Posts Tagged ‘writing advice’

As many of you know by now, I’m in the middle of editing The Pure World Comes, a Gothic horror novel I wrote earlier this year. The novel follows a maid living in Victorian England who goes to work at the estate of a mad scientist (yes, that’s my elevator pitch for the story). Since a mad scientist features prominently in the story, I thought I’d take a moment to discuss the trope, as it’s extremely common in fiction, especially sci-fi and horror.

With that being said, I decided to do some research before working on The Pure World Comes. I couldn’t find many articles on the trope (and those I did were pitifully short), so I asked one of my Facebook writing groups for help. I got way more responses than I’d expected. Some of them gave me some funny responses like including wild, white hair and a funny accent, or differentiating mad scientists, who do mad experiments, to mad engineers, who build mad things. Some were not helpful at all, like imagining them as autistic overachievers (excuse me? I’m on the spectrum and an overachiever! I take offense at that).

However, there was some good information given to go with the few articles I could find. To start with, the mad scientist trope is over two-hundred years old, with the prototypical mad scientist being Victor Frankenstein of the novel Frankenstein.* However, the stereotypical look of the mad scientist–wild hair, crazy eyes, and “quasi-fascist laboratory garb1“–as well as the outlook for the lab, was influenced by the character Rotwang and his lab in the German silent film Metropolis. Rotwang also had numerous traits we associate with mad scientists (more on that later). After the horrors of WWII, such as German experiments and the atom bomb, and the outbreak of the Cold War, mad scientists began to reflect the horrors and fears of that age, often working on projects that could destroy all or almost all of mankind.

Given the state of the world now, I’m expecting an influx of mad scientists interested in virology and/or social engineering.

Alongside their history, I found out mad scientists have some common subtypes:

Victor Frankenstein (here renamed Henry for some reason) is a great example of an unethical mad scientist.
  • Mythical scientists. These are the mad scientists who seem to be working with godlike powers, either through unexplained, futuristic science bordering on magic or actually studying/utilizing magic items. Science-colored wizardry, as one FB commenter put it.
  • Unethical scientists. These are the scientists who are actual scientists but have dropped their ethics/morals. These types are usually based on the Nazi scientists, the Tuskegee doctors who studied on unknowing black men, and so many more (sadly), though Frankenstein technically falls into this category.
  • Cutting edge obsessive scientists. These types aren’t always so bad. They are good at their work and love it deeply, but tend to get obsessive to the point it can cause trouble for them or other characters. Often, after causing a lot of trouble, they can get a redemption arc. A good example is Entrapta from the She-Ra reboot.
  • Scientists with mental illness. These are self-explanatory, and are becoming more and more common in media these days. This can be a bit of a double-edged sword, as it can be great representation for the disabled, but it can also give a bad name to the disabled by linking their evil behavior to their mental illness.

Obviously, these types can cross over with each other. And there’s probably more than what I’m listing here.

Whatever their type, type combination, or era of creation, all the types have some commonality. For one thing, they generally deeply believe in their goals or research. They also tend to think of themselves as a protagonist in their own personal story. Even the ones who acknowledge they’re evil still believe they’re a main character on the world stage. Pride, greed, or the belief that they know better is generally what drives them, and is often what leads to their downfall.

As for how to write mad scientists, it’s less having to do with the trope and with the character itself. Because of what the mad scientist can do, they’re often used to fulfill a number of needs in stories, but unless you’re making them a satire of the trope or just including them for comical effect, you need to really think about their character. What motivates them? What are their odd ticks or quirks? Think of them like you would any other character and apply the same amount of love and development. Hopefully then you can create a great mad scientist.

Entrapta in the She-Ra reboot is a great subversion of the mad scientist trope.

You can also try going against clichés. Most mad scientists are older white males with nefarious intentions, so going against one or more of these traits and then making the character your own might be a good idea. Looking at you again, Entrapta from She-Ra! You wonderful, robot-obsessed, magic-haired princess, you!

Mad scientists are common characters in fiction and for good reason. And while there’s no sign they’re going away any time soon, there’s plenty of room to innovate and make them your own. Especially if you do your science homework before you start writing.

That’s all for now, my Followers of Fear. This will probably be the last post I make for 2020. If that’s true, I’ll catch you all next year. In the meantime, I’ll be bingeing TV, sleeping and editing The Pure World Comes (I’m currently in the chapter where I reveal who Jack the Ripper is).

Until next time, stay safe (and don’t travel), Happy New Year, and pleasant nightmares!

*Fun fact, Victor Frankenstein never actually finished college, so he’s not a doctor, though people think he is. But since the discipline of science hadn’t been formalized and all the other stuff by the early 19th century, we can still call him a mad scientist.

Erin McGraw, author of Joy

I’ve had the good fortune to learn from a variety of different authors. And sometimes they’ve had the bad fortune–I mean, they’ve been kind enough to teach me in person instead of through the medium of a book. Recently, I had the good fortune to go and listen to one of my professors, Dr. Erin McGraw, do a reading of her new book Joy (which is also my next read, by the way) at the bookstore near me. We got to talking afterwards, and I asked if she wouldn’t mind letting me interview her.

This is the resulting interview. Ladies, gentlemen, and non-binary people of manners, let me introduce Erin McGraw!

Rami Ungar: Welcome to the show, Erin. Please tell us something about yourself and your published works.

Erin McGraw: I’ve written seven books of fiction, three novels and four story collections.  Whenever I’m writing stories, I’m convinced that novels are easier.  When I’m bogged down in a novel, I long to be writing stories.

RU: Your latest book is Joy, a collection of 53 short stories. Please tell us how the project came about and what sort of stories are inside the collection.

EM: Joy happened largely by accident.  I had just retired and finished two novels back to back, and I was tired.  I thought I was writing tiny little stories—3-4 pages—just to keep in practice until I could figure out what my next book was going to be.  It took embarrassingly long to realize that these tiny little stories were the next book.

The stories are dramatic monologues, meaning that the main character steps out of their life to directly address the reader, explaining why they’re doing what they’re doing.  Since these are people acting as their own defense attorneys, they often lie.  That’s what makes things interesting.

RU: Obviously, there are a number of different voices within Joy. Did you do any sort of research for any of the voices you wrote?

EM: I researched almost all of them to some degree.  The ones that come from actual people, like Ava Gardner or Patsy Cline’s dresser, required that I read books to get the facts and background right, but even a story from the point of view of a nameless songwriter wannabe required that I look up some of the facts of the songwriting business, to make sure I got my guy right.  It only takes a paragraph or so before I start feeling responsibility toward my characters, and I want to treat them with respect.

RU: Were there any voices you tried to write but couldn’t? What were the reasons?

EM: I tried for a year and a half to write a story about a man who searched out his spirit animal on the internet.  People do this all the time, I reasoned; it should be easy.  And funny.  But the story stubbornly refused to get funny or easy, and eventually I parked it in my ever-growing “Undead” file, where I put things that I can’t get right but still seem like good ideas.  Maybe I’ll get this one right someday.

It’s funny, right?  Going to the internet to find your spirit animal?

RU: I think so. I mean, it’s trusting an algorithm created by interns and programmers to tell you something profound about yourself. Says something about the people who use it, I’m sure.
Anyway, you also taught for a number of years at Ohio State University. Were any of the stories in Joy based on your teaching experiences?

EM: Not any teaching experiences, no, but a lot of the stories exist, at least in my mind, in central Ohio.  I lived in Columbus for 15 years, and 10 years before that in Cincinnati, so I spent a lot of time thinking about Ohio and pondering its aggrieved status as a fly-over state.  Recent politics have changed that some, which I think is a good thing.

Joy by Erin McGraw

RU: What’s next for you? Are you working on any projects now?

EM: I’ve got a few more very short stories; I think they’re the leftover energy from finishing Joy.  A new project has floated to the front of my mind, but I’m superstitious about talking about things too early.  If it happens, it will be another book with a lot of voices.  I like to hear people talk.  It gives me a break from my own company.

RU: What are you reading these days?

EU: I’ve been on a tear for two years reading about the socio-economic divide in the U.S., and I’m still reading those.  Also books about the development of a recognizable U.S. cuisine, a subject of ongoing interest to me.  Also a superb book about climbing vines.  Don’t laugh.  It’s good.

RU: What is advice you would give to other writers, regardless of background or experience?

EM: The advice I was given by my teacher, John L’Heureux, regarding character:  Complicate the motive.  Simplify the action.

RU: I’ll have to meditate on that one a bit. Final question: if you were stuck on a desert island for a little while and could only take three books with you, which would you take?

Since they would have to be books I could bear to read over and over, the first would be Eliot’s Four Quartets.  Then King Lear, which I’ve never known well enough.  Then the collected Emily Dickinson.  She wrote enough to hold me for quite a while, in case the rescue ship gets held up.

RU: Ah, King Lear. That was an interesting read. Anyway, thanks for joining us, Erin. I hope you’ll join us again someday soon.

If you would like to check out and maybe get signed copies of Joy, you can click on this link. I’ll be checking it out myself very soon. And if you would like to know more about Erin McGraw and her work, check out her website here.

If you would like to see some of the other interviews I’ve been lucky enough to do, click on my Interviews page to check those authors out. And if you yourself are an author with a book you’d like to promote, send me an email at ramiungar@ramiungarthewriter.com

That’s all for now, my Followers of Fear. Until next time, pleasant nightmares!