By Sue Coletta
First, let’s define the word “muse.”
A muse is a woman, or a force personified as a woman, who is the source of inspiration for a creative artist. How amazing that we’re able to tap into her energy and translate our story to the page.
An alternate definition of “muse” is an ancient Greek word that means to be absorbed in thought or inspired. Amusement is the absence of thought or inspiration. Hence why social media can destroy our creative time. Over saturating ourselves with anything, including thoughts, outside and inner pressure, too many ideas, etc., can wound our muse. Ever notice that some of our best ideas come when we’re falling asleep or taking a shower or walk? That’s because our mind is relaxed.
What happens inside the brain?
Dr. Lotze from the University of Greifswald had always been fascinated by the creativity of writers, so he wondered how the brain reacted when they crafted stories. In a scientific study, he took novice writers who’d never completed a story and professional writers who’d authored published books. The results amazed him.
Did you know our brains react differently, depending on whether an author writes professionally or if they’re just beginning their writing journey?
First, Dr. Lotze built a custom-made writing desk. While lying supine, their head cocooned inside the scanner, the subject rested their arm on a wedged block. He positioned several mirrors which allowed the writers to see what they were writing.
Dr. Lotze asked 28 volunteers to first only copy a block of text. This gave him a baseline of brain activity. Next, he gave them the first few lines of a short story and told them to continue on. Thus, triggering their muse. They were allowed to brainstorm for one minute, write for two.
The research showed certain parts of the brain became active during the creative process but not while copying text. During brainstorming, some vision-processing regions also came alive in some of the writers, as if they were seeing the scene unfold in their mind’s eye.
During the writing process, other regions activated, as well. Dr. Lotze theorized that the hippocampus was retrieving factual information for the subjects to use in their stories. Who says research isn’t important?
Another region of the brain, near the front — left caudate nucleus and left dorsolateral and superior medial prefrontal cortex, which is crucial for storing several pieces of information at once — also activated. When writers juggle characters and plot lines we put special demands on that part of the brain.
The problem with this study was that he’d chosen all novice writers.
What happens inside the mind of a seasoned writer?
Twenty authors volunteered this time. In the same position as the novice writers, Dr. Lotze gave seasoned writers the exact same instructions. Brainstorm for one minute, write for two. Like before, the first few lines had been written for them.
Dr. Lotze’s findings are as follows …
During creative writing, cerebral activation occurred in a predominantly left-hemispheric fronto-parieto-temporal network. When compared to inexperienced writers, researched proved increased left caudate nucleus and left dorsolateral and superior medial prefrontal cortex activation. In contrast, less experienced participants recruited increasingly bilateral visual areas. During creative writing, activation in the right cuneus showed positive association with the creativity index in expert writers.
High experience in creative writing seems to be associated with a network of prefrontal and basal ganglia (caudate) activation. In addition, the findings suggested that high verbal creativity specific to literary writing increased activation in the right cuneus associated with increased resources obtained for reading.
You can read the full report here.
Let’s break it down in easier terms.
The brains of seasoned writers worked differently than novice writers, even before they began to write. During the brainstorming, the novice writers showed more activity in the brain’s regions responsible for speech.
“I think both groups are using different strategies,” said Lotze. “It’s possible that the novice writers are watching their stories like a film inside their head while the professional authors are narrating it with an inner voice.”
He discovered more differences.
Deep inside the brain of seasoned writers, a region called the caudate nucleus, responsible for skills that require a lot of training and practice, also became active. In the novice writer, it didn’t. The caudate remained quiet. Perhaps that’s due to the fact that when we start learning a skill we’re more consciously trying to master it. With practice, those actions become largely automatic, and it’s inside the caudate nucleus where the shift occurs.
Skeptics like Dr. Pinker, another scientist, said the test wasn’t involved enough to make comparisons. He’d rather see tests between writing fiction vs. nonfiction or other factual information. Creativity might also cause differences from writer to writer. For example, some writers may activate the taste-perceiving regions in the brain when they write about food. Another writer might rely more on sound. Paul Dale Anderson wrote a fascinating post that touched on this difference in more depth.
What’s the best way to summon creativity?
Read a book, listen to music or audiobooks — any exercise that forces us to envision someone else’s story world. A passionate and focused writer can accomplish more in a few hours than an unfocused writer can in a full day.
Over to you TKZers. What do you think of this study? Are you an auditory or visual writer? While writing, can you taste the food?
by Sue Coletta
Clare’s recent post got me thinking about craft and how, as we write, the story inflates like a Tom turkey. If you think about it long enough and throw in a looming deadline, Tom Turkey and story structure have a lot in common.
Stay with me. I promise it’ll make sense, but I will ask you to take one small leap of faith — I need you to picture Tom Turkey as the sum of his parts, constructed by craft. And yes, this particular light bulb blazed on over the Thanksgiving holiday. We are now having spiral ham for Christmas dinner. 🙂
But I digress.
Story beats build Tom’s spine (hook, inciting incident, first plot point, first pinch point, midpoint, second pinch point, all is lost, second plot point, climax). The ribs that extend from Tom’s spine liken to the equal parts that expand our beats and tell us how our characters should react before, during, and after the quest.
Broken into four equal parts, 25% percent each, we call this the dramatic arc and it defines the pace of our story.
- Setup: Introduce protagonist, hook the reader, and setup First Plot Point (foreshadowing, establishing stakes); establish empathy (not necessarily likability) for the MC.
- Response: The MC’s reaction to the new goal/stakes/obstacles revealed by the First Plot Point; the MC doesn’t need to be heroic yet (retreats/regroups/doomed attempts/reminders of antagonistic forces at work).
- Attack: Midpoint information/awareness causes the MC to change course in how to approach the obstacles; the hero is now empowered with information on how to proceed, not merely reacting anymore.
- Resolution: MC summons the courage and growth to come up with solution, overcome inner obstacles, and conquer the antagonistic force; all new information must have been referenced, foreshadowed, or already in play by 2nd plot point or we’re guilty of deus ex machina.
Tom Turkey is beginning to take shape.
Characterization adds meat to his bones and interesting, conflict-driven sub-plots supply tendons and ligaments. When we layer in dramatic tension in the form of a need, goal, quest, or challenge, Tom grows skin. Obstacle after obstacle, conflict after conflict, he sprouts feathers. Utilizing MRUs — Motivation-Reaction-Units; for every action there’s a reaction — sets our story rhythm. They also aid us in heightening and maintaining suspense.
When we use MRUs, Tom Turkey fluffs those feathers. Look what happened. He grew a beak.
Providing a vicarious experience, our emotions splashed across the page, makes Tom fan his tail-feathers. The stakes add to Tom’s glee, and he prances for a potential mate. He thinks he’s got the goods to score with the ladies. He may actually get lucky this year.
Then again, we know better. Poor Tom, he’s still missing a few crucial elements in order to close the deal.
By structuring our scenes, Tom grew an impressive snood. See it dangling from his beak? The wattle under his chin needs help though. Hens are shallow. Quick, we need to imbue the story with voice.
Ah, now Tom looks sharp. What an impressive bird. Watch him prance, all full and fluffy, head held high, tail feathers fanned in perfect formation. Stud muffin.
Uh-oh. Joe Hunter leveled his shotgun at Tom. We can’t let him die before he finds a mate. We need to ensure he stays alive. But how? We’ve given him all the tools he needs, right?
Well, not quite.
Did we choose the right point of view to tell our story? If we didn’t, Tom could end up on a holiday table surrounded by drooling humans in bibs. In other words, we’ll lose our reader before we even get a chance to dazzle them with Tom’s perfect structure.
We also need narrative structure. Without it, Joe Hunter will murder poor Tom. We can’t let that happen!
Narrative structure, by the way, is almost impossible for me to define (maybe one of our craft teachers will weigh in here). I call it the “oomph” and I know it when I write it. I also know when it’s missing. Have you ever started writing a story but it didn’t have that certain something? The story was just … meh. There’s nothing inherently wrong with it, but it didn’t sizzle like it should for some reason.
Yeah, so have I. Those novels are now trunked. Without the oomph, the story doesn’t work. We need the oomph — aka narrative structure.
Tom needs narrative structure, too, if he hopes to escape Joe Hunter’s bullet. He also requires wings, in the form of context. Did we veer too far outside of our readers’ expectations for the genre we’re writing in? Did we give Tom a heart and soul by subtly infusing our theme? Can we boil down the plot to its core story, Tom’s innards? What about dialogue? Does Tom gobble or quack?
Have we shown the three dimensions of character in order to add oxygen to Tom’s lungs? You wouldn’t want to be responsible for suffocating Tom to death, would you?
- 1st Dimension of Character: The best version of who they are; the face the character shows to the world;
- 2nd Dimension of Character: The person our character shows to friends and family;
- 3rd Dimension of Character: Our character’s true character. If a fire broke out in a crowded theater, would she help others or elbow her way to the door to save herself?
Lastly, Tom needs a way to wow the ladies. We better make sure our prose sings. If we don’t, Tom could die of loneliness. Do we really want that on our conscience? No! To be safe, let’s review our word choices, sentence variations, paragraphing, grammar, and the way we string words together to ensure Tom lives a full and fruitful life. Don’t forget to rewrite and edit. If readers love Tom, he and his new bride could bring chicks (sequels or prequels) into the world, and we, as Tom’s creator, have the honor of helping them flourish into full-fledged turkeys.
Aww … it looks like Tom’s story will have a happy ending after all.
Over to you, TKZers. Is Tom Turkey missing anything? What would you name his mate?Can anyone define narrative structure in a more craft-appropriate way?
Posted by Sue Coletta
To prepare for my first post as a TKZ member (yay!), I read all the social media posts on the Kill Zone (my little research addiction rearing its head :-)). Back as far as 2009, Joe Moore wrote Social Networking Showdown, which explored MySpace vs. Facebook, Shelfari vs. Goodreads, Crimespace, Gather, Bebo, LinkedIn, and the all-important email list. Even though some of these sites are nonexistent today, Joe’s advice still applies. And in 2011, he shared his perspective on using manners online. Which is critical these days.
The way we conduct ourselves on social media matters. Hence, why Jim made social media easy and why, I presume, Jodie Renner invited Anne Allen to give us 15 Do’s and Don’ts of social media as only Anne could, with her fantastic wit.
Through the years the Kill Zone authors have tried to keep us from falling into the honey trap of social media. Which brings me to the burning question Kathryn posed this past June: Writers on Social Media: Does it Even Make a Difference?
In my opinion, the correct answer is yes.
Working writers in the digital age need to have a social media presence. Fans expect to find a way to connect with their favorite author. How many of you have finished reading a thriller that blew you away, and immediately went online to find out more about the author? I know I have. It’s only natural to become curious about the authors whose books we love. Give your fans a way to find you — the first step in building an audience.
I’ve seen authors who don’t even have a website, never mind an updated blog. This is a huge mistake, IMO. It’s imperative to have a home base. Without one, we’re limiting our ability to grow.
There are two types of blogging: those who blog about their daily routine and those who offer valuable content. Although both ways technically “engage” our audience, the latter is a more effective way to build and nurture a fan base.
When I first started blogging I had no idea what to do. I’ve always loved to research, so I used my blog as a way to share the interesting tidbits I’d learned along the way. For me, it was a no-brainer. I’d already done the research. Writing about what I’d learned helped me to remember what I needed for my WIP while offering valuable content to writers who despise research (Gasp!). Over time my Murder Blog grew into a crime resource blog.
Running a resource blog has its advantages and disadvantages. Be sure to look into the pros and cons before choosing this route. When I first scored a publishing deal, I realized most of my audience was made up of other writers. The question then became, how could I attract non-writers without losing what I’d built?
My solution was to widen my scope to things readers would also enjoy, like flash fiction and true crime stories. Who doesn’t like a good mystery?
With a resource blog it’s also difficult to support the writing community. Book promos go over about as well as a two-ton elephant on a rubber raft. If you decide to run a resource blog, find another way to support your fellow writers. When one of us succeeds, the literary angels rejoice.
There’s one exception to the “no book promos” rule for resource blogs, and that is research. It’s always fun to read about other writers’ experiences. Subtly place their book covers somewhere in post (with buy link). That way it benefits both your audience and the author.
The one thing we can count on is that how-to blog changes with the times. A few months ago, my publisher shared a link to an article about blogging in 2018. Because she shared the article via our private group, I’m reluctant to share the link. The gist of article is, come 2018 bloggers who don’t offer some sort of video content will be left in the dust. Only time will tell if this advice holds true, but it makes sense. The younger generation loves YouTube. By adding a video series or a Facebook Live event we could expand our audience.
It’s time-consuming to create each video episode. Hence why I had several months in between the first two episodes of Serial Killer Corner. Our first priority must be writing that next book. However, consistency is key. Weekly, monthly, bi-monthly? Choose a plan that works for you and stick with it.
SEO — Search Engine Optimization — drives traffic to your website/blog. Without making this post 10K words long, I’m sharing a few SEO tips with added tips to expand our reach. In the future I could devote an entire post to how to maximize SEO. Would that interest you?
- every post should have at least one inbound link and two outbound links;
- send legacy blogs a pingback when linking to their site;
- never link the same words as the post title or you’ll lessen the previous posts’ SEO (note how I linked to previous TKZ posts in the 1st paragraph);
- use long-tail keywords rather than short-tail (less competition equals better traffic);
- using Yoast SEO plug-in is one of the easiest ways to optimize a blog’s SEO;
- self-hosted sites allow full control of SEO, free sites don’t;
- remove stop words in the post slug (for example, see the permalink for this post); I’d also recommend removing the date, but that’s a personal preference;
- drip marketing campaigns drive traffic to your site;
- slow blogging drives more traffic than daily blogging (for a single author site);
- consistency is key — if you post every Saturday, keep that schedule;
- use spaces before and after an em dash in blog posts (not books);
- use alt tags on every image (I use the post title, which should include the keyword); if someone pins an image, the post title travels with it;
- link images to post and book covers to buy link;
- white space is your friend; use subheadings, bullet points, and/or lists;
- longer posts (800 – 1, 000 words min.) get better SEO than than shorter ones;
- using two hashtags on Twitter garners more engagement than three or more;
- protect your site with SSL encryption (as of this month, Google warns potential visitors if your site isn’t protected; imagine how much traffic you could lose?);
- post a “SSL Protected” badge on your site; it aids in email sign-ups;
- via scroll bar or pop-up, capitalize on that traffic by asking visitors to join your community, which helps build your email list;
THE 80/20 RULE
Most of us are familiar with the 80/20 rule. 80% non-book-related content; 20% books. My average leans more toward 90/10, but that may be a personal preference.
What should we share 80% of the time? The easiest thing to do is to share what we’re passionate about. When I say post about passion I don’t mean writing. Sure, we’re all passionate about writing, but I’m sure that’s not the only thing you’re passionate about. How about animals, nature, cooking, gardening, or sports?
One of the best examples of sharing one’s passion comes from a writer pal of mine, Diana Cosby, who loves photography. Every Saturday on Facebook, she holds the Mad Bird Competition. During the week she takes photos of birds who have a penetrating glare and/or fighting stance. On Saturdays, she posts two side-by-side photos and asks her audience to vote for their favorite “mad bird.” Much like boxing, the champion from that round goes up against a new bird the following week.
On Fridays, she posts formal rejection letters to birds who didn’t make the cut. With her permission, here’s an example:
Dear Mr. House Sparrow,
I regret to inform you that though your ‘fierce look’ holds merit, it far from meets the requirements for entry into the Mad Bird Competition. Please practice your mad looks and resubmit.
1st inductee into the Mad Bird Hall of Fame
It’s a blast! I look forward to these posts every week. As such, I’m curious about her books. See how that works?
My own social media tends to run a bit darker … murder & serial killers top the list, but I also share stories about Poe & Edgar, my pet crows who live free, as well as my love for nature and anything with fur or feathers. The key is to be real. Don’t try to fake being genuine. People see right through a false facade. Also, please don’t rant about book reviews, rejection letters, or anything else. Social media is not the place to share your frustrations.
As for soft marketing on social media, I like to make my own memes. It only takes a few minutes and it’s a great way to keep your fans updated on what you’re working on. In the following example I wrote: #amwriting Book 3, Grafton Series. I also linked to the series. Don’t forget to include a link to your website. The more the meme is shared, the more people see your name. Keep it small and unobtrusive. See mine in the lower-right corner?
In the next example, I asked, “What’s everyone doing this weekend? No words, only gifs.” Have fun on social media. The point is to engage your audience.
Folks love to be included. Plus, I genuinely want to get to know the people who follow/friend me. Don’t you? It doesn’t take much effort to make your fans feel special. Take a few moments to mingle with them. It’s five or ten minutes out of your busy schedule, yet it may be the only thing that brightens someone’s day. In a world with so much negatively and hatred, be better, be more than, be the best person you can be … in life and on social media.
Over to you TKZers. How do you approach social media? Would you be interested in more SEO and blogging tips?
Women impaled by deer antlers, bodies encased in oil drums, nursery rhymes, and the Suicide King. What connects these cryptic clues? For Sage and Niko, the truth may be more terrifying than they ever imagined.
CLEAVED, Grafton County Series, Book 2, is on sale for $2.99.
For your reading pleasure, we have the first 400 words of a novel submitted by an anonymous and brave author. It takes guts to share your baby with others on a public forum. I’ll provide my feedback below. Please share your constructive criticism in your comments.
Naomi white-knuckled her steering wheel, working to stave off a panic attack as she drove eastbound on Route 50 toward Annapolis and the sanctuary of home. She’d flicked off the radio, as there was nothing but hurricane talk, so she didn’t even have that to distract her.
Where is the person I used to be? Or did I just think I was once someone different?
She focused on calming her breathing. The last thing she wanted was to have an all-out panic attack in full view of other post-work commuters while hurtling down the highway at seventy miles per hour. Her mind conjured a vision of losing control of the car and sailing off the side of the road into the trees. Then it skipped to crossing the median and into oncoming traffic, a reversal of what had happened to Wolfe’s late wife. Such thoughts and visions had to be beaten off with all the will she could muster.
“Get… a… grip,” she hissed, teeth clenched. Picture home.
She steered by rote, brushing aside more creeping mental images of passing out or having a heart attack—which only served to feed the anxiety. Inhaling, exhaling, one breath at a time, she slowly recovered some sense of control. Tension eased and her shoulders dropped. Calmer, her thoughts now turned to mulling over the day’s biggest challenge: the point at which she’d had to put on a neutral face while quashing down her humiliation.
Her phone rang, interrupting her thoughts. She tapped her hands-free device. “Hello?”
“Hey. How’s it going?”
Despite the blasting artificial chill of the car’s AC, warmth flooded her face and neck at the sound of Wolfe’s voice—and the news she had to tell him.
“I’m okay,” she answered, keeping her tone even.
“Uh oh. What happened?” His laconic voice belied an intensity and intelligence she admired, and which she believed many people didn’t immediately appreciate.
“I didn’t get it. I guess they just don’t see me as a leader. Sorry I didn’t call you earlier. I confess I was licking my wounds.”
He was silent a moment. “I’m sorry to hear that. You know they made a mistake in not giving it to you, right? Did you at least throw something at the person who got your promotion?”
“Clint got it. I guess they think he’s more qualified. Things work out like they’re supposed to, I hear.”
Before I give my feedback, I wanted to share my thoughts on where to start a novel. Since I am a thriller/crime fiction writer, I tend to start with a body or an act of violence or action that will change my protagonist’s life and tip it like a first domino colliding with others. An inciting incident disrupts the status quo and stirs things up in an intriguing way for the reader. It jump starts the story arcs and kicks off the plot to take its course.
An example of this is found in the first Hunger Games book where the inciting incident is a ‘district’ lottery drawing that forces Katniss into taking the place of her little sister in a fight to the death broadcast on a futuristic television show. That incident is a punch to the emotional gut of the reader who MUST turn the page to find out what happens.
But what if your inciting incident isn’t that dramatic? What can you do to strengthen your opener?
Point of No Return – One benchmark for a solid inciting incident is that the protagonist can’t retreat once it starts. There should be a point of no return where the hero/heroine is forced to step out of his or her comfort zone and head into the abyss, to take a risk they hadn’t seen coming or that forces them into confronting their worst fears. It’s the author’s job to set the stage for the reader to discover why the hero or heroine deserves a starring role.
To Go Forward, You Sometimes have to Step Back – Ask yourself, what is my story about, the main thrust of the plot? Let’s call that a demarcation line. Now step back to a point where you find your protagonist, living in relative obscurity. What will drive him or her into stepping toward that demarcation line? What will stir, incite, or force them into making a move they might not otherwise? Then ask what would make that move a one-way trip? What is their point of no return, line in the sand moment? Picture a burned out mercenary, living as a hermit in the jungles of Venezuela, when a nun running an orphanage crosses his path. Their meeting may not be the point of no return, but when the villain in your story makes it his business to force the mercenary’s hand (threatening the children or the nun), the anti-hero takes action and can no longer live in obscurity. He’s forced to give up his life of anonymity and face his demons in order to do the right thing.
Questions to Ask About Your Inciting Incident to Make it Stronger:
1.) Review your current WIP for your inciting incident. Does it propel your protagonist (or even your antagonist) into your plot arcs?
2.) Is the inciting incident big enough to sustain a novel or propel it forward in a meaningful and realistic way? Are there enough building turning points to make it a journey?
3.) Are the stakes high enough to make the reader care?
4.) Does the inciting incident influence or jump start the main story question for your plot?
5.) Can your hero or heroine retreat from the inciting incident or is it significant enough to force a change into a new direction? In other words, do you have a legitimate point of no return where they are forced to cross that proverbial line in the sand?
I generally liked that the author started with Naomi white-knuckled behind a steering wheel, knowing there is a hurricane headed toward Annapolis (although Naomi quickly deflates that tension by wanting the distraction of the radio over ‘hurricane talk’). I looked up the area and hurricanes have hit this part of the country with devastating results in loss of lives.
But the minute Naomi retreated into her head, asking where her old self had gone, it was a head fake into a different direction that stutter-stepped into the next paragraph. In paragraph 3, there is more faked or forced emotion that takes place in her head, with an emphasis on “telling” what she’s feeling. The fabricated suspense of imagined car accidents and panic attacks are quickly deflated when Naomi gets a call and she says, “I’m okay.” The imaginary incidents reminded me of Calista Flockhart in Ally McBeal where her inner thoughts were more exciting and dramatic than her real life, but those were done with dark humor and dancing babies as her biological clock ticked down.
I had to wonder, as an aside, where Naomi could drive 70 mph on a packed commuter highway. It’s hard to tell if the other cars are stopped and she’s the only one careening across the lanes and through trees, since the action only takes place in her head.
I don’t know if the author intended for the reference to the death of Wolfe’s late wife by car accident is intentional and a foreshadowing. Let’s hope so, but I was confused by the description “a reversal of what had happened…,” deciphering between Naomi’s imagination and what might’ve happened to his wife. That description forced me to reread and I still didn’t understand.
In the dialogue we learn that she has lost a job promotion to someone else, Clint, and she seems to accept it like a worn welcome mat. The reader doesn’t know what she does for a living either. It’s hard to relate to Naomi or get invested in her life with an opener that is more about misdirection.
The author is capable of writing a suspenseful scene. There are good parts to this submission if the author can stay focused on visualizing the fictional world through Naomi’s eyes and how her emotions manifest in her body or her senses (showing rather than telling), but when the narrative drifts to imagined car accidents, fake heart attacks or passing out at the wheel, these descriptions read as ‘over the top’ and forced emotions as more of Naomi’s story is revealed about her losing a promotion to Clint, a co-worker.
Since we don’t know from this limited 400 word submission which direction the plot will go or what genre this is, we won’t know if Naomi is a mild-mannered woman capable of hiring a hit man to take out Clint to get her promotion or doing that job herself with hours spent at a gun range. Or did the author intend for this to be a taste of Naomi’s world until the hurricane hits and she discovers what’s really important in her life? We simply don’t know.
I think the author would have a more compelling start if the contrived emotions were stripped from this intro and we get to know more about Naomi and care about her. There’s a lot of pressure to getting a lot packed into 400 words, but this intro could orient the reader into Naomi’s world with the hint of foreshadowing where the story will go. It doesn’t have to be all action and suspense when the story is a drama about a woman’s struggle to find balance in her life and how she makes a dynamic change to make to happen. How would that story look?
Maybe Naomi has been hit in the teeth by losing another promotion to a better candidate because she is overlooked at every turn, but the impending hurricane forces her out of her comfort zone and she confronts her demons that change her forever. I would read that story.
1.) What feedback would you give this author, TKZers?
2.) What tips do you have for finding the right place to start your story?
I’m writing this blog post on Thursday in anticipation of a long weekend in which I am (finally!) going to learn how to ski (cue drum roll…) I’m sincerely hoping that come Monday when this blog post will be posted, I will have survived the experience in one piece (no broken bones, smushed body parts, or too many bruises at least). The hardest thing for me will not be the physical aspect (although, to be fair, I am immensely uncoordinated) but the mental ‘fear factor’. I’ve been cross country skiing before and loved it – basically you get to hike with skis on and you don’t have any shrieking speed issues unless you take a wrong turn. Actual downhill skiing, however, is quite another thing – something that involves overcoming my fear of speed (or, more precisely, careening out of control).
My husband snowboards and my boys have been taking skiing lessons since we moved to Denver so I’m the last hold out (if you don’t count our collie Hamish, who, to be sure, would love it if he could have skis on his paws). It seems strange to me that I think nothing of moving continents or taking risks with my writing, but skiing (like bicycle riding) remains a definite ‘fear factor’ to overcome. I managed to combat my fear when it came to bicycle riding (although I’m still a slow poke!) so I’m sure I’ll survive skiing – the question is whether I can overcome fear to actually enjoy it!
I’ll keep you all posted, but, hopefully, by the time this posts on Monday and I can respond to comments, I will have mastered the basics of downhill skiing!
So TKZers, what is your ‘fear factor’ and are you planning on overcoming it in 2017?…If so, how?
I don’t watch many television shows, so I was surprised that I recently become addicted to a new HBO series: “Westworld”.
When I first heard that HBO was making a series based on the original concept of the Westworld film (the earlier version was written by sci-fi writer Michael Crichton), I’ll admit that I was skeptical. The original Westworld was one of the worst movies of all time, surpassed in its hideousness (despite a bravura performance by actor Yul Brynner) only by its lamentable sequel, “Futureworld”.
The premise is simple: “Westworld” is a recreation of a 19th century western town, staffed by android “hosts”, where vacationers can act out their fantasies about living in the old West. The paying guests of Westworld are told that they can live out their Wild West fantasies in complete safety. “Nothing can go wrong,” the tourists are told. Which means, of course, that everything certainly will go wrong, and fast.
Fortunately for viewers, the new HBO series far surpasses the original film. It explores issues such as the nature of consciousness, the relationship between humans and robots, and the stories we invent about our lives.
Here is the trailer for the original 1973 movie:
And here is the trailer for the 2016 HBO series.
Same premise, much more effective execution. The HBO version of Westworld is a great show for writers to watch, in particular. At its heart, Westworld is a show about storytelling. Each episode explores an aspect of telling stories, positing the notion that our memories are nothing more than the narratives we select to anchor our identities as human beings. My favorite character in the show is the writer, Lee Sizemore, a profane, alcoholic hack who is charged with writing the “depraved little fantasies” that entertain the tourists at Westworld. Sizemore’s hapless, comedic character offers a refreshing contrast to the polished perfection of the androids and robotic-seeming humans of Westworld.
Have you been watching the Westworld series on HBO? Here is a New York Times article recapping this week’s penultimate show, Episode 9. But if you haven’t been watching the series, I wouldn’t jump into one of the later episodes. Multiple timelines and unreliable narrators abound in this ambitious show, so it’s essential to watch it from the beginning. Next Sunday is the finale, and fans of Westworld are eager to know: is Arnold really dead?
Fun aspect of the new Westworld: the integration of contemporary rock music as the musical score. Here’s a clip as an example (strong language, violence advisory).
Now that they are in middle school (OMG!) my boys have begun analyzing books in their language arts classes in terms of the classic three-act structure. As part of this they have been identifying and discussing the nature of character and conflict. Now, we here at TKZ have often talked about the need for characters to be placed in conflict to give a book both momentum and purpose. In the mystery and thriller genre usually the nature of the conflict is critical to the plot (without conflict there’s no rising tension or action). Nonetheless, it’s been interesting to observe my own kids analyzing their class book in terms of the nature of the character conflict involved. They have to categorize this conflict in terms of:
- Character vs. character
- Character vs. nature
- Character vs. society/community
- Character vs. self
In many books a degree of conflict may exist on all of these levels, but I realized, while discussing these elements with my boys, that it would be a useful exercise for me to undertake on my own WIPs – mainly because, if I couldn’t nail down the conflict in my own draft yet, perhaps I didn’t really have as good handle on my character or the plot as I thought.
Even though I am an outliner, I rarely I go through the exercise of analyzing my own book in terms of the character conflict involved – I just assume I know what it is as I piece all the elements together. It’s only when something goes wrong, that I take a step back and try to analyze where things may have gone adrift. Sometimes the issue/problem is that I haven’t articulated in my own mind the true nature of the character conflict involved. Luckily, taking that step back means I can usually resolve the problem:) However, I do think when beginning any new project it doesn’t hurt to ask the question in the first place.
So TKZers, what about you? Do you take the time to identify and analyze your character conflict while your writing or do you go with the flow? How would you characterize the conflict for your main character in your current WIP?