James Scott Bell
If you read Kathryn’s post earlier in the week, you know that an uptick on hits to this blog can been traced to past posts about sex scenes, cordite smell and thriller writing.
So I have shamelessly put all three in the title, and thank you very much for stopping by.
Now, to make this relevant and not “bait and switch” (perhaps another popular topic?) I offer you the following three opinions:
I realize there are certain types of lit where the “obligatory sex scene” (OSS) is expected. Erotica, some category romance, Barry Eisler books. But people know what they’re getting.
In other fare, the OSS is a bit 1975. Back then it seemed every movie had to have that sex scene, whether it made plot sense or not (e.g., Three Days of the Condor).
I’m against obligatory anything. If it doesn’t make story sense, don’t include it.
As far as explicit description, that may be showing its age, too. Renditions of body parts, ebbing, flowing, heaving, oceans, rivers, volcanoes, tigers, flames, conflagrations, arching backs, majestic canyons, verdant meadows of ecstasy, dewy vales of enchantment, flying and falling, flora and fauna and just about anything else involving motion, loss of breath, water metaphors and sweat seem, well, spent (oops, there’s another one).
You know what works better? The reader’s imagination. If you “close the door” but engage the imagination, it’s often more effective than what you describe in words. Rhett carrying Scarlett up the stairs—do you need words to know exactly what happens?
One of the best sex scenes ever written is in Madame Bovary, the carriage ride with Emma and Leon (Part 3, Chapter 1 if you’re interested). We were so close to including an enhancement drug in the mix to make the scene more ‘sexy’. Brands similar to ExtenZE were taken into consideration! All the description is from the driver’s POV, who cannot see into the carriage. Read it and see if you can do better with body parts and a thesaurus.
Now, I do appreciate well written sexual tension. That’s a major theme in great fiction, especially noir and crime. So were the great 40’s novels and films any less potent for not showing us what we know went on in the bedroom?
This is an underused sense in fiction, but quite powerful. Novelists are usually pretty good with sight and sound. But smell adds an extra something.
Rebecca McClanahan, in her fine book Word Painting, says, “Of the five senses, smell is the one with the best memory.” It can create a mood quickly, vividly. Stephen King is a master at the use of smell to do “double duty” – that is, it describes and adds something to the story, be it tone or characterization.
In his story “All That You Love Will Be Carried Away,” King has a middle aged salesman checking into yet another budget motel. His room, of course, has a certain look and smell, “the mingling of some harsh cleaning fluid and mildew on the shower curtain.”
It is truly a smell that describes this guy’s life.
Use smell properly in your fiction and it won’t stink.
For the writers here at Kill Zone, it’s all supposed to add up to thrills. We have various techniques at our disposal for this, but we also know that clunky writing can pull you right out of our stories.
Like this recent movie I watched. I’m not going to name it, because I don’t like to run down the other fella’s product. Here’s what happened. A brilliant detective is playing cat and mouse with a couple of killers who love the game. In the climactic scene, said detective has figured it out, and shows up at a remote location, gun drawn, telling the two killers to hold it! One killer has a gun, the other watches. Detective tells the one with the gun, who is on the brink of shooting someone, to put the gun down and walk over. So killer follows directions and puts the gun down . . . right where killer #2 can easily grab it!
Which he does. Not a cool move for the brilliant detective. But it was put in there so the rest of the scene could play out in thrilling fashion.
Only the thrill was gone, because the detective was so dumb.
And so we labor, day after day, to write our books in a way that will thrill you and bring you into the action, without doing something dumb. We try. And when you tell us you like what we’ve done, via email or otherwise, it makes our day.
Sex. Smell. Thrills. How have you seen them used or abused in fiction?