Posts Tagged ‘novel’

I’ve written about this before several times in some way or another, but every now and then I feel the need to shout out to the Internet, “HEY CREATORS OF HORROR, this is one of your students, one who is coming up in your world. Please, for the love of Edgar Allen Poe, STOP DOING THESE THINGS BECAUSE THEY ARE GODDAMN STUPID AND REALLY DETRACT FROM THE STORIES YOU’RE TRYING TO TELL!” I especially feel this need when I think of the Friday the 13th remake, which is a piece of pornographic, drug-overloaded, cliche-ridden piece of crap from the bum of Michael Bay (figures!).

So with that exclamation and obligatory slam on my least favorite horror remake, I think it’s time to list what needs to be scaled back on or just get kicked out of the horror genre all-together.

Too much gore. Ooh, this is a turnoff to me. Excessive gore isn’t scary, it’s disgusting. If you’re going to use gore, it should be used sparingly. It should add to the terror by being sort of like an accentuation, an additive that adds flavor to the movie or novel’s total fear factor. If you’re relying entirely on gore for your scares, then you’re probably doing something wrong. Look at some of the best slashers out there! Yes, they have gore, but they don’t just rely on it. There’s suspense, surprise, terror, a guy coming out of a dark corner when you least expect him and just scaring the crap out of you before he chases the victim and then pushes them through a window and killing them on broken glass. Now that’s scary.

Too much sin factor. Smoking, drinking, getting high, having sex, swearing like a sailor. A lot of horror films, particularly in the slasher sub-genre, are big on punishing people for their sins. I get it. It’s fun to root for a villain and seeing people getting punished for throwing their lives away.But when it’s so excessive that you wonder if you bought a ticket for a horror movie or if you’re watching one of those teen movies where everyone’s stoned and trying to get laid and there’s a ton of unnecessary swearing involved. Seriously, if you need to spice up things by filming a ton of footage involving sex or drugs or whatever, you might need to get your script looked at by a third party.

The stereotypical man’s man and the believing girlfriend. I hate these sort of characters because they’re so predictable. The former is a normal guy who doesn’t believe in anything supernatural except what’s taught in church, and maybe not even then. The latter’s either a housewife or in a menial job stereotypical for women, and she’s the first to come to the conclusion that something’s weird that happens (unless she has kids, who will recognize the weird before even she will). She tries to convince her husband with his father-knows-best attitude that something’s weird, but he won’t believe it. And even when faced with indisputable proof of the supernatural, he’ll still be somewhat skeptical, and would rather use his tool box or his fists rather than search for a supernatural solution or refer to a specialist. In the end he has to believe his one-dimensional wife or end up dead. It’s been done so often, it’s gotten rather annoying.  Please, switch it up a bit, because it’s so stale we’ll have to throw it out if it doesn’t find a way to become fresh again.

Cheesy effects. I don’t care what your budget is, I’ve seen some amazing things done with effects bought on a budget of only a couple million, or even just ten-thousand dollars. About a month and a half ago I saw this late-night horror film that started out promising. Sadly it didn’t work out that way, and part of it was that the special effects were terrible, and the filmmakers seemed to revel in that by displaying their cheesiness at every second. If they’d tried to at least make it difficult to see what the wolves looked like, it would’ve improved the story so much more (and the film could’ve used the improvement, with that shoddy script). The moral is, even if you can’t use expensive special effects, there are ways to do amazing things with it. You never know what you’ll get.

 

Horror is well known for its tropes and cliches, and often fans of the genre will defend those tropes, saying they actually allow for more flexibility and creativity. However, occasionally these tropes are more problematic than they’re worth and, like the ones above, need to go.

What things in the horror genre would you like to boot entirely? What would you like to see more of?

I’m pretty sure I’ve written about this before, but I feel that it could use a reiteration. If you don’t know, I have a number of ideas for novels, short stories, and articles. During the semesters I usually have a hundred more ideas, which I put down on one of three lists, depending on what sort of idea it is. This can sometimes feel like a double-edged sword, because I have only so much time between school, homework, and my job, among other things, to write. So these ideas just pile up, up, up. And I worry that I won’t be able to write them any time soon. On the other hand, if I go too long without having an idea, I start worrying that I’m losing my creative edge and start looking for new ideas left, right and center.

Lately though I’ve been less anxious, which is odd because I usually have more ideas at this point in the semester than I’ve had lately (maybe it’s the cold?). I’m actually not complaining or feeling too anxious either. I think that might have something to do with how busy I’ve been and how my mind’s been on other things. School, the job search, work, etc. It keeps you busy, so I have less time to worry about how many or few ideas I’m having.

I might also be a bit more mellow than I have been. And I’m actually trying to have more ideas about modifying ideas or stories I already have. I’m thinking of ways to rewrite my novel Laura Horn (which I hope to get around to later this year), There’s that short story I’ve been working on for about eight or nine months. I’m still looking for ways to modify that one till I’m satisfied with it. And I had this one idea for a novel about witches last year, I want to modify the plot to make the story flow better. Just need to figure it out. Perhaps so much of my imaginative powers is being sent in that direction it explains why I haven’t had other ideas.

Well, whatever it means, I doubt I’m losing my creativity. I had an idea for a short story today, and it’s not too shabby. And even if I was, I have about 200 ideas for novels and other long works, and over 400 ideas for short stories. And don’t get me started on articles or blog posts! Plenty of creativity left.

Well, that’s all for now. I plan to do some editing tonight, so wish me luck on that front, my Followers of Fear.

 

I’ve been busy this past weekend, attending my cousin’s bar mitzvah in Detroit and when not doing bar mitzvah things, I was busy with homework or being in the car (hard to get Wi-Fi while in the car). Otherwise I would have posted something Friday or Saturday. Well, better late than never, right?

And on the subject of writing posts, I want to talk about something that’s a subject of controversy for writers: a daily word count. I’ve heard plenty of writers give their opinions on the topic, from being proponents of 500 to 1000 words a day, to others who say that the daily word count is some draconian form of masochism for writers. Me, being “ambitious”, as my English major advisor called me (or was it “overachiever”?), have tried to at least get 500 words typed out each day, whether it be short story, novel, or blog post. 500 words seems to be the amount of words most proponents seem to advocate, whatever the reason that be.

Well, the other day I was working on a short story that I’ve been working on and off for about eight months. That night I barely got three or four hundred words written and I was feeling pretty ashamed about that. This story’s been wrestling with me for ages, and I’ve been trying to get a version of it written that I feel would be up to the standards I (and possibly the magazines I could submit it too) like of my short stories.

The next night though I had a different idea of where to go with this story, and I wrote about fifteen hundred words. Obviously, I felt elated by that. But I also had a bit of an epiphany that evening. The night before I’d been unsatisfied with the direction the story was going and obviously it stalled. The next night I had a different direction for the story that I thought might work better and I got out over a thousand words.

I won’t be worrying about word counts while writing any time soon.

It made me realize that some days, if I’m enjoying how the story goes or if I’m really in the flow, I’ll write a huge amount. And other days, if I’m tired, if I’m not really liking the direction of the story, or if it’s just not my day, I might not get a hundred words out. It’s not any fault of mine, it’s just the way sometimes these things go. Writers have bad days too and on those days we just have to deal with it, and maybe try again tomorrow.

These past couple of days, outside of homework, I haven’t gotten anywhere near five-hundred words written. Am I upset? More about not having the chance to write than anything else. The word count isn’t important to me anymore. Or it isn’t as important as it used to be. I’ll definitely try to get more written out than I have previously over these next couple of nights. Since I’ll be editing Rose starting Tuesday, I might just get a lot out depending on how much I want to change from one draft to the other. We’ll see.

But I’m not that concerned. As I said, some days you’re going to get plenty done and some days you’ll only get a few words out. It’s important at the very least that you try. And believe me, I’ll be trying.

How do you feel about daily word counts? For or against? Why?

Are you planning on asking me how many words this post is?

If you are, you shouldn’t! Because if you ask, I won’t tell you! I’m evil that way.

And by the way, thanks once again to everyone who contributed to Buckeyethon this past year. Even though I could not attend the dance this year because of my cousin’s bar mitzvah, I heard about the great achievements of my fellow students and I this year. 1.2 million dollars towards cancer research! Thank you so very much for your spiritual and financial support in this. You helped make the difference with me.

Well, that’s all for now. It’s getting late, and I’m going to head to bed. I’ve had a lot of late night recently, so I need some sleep if I’m going to be able to deal with school and work and the writing tomorrow. Have a great night, my Followers of Fear.

I’ve mentioned this a couple of times, but I’ve rewritten a number of stories, especially short stories, over the course of my writing career. It’s annoying to a certain degree, to have to start from scratch while writing the same story over and over again. It’s easier to just edit a single story, but when things need to be changed to such a degree that rewriting the story is either simpler or the same as editing the story.

I’ve rewritten What Happened Saturday Night more than once (especially the last third of it), still have to rewrite Evil Began in a Bar (as soon as I figure out how to go about it) and I’m in the process of doing a major revision of Miranda’s Tempest that was inspired by one of my History of Witchcraft classes. Plus I plan to rewrite Laura Horn as soon as I have a moment. And you remember when I had to writ a new outline of Rose because the story was getting way too crazy for my advisor Manny (finally asked if I could name him here on my blog) and he told me to rethink where it was going? That was basically an outline rewrite. And it was after I had to rewrite the first four chapters because they were too light and campy for a horror novel.

Oy vey! That’s a lot of rewrites!

Still, as much as I hate having to do it, I know that a rewrite is ultimately beneficial. It makes the story much, much better. The difference between the first draft of What Happened Saturday Night, “Frauwolf” and the second draft was immense. And the third and fourth drafts showed even greater improvement. The Murderer’s Legacy improved a great deal once it became Miranda’s Tempest, though it still had its flaws. And now I’m doing another version of Miranda’s Tempest, though I’ve renamed it Strong’s Trial due to the new content and theme. It resembles Harry Potter a bit, though I think it’ll end up much removed from that. The rewrites of Rose have vastly improved it and I’m sure when I get to rewriting Laura Horn it’ll be much, much better.

And a lot of great works have been rewritten before publication. The Book Thief was apparently written 200 times before being published, and that’s a famous work. And I hear every script that gets turned into a movie in Hollywood goes through several rewrites before finally going into production. So perhaps my constant rewriting of my stories might make for a famous story someday. We’ll see someday.

Well, that’s all for now. I’m going to spend some time relaxing this evening before going to bed. I’ve done a lot of (re)writing today, so I’m going to take a break and try to relax. I’m setting up an account on my roommate’s PS4 and I’m going to play my first survival-horror game, Outlast. I’ve heard good things about it. Should be very exciting (and if I don’t like it, I’ll rewrite it!). Wish me luck!

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.

All done with the first draft.

All done with the first draft.

Well tonight’s a great night for me! I’ve finished the first draft of Rose, the novel that has doubled as my thesis. I’ve already blasted “Voodoo Child” by Rogue Traders throughout the apartment, did my own choreographed dance to the song, and then had a drink with my roommate. And now I’m working on this blog post, feeling high as a kite about this achievement.

I was hoping to get this chapter started earlier today, but events didn’t allow for it. Still, I’m happy to get it done tonight, nearly six months after starting work on Rose. It’s great to know that it’s finished. Now all I’ve got to do some editing and I’ll be ready for thesis arguments in April.

The total amount of pages for Rose (8.5″ x 11″, double-spaced, 12-point Times New Roman) is 174 pages, an average of about 8.3 pages per chapter, and 50,994 words total, about 2428 words per chapter on average. That’s the length of a mid-sized novella according to the definitions I use. Not a full-length novel, but I’m good with this length. I had a feeling that it’d be around the size of a novella anyway.

Well, I’m going to go to sleep. This is a great night for me, but I’m dead tired and I need to sleep if I’m going to be able to spread the good news tomorrow. I think I’ll take a break in the next week or two from working on Rose before getting started on the second draft. Might edit a short story or two. God knows I’ve got a couple to edit still, and one for a contest soon. Plus some blog posts that I’ve been meaning to write. Boy, I’m going to be busy.

But for now, bed. Goodnight my Followers of Fear (or if you’re reading this in the morning, Good morning). Pleasant nightmares. And wish me luck with this project as it goes into its next phase. It’s going to be interesting where this ends up.

Also, scroll up. There’s a new page I’ve just set up, Stand Alones & Other Works. Rose is a stand alone novel, so it’ll need its own page. And I think Daisy and Strange Portals should be listed somewhere, so I’ll make sure they’re listed on that page. Please check it out if you get the chance. Especially if you have no idea what Rose is about and would like a basic summary to get an idea behind it (summary subject to change over time).

Once again, good night my Followers of Fear. And thanks for your support. I’m always glad you’re there to have my back. See you in the morning!

So I’m working on Rose, my latest novel as well as my thesis, and I’m working on a chapter that I finished earlier today. However, this chapter was special, because it’s the first of two chapters that take place away from the titular character’s point-of-view. As I’ve mentioned in previous posts, Rose is told from the first-person point-of-view, and it’s told in the present tense, which originally I had difficulty with but eventually became easier with practice. However, as this chapter takes place away from Rose’s POV, I did it in the third-person POV, and I did it in the present tense.

Needless to say, it was incredibly awkward writing. I don’t know many stories that are written in the present tense, and those that I do are written usually in the first-person, like someone is narrating their life (who actually does that, I don’t know, but whatever). I don’t think I’ve ever read one that is present-tense and told in the third-person though. Maybe John Barth’s Lost in the Funhouse, but I can’t remember that one as well, so don’t take my word on that one. Anyway, writing this chapter in such a way is incredibly awkward for me. And I think it shows throughout the chapter, all six pages of it.

Well, my advisor M, my fellow writer/thesis worker P, and I are trying to arrange to meet sometime next week. I’ve already sent the chapter to them, and I’ve already suggested some changes I could make to this chapter in the second draft. I’m hoping they let me keep it in third-person but switch to past tense, as that would be much easier for me to write. But whatever they feel or whatever suggestions they give, I’ll definitely take them into account. They haven’t steered me wrong before, and I’ve learned a whole lot working from them.

In any case, I’m taking the night off from writing. I’m going to do some reading for homework, practice Torah reading for my cousin’s bar mitzvah next month, and if there’s time relax in front of the TV or with a good book. Stay warm and have a good night, my Followers of Fear. I know I am.

Boy, do I owe her so much. Even today, I’m getting so much from her books. I’ve got to read her new novel one of these days.

It’s been a good day for me. Classes have been fun (I almost wish they’d last longer), work’s been going well, and I’ve already finished one chapter of Rose (six more to go!). And I’ve recently gotten another lesson in writing.

I’ve been listening to the Harry Potter audiobooks lately and I’m currently on Book 4 (Harry’s currently dealing with most of the school and his best friend hating him for being the fourth champion. Hang in there, Harry!). This was the series that made me want to be a writer in the first place. And you can get something out of the HP books at any age, I find. But I also remembered something that I’d forgotten about JK Rowling’s famous series: she can build such amazing images in our heads and do them with such few words.

I forgot about that, how every word is picked to be useful and poetic and not a single one seems wasteful. That sort of economic use of words is hard to come by, and she wields words so well in her books. I used to try to imitate that style when I was first starting out (I also was trying to write my own version of the Harry Potter series with a female protagonist, but that’s another story). Sometimes I didn’t use enough words! Though in my defense, most writers under the age of thirteen are very visual and we don’t always consider that our readers might need a few more words to visualize the story in their heads when we can see it just fine in ours.

As I grew up though, as I got better and I started getting published occasionally, I started using more, bigger words. I think that’s common with plenty of writers at many different ages. We want to sound smart, intelligent, eloquent with words. I’ve done it just now! Eloquent. That’s a word a lot of people know, but wouldn’t it just be fine to use “good with words”? And I used “economic” in the last paragraph. How about frugal? Or choosy? Or maybe even thrifty?

And we do it just to make ourselves look educated and verbose (there it is again). Sometimes we worry that our readers will get lost along the way, but we’re too afraid to stop! We’re afraid we won’t live up to people’s images of writers. Is it our vanity or our fears of how people look at us? Is there a difference? I’m not sure.

But I’m listening to the HP books, and it’s so precise with the words. And it’s a good story. Scratch that. It’s a great story (my mother would kill me with Avada Kedavra if I didn’t make that distinction). Maybe because JK Rowling wrote the HP books with kids rather than adults in mind, but she’s never worried about the words she’s using, about sounding intelligent or loqacious (again!). She just puts down the words as is needed.

Have to stop using words like I’m pulling them out of a thesaurus just because they’re big and fancy. It might be detrimental–darn it!

In my Business and Professional Writing class, we’ve been looking at how businesses and corporations and even school districts use lots of big words in order to sound like they’re qualified for their jobs. What it really does is sound like a robot has produced a lot of inpersonal and indecipherable terms (again) and let’s be honest, nobody likes an inpersonal robot, whether in real life or on the page.

It’s a crazy coincidence that it’s all happening at the same time, but JK Rowling and my class are teaching me something: that perhaps all those words are unnecessary, that instead of making me sound intelligent and articulate (trying to stop) they’re making me sound less like a person and more like a machine. And even though I do a great impression of a Cyberman, I’d rather not be mistaken for a robot.

So I’m going to try being less long-winded, switch to simpler words and get my point across in half the time. Heck, it might help me finally get a short story written in less than forty-five hundred words, something I’ve been trying to do for ages. And maybe it’ll make for a better story overall. We’ll see what happens.

For the present though, I’m certainly exhausted my patience for the overuse of ample language in the pursuit of resplendent storytelling and will henceforth cease such unreasonable actions for the betterment of my vocation and for the beneficial enhancement of my readership.

I’m done.

A while back I posted on character tropes and cliches that needed to be retired from literature. Some of my Followers of Fear thought that maybe the trope of “The Chosen One” could stand to be retired. I’ve been thinking about this since I wrote that post, and I thought I’d discuss it in contrast to what I call “Someone Who Grows Into a Hero.” If I had another name for that character trope, something a bit shorter, I would use it. Maybe I’ll think of one in the course of this post. Or maybe you’ll give me one (please?).

So, let’s talk tropes. The Chosen One is, in essence, a character who is basically chosen by some higher power–God, Fate, some powerful wizard, the President, the Force, that kooky neighbor down the street, etc.–to take on some great evil and defeat it. Sometimes this choosing takes place pretty early in life, sometimes years or ages before the Chosen One’s birth. A good example is Harry Potter being chosen to defeat Lord Voldemort (funnily enough, I’ve been listening to Harry Potter audiobooks while I’ve been working lately. Already on Book 3. You can always get something new from these books no matter your age, I find). It’s been used hundreds and hundreds of times throughout history, since possibly before the Greeks and Romans started telling stories involving oracles.

Now, this trope has a good reason for being used so much. The character who is the Chosen One–usually the protagonist–is usually a good person, selfless, kind, somewhat charismatic. They’re often presented with insurmountable odds, but through their own ingenuity, goodness, and the help of their allies they overcome and become victorious. We want to be that person, who is good and destined to be great as well, to save everyone and to have the best group of friends around them. To be a messianic or godlike figure.

However, there are some problems with this trope. For one, it’s been used so much that we know it by heart. Harry Potter, Eragon, Mila Kunis’s character in Jupiter Ascending, Gregor the Overlander, Emma Swan, Anakin Skywalker/Darth Vader (with Luke’s help, I guess), Neo, Buffy, Po the Panda, Thomas from The Maze Runner and many, many more. These characters are everywhere. And they seem to all have similar personal stories. They grow up in simple circumstances–programmer, abused nephew, farmer, teenage girl, etc.–but are thrust into extraordinary circumstances that change their lives and center events on them. They’re told they’re special, that there are things that only they can do. At first they might be reluctant, or not have the confidence to do what they are told to do. But as time goes on and they somehow make it through the most dire circumstances, they become confident and settled in their roles, and they do end up destroying the ultimate evil (except if you’re the Slayer, in which case it never ends) once all is said and done.

trelawney 1

These sort of stories also say something about how the universe works, namely fate vs. free will. In some circumstances, the way these stories work is that no matter what, the Chosen One is to win against the ultimate evil. So personal choice isn’t a factor. The universe must work to get the Chosen One to win. Remember when I said I was listening to the HP audiobooks? In the 2nd, when Harry stabs the diary, and I remember this clearly, Harry doesn’t think when he sees the fang and the diary. He just acts. Perhaps the universe intervened so that Harry could someday take on the full mantle of his destiny? And in the case of Buffy, no matter how much she tries, the duties of a Slayer force her back into the world of darkness and away from anything resembling a normal life. The universe (or the writers) seem to have no care for Buffy’s choices, apparently.

So the problems of this trope is not only that it’s overused, but that it’s predictable, and that it takes the freedom of choice out of the equation to a great extent, sometimes even totally. There are ways to change up the trope, but it’s rarely done. Katniss Everdeen could be considered a slight variation on the theme, as she kind of stumbled into the role of Chosen One by an act of defiance, but from that point on her life is controlled by others. Heck, even Peeta manipulates her by forcing her into the relationship and pregnancy ruses. Still, I’ve been open about my disdain for the Hunger Games trilogy, so I’ll say it’s not the best example. I’m trying to think up a better one, even if I write it myself, so I’ll let you know if I think of (or write) something.

The other trope is the Accidental Hero trope (I did find another title for this trope). This is one I like a bit more, because you can do so much more with it and there’s a growing number of examples of this kind of character. This is a character who, rather than by fate, is made a hero through circumstances and their own choices. They may not be hero material, they may not want to be heroes, they may rather go home, but they rise to become heroes by their own merits. For example, Nathaniel from the Bartimaeus books wasn’t chosen to be a hero, and never set out to be a hero. In the first book, he was seeking revenge for personal reasons, the second book he did it because of his job and because of political reasons. In the third book he does it after a lot of self examination and because he’s scared of the demon uprising.

one does not simply 1

Another example is Teen Wolf (the awesome TV series, not the very bad 80’s movie). Scott McCall became a werewolf by accident, and because of the threats to his family, friends and his town, he has to rise to become a hero and save the day. No fate, no gods, no prophecies. He becomes a hero (and later a very special form of werewolf) because his personality, the events in his town, and his love for the people close to him mold him into a hero.

And there are many more examples. Chuck from the titular series never asked for the Intersect, and he wasn’t supposed to have it. It could’ve been taken out ages ago. But he chose to keep it, use it for his friends, and save the people he cared about. Through that he becomes a spy and a hero. In Doctor Who, the Doctor only wanted to travel and see the universe. He is a hero of his own choice. Lelouch Lamperouge from the anime Code Geass received his powers through luck, and later chose to use them for his own ends and to get his revenge (more antihero I guess, but whatever). It’s a trope with a lot of wriggle room in it, and even better, it’s still underused, unlike the Chosen One trope. So perhaps many more authors should write less Chosen One stories and more Accidental Hero stories.

Of course, there’s no way that this post will cause less Chosen One stories to be written. For better or worse, that trope is popular and will stick around for a long while. Still, I’m hoping for more Accidental Hero stories. I figure most of my stories will feature them. Reborn City and Snake‘s protagonists become heroes (or in the latter’s case, antiheroes) through choice and circumstance. Heck, I might try and find ways to subvert the Chosen One trope while writing Accidental Heroes. We’ll see what I can do.

Which trope do you prefer? What’s your favorite example?

What is a way that one could change either trope so that either one could be a bit more original?

Double, double. Toil and trouble. Fire burn and cauldron bubble! Mwa ha ha ha!

I’ve just finished the second draft of The Murderer’s Legacy, which I’ve renamed Miranda’s Tempest (after trying Miranda’s Retribution and Miranda’s Reprisal). This is the same short story I had a breakthrough on Christmas after having a lot of trouble trying to figure out how to fix that one since I wrote the first version back in May. It took me a couple of days, but I got it done. This draft is about forty-eight hundred words long, it seems I can never get a short story done without it being over 4,500 words.

A lot has changed from the original draft and the second draft. The original was set in a magical version of Victorian England, was complicated and cumbersome, and my protagonist wasn’t enough of an asshole like I wanted to portray him. This version makes magic the result of one person, and my protagonist is a total asshole, like I wanted. Plus I got to add in William Shakespeare’s The Tempest. Can’t complain about that.

Like all my short stories, it could stand some editing. A lot of the story involves flashback and exposition, and I’m worried that might be less in the story’s favor than I think. We’ll see what I can do. I’m hoping that I can get a few people I know to take a look at it before I edit it, maybe get some feedback. There are a couple of fantasy magazines that I think could be interested in this one if I can polish it up a bit.

In the meantime, I have one more short story I’d like to get done before I get back to working on Rose. It’s called State Fair (might change it to The State Fair later on) and its about a ghost haunting a state fairground who becomes infatuated with a girl attending the fair one day. I’m hoping to submit it to an annual short story award they have at Ohio State every year. It’s the kind of thing they tend to like, so I’m hoping they’ll go for it. But first I have to get it finished. In fact, I’m going to start working on it now, and also through tomorrow if I can, I have the day off tomorrow so I shouldn’t have any problem working on it then.

Well, that’s all for now. Have a good night, my Followers of Fear. I certainly am.