Last month, you read my blog article about the creation of "St. Paddy's Day" and the process of brainstorming that story. Today's topic is about the concept of borrowing for a story.
Some writers say borrow from the best. I say borrow whatever works best for the story you are writing. Borrow from wherever it is and from whoever wrote it. I'm not advocating that you should plagiarize someone else's writing, you understand. What I'm talking about here is borrowing the concept of that writer's idea or scene and putting that idea or scene into your own words to use it to best advantage in the story you are currently creating.
|4 of the 9 stories in this book are in |
my 1660's Paris Underworld series
For this 9th story in the series, it went like this. I needed a story line and a character arc. Then, I remembered a scene from the memoirs of Eugene Francois Vidocq. Vidocq as you may or may not recall, spent the first part of his life as a master criminal in France and the last part of his life as the Director of the French Surete catching criminals. Literary Note of Interest: When Victor Hugo wrote his novel, Les Miserables,, he loosely based the two main characters, Jean Valjean and Inspector Javert, on the two parts of Vidocq's life.
Anyway, in his memoirs, Vidocq wrote about trying to locate a robber so he could arrest the man. After much searching without success, Vidocq decided to try a different method. He was fairly certain that the criminal's wife knew where her husband was hiding out, but would not be willing to tell anyone the location. So, he devised a clever scheme relying on the emotion of jealousy as a catalyst. Enlisting the help of a female criminal who owed him a favor, Vidocq had this female pad her stomach area under her dress and go to the robber's house with a story. The now pregnant-looking female told the wife that she needed to see the wife's husband. When the wife asked what business the female had with her husband, the female patted her ample stomach and replied that the wife's husband knew what business, and then left.
Vidocq, who had been staying out of sight, watched while the wife locked up the house and walked briskly away. As she went through the winding streets of Paris, he followed her until she found her husband. Vidocq then promptly arrested the previously hard-to-find felon.
Okay, if that idea worked for Vidocq in real life, surely in my 1660's Paris Underworld series, I could use something similar for one of my main characters (the Chevalier) who needs to locate the thief who stole his money. The narrator for this series is a young, orphan boy trained as a pickpocket. He is rather incompetent in his occupation, which usually gets him into trouble, plus in previous stories, he has also proven himself to be an unreliable narrator. Being naive and lacking experience in life, he doesn't always realize that some events and actions he witnesses are not quite what they appear to be.
At the opening of "Green Eyes," the orphan sees a man steal money the Chevalier has hidden away in the old Roman ruins where the orphan, the Chevalier and Josette live together in the criminal community on the bluffs above Paris. Later, when the thief becomes hard to find, the Chevalier turns to Josette and some well-placed padding. The orphan boy/narrator, who has a crush on Josette, surreptitiously follows the Chevalier and Josette as they follow after the wife. Not being in on the full plan, what the boy observes confuses him and raises his own emotions. For me to tell more would spoil the story and the ending, so look for "Green Eyes" in a future issue of AHMM. Evidently, the borrowed scene worked great.
How many of you have borrowed an idea, scene or action from another author because you really liked it and saw a way you could use it in a story of your own? Let us know how well it worked out for you.