Posts Tagged ‘ideas’

The Power of Bad Memories

Posted: August 20, 2013 in Novel, Reflections, Writing
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Some philosophers and psychologists will say that memory is what makes us who we are, and it’d be hard to say they’re wrong. The retention of past experiences plays a great deal in shaping our personalities, our sense of selves, and how we interpret and react to the world around us. As I’m writing Laura Horn, one of the novels I’m working on at the moment, I’m beginning to understand this concept of memory and what it has over us.

My protagonist and titular character Laura Horn is a victim of sexual assault. Her dark experiences have never been dealt with and she’s still affected by not only the experience of what she went through, but by the memories she has of the assault.

I think for most people, good memories tend to sleep below the surface of our consciousness, always there but not at the forefront of our thoughts until we need them. For example, someone could be driving down a road they hadn’t traveled down in a long time could remember the last time they travelled down the road, maybe with a lover or someone they really liked and what they did that day. Immediately they may feel happy. less stressed, or more excited about their life and their day as the memory returns to the sea of our consciousnesses.

Bad memories though, tend to act like monsters. Fresh memories or those that were formed relatively recent, tend to be worse. They latch onto your consciousness with their teeth and claws, reminding you of their presence, of dark experiences and horrible mistakes, and they never let go, upsetting your day and causing you terror, anger, anxiety, and other negative emotions.

I have more than a few memories I would rather forget, and this is reflected in the way I write Laura’s interactions with her memories. Whenever her memories surface,  she tries to push them away and berates herself for bringing those memories forward in the first place. I feel the same way whenever my bad memories surface, though I learned that instead of pushing them away and berating myself over them, I’ve learned it’s just much healthier to accept the memories as they are and not get too upset over them.

Like I said, Laura hasn’t dealt with her experiences and her memories of those experiences, let alone how to healthily deal with her memories. Because of this, she’s still very stuck in the state of mind she had when she was attacked. She’s terrified of the world around her and most of the people in it. She wishes for the past to change and to return to a happier time, even though she knows this will never happen. Her life is dark and she is terribly unhappy.

I’m hoping as time goes on and I continue writing, I hope I can help Laura move past her experiences to a happier state. To me, this story is more like Laura telling me what her story is about rather than me making up events as I go along, so I’m hoping as time moves along, our collaboration on her tail will yield some positive results.

Until such a time, I have to examine how Laura interacts with her memories of her assault and how those memories be affected as she gets ever closer to the main events of the story, which will change her life forever. And maybe, while doing so, I’ll come to understand my own life and experiences, especially the bad ones, a little bit better.

The Case For Genre

Posted: August 19, 2013 in Living and Life, Reflections, Writing
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At Ohio State, the two professors in the English department who are published and celebrated authors (at least locally celebrated) are literary authors. In the two fiction workshops I took last year, the focus was on literary writing. As my undergraduate advisor tells me, “Ohio State is mostly about literary.” And whenever genre is brought up, I hear a lot about how it’s not OSU’s thing, or there’s more of a focus on literary fiction, or that there are no professors who write genre fiction among the staff.

As a genre writer, particularly one of horror, I have to disagree with this. Yes, literary fiction is more focus on character development and on character-driven stories than genre. I am willing to admit that. However, I find it somewhat hypocritical that contemporary genre fiction isn’t worth examination and study in the English department. Yes, there’s a couple of classes that examine science fiction and fantasy, or famous monsters from literature, or YA fiction (I’m taking that first one this semester). But that’s not an acceptance of genre fiction. Ohio State still doesn’t accept genre fiction, at least not any within the past fifty years.

Personally I find that strange, considering how much genre fiction is used in required courses and in general scholarship. I mean, look at it: Shakespeare’s Hamlet and Macbeth are examined in classes all the time. If those were written today, they’d be classified as psychological thrillers with supernatural elements. And A Midsummer Night’s Dream and The Tempest would most likely be fantasy stories.

Ever read Beowulf? That’s in early British fiction courses all the time, and it is fantasy if ever I’ve seen fantasy. Rip van Winkle? Definitely a ghost story, seeing as Captain Hudson came back and put the titular character to sleep for twenty years. Edgar Allen Poe and H.P. Lovecraft? Horror writers and, at least in the case of the former, mystery writers. Frankenstein? The first modern science fiction novel. Dracula, anyone? It’s the basis for the modern vampire legend. Ever read Fahrenheit 451, or 1984, or Atlas Shrugged? They may be philosophical and full of character development, but they are certainly dystopia stories!

So why not contemporary genre fiction, if all this older genre fiction is worthy of attention? Perhaps because it’s popular, or maybe because some of its authors’ fame may not last a hundred years after their death. Maybe the stories haven’t had as much of an influence on literature as others have. Who knows?

But to exclude modern genre fiction just seems wrong. After all, the majority of people see literary fiction as boring or too elite. If English Studies is supposed to examine the English language, how it is used and how it affects the common man, and how it should be used, shouldn’t genre fiction be given as much consideration as literary fiction? Because honestly, genre fiction can have as much an effect on English literature as literary fiction, and sometimes even more.

So don’t exclude it. Include it, with all your academic heart and soul. You may find something there that is worth studying and makes including genre fiction more than worthwhile.

The Catalyst: An Essential Element For Fiction

Posted: August 19, 2013 in Reflections, Writing
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Catalyst: like a line of dominoes.

According to Wiktionary.org, a catalyst is, when used in literature, “an inciting incident which that sets the successive conflict into motion.” In other words, fiction, which is reliant on a conflict of some sort for the story to occur, cannot exist without the catalyst that starts it all.

I’ve been thinking about the catalyst for a while now, and I’ve come to believe that the catalyst is actually a pretty interesting and underappreciated element in fiction writing. Imagine what would happen if Katniss Everdeen had never volunteered to take her sister’s place in the 74th Annual Hunger Games and instead of Peeta, Gale had gone to the Capitol? There would be no story. Katniss would somehow go on with her life after a period of depression, and maybe even still get together with Peeta at some point, but would anyone really want to read that? That single catalyst, Katniss volunteering to save her sister and Peeta being selected to go with her to the Capitol, is what makes the story interesting, that draws us in and makes us want to see how events unfold.

And the catalyst for a story can take many forms. It’s usually the first thing you learn in writing any story. In a romance story, it’s usually boy and girl meet for the first time. In a mystery, it’s the occurence of a crime that needs to be solved. In stories like The Adventures of Huckleberry Finn or The Hobbit, where a journey is prevalent in the story, it’s that inciting incident that causes the need to go on a journey that gets things going. In a zombie novel, the catalyst is (obviously) the appearance of zombies.

You look at any story, you’ll identify a catalyst. Heck, my own stories all rely on the catalyst. In my WIP Laura Horn, the catalyst is the titular character recieving a particular item that causes her to be the target of a government conspiracy. In Snake, the loss of something important to the main character is what causes him to beocme the Snake. And in Reborn City, events that happen to the founders of the Hydras about a year and a half before the story even starts serve as the catalyst.

And speaking of RC‘s catalyst occuring a year and a half before the story starts, you can find plenty of stories where the catalyst to the story occurs a long time before the story starts. For example, for years Harry Potter fans couldn’t identify why Voldemort wanted to kill Harry, thus causing the whole story that would be Harry’s life, but after Book Five, they realized the catalyst for all of Harry’s life was Professor Trelawney’s prophecy being leaked to Voldemort, thus setting his sights on killing Harry.

“Freud was half-right: the causes of all problems are mothers and prophecies.”

Of course if you want to get technical with it, the story began in 1925 when Voldemort’s mother used love potion on Tom Riddle Sr, leading to their elopement, Voldemort’s conception, and his birth. But I digress. The point is, a story can rely on events that occurred years, decades, or in some cases centuries before the start of the actual story to act as the catalyst (I’m thinking of The Lord of the Rings trilogy when I say centuries, by the way). It’s actually a little mind-boggling, if you think about it.

So what more can be said about literary catalysts? Probably a lot more than I could probably come up with, especailly in a blog post. But to finish this post, I’d like to say that without the catalyst, the fictional stories we love so much, despise so much, debate so much, examine so much, and write fanfics to so much, just wouldn’t exist, and I think our world would be a lot less interesting to be in.

Review: Elysium

Posted: August 16, 2013 in Review
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It’s been a while since I’ve seen a movie such as Elysium, one that’s not just visually, but also intellectually stimulating and emotionally invigorating. I was so glad my roommate Morgan and I went to go see it.

Plus we had a laugh afterwards making fun of right conservatives’ reactions to this movie.

Elysium, directed by District 9‘s Neil Blonkamp, depicts a world where the rich literally live above us all, in a Mercedes-logo satellite called Elysium where there is no war, crime, or sickness and all the buildings look like a cross between mansions, Greek temples, and sci-fi edifices. On Earth, the rest of humanity have to deal with poverty, non-existent education, sickness, and crime. That is, until Max de Costa, played by Matt Damon without any hair, gets hit by radiation during a workplace accident and learns he has five days to live. Returning to his old criminal contacts, Max will go to great length to go to Elysium and save his life. What happens next will change the course of human history forever.

What was interesting about this film was that it didn’t follow the normal flow for a sci-fi action movie of this sort, which is introduce the world and the conflict, dive right into the action, have your resolution after a ton of explosions and deaths, all while avoiding character development that can’t be done in a few frames or in a very tense emotional scene with romantic or beautiful background music. Instead, Elysium flows more like a novel, with a slow but steady build-up to the catalyst that causes the conflict in the story, several twists and turns of action and espionage and deceit in the middle, full of character development that penetrated deeply into your soul, and an ending that, while unconventional for sci-fi movies, left you feeling satisfied and full of joy and hope.

Unless of course you’re a right wing conservative, which means you left this movie in tears because you thought you saw the future.

Elysium was well-executed in terms of filmmaking. The settings were vivid in their portrayals of excessive wealth and terrible degradation, the special effects were extremely realistic, and the ways you could relate this film to our own lives and the United States political system these days are many (not surprising, considering whom the director is). My one complaint is that at one point, the all-powerful healing machines do something that I think is a little like cheating, but other than that an excellent movie.

For all of the above, I give Elysium a 4.5 out of 5. Best of all, no bad sequels. I cannot wait for what Neil Blonkamp will make next.

My Fourth Self-Pub Authors Article

Posted: August 16, 2013 in Journalism, Writing
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It’s been a little while, but I’ve written my fourth article for that wonderful website, Self-Published Authors Helping Other Authors. I wrote and posted it yesterday, truth be told, but afterwards I started moving into my new apartment, and the cable guy wasn’t scheduled to come and install the Wi-Fi until after I left for work today, and I’m only writing this now because it’s lunch break, so please forgive me for letting you know earlier.

This article, called Can & Should You Ask For Reviews?, discusses whether or not you should ask for reviews from friends and family and how you should go about it if you decide to do so. Already it’s caused quite a bit of discussion, with many people saying they disagreed with my conclusions and with some people adding onto my advice. I’m glad everybody’s discussing the article, even if not everyone agrees with it.

Go check this article out and check out the rest of the website by clicking on the links above. It’s quite a helpful website for authors of all stripes, and I can’t recommend it enough.

Unrequited Love In Fiction

Posted: August 13, 2013 in Reflections, Writing
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We’ve all felt it at some point. Unrequited love. That feeling of such deep attraction to someone who may only see us a friend or like a sibling, maybe a coworker, and sometimes they don’t even notice us at all. It’s heartbreaking, gut-wrenching. We yearn for that person, even though we know that yearning will never be returned. And the feelings we feel hurt us, they slay us from the inside. We want to let go of these feelings, because the ache we feel for these unattainable objects of desire is just so much that some days we can barely stand it. And yet we find it so hard to let go, because as painful as those feelings can be, they can also enhance us and make us enjoy life and being with the people we love, even if they don’t love us back.

Perhaps that is why when a character in a book, TV show, or movie has unrequited feelings for another character, we feel it so keenly, rooting for them while knowing that in all likelihood, those feelings won’t be returned and we’ll have to watch them suffer throughout the story.

I’m actually using a character struck with a case of unrequited love in one of the novels I’m writing at the moment (I won’t say which one because I’m guarding the plots of both rather jealously), and I feel very sorry for this character, for many reasons but this one especially. He’s friends with one girl but he wishes to be more with her. She seems him only as a friend or a kind older brother, and she’s not even aware of his feelings, so it’s tough on him. Still, he goes to great lengths to help her, and that makes him feel good and that at least he can be friends with her.

As I write this, I’m wondering why authors write stories or characters involving unrequited love. Obviously there’s a market for stories where the character(s) is in love with someone they can never have. It’s something most people can identify with emotionally, and it’s definitely an obstacle for the character to overcome. And even when the story doesn’t focus exclusively on the character’s feelings for someone who has no romantic inclinations for this person, it can make for an interesting subplot.

In fact, I think every author should experiment with unrequited love in a story at least once. It’s a sad sort of story to write, but it’s still one that authors can empathize with in most situations, and by drawing on personal experience, you can write a story that feels real. Plus the fans (should you be lucky enough to have any) will really dig it.

What’s your take on stories about unrequited love? And no, you don’t have to tell us your own experiences unless you really want to.

Why Asylums Make Great Locations

Posted: August 12, 2013 in ideas, Reflections, Writing
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The other day I was daydreaming, brainstorming, and reflecting on a number of subjects (one of the lovely things about me is that my head is in the clouds about half the time). During this particular brainstorming session, I thought up an idea for a novel where half the story is set in an insane asylum. As I wrote the idea down, i thought to myself, “Asylums are great places to set a horror story”.

And that’s when my head exploded with an idea for a blog post. And after the mess was partially cleaned up, I started thinking of all the reasons why someone would want to use an asylum for the setting of a story, especially a horror story. I realized that asylums can add many layers and aspects to a single story in terms of character development, plot points, build-up and suspense, and a variety of other reasons.

I will try to list as many of these aspects and layers as possible in this post without boring you. If I help anyone come up with an idea for a story, then I’m happy to be of service.

Okay, reasons why an asylum is a great location for a story. Here we go:

(The following post will use the terms “asylum” and “mental hosptials” or “mental wards” interchangeably. We apologize for any confusion regarding this flexibility.)

American Horror Story: Asylum’s own Briarcliff Manor. You go in…but you never come out.

1. It’s closed off to the outside world. Asylums and mental hospitals–heck, even menal wards–are like their own little words. No one can get out without express permission from someone in power or without a daring escape plan involving car chases, guns, and possibly a hidden underground tunnel from when the asylum was a TB hospital. Within the hospital itself, there is a set life that cannot be interrupted by outside forces. It’s a little claustrophobic, if you think about it. Especially when it’s a ward that occupies only one-fifth of a hospital floor.
And the intimacy of such a space–everyone’s problems, neuroses, delusions, paranoias–are apparent in such a small space. The amount of openness and lack of privacy can increase the sense of claustrophobia, almost filling up the area of the asylum with its glaring lack of privacy. Talk about terrifying!

2. Everybody who’s there has something. I hesitate to use the words “crazy” or “insane”, because labels can be damaging. But you get the idea. Everyone put in an asylum has some sort of problem that needs addressing through a combination of drugs and talk-therapy.  It can be difficult to live in such an environment, whether or not you actually are suffering from a mental illness (both have been known to happen). And if weird stuff like demons or magic or whatever starts appearing around you, you can’t be sure if you’re really seeing what you’re seeing, if this is a result of your own mental illness, or if you’re being influenced by someone else’s delusions. It can get pretty freaky, which adds to the terror and mystery.

3. The people in authority aren’t always good or wise. This is true on many points. Sometimes guards and orderlies can be overly rough with patients or take certain liberties with them that can be downright illegal. Doctors may believe that someone is sick when they are not (there have been studies that show that if a normal person went into an asylum complaining of voices, they would be instantly committed and nothing they could do to convince people they were sane afterwards worked, passed off as stubbornness or as a result of the illness). And there have been cases when doctors, management, and owners of asylums have deliberately mistreated patients in order to make the most money from the states and the family of those committed. It’s very sick, but unfortunately all these and more have been known to happen.

The voices in your head. Do they confuse you…or help you?

4. Underfunding can make things difficult. There have been state hospitals for the mentally ill and for those with physical and mental disabilities in the past and today that, due to underfunding, have seriously hurt the people those facilities are trying to protect. There was a hospital in Pennsylvania for the mentally and physically disabled, where they had maybe two nurses for two hundred patients, and believe me there was a lot more patients than that. Because the nurses, bless them for the work they did and with so little pay or help or compensation, were so busy cleaning and getting food to these patients, they never had the time to help some of the younger patients with basic activities, such as learning how to walk. Instead, some of them just stayed in bed 24/7, until they died or became adults.
And that’s just the tip of the iceberg! Imagine how those sorts of problems could shape someone forced to live or work in such a place.

5. Perfect place to do a little reflection. If you want to get your head shrunk at an asylum, then by all means do so. Despite the problems with asylums then and now, they are founded with the purpose to help people sort their problems. I’m pretty sure the movie It’s Kind of a Funny Story was about a kid who used a mental ward to help sort through his problems and combat his depression. Who’s to say your character can’t do the same while s/he has been committed? Surely they could use a little character development while they’re locked up with all the time in the world to examine their minds.

That’s really all I have at this point. If I think of any others, I’ll do a second post. Until then, happy brainstorming. Don’t come up with anything that might cause a mess later.

An Open Letter to Stephen Moffat

Posted: August 9, 2013 in ideas, Living and Life, Writing
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(For all you non-nerds out there, Stephen Moffat is a writer and current show-runner for my latest obsession, Doctor Who. You may skip this entire post if you would like. I understand that not everyone is a fan of the show. Though if you are interested in checking out the show and want to know what the heck I’m talking about, please check out the show. It is mind-blowing.)

Stephen Moffat, current showrunner of Doctor Who.

Dear Mr. Moffat,

First off, congratulations on the selection of a new Doctor. Peter Capaldi, although not the actor I thought would play the Doctor, seems like a good choice and will do well with the part as long as he doesn’t wear the Master’s beard in the role.

Second, I’d like to suggest some ideas for future stories or story arcs for the upcoming series of Doctor Who. Now I know you are a busy man, and that you have enough on your plate and enough talented writers with much more experience than I do when it comes to Doctor Who. But I have plenty of ideas that I can’t just keep stuck in my head, so I thought I’d share them on my blog. If ever this letter goes viral and you stumble upon it, I hope you at the very least take a look at them, just to see what you think of them.

Okay, here’s some stuff I think could be interesting to use in Series 8 and 9:

A new villain. Yes, I know every story in DW has a villain of some sort, whether it be Vespiform, Sontaran, or Martian water virus. But I’m thinking more about an iconic villain, something on par with the Daleks or the Cybermen. With the Master dead and the Daleks and Cybermen being the most used (and therefore most easily defeated) villains, I’m thinking a new villain that will challenge the Doctor and come back several times to haunt him. Some suggestions include:

Imagine Peter Capaldi against this femme fatale.

—The Rani: A Time Lady full of evil and a love of freaky experiments, it would be a great throwback to the classic series if the Rani returned to menace the Doctor and Earth. And I know that all the Time Lords are supposed to be dead, but if the Master could survive the Time War, why can’t the Rani?
—An anti-UNIT organization: UNIT protects the world from alien invasions and works for the good of humanity. But what if there were people who collected alien technology and monitored their movements just to take over the world? It’d be Torchwood meets the Master, in a sense, with a bit of James Bond SPECTRE mixed in. It would certainly be a change of pace for the Doctor, considering he likes to see the good in all people and here he’s seeing the worst of humanity with the worst of alien tech.
—Something from the Time War: The Doctor mentions in The End of Time that the last few days of the war were hell, with “the Skaro Degradations, the Horde of Travesties, the Nightmare Child, the Could-Have-Been King with his army of Meanwhiles and Never-Weres”. What would happen if something from that era made an appearance in the Doctor’s current time? The Doctor would have to confront some really dark memories and defeat an impossible enemy that would wreak all sorts of destruction like in the Time War.
—Something from before the Universe: In DW and its spin-offs, there have been villains who are said to have come from before Time itself (ex. The Impossible Planet/The Satan Pit, End of Days, Secrets of the Stars). What if there was an arc where the Doctor encounters several different creatures and forces that existed before the Universe, and none of them being exactly good or evil? Sounds like a lot of fun, if you ask me.
—The Valeyard: An enemy of the Sixth Doctor, the Valeyard is supposed to be an amalgamation of the Doctor’s dark sides from every previous incarnation that shows up between his twelfth and final incarnations (between Peter Capaldi and whoever comes after him, in other words). Evil and scary, he could be brought into being through some wibbly-wobbly timey-wimey trick and cause all sorts of havoc, the kind the Master never could create. I’d love to see that!

Who would work best with our new 12th Doctor?

New companions. I’m not saying you should get rid of Clara Oswald. I like her, and now that the mystery of her appearance in other eras has been solved, we can delve a bit deeper into who she is as a person, which to me is a pretty big mystery in itself. I’m thinking a companion to go with her, or to come after Jenna Louise Coleman decides to retire. And here are my suggestions for that:
—Luke Smith and K-9: Last seen at the end of The Sarah Jane Adventures, Sarah Jane Smith’s alien/human hybrid son Luke had just gone off to college with mechanical K-9 in tow. Now that Sarah Jane’s actress Elizabeth Sladen is dead, I’m wondering what happened to Luke afterwards? Perhaps he and K-9 could meet up with the Doctor and go for some rides on the TARDIS, reminisce about his dear old mum, and maybe even form a father-son bond. If you ask me, Luke’s like a younger version of the Doctor in some respects, so they’d probably hit it off as mentor and protege. And I know there may be copyrights issues with bringing K-9 on, seeing as he has his own show in Australia, but it’d still be fun to have him along.
—Someone more enigmatic than the Doctor: In some books and movies, you get a character that’s so mysterious, that’s always keeping a secret hidden, who always seems to know more than you do. They don’t lie, but their words are so wrapped up in riddles that you have to really figure through their words to understand them. Pair that with the Doctor, who always is keeping secrets even when you think you have him figured out, and it could make for some interesting conversations.
—Jenny: The Doctor gained a daughter through some weird technological bio-genetic processes in Series 3. He thinks she’s dead, but she’s still alive. What would happen if she popped back in for a visit?
—A grade schooler: I know, the Doctor doesn’t usually take anyone younger than 14 onto the TARDIS, and when he does usually it’s at the behest of one of his companions. But imagine if the Doctor was forced to take a child onto the TARDIS with him, perhaps one that has been displaced in time and space, and take care of said child for a story or two? The Doctor hasn’t had any parenting experience for a while, so at the very least he’ll be able to give us a few laughs and one or two heartwarming scenes.

New Stories. Yes, every series has new stories with new aliens and new villains and whatnot. But here’s my ideas for some new stories:
—A Visit To Earth’s First City: The Doctor stops at a Mesopotamian city that has been forgotten by history. There, he encounters aliens trying to pass themselves off as gods, and not the benevolent kind.
—The Big Race: When setting the TARDIS on random, the Doctor lands at a space port where every year there’s a space race. When the Doctor’s companion(s) are held for ransom as prizes, the Doctor has to use his wits to win the race and save the day with the TARDIS.
—TARDIS-Hunters: The Doctor encounters a group of aliens who hunt down TARDISes and their pilots. Why are they hunting TARDISes? And what do they plan to do with the Doctor’s TARDIS?
—The Convention Center: Landing in 21st century Los Angeles, the Doctor finds himself at a convention for a TV show that bears a remarkable similarity to his own life. Why does such a thing exist? And who is behind it? Or what?

Well, that’s really all I have to say in terms of what you should do for the upcoming series. I hope you like these ideas, should you ever read them. And if you want me to, I’d be happy to write some of these ideas into episodes. I’d literally hop across the pond on one foot, if that’s what it took.

I wish you luck with the upcoming episodes of Doctor Who and I hope for at least another 5-10 years of the Doctor at least.

Hoping you are well,

Rami Ungar

PS Before I forget, can you do a spin-off of Doctor Who featuring Vashtra, Jenny Flint, and Strax, aka the Paternoster Gang? Torchwood‘s on hiatus for nearly two years, The Sarah Jane Adventures has ended, and the K-9 TV series is not really a Doctor Who property, so a show revolving around Vashtra and the gang would be great entertainment, especially if they clash with Torchwood sometimes.

Pregancy in Science Fiction and Fantasy

Posted: July 31, 2013 in Reflections, Writing
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Yesterday I saw a video on a Freshly Pressed post on pregnancy in science fiction and fantasy, particularly the “mystical pregnancy”. The full video is below:

This video got me thinking. First I started thinking about all the instances not mentioned in this video: Nymphadora Tonks in Harry Potter and the Deathly Hallows, Scully once again in the seventh-eighth seasons of The X-Files, Amy Pond in the sixth series of Doctor Who, Ruth Gallagher in the second book of The Age of Misrule trilogy, Lady Gaga in the Born This Way music video and live performances, Padme Amidala in Revenge of the Sith–you can stop me anytime, you know.

Then it got me thinking about the use of pregnancy in fiction, particularly the TV shows, movies, and books I like. It was a bit of a shock, how transparent and flat these women can become when they are impregnated by their writers. Some are barely there at all as characters. It’s a little sad, and kind of sexist, reducing an entire complex being to the process of pregnancy of birth. And if you need a great example, take a look at Padme in Revenge of the Sith. She gets maybe twenty minutes of screen-time, has very few significant lines, and in the end dies of heartbreak after giving birth. I think her most memorable line from that movie was “So this is how democracy ends: to the sound of thunderous applause.”

To reiterate, this wasn’t what fans were hoping to see.

But after discussing things with the Suspense/Thriller Writers group I belong to on Facebook and sleeping on the subject a bit, I came to a realization that while pregnancies, and mystical pregnancies as well, are used perhaps a bit too much in fiction, it’s the portrayal of the characters that matters the most. For example, Padme’s pregnancy is a very bad example of how badly the subject of pregnancy can be handled. However there are better examples, such as Aeryn Sun from Farscape. According to writer David Lucas: “Aeryn: surrounded by enemies, gives birth. Later, with the baby in a sling, emerges even stronger as a character and as a fighter as she has something even more precious to fight for.” Note this part of a FB comment, so that’s why there’s two colons there.

Two other writers, John Saunders and Annette Wright, points out the character of Sarah Connor in the first two Terminator films. In the first film, Sarah is naïve and has to struggle a lot. But her pregnancy and its aftermath helps hone her into a fierce fighting machine, pun totally intended.

Don’t mess with Sarah Connor, people.

And there are plenty of other examples where female protagonists and other characters have used their pregnancy to grow as characters rather than become one-dimensional breeding machines. For example, Adalind Schade from Grimm becomes even more of a schemer and antagonist, because now she has something over the other characters: the birth of a new prince. Ripley in Alien 3 had a chest-burster growing in her body, but instead of letting the men do the work, she worked proactively to defeat the Dog Alien and kill the Queen growing inside her (and yes, I’m counting that as a mystical pregnancy). And there are probably loads of examples I can’t even think of, showing that portrayal is most important in using pregnancy in science fiction and fantasy.

This was a woman who didn’t let an alien baby get in her way!

So for future reference, I’ll make sure to take a look at pregnancies in fiction and see how it’s portrayed, what works, what doesn’t work, and what can make up a positive or a negative portrayal. I may even write an article on this for Self-Published Authors Helping Other Authors, if I can find the time.

Plus I’d like to check out the other videos in that Tropes vs. Women series. It looks interesting, and I might just learn something important that’ll improve my fiction writing in the future.

As always, thought and comments are welcome on this subject. What is your take on pregnancy in fiction, particularly mystical pregnancy?

The Quiet Game: One Week Since Publication

Posted: July 24, 2013 in Progress Report, short story, Writing
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It’s been one week since The Quiet Game: Five Tales To Chill Your Bones was published in an elaborate post meant to take the place of an actual launch party (see here). I’m starting to wonder if I should’ve just said “The book’s out, here are the links to purchase it”. But anyway, it’s been a week since The Quiet Game came out, and since then I’ve sold about 10 print books and 8 e-books, with more to come as people tell me they are planning to buy it or will buy it as soon as they get home (thank you, everybody!).

And I’ve gotten some reviews, as well. One was from my mother, who said she can’t read me at night anymore (and has since given me a full report over the phone over what she liked and disliked), while the other was from Jason Haxton, author of The Dibbuk Box, which indirectly inspired one of the short stories, Samson Weiss’s Curse (apparently he really liked that one). As Jason told me, he thought the book was a strong start and wished me a hearty congratulations. Thanks Jason, I really appreciate the feedback.

And with other friends promising reviews I cannot wait to see what people think. In fact, this whole journey in publishing The Quiet Game has been a blast (except for the wait to get the copyright, but I won’t let that ruin the whole thing). I’ve learned a lot, had some great help from friends and family, and got to express myself as well. Maybe in a few books’ time I’ll write another collection of short stories, and it’ll be better than The Quiet Game! Sounds like fun, right?

If you’re interested in reading The Quiet Game: Five Tales To Chill Your Bones, you can purchase it off of Amazon or Smashwords, in both print paperback and e-book. And if you do read it, please let me know what you think. I always appreciate feedback, even negative feedback. It makes me want to work harder for my readers.

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