow. The ending can therefore be hopeful, but not wrapped up in a pretty pink bow.

What’s the lesson here?

a) Don’t listen to the suits.

b) The best endings are about justice, not necessarily about the cuties getting together. Exhibit A: the most famous ending of all time, Does Rick end up with Ilsa? No! But justice is done, and Rick does gain “a beautiful friendship.”

Next, I watched Big Jake, a later John Wayne western. I watched Big Jake to balance out Pretty in Pink and restore order to the universe.

Big Jake is a straightforward rescue plot. Jake McCandles (Wayne) learns his grandson has been kidnapped for ransom. With his two sons, an Indian friend, and a loyal dog named Dog, McCandles sets out to get the boy back.

Dog is trained to attack bad guys when prompted by the command, “Dog!” (John Wayne films are not complex). There’s a big showdown between Wayne’s group and the bad guys, one of whom wields a machete. Dog, wounded by a gunshot, nevertheless puts the bite on the machete guy. There’s a struggle. Machete guy breaks free, and hacks the heroic Dog to death!

Here’s my lesson from Big Jake: Don’t kill the dog!

And those are my random thoughts about two ending in two films.

So now it’s your turn: Do you have any lessons you draw from disappointing endings?

Reader Friday: Writing Space

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”I am happiest writing in small rooms. They make me feel comfortable and secure. And it took me years to figure out that I need to write in a corner. Like a small animal burrowing into its hole, I shift furniture around, and back myself into a cozy corner, with my back to the wall … and then I can write.”
—Danielle Steel

What is your ideal writing space?

Giving Characters the Courage to Change

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by James Scott Bell
@jamesscottbell

Zachary Scott and Eve Arden

The other day I turned on TCM and caught the last half hour of a film I’d seen before, The Unfaithful (1947). I was pleased because it has one of my favorite actors of that period, Zachary Scott. (This fine actor really needs to be remembered for his body of work, especially in Jean Renoir’s The Southerner). The other lead was the “Oomph Girl,” Ann Sheridan.

The plot: Bob Hunter (Scott) and Chris Hunter (Sheridan) are a happily married couple. One night, when Bob is away on business, Chris kills an intruder in their home. Self-defense, right?

What no one knows (at first) is that the intruder was a man with whom Chris had a one-night tryst during the war. She and Bob had been married only a short while before Bob went off to fight. Lonely and anxious, without letters from Bob, Chris found solace in this man’s arms. She felt guilty about it ever since.

Well, the truth comes out, and Bob is stunned, hurt, outraged. He demands a divorce. Chris pours out her heart to him, admitting the wrong, needing him to understand, wanting to stay married. But Bob remains resolute. Chris accepts the inevitable.

With the secret out that Chris knew the victim, she is tried for murder. But through the fine job done by family friend and lawyer Larry Hannaford (Lew Ayers), she is acquitted. (Let’s hear it for lawyers!)

Bob is still firm about the divorce. He goes to see another family friend, Paula (Eve Arden, who made a career out of playing the good-hearted pal). Paula delivers some plain talk to Bob. Almost like a slap in the face. She tells him about women during the war, how frightening and lonely it all was, especially when no letters came. And aren’t we all human? Don’t we all make mistakes? And are you going to hold on to this bitterness forever?

Bob goes back to his house as Chris is coming down the stairs, her bag packed. Bob asks her what her rush is. Maybe they could talk awhile. Discuss how to split up the property (he’s clearly wanting her to stay so they can reconcile.)

Chris, however, has accepted the divorce and closed off her emotions.

Now it’s time for family friend and lawyer Hannaford to be the voice of reason. (Let’s hear it for lawyers!) He makes a plea for the two of them not to throw away what they have. He leaves telling them this is one case he won’t mind not getting.

Bob sits next to Chris on the sofa and, in a typical 1940s gesture of impending reconciliation, offers his wife a cigarette. She takes it.

Fade out.

And I thought, Nicely done. Because the film utilizes a very helpful tool of the craft—the courage to change motivator.

When a character has to go into pitched battle—physically or professionally or psychologically—he is taking a step that requires courage. We need to see what it is that helps the character overcome the natural fear that occurs when facing such a challenge.

In Bob Hunter’s case, his step is psychological. He has to be willing to put aside the blow to his male ego, admit he’s been wrong in his vindictiveness, forgive his wife, and work at saving the marriage. If he suddenly changed at the end, without any preparation for it, we’d feel a bit cheated. We need to know why he’s taking this step.

So the screenwriters (one of whom was the famous noir novelist David Goodis) gave Bob a “voice of conscience.” That was Eve Arden’s character. By giving Bob a good, old-fashioned talking-to, we are set up to accept his change of heart.

This voice of conscience needs to be someone who is credible, wise, trustworthy. In many movies—mostly from the 30s and 40s—this is a voice from the past (which is set up in Act 1). At a crucial point in Act 3, the Lead hears that voice in his head as he’s walking down the street in torment, e.g., his mothers’ voice saying, Johnny, don’t do it! Once you do it, you’ll do it again, and then you’ll be bad. Don’t break my heart, Johnny!

Then Johnny hears the voice of his parish priest (Irish accent, of course): Don’t do it, Johnny! You’ll break your poor mother’s heart!

Finally, the voice of Johnny’s brother who was gunned down by mobsters in Act 2: You’re nothing but a crumb, Johnny. That’s all you’ll ever be, you hear me? A stinkin’ lousy crumb!

Shortly after this sequence, Johnny will take the courageous step to do the right thing. And we accept it, because we know what motivated the change.

The motivation must be strong: coming from a source the Lead trusts and loves.

The motivation must be clear: there is no doubt about the source (to the Lead and to the audience).

The motivation can be a voice of conscience, or it can be invested in a physical item.

An example of the latter comes from the great Bette Davis film, Now, Voyager (1942). Davis plays Charlotte Vale, the withdrawn, unattractive daughter of a steely, upper-crust matriarch. This mother has dominated Charlotte all her life, convincing her she has nothing to offer the world.

After a nervous breakdown, Charlotte is sent to a sanitarium run by the good Dr. Jaquith (Claude Rains). Charlotte reaches a point where she is ready to take a major step—going on an ocean cruise. This will require her mixing with people socially for the first time.

On the cruise she meets a man named Jerry (Paul Henreid), who is traveling alone (he is unhappily married). Jerry sees the “real” Charlotte, and the two fall in love. Ah, but they know they must part. Jerry gives Charlotte a bunch of camellias before they do.

Charlotte finally comes home to face her domineering mother. And boy, does the mother (the great character actress, Gladys Cooper) try to smash Charlotte right back to where she was before.

This is the key moment (the “mirror moment”) for Charlotte. She is thinking, can I possibly stand up to my mother? She’s too powerful! Will I go back to being the old Charlotte again?

If only there was something to give her the courage to … well, have a look:

Camellias! This emotional association is enough to give Charlotte the courage to stand up to her mother.

So …

… when you get to a point in your manuscript where your protagonist must take a major step, one that requires courage, provide a boost via a voice of conscience, or an item of emotional significance. This boost is most helpful sometime after—or simultaneously with—the mirror moment. Or during the final battle at the end of the book.

Characters exercising strength of will, to confront challenges and transform as a result. That’s what a novel is really all about.

Give them the courage to change.

Reader Friday: Advice

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“If you have any young friends who aspire to become writers, the second greatest favor you can do them is to present them with copies of The Elements of Style. The first greatest, of course, is to shoot them now, while they’re happy.” ― Dorothy Parker

What advice would you give an aspiring writer today?

Create Mystery, Not Confusion, in the Opening

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by James Scott Bell
@jamesscottbell

Today’s first-page critique raises an important craft issue: how much should you withhold from the reader when trying to inject mystery into the opening scene?

Mystery, one could argue, is the sine qua non of page-turning fiction. Why? Because you want the reader on the hook, desperate to know what happens next. You can’t have that without an element of mystery. And mystery involves holding back information.

Yet this requires a deft touch, especially in the opening pages. You are introducing the readers to the characters and story world. You want them to know enough to get into the scene, you want to dangle a bit of mystery, but you don’t want to overload the exposition. At the same time, you need to make sure the readers are not scratching their heads as they read along.

We’ll chat about all this on the other side of today’s anonymous first page:

***

January 1974
Egypt-Libya border

The blades of the search-and-rescue helicopter cut through salty air one thousand feet above the Mediterranean. The steep escarpment came into Temple’s view, sparse vegetation between ridges. His headset sputtered over the roar of the engines.

“Senator,” said the pilot, “I think that’s Lilah.”

Fingers clenched around the doorframe, Temple leaned into the wind and surveyed the scene below. Vehicles bound for Alexandria were stalled on the hilly pass by Gaddafi’s border patrol. The soldiers had separated the men from the women, holding them at gunpoint away from the caravan. Temple strained to spot the girl. “Where?” he shouted into the mouthpiece, blinking away gritty sand.

“Not with the crowd, sir. Check the port side,” the pilot said. “Look for yellow clothes.”

There. A figure running between boulders, her robes fluttering behind. Lilah was a couple of hundred feet from the group under inspection, concealing herself behind the limestone formations. She looked up at the chopper before plastering herself to the side of a rock. After weeks of reconnaissance, they’d located one of the abducted teenagers, the daughter of the late ambassador.

“She’s hiding from the border patrol,” Temple muttered. “What about the boy? There were two kids.”

“Probably with the caravan. Let me—” The pilot stopped to curse. “We have a problem, Senator.”

One of the soldiers had detached himself from his team to follow Lilah. If she got caught, there was little a single search-and-rescue chopper could do to help. Temple grabbed the AK-47. He did not have the skill to hit the target from this distance, but he could buy her some time.

“Hold position and inform the ground team,” Temple hollered.

Temple’s fingers trembled when he took aim. His stint in the army between world wars had not involved active combat. The helicopter shuddered. With a gasp, Temple tumbled back into the seat. Sweat trickled down his neck.

When he checked the terrain again, Lilah was not where she had been, but her yellow robes made her easy to spot even behind the rocks at the far border of an open space. The soldier in pursuit sprinted across the clearing, toward Lilah. Temple swore and took aim, once more.

Before he could press the trigger, there was a sudden blast on the ground. The soldier’s body disintegrated, ripped into pieces and scattered across the territory. Temple’s mouth fell open, and sounds struggled to escape.

***

JSB: There is much to commend here, not the least of which, of course, is that it opens with action and disturbance. In keeping with the thriller genre, we’ve got a girl in immediate danger as a rescue chopper tries to save her.

The writing is crisp and sure. I like Plastering herself to the side of a rock. I also like how details are marbled in with the action, never slowing things down.

My notes, then, are fine tuning, but with one major issue to resolve.

Let’s do the fine tuning first.

Character Name

I’d give Temple’s first name up front. I thought Temple was the first name of a woman. The next line clears that up, but unless there’s a strong reason we only know this character as Temple throughout (and I can’t think of one), give us the full name.

Dialogue Attributions 

Always place an attribution after the first complete sentence or clause. Thus:

“Not with the crowd, sir. Check the port side,” the pilot said. “Look for yellow clothes.”

Should be:

“Not with the crowd, sir,” the pilot said. “Check the port side. Look for yellow clothes.”

1 + 1 = 1/2

This is a Sol Stein rule I have found quite helpful. Stein, a legendary fiction editor and a novelist himself, held that when you use two different words or terms to describe something, the overall effect is diluted rather than strengthened. The writer should choose the most evocative descriptor and ditch the other one. This sentence threw me:

The soldier’s body disintegrated, ripped into pieces and scattered across the territory.

Something that disintegrates does not rip. The two images work against each other.

I suggest sticking with disintegrated here, and render what that would look like. I see red … but that’s as far as I am going to go before breakfast.

Also, territory implies a huge expanse of land. An exploding body would cover an area.

Cursing

I appreciate the author using The pilot stopped to curse and Temple swore. We’ve had several discussions here at TKZ on this issue. See, for example, here. My view is that the scene loses nothing, and no potential readers will be turned off when they sample the book.

And now for my main issue …

I’m not a writer of military thrillers, so perhaps others can chime in (Brother Gilstrap?). But here we have a United States Senator, probably in his mid-60s, in a military chopper, firing an AK-47 (would this be the correct weapon in this context?) We’re told the senator doesn’t have great skill and that he was never in combat. So how on earth is he in this position, as opposed to trained military? Perhaps the author is withholding this information to extend a mystery. Maybe the next page gives us the whole story. Ha!

But let’s deal with what we’ve got.

My standard advice in the opening is to act first, explain later. But as with all axioms, it requires some expansion. There are times when we need a bit of exposition to clue us in, or a line of backstory to explain a situation (Note: In workshops I tell my students they can have three lines of backstory in their first ten pages, used all at once or together.)

It would not be hard to come up with an interior thought or a couple lines of dialogue to at least give us a hint of why this situation has occurred. We don’t need all of it … yet. But as is, I fear readers are likely to think the situation isn’t plausible.

Also, why aren’t the soldiers firing back at the low-flying chopper?

To sum up, this is fine thriller style and potentially a gripping opening scene. If the major issue I’ve mentioned can be cleared up—and if the weaponry and other military details are sound—we’re off to a great start.

I’m at a writers conference today and may not be able to comment as much as I’d like. So have at it, TKZers. Anything else you’d like to offer our anonymous author?