Archive for the ‘Scary Stuff’ Category

Rape.

This one word can send terror through a person’s system. In some ways it is worse than murder, for after the deed is done, the victim still suffers horribly from the experience, sometimes for life. 1 in 5 women on college campuses will be the victim of a sexual assault, and every year 32,o00 rape victims are impregnated by friends, boyfriends, husbands, acquaintances, stalkers, fathers, brothers, total strangers, coworkers, you name it. Rape is the perversion of sexual intercourse, turning something beautiful and great into a nightmare, a travesty of psychological anguish. Our culture is fascinated by it as we are repulsed by it, as can be seen by the enduring popularity of Law & Order: Special Vitctims Unit, and by the constant stories in the media of rapists and their victims.

Earlier this week, Representative Todd Akin, a Republican running for a Senate seat in Missouri, said that “legitimate rape” victims “rarely get pregnant”. Immediately, this caused a firestorm: Mitt Romney immediately distanced himself from Akin, saying that victims of rape should be able to get abortions; President Obama was quoted as saying “rape is rape” and that “men should not be making decisions about women’s health”; and across the nation, thousands of rape victims railed against Akin, questioning him and his definiton of rape.

Personally, I find Mr. Akin’s comments to be very upsetting. Although the number of adult male rape victims are still relatively low (yes, they do exist, and there may be more victims than reported due to fears that men will lose their “masculinity” if it becomes known they were raped), men should know that rape is a horrible thing, it cannot be classified as “legitimate” or “illegitimate”, and any type or rape can get a girl pregnant. As a politician, Mr. Akin should be doubly aware of this fact.

I’ve taken a Women and Gender Studies course, I’ve watched shows and read novels where women have been brutally raped, and in my novel Reborn City, my main character Zahara comes very close to being raped herself. Every time I think of rape, every time I read or watch a scene involving a rape, and the one time I wrote about Zahara’s near rape, I could almost feel the terror, the shock of being violated, the urge to end the pain and the constant fear that it could happen again. It is a powerful, mind-numbing force, and it cannot be taken lightly under any circumstances.

I hope Mr. Akin and others learn that rape is not something to be talked about like it can be classified or screened for authenticity, but an act that destroys lives as surely as murder destroys lives, and for women who become pregnant from rape, carrying that child to term can be an ordeal only imaginable, like a cancer that eventually morphs into a constant reminder of one person’s cruelty to another. To Mr. Akin, I feel sorry that you do not understand the tragedy of rape and hope you learn about it, because rape and the pregnancices that can result are very serious matters. And to women everywhere: if, God forbid, you should be raped, I hope Mr. Akin’s comments do not stop you from getting the help you need, and especially if you become pregnant because of your rape.

And if you are worried you are alone in the world because of what you went through, know this: you have at least one friend here with you. I may be hidden by the anonymous Internet, but I’m here for you across the blogosphere.

Oroboros, or the snake that eats its own tail, a symbol for immortality. Has no bearing on this story, but it’s still darn cool. And look, it spins!

You know how you’re not supposed to hitchhike or pick up hitchhikers because you might encounter a crazy person or a dangerous runaway convict doing so? You also know how in the original Texas Chainsaw Massacre they had a scene that illustrated very well why you shouldn’t pick up hitchhikers or hitchhike yourself?

I like to comapre this chapter to everything in the previous paragraph, except instead of hitchhikers it’s pulling over to help a motorist in distress. Roman Veretti, the latest member of the Camerlengo Mafia group to become the object of the Snake’s desire to kill, is on the road when he sees a guy on the side of the road. What happens next may make you consider never helping a motorist ever again (and if you knew what happened to the guy, you wouldn’t want to help any motorist even if it was your twin brother!).

Oh, I’m also considering adding a few scenes where the Camerlengo family has to deal with the instability caused by the Snake’s murders: other families are taking territory and killing members of the Camerlengos. But I guess that’s the fallout when a serial killer shows just how easily a formerly-invincible family becomes not-so-invincible. The only problem though is placement: where best do these chapters go if I add them? Probably after Roman Veretti meets his fate; that’s when the Snake shows just how hard he is to stop.

Well, I’ve rambled on long enough. Here’s Chapter 21 as promised; enjoy and please do not hesitate to tell me what you think.

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Roman Veretti was whistling as he turned off the main road and onto the scenic route to Connecticut. The sun was shining, the view was beautiful, the minivan was warm and toasty, the XM radio was playing some of Roman’s favorite jazz and big band songs, “A Gal in Kalamazoo” and “What a Wonderful World”, among others, and there were no other cars on this secret route Roman loved so much.

Best of all, taking the scenic route meant another hour until Roman got to Connecticut, a place Roman wouldn’t have even considered visiting if his wife hadn’t insisted they go and visit her parents that weekend. It wasn’t as if they were bad people—Roman thought that Lizzy’s father was a hilarious storyteller and philosopher—but the house smelled heavily of cleaning products, and Lizzy’s mother always found some way or another to suggest that Roman was a poor choice of husband for her daughter and that Lizzy could do better without actually coming out and saying it. In truth, Roman preferred making sure the prostitutes under his watch made enough money for him rather than spending an entire weekend smelling dish soap and hearing criticisms about his paycheck.

 Just wait till I get off pimp duty and get into a real position in the family. Roman thought, drumming his fingers along the steering wheel as he listened to the music. Mr. Camerlengo’s getting to be real fond of me, and I’m sure that once this whole serial killer thing blows over, I’ll be able to get a job with money enough to shut up that old bat.

Up ahead on the road Roman noticed a car pulled over, its hood up and the lights blinking. The driver was waving his arms in the air, trying to signal Roman as he approached. For a moment Roman considered driving on, but the possibility a few more minutes away from Lizzy’s mother excited him enough that he turned on his turn signal and pulled over to the side of the road next to the car. The driver of the car ran up to Roman as Roman turned off the engine and stepped out of the minivan.

“You saved me!” said the driver, a young man who looked unremarkable save for a pair of brilliant blue eyes. “I can’t tell what’s up with my car and my cell has no signal. Do you think you can help me?”

“Let me see the car.” said Roman. “My dad was a mechanic, so I used to help him out all the time.”

“Well, isn’t that a stroke of luck!” said the driver. “She’s right over there. I figured that son of a bitch was conning me when he sold me this piece of crap.”

“We’ll see about that.” said Roman, sidling on over to the open hood. Peeking in, he examined the engine. To Roman’s confusion, the engine looked brand-new, and nothing he could see indicated any maintenance issues or repair needs.

“I don’t see any problems with the engine.” said Roman, ducking his head out from under the hood. “What’d you say was wrong with it—?”

WHAM!

There was a bright flash of light and Roman felt a sharp pain in the side of his head. He staggered, his hand pressed to his temple, before he staggered and fell over. The last thing he saw was the driver putting on a strange-looking mask before Roman closed his eyes and the world fell away.

On With The Snake

Posted: August 14, 2012 in Scary Stuff, Writing
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Well, I’ve finally heard back from the forensic psychologist who’s been helping me with the profile for the Snake. You know what that means? It means I can continue on with writing Snake, and maybe even finish the darn thing by the end of the year!

Snake is a fun story to write, and the Snake himself is a piece of work, a really fun character to work with. Mentally diseased he is, but he certainly can win sympathy from an audience once they know what he’s doing and why he’s doing it. I’m not saying what he’s doing is good, though. Far from it, actually. Vigilante justice is a horrible kind of justice, but since this is fiction right and wrong can be blurred somewhat and even switched around for the enjoyment of the reader, so who cares?

Anyway, I’m pretty sure this upcoming chapter will have the seventy-seventh Microsoft Word page of Snake, meaning I can do a Lucky 7 excerpt. If so, I hope you enjoy reading it and maybe get a little chill. As my new tagline only makes it so clear, it’s my job to scare you.

Alright, remember on Thursday or Friday last week I said I was working on a story involving a succubus, I got about two pages in, and I had trouble figuring out where the story should go next? Well, I figured it out, thanks to an hour-long session of meditation and thought-clearing.  I now know how  best to go from here on out, so after I finish this blog post and take care of a few more things, I’ll get to work on the short story.

That reminds me, do any of you readers have any rituals or tricks you use when you’re stuck on a story and can’t figure out what exactly to do? Let me know; I’d love to hear them.

Last night, after a ton of research and a basic idea of how I wanted to begin the story, I began writing the short story involving a succubus. I decided to call it Dodi Li, which means “My Beloved” in Hebrew and tell the story from the perspective of the succubus herself, who I’ve named Umuruk (sounds like a Biblical name, but remember that Japanese comic book I mentioned with the succubus character that started this whole thing? It’s her name backwards).

I managed to get two pages in, but then I realized something: there was a problem with the conflicts of the story. And I intentionally say “conflicts” instead of “conflict”, because I plan to have Umuruk deal with two conflicts instead of just one, an inner conflict and an outer conflict. The inner conflict is Umuruk struggling with herself; she wants to do something, but is conflicted it morally and spiritually. It’s the old “I want to take such-and-such action, but if I do, how will that effect me and my beliefs, or the beliefs of those close to me” problem, and I plan on giving Umuruk a hard time with it.

The outer conflict however, was the one with the problem; I had planned on the outer conflict being human in origin, but now I realize there are several different ways I could take this story. I could have Umuruk struggle with another spirit, with a human foe, with her duties as a succubus. It could go any number of ways and I’m still not sure which one would work best for the sort of story I have in mind. So now I have to focus on that and see which one would make the best story in my opinion.

You ever have problems such as this? If so, let me know.

I was reading a horror/romantic-comedy manga recently (yes, those combinations do happen in the world of Japanese comic books) and one of the characters, a succubus, had to face and accept a hard truth about her life, all the while preparing to fight a great evil (can’t a demon girl get a break?). The sub-story kind of touched me and I suddenly got the idea to write a story involving a succubus.

So for the whole day, I’ve kind of been doing research on succubi. I looked at the Wikipedia page, I read online testimony from people who said they’ve been visited by incubi and succubi, and I even watched a few videos on YouTube. Right now I’m watching a special on books that’d been excluded from the Christian bible because I heard part of the series focused on Lilith, who according to many traditions was the first succubus.

So far no plot has made its way into my twisted head, but if I don’t get one soon, I’ll come up with one based on whatever comes up from one of those random word generators. Hey, if it works for high school English teachers, why can’t I use it.

So if you have any info on succubi and other such spirits, feel free to let me know. Just don’t send me one if it’s a malevolent spirit! I’ve had too many experiences with bad spirits over the years, and I’m not looking for any more!

Why Dolls Freak Me Out

Posted: July 31, 2012 in Reflections, Scary Stuff
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Does anyone else feel this photo might give them nightmares? It’s perfect for this post.

Last post, I mentioned that I was working on a short story involving a doll, and as I’m into the whole scaring people silly thing, I thought I’d talk about why dolls might freak people out, specifically dummies and those old bisque and porcelain dolls. Frankly, those are the kinds I have trouble with; anything from traditional dolls of certain cultures to the Barbies and Bratz of today I’m fine with (I had enough of the latter in my house thanks to my younger sisters). It’s just dummies and bisque dolls creep me out, and I’m pretty sure I’m not alone in that.

I think it might have something to do with the eyes: most dolls that have eyes, their eyes are painted on or they’re made from plastic. Because those eyes are flat, 2D, and not very life-like at all, you become less afraid of those types of dolls. But the eyes of dummies and bisque dolls are made from glass or plastic made to resemble glass. This gives them such a life-like appearance, you can’t help but think the dolls are alive, watching you, taking in every single little thing you do. It’s unnerving to think that not only a toy is watching you, but taking in information that it can use against you. I bet that if those big-eyed dolls could change their expressions, they’d have  sly little grins on their faces, the type of grins that say, I know so muc about you and I’m going to hold it forever in me until I can use it to make you do what I want you to do. Creepy! The only time I’ve ever found it anything other than creepy was in the manga/anime Rozen Maiden, but then again manga and anime have that effect, don’t they?

Anyone else have any thoughts on this? If so, let me know.

Oh, guess what? Today I made the milestone of 3000 views on my blog! Awesome!

Yeah, the Snake can be pretty vicious. Just like the basilisk, except without the whole eye thing. Still, very scary, isn’t it.

Ladies and gentlebloggers, I finally wrote a section of my novel-in-progress Snake with the Snake in it that I can post online without giving away too much of the character away. It only took sixteen chapters, but I finally wrote it. And I got to say, it came pretty easy to me; I didn’t have any writer’s block while working on it.

For a little context, here’s what’s going on right now: the Snake has followed his next target, loan shark Thomas Luiso, to the home of Luiso’s mistress. The Snake sneaks in and catches them in the middle of some fun (if you get my meaning). Luiso’s mistress faints from the shock, while Snake fights Luiso, who hasn’t realized he is dealing with the man who brutally murdered two other members of Luiso’s group.

Hope you like what you read, but just warning you, things are going to get violent. Also, I want to clarify something I said in the last post dedicated to the Snake: I said Part II was the longest part in Snake. Actually it’s Part III. Sorry about that.

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The Snake strode over to Luiso, who was just getting off the bed. Luiso looked at him and cursed in Italian. “You son of a bitch.” he growled. The Snake ignored him, reaching for Luiso’s neck.

Just then Luiso spun, kicking the Snake in the knee. The Snake stumbled backward, hitting his head against the wall. Luiso ran at him, swinging his fist. The Snake dodged, moving his head to the right to avoid Luiso’s fist, which went into the wall with a sickening crunch. Luiso pulled on his hand, but it looked stuck in the wall.

The Snake smiled from beneath his mask and grabbed Luiso’s meaty left nipple, giving it a hard twist. Luiso screamed in pain, grabbing the Snake’s arm weakly with the hand not stuck in the wall.

Letting go of the nipple, the Snake pulled back his fists and punched Luiso in the gut and face. Luiso groaned with each impact, looking more and more on the verge of fainting every time the Snake hit him. The Snake kept up the barrage, his excitement building. How much longer can you go? he thought. How much more can you struggle before I make you go through more pain?

Suddenly Luiso swung a fist at the side of the Snake’s head, hitting him right in the ear; the Snake fell over, holding his ear as if it were about to fall off. With a loud crunch, Luiso freed his other hand from the wall and turned to the Snake. “You are so morto, freak.” said Luiso. “Teach you to mess with me!”

The Snake saw Luiso take a step towards him and thought of an idea; as Luiso took another step forward, the Snake jumped and tackled Luiso’s large belly, sending the large man backwards and over. Luiso fell onto the ground with a loud thump, shaking the room as he hit the carpet. The Snake crawled onto Luiso’s chest, straightened himself up, and began punching Luiso’s face. Blood went flying as the Snake broke Luiso’s nose and knocked out a few teeth.

It was a while before the Snake realized that Luiso was knocked out. Standing up off the man’s expansive belly, the Snake looked at Luiso and wondered if he should steal a car and take him somewhere where they wouldn’t be disturbed or—

Then the Snake noticed there was a bathroom in the bedroom, one with a large bathtub and several fluffy white towels. An idea came to the Snake’s head, something he’d always wanted to try, and here was the perfect opportunity for it.

The Snake grabbed his gun from the vanity table and, hooking his arms underneath Luiso’s armpits, dragged Luiso into the bathroom.

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What happens in the bathroom that the Snake has been wanting to try? I’m not saying, except it will make you squirm. Hope you like what you read. If I can, I’ll post more excerpts. Until then, thanks for reading and have a nice day.

Cool snake photo I found online. You like it?

Hey all. Just thought I’d give you another excerpt from my novel-in-progress, Snake. This time around I thought I’d show you guys my criminal profiler, Special Agent Angela Murtz, giving her idea of who the serial killer might be. I’ve been working with a forensic psychologist, whose been a great help at not only coming up with the profile, but also looking at my killer with unclouded eyes (by that I mean he knows only what the police in the novel know, whereas I know everything, and that can be a bit of a problem).

Hope you like what you read, and I promise at some point I’ll do an excerpt featuring the killer himself. Oh, and guess what? This is officially my one-hundredth post! Woo-hoo! Big milestone, huh?

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Patton sighed. “What kind of freak are we dealing with here? He knows just about every trick in the book.”

“I think that might be because he’s ex-military.” said Murtz.

“Ex-military?” Gramer repeated; both Gramer and Patton fixed their attention on Murtz.

“Yes, but not American.” Murtz went on. “Most likely he’s a native Russian male, between the ages of thirty and forty-five, and has extensive experience with weapons, especially firearms. He’s been in country at least ten years, might be a taxi driver himself, and may or may not have ties to the Russian mob here.”

  “And he’s killing because…?” asked Patton.

“He thinks he’s better at delivering justice to criminals than the police.” Murtz explained. “And he’s doing it in such a way that both the police and the Camerlengos know about it. He craves attention, which is why he’s acting like Daredevil, a lone vigilante. If we were to send him a message through the media, he’d likely respond to it in the hopes we’d give him more press time.”

“Let’s hold off on sending this guy a love letter through the newspaper or television.” Gramer instructed. “Candace Berman’s already been on the news saying hter might be a mafia-hunting serial killer on the loose in New York, only she said that in more idealistic terms.”

“Sounds like something she’d do.” said Harnist.

“See if anyone matches Murtz’s profile here in New York.” commanded Patton. “Contact INS and see if they have any Russian ex-military in their system. And Murtz?”

 “Yes sir?”

 “What’s the likelihood this guy will kill again?” asked Patton.

 Murtz looked Patton straight in the eye and said, “Likely. Extremely likely.”

Alright, so last night I thought I’d celebrate “Aasif” getting published by watching a scary movie (if you have no idea what I just said, please head to the last post). What movie did I watch? Candyman, a horror film involving a guy with a hook who appears when you call his name Bloody Mary-style. Did I enjoy it? Not really; there were so many things just wrong with it. This has led me to this post, where I will go over things from the point-of-views of both a fan of horror and a writer of horror and say what I think you should do when you’re making a horror film.

So, for those readers not really interested in horror, so very sorry that this post isn’t aimed at your interests. For those of you who are fans of horror, please take notes and let me know if I missed anything, so that i can do a follow-up post if necessary. Alright, on we go. Here’s some things you should avoid if you’re making a horror film:

1. Don’t go crazy on the sequels: Yes, I know I’ve already had time to complain about the nauseating amount of sequels out there these days, but horror movies are the worst offenders, and as the number of the films gets higher, the quality of the films get lower, which is why most of these films end up becoming direct-to-DVD after a while. Seriously, after a few films, you gotta know when to stop. After all, movies aren’t like novels; you can only pack so much into an hour-and-a-half to two-and-a-half hour show, especially if you’re doing a slasher, where it’s heavily reliant on blood and guts to scare your audience and less about character development.

2. Make it believable: I once read an interview in which a fantasy writer was asked what makes a good setting. His answer (and I’m paraphrasing a bit): “You have to make it believable. You can’t write a story and say, ‘I’m going to have a world where everyone has guns but nobody uses them’. It just doesn’t make sense.” The same can be said of just about anything in storytelling: make it believable. That’s what’ll keep people interested in your work. Otherwise you’ll have a lousy time at the box office. A good example of this is Priest, which came out last year if I remember right. The problem was, if your species is being eradicated by a bunch of monsters, you wouldn’t put the monsters on reservations, would you? I don’t think so, and that’s why the movie failed.

Another example is the movie Leprechaun, whose titular character was too comical to be scary (and I still have no idea why there was five sequels). That was a major reason why that movie was panned by critics. And Candyman also had some trouble in the scary villain department. Our killer ghost looks like a well-dressed African-American man in nice clothes, so even with the hook on his arm he doesn’t seem all that intimidating. It’s only until you see what’s underneath his clothes that you start to get why he’s a monster, but you’re still not scared. Honestly, would it have killed the filmmakers to give him some scary contact lenses to accentuate his ghostliness? Even better, make his face swollen and covered in honey, because after all he died by bee sting.

3. Motive: This goes back to the “make it believable” thing, and was something I thought a lot about while watching Candyman last night. Our villain seems preoccupied with making sure people fear him. Why? That’s not explained very well. I I were the ghost of a man who was murdered by racists who cut off my arm and caused a hive of bees to attack me, I’d be more into getting revenge…on anyone I can get my hands on. Yet Candyman still wants people to recognize him. Okay, but what’s the purpose of that?

Point of the story is, make sure you have a motive that people can understand, and if you don’t, explain it, or do what Prometheus did and make it so that even if you don’t know the motive, it doesn’t matter, there’s other stuff going on right now.

4. Know what your audience has come to see: This was my biggest problem with the remake of Friday the 13th. We all went to that film to see Jason tear up the screen anew. What we got was more like a bunch of hypersexualized co-eds parading around naked while a serial killer watched and picked them off every few minutes. Yes, the Friday the 13th films are famous for their sexiness, but that’s supposed to be an added bonus, not the main attraction. What we come for is to get scared. If the filmmakers had focused more on building tension and making the deaths more dramatic and less time on filming bare-breasted girls, I think we’d hear me rant less on this film.

5. Recycling is bad: Boy, that sounds bad out of context. However it’s important to keep coming up with new stuff. You can’t expect people to be satisfied with the old chase-and-kill scenario twelve times in each film. You’ve got to make each film unique so that the moviegoers can gush about an individual scene afterwards. Take Scream 2 for example: there was that moment where Sidney and her best friend were trapped in a police car with an unconscious Ghostface and the only way out was to crawl over him. That scene scared the heck out of me! That’s why the second film in that series was better than the first. However, the filmmakers didn’t seem to do that four films 3 and 4, and that’s why I don’t like those films.

So don’t recycle. And if you have to, try to make it look like it’s not.

6. It’s not about the kill, it’s how you film it: Too many times have I seen a character attacked and murdered and not been freaked. Why? Because the lead-up to it and the way it was filmed wasn’t terrifying in the least! There are brilliant scenes in movies like Final Destination and The Woman in Black that you didn’t know was going to happen until it happened, and that’s what made them scary. This can also be applied to just building up for a small scare, such as in the Paranormal Activity films. If you study those films and see what they did, you can scare so much more easily.

Otherwise, you may make a film like some others I know where everybody’s like, “Oh, she’s gonna get it, it’s coming soon…she’s dead. Oh well.”

That’s all I have for now. Got any other ideas? Let me know, I’ll write another post on this subject.