Archive for the ‘Reflections’ Category

Last week I read an article where Adam Winguard, the director of the disaster that is Netflix’s adaptation of the Death Note franchise, had to quit Twitter because he was receiving so much hate mail and even death threats over his adaptation. And yesterday, the admins of a YouTube channel dedicated to reviewing and discussing anime and manga received death threats for posting a positive review of the movie.

Let that sink in for a moment. A whole bunch of people are sending people hate mail and threatening to kill them over the Internet for either making or liking what many consider a bad movie. And I’d bet one of my anime figurines the majority of these angry people are fans of the Death Note anime and manga who are incensed that the director cast white actors in the movie and the numerous changes from the source material, as well as just making a really bad film, or that anyone would like the film.

Now, all three complaints are legitimate: the casting of white actors as what were originally non-white characters is a serious problem that Hollywood and the public are continuing to grapple with even now. The many changes from the source material were not only unnecessary, but actually made the film more of a mess than a wonder. And it was a really bad film (check my review here for my own thoughts on the subject).

But there is absolutely no excuse or reason–ABSOLUTELY NO EXCUSE OR REASON–to send hate mail or threaten someone’s life. Especially not for their creative work, no matter what decisions they make or the quality of it. And those who think nothing of doing it have some serious issues that need addressing.

Unfortunately, this isn’t the first time fans of a franchise or a character or something along those lines have gone a little bonkers. I was ranting about this issue of fans going crazy back in 2013, when people were leaving intentionally bad reviews of Charlaine Harris’s last Sookie Stackhouse book because it was the last book, and threatening harm to themselves and others if their favorite couples didn’t end up together (and possibly followed through after a copy leaked in Germany). Later that year, people were sending tons of mail to Warner Bros. and trying to get the White House to intervene in the casting of the Fifty Shades of Grey movie (not sure what they expected to happen with that one).

Seriously, was this worth the hate campaign? I actually enjoyed the movie.

Since then we’ve seen negative reactions to the idea of the Ghostbusters reboot, and then the female-led cast, which was so hateful everyone involved in the movie felt the need to comment and even make a joke about it in the movie. We’ve also seen people react negatively to Captain America becoming an agent of Hydra in the comics, with some people threatening the writers behind this move. One man claiming to be a Marine even said that he would abandon his moral code and become a stone-cold killer because of the change (seriously, did any of these nincompoops think that maybe this was a mind-controlled Cap, or one from another dimension, which apparently is the case?). We’ve probably all seen articles about angry males attacking women online for attempting to be part of the video gaming community and industry. And there are more of these than I’m probably aware of, with this Death Note thing just being the latest.

What’s causing people to become so angry and violent over fictional characters and worlds? Well, it might actually be nothing new. As long as there have been creative works and their creators, there have been people who have gotten passionate about them, sometimes a little too passionate (*cough* John Hinckley Jr. and Ricardo Lopez *cough*). And sometimes people even feel that their love of a property gives them some sort of ownership over said property, and therefore they have a legitimate voice in any decisions over said work. And with the Internet as both means to reach like-minded individuals and platform to voice their vitriol without worry of censure, some of these overly-passionate fans can gather en masse and make their anger heard, warranted or not. Sometimes, a few of them even feel emboldened to make threats of violence.

And I get it. I hated the Death Note movie too. I can think of several ways the Star Wars prequels or some episodes of Doctor Who could’ve been better (I actually nearly threw a shoe at the TV once because I really disliked an episode). And God, was I upset when shows I really liked, such as Dracula or Sleepy Hollow, got canceled. I would have loved to find the people responsible for all these mistakes and given them a piece of my mind.

But therein lies the problem: none of these fans have any actual ownership or say in the decisions revolving around these stories, and at the end of the day, it’s the creators themselves who get to make those decisions. And we should let them. After all, they are spending valuable time and energy to bring us these stories we love so much. It’s essentially a gift from them to us, the readers and viewers. And while not all these creative variations are welcome (*cough* first three DCEU movies *cough*), some of these creative risks have led to some the greatest pieces of storytelling ever made. Remember there was a time when the Winter Soldier wasn’t a thing, let alone a former friend of Captain America gone evil. When Heath Ledger was cast as the Joker, people swore it was the worst casting decision that could be made, and yet Ledger’s Joker is arguably one of the best Jokers ever brought to life. And let’s be real, William Shakespeare ripped off and made changes to most of the stories he’s famous for! And look at him!

A decision that turned out to be right after all.

And this is not just for variations in already established characters and stories. Creators should be able to experiment with stories and characters. Otherwise, would we have Doctor Who? Harry Potter? Death Note the manga? Stephen King’s IT?

So what should you do if a story you like or an adaptation of a story goes in a direction you dislike? Well, there are two possible decisions that you could go that won’t make you look like a tool (trust me, as both fanboy and creator, they work). One is to do what I did with Death Note: calmly point out what was wrong with it or what you disliked. You don’t have to be angry to get your point across. I’ve found calmly discussing what you disliked about something does more than shouting. And besides, being rude or angry or telling someone to die never convinced anyone to your point of view or made them change their ways.

The other is to just not take part at all. After Jodie Whitaker was announced as the 13th Doctor, many fans reacted by simply deciding not to watch the show anymore. I even have a friend who decided to do that, and while I disagree with their view, I respect how adult their reactions were. (Thought to be fair, after all those years of Moffat tropes, it might’ve been easier to leave than to work up anger over a casting decision). So if you don’t like what the creators are doing, just leave. Don’t ruin the experience for everyone else who may want to try out the new direction.

And if you’re a parent with kids who may get overly passionate about fictional works, maybe have a conversation with them about how to respond to this sort of thing. It might save someone a lot of headaches later on.

While I doubt this problem will go away anytime soon–if anything, it might get worse over time–we can at least approach it in a healthy manner, rather than with further fear and anger, as well as to find healthy alternatives to anger and/or death threats. Either that, or we never get any sort of new stories ever. And I really don’t want to see that.

 

That’s all the ranting for now. The next week and a half will be crazy for me, so I have no idea how much, if at all, I’ll be able to post until October 1st. I’ll try and get something out next week, though if I don’t, please don’t hold it against me or send death threats.

Until next time, Followers of Fear. Pleasant nightmares!

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Authors, who are usually as human as the rest of us, are as prone to mistakes and insecurity as the rest of us. That said, sometimes authors worry about creative decisions when it comes to their stories. We’ll look at a scene, or a character, or even a whole plot, and think to ourselves, “Is that the right thing to do here? Should maybe we change it?”

We end up second-guessing ourselves.

Actually, some pretty famous names have second-guessed their creative decisions in the past. JK Rowling went back on her decision to have Hermione end up with Ron in Harry Potter, and that Harry might’ve been a better match for her, which still has the fandom in a tizzy (personally, I still ship Harry and Cho and wonder what could’ve happened if they’d actually gone to the Yule Ball together). Stephen King has expressed regret of ever writing the novel Rage, which has been connected with several incidents of gun violence (I’d still like to read it someday). And Anne Rice has actually said she’s not proud of the crossover novels she’s written with her vampires and witches.

And they’re just a few among many.

I’ve been having this problem at a lot of points in Rose, including last night. I’d just finished editing the latest chapter (only nine more to go!), adding over a thousand words of material while I’m at it, and I find myself thinking, “Wow, there’s a lot of just high-tension moments here. Very little time where the readers and the protagonist can just take a moment and breathe. This whole chapter, it’s just boom! Boom! Boom! One thing after another. I wonder if that’s maybe too much excitement in the story. Maybe I should add some more quiet moments, where we can explore the characters?” And then I find myself arguing back that plenty of great horror movies and novels, such as Annabelle: Creation and Gerald’s Game, that are like this, where there’s very little breathing room and just one thing after another of scares and high-tension scenes. And there are scenes that are “quieter:” they are usually exploring the protagonist’s past, which is a mystery to even her. They’re not moments like in It, where the main characters are just building a dam or something, but they’re slightly calmer and do develop the characters a bit more when they happen.

This argument went back and forth in my head even after I went to sleep, making for some interesting dreams.

But it’s not just this whole “are things too exciting?” issue that’s got me second-guessing. I think I’ve mentioned before that there are scenes in Rose that I would like to expand. Most of these are in the final third of the book, and one particular scene, a flashback scene, has me wondering if I’m making the right decision in what I want to do with it. On the one hand, there are about a hundred ways I can push the envelope with it, and I’ve already set up in previous chapters clues that point to the importance of this scene. But at the same time, if I were to push the envelope on this scene in some ways, it might be indulging in certain cliches I prefer to use sparingly at best. Also, I worry that if I were to go in those directions, it might actually take away from the main reason for this scene rather than reinforce it for the audience. It’s something I’ve been worrying about since well before I started this draft of the novel.

So yeah, authors do a lot of second-guessing. And it can cause a lot of headaches, anxiety, confusion, and the occasional burst of anger. Is there any solution for when this happens?

Not really. Yeah, I usually have solutions for stuff like this, but I think it varies on situations and stories and authors. I think every author will second-guess themselves at several points in their careers, sometimes during the writing, sometimes before, a few times after. And sometimes solutions will present themselves. While writing this post, I’ve figured out one of the problems I’ve been second-guessing in this post, which I honestly didn’t expect.

Honestly, I guess the best advice I can give is to try one way. If you don’t like it, try another if the opportunity is available. If you’re still unsure, let beta readers give you some much needed feedback. That’s what they’re there for.

Honestly, I’m probably going to encounter this issue throughout my writing career. I’m second-guessing some possible routes for a novel I haven’t even written yet, if you can believe it. And if you’re a writer, you’ll probably going to deal with it too throughout your career. All I can say is, you may argue with yourself plenty. You may have to try more than one way to write the same story so as to see what works. But eventually, hopefully, you’ll work through it, and come up with something great.

And if not, there’s always a chance that people will still like who the characters end up with (I hear Harry and Ginny are great spouses and parents. Especially if you don’t read/see the play. Also, Ron and Hermione’s storyline actually mirrors a lot of anime couples, so I guess if it works in those shows, why not?).

What are your experiences with second guessing? Any tips for fixing this problem?

So yesterday I’m having a conversation with the receptionist at my doctor’s office while I wait for my appointment, and we get onto the subject of the stories I’m working on (because if you know me, after a while that WILL come up). I tell her about my WIP Rose, and what that’s about, as well as some of the themes in the story. When she hears that it deals with some pretty heavy themes like abuse, her response was, “Wow, I didn’t know horror could be so deep.”

And that’s a common response from non-fans, not just of horror but of speculative fiction in general. People who are on the outside of this genre tend to look in and see only a stereotypical surface: swords and wizards and weird humanoid species who make weird oaths with the names of oddly named gods for fantasy; funny costumes, silly effects, and incomprehensible in-universe technical jargon for sci-fi; and of course, people screaming and dying in gross ways for horror. And to be fair, a lot of these stereotypes do have examples in the genres that are just that, especially the slasher genre for horror. Whether they emerged as a result of the stereotypes or they were the influence that created the stereotypes, I’m not sure.

But, as any fan can attest to, any one of these genres can delve deep into very complex ideas and themes. And that includes horror, which is what I’ll be focusing on in this post (sorry sci-fi and fantasy. I love you, but you’re not my normal bailiwick). In fact, horror does this quite a bit, it’s just usually more subtext than overt. The reason behind this, obviously, is because horror’s main purpose is to scare, so having exploration of ideas take the forefront of the story over the actual scares and plot actually takes away from the latter, which causes the story as a whole to suffer. In novels, you can sometimes devote a few paragraphs or even a couple pages to that, but it still cannot be the main component of the story.

And because it’s often more subtext, the heavy bits are often overlooked by non-fans and even some fans, who are more likely to focus on how scary/creepy/unnerving the story was. This happens especially in movies and TV shows, which as visual mediums are very good at conveying the scare with their subtext.

A text full of great subtext.

However, even if it’s not obvious, the heavy themes and ideas are still present in the story if you look for them. A good example would be Dracula by Bram Stoker: on the surface, you have a Gothic vampire story. But go a little deeper, you see a commentary and criticism on Victorian ideas and fears. Dracula himself can be seen as a sort of twisted Jesus Christ, offering immortality through the drinking of his blood and the taking of the blood of others; the vampires themselves can be interpreted as corrupting sexuality turning good people, particularly women, into carnal monsters; and the vampires coming to England as a nod to English xenophobia, with Dracula and his kind, who speak and act strangely and must sleep in the soil of their native lands, representing the influx of foreigners to England during the later Victorian era and how they may not be suited to English society, according to some Victorians.

A story that’s more than just scares.

And this can be found throughout horror stories, particularly in novels where there is room to explore these heavy themes. A lot of times, you can see these themes embodied in some way in the supernatural forces that may threaten the character(s). Stephen King does this very well in many of his stories: while explicitly stated that the events of The Shining are supernatural in origin, on another level it’s a great story of a family breaking down due to stress, isolation, alcoholism, and old tensions arising, with the hotel simply being a stage for things to play out rather than a true supernatural entity. Likewise, It is a story about a supernatural force, but that same force is also a representation of childhood fears, what we fear in the dark as well as fear of growing up. And that’s just the tip of the iceberg of this great novel.

You also see this in movies, with a great example being The Babadook. While the titular monster could be real, it could also be a form of shared delusion between a mother and her son, trying to work through their individual and collective issues. There are a number of articles that look at the film from a psychological perspective, and the arguments they make put the story in a whole new light from first viewing. The Babadook is a story laced with deeper meaning, if you just look beyond the surface.

So as we can see, horror is more than just people screaming and dying in gruesome ways. Like any story, it can have a deeper meaning, going into the psychology of characters, the beliefs of society, philosophies on life, death, love and so much more. You just have to pull back a veil and take a closer look, and you’ll see what’s always been there.

Happy Birthday to the blog,
Happy Birthday to the blog.
Happy Birthday to Rami Ungar the Writer,
Happy Birthday to the blog.

Six years.

I’m supposed to say that it went by super-fast, but it feels like it actually has been six years (though the past eight months or so have gone by in a flash). I think it’s how much my life has changed that really sells me on the fact that six years have gone by. When I first started out on this blog, it was at a library computer station. I was eighteen years old, had yet to start college, and I was sure this blog would bring me lots of readers for my first published book when that finally happened. My only regular readers back then were my parents, and I think they read mostly to be supportive (and to make sure I didn’t post anything on my blog that would get me in trouble later in life).

Today I’m twenty-four, I’m working in a good job and living in my own apartment. I’ve got four books out, and while I’m still not a world-famous writer, I’m taking steps so that someday I can be a full-time writer. Maybe. My readers come from all over the United States, as well as from Canada, Europe, and farther away. They’re writers and readers and horror fans and just people who, for one reason or another, like what I have to say on this or that subject. We have conversations in the comments, and some of these people become good friends with me. Once or twice, we even meet in real life (or make plans to but can’t due to issues of customs).

And you know what? This all happened because of you. Yes you, whoever you are, reading this blog post. Yes, I supply the content, but every time someone has tuned in and read a post, offered a like or their thoughts, and when they decide to follow me so as to get future posts, they keep me writing and interacting with this community.So thanks, my Followers of Fear. I really appreciate you being here for me, through thick and thin, highs and lows, reviews and political rants (dammit, admitting the United States isn’t perfect is not un-patriotic! It’s a desire to make this nation better). I hope you’ll stay with me for all that comes in the next year, whatever that happens to be.

Speaking of which, what do I want from the next year? Blogging and writing-wise, anyway.

Well, I would like to reach a thousand followers, and that might actually happen this year. I’m within a hundred followers of that, so I think it could happen. I’d also like to write some more good posts and have good discussions with the many friends and acquaintances I’ve met through this platform. I’d also like to get a few more stories written, edited, and published. I especially hope I’ll finish Rose and maybe get it represented by an agent. Will that happen? Well, if people’s reactions to the story’s idea and my college advisers’ feedback is any indication, that could very well happen. Hard work and a bit of luck can do wonders, after all.

Well, that’s all for now. There’s a Stephen King movie coming out this weekend, so expect a review very soon, my Followers of Fear. And until then, pleasant nightmares!

 

I was tagged again by my friend Kat Impossible from Life and Other Disasters. Well, technically she tagged anyone who’s a writer who read the post, but I’m pretty sure I at least crossed her mind as someone who would do this post. Anyway, let’s get started.

What genres, styles, and topics do you write about?

Well, there’s an easy one. Horror stories, of course (though I do like the occasional dive into science fiction). Usually my stories revolve around teenagers and young adults finding themselves in fantastical and terrible situations, usually ones involving the supernatural. However, they’re often human stories where the characters are growing and sorting through an internal conflict while dealing with an external conflict. At least, in the novels that’s how it is. With the short stories, it may just be me writing a story and trying to leave an impression on the reader.

How long have you been writing?

Probably since I could string two words into a sentence on a page. *laughs* But I don’t think I started writing seriously with the goal of being a great author until I was maybe ten or so. I think it was a conscious decision that I liked to write, so I should make that my life. But it could have easily just been a gradual thing where I found myself entranced by storytelling, doing it often, and then someday knowing that this is what I want to do.

Why do you write?

Besides the fact that I enjoy storytelling? Well, I have a pretty active imagination. I spend a good chunk of each day in stories, whether they be books, movies, TV shows, or daydreams. While they’re up in my head, they can be pretty fluid and volatile, changing and shifting and God only knows what. I’m neuroatypical, so while I love being an eccentric, I do like a little order in my head sometimes. Writing these stories down helps to exorcise them from my brain and make them static. It’s freeing, in its way.

Plus, I just LOVE sharing my stories with people and getting their feedback (it’s an author vanity thing. We all have them, to some degree).

What is the best time to write?

I’d like to say, “Whenever.” However, I find the evening is the best time to write. Since high school, evenings have often been the only time available to me to write. Yeah, sometimes in the afternoons or even the mornings opportunities to write come upon me, but often it’s limited to the evening, especially after so many years of doing this. Perhaps if I ever become able to write full-time, I can work on being more flexible, but for now it’s not until after dinner that I’m able to effectively summon those creative energies.

What parts of writing do you love and hate?

I love:

  • Being able to tell a story and exorcise them from my head.
  • Share my stories with people.
  • Be as creative and dark as I want to be.

I hate:

  • How easily ideas come to me but how hard it is to get even one of them on the paper
  • Not having a large audience

How do you overcome writer’s block?

Usually when that happens there’s a problem somewhere in the story and I need to go back to fix something before I can move forward. That’s usually how it works, anyway.

Are you working on something at the moment?

At the moment I’m editing my college thesis Rose, about a girl who starts turning into a plant. I’m in the middle of the third draft, and I’m nearly a third of the way through. I hope after this draft I can start having it looked at by beta readers, but we’ll see where we are when I’m done.

What are your writing goals this year?

Finish the third draft of Rose and get a few short stories written and published. And if I can manage it, I’d like to reach a thousand followers.

I TAG YOU, BLOGOVERSE!

Do you write? You do! Great, you’re tagged. Have fun, and make sure to link back to me when you do.

Today I wanted to talk about something that is becoming much more common in fiction these days, and that’s the twist villain. If you’re unfamiliar, a twist villain is when one character in a story seems to be the villain, but later on it’s revealed that another character, usually a character we thought was a good guy, is actually the villain. This twist villain is supposed to be a surprise, something you didn’t see coming while reading the story. Hence the name “twist villain.” The problem is, the twist villain is becoming such a common trope these days. In the past couple years, we’ve seen it in Disney films like Zootopia and Frozen; popular novels like Gone Girl and Harry Potter and the Prisoner of Azkaban; a couple of recent superhero films; and more than I can possibly name in this blog post. And when so many works of fiction are using the twist villain, we become used to not only seeing the trope but also the signs that a twist villain is going to be used (and trust me, there are signs), and then when we see the twist villain, we’re not very surprised. Heck, sometimes we even predict who the villain is well before it’s revealed.

Why is this trope becoming so popular? Simple: people want a good story. Good stories produce good memories and good profits. As standard stories of good vs. evil have been done to death, creators need to think of new stories and story elements to keep consumers interested in their work. One way to do that is a third-act twist, which when done right can really enhance a story. And a twist villain can be a very good third-act twist, if you’re careful with it.

Sadly, I find that a lot of creators aren’t careful with their twist villains, making the twist ineffective when it happens. Which is sad, because I love the idea of a twist villain. Heck, it’s one I might use in the future, if I haven’t used it already. A good twist villain can make your mind reel, make you look back trough a story to see if there were any clues and make you marvel at the genius of the creators for setting up that twist so well.

A bad twist villain, on the other hand, just leaves you feeling neutral at best (my reaction during Zootopia) and disappointed at worst (my reaction looking back on Scooby-Doo 2: Monsters Unleashed). Which is why I’ve come up with a few tips for writing an effective twist villain. With any luck, these tips will help other authors (and myself) avoid making a bad twist villain.

1. Does your story really need a twist villain? Any time you want to include something in a story, ask yourself if it’s really needed. I swear, so many stories just add in elements that aren’t needed (*cough* lots of stuff from BvS *cough*). Ask yourself if your story can stand on its own without any of the extra elements. If it doesn’t, DON’T FORCE IT IN! Especially with twist villains.

2. If you’re going to leave clues behind, don’t make them obvious. You can have a twist villain without leaving a trail (Hans from Frozen, for example), but with twist villains, creators often like to leave little hints of who the real villain is. I think this is narcissism on our part; we like to show how clever we are. But that leads to us leaving some rather obvious clues, which our readers/viewers will pick up on and deduce the twist long before the twist occurs. Take Scooby-Doo 2: it was so obvious that the reporter was the villain! Why else would they include a reporter with poor ethical practices unless she was at least in league with the villains?

3. Have a good herring villain. A herring villain is just that: a herring to keep us off the real villain. In Frozen, the herring villain was the Duke of Weselton. He had obvious malicious goals, is willing to kill Elsa, and he was over-the-top, which felt right for a villain in this movie. Imagine our surprise when we find out he’s not the true villain, but Hans, who had no trail leading to him and was such a nice guy up till that reveal! A good herring villain will often lead to a great twist villain reveal.

Compare that to Zootopia or Wonder Woman: the former doesn’t give us a herring villain, which causes us to consider each character and eventually land on Ms. Bellwether, who has said some interesting things and has actually benefited from these events. The latter gives us a herring villain, but it’s a comic book movie, and the General doesn’t do a thing to make us think he’s a famous DC villain we’re very sure will make an appearance.

In short, have a herring villain, and make sure they’re set up in a way where people will actually consider them as the main villain, so the twist will actually be effective. To do that, be aware of what sort of story you’re writing. Often the story will have certain requirements for villains (motive, opportunity, etc), so make it seem like the herring villain has those. You’ll find your herring villain much more effective.

4. Do the reveal earlier than the third act. A lot of twist villains reveal themselves in the third act. Nothing wrong with this, but it’d also work if the reveal was done earlier. For example, Hydra was revealed as the villain in Captain America: Winter Soldier in the second act, and that was a really interesting twist, as we hadn’t expected it. If they’d done it later in the story, we might have actually figured it out by then, or there wouldn’t be enough time for exposition mixed with a great climax. So consider doing the reveal elsewhere.

5. Try a variation on the trope. The twist villain, like most tropes, has a standard formula: something happens, one character seems like the villain, but another character is revealed at the third act to be the villain and why. Oh, and it’s usually not the protagonist.

Variations on common tropes have proven to be very effective in storytelling, so try something a little different with the twist villain, like these examples below:

  • It’s a villain, but which one? In Doctor Who series 8, we’re introduced to a character named Missy, who seems likely to be a villain, but we’re not sure what her deal is if she is. In the second-to-last episode, she explains that Missy is short for Mistress, making her a female regeneration of the Master, a well-known DW villain. A lot of minds were blown that day, believe me. The idea is you can introduce a seemingly new character into a long-running story, and then link them back to a previously-established character. Trust me, it works.
  • Everyone’s the villain! Agatha Christie’s Murder on the Orient Express ends with every suspect actually having some sort of hand in the murder. It made the novel a sensation back in the day, because it was a seemingly impossible idea, but it worked. So try something impossible and make it possible: everyone’s a villain, no ones’ the villain, or even two very good suspects with alibis both committed the murder. It could work.
  • The hero? American Horror Story: Hotel is my favorite season of the series, and this twist is one reason why. The protagonist, a police detective, is on the hunt for a serial killer, only to find out in the second half of the season that he’s the killer! Trust me, I did not see that coming until the reveal episode, and only by a few minutes! So making a hero or a character who nobody thinks of as a possible villain the villain can work very well.

And these are just some examples of variations that have worked in the past.

Twist villains are a trope that won’t go away anytime soon, but as long as we have them, we should write them as well as we write any other type of character or trope. Because if we’re not going to give people our best, then what are we actually giving them?

What are your thoughts on twist villains? What are some good tips for writing them well?

Boston from the air.

Did you miss me? You didn’t?! Well, that’s mean! I thought you guys liked me!

Anyway, if you haven’t heard, I recently took a trip to Boston, Massachusetts with my dad. We went from July 4th through yesterday, July 7th (I kept the dates of the trip vague because I am slightly paranoid of burglars and/or stalkers). I went with my dad, as we don’t get to see/hang out with each other that much these days, and the last couple family trips to cool locales, everyone but I was able to go. And how was it?

One word: Amazing! This is probably the best vacation I’ve ever taken in my 24 years of living (in this dimension, and in this incarnation). I got to see and do everything I was hoping I’d get to see and do, and then some, and everything was just so much fun. What made it even better was that I got to take quite a few photos and souvenirs home with me (possibly more than I should have bought, but whatever), and I even got to meet some really amazing people while on the trip (more on that later).

And I even got some evidence of paranormal activity from one of the places we stayed at, which I’d been desperately hoping would happen. I’ll be showcasing that in another post. Just as soon as I edit the video.

So, now I just have to decide how best to relate all that happened to me. I was originally planning on doing several posts, breaking down each day (or in some cases, parts of each day) so you get the full-scope of my vacation. However, I do have a friend who’s been breaking down her experiences in Canada with week-by-week snapshots, where each day is broken down into simple paragraphs. Some version of that may work for me, as I have a lot of travel to talk about, and there’s only so many hours in the day (especially when you’re working a full-time job and trying to get writing and editing done too). And should I do things in order? I’d like to get the paranormal stuff out sooner rather than later.

Well, while I’m deciding that, I’ll just let you know some of my thoughts of Massachusetts:

  • Boston is nothing like I expected it! I’m so used to Columbus, which is very flat and the buildings either look very old or somewhat new. In Boston, it’s extremely hilly, and even the newest buildings incorporate something in their architecture that looks like it belonged on houses two or three centuries ago, as if to remind us always of the history in that city. That really surprised me, and I found it so beautiful. On top of a beautiful city, to boot!
  • Dunkin Donuts are everywhere! My dad and I were surprised by how many Dunkin Donuts were around Boston, even just a hundred feet from one another! We were like, “They have Dunkin Donuts like we have Starbucks!” And I think I only saw three or four Starbucks outside of airports and malls while we were there. We’d later find out that Dunkin Donuts originated in Massachusetts, so of course it would be everywhere in its home state. Which, as it turns out, was very lucky, because we very nearly didn’t have a Boston cream pie before we left (and that would’ve been a sin if it had come to pass). Thanks for fixing that, Dunkin Donuts!
  • Everyone was so nice! I think we Midwesterners have this impression that everyone in East Coast cities are snooty and rude (especially in New York), so I expected as such in Boston Not so: everyone was so nice! From cabbies to salesmen to random passersby who gave us directions, everyone was kind and courteous. That’s sometimes hard to get, even in the Midwest, where everyone is supposed to be nice (trust me, they aren’t always). I wonder if I just missed all the rude people or if they went on vacation this past week.
  • Never drive in Boston! It’ll drive your stress levels up. Use public transportation if you can. Also, be prepared, because that city is super-expensive! Worse than I expected, actually.

My dad and I off on an adventure.

That’s all I got so far. I’ll tell you guys about Salem and Fall River another time.

Anyway, that’s what I got so far. I’m going to see what I can do about that video footage. Hopefully I can upload a decent YouTube video and amaze you with my paranormal proof. And I appreciate you being patient with me while I try to figure out how to present this extraordinary vacation of mine (any suggestions you have would be most welcome).

Until next time, Followers of Fear!