Posts Tagged ‘ideas’

I do not tolerate negative language meant to denigrate a person because of their race, gender, orientation, or ability. So when I see someone using this sort of language flippantly or carelessly, I usually tend to avoid that person. If they’re a friend though, I’ll try to convince them not to use that language before I cut them off.

Last night I was forced to do just that. Someone I’m acquainted with at school was responding to people lamenting about Facebook buying some app or another. He thought it was hypocritical that they were complaining about it on Facebook and said they should reevaluate their lives (though he didn’t phrase it in such nice terms). Where I got upset was when he used the word “retard”. I’ve mentioned before that I have an autism spectrum disorder and I’d been called “retard” or “retarded” more than once by bullies because I didn’t understand certain social boundaries or conventions when I was younger. Not to mention that mental retardation (or intellectual disabilities, which seems to be the preferred term among medical professionals these days) is an actual medical condition, so using it as an insult hurts the people with actual mental retardation worse than it hurts the people having the insult hurled at them.

I asked my friend if he would not use that word because it has the potential to hurt people. He responded that he was using the word without negative connotations and that people should realize that (as if we’re mind-readers!). He also said he uses racial and other denigrating terms, including the N-word, and said he uses them without the negative connotations and that it’s my problem if I was insulted by it.

At that moment another friend of his, whom I’m acquainted with as well, joined the thread and started using the very same terms we’d just been discussing. At that point I decided to leave the conversation, unfriend the both of them, and go to bed (though not before coming up with an idea for a short story based on this experience). And it’s still on my mind, as this blog post makes evident.

The thing is, even if they think they’re not using the words with their negative connotations, it’s not so easy to disassociate a word or symbol from its negative meanings. Otherwise the swastika would still mean good luck and auspiciousness rather than Nazi Germany and the Holocaust as it does for many Westerners. And these sort of microaggressions can have terrible effects on the people being denigrated. If you’ve never heard the term “microaggression” before, there’s a great blog post on microaggressions that explains them in depth. If you don’t have the time to read it though, a microaggression is basically the everyday little forms of discrimination that minorities experience throughout their lives. An example is the continued use of saying “that’s so gay” as a way of saying something’s stupid. It is not only bringing down whatever is being called gay, but it is saying that there is something wrong with being gay in the first place. And while the basic definition of microaggressions means they are small, especially when compared to gay-bashings or other forms of assault and more obvious forms of discrimination, over time they can build up and cause stress, depression, or suicidal thoughts in the person being denigrated.

Personally I only ever use these sort of terms in stories in order to portray a character the way I want him or her to come across to an audience. Even then I hesitate to do it and seriously consider whether I should really use such negative terms and if there is another way to get across the full impression of the character. That’s why within all of Reborn City, a novel about gangs divided mostly on racial lines and with a white supremacist gang, you’ll only see one instance where I use the N-word and other racial terms (though I do have several characters call Zahara a “terrorist” in order to illustrate how ignorant and prejudiced the world of RC is against Muslims).

So when I see people using these sort of terms so flippantly, uncaring about the negative consequences of these words, I get pretty upset. These terms are attacks on people because they’re minorities, and because my former friends are white or deeply tanned and don’t receive discrimination for their skin color, gender, sexual orientation, or level of ability, they don’t necessarily realize the damage they’re doing by using these terms. And by calling the rest of us oversensitive for being upset that they’re using these words, they’re proving that they’re insensitive to the problems of others, not that we’re oversensitive.

So I finish this post urging people to really think about the terms they use. You’re not being cool or rebellious by using terms that bring down minorities. What you’re doing is hurting people and causing people to think you’re ignorant or bigoted. If you’re going to use them, use them in a way that won’t hurt anyone, such as using the N-word in Huckleberry Finn is used to illustrate the beliefs of that age towards African-Americans. Or these words can be used to fight discrimination: there is a growing body of literature, music and other media that uses these words to show how hurtful they are and possibly change the way people think. Slowly but surely, some people are changing the way that they think.

That is all for now. I hope my former friends learn that using these words has negative consequences. Especially the guy who actually happens to own an up-and-coming business. How many businesses have failed because of something the owner has done? I hope that doesn’t happen to him someday.

This evening I went to a very interesting meeting of Ohio State’s Science Fiction Club (a whole other blog post to discuss what we talked about), and I got inspired for a few stories and articles. As I walked home from the meeting, I had another idea for an article, which you’re reading now.

As I walking home from Campbell Hall, enjoying the slightly warmer-than-usual weather and listening to heavy metal on my iPod (the mood music I usually listen to when I’m thinking or brainstorming), I was musing on the sorts of stories I tend to write, which ones were good and which ones were terrible, and what differentiated them. I realized something then: one thing that separated some of my good stories from my bad stories is which comes first, the plot or the theme.

Let me explain what I mean: when I first came up with the concept for Reborn City, it started as a simple gangster story with a science fiction twist. I had no idea of what the story would be like beyond that. I wanted it to be more adventure than explanation of scientific theory, I wanted excitement and sci-fi wackiness and life-or-death fights and maybe some sex (which got cut out after the first draft because it just didn’t fit the plot of the story). All the themes that ended up being woven into the story–the struggles and problems of gang life, Islamaphobia and racism, drug abuse, etc.–were woven in at a much later stage, though they became part of the story well before I started actually writing it.

On the other hand, there have been some short stories–which I don’t want to name–where I write them with the specific intention that they represent a theme or an idea. One early sci-fi story from high school about two technicians on a spaceship was meant to reflect on the loneliness of space travel and of isolation. Another was meant to be a ridicule of patriarchal values in society. And there are a few more I could mention, but let me just summarize by saying they were all conceived with a theme first that subjugated the story to the theme.

Apparently for me that latter approach doesn’t really work. The words feel all wrong and forced when I write like that and I find it difficult to make the story move forward.  And I realized as I walking home, past the library and towards the north end of campus, that my best stories are written when I focus more on the plot rather than any significant meaning behind the story. If the story itself is compelling, then the rest will follow, including any very deep themes.

I’m going to have to keep this in mind when I write stories in the future. And if I do end up writing a story where plot is subjugated to theme, at least it’ll be a good learning experience for me on what stories I shouldn’t write and how to avoid writing those sort of stories. I’m sure that there are plenty of authors who can write those stories and do it well (for some reason I’m thinking Kate Chopin’s The Awakening and plenty of other authors I’ve been assigned to read in my high school and college careers), but apparently I’m not one of them.

But in the end is that not surprising? People who love genre fiction, especially the sort of fiction I write, don’t necessarily read a story because they’re looking for a story that exposes the mindset of a battered woman or because they want an allegorical tale of small towns haunted by ghosts representing the ills of ignorance and a narrow-minded worldview. No, they want a story that scares them, and if the themes in the story make you think as well facilitate the whole scaring part of the story, then great. And since this is what I do when I read a story–to look for a good time, not for a deep meaning–it makes sense that my best fiction comes from focusing on the story rather than on what the story means.

Do you ever have problems with this? What are your thoughts on the subject?

See also: The 3 Types of Terror

As a horror writer, one of the biggest challenges I face is building terror in a story. As Stephen King said on Facebook not too long ago, terror is “when you come home and notice everything you own had been taken away and replaced by an exact substitute. It’s when the lights go out and you feel something behind you, you hear it, you feel its breath against your ear, but when you turn around, there’s nothing there…”

Creepy! Anyway, I’ve been thinking of different ways authors utilize terror in their stories, how they manage to insinuate that terror element into their work and look for patterns. Based on those observations, I think I’ve come up with some answers, and I’ve put those answers into two models for using terror, which I will talk about below.

The first model of using terror is called the Uphill Model. In this version, you slow ramp up the strangeness and terrifying aspects of the story, starting with small, subtle cues but gradually introducing more overt signals until the wrongness of the situation is so obvious that at this point you can introduce the horror aspect (aka the vampire or the demon or whatever’s meant to creep us out in the story) to the sound of terrified squeals and screams (especially if you’re in a movie theater). A good example of this model would be Samson Weiss’s Curse, one of the short stories from The Quiet Game. The story starts out with small things that are out of the ordinary (a stalker at a rally, maybe some trouble sleeping, a voice or two), but things escalate and become more obvious as the story goes on until the villain of the piece is revealed, in all his horrifying grandeur. I also used the Uphill Model in The Loneliest Roads, one of my more recent short stories, which is currently going through the editing process and may be submitted to magazines soon. This is a good method to use for short stories, especially since it requires a steady but quick escalation in order to keep the reader interested and scared. However, the method requires precision in measuring out how much terror you should use and in what ways. Too much or too little terror used too soon or too late will work against the story, and actually turn readers away. Writers need to be cognizant of this when using this model.

Bad movie. Great example.

The second model is called (quite appropriately) The Seismograph Model, because there are moments where there is intense moments of terror followed by lulls or smaller spikes of terrifying elements. A wonderful example of this is Stephen King’s IT, where there are moments where the strangeness of the situation is very high followed by moments where the amount of terror is low or non-existent. Usually during the spikes of terror there is also a lot of accompanying horror and Gross-out, the other two types of terror. During the lulls, authors generally use this time to work on character development and to expand on the situation the characters find themselves in, as well as to maybe show the characters in more casual settings or enjoying life without threat of something evil. This model is helpful for novels, especially longer ones where there are plenty of run-ins with the great evil of the story before the actual climax takes place and it requires a bit less precision than the Uphill Model, though it does require some skill to do it right.

Let me just say that these models are not perfect and that they don’t apply to every horror story out there. They are simply frameworks to examine a story and maybe to help shape your stories while you are writing them. There may be other models out there that I’m unaware of and have yet to discover, and if there are, I doubt any story out there fits any of these models perfectly. Like I said, the models are tools of examination and reference more than actual models to be followed.

Anyway, I hope as time goes on and I work on new short stories, I hope to be able to use both models to some degree and to use them effectively in my stories. I think that if I can, I might be able to write better stories and further my career as an author. That’s the hope, anyway.

Do you use any models when writing? If so, what?

Oh, and while I have your attention, I have some announcements to make. First, I’ve included links to the book trailers of my various books on the pages above. So if you want to see the book trailer for a novel or a collection of short stories, all you have to do is visit the appropriate page and click on the link. Makes more sense than having to scour YouTube or this blog for the correct video or post, right?

Second, I’d like to announce that I’m starting work on a new collection of short stories. By that, I mean I merely plan to write a new collection that includes some old, unreleased work and some new work that I’ve been looking forward to writing. I’m not sure when this collection will be ready, when it’ll be released, or what I’ll call it, but when I do get around to all that, everyone here will be the first to know.

And finally, I’ve created a new page on this blog, entitled Interviews. The page contains both interviews with other authors and interviews with characters from my novels. It doesn’t have much on it yet, but I plan to add more interviews for both authors and characters as time goes on. I’m especially looking forward to adding more interviews with other authors: those are a chance to help out friends with new books coming out, meet new authors and get a chance to know them, and to possibly expand the number of people reading my work. We’ll see what happens, but I hope only for good things.

Well, that’s all for now. Tonight’s Buckeyethon, so I’ll be offline until I get home after a 12-hour dance marathon, followed by a 6-12 hour nap to catch up on my sleep. See you guys Saturday evening, when I write a post about how awesome Buckeyethon was and what happened while I was at it. Happy Valentine’s Day, Followers of Fear.

After finishing “A Haunted Man” two nights ago, I’ve decided that, although I’ve got so many short stories I’d like to work on, I need to narrow it down to a few choices so I can return to my WIP Laura Horn. Yeah, I know I can just get through all the short stories I want to get through before I get back to the WIP, but I don’t like to leave a novel unfinished like that, and I would prefer having several short stories unwritten than have a novel languishing unfinished on my flash drive.

Besides, as I recall most of the chapters of LH were pretty easy to get through, so I don’t see it taking too much time to finish up. Then during the summer after I get back from my study-abroad trip, I can spend the whole summer editing my other novels and working on short stories. Besides, I’ll most likely be working on a novel for my senior thesis in the fall, so it’ll work out in the end. At least, I think it will.

So I’ve narrowed the number of short stories I’m going to work on to about eight, and I’m going to try to get through as many of them as possible before mid-March, when I plan to start working on LH again. I picked the short stories based on a couple of factors, namely that I thought the ideas behind them were exciting, that I knew where I wanted to go with the story in terms of plot, and that I think they could be published in magazines, especially ones that pay for their published work (I know that sounds crazy, but it helps pay the rent, so I’m trying to get into more magazines that pay for their work). Oh, and one of the short stories will be submitted as a homework assignment to one of my classes, so I could get a very good grade on it.

So that’s my plan for the next four weeks or so. I hope to at least get two to five of these short stories written. Among the eighty-odd ideas for short stories I have written down, these are among some of the best, so I think I’ll enjoy writing them. When each of them is done, I’ll write a post and let people know how they’re doing.

I’m also going to try to come up with an idea for an article. A friend of mine runs a magazine, and I want to write an article for it. Just the question of the subject that’s getting to me. We’ll see what I can come up with.

Oh, and one last thing: I’m thinking of posting a few stories on WattPad all at once. Would you be interested in reading anything of mine if I published it on WattPad, even if it wasn’t strictly horror?

Well, that’s all for now. I’m going to prepare myself mentally for writing later this evening. Wish me luck.

I just finished a short story. This one, called “A Haunted Man”, is about a family that moves into a haunted house. Sound familiar? Well, I tried to put a twist on it by focusing on the father of the family, who’s one of those characters who thinks because he’s a man’s man that he knows it all and that the ghostly going-ons around the house are the result of his wife being a silly woman and his kids having overactive imaginations. Those characters appear in a lot of scary stories, and they always get themselves into trouble. Especially when they finally realize that there’s a ghost in the house and they try to handle it themselves because that’s what men do, instead of doing the smart thing and getting someone with experience with ghosts to come by and get rid of the ghosts.

I basically took that character, that I’m-a-man-who-does-what-men-do character and decided to make him the subject of a short story about a haunted house. It was a difficult story to write, though. I had to go back at one point and rewrite the whole story because the way I was writing it didn’t make sense to me (for more on that, read my post I Shouldn’t Use Present Tense). And even after I started the rewrite, it was difficult going. I think that means I’m going to have to do a lot of editing on this short story. Or that I should instead adapt it into a low-budget horror film because it would work very well in that format. Hmm…if I did that, I wonder how I would get it done? And who would help me?

Well, that’s beside the point for the moment. I’m glad to have gotten the short story done and I think I did an okay job portraying the main character as I wanted him to be portrayed. I’ll see what I can do with it and maybe decide from there if I should try to publish it, or maybe adapt it into a horror film or some other third option.

For now though, I’m going to start thinking about what’s next on my agenda. I told a friend I’d write an article for a magazine that he runs, so I’m going to get that done. After that I think I’ll write down which short stories I’m going to work on next. I want to work on so many more, but I really have to get back to my WIP Laura Horn, so I’m going to limit the number to somewhere around five or six short stories and cap it off there. Maybe when LH is done, I’ll write the rest of the short stories I wanted to get done. We’ll see.

Well, that’s all for now. I’m going to take a break and relax after an afternoon full of writing. See you in the morning, Followers of Fear.

Yesterday I got some great advice from my American History teacher on grammar. You’re probably thinking “What?” Allow me to explain.

I take an American History class that covers America’s rise as a superpower from right after WWI to 1963 as one of the required classes I need to take for my study abroad trip. The class meets three days a week for about fifty-five minutes, and it is probably my favorite class this semester. Not only is it the first class I have on the days we meet (and we meet after 10am, so I’m a little less rushed to get to class on those days), but the subject material is interesting, we do small quizzes and short papers instead of midterms and finals, and the teacher is such an animated storyteller and genial character, you can’t help but be mesmerized and enjoy listening to him when he speaks.

Yesterday morning, our teacher was talking to us about the grades we got on our first papers, where we examined the different sides in the Scopes trial back in the 1920s. He was telling us about how to improve our essays for next time, and then he said something that really resonated with me as a writer. This is what he said, as best as I can reproduce it here:

“I always have the one student that grumbles about grammar. It’s not an English class, so why is it so important to have good grammar? Well, if this were an engineering class, would it be okay to have a little bad math? Or if this were a physics class, would it be okay to have a few incorrect equations? If the answer is yes, then let me know what bridges you’ve built or what planes you’ve built, so I can know to avoid them! Good grammar is important in History, even if it’s not an English class. And I expect good grammar in your papers.”

And not just in history papers, but in all written works, one should have good grammar. If one looks at the self-publishing phenomenon, one has see new authors emerging by the thousands to publish their books. And that’s good. Although it means more competition for every author, it’s great that authors get the chance to publish their work without having to pander to New York-based publishing companies who are only concerned with making a profit. However, some of these authors, whether they feel that too much attention to grammar stifles creativity, or they have forgotten the rules of good grammar, or they’re too lazy to be bothered with it, have neglected grammar in their books. This has not only brought down the quality of their stories, but has put a stain on all self-published authors, that we’re half-assed about our craft and that we write sub-par stories with horrifying grammar.

Grammar can also be like that.

The truth is, most self-published authors–a majority of self-published authors–are very serious about their craft, grammar included. And it’s important that authors, whether they’re writing their first book or their twelfth or their fiftieth, should pay attention to their grammar. It makes the story flow nicely, the quality of the story is vastly improved, and the author feels a sense of satisfaction when, in reviews (when they get them), no one’s griping about how bad the grammar has been.

So if you’re an author who thinks that grammar isn’t that important, consider thinking again. Because grammar is there for a reason, and it is not one to be taken lightly. Yes, it’s sometimes a pain to add every apostrophe or to know where the semicolon belongs or whether to use “me” or “I”. But nobody ever said writing was easy. And sometimes we have to go through annoying or painful trials in order to make our art the best.

Or we could get on the unstable bridge or the plane that won’t stay up after reaching a certain altitude. But I hear the chances of doing those twice aren’t so great.

Oh, good news: one of my teachers is allowing me to write a short story I came up with for class (not the American History teacher, though I will use material from that class). My Deaf Literature class has an assignment where we have to bring in something representative of the Deaf community or Deaf culture. I plan to write a short story about a young deaf woman living in the Oklahoma Panhandle during the middle of the Dust Bowl of the 1930’s. I figure I can make an exciting story when I add those factors together. Though whether I can add a serial killer or a monster is up in the air at this point. Might not even happen (sigh). We’ll see what I can come up with by next Wednesday.

Today I finally get the chance to post my interview with science fiction author Charles Coleman Finlay, or CC Finlay for short. A graduate of Ohio State, his first story Footnotes was published in 2001 in Fantasy and Science Fiction, where several of his short stories have been published since. He’s also published four novels, including the Traitor to the Crown series (which one of my favorite shows, Sleepy Hollow, strangely resembles) and a collection of short stories, The Wild Things.

I sat down with him to talk about writing, fiction, and how delicious the food from the Wexner Café was (comments about that last subject are not in this interview). It was a great way to have lunch on a Friday afternoon.

RU: I guess the first question I want to ask you is, how did you get into science fiction?

CCF: I’m not sure there’s a short answer. When I was a kid, I felt overwhelmed by the world just because of personal events in my life. So I was looking, unconsciously,  for larger than life characters, people who faced world-sized problems and overcame them. So I started with cartoons and comic books. I loved superheroes–Superman, Batman, Green Arrow, the Flash, the X-Men. When I started reading a lot of books, science fiction and fantasy fulfilled the same needs but in a more complex way. Take Lord of the Rings, for example. Here’s Frodo with this burden he didn’t want, and he’s not a wizard or a superhero, and still he finds some way to triumph. That really resonated with me. Edgar Rice Burroughs was also a really important writer for me. All of his characters face big overwhelming problems, whether it’s Tarzan orphaned in the jungle or John Carter transported to another planet. Science fiction and fantasy are  full of those kinds of stories, and I loved them. I still do.

RU: I like comic books too, though they’re usually the Japanese kind, and I still read them a lot. When you write, what is your process?

CCF: Every writer is different. For me, it’s an iterative process. I have to have the whole story in my head, the shape of it like a picture, and then write it down. My first drafts can be pretty rough, but then I revise it and rewrite it many times. My wife’s also a writer, but she’s the exact opposite of me. She needs the scene perfect each time. So she writes more slowly, but she does less editing than I do. But if you ask this question of a hundred different writers, you’re going to get a hundred different answers. Everyone is different.

RU: A lot of the readers on my blog are a strange grouping of traditionally-published and self-published authors. How do you feel about the changing dynamics of the publishing industry these days?

CCF: There’s not a period of time where you can point to traditional publishing–however you define traditional publishing–as stable. It’s always changing, always evolving. If you’re thinking of it from a professional point of view, the most important question is this: how do authors get paid. A lot of technologies are allowing authors to get paid and published in new ways. That can be good for authors. But there are also a lot of authors who publish their books too soon, before they’re ready. I know one writer who, when he was young, self-published his first novel and was so discouraged by the reaction to it that he gave up writing for a decade. That was a shame, because he was incredibly talented. Had he stuck with traditional publishing there would have been more people around him to keep him going and to help make his books better, so that when they did come out, people would have loved them. On the other hand, I have friends who, after being traditionally published, have started to self-publish. T.A. Pratt and Henry Connolly, for example, both had series that got cancelled by their publishers, but they had a hardcore group of dedicated readers. They self-published more books in the series and had huge success with it. So it’s a lot like the question about the writing process. There’s no single right answer, and every writer has to find the right path for them. Everyone will make mistakes along the way. So it’s up to authors to educate themselves about potential opportunities, but also potential problems.

RU: What advice would you have for an author who isn’t having much success right now?

CCF: Keep working at it. I was writing seriously and submitting fiction for over six years before I sold my first story professionally. That’s pretty common. I’ve heard it described as the Million Words of Crap theory–that every writer has to write a million words of crap before they start producing something good. Other people I know quote Malcolm Gladwell and point out that you need to put in 10,000 hours of practice to get good at any skill.

Also, surround yourself with other writers who are as serious about it as you are. Pick them up when they get discouraged, and let them do the same for you. Learn from them and share your own mistakes to shorten the learning curve for everyone. Writing can be lonely enough, but don’t let it isolate you.

RU: Do you think as less people are reading, the novel will die out?

CCF: More people are reading than ever before, not just in the US but throughout the world and ebooks are making that easier. So I don’t see the novel dying out soon. The problem is there are more writers, more novels, than ever before. So it’s harder to find a big readership for any single book.

(Editor’s note: Mr. Finlay recommends going to this website for more information on the subject.)

RU: What do you look for in the stories you read?

CCF: That is a great question. I am a guest editor for the July/August issue of Fantasy and Science Fiction. In the month of January, over 750 stories were submitted to me to read for this issue. From that I had to narrow it down to about 12 stories that I will get to publish. So I’ve been thinking about this a lot.

I like to be surprised, which is hard when you’re a writer. The surprise can be plot, language, format, character, knowledge. But it has to be something. The more I read, the more it’s something else besides plot–you see every plot twist, every angle in a story before it happens. So when a plot surprises me, I really value it. And then I look for stories that make me feel. It’s not just putting characters through terrible things, there has to be some emotional resonance as well. Fear, excitement, sadness are all good emotions, but I really look for and enjoy stories that can make me feel delight, wonder, joy. Those are a lot harder to write, and I appreciate stories that can evoke those emotions. And then I love to laugh. Not every story is funny, or should try to be funny, but when a writer can make me laugh consistently, I really appreciate that.

RU: So much science fiction has become reality: communicators become cell phones, all-matter materialization devices are 3D printers, and we have information literally at the tips of our fingers. Where do you think science fiction will go from here now that a lot of it is becoming science reality?

CCF: I don’t think it’s something new. Thomas Disch wrote a great nonfiction book called The Stuff Our Dreams Are Made Of about this phenomenon. But I also don’t think that science fiction is a laboratory for new technology. Science fiction is about the present, not the future. If people envision something and make it a reality, then that’s something different from science fiction.

RU: Final question: If you were stuck on a desert island and could only bring three books with you, what would you bring?

CCF: I think you have to take Robinson Crusoe by Daniel Defoe with you for all the obvious reasons. Defoe invented the novel and Robinson was one of the first he invented. I would also take a collection of Lois McMaster Bujold. I think she’s an amazing writer, and I reread her Vorkosigan series in particular every year or so. And then I’m a writer. So the last one would be a book full of blank pages, so I could write the book I wanted to read. That’s what we do as writers, right?

 

If you’re interested in learning more about CC Finlay, you can check out his website at www.ccfinlay.com.

In Judaism, that hand is called a Hamsa. It’s designed to keep the evil eye away. I have no idea what it’s doing on this poster though.

Last week or so I posted about an interesting discussion I had in my meditation class about hypnosis vs. meditation (see post here). At one point during that conversation, I said that although hypnosis could be abused, meditation could just as easily be abused by someone of unscrupulous character. I then gave an example to my group, which was immediately followed by this realization: “Hey, that could make a great short story.” I told that to my meditation group, which caused them to laugh while also looking at each other in fear. It was a “What have we done?” moment right there.

Well, I started the short story Saturday evening before SNL started, and I’ve worked on it every evening since. And this evening I finished it. Then I went back and added a few more details to earlier parts of the story in order to make it flow more smoothly. Then I clicked Save and decided to write this blog post.

As you can see from the title of this post, the short story is called “Ohm.” I wanted a title that would go very well with a story of someone using meditation for bad purposes, and I went with “Ohm”, because it was simple, the word itself was relevant to the story, and it gave people an immediate sense of what this story might be about. It’s on the short end of short stories, a little under 2100 words, and it’s more literary than horror, if you look at it closely. Still, I think it’s an interesting story, even if there are no demons or serial killers, and I even managed to use a new technique in order to tell it:

Last semester, I read a short story for my science-fiction literature class called “Gene hackers”. The story was about a man who was quite famous in the near-distant future for his role in the industry of genetic engineering and manipulation, and chronicled various events throughout his life in short little vignettes, starting from when he was young and all the way up until he was a very old man. I was really impressed by the style used to tell the story, and I wanted to try that for myself with “Ohm”. I think it turned out pretty well, personally.

I’m going to ask my meditation group if any of them want to read the rough draft. After they get back to me, I’m going to try to submit this story to a creative writing contest here on campus, see if I can impress any judges. Hopefully my meditation group and the people running the contest will like “Ohm”. At any rate, I think they might find it at least a bit interesting.

Well, that’s all for now, Followers of Fear. I’ve got classes tomorrow, so I’ll sign off and see you in the morning. Goodnight and pleasant nightmares. I’ll let you know if anything comes of “Ohm”.

Oh, and before I forget, I bought my plane tickets for my study abroad trip today. They cost me an arm and a leg, but it was well worth it. I’m so looking forward to this trip. It’s going to be so much fun!

I came across this post by Stephen King on Facebook the other day and I thought it’d be interesting to write about. The post goes like this:

The 3 types of terror: The Gross-out: the sight of a severed head tumbling down a flight of stairs, it’s when the lights go out and something green and slimy splatters against your arm. The Horror: the unnatural, spiders the size of bears, the dead waking up and walking around, it’s when the lights go out and something with claws grabs you by the arm. And the last and worse one: Terror, when you come home and notice everything you own had been taken away and replaced by an exact substitute. It’s when the lights go out and you feel something behind you, you hear it, you feel its breath against your ear, but when you turn around, there’s nothing there…

Words of wisdom from the King himself.

When I read this, it struck a certain chord with me. I realized that a lot of horror writers and filmmakers can easily gain an understanding of the first two, but it takes a long time to get into the third type, and an even longer time to gain a mastery of it. For example, there are a lot of films out there (of varying quality) that utilize Gross-out and Horror. They have serial killers, they have vampires and demons, but they’re kind of low on terror. The Evil Dead films and many bad slasher flicks are prime examples of this (I’m talking to you, Friday the 13th remake). Even I had trouble with this early on in my writing career. I could easily write a story about vampires or demons that had plenty of blood  and fight sequences, but I was lacking in the terror department. Even worse, I rarely thought about including the terror factor, and when I did I didn’t really do it as best as I could.

But at that age though, and in that point of my development as a writer, all I thought I needed was a monster, someone’s life in danger, and the rest would take care of itself. I learned later on that adding terror to the story is a process, something that has to be consciously done before you can go about actually adding it in unconsciously. This is something I’ve had to comprehend with lately and which I’ve been working on with some of my latest stories. With The Loneliest Roads, I tried to put in a sense of unreality and strangeness even before my protagonist entered the limo, and slowly heightened it once she got into the limo. with some of the short stories I’m planning on writing now, I’m looking for ways to increase that terror without seeming silly or absurd. And in future novels, I hope to add that factor in with more skill and precision than I have in the past.

Perhaps adding terror in is the most difficult part of horror writing because, as King said, it’s the worst. It’s what really makes a horror story memorable to those who read or see it, and the thing about it is that it’s often an underlying element in the story, something that’s a factor in the scary elements of the story but rarely the main element. That goes to the Horror, which usually causes in one way or another the Gross-out. But the Terror? It’s what hails the coming of the horror, what prepares you for the jumps and scream the Horror will cause. And getting someone prepared for that can be really difficult, all told.

Although I’m still trying to get mastery of all 3 elements, I’m hoping that in the future I’ll be able to get a better handle on them, and to do that I just have to keep writing, to keep practicing and see where it takes me. As I write, I learn, and hopefully I learn how to tell scary stories much better than I have in the past. It’s an ongoing process, but I feel it’s one I must take part in. Wish me luck.

And for those horror writers out there, how do you deal with the 3 elements listed above? Do you have any advice on utilizing any of them? What?

(Don’t say “limit Gross-out” though, because I’ve already figured that one out. Too many horror films rely on Gross-out as it is, and it’s annoying after a while.)

This morning I published my first article of 2014 on Self-Published Authors Helping Other Authors, a website I write for that aims to help self-published authors make the most of their options and succeed in self-publishing. It’s also my tenth article for the website, which I’m very happy about.

The article is called Some Tips For WattPad Users, and it’s about–you guessed it–using WattPad. I promise, I’ll leave the topic of the website alone for a while after this post. Well, I did say that if any of our readers on that blog had any tips about using WattPad, I’d publish those in a follow-up article, but…well, after that article. I think I’ve been going on a Wattpad obsession lately, and it’s been showing through on this blog. I hope it hasn’t annoyed anyone. At least not too much.

Anyway, the article is about some general tips for utilizing WattPad, so if you have an account or are thinking of getting an account, please check out the article. And if you’re a self-published author or you’re considering self-publishing, I highly recommend Self-Published Authors Helping Other Authors. It’s a wonderful website with many articles on just about every subject you can think of devoted to self-publishing and it’s run by a variety of authors, myself included, who are devoted to their craft and love helping others out.

All for now. Have a great day, my Followers of Fear.