And Now For Something Completely Different

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Every so often writers need to take a break from writing. I’m a big believer in this piece of advice from German poet Johann Wolfgang von Goethe:
“One ought, every day at least, to hear a little song, read a good poem, see a fine picture, and, if it were possible, to speak a few reasonable words.”
So this weekend I’m taking a break by participating in the 2014 Video Art and Experimental Film Festival. I became involved with this organization because my son has been friends for the past eight years with the son of Dan Fine, the festival’s director and chief curator. When my son was younger he’d often end up at Dan’s apartment and I’d have to go there to pick him up and take him home. Whenever I got there, whatever the time, my son would plead to stay a few minutes longer, and so I spent a fair amount of time talking with Dan about his work in the field of video art. It’s hard to define the genre; they’re usually short pieces, between one and fifteen minutes long, and they differ from traditional short films or documentaries in that they emphasize the power of images or the novelty of technique or the impact of sounds and music rather than narrative storytelling. The videos are sometimes strangely beautiful, sometimes genuinely disturbing, and often just plain weird.
Over the course of many conversations Dan discovered that I’m in love with the sound of my own voice, and so he invited me to be an emcee for the festival and a moderator for the panel discussions among the video artists who participate in it. Before each festival Dan and his team of curators sift though hundreds of submissions from artists and choose the best thirty or so. The videos are screened for three nights at Tribeca Cinemas, a wonderful theater in Lower Manhattan near Canal Street. We showed some fantastic pieces Thursday and Friday nights, and we’re going to wrap up tonight with another panel discussion and a big party. If you happen to be in New York you should definitely stop by; the website for tickets is here. 
But the truth is, even when I’m taking a break from writing, I’m always thinking about it. Even though most of the videos don’t conform to the traditional narrative format, I sometimes get story ideas from them. And the best videos reinforce my conviction that shorter is usually better. I love powerful two-minute videos that make their points without beating the subject to death. In all forms of art, you want to leave your audience hungering for more. 

How to Successfully Put a New Spin to an Old Tale

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Jordan Dane
@JordanDane


JBashman_M9B_Predator_REV2_ Final Cover for web (2)


I’m excited to have Janice Gable Bashman as my guest today at TKZ. Her latest release (now available) is PREDATOR with Month9Books. Stunning cover. Janice is a Bram Stoker nominated author and editor of the prestigious International Thriller Writers (ITW) publication, The Big Thrill, and she serves on ITW’s board of directors as the Vice President of Technology. Today Janice will share her tips on how to put a new spin to an old tale and make it fresh. Take it away, Janice—and welcome.


Janice Gable Bashman
I love when an author takes science to its extreme. Often it goes horribly wrong. I devoured early works by Michael Crichton (Jurassic Park and Sphere) and James Rollins (Deep Fathom and Amazonia) during my youth. The books were popular and it’s easy to see why. The authors took old tales—dinosaurs roaming the earth, a 300 year-old space ship at the bottom of the ocean, an ancient power causing havoc in a modern-day world, and a mysterious disease threatening to wipe out the population with the cure hidden deep inside the jungle—and put new spins on them. The stories were fresh and exciting and loved by many. They still are.


So how do you put a new spin on an old tale when readers think they already know how it’s supposed to go and there isn’t anything they can possibly learn?


You have to think outside the box, as the saying goes.


In my novel Predator, I give the werewolf legend a couple of new spins by introducing the Benandanti (an actual folkloric belief that certain families of Italy and Livonia were werewolves who fought against evil) as well as a modern scientific approach to mutation and the science of transgenics. But I take these new spins a step further. The science is used to its extreme, in some cases it goes horribly wrong, and the Benandnati may not be what they seem. How did the Benandanti end up alive today and living in Ireland and the United States? What are they up to and why? Are they good or evil?


By raising new questions, upping the stakes, and using science in a new way, I was able to put a new twist on the werewolf tale. Writing about science or werewolves or super soldiers is nothing new. They are simply a premise. It’s the story elements that give these topics a new twist and makes them fresh and exciting. And it’s the characters that bring them alive.


So how can you do the same with your premise?

Can you combine elements of different genres to create a new idea?

Can your protagonist see things from a perspective different than you ever thought possible?

Can you use your novel’s physical world to put a fresh spin on things?

Can you mash together two concepts to create something new?


Think about it. It’s possible. It’s up to you and your imagination to wow the reader with a new take on an old tale. I know you can do it.


So TKZers—what novels do you love that put a new spin on an old tale, and why?

———————————————————————————–
Janice Gable Bashman headshot-small-slide-246x300 (2)
Janice Gable Bashman is the Bram Stoker nominated author of PREDATOR (Month9Books 2014) and WANTED UNDEAD OR ALIVE (w/NEW YORK TIMES bestseller Jonathan Maberry) (Citadel Press 2010). She is editor of THE BIG THRILL (International Thriller Writers’ magazine). Her short fiction has been published in various anthologies and magazines. She is a member of the Society of Children’s Book Writers and Illustrators, Mystery Writers of America, Horror Writers Association, and the International Thriller Writers, where she serves on the board of directors as Vice President, Technology.

Links:
Website: https://www.janicegablebashman.com
Facebook: https://www.facebook.com/JaniceGableBashmanAuthor
Twitter: http://twitter.com/janicebashman


Book buy links for Janice:
http://amzn.to/1xCYQwO
http://bit.ly/ZsJgFX (Barnes & Noble)

Why do you write books?

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by Joe Moore
@JoeMoore_writer

At one of my recent fiction workshops I asked the attendees why they want to write a book. The responses varied, and all were interesting. Then I pointed out which responses I felt were good reasons and which were not so good. First the not so good.

Fame. Fame is fleeting and almost never comes quickly if at all. For all those striving to become famous, only a few ever achieve it. We’ve all heard stories of writers who self published and became rich. They make the news because they’re rare. If you’re writing for notoriety, reexamine your goals and objectives.

Money. I know a few professional writers who make a good living at the craft. I know many others who make money at writing, but not enough to support themselves and their families. They must be creative in supplementing their writing income—the most common form is to maintain a day job. The rest make so little money at it that one wonders why bother. If you’re writing to make a fortune, call me when you do so I can borrow from you.

Influence. There are some new writers whose main goal is to impress their readers, perhaps with their ginormous brains or voluminous vocabularies. If that’s the motivator you rely on, stick to scientific papers with limited circulation before your brain explodes in frustration.

Agenda. You have a moral crusade and you want to preach it to the masses. You figure you can do it through a novel and no one will figure out that it’s your personal agenda you’re expressing and not your protagonist. Readers are smart. They’ll see you coming a mile away.

Now the good.

No alternative. We write novels because we can’t think of a good reason not to. Wanting to write is not a reason—needing to write is. We simply need to get our stories told. Even if there is no one to read them. Even if we never make a penny. Even if they are for our eyes only. Although it is visually gross and probably tasteless, I always think of the baby alien bursting out of the crewman’s chest in the movie Alien. The story is coming out and there’s nothing we can do about it but sit down and start typing.

As a dear friend and mentor of mine once said, “We write because we’re ate up with it.”

So, TKZers, why do you write?

————————

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Manhunt Comes a Little Too Close for Comfort

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It’s been an exciting week in my little  beachside burg.  A law enforcement manhunt transformed our sleepy, residential street into the eastern edge of a police perimeter lockdown.

A local police chase ended around noon, when a pair of auto thieves  rammed into another car at an intersection a few blocks away from my house.  Officers quickly apprehended one of the suspects, but the other one fled and began jumping fences. The police set up a perimeter, one leg of which ended at the foot of our driveway. When I poked my head out to see what was going on,  a boyish-looking officer ordered me to stay inside the house and lock all doors. Minutes later, a police chopper began buzzing our house.

Of course, I was thrilled by the ruckus. It offered me a rare opportunity to put our overpriced, high-tech security system to good use.  As my husband looked on with a bemused expression,  I ran around the house like a jumpy little chicken hawk,  arming doors while monitoring the progress of the police chase on an iPad pressed to my ear. Then I reviewed every angle of the house from the camera monitor, to make sure no one had snuck in when we weren’t looking. Leaving nothing to chance, I grabbed our Flat-coated retriever to do a perimeter check. (Our dog MacGregor is totally untrained and exuberantly friendly, but I figured he’d at  least throw me a warning bark if he sniffed out a car thief.) We watched from the third-floor balcony as police searched our neighbors’ yards. 


In the end, they caught the bad guy hiding inside a garage a couple of doors down from ours. 

The whole time the manhunt was going on, I was making notes and taking pictures, trying to preserve the finer details in my writer’s memory. 

Maybe my excitement over the manhunt episode had nothing to do with being a writer–maybe it was just a sign that I need to get out more.  I should take up some adrenaline-pumping sport, like sky-diving.

Or what if I tried, say, sky-diving from a police helicopter? That would be exciting.

Right. I definitely need to get out more.

What about you? Do you find yourself enjoying the random bits of excitement you encounter during your everyday life, just so you can “use” them as fodder for writing?

Writing Rituals, Order and Routine

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by Clare Langley-Hawthorne

Over the last couple of months I witnessed first hand the power of order and ritual in my writing – or, more correctly, I witnessed what happens when order turns to disorder and the ritual of planning and creating disappears. All this because I agreed to step up and volunteer to be president of my sons’ elementary school parent teacher organization and in a giant ‘poof!’ of hot air all my creative order and energy disappeared with it. 

Taking stock after a couple of months I now realize just how important order, routine (and time!) is to my creativity – and how I have to reclaim them all, in order to re-establish the balance we all struggle to maintain between our writing life and our ‘other life’.

This fact was solidified when I read David Brooks’ op-ed in the New York Times entitled ‘The Good Order‘ – though this opinion piece veers into politics – it was the idea that creative people need to build and maintain their own order and routine that resonated with me – as well as the fact that doing so can be surprisingly hard (which the last few months have certainly demonstrated!). This op-ed piece also referenced a book entitled ‘Daily Rituals: How Artists Work” complied by Mason Currey (whose website on creative people’s daily routines I encourage you all to visit – if only to read first hand how many artists face their work with deliberation, ritual and routine). 

Many writers establish very strict routines in order to get their writing done. Anthony Trollope was at his writing desk by 5:30am and insisted on completing 250 words every fifteen minutes for the few hours he had before his day job started at the post office. Trollope produced a staggering 49 novels in 35 years writing this way. Stephen King gets up at the same time each day, has a glass of water and his vitamins, and sits at the same seat at his desk, where his papers are arranged in the same way each day, before he starts to write. King says this helps tell his mind this is time to start dreaming (a sentiment I love by the way!).  When John Grisham was first starting out, he would arrive at his legal office by 5:30am each weekday to write with a goal of completing a page a day. He says his rituals then were “silly and brutal but very important”.

Since volunteering my time and seeing it evaporate just as quickly, I now need to reestablish a new set of writing rituals and routines. I’ve never been one to have any real ritual beyond what I call the art of showing up with my bum in the seat and my fingers on the keyboard each day – but now I need to establish a new order and a renewed sense of discipline. I’m even contemplating setting my alarm clock so I won’t be able to let my volunteer time bleed into my creative time. 

So I’m turning to you my TKZers – how do you set your writing routine? Have you had to ‘reset’ that routine when circumstances changed and you suddenly found your writing time being eroded? If so, how have you gone about establishing a new routine or order?  

Creating Characters We Care About

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James Scott Bell
@jamesscottbell


Today’s post is brought to you by:


I mention the book today because it’s the story of the bond between two brothers. Chuck Samson, an ex-Navy chaplain who served with a Marine unit in Afghanistan; and his adult, autistic brother, Stan, who has a heart as big as the Pacific. And what happens when killers come after them both.
This bond is something I call the Care Package, a story element that greatly enhances reader connection to the Lead.
The Care Package is a relationship the Lead has with someone else, in which he shows his concern, through word or deed, for that character’s well being.
This humanizes the Lead and engenders sympathy in the reader, even if the Lead happens to be a louse.
Let me give you a few examples.
In The Hunger Games, Katniss Everdeen is not just some lone rogue. She is the protector of and provider for her mother and sister, Prim. What she does in taking Prim’s place in the Games is the ultimate sacrifice of love. When she makes it, we are so much on her side that we will follow her anywhere, rooting for her all the way.
In Star Wars, the only reason Luke will not leave with Obi-Wan Kenobe is that his aunt and uncle need him on the farm. Here’s a boy who dreams of becoming a knight, but he can’t just leave his family. We like that in him. It shows nobility. Shortly thereafter, of course, his aunt and uncle are murdered…and Luke is off to fight the evil Empire.
Dorothy Gale cares about Toto in The Wizard of Oz. She’ll do anything to protect her innocent dog from the clutches of Miss Gulch.
Having a Care Package relationship keeps a character from being completely selfish. We don’t like such folk. We hope that we are not that way.
Scarlett O’Hara, for all her dithering selfishness, cares about her mother and father.
Mike Hammer, not the softest of PIs, cares about Velma.
Even the bitter and bigoted Walt Kowalski (Clint Eastwood) in Gran Torino cares…about his dead wife. It is only because of her final wishes that he even tolerates the young priest who keeps showing up to check on him.
The Care Package is one of the reasons we watched Breaking Bad. Walter White engages in a truly despicable act — cooking super crystal meth for sale on the street. Yet he holds some degree of sympathy. He gets into the trade

because he’s dying of cancer and wants to provide for his wife and handicapped son.

But as the story progresses, Walt becomes more ruthless and drags his former student, Jesse, into this dark world.
And yet…and yet…whenever Jesse gets in real trouble, Walt tries to get him out of it. He cares about Jesse in spite of all that happens. And Jesse cares about Mr. White. They forget about this caring at various times when they want to kill each other, but it always comes back when the chips are down.
Now that is good writing, and a great lesson. You can have a criminal as your Lead, and if you give him a Care Package, you’ll still hook the reader. 
In short, the Care Package shows that even the worst characters have some shred of humanity in them which gives the readers hope they might, if circumstances are just so, be redeemed.
In my workshops on structure I stress the difference between the Care Package and a later beat called Pet the Dog. The latter is something that happens in Act 2, when the Lead takes a moment out of her own troubles to help someone weaker than herself. In The Hunger Games, for instance, Katniss helps the weakest of the players in the Games, little Rue.
The Care Package, by contrast, is a relationship the Lead has before the story begins. Thus, sometime early in Act 1, we are given a glimpse of this bond.
A word to you plotters/outliners. Consider using a Care Package as the emotional starting point for your developing story. That’s what I did with Don’t Leave Me. I got the initial idea of writing about a former military chaplain. I started to think about his backstory, and almost immediately came up with the idea of his having an autistic brother he has protected all of their lives, and now must do again when killers arrive on the scene.
It was such a strong emotional tie for me that it incentivized my wanting to write the entire novel, just to vindicate this relationship.
And now you pantsers, as you are writing along, maybe 10,000 words into that wonderful mess you love, why not pause for a moment and consider the lead character who is starting to come to life? You don’t have to worry about structure here, just ask yourself what kind of relationship can this Lead have with someone else that shows a caring spirit?
Heck, you’re a panster! Go ahead and write a scene like that. The benefit to you is the greater emotional connection you’ll have with your Lead. And that’s going to make for a better book.
And just to complete today’s commercial, please note that Don’t Leave Me is currently on sale at Amazon, Barnes & Noble, and Kobo.

So what character in recent fiction have you been drawn to, and why? 

The Dispute Continues…

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The author debate over the Amazon vs. Hachette business disagreement proceeds apace. The latest volley is an impassioned though civil discussion between J.A. Konrath, a staunch supporter of Amazon, and Lee Child, a very visible signatory of Authors United, and which was featured as an entry on Konrath’s blog on Thursday, September 25. It is worth reading, if you are at all interested.

I see strengths and weaknesses with the positions of both sides. Where I am having a problem, however, is the proposition that Amazon is doing something wrong or evil by refusing in some cases to sell Hachette books by pre-order (or at all). Permit me to draw a comparison with another product: there is a type of breakfast food that my wife likes; let’s call it “Flavored Cardboard to Go.” Six-count boxes of multiple flavors of this product were readily available at all of the supermarkets within a three mile radius of our home. I would buy a box or two during the course of my weekly shopping trip with the result being happy wife, happy home. That is, until one day when…it wasn’t available. I asked at each supermarket and was told that the item had been discontinued. But that wasn’t exactly accurate. The grocery supplier that serviced the supermarkets locally to me was no longer carrying it because…well, they just were no longer carrying it. Being the resourceful type, I checked the website of the company which manufactures the product and discovered that a certain national chain which I normally don’t patronize (let’s call it “Bullseye”) carried the item. They don’t have a store near us, but there is one I pass occasionally while out and about causing trouble. I will accordingly stop in every six weeks or so, stock up on Flavored Cardboard to Go, and all is well in the House of Hartlaub. Have I been a bit inconvenienced? Yes. But big whoop. There was no evil involved, however. A company and a distributor stopped doing business with each other and another company filled the vacuum. Nothing more or less was involved. 
I don’t see any difference between my experience in my role as hunter-gatherer and the current dispute between Amazon and Hachette. One can go to Barnes & Noble (or visit its fine, sparkling website which leaps to one’s command at a keystroke or two) or Wal-Mart, or, as they say, wherever books are sold (including Hachette’s own website) and buy or order any Hachette book you want, so long as it’s in print. Amazon hasn’t choked off the supply. You just can’t purchase certain Hachette books there at the moment. There was actually a similar dispute between Simon & Schuster and Barnes & Noble last year — bet you forgot about that, didn’t you? — where Barnes & Noble was cast as Simon Legree because they stopped selling S & S books when the two entities couldn’t come to terms. Again, Barnes & Noble didn’t shut off the supply. One could buy from other outlets. One DID buy from other outlets. The dispute was ultimately settled and things rolled on, until now.

Word: what is happening is a business dispute. It will get resolved at some point. It’s not a hero vs. villain issue, and casting it as such is a diversion, pure and simple. My questions for you, however, is…have you had trouble buying books published by Hachette? Has the dispute, and its fallout, changed your book buying habits? Other than in the abstract, do you even care?

A page-turner? You decide.

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Today, we have an untitled first page submission by another brave writer. I’ll get the ball rolling with a few comments after the page, but then I’d like you to put on your reader’s cap and give us your first gut reaction in the Comments. After reading this opening, would you turn to page two? Why, or why not? 

***

He lay still in a prone firing position looking through the scope of his rifle with his finger curled around the trigger. In the center of the crosshairs he watched the sinister eyes of his target. Even from a distance of eight hundred yards Max thought the man appeared to be smug. He was responsible for the planning of a terrorist attack in the United States that claimed the lives of thirteen innocent children. He was basking in the glory he was receiving from his fellow tribesmen. To them he was a king, a God among mortal men. He had attacked the great Satan in the name of Allah and they were all rejoicing.  The man looked around, smiling and waving to those around him. Without warning the man suddenly buckled at the knees and collapsed in a heap. There was no sound, other than him hitting the ground violently. Blood spewed three hundred and sixty degrees, splattering the crowd with blood and brain matter. Max couldn’t hear the screams of the crowd and didn’t take the time to see the fear on their faces. But he knew by the way they quickly scattered they were fearful and screaming. He wished the families of the thirteen victims could see what he was seeing. Perhaps it would bring some closure to some of them.

***

My comments: 

Perhaps because terrorism is dominating the news this week, I was grabbed by this premise of taking revenge on an evil-doer. The writer opens the story with a promising action scene.

Suggestions:

* I was distracted by the juxtaposition by the use of “sinister” and “smug” to describe the terrorist’s eyes, as seen by Max. I would suggest revising to convey “sinister” in a more specific way. Something like “flat, cold eyes,” perhaps?

* I was distracted in places by the point of view, by the middle of the paragraph in particular. The sentences beginning with “He was responsible…”; “He was basking in the glory…”; “To them he was a king…”; and “He had attacked…” seemed written in an omniscient point of view. Then we switch to the terrorist’s point of view, as he turns and waves. The next sentences, which begin with “Without warning…”; and “There was no sound…” seem to be from the crowd’s point of view. It would just take a little tweaking to show all of this action taking place from Max’s perspective. 

* Later in the page, there is a repetition of “screams and fear.” 

* There was a disconnect to me between “Max…didn’t take the time to see the fear on their faces,” and “He wished the families of the thirteen victims could see what he was seeing.” Again, a little tweaking could strengthen this section.

Overall:

I think this page simply needs a bit of tweaking to address the issues I’ve mentioned. I would definitely turn to page two to see what happens next in this story. Thank you, Writer, for your submission!

What about you? Would you turn the page? Why or why not?