Unlikely Source of Inspiration

So, I've been sick for a long time. A really long time. I think a lot of it has to do with the amount of stress I'm under right now--both personal and work related. My life has seen some big changes the past few months and it was really only a matter of time until my health would begin to pay the price. That said, I thought I had kicked it--I think what was a sinus infection--and then it came back full force after my trip down to Knoxville. Let's just say I was in a great deal of pain this weekend from the worst earache I've ever had...and that's coming from a girl who once popped her eardrum while scuba diving. Okay, maybe it wasn't THAT bad, but it was bad.

At any rate, I didn't have a lot of get-up-and-go this weekend. What was meant to be a four day writing spree turned into four days of feeling like utter crap. I didn't want to get out of bed, let alone do anything productive. lol

So, I spent a good portion of this weekend watching the second season of The Vampire Diaries. I know...I know... but dang it, that show is GOOD. And I have to say, it is a Master Class in upping the stakes and how to create a no holds barred level of tension that has you saying "just one more episode" even when you're completely exhausted. I found myself simply amazed by what that show accomplishes week to week... (see where this is going? Translate week to week to: chapter to chapter..) I started thinking, how are they accomplishing what they're accomplishing? Well, here's a few things I noted...

1. They always leave each week with a mini-cliffhanger. Some twist that you didn't see coming and which is only revealed during the last couple of minutes of each episode. You're left with an URGENT NEED to know what happens next... and if you're behind like me, that means you can pop the next episode on and find out. That's exactly where you want to leave your readers: Needing To Know More. You can do this by leaving unanswered questions, cutting a chapter off mid-scene..lots of tension creating ways that will pull your readers forward. Be it to the next chapter or the next book...

2. No one.... and I do mean NO ONE... is off limits. The writers are just as likely to kill off a main character as they are some walk-on character who makes no more than a brief appearance in an episode. Once this precedent is set, you truly begin to believe that ANY character can be taken out. At any time.

3. Well-developed secondary characters. I love that this show doesn't solely rely on the main characters to keep the series going. They have some really well-defined secondaries that, in a lot of ways, I like even more than the principal players. They have great sub-plots going that feature them, making them more than just filler in the background. I mean, come on... who doesn't love Vampire Caroline? :)

4. It really illustrates the whole Donald Maass philosophy. Who can't your character live without? Take them away. Etc. Etc. Just when you think a situation can't get any worse... it does. Not only do the characters have big picture stakes in a certain situation, they also have personal ones. Nothing worse than choosing who should die when you're forced to choose between two people you love. Add to it the knowledge that the world will end if you don't choose... and Yeeeikes. Good stuff!

5. Characters that are well-defined, with both good and bad characteristics that make them BELIEVABLE. People that you either cheer on or hope and pray get their comeuppance. If you can't connect with the characters you're watching/reading, even if you can't stand them... you'll be rowing without a paddle. Seriously.

These points are really just skimming the surface, but they're definitely ping ponging around in my head right now, and I'm thinking about what I can do to ensure I have the same success that this show has. Even though I was sick, it was still a weekend well spent. :)

Anyone watch and love this show as much as I do? :)

Agree or disagree?

It's Like Salt

There are tools in a writer’s arsenal that I like to think of as seasoning. The most common ones are adverbs and adjectives. Use them too much and your story is unpalatable. Too little and bland, bland, bland. Of course this is a matter of taste. I’ve a good friend whose idea of culinary excitement is to slather some mayo on her white bread and bologna. Then again, I’ve had Mexicans laugh at me for crying over chile rellenos.

A little less thought of in the seasoning category are backstory and flash backs.

Now every writer cares deeply about his or her character’s backstory. A good character doesn’t pop up from thin air. He has a full life that begins before the story –erm except for David Copperfield. We get to follow him from birth. :) Ahem. But yes, there is usually the story before the story. How did this character get to this point where our story starts? What are the forces that have made her the person she is at the start of the story? All very important. Right? Well…

That depends. Of course, we –the writers- need to know all of this. It helps us develop our character. The reader might need to know as well. Certain plots revolve around things that have happened in the past as it comes back to haunt the character in the present. Backstory can be very important when it comes to world building as in fantasy. The reader can’t easily jump into an alternate world without understanding how that world works.

The thing is, backstory is like salt. Too much and it ruins the reading experience. Our story is now. Yes, backstory helps ground the reader, or guide them, but it must be used properly. Back to fantasy/sci-fi or alternate world building. A reader will be much more forgiving of backstory because it is needed to understand the world the characters live in. Thus we can add a bit more into the beginning of the book. Even so, you have to remember backstory: salt.

A while back, Jen wrote an awesome post of tension. One main point in tension is to leave the reader constantly wanting to know more. In every story there is a mystery. This doesn’t mean a “whodunit” precisely. It is a subtle use of raising questions that the reader wants answered. Here is where backstory can be used in a highly effective manner.

Giving hints of things that happened in the past can whet a reader's curiosity. What has happened to this character? Why does she fear this thing? What haunts them? All these answers are backstory. Yet how we reveal them can be a thing of beauty or a huge bore.

What is more tantalizing? Little clues that bid you to put together the whole picture? Or a huge dump of information set right in the middle of some other on going action? Think of it this way. Say you are watching the season opener of a show. Before it begins, you get, “Last season on Baywatch (har!) such and such happened.” Yes, of course that can be interesting in and of itself, but get on with the show already. Then again, if you know nothing about what happened last season and important information FROM that season is mentioned within the current season without any nuggets of information, then yeah, you become lost and irritated.

Doling out the backstory not only informs the reader but keeps them hooked for more.

Backstory can be conveyed in a variety of ways, the info dump (watch out, train wreck ahoy!), dialogue (beware of “you know Bob”) short bits of inter-monologues, and the favorite –flashbacks.

Flashbacks. Ah, so tempting! Like that last slice of chocolate cake that is just sitting there on the kitchen counter, calling you…

Flashbacks are alluring because instead of a passive or inactive recounting of what has occurred, you can create a dynamic action filled reenactment of pertinent events. Oh, but the utter saltiness of flashbacks!

Yes, a flashback can be effective. We wouldn’t have them if they weren’t. An aside here –one often hears dire warnings of writing “no-no’s” but listen, none of these things, adjectives, adverbs, telling, backstory, etc would be around if they didn’t have their uses. It’s learning HOW to use them that is the key.

But I digress. :) There is a time and place for flashbacks. Some can be a subtle narration as in Outlander where Frank leaves Claire to go see a Mr. Bainbridge. Claire bids Frank to give Mr. Bainbridge her regards and Frank murmurs a dry “Of course.” Why? Well, Claire very smoothly tells us by slipping strait into a flashback in which she burns her fingers on a teapot and blurts out “Bloody fucking hell!” in polite company. This whole bit has the appearance of ‘real time’ when really it is a flashback. In this case the flashback is anecdotal, nor does it detract from what is going on in the current story. In fact, it answers the raised question of why Frank is reluctant to bring Claire along.

Then there is the flashback as recalled in a memory. This sort of flashback is often conveyed in italics as to show the reader that we are indeed experiencing a flashback. Why? Because often the flashback is more abrupt. It is giving us information but it doesn’t fit as well into the ongoing narrative. I.e. “Timothy saw the smoke and his mind filled with dark terror, seeing another time and place. He ran down the hall, crying for his mother. Where was she? Did she not feel the heat of the fire?...” And now we know why happened to Timothy when he was ten and why he fears smoke and fire. Yet we have been distracted from the current situation.

If a flashback goes on too long the reader become submersed in the flashback and disoriented upon reentry into the current narrative. A real danger because things like this pulls the reader out of their nice cozy state of active reading. Like using too much salt, a flashback can ruin your story’s momentum.

This is huge reason why flashbacks fail when a writer succumbs to the temptation in the first chapter of a book, because the reader hasn’t had time to sink into the story. Openings are like the proverbial trail of crumbs along that path in the woods. You are leading the reader in, tantalizing them with hints and questions that bid them to follow further, turn that page. By slapping down a flashback in those first pages not only are you giving them the desert before the appetizer, you are alerting them to the journey.

Best to use the flashback sparingly. Just as with backstory, dole it out. Be a cheapskate about it. Of course they can be effective. But they should be flashes, not glorified info dumps.

Effective use of backstory and flashbacks is a master craft. It isn’t easy to do, you’ll need practice, might fail spectacularly, but once learned it can be a wonderful tool in your arsenal.

Salty Or Sweet?

I recently listened to THE NOTEBOOK by Nicholas Sparks. I've seen the movie version a million times, and I was all set to go on a wild ride of fights and lovemaking…and more fights. Allie and Noah are probably one of my all-time favorite movie couples. No one can throw down the way they do. They love each other so much, yet they never hesitate to call each other out on being complete ass-hats. It's what makes them great.
 

That said, I found—as I have in a lot of book-to-movie stories I've read/listened to over the last few months—that the movie far outshined the book. They're the same story, obviously, but the thing that pushed the movie ahead of the book for me was the pacing and TENSION. This isn't meant to disparage the book in any way—let's face it, it's a heartbreaking story that most of us will never forget. There wouldn't be a movie if Sparks hadn't written a damn good book that touched people.
 

My point touches on Kristen's post from last week. Our characters are not our dolls to play with. We need to put them through hell and back and hope they come out the other side okay. A movie has a short timeframe to make that happen, so naturally the pacing will be fast and tense. But why can't books also be that way? Shouldn't we all be striving to keep that underlying tension going through every scene? I would argue that we should. To help make my point, I shall now give you an example from THE NOTEBOOK.
 

For those of you who have never read the book or seen the movie – possibly both – here is a quick rundown of one scene, as told in the movie/book. Bear with me while I mangle them both. J If you haven't seen/read either…you may want to skip this post.
 

**SPOILER alert!!**
 

Brief Summary of the movie: Allie and Noah were teenage sweethearts, torn apart by her parents who thought Noah wasn't good enough for their daughter. They both moved on, only to be reunited several years later. Allie is now engaged, but Allie and Noah end up back together during a couple of wild, sex-filled days. But they're caught by her mother and now Allie must decide between Noah and her fiancé.
 

*curtain rises*
 

The Movie: Noah watches Allie's mother drive away, after she's tried her best to break the two of them apart. Noah: What a beeeyotch! (Doesn't say it but you KNOW that's what he's thinking!)
 

The Book: Noah watches Allie's mother drive away, after she's tried her best to break the two of them apart. Noah: She was such a strong woman. Now he knew where Allie got it from.

Jen's dog ears perk up. "R'uh?"

 

The Movie: Noah confronts Allie.
 

The Book: Noah sits quietly knowing Allie needs some Allie-alone time.

 

The Movie:

Allie: I don't know what I'm going to do.

Noah: Are we back there again you neurotic woman?!"
 

The Book: Allie approaches Noah.

Allie: I'm so sorry.

Noah: Don't be sorry, we both knew this was coming.

 

The Movie:

Noah: You can't go back to him! The last two days happened, you know?!

Allie: But he gave me a ring and I gave him my word!

Noah: And your word is shot to hell now, don't you think?!
 

The Book:

Allie: This is so hard.

Noah: I know. Is there anything I can do to make this easier for you?

 

Jen, listening: WTF?!

 

The Movie:

Noah: If you go back to him, it's about his money!

Allie: I hate you!

Noah: I hate you more!
 

The Book:

Noah: What are you going to do?

Allie: I guess it depends on Lon. I mean, he may not even know anything. Maybe I can just go back and he'll never know.

Noah: *stomach tightens* but he endures it with manly pride intact. Well, sorta.

 

The Movie:

Allie: _)&(&$%^*()_+)(_*&^#%$^(*&#)*(_)!!!!!!!!!! You bastard!

Noah: +_)(*&^%&^*(*)(+)(*&^&%$%&^*()(+)_)(*&^%%&^*()(_)+_()*&^!!!! You're a pain in the ass!

 

The Book:

Allie: I keep thinking I want two things. I love YOU, but I also want a life where I'm not hurting anyone anymore. If I stay, it will hurt so many people. (Jen: Like Noah, maybe?)

Noah: You're not going to tell him are you?

Allie: I don't know.

Much angst ensues. Jen thinks Noah may have tears in his beer by now.

The Movie:

Allie: Why stay? All we do is fight!

Noah: That's what we do! You tell me when I'm being a smug son-of-a-bitch and I tell you when you're being a pain in the ass! Which is most of the time!
 

The Book:

Allie: I do love him, Noah. And I love my family. Staying here would be betraying all of them.

Noah: You can't live your life for other people. You have to do what's right for you. People will get hurt, but you can't do anything about that.

Allie: I know that, but _I_ have to live with my decision. (Jen: Whoa. It's all about Allie, Allie, Allie.) I have to be able to go forward and not look back anymore. Can you understand that?

Noah: Not really. Not if it means losing you again. Could you really leave me without looking back?

Allie: I don't know. Would it be fair to Lon if I did?

The Movie:

Noah: GO! If that's what you want, GO! I can lose you again if that's what you want!
 

The Book:

Noah: It doesn't have to be like this. We're adults. *pout* We have choices! *stamps foot* We're meant to be together—we always have been! I don't want to dream about you for the rest of my life and what might've been! Stay with me, Allie!

(Jen: OMG. He's begging. Not in a manly type of way, but in a sniveling school boy way.)

Allie: I don't know if I can.
(Jen: Can't says I blame ya, girlfriend. This boy is a bit of a pansy)

The Movie:

Allie: No matter what I do, someone will get hurt!

Noah: Stop thinking about what I want, what your parents want. What do YOU want? DAMMIT. What do you want?!
 

The Book:

Noah: You can stay! I can't live my life happily knowing you're with someone else. This is rare—too beautiful to just throw away.

Noah stares her down

Noah: You're not going to stay are you? You want to, but you can't.

Allie: Oh Noah. Try to understand!

Noah shakes his head.

Noah: I know what you're trying to say. But I don't want to understand…I don't want it to end this way. To end at all. If you leave, we'll never see each other again.

Allie cries. Noah tries to suck in his lower lip.

Noah: I'll never forget these last couple of days. I've been dreaming about you for years.

They kiss, and much wiping away of tears occurs.

 

The Movie:

Allie: I have to go.
 

She drives off in a rush while Noah stands there, shell shocked, but still…surprisingly…manly. Hmm.

The Book:

Allie lets go first.

Allie: I have to get my things.

Noah rocks on the front porch while Allie gathers her things.

Allie: Here, Noah. I made this painting for you.

Noah: Oh great…a booby prize. I'll treasure it forever! (Jen: OMG. I just know he's gonna start crying again.) Thank you!!! *smile falters*

They walk to Allie's car. And yes, Noah is crying.

Noah: I love you!

Allie: I love you, too!

*much kissing*

Allie starts the car for like, forever. Noah keeps touching her, mouthing the words, "Stay with me."

Allie drives away – slowly. Snail pace. Noah watches for about…10 minutes. He's dizzy, disbelieving…and oh so sad. "Don't go!" he wants to shout as he watches the car leave.

*car is still leaving*

Noah: Please don't go!

*car…yeah, it's still leaving*

Jen: Dude, like Dierks, Noah would settle for a slowdown, Allie!

And the scene ends with one more creepy mother analogy. When Allie finally drives out of sight – and no, there was no glow of the brake lights—Noah thinks: And like her mother, she never looked back.

Okay, now that I've mangled it, here's the movie version in all its glory! Enjoy. J

Can I get an unofficial show of hands? Which version honestly grabs you more? I hope you forgive the artistic license I took with both versions of this story. I did it to illustrate my point.

The book version of this scene is….sweet…sentimental…romantic and…SAFE. And maybe a little—forgive me—boring. Can't you just see their life together? I picture it as one big snuggle session in front of a perfect fire that never needs rekindling. Lounging in a hot bubble bath that never becomes tepid. A lifetime of:

Noah: I love you. Allie: I love you, MORE. Noah: No way…I love you more! *tears to show he's sincere*

In short, a bit of a snore-fest.

The movie version, on the other hand, has FIRE. Passion. Anger. Hurt feelings. Desire. All of the things that make their relationship great. They're crazy about each other, and you just know all of the things keeping them apart are the things that make them perfect for one another. If the movie versions of Allie and Noah stay together, their life is going to be full of arguments and a lot of make-up sex. Allie burning Noah's dinner and him teasing her mercilessly and then kissing away her tears of frustration. Winters spent huddled together in the cold because Noah wasn't able to fix the furnace—something Allie will never let him live down. A life where shit happens and there isn't always a happy ending.

The latter is the story I want to read. It has characters that are flawed—who don't have the perfect answers to every question. Ones who make mistakes and regret them. Ones who can piss each other off and still love each other the next morning.

I don't want perfection. I don't want nicey-nice. I want arguments, and betrayal, and hurt feelings, and passionate make-up scenes. I want, in short, FIRE.

It's what I strive to write. It's real.

I'll take salty over sweet any day.

What about you?

As a fun treat, here are Rachel McAdams and Ryan Gosling at the MTV Movie Awards, reenacting The Kiss. …sigh, they're so damn cute!