Showing posts with label characters. Show all posts
Showing posts with label characters. Show all posts

03 March 2023

I'm In The Story, Part Deux:
This Time It's Personal. Or Maybe Not.


Last time in this space, I talked about one of my least favorite types of story: the roman à clef. I used Valley of the Dolls as my example. Roman à clefs are usually bad because they try to force fit real people, dialog, and events into a fictional narrative. Either the disguise doesn't really work, or you get flat characters and wooden prose.

Some people in the comments, however, objected, saying they either read or wrote characters based on real people. I countered that Frederick Forsyth often inserted real historical figures - Well, they were more like present-day notables at the time of the writing - into his work. That's not the same thing. Nor is using a real person as inspiration for a character. That's pulling ideas out of the ether.

In the first novel I wrote, Northcoast Shakedown, I based a few people on neighbors and friends. A couple people read it and picked out who immediately. But George, the apartment complex manager, was not Lee, the neighbor across the way. For starters, I think Lee would have fainted dead away with some of the stuff George had to do. The landlord who died might have looked like my landlord, but his demise was inspired by a neighbor he hired to redo the balconies in our complex. And the building itself just lent itself to the storyline. My coworkers at the time tied themselves in knots trying to guess who, at Terminal Tower Insurance, was really someone among us. I told them I didn't do that because, again, using real people as characters often backfires for one reason or another: bad writing, hurt feelings, or those damn characters doing whatever they wanted.

My stepson had trouble understanding this when I wrote the TS Hottle novella Flight Blade. I had my two pilots try to cover the one's oversleeping by saying they had miscommunicated and did not realize they were leaving early. The flight commander aboard their starship was named for my stepson and a lieutenant commander. "Why am I not an admiral?"

"I named the character after you. He's not you."

"But why am I not an admiral?"

It took a few go 'rounds to explain it. Then I read him the passage.

"Oh. I like that."

To quote said stepson, "Uh-huh."

What a lot of non-writers don't understand is characters are easy enough to pull from the ether. Someone else said every person is actually a hundred people, only one or two coming out in certain situations. The writer is a person who can pull all one hundred onto the page at the same time. One could actually look at a real person and spin four of five characters from them if they know that person well enough.

More often, the real-life inspiration is either an actor or a notable figure. Actors' performances sometimes crystalize an idea. I once wrote a character I pictured as Bill Pullman after seeing Independence Day. However, the way I wrote the character, someone else suggest Denzel Washington. Today, it would probably be Ryan Gosling and Idris Elba. (Actually, Idris would be the better fit if I still wrote that person. He has the same sense of humor, but can turn on the Luther/Stringer Bell intensity when needed. Plus the English accent would totally work.)

Notables are either ones with larger-than-life personas, or compelling life events that may inspire the story itself.

If you must know, I pilfered a couple of names from real life for Holland Bay, though the characters are not their real-life counterparts. I based one character on Ken Bruen after he gave me some input. But then Ken blurbed that book, so now the character is named Kearny. There's no Jack Taylor in Kearny. The others might have taken cues from real people, but they evolved on their own. Branson, Murdoch, and Armand Cole are all cut from whole cloth. Rufus had some television inspiration, as did Baker, who is what another character from another story would be like if the original wasn't a manipulative idiot. In reality, I liked the actor. The original character I couldn't stand. One has to be careful when using fictional inspiration. The gap between custom archetype, homage, and plagiarism is painfully small.

Using real people as a basis for a character is not roman à clef. It might surprise you to learn there was a real-life Beavis whom Mike Judge used as a model for his monumentally stupid creation, Beavis. However, the real Beavis had the name, the voice, and apparently in sarcastic moments, the laugh. But the hideous appearance, lack of intelligence, and disturbing fascination with fire all came after Beavis and Butthead had a few episodes under its belt. Let's hope the real Beavis had a sense of humor. Since he used to hang out with Mike Judge (whose normal voice is that of Butthead without he lisp and a larger vocabulary), I'm going to assume he got a big laugh out of it. A real one, not "Huh huh. Huh huh huh huh huh."

Of course, again, the difference here is the real person - notable or familiar - is the starting point. Once the character is in the story, they're going to do what they want, including flesh out an entirely new backstory. Which is what they're supposed to do.


10 February 2023

I'm In That Book, Aren't I?



 Ah, yes. We get that question all the time, don't we? We write a book and immediately, the main character is always the author. Yeah. I'm a 21-year-old interstellar spy of Indonesian descent according to the scifi book I released today. Or I based that character on someone I know. Or the person asking the question. Or some celebrity.

Of course, I did. Because never, in the history of writing, has any author anywhere made something up. Well, someone had to. I'm currently reading Gilgamesh as I write this, and even characters in Greek mythology would say, "Dude, that's just too weird to be real." 

That's not to say writers don't base characters on real people. Some inspire them. I had a bubbly, party girl neighbor once who became a villain in a Nick Kepler novel. But no one would mistake the character for the real person. There are even whole novels where the characters are thinly veiled versions of real people. These make up a genre known as the roman a clef

And most of them are awful.

The most famous example is Valley of the Dolls by Jacqueline Susann. It's still a bestseller, but I can't imagine how happy Judy Garland (who died not long after the book appeared), Ethel Merman, or Dean Martin could have been when Valley hit the bestseller lists. Certainly anyone who knew Carole Landis at the time of her death squirmed reading about Jennifer North's suicide. It might have been a bestseller, but it was never a classic. In one memorable scene from Star Trek IV: The Search for Nuclear Wessels, Leonard Nimoy, playing the emotionless, unflappable Spock, can't keep the sarcasm out of his voice when Kirk rattles off the names Susann and Harold Robbins. "Ah," he says in a dry tone that does nothing to hide what Nimoy the actor is thinking, "the giants."

Jacqueline Susann did manage to sell a lot of books. But try basing a character on a real person and getting it to work in the framework of a fictional story. I have tried. I always have to either reduce the character to a walk-on, emphasizing personality traits that made this sound like a plan, or throw out the character altogether. The fact is, when I or most writers create a character, the character doesn't care where I got the idea that brought them into being. They are in a fictional world I created, and they're going to go do what they want. So, you're weird friend from high school whom you thought would make a comedic version of Jeffrey Dahmer ends up being the annoying used car salesman instead. (Actually, I think my one weird, creepy friend does sell used cars now. Bad example.) 

I did successfully pull it off one time. There is a very short Nick Kepler novel in the drawer that has Nick dealing with the aftermath of Hurricane Katrina. He goes into a restaurant called Candy's Home Cooking, owned by a short, vivacious Kentucky girl named Candy. I just happened to marry a short, vivacious Kentucky girl named Candy who used to cater. It did work, but notice the book is not published and not likely to be in the near future.

I've had characters people assumed were me. Jeff Kagan from the Holland Bay series. JT Austin from my scifi. But Kagan is the son of one of the Mafia's pet cops. JT stormed out of a life of wealth and privilege only to blunder into an interstellar war. My parents were neither rich nor knew anyone in the Mafia. At least, not enough that it affected them directly. And anyway, I have more in common with Jessica Branson, the once-disgraced detective trying to revive her career. But I married a short, vivacious Kentucky girl who used to cater, not shacked up with a lovable hairy nerd.

The fact is, most characters come from the ether. There might have been a real person there in the beginning, but even obvious avatars of real people end up with their own histories. It goes back to a possibly apocryphal story about Leonardo da Vinci. Da Vinci had an enemy he so despised that, while painting The Last Supper, he put the man's face in for Judas. But he could not get the painting to work. He used a different face, and now the painting hangs in a convent in Milan that is considered a UNESCO World Heritage Site. So, if da Vinci couldn't do the roman a clef, it's probably a hard no for anyone else.


Da Vinci was nearly sued by Moe over use of his bar, as well as being portrayed as Judas.
Said the master artist, "D'oh!"
Source: Fox

12 December 2022

When the Characters Run Away with Your Series


DorothyL, the mystery lovers’ e-list, is often the source of inspiration for me in thinking about why I write what and how I write. A while back, a DL reader was “disconcerted” when an author who had written the first few books of a series from the sole point of view of the first person protagonist brought out a new book with multiple POVs: some chapters from the protagonist’s POV as before, and others from the third person POV of other characters.

original 2008 hardcover

In the case of my Bruce Kohler Mysteries, a series which includes both novels and short stories, I intended to write from the POV of a first person protagonist. But it never happened. I also intended to have a bestselling hardcover series with a major publisher that sold for $27.95 that appeared in paperback a year later and continue writing it forever, but that never happened either. How the world has changed in the twenty years since I finished the first draft of Death Will Get You Sober.

In fact, my Bruce Kohler short stories, starting with “Death Will Clean Your Closet,” have been solely in Bruce’s first person POV until recently. That first novel originally had two alternating first person protagonists, Bruce, the sardonic recovering alcoholic with an ill-concealed heart of gold, and Barbara, the nice Jewish codependent from Queens who can’t resist helping and minding everybody’s business. When an editor finally showed interest in publishing Death Will Get You Sober, the first thing he said was, “Bruce is a terrific protagonist, but Barbara would be better as a sidekick.” So I rewrote the book, putting her chapters in third person. I also fixed some awkward scenes, like having Bruce tell us what Barbara told him she overheard in the ladies room. Sometimes you really need another POV.

Every writer hears the starting bell for the next work differently. In this series, I start with the title. I had Death Will Get You Sober in my head for years, though I didn’t write it till I quit the job on the Bowery that I fictionalized in the novel. And then, I wait for Bruce, Barbara, Jimmy, who’s Bruce’s best friend since childhood and Barbara’s boyfriend, now husband, to start wisecracking in my head. I take my marching orders from them.

Over the years, each character has developed. I haven’t developed them, any more than I planned for my son to grow up to be a decent man and a terrific husband and father who wears his hair very short and earns a six-figure income in the fantasy sports industry. (Take that, hippie parents!)

An e-publisher changed the titles
but the artist got Bruce's wry grin

Bruce, with his distinctive first person voice, is at the heart of the series. He once described himself as “ham on wry.” He’s still sardonic, but his compassion is closer to the surface as his sobriety continues. The main character arc is that of his recovery and personal growth. As he said recently, in “Death Will Take the High Line,” “At seven years sober, I’d be a sorry excuse for recovery if I still thought about alcohol all the time.” The main characters are his circle of friends.

Barbara has agency. As the series goes on, she’s become the one who pushes the others to investigate and instigates the moments of confrontation. She’s also funny. She works on her codependency issues, but if she ever recovered completely from being nosy and bossy for the good of those she loves, she wouldn’t be funny anymore. Luckily, she keeps backsliding.

Jimmy provides stability and serves as a foil for the others. His passions are AA, the Internet and all things tech, and Manhattan. He can get culture shock in New Jersey, if you can get him there, or even in Brooklyn or the Bronx. He and Bruce have some Mr Jones-Mr Bones routines they’ve been doing since they were kids in Yorkville. They keep coming up with ones I’ve never heard before, usually when I’m lying on the floor doing my stretches.

The unified e-series edition –
this novel is an e-book only

Cindy, Bruce’s NYPD detective girlfriend, became necessary when the device of amateur sleuths in New York City became harder and harder to pull off realistically, even in the mystery story context of suspension of disbelief. When she first appeared in the trio’s clean and sober group house in the Hamptons in Death Will Extend Your Vacation, Bruce didn’t know she was a cop. And I didn’t know she would become a permanent member of my cast of series characters. But it was time for Bruce to have a serious relationship. We both needed Cindy. So there she was again when we needed her: in Death Will Pay Your Debts, “Death Will Help You Imagine,” and “Death Will Finish Your Marathon.”

But Cindy really sprang to life when I gave her a story of her own in “Death Will Give You A Reason.” I absolutely didn’t “flesh her out.” Cindy and I went through the process of discovering who she was in depth together. In that story, Cindy’s about to celebrate her tenth anniversary of sobriety, a very big deal in AA, when a case pulls her back into a painful part of her past. Solving it, we found her essence. Cindy belongs to two tribes, NYPD and Alcoholics Anonymous.

Bruce appears briefly at the beginning and end of “Death Will Give You A Reason,” because I thought fans of the series might object to a “Death Will” story that left him out. After her big evening at AA, he falls asleep beside her as she thinks about all that matters to her.

Besides taking [the murderer] in to be booked yesterday, she’d had to trace the knife, mobilize a social worker … and fill out a ton of paperwork. In a couple of days she’d be able to think about her anniversary, the love that had come pouring in when she’d told her story. It was nice to take a break from being a cop, if it didn’t last too long.

10 October 2022

They came for the plot, and stayed for the characters.


  

 

Some things are essential, yet not of the first order of importance.  You need to get paid for your work, but generally, people choose a type of work and stick with it for less tangible reasons than compensation.  A functioning cardio-vascular system is pretty handy, if you want to survive, but most of us concentrate on the life of our minds, and emotions.

Likewise, a book needs a good plot.  I’d argue that, in the mystery world, it’s as important as a beating heart.  Yet for me, the characters are the most valuable return on a reader’s investment.  Characters capture our attention, hijack our feelings and infect our memories. 

Starting with the protagonist.  A protagonist ushers people into the most intimate, and deceptive, corridors of a human being’s mind.  First person, third, or whatever, the reader is invited to tag along with an individual’s mental process, her ruminations, flights of mental chaos, her cold calculations.  The reader is a parasite feeding off an alien brain, and thus escaping ones own.  (I mean this in only the best way, not excepting vampire books, of which I’ve read exactly zero.)

Though the transaction is also observational.  The reader sees other people through the protagonist’s lens, who selects which qualities the other folks in the play expose, and which to ignore.  That’s why capable writers suggest you don’t write “He had a full head of brown hair and green eyes, and had a funny look on his face,” but rather, “He looked like he’d just swallowed a poisonous fish and was almost happy about it.”

I consumed a lot of door-stop popular novels in my youth, since they kept showing up in our house as the result of my mother’s feverish compulsion to keep pace with the Book of the Month Club.  To wit, James Michener, Leon Uris, Arthur Hailey, Irving Wallace – masters of engaging plots, characters made of mud and straw.  It’s not easy to write these books, and I’m glad they at least kept big publishing in business, but can you name a single compelling character emerging from all that tonnage of spilled ink and paper pulp? 

Meanwhile, my mother and I both tackled Ulysses.  What’s the plot?  Guy gets up in the morning and wanders around Dublin for a day, sees a few things and thinks about his life.  No one, despite heroic efforts and warehouses full of doctoral dissertations, has fully dissected the richness of this character, and side characters along for the ride, which is why Ulysses will be forever consumed and Arthur Hailey is a forgotten name. 

If you want to write fictional characters of any kind, the good news is you don’t have to invent all that much.  We all live in a deep sea of human experience.  Everywhere you look are brilliant characters.  Your crabby sister, muscular palates instructor (the one with the lisp), retired special ops commando with a house full of cats, earnest supervisor of public works, cross-dressing carpet salesperson, too-chipper young bank teller, crew-cut lawn-cutter heading for the Marines, sociopathic next-door neighbor (also with a house full of cats) – the world’s bursting with them.  You just have to write it down.

Millions love mysteries, initially because they’re literary puzzle games.  But at the end of the day, people are mostly interested in other people.  The wonderful thing about mysteries is they put people we recognize into impossible situations.  We’re allowed see how they endure extreme circumstances, how they react and behave often in ways that exceed their apparent capabilities.  Mysteries are the ultimate vicarious thrill ride.

It's one of the reasons I’m so fond of mysteries and thrillers.  Humans stress-tested to their limits, revealing deep wherewithal, surprising weakness and trials of moral fortitude.    

 

###

 

24 July 2022

Bed, Bath, and Beyond: The Rooming House, part 2


Tales from the Rooming House

Last week I introduced you to the cast of the guest home where I rented a room rather than stay in a hotel for a six month project. I bring you a little more about my landlady, God love her.

Kitchen Computer

The kitchen held a computer for the landlady and anyone else who needed to use one. One day when the house had emptied, she shyly approached me.

“Will you, um, see uh, I have a prob… er, I shouldn’t ask, but… well, I made a mistake and, uh, no, never mind, I just felt… if you… you work with, um, computers, right? No, it’s not fair… to ask, you know, I’m sorry, see. Forget it.”

“Tell me what the problem is.”

She sniffled into a tissue. “Well, um, I went on a web site… or maybe two sites or so. And uh, I gave them my credit card number, er, and I can’t get it back. They um, keep charging me.”

pseudo-porn
“Okay. No sweat. Let’s sit down and figure it out.”

Poor lady. She flushed fifty shades of red. She’d worked up considerable courage to ask me. Respecting her vulnerability, I strove to be kind, gentle, and non-judgmentally professional.

She trembled too much to type the URL, so she slid over while I drove. I didn’t flick an eyelash when she spelled out the address of an ‘enticing teen boys’ porn site. Miserably, she said, “The other’s a bisexual-lesbian teen site.”

“We’ll do this in two steps,” I said. “First we’ll terminate your account and billing. See, that’s done. We’ll do the same thing on the other site, and bingo, that’s done. But to be safe, let’s tell the credit card company not to accept payments from these guys.”

She didn’t say anything, but dabbed her eyes with a soggy Kleenex. I’ve developed a habit of being deliberately incurious about personal matters. Humans are born naturally inquisitive creatures. No one should be punished for lifting the lid of their own curiosity.

I said, “I can set up a secret folder where you can store personal things, you know, bank information, private letters, and uh, home movies and the like. Only if you want.”

“Oh yes. Could you help me set my profile on a singles site?”

Her bio was riddled with spelling and grammatical errors, but she wouldn’t let me change them. “No one will care,” she said. I thought it might restrict her potential dating pool, but kept my opinion to myself.

Other than confirming her credit card charges had ceased, neither of us mentioned those web sites again.

The Bickering Fair Ones

I wasn’t used to breakfasts amid mere acquaintances lounging in underthings, but I like to think I handled it with panache. Then I worried; were they treating me as one of the girls? Whew. Fortunately not.

“Jesus, Jill. Can’t you hook your own damn bra?”
“Yeah, Jill. What did you do before he arrived?”
“Shut up, sluts. You’re just jealous of these.”
“Wait til she asks him to do her front clasp.”
“Oh ♩♫Leeeeigh. Can you stuff these in for me?”
Ƒ you. What about Gail’s flash dances?”
“What? Me?”
“Dashing between rooms with only a tea towel.”
“It’s a bath towel.”
“For a hamster. I have hankies bigger than that.”
“Don’t be so mean. You’re so…”
“Aw shit, Gail. We didn’t mean to make you cry.”

Their sniping revealed a drama I wasn’t aware of. With my nose in technical manuals, I had been studying and oblivious. The landlady explained. Apparently Gail, the youngest of the group, wore less than usual when I was in-house, so to speak.

“They’re teasing her because she wants the attention of the only male in the house. Her heart was just broken and she craves validation.”

“Validation… I don’t understand.”

“She just wants you to notice her. Be a friend, that’s all. Be kind. She’s more fragile than she thinks. Neither of you needs rebound romance. Just buy her a rose one day. That will do nicely.”

I had been clueless sixteen ways from Sunday. I humbly felt as if our local High Priestess of Womanly Wisdom had guided me on a path where otherwise I would have fallen flat on my face. Or put another way, guys can be dumb and she saved me from myself.

bedroom floor plan

Bed, Bath, and Beyond

After my initial months of exemplary behavior, the landlady switched me to a larger room at the end of the hall across from hers. A mirror hung at the end of the corridor between the landlady’s room and mine, convenient for the women to check their makeup before heading out in public. Unlike the rest of us, she usually left her bedroom door open and I paid no attention to the darkened expanse of her doorway.

Because my schedule meant I was the last to rise and depart, the landlady asked if I would let her dog out for a bound around the garden before I left for work. No problem. I agreed.

Now, I sleep nude. Don’t judge me. Just sayin’. I don’t have patience with bedclothes.

Once I felt comfortable that only I remained in the house each day, I clambered out of bed naked, immediately let the dog out, and hit the shower amid its rain forest canopy of panty hose. Bras and knickers obscured the steamy mirror, so after bath, I stepped into the hall. Still starkers, I brushed my hair reflected in the mirror. No issues, I always made certain I was alone.

One morning I let the dog out, shaved, showered, brushed my hair before the hall mirror, dressed, let the dog in, threw on my jacket, dashed out the door, and…

There in the driveway stood my landlady’s car.

But where was the landlady? I’d already locked up and didn’t have time to investigate, but that evening, she looked at me speculatively.

I said, “Did you stay home today?”

“Uh-huh. I called in sick.”

“Er, this morning when I got up, uh, my back and forth to the bathroom, brushing my hair in the hall mirror, um, you saw all that?”

“Yes.” Her cat-licking-cream smile hovered between impish delight and giggly satisfaction.

Bed, Bath, and Beyond logo

“Everything?”

“Oh, yes. Every bit.”

“Your room was dark, I didn’t realize…”

“I know.” Her smile turned gleeful. “I know.”

We never mentioned that again either. She might have shared that little adventure with the other women, but I think not. Maybe she appreciated I’d kept her secret, but really, she was just a good person.

My contract ended not long after, but for a guy without sisters, the ladies educated me in record time.

17 July 2022

Bed, Bath, and Beyond: The Rooming House, part 1


How many landladies does it take to change a light bulb?
None. She bills you for a 25-watt bulb and lets you replace it.
buckeyes
Ohio buckeyes

A conversation with Melodie Campbell brought me back to a landlady in Columbus, Ohio. I’d travelled to America’s heartland for a six-month consulting project. Usually I stayed in hotels or occasionally in a company-owned apartment, but this time I opted to stay in a guest home, the only male in the house, the first time this landlady felt brave enough to accept one. For dialogue and character study, the house made a great observation post.

Roommates

Initially, I was assigned the smallest room, fine with me. It was a place to bathe and sleep, not socialize. As roommates came and went, the landlady upgraded our rooms depending upon seniority.

The house's female population varied fluidly depending upon who was upset at whom, who said the wrong thing, and who was going out with someone else’s man. Hostilities simmered and sometimes erupted. Everyone was very pleasant to me as internecine animosities and alliances came and went.

Snatches of conversations went:

“Who used up the half-n-half?”
“Um, you?”
“Slut.”
“I’m late again. My boss will have a cow.”
“Of course he will, the moment you arrive.”
“I’ll ignore that.”
“Hon,” (speaking to me) “Darling, hook my bra, please.”
“Why bother, Jill. You’ll only beg him to unhook it later.”
“Bitch.”
“Slut.”
“Did you pick up my dry cleaning?”
“Did you find it in the closet?”
“Bitch.”
“Shut up.”

I avoided much soap opera by working late into the night and setting my alarm after others left for the day. Occasionally one or another of the ladies snagged me to pour out her heart, typically a grievance with another of the tenants, usually man-related.

At the center of much angst was naturally a guy, a jerk. He’d gone out with at least three of the women including the landlady. The ass pitted them against one another and made outsized demands to prove they were worthy. They should have buried him in the back yard, but at that time of year the ground was frozen and snowed over. They’d have to wait for spring.

Maluku postage stamp

Bath

I grew up without sisters. Even though I’ve lived with girlfriends, they shared my residence one at a time, not in a group. I wasn’t prepared for a bathroom decorated with a dozen pairs of pantyhose and other bits of underwear strung on the shower rod, the sink, and the mirror.

I can’t deny I haven’t come face to face with micro-bikinis (shut up, Eve!), but in those circumstances I wasn’t paying much attention to those thongy things. In the harsh, florescent light of a bathroom, either a geometry mystery or an engineering marvel emerged. For folks who’ve been distracted by the higher level events in our world, thongs consist of strings and a tiny triangle the size of a Moluccan postage stamp. My inner anatomist turned all geek, calculating an inch and a half per side does not a covering make.

A = ½ W × H

The bathroom was loaded with bottles and aerosol cans of hairsprays, deodorants, creams, powders, and many, many mystery items. I sought space for shampoo and shave cream, finally putting my razor on the highest rack in the shower.

On day two, the shampoo level of my Head & Shoulders startled me. The new bottle was now half full… or half empty. Oh well. I lathered up and then… I was pretty sure I left the cap on the Barbasol, but a white snake of foam across the tub suggested Goldilocks of the Three Bears had helped herself. I slathered on shaving cream, picked up my razor, and…

“¡Ye-ouch! Holy ƒ-ing #¥‡€¢§¶™ Mother of a G.” Someone used my razor to shave the three bears, the house dog, and a sisal door mat.

Some problems I solved by purchasing shampoo and shaving cream with hyper-masculine ingredients like diesel fuel, saddle soap, gun oil and names like Strike Force Command, the man’s manly man products with 20% more testosterone.

Bathroom conversations went:

“Don’t touch my Pantene, ever. It’s mine.”
“Twit.”
“Twat.”
“That’s what I meant.”
“If I find who stole my conditioner…”
“Who used up the Redken?”
“Janet, goddammit. Will you stop leaving hair in the tub?”
“Not me. I didn’t shampoo.”
“I didn’t say you shampooed, I said you left hair in the tub. Shave that thing somewhere else.”
“Bitch.”
“Slut.”

I became aware of two important things.

  1. I was lucky to be accepted by a houseful of women.
  2. If the rôles were reversed, a women in a house of men wouldn’t find it any easier.
Ohio State Buckeyes
More Ohio Buckeyes

Kitchen

The resident’s kitchen featured only a small table and three chairs, plus a community refrigerator. I needed room only for milk and juice. Three days after buying milk, it disappeared. I bought another. Then the orange juice and milk disappeared. Now we had a problem.

Complaints of office mates nabbing bits from the common fridge occasionally happened, but I hadn’t expected food theft where I rent. I approached the landlady.

She said, “It wasn’t one of the girls. I threw it out.”

“What? Why”

“It had been in the fridge three days already.”

“Okay. Why?”

“Because they were three days old. The expiration date was coming up.”

“I’m confused. The milk and juice weren’t sour, they hadn’t come close to the sell-by date, and you tossed them? I don’t get it.”

“Because of the date stamp. I don’t want anyone getting deathly sick.”

“You’re saying the expiration date means you’ll expire?”

“Absolutely.”

“Drink expired juice and you’ll die or something?”

“Certainly. I don’t want responsibility for sending anyone to the hospital. They put those date stamps there for a reason. The nearer you get to it, the more certain you’ll get sick. I don’t want oldness germs infecting other foods. Milk or any crap in there more than two, three days goes.”

My dear landlady was a lovely person, but she lived in fear of best-before dates. She was convinced expiration dates meant personal expiration by black death.

Beyond

And yet, I was oddly honored to be accepted by the house.

Next time: The Naked Truth

01 March 2022

The Importance of Emotional Motivation in Fiction


Writers know their characters should be real, distinct, and engaging, but that's easy to say. How do you go about doing it? Focusing on voicewhat and how a character speaks and thinksis an important part of the process of making your characters come alive off the page. Another is understanding what drives the characters. This latter element played a key role when I wrote my newest story, "Beauty and the Beyotch," which was published last month in issue 29 of Sherlock Holmes Mystery Magazine. Here's the teaser:
"Beauty and the Beyotch" is a story about three high school girls told from two perspectives about one thing: their struggle to make their deepest desires come true. What happens when those dreams collide?
These girls' motivations drive all the action in the story and make them who they are. So, who are they deep down?
 
Elaine is an insecure spoiled girl who yearns for acclaim and fame. She is afraid that Joni (her best friend, Meryl's, new pal) will get the starring role in their school's upcoming musical, Beauty and the Beasta part Elaine not only craves but believes is her due. Elaine is desperate to avoid such humiliation, which she fears would undermine her long-term goals.
Joni is shy, an introvert. The idea of auditioning for the show scares her. But she also badly wants to please her mother, who starred in her own high school productions and who keeps encouraging Joni to spread her wings and make some friends. So, despite her anxiety, Joni decides to try out for the spring musical.
Meryl is caught in the middle of her friends. More than anything, she wants to be a menscha good, kind person. It's what prompts her to befriend Joni, even after she learns Elaine doesn't like her, because she can see Joni needs a friend. Because of incidents from Meryl's past, being good and honest means more to her than anything else. But when Elaine's and Joni's goals collide, Meryl is forced to make heart-wrenching choices that strike at the essence of who she wants to be.
So, we have three distinct characters, each driven by something different. But are their goals substantial enough to justify their actions? To make them believable and to make readers care about what happens in the story?
 
The answer for Elaine is an easy yes. Her dream of becoming an actress is something people can understand, if not relate to. The longing for celebrity is well known in our culture, and Elaine believes getting the starring role in the school musical is a key part in her path to fame. In contrast, Joni's and Elaine's deepest desires are quieter. Joni wants to please her mother. Meryl wants to be a good person. I wonder if readers might be skeptical about these goals. Are they important enough to warrant being described as the girls' deepest desires? Are they strong enough to drive Joni's and Meryl's stories?
Thinking about crime fiction brings these questions and their answer into stark relief. When crimes are committed, we know that there can be a superficial reason driving the perpetrator as well as a more meaningful reason. For example, Bob Smith robs a bank because he needs to pay for his mom's nursing home. His reason is practical, but deep down, it's also very personal. He cannot allow himself to be the son who lets his mom down again, and he will risk anything to be a better person for her, even if it means being a bad person in the eyes of the law. What's driving Bob is personal, all about how he sees himself and wants to be seen in his mother's eyes. Yet I'm sure readers would think these needs are meaningful enough to believably drive his actions and could lead readers to become invested in what happens to Bob, even if they think his actions are wrong. 
 
With that in mind, let's return to Joni and Meryl. Just like Bob is driven by a personal reason, so are Joni and Meryl (and Elaine, for that matter). Each girl's past has turned her into the person she is as the story begins, be it a fame-seeker, a mother-pleaser, or a mensch. They're all desperate to get what they need emotionally, and those needs, those passions, those deepest desires, are believable, even if they aren't what many would think of as big dreams. They've set these three girls on a collision course, and the result is a story that I hope readers will find compelling.
So, when you are crafting your stories, think about what drives your characters deep down. It doesn't matter if their needs involve careers or more personal desires. It only matters that you make the characters feel real. Basing their actions on their emotional motivations will hopefully enable you to bring the characters to life in complex, compelling, and engaging ways.
 
Want to read "Beauty and the Beyotch"? You can buy issue 29 of Sherlock Holmes Mystery Magazine by clicking here. It's available in ebook form and trade paperback. 
 
The magazine is now edited by Carla Kaessinger Coupe, following the death last year of longtime editor Marvin Kaye. This issue also has a story by fellow SleuthSayer Janice Law as well as stories by Keith Brooke, Peter DiChellis, Hal Charles, Rebecca K. Jones, V.P. Kava, Rafe McGregor, Mike McHone, and Jacqueline Seewald; a reprint by Sir Arthur Conan Doyle; and features by Martha Hudson, Kim Newman, and Darrell Schweitzer.