Posts Tagged ‘characters’

It Has To Be Longer

Posted: July 30, 2015 in ideas, Living and Life, Novel, Reflections, short story, Writing
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About four times in my writing career, I’ve come up with really great ideas for stories, and I think they’d work at under ten-thousand words, which is what is usually the maximum length for a short story. But as I think about this idea and the story I plan to write with it, or as I try to write it and I run into problems, I realize something important: it has to be longer than a short story. There’s just no way I’m going to be able to put everything I want in this short story within such a small range. This is going to need to be much longer.

In other words, it’s going to need to be a novel.

For me, this is always frustrating to some degree. I have this idea, and I think that maybe I can get it written within a few weeks. And then I realize there’s more than one direction this story can go. And I want to add in so much material, which is impossible with just ten-thousand words. And yet I don’t want to give up any of it! So I cross it off my short story list and put it on my novel list, even though I realize that it might be years before I get around to writing it.

It’s even more frustrating when I’ve already attempted to write this particular idea as a short story. I wrote a story about a man who gets resurrected from death through science. It was great. But it had so much in it, so much hinted at within its pages. When I lent it to a friend, he told me that it would work great as a novel or even as a movie. After a lot of thought, I realized he was right.

And remember “the short story I’ve been struggling with on and off with for over a year”? Also known as “The Murderer’s Legacy”, “Miranda’s Tempest”, and “Strong’s Trial”, I could not get that story to work for the life of me. And with every draft and every change, I felt I was getting closer and at the same time getting farther away from the story that this story should be. Eventually I figured out a way to make this story work, but it meant turning this into a full-length novel. I was just like, “Fine. I’m not going to think of another way this story could work anytime soon, so let’s just keep it as is and hope I get around to it sooner rather than later.”

And last night, I was thinking of outlining this idea for a short story that I wanted to write. I sat down in front of my laptop to start outlining, and just as I put the order of events together in my head, I thought, No way can I get all this in within even twenty-thousand words. This has to be a novel. Aw dammit. Oh well, the story calls for it. What am I going to do?

Yeah, what am I going to do? How many ideas for short stories am I going to have that will eventually need to be turned into novels that might take years to get around to because that’s how busy I get sometimes? I hate it. I wish there was a way I could make these stories work as short stories. Especially that one I was going to work on yesterday, it was going to examine the Israeli-Palestinian conflict!

But it’s just not going to happen. I can’t fit these stories within ten or twenty-thousand words. They won’t work then, they won’t have the same punch if they were novels. There’s a reason I never got a version of Miranda’s Tempest/The Murderer’s Legacy/Strong’s Trial I liked, because I was writing it with a view of making it shorter than it needed to be.

And you know what? Sometimes you just can’t control the story like that. As an author, you have a lot of control over your story, you are its God in a sense. But at the same time, the story has some control over you. Events go certain ways you never thought about, characters act in a different way you thought they would and take things in a different direction. Authors of all types and experience know that this is a thing and that it happens a lot. And when it does, you just have to go with the flow or your story won’t turn out the way you hope.

I just hope someday I have more time than I do now to write, that I can get to these stories sooner rather than later. Perhaps someday I will. I know several writers who started writing part-time and through hard work, perseverance, and a bit of luck, became full-time writers able to devote their full energies to writing. That could be me someday. I’m still young and early in my career. A few more books, some more advertising and reviews. You never know what’s going to happen.

I do wish I had less of these ideas where I think they’ll be great short stories, but later on I realize they need to be novels. As I said above, it’s annoying when that happens.

Do you ever have this problem with a story? How do you feel about it when it happens?

When you do end up writing these stories at the right length, does it normally work out?

Character Depth in Horror Stories

Posted: June 21, 2015 in Reflections, Scary Stuff, Writing
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Last night as I was dropping off to sleep and feeling happy about setting up that new blog of mine (thanks to everyone who’s already signed up to follow that, by the way), my mind started to wander, as it usually does right before I fall asleep. This time around my mind went to horror stories (yeah, it does that quite often too), and I started to ponder character depth and development in horror stories. At some point I realized that in horror, you often have either characters who are very well-rounded and developed, or you have characters that are little more than archetypes, e.g. the Skeptical Dad, the Final Girl, The Psychic Child, The Expert, etc. And you know what else I realized, what made me get up out of bed and write this revelation down before I fell asleep and forgot? Sometimes these stories require different level of character development, depending on what the story is.

Let me explain. In certain scary stories, such as Stephen King’s The Shining (the book, not that poorly adapted Kubrick film), the characters are more than just archetypes and we get to know them very well. This is because their inner conflicts are just as important to the story as is the outer conflicts happening with the hotel. Jack Torrance is trying to keep his cool and be a good husband and father for his family after so many screw ups, while also fending off his desire to drink and the mental assaults of the hotel. His wife Wendy is trying to keep her family together while also keeping an eye on Jack in case he reverts to bad habits. And Danny, psychic and wise beyond his years, is trying to stay strong and endure the hotel’s attempts to kill him because he knows a lot is riding on his father taking care of the hotel through the winter. How they react to situations and grow as characters is just as important as what is happening within the hotel, so King makes sure they are well-developed.

Part of the terror (in the book, anyway), comes from the conflicts these characters wrestle with inside themselves as well as the ones the hotel sends them.

Meanwhile other stories don’t need as much character development. Take Insidious 3, for example (yes, I’m using the third entry in a horror film series, but bear with me). Besides main character Elise Rainier, most of the characters in the film do not get much character development. In the Brenner family, who are experiencing all these supernatural happenings, you don’t see much beyond the roles they play in the story: Quinn is a pretty girl with dreams of acting and is being victimized by a spirit, her dad Sean is the scatter-brained parent trying to keep his family together through grief and tragedy, and the annoying younger brother Alex is…well, the annoying younger brother. Despite not getting a lot of characterization though, these three characters do actually get some growth in the story: Quinn’s car accident and the spirit attacking her causes her, her brother, and her father to get out of their own little worlds and come together as a family to save Quinn’s life.

And of course, there are those stories that require little or no characterization or growth at all. This is common in slasher films, where the characters are often reduced to archetypes or roles (anyone who’s seen Cabin in the Woods knows what I’m talking about). This also happens in a short story I had an idea for recently (and that I might write as soon as I finish editing Video Rage). In this story, I decided that I wouldn’t spend time going over why the protagonist’s younger brother is a bratty kid or why the antagonists are as freaky as they are. The reason I decided this is because the events of the story are where the terror and intrigue come from, not from any inner growth. This is usually the case with slasher films as well: the events of the story are where we get our terror and excitement from, so more attention is pointed towards telling the story than going over any inner conflicts of the characters.

Half the fun of this show is seeing these two interact with each other.

What I’m driving at here is that how much character development is required from a story depends a lot on where the excitement and fear is coming from and how essential developing a character is in order to keep a reader or viewer invested in the story. In the case of a Nightmare on Elm Street film or the story I mentioned above, we’re reading or seeing the story because we know that the story’s events is where we’re going to get the excitement we paid to read/see. In the case of stories like The Shining or most episodes of Hannibal though, a major reason why we’re investing time into the story is because of the characters, not just what’s happening around them. This is especially so in Hannibal, because most of the conflicts and intrigue comes from the characters, their psychological states, and how they play against one another. We’re there not just because Hannibal Lecter is a famous and charismatic serial killer, we’re also there because we like seeing how Will Graham’s relationship with Lecter changes and evolves over time.

And knowing how much to balance of these two elements–character development and story-focus–is very important. Look at the remake of Poltergeist that came out recently. It was an awful film, and one of the many problems it had was that they tried to insert character development near the beginning of the film and failed miserably. Early on it focused on the dad losing his job and trying to find a new one, as well as mentioned something about the wife being a writer. I think the filmmakers were trying to translate this into an arc where the family tries to stay together and come together through rough circumstances, but ultimately the whole thread of the dad looking for a job and the parents trying to keep the family together fails to really get resolved or come together and ends up feeling unnecessary to the story. You’d think that it would just be enough to say the dad got promoted or transferred or a new job and leave it at that!

So whether it’s a zombie flick, a novel about a haunted house, or a psychological horror TV show, knowing the balance between character development and story-focus is just as important as creating a memorable and creepy villain or writing the story in such a way so that the story actually remains scary rather than goofy or just plain stupid (*cough* Friday the 13th remake *cough*). If you do, you’re more likely to write a good story worth remembering than you are to write garbage that horror fans sift through trying to find a nugget of gold.

I’ll certainly keep the balance in mind with the next story I write.

Villain Songs

Posted: June 8, 2015 in Living and Life, Reflections, Scary Stuff, Writing
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It goes without saying, I love villains. They’re often the most memorable part of a story or among the most memorable parts. Everyone recognizes the killer clown from Stephen King’s IT or Dr. Lecter tied up and wearing a mask in Silence of the Lambs. And in certain musicals, when they have a song about the villain, it can become the best part of the entire show. In fact, in some cases it’s the only good part of some musicals.

I guess I’m a little obsessed with villain songs, particularly “In the Dark of the Night” from the movie Anastasia (perhaps the only good part of an expensive Disney rip-off) and “Be Prepared” from The Lion King. I’ve even written my own villain song about me as a horror writer called “Eater of Fear” (boy, would I love to get that thing produced into an actual musical track) and I came up with an idea for a short story involving a villain song. And I’m not the only one. You’ll find plenty of people who like villain songs and even create lists for them (you can find examples of other people’s lists here, here, and here).

What’s with the love of villain songs? Well, I can think of several reasons. One is that everyone likes a catchy song. It’s part of the reason why we can’t get some of Taylor Swift or Carly Rae Jepsen’s songs out of our heads sometimes (I’ve been there more than once). Villain songs are among the catchiest because they are often used to explain the plans or motivations of the villains, so a lot of thought is put into making the lyrics and tune exciting while explaining these plans/motivations. It’s a lot more fun than you’re average monologue about the villain’s plans or beliefs, right? Nobody downloads those on their iPods!

Tell me you weren’t wiggling a little in your seat when Dr. Facilier started doing this fun little song and dance.

 

Another reason is that–and this is my own opinion, but I think it has merit–most people want to indulge in their dark side every now and then, they want to have a little fun being evil. How many times have we wished we could get revenge on our bosses or on that nasty kid on the playground? Probably a lot, but we don’t because most of us are good people who would never do something so horrid or we’re afraid of the consequences. A villain song is a sort of trip to the dark side. You get to indulge in being bad and have fun singing about it. And when the song is over, what’s the worst that comes back to haunt you? Maybe someone sees you singing and goes to warn somebody else, but that might be it. Usually, the song ends and we move onto the next part of the story.

In addition, villain songs are packed with dark visuals. Even non-fans of horror like the dark and the creepy every now and then, they just don’t like being assaulted with it in the books or movies or shows they read or watch. No, they prefer to dip their toes, and a villain song is a perfect way to do it. If you’ve ever watched “Hellfire” from The Hunchback of Notre Dame or “Be Prepared”, you know they’ve got some arresting visuals. The former has some freaky Gothic and hellish imagery, the latter has freaking Nazi hyenas marching in front of Fuhrer Scar. It’s kind of creepy, it stays with you, and it’s a lot of fun to watch.

Anyone who didn’t find this scene a little chilling is either lying or possibly has ties to dangerous organizations or groups.

 

These and a bunch of other reasons could be why villain songs resonate with us so much as an audience. Whether it’s because we love a villain, indulging safely in our dark side, or we just like a catchy tune, villain songs are just a ton of fun and as long as people are writing musicals, they’re bound to show up again and again in our shows and, if they’re good, in our consciousnesses.

Do you have a thing for villain songs? Which are your favorite? And why do you think they tend to stick in people’s minds so much?

Oh, just a reminder that my Big Birthday Sale is in 2 days. From June 10th to June 14th, all my titles–The Quiet Game, Reborn City, and Snake–will be marked down or, in the case of the e-books, free to download from Amazon and Smashwords. So if you’re looking for something new to read and want to get it at a good price, this might be the opportunity for you. Get excited, because it’s coming soon!

That’ll be all for now, Followers of Fear. I’ve got to go and sing some “Eater of Fear” in my head. Have a good one.

Considering Double Narrators

Posted: April 22, 2015 in Reflections, short story, Writing
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I’ve two short stories, one that has had two drafts already and another that I’m trying to get through the last act of. Both stories involve the supernatural, and both focus on two characters, a man and a girl (though in each story the relationship dynamic is quite different). As I’m thinking of the different things I could do with each story in order to improve it, one thing comes to mind for both of them and it’s really got me thinking about the possibilities.

One story is State Fair, which I’ve mentioned here before and is about fairgrounds haunted by ghosts. The other is called Streghe (that’s Italian for “Witches”) and is based off a witch mythology I learned about in my History of Witchcraft (that class is already pretty useful). At their current stages, both short stories are told mostly from the male character’s point of view. So I’m thinking to myself, one of the ways to improve them might be to tell part of the story from the female character’s point of view.

Two narrators in a single story isn’t unusual. I’ve read a couple of well-known short stories that were told in this manner, one of which immediately comes to mind is The Falls by George Saunders (boy, is that one a trip). And the Bartimaeus books, which I loved as a kid, often had two to four narrators, depending on which book you were reading. And most of my novels are told from multiple points of views (and people tend to like those). So I’m wondering why I haven’t tried that with my short stories. Heck, I’m wondering why I haven’t tried it with either of these short stories. I mean, State Fair‘s main character spends most of the story following a girl named Lizzy around the park, so why did I not get her POV on being followed around? And the events of Streghe happen as much as to my young female protagonist Sarah as it does to my nasty male antagonist Tom. Not sure why I’m saving her POV to the end.

Well, it’s something I’ll definitely try. Since I’m still working on the first draft of Streghe, I’ll see about getting Sarah’s POV in this thing, maybe heighten the mystery element of the story by including her. When I get around to another edit of State Fair, I’ll see where where I can put Lizzy’s point of view. It’d be interesting to see how she reacts to a ghost following her around.

But what do you guys think? Am I onto something? Do you use multiple narrators in your short stories? And if so, how does it usually work out for you? Let me know, I’d love to discuss.

Do These Characters Seem Real to You? Or Are They More Like Robots?

Posted: April 20, 2015 in Reflections, Writing
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The main fear of every fiction writer is whether or not they’re telling a good story, usually meaning they hope they have an interesting story or they’re telling it in the best way possible. After that those, there’s another fear that is just as important and just as scary: you fear your characters aren’t relatable, that they don’t feel real to the reader. The last thing any author wants to read in a review is that the characters seemed “artificial” or “their actions and words felt forced” or instead of seeming like real people, they were “more like robots.”

Unless all or most of your characters are actually robots, of course. Then those reviews might actually be compliments.

But in most other situations, you want to avoid getting these sort of reviews, and there are a number of ways to do that. One is to fill out a full character bio for each of your characters, even if you don’t plan on using everything on that bio in the story. I’m talking full educational history, childhood experiences and traumas, hobbies, likes and dislikes, dirty little secrets, all that good stuff. Having a full picture of your character can help you bring them to life. You can tell a lot about a person just by knowing the full story about them, and you can do the same by knowing everything about your characters, getting in their heads and figuring out everything from reactions to certain situations to their decision-making processes.

Some of these involve writing, which I think adds to the fun.

One of the best parts of some of these is you get to write them out. If you’re one of those types who write a certain amount of words a day, this may help fill it out on a bad day.

Another thing you can do, if you’re wondering if something your character says or does seems believable or not, is to do what I call split-mind writing. I forget where I got this (it might have been a Stephen King novel), but it’s a pretty interesting way to work out problems, if rather schizophrenic. What you do is take a piece of paper, and pretend to have a conversation with someone on that piece of paper. Basically it’s a game of question-and-answer where you bounce ideas off of the person you’re writing to, see if you can work out what’s bothering you about your character and find a solution through this process.

There’s also acting it out, which is as the name implies (and with the perfect partner, is as fun as it sounds). If you have someone to act it out with, fill the in on a scenario in the story and act it out. If you or your partner’s reactions and words are different than what you’d expect or thought might happen, examine why. There might be something in that difference that can help you in your work.

A fourth one, and one that I feel is always worth a try, is to look at your favorite characters in literature. Examine them and ask yourself why those characters feel so real to you, or what about these characters that you identified with. Often we’re inspired by these sort of characters and the stories they’re in. We want to write stories that are just as inspirational as those ones that inspired us. Going back and figuring out why can be very helpful with putting those same qualities into your stories.

And of course, there’s my favorite option: would I do that in the same situation? I find asking myself this sort of question of myself actually helps. Often our characters have a bit of ourselves in them (as they should, seeing as we created them). Asking if we would do the same thing as them, and then exploring the answer, may help you make these characters seem real. After all, if you consider yourself at least fifty-percent normal and your reactions too, then maybe those thoughts and reactions should apply to your characters as well.

Sometimes it’s just a matter of thinking and puzzling it out.

Sometimes it’s just a matter of thinking and puzzling it out.

While making characters seem real to your audience can seem daunting, it’s not impossible to do. We all start out having trouble making our characters seem real, but with time we improve, make them real not just to us, but to our readers. And part of that is just asking a question: why or why does this character not work? The answers you get can be the key to writing something–and maybe even someone–truly awesome.

Writers are Cruel Gods

Posted: January 28, 2015 in Living and Life, Reflections, Writing
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Some writers like to compare themselves to gods of the worlds they create, prodding their characters this way and that as the write their stories. I’m one of those writers, as blasphemous as it sounds (even more blasphemous when you consider that my parents are rabbis). But in a strange way, it’s true. I come up with an outline for my stories, I start writing, my characters take over to some degree and make their own choices, but at the end of it all they get to where I wanted them to go.

Sounds like God, doesn’t it? My characters, my creations, have free will of a sort in my world, but in the end the story usually works the way I want it to go because this world is mine and I have ultimate say. Evil has a purpose in my world, and so does reward and punishment (in a way). There’s an ultimate plan or idea of where things will go because I will it to be so, but you have to see the whole picture in order to understand the plan.

And I’m going to stop right there before I get a ton of people angry at me.

But if I’m the god of my worlds and my characters, what does that make me? What kind of god am I? I specialize in horror. It’s a dark genre, where anyone can die at any second, where monsters exist, and if you’re lucky enough to live, you might wish you’d died. It’s the genre that revels in the darkest of humanity as well as the best, brings doubt as well as faith, and above all, scares. I’m the god of such worlds, I adore making them up in my mind and then bringing them to life on the page.

What does that say about me? What does that say about any writer that wants to put their characters through torment or hardship? What does it say about God, that His world which He (or She, I’m equal opportunity) authored is so full of darkness?

Well, this isn’t a philosophy or theology post. But it brings up some good questions in those areas. Imagine if the characters we write were real people and the pain we put them through was real to them. Would we want to keep writing anything where they felt pain? Writers often feel like these characters are family to them, like children. If these were our real children, would we want to keep doing these sort of things to them? Would we ever write a story with conflict in it?

And could we continue to worship God with this sort of definition of Him?

The thing is, we’re not God. And our characters are most likely not real. But if they were, we’d probably go about writing sad or tragic stories. Like God, we have a plan, and the characters who we killed off, if we have any amount of mercy in us, we’d give the dead an afterlife to live in, so that killing them off wouldn’t hurt us as much. Because you know what? We have stories to tell, and maybe they’re not happy all the time, but they’re ours and that’s what we write.

And I do feel my characters are real to some degree. But that doesn’t mean I won’t write. After all, their stories deserve to be told.

Review: American Horror Story: Freak Show

Posted: January 22, 2015 in Living and Life, Review, Scary Stuff, Writing
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Sorry it’s coming a little late, but you know, my crazy life. And I wanted to watch it taped so I could fast forward through the commercial breaks.

Anyway, I liked this season of AHS much better than Coven last year. In terms of tone it was closer to the first season, though it had some more lighthearted moments than Season 1. Also, the show’s creator Ryan Murphy -incorporated a few musical scenes, so he’s either testing the waters for a crossover with his other show Glee or he’s just trying to keep things fresh. I definitely think it’s the latter. But like I was saying, this is some pretty good horror. Like previous seasons, you can’t tell where the story is going, and no one’s safe from death. Unlike previous seasons, nobody comes back to life or dies twice (shocker!) and the final episode of the season doesn’t just feel like filler with minimal scares to wrap up loose ends, but an actual episode that is kind of terrifying and very entertaining. There are a few loose ends, but I think we can assume what happened based on what happens in that episode.

Also, this is the first season to connect with another season (Asylum), and apparently all the seasons connect, so I’m wondering how they’re going to connect that in upcoming seasons. Minor detail, but it’s important to talk about.

Anyway, back to the review. What I really liked about Freak Show, besides the final episode actually being pretty good, is that the writers were able to tell a really beautiful story about people on the outskirts of society, and while also keeping things scary and interesting. Everyone has their own story, their own darkness, and their own potential to be evil. In fact at several times many characters cross the lines from good folks to villains and then back again. It’s very hard to pin down a central villain, especially during the first six episodes or so. I guess it shows that in an imperfect world, where most of the characters are scared or in trouble with the authorities, you’ll do what you have to in order to survive.

I also like how the story twists and turns, taking us in directions we couldn’t see, and still keeps things within reasonable bounds of imagination. And I loved the guest stars: Neil Patrick Harris and Jamie Brewer as Chester and Marjorie the Doll, Wes Bentley as Edward Mordrake (my favorite minor character) and quite a few others. But the main cast! Whoo, were they amazing. Sarah Paulson playing a pair of conjoined twins and did it so convincingly, I forgot it was acting and CGI! And Finn Wittrock as Dandy Mott deserves an award, playing the most horrific serial killing chameleon I’ve seen outside of Hannibal. And I loved Jessica Lange as Elsa Mars, who is just as evil and as tragic as any character in this show, but with quite the theatrical flare. Plus all the actors playing the freaks! Some actually have certain conditions, others are actors, but all are amazing in their roles.

Finn Wittrock, the man who played Dandy Mott. I hope he comes back for Season 5, he was definitely my favorite actor this season.

The one thing I did not care for is that Twisty the Clown, who appears in the first four or so episodes, is given an intellectual disability and his mental illness as the reason for which he kills. I swear, I’m tired of people with mental retardation being portrayed in these things as serial killers! I’ve known people with intellectual disabilities. At the worst, they can be difficult to handle in a bad mood, but they are normally sweet and kind. Why they’re portrayed over and over this way, I’m not sure. Honestly, the only times I’ve been okay with it is the Friday the 13th and Texas Chainsaw Massacre franchises, but only then. (Please see my article on tropes that need to be retired for more on this subject).

All in all, I’m giving American Horror Story: Freak Show a 4.5 out of 5. Scary, entertaining, beautiful, and a great 4th season for the anthology series with wonderful performances by all the actors in the show. I’m looking forward to the next season (which has been ordered). I hope it’ll be as dark as Asylum. I wonder what they’ll do for Season 5. I heard a rumor that it might be magicians, and there’s reasons to believe that might be it. Other contenders could be a prison season (though that might be too close to Season 2) and one taking place at a summer camp (a favorite of horror fans everywhere). And there’s always the chance of a high school filled with evil, I guess.

Well, that’s all for now. I’m heading to bed. Friday’s a shorter day for me, so I want to be wide awake for it. Goodnight, my Followers of Fear. I’ll try to write tomorrow or the day after if I can. See ya then!

Character Tropes That Have Got to Go

Posted: December 21, 2014 in ideas, Reflections, Writing
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Trope: a common recurring literary and rhetorical device, motif, or cliche. When referring to a character, it often refers to a common or well-known character archetype of stereotype that is instantly recognizable (ex. the noble hero, the avenging antihero, the slightly clumsy socially awkward girl in a romantic comedy, etc.)

There are hundreds and hundreds of these different tropes, each with their own special qualities and characteristics that are recognizable to many different people. Some of these tropes have even become staples in our own culture and in the stories we tell. However, there are a few that are, for many different reasons, just unusable these days. Maybe they’ve become so overused they’re a cliche, or maybe just the way society is or what psychology tells us makes such a character hard to believe in. In any case, there are character tropes and archetypes, not just in literature but on TV and in the movies as well, that just have to be retired, and I list some of them here.

I’d like to thank the people who helped to contribute to this list, including Pat Bertram for her many suggestions (though I have to disagree on serial killers. Sure, they’re overused, but there’s plenty of different ways to write them. Case in point: Snake).

So without further ado, let’s take a look at who/what needs to go:

The orphan who grows up with a heart of gold without any adult intervention whatsoever. Whether it’s Oliver Twist or Harry Potter, this character trope is pretty much the same wherever you go: a kid who grows up in an abusive environment, has never received a smile or a word of kindness from anyone, and yet still grows up with virtues to make statues of angels weep for joy. I don’t buy it. Although it’s possible for a kid to grow up that way (and usually, based on these stories, it’s a boy), it’s very unlikely. Without parental love and affection, kids can grow up to be distrustful and try to find other ways (sometimes really unhealthy ways) to replace the bond they should’ve had with their parents. Like I pointed out the other day, Harry should’ve grown up with some insecurities and trust issues, if not full on sociopathy (I might’ve written him that way anyway).

The drunk, possibly depressed cop. I’m sure there are cops who are drunk and/or depressed. But there seems to be a plethora of them in literature, and they are either meant to be tragic, comical, or go on a spiritual quest where they find the meaning in life, stop drinking, and maybe even get the girl. Unless someone finds a new slant on this trope, or it has got to go.

The killer with an intellectual disability. While I disagree with Pat on the need to get rid of serial killers, there is a strain of that sort of character I think we could do without. This strain are characters who would be classified as mentally retarded, and that’s somehow hinted by the writers (and in film and TV, the directors and actors) to be linked to their violent killing sprees. Leatherface from Texas Chainsaw Massacre is an example, and so is a certain character in the current season of American Horror Story (not saying who, because you know, spoilers). It’s actually rather saddening and disturbing to see this trope constantly resurfacing, because most people with intellectual disabilities are really sweet and wouldn’t harm a fly unless under extreme stress. If you’re going to create a killer with a brain problem, make it someone who kills for their own sick pleasure, rather than suggesting that it might have something to do with some intellectual disability they may have. Not only would I thank you, but I’m sure that many people with intellectual disabilities and their friends, family, and caretakers would thank you as well.

The dystopian dreamboy. I think you could actually extend this to a lot of YA stories as well, but I’m not familiar enough with the genre to make that sort of inference, so I’ll just keep it to dystopia fiction. In any case, this character shows up a lot in dystopian/YA fiction, particularly stories trying to portray a strong, female character (whether or not they do depends upon the story and personal choice). The dystopian dreamboy is very one-dimensional, their whole point is to be a romantic interest, and they have hardly any other aspects to them besides being very handsome, props the heroine up when she’s feeling down, and maybe fights or demonstrates some other helpful skill. Other than that, not much to fill that Wikia page. I’d like to see these characters either more developed or just gone.

The damsel in distress. Like our last entry, this character has very little character development or point besides being a male lead’s romantic interest. Of course, there’s a rich history of this character in literature, so it’s hard to get rid of such an archetype. However, in a world where women are taking breaking the glass ceiling in so many ways, the damsel in distress is the sort of character that we could stand to lose, because all it says is that women need a guy to save them and are otherwise helpless. Either that, or it needs a total revamping, where the damsel is at least somewhat proactive (like Allison from Snake).

The bitch who just needs some love in her life. Again, in an era where women are working hard to break the glass ceiling, this trope could be retired. Not tweaked. Retired. This trope basically says that there’s an ambitious, job-driven woman who is at the top of the business world. But she’s a little lonely, pretty stressed, and more often than not kind of bitchy. That is, until she meets this awesome, handsome guy who is sexually stimulating. And then she realizes as fulfilling as her job is, this guy is what she truly wants, and he makes her a better person, and given a choice between him and her job, she’ll take him. I don’t know, it might just be me, but I think plenty of women can be in business and find fulfillment without a guy. Or have a guy (or girl) and not have to choose between the two to get happiness. I’ve seen it plenty of times. Like my boss.

The barely-Jewish Jew. This is the one that gets my goat. Rachel Berry, Noah “Puck” Puckerman, Howard Wolowitz, Willow Rosenberg, John Munch, Dr. Chris Taub. These TV characters  are all Jewish, but if you looked only at them to form your idea of what a Jew is, you’d think that a Jew is someone who just says a bunch of Yiddish words but isn’t that different than anyone else.  Really, that’s only a small–really small, actually–portion of the Jewish population. I’d really like to see more Jewish characters eating kosher, maybe being involved in synagogue activities or doing Israel activism or something. Show some Hasidic Jews or some modern Orthodox or Conservative Jews who like the Ramones and go to day school (I had a friend or two like that). And for more than one guest episode, thanks! The only character who bucked the trend was Ziva David on NCIS, but the actress who played her left the show, so what’s left?

What are your thoughts on these choices?

What are some character tropes and archetypes that you need to be retired? Any you want to be resurrected?

Character Interview: The Snake Himself

Posted: May 24, 2014 in Character Interviews, Living and Life, Novel, Writing
Tags: , , , , , , , , , , , , , , , ,
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Snake

Guten morgen, meine Anhanger der Angst!

I think I said “Good morning, my Followers of Fear” in German. I was teaching myself German, but the craziness of the semester kind of ended my lessons abruptly. Anyway, these past two weeks I’ve been doing character interviews for my upcoming novel Snake, out June 10th. The first interview was with the two investigators leading the hunt for the Snake. The second interview was with the Snake’s girlfriend, Allison Langland. And today, we have the Snake himself! How exciting! Let’s hop right into it, ja?

Notes and Stats:
Sex: male
Age: 18
Race/Ethnicity: Caucasian
Birthday: January 2
Eye color: blue
Hair color: Dark brown
Religion: If he had to describe his religious beliefs, they’d probably align with Deism.
Affiliation: None
Special Powers/Abilities: Physical strength, a very high IQ, knowledge of various ways to kill people as well as deep forensic knowledge, adept at languages and chemistry, experience with training guard dogs and with reading body language.
Notes from the Author: The Snake hasn’t changed much from my original conception of the character as a serial killer whom people might root for. At the same time, I had to really work hard to make him a believable character, because I had to make it believable that he was normal until the events of the novel turned him into a serial killer. I like to think that in the end it worked out very well, though.
Oh, and another interesting thing about the Snake: I never reveal his name in the novel. Not once. I know what it is, but I find all sorts of ways so that I can avoid using it. I did that because I wanted to show that any one of us could be like the Snake: one day an average person, the next day transforming into a killer through circumstance and necessity. It is a scary concept when you think about it, because you realize that it is possible that could happen to just about anyone. Including you.

RU: Hello, Snake.

Snake: Hello.

RU: Wow, you didn’t ask me who I was or how the heck you ended up in Berlin. That’s a first.

Snake: I have an idea.

RU: …Okay. So Snake, how goes the search for Allison Langland?

Snake: I always knew that I loved Allison. I only realized how much my love for her went when I heard her kidnapped over the phone.

RU: Wait, you were on the phone with her when she was kidnapped?

Snake: In that moment, I realized how much she meant to me, how much she lit up my life and filled me with such joy. And I felt such a loss at the thought that something might happen to her. Like a great deep hole had opened up in me where she belonged. And every second that I’m not with her, that I don’t know if she’s okay or if something horrible is happening to her…it’s agonizing.

RU: I can’t imagine. You didn’t become a killer just then, right?

Snake: No, that happened later. After I witnessed something horrible.

RU: Well, don’t reveal it here. There are some people I’d rather not hear that particular story just yet.

Snake: I think you just partially confirmed my theory about who you are.

RU: Well, I hope you turn out to be mistaken. Anyway, where are you now in your search for Allison?

Snake: I can’t really be sure how many people I’ll have to go through before I find her. I’m now hunting a man named Veretti. He actually saw Allison, if my last victim is to be trusted. If he yields valuable information, then I’ll be one step closer in my search for her. That’s all I care about, really. Finding Allison. And I won’t let anyone get in my way.

RU: Well, I’ll let you get back to it. Good luck.

Remember, Snake comes out June 10, and will be available in paperback and e-book. And if you’d like to find out more about Snake before that date, you can read the other interviews or you can check out the Snake page here. And if you’d like something to tide you over until the book actually comes out, Reborn City’s e-book is still available for $0.99 on Amazon and Smashwords. Better download it before June 1st, or the price will go up a dollar.

That’s all for now. I’ve got a trip to a museum in a few hours. Auf weiderschein, as they say here. I hope I can write again before I come back!

Character Interview: Allison Langland from “Snake”

Posted: May 17, 2014 in Character Interviews, Living and Life, Novel, Writing
Tags: , , , , , , , , , , , , , , , ,
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Snake

Bonjour from Bayeux. I’m in France right now, and if you’ve been keeping up with that blog on OSU’s website I posted about a while back, you know how I’m doing. But enough about France. Last week we met the two investigators who are hunting for the Snake. If you’ve read the blurb for Snake (and if you haven’t, click here now), you know the Snake’s trying to save the woman he loves. It’s a messed-up way to save the woman he loves, but it’s why he’s doing it. And today I whisked her out of the book for you to meet. So let’s get this interview underway!

Notes and Stats
Sex: female
Age: 17
Race/Ethnicity: Caucasian
Birthday: March 29
Eye color: Blue
Hair color: Red
Religion: she doesn’t really subscribe to any religion. To her, if there’s a god, then it’s beyond her understanding, so why bother thinking about it?
Affiliation: None
Special Powers/Abilities: None
Notes from the Author: The idea for the story of Snake started with a serial killer who people would root for, so I needed a good reason for the Snake to kill. That’s where Allison came in: she was meant to be the reason. With her kidnapping, the Snake realizes that his love for her is deeper than he imagined, and that facilitates his transformation into a killer. However, I didn’t want her to be one of those crybaby girls who always scream and cling to the nearest guy the moment trouble hits. So I made sure her personality had a certain fire to it. Even when she’s in the throes of terror and trauma, that fire shines through, and that’s the reason I love her, as well as why she’s able to grow in this novel.

RU: First off Allison, welcome to France.

Allison: Who the heck are you? And how the heck did I end up in France?

RU: They always ask me that when I bring them for interviews. Allison, tell me about what’s happened to you recently, starting with the night you were kidnapped.

Allison: I was accompanying my dad to some social. He’s a doctor for the rich, so he gets invited to some really big parties. When he doesn’t have a date, I usually end up going with him. That’s what happened that night. I decided to get away from the party for a little bit, but on the way back from the bathroom, I overheard something. The party was at this hotel and I passed this conference room, and…

RU: Take your time. What happened next?

Allison: I heard a friend of my dad’s, a Christopher Camerlengo, talking about something. He’s the head of his own mafia family, though he wouldn’t tell you about it unless he wanted to knock your teeth in. Anyway, it sounded like they wanted to kill somebody. I recorded it on my phone, but they saw me outside the door. I got out of the hotel and tried to get away, but they found me and grabbed me. They tried to get my phone too, but it fell into a drain.

RU: What happened afterwards?

Allison: I was kept at a warehouse for a while, but then they moved me to this…phone sex service they own. They said they’re going to let me live if I behave myself and don’t rock the boat. I don’t know how long they plan to keep me here though. I’m kind of scared…and disgusted. I mean, I’m operating the phones all day and through most of the night. You would not believe what these people who call in make me pretend to do.

RU: I think I’ll use my imagination on that one.

Allison: Well, I’ve got a plan. Someone called in today, a policeman. I think he could help me get out of here.

RU: Oh. Well, good luck.

That’s all for now. Join me again in seven days when I’m in Berlin and I speak to the Snake himself! It’ll either be the best interview I’ve ever had with one of my characters…or we won’t see any sequels on account of my being dead.

And remember, Snake drops on June 10th. It’ll be available in e-book and in paperback from Amazon and then later on will be uploaded onto Smashwords, and I’ll be counting down the days till it comes out. In the meantime, Reborn City is still on sale, so check it out on Amazon and Smashwords while the sale is still going on.

Until then, au revoir!

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