Summer, in my mind, should be a whole lot of sunshine and sand and books and shade and a complete sense of freedom from obligation.
Of course "should be" and "reality"have very little in common. Especially not if I intend to continue, with any integrity, calling myself an author.
If I want to reach my goal of drafting a historical novel this fall, then I need to intentionally make time to research the era. I also need to continue supporting the books already written - marketing and publicizing Bird on Fire and Glitter in the Sun through blog posts and social media, while continuing to edit and improve the as yet unpublished Dictator's Daughter.
That's actually quite a lot when tasks like gardening, childcare and normal household maintenance have a tendency to expand to fill the time available. Organizing time has always been something I've struggled with. As a journalist I realized that deadlines were my best friends. Without them nothing would get done. The carrot of pay and the stick of getting fired gave them authority needed to whip my ADD into submission.
Now as a work from home homeschooling mom deadlines and organization have become more important than ever - but the carrot and stick have been weak. I'm highly motivated to make sure my boys learn things that will be of value to them in the future - but for some reason research and writing tend to rank too low on the list of things to do.
In an attempt to keep the boys on track this summer I found this really cool tool that rewards them for their weekly chores while instilling in them a need to self-motivate. I decided to do the same thing for myself.
My daily to-do list is a combination of the simple and mundane ("make bed", "feed children" - because it's important to feel accomplished) and the literary. Some days are simply "write blog", others are "research". Crap. I just realized I didn't work "editing" into the week anywhere. I've left "social media" unwritten because I'm already on Facebook all the time and Instagram frequently.
The boys have a dollar tucked behind each daily chore chart. I'm not sure that will be a big enough carrot me. I'd love to stick a fiver behind each... hmmm. Have to see if I can fit that in the budget.
Authors, artists, editors and publishing professionals working together to publish and promote our books—and helping others to do the same.
Showing posts with label Writing. Show all posts
Showing posts with label Writing. Show all posts
Tuesday, June 3, 2014
Monday, May 12, 2014
Making a character
Last week we read Rebecca LuElla Miller's excellent post, Characters can be Cliches, Too.
So, now, I'm wondering, where do you get your characters from? That voice in your head, what is its genesis?
In my first novel (the one that will probably never see the light of day - except for my friends' amusement) I'll admit the main character is the woman I wish I were. She is brave, athletic, politically savvy, and powerful. Her love interest sprang out of what I imagined might be the motivation of a guy I observed at college. He was very handsome, but always sat alone. A song by the Black Keys, Broken Halo, helped flesh out his motivations.
While I would love to put myself in a historical novel, I'm going to resist. I need new people to play with.
One of the coolest aspects of the novel brewing in my head is that my family lived in Northern Michigan during the era - and my great-great grandfather was the sort of guy you can't make up. If I transcribed his life no one would believe it! I'm fairly certain lumber camp foreman/riverboat captain Melancthan Dodge is going to make at least a cameo appearance.
For the rest of them I'm pondering a quote I heard recently, "what lie does your character believe that causes them to behave this way." To which I'm adding this, "what truth drives them forward anyway."
Where did your favorite characters come from? Did their development surprise you in any way? Please answer below!
Jane Wells has always gravitated toward reading material that pushed other people’s buttons. In 2nd grade it was a dinosaur book that upset her teacher at a Baptist school. Now it’s vampires and dystopias that catch her imagination. In them she finds parables and allegories illustrating God’s ancient plan in a language that is uniquely modern – and easily understood by people who may have never set foot inside a church. Glitter in the Sun and Bird on Fireare the results.
Jane Wells has always gravitated toward reading material that pushed other people’s buttons. In 2nd grade it was a dinosaur book that upset her teacher at a Baptist school. Now it’s vampires and dystopias that catch her imagination. In them she finds parables and allegories illustrating God’s ancient plan in a language that is uniquely modern – and easily understood by people who may have never set foot inside a church. Glitter in the Sun and Bird on Fireare the results.
Always a writer, Jane’s “real jobs” have included newspaper journalism, youth ministry, sewing machine sales and marketing for a publishing house. Currently she is back to “just a writer” again, while juggling all the typical domestic duties of wife and mother, homeschooling two boys, managing two needy Golden Retrievers and answering to one very demanding cat.
Friday, May 9, 2014
Fiction Friday: Breaking the rules
By Merrie Destefano
There came a point in my
writing career when I got frustrated with rejections. My 9-to-5 job was as a
national magazine editor, so I was pretty sure I had learned how to write.
Well, I knew the basics anyway. You can always learn more. But a recent
rejection of one of my manuscripts stung more than I expected, especially when
the acquisitions editor said the story was too internal.
That was the kind of story
I liked to read, where you got deep inside a character and learned what he or
she thought and felt.
I almost wanted to quit
writing fiction. Instead, I decided to write one more manuscript, breaking all
the rules (that I had been told) and creating my own way to tell the story. The
result was AFTERLIFE—my first novel, published by Harper Voyager. Since then I’ve
had reviewers call the book experimental, which it was in a way.
I decided I would have
scenes with lots of action and forward motion, but interspersed between these
would be the occasional scene that was complete back story, told from one
character’s point of view. These scenes allowed me to world build and to be as
internal as I wanted, so it allowed me to write the story the way I wanted to.
While writing this book, I
took other chances too. I had decided this would be my farewell song, my last
manuscript, and so I didn’t care if anyone else liked it or not. Surprisingly,
when I decided to write the book my way, breaking every rule that had bothered
me, other people loved the result.
So, today I’m going to
share one of those “rule-breaking” chapters from Afterlife, where I let the
main character speak in his own words about the resurrection process that his
family employed. In my mind, this book is science fiction, although it has been
labeled urban fantasy. I hope you enjoy this snippet!
Chapter Eight
Chaz:
I
was eleven years old the first time I saw a Newbie, the first time I saw life
and death trade places. I guess my life had been pretty sheltered up to that point.
A
state-appointed teacher came to our Cell, wearing one of those government suits
with the high collar, his breath a mixture of coffee and mint. My brother
Russell and I, we sat in the back and pretended to pay attention while the guy
peddled the Ideal Plan, we even made faces at each other behind his back. We
only had seven kids in our Cell, but we could tell that we made him nervous.
Seven kids in one room was enough to unnerve almost anyone. I’d heard of Cells
with as many as 16 kids, but personally I don’t know if I really believe it.
We
each had two bodyguards inside the room, armed and able to kill with their bare
hands in less than three seconds if necessary. And outside the room there were
at least 15 more. A crackle of handset communications buzzed continuously
between the teacher’s sentences, a hoarse whisper of monotone voices.
“—Sadie
took her medicine, yes, I will get her there in time—”
“—piano
lessons at three. Of course—”
“—Jeffrey
is listening to the teacher, Mrs. Damotta—”
The
Ideal Plan had been enforced for the past 15 years, so I had to study it just
like everybody else, whether I wanted to or not. The teacher did his best to
explain everything, all the way from Life Number One to Life Number Nine,
covering everything from sterilization to college to the legal procedures
involved in fighting a death cert case, then he gave us each a contract. My
best friend, Pete Laskin, signed his that same day. I heard that his mother
cried for a week when she found out, but it didn’t matter. They kept us
separated from our parents for a full month, so we could think about it without
their influence. Sadie Thompson, a 12-year-old, dream-come-true
who barely knew my name, laughed and signed hers almost immediately, dotting
the ‘i’ in her name with a heart. Russell, who was 13 and of an age to make his own decision,
immediately folded his contract into quarters and handed it back. Unsigned. No
thank you, Mr. Government Man. Can I go home now please?
At
eleven years old, I was the youngest in our Cell. Everyone else had to make up
his mind within our month of isolation. But I had a full year to make my
decision.
So
that was when Dad started taking me to work, on the pretext that it was time
for me to learn about the family business. I’ll never forget that first day.
Mid-October. Dry leaves whisked across the streets, crackled beneath my feet
and turned to dust. The sky burned blue and bright overhead. A cool breeze
poured between the buildings like fresh water, a welcome respite after the
unending summer. People had been dying all over New Orleans from an abnormally
long heat spell. Mostly old people, but a few babies had passed too.
Fresh
Start had been busy, everyone working double shifts. Two extra crews had been
flown in from Los Angeles. I’m sure that’s why it happened. Somebody was too
tired and the out-of-state crews didn’t know our procedures.
I
have to believe it was a mistake. The other possibility, that my father let it
happen on purpose to teach me a lesson—well, I just can’t go for that. Russell,
in one of his dark moments, said that Dad did it to show us that life is, and
should be, unpredictable, that we never should have pretended to be God.
Mom
refuses to talk about it. I have to admit I admire her for not taking sides. I
know she had an opinion about all of it, she always did. But for whatever
reason she let Russell and me make our own decisions, about Fresh Start, about
the Ideal Plan, about what happened to the Newbie on that October day.
The
inside of the plant was everything I hoped it would be. All stainless steel and
molded plastic in the industrial sections; all luxurious leather and ceramic
tile in the public areas. Not that anyone would want to, but you could eat your
lunch on the floor anywhere in that 200,000-square-foot facility back then. It
was that clean. And the smell was a bizarre mixture of dentist-office-scary and
new-car-exciting.
For
years, whenever anyone found out that I was Chaz Domingue, of the Fresh Start
Domingues, a hush would sweep through the room almost as if something just
sucked out all the oxygen. A long quiet would follow. And then when people
started to talk again they would be ever so polite, opening doors for me,
asking me if I would like some candy, asking my opinion about the weather. I liked
the attention at first, but by the time I was a teenager I realized it was
based on a combination of fear and envy. So I quit telling people my last name.
Sometimes I pretended to be someone else entirely. When I got older I even
pretended to be a Stringer, just because I wanted to fit in.
But
on that October afternoon, when the sunlight was slicing through the warehouse
at a steep angle, when the sounds of the city seemed muted because so many
people had died, on that day I decided that I never wanted to jump. No matter
how much I wanted to be like other people. No matter how much I wanted to live.
That
day, one of the Newbies got stuck in between lives. In some nether world, where
dark swirling creatures spin traps like spiders. She got caught. Her old body,
withered and white with decay, lay discarded on the other side of the
frost-etched glass. Her new-cloned body, as beautiful as Eve herself, lay
expectant on a metal gurney, modestly covered in white linen. Neither body
breathed, neither had life. All the equipment was suspiciously silent, no beeps
to register heartbeat or brainwave patterns. Too much time had passed. The
technicians began to get nervous, but Dad just raised one hand to quiet them.
“Give
her a minute,” he said, a tone of assurance in his voice.
But
several more minutes passed and the clone continued to stare, sightless, at the
ceiling.
And
then, like it was straight out of a nightmare, she started to talk. The
machines refused to admit there was life in either body, yet some alien consciousness
caused the clone’s mouth to move and a hollow voice to speak.
The
things she said have haunted my dreams, might just follow me all the way past
Judgment Day into the great beyond. Might bring torment with me, like shackles,
into God’s kingdom, whether he likes it or not.
“I
can’t ... I can’t break free,” she said, still staring up at the concourse of
pipes and ducts that traversed the warehouse ceiling. “I’m tangled in
something. It feels like a web.” Tears streaked her face. Slow, glycerin-like
streams. “They’ve been chasing me and I’m so tired of running, of trying to
hide. Oh, please get me out of here! I don’t know where I am. There’s no light,
just a dark glowing horizon, like fire in the distance. And these creatures—”
She moaned, a heartbreaking cry, long and low and inhuman. I found myself
wondering if we were really listening to a woman or if some spirit from beyond
had commanded an audience. “They’re like spiders, but much bigger. I saw one of
them eat a man. It ripped his head right off.” Her eyes closed.
Meanwhile,
my father ran around the room, fiddling with dials, gesturing to the other
workers to try and save her.
“It’s
so dark. So cold,” she whispered, her voice hoarse. “And I’m so alone.”
Most
of them stood frozen, like me. Listening.
Then
she turned toward one of them, looked right at him. Allen was his name. She
reached one arm out, then shrieked. And she was gone.
To
this day I still imagine her trapped in a twilight world, waiting for someone
to rescue her. But I know now that no one ever will. God wouldn’t have left her
there if she were one of His. Even if we had messed with His plan, with His
order laid down from the beginning, He still wouldn’t have abandoned one of His
chosen.
That’s
the only way I can rationalize all of it.
Merrie Destefano is represented by Natalie Lakosil of the Bradford Literary Agency. Merrie’s published work includes Afterlife and Feast (both with HarperVoyager), Fathom, The Plague Carrier and Waiting For Midnight (with Ruby Slippers Press), and How To Draw Zombies (Walter Foster). She’s also the editor of Victorian Homes magazine and founding editor of Cottages and Bungalows magazine. She is the founder and owner of Ruby Slippers Media and Ruby Slippers Press, and her website is here.
Tuesday, May 6, 2014
Author Wayne Thomas Batson unveils his new series and reveals his writing secrets
By Merrie Destefano
Have you
ever wished you could ask one of your favorite authors to reveal some of their
writing tips? If so, today’s your lucky day!
We’ve got an interview with Wayne
Thomas Batson, best-selling author of the Door Within trilogy, Isle of Swords, Isle of Fire, The Berinfell Prophecies, Sword in the Stars, The Errant King,
and Ghost.
Today also happens to be the release day of DREAMTREADERS, the first
book in his new series. One of the things we’re requesting is if you want to
purchase his book, please consider buying it today on Amazon.
Here’s some info from Wayne about The Blitz, a
contest he’s running on his blog here: www.enterthedoorwithin.blogspot.com.
And now, for that author interview, where Wayne accidentally…I mean, on
purpose…reveals all his writing secrets including how he came up with the
concept for his new series, PLUS tips for writing Middle Grade stories.
RSM:
I love the concept for Dreamtreaders! I also read the sample chapters online
and it looks fantastic. How did you come up with the idea for this series and
how long did it take you to write the first book?
WAYNE:
Thank you kindly, Merrie. I’m thrilled that you enjoyed the sample chapter. The
idea for the Dreamtreaders Series came from a little video I happened upon
while surfing. The subject was Dream Science. I’ve always had vivid dreams, so
I thought the video was pretty compelling. I had heard of Lucid Dreaming
before, but not with the kind of detail presented in the video. Within minutes
of watching the video, the entire plot of Dreamtreaders Book 1 popped into my
head. I started thinking: What if there was a greater purpose for dreams? What
if there was more danger involved with dreams than we ever thought possible? It
was really kind of on a whim that I wrote up a brief proposal. I really didn’t
think anything would come off it, but Thomas Nelson / Harper Collins loved the
concept right away.
The
first book took me about 3 months to write. I already had an outline, so I shot
through pretty quickly. Thankfully, I had great editors like Steele Filipek and
Amy Kerr to help me bring the story up to its full potential.
RSM:
What do you think is the difference between writing for a Middle Grade
audience, versus either a Young Adult or an Adult audience? What tips would you
recommend for our blog readers who want to write for Middle Grade?
WAYNE:
For me, there’s not much difference between Middle Grade / Young Adult readers.
You can’t underestimate either. Kids are incredibly perceptive. You really need
to honor that in your stories. Writing for adults is a whole different
ballgame. Adults like the thrills, adventure, and creativity just as much as YA
readers, but adults demand a level of sophistication that is different. You
need to weave in layers of inference so that adults can figure things out on
their own. You need to be more subtle too. If you have themes you are
interested in, go for it, but hint at it, don’t drown them.
Tips
for Middle Grade Readers:
1)
Make sure you HOOK them early. I mean first sentence, first paragraph, first
page, first chapter. Make sure you have some very cool unusual events going on
right away. While kids are perceptive, they also are kind of quick to assess
the interest level of the material. If it’s a yawner up front, they will drop
it like rotten tuna sandwich.
2)
Don’t forget the power of humor. Middle Grade books can be so heavy handed.
Dogs dying, people getting diseases, concentration camps, government takeovers,
dystopia! EEK, run! You’ve got to lighten up here and there. I teach middle
school, and my students literally ask me sometimes: “Why are these books so
depressing?” Not my books, mind. I always lighten the mood with humor. It
really helps.
RSM:
Those are great tips! Thanks, Wayne. I’ve always found outlining for one book
hard enough. How do you outline for a series?
WAYNE:
When outlining for a series, you need to use broad strokes. In other words,
capture the headlines of each book. What are the major things you expect to
happen in each book? How can you have a beginning, middle, and legit end for
each story while maintaining a “greater story” for the series? Once you have
the broad strokes, you can then paint in the details when you approach each
book for a manuscript pass.
RSM:
I think it's great that you're working with Thomas Nelson again, this time on
the Dreamtreaders series—TN is an amazing publishing house! But I've noticed you
also have some self-published projects. Some are short stories, like The
Blackwood, and some are full length novels, like The Tide of Unmaking
(co-authored by Christopher Hopper) and Ghost. How and when do you decide to
self-publish projects?
WAYNE:
There are several variables that I consider to determine the direction of
publishing: traditional path or self publishing. 1) Is there publisher
interest? 2) If yes, then what are
the terms? Is the royalty /advance good enough? 3) Is the concept I have in mind appropriate for one of the
publisher’s age categories?
If
all the answers to the above are yes, then I might go traditional. If any of
the answers are no, then I’ll likely self pub. Another deal breaker with
traditional publishing is creative control. If the publisher won’t allow me to
take the story where it needs to go, then I might do it myself. My Dark Sea
series, for example, deals with themes TN didn’t want to touch, so I went
somewhere else. Then, the market
changed and ebooks put such a dent in print sales that I ended up getting back
the rights. I plan to completely repackage and self-publish the seven book Dark
Sea Annals series.
I
like to keep a foot in every market possible. Diversification isn’t just for
stock portfolios. Print publishers still rule a huge market. Why not be a part
of it?
RSM:
I completely agree about diversification. In fact, most authors I know are
doing both traditional and self-publishing. Is Spearhead Books your own
imprint? Can you tell me a little about the decision to create that publishing
company and what your goals are?
WAYNE:
Spearhead Books is a joint project from The Miller Brothers, Christopher
Hopper, and me. We aren’t a publisher per se, but we are creating a brand for
Christian readers to be able to trust. With self-publishing growing like it is,
we wanted to create a one-stop shop for trustworthy, positive fiction.
RSM:
It sounds like an awesome joint project and our blog readers can check out
Spearhead Books HERE. You have an impressive selection of books! Thank you very
much for answering all of my questions, Wayne!
WAYNE:
You’re welcome. Always good to connect, Merrie. Thank you for the opportunity.
If you want
to learn more about Wayne’s books, check out: Enter The Door Within, Heed the Prophecies, and Sword in the Stars.
Monday, May 5, 2014
What makes a great book cover?
By Merrie Destefano
As an artist and an avid reader, I’m a pushover for a good book cover. I could spend almost as much time in a book store looking at covers as reading the contents.
I’ve always loved strong conceptual illustrations,
like the Charles Dickens portrait done by Hugo-award winning artist, John
Picacio, for DROOD, but I also love covers with exceptional type treatment.
For instance, I adore the tattoo lettering on Holly Black’s THE COLDEST GIRL IN COLDTOWN and the title on THE SOMNAMBULIST, which hovers ominously in the night sky over the city of London.
As an artist and an avid reader, I’m a pushover for a good book cover. I could spend almost as much time in a book store looking at covers as reading the contents.
I’ve always loved strong conceptual illustrations,
like the Charles Dickens portrait done by Hugo-award winning artist, John
Picacio, for DROOD, but I also love covers with exceptional type treatment. For instance, I adore the tattoo lettering on Holly Black’s THE COLDEST GIRL IN COLDTOWN and the title on THE SOMNAMBULIST, which hovers ominously in the night sky over the city of London.
I’ll never forget the first time I saw the cover of THE
FOREST OF HANDS AND TEETH by Carrie Ryan. I was at the Borders Bookstore
(remember that amazing chain of bookstores?) in Pasadena, hanging out with
Rachel Marks.
As soon as I saw that cover, I had a strong impression of the
book: There was something deadly in the surrounding forests, but it was so
commonplace that the girl in the illustration accepted it as part of her world,
yet even though she knew it was an unchangeable element in her life, it still
made her sad.
I got all this from the cover—I hadn’t read the back of the book
jacket or any reviews—and it compelled me to read the book. Once I opened the
book and read the first paragraph, I fell in love with what would become one of
my most favorite books ever.
And I might have missed it, if it hadn’t been for that
amazingly accurate and intriguing cover.
What do you think makes a great book cover?
I’m sharing some more of my favorites below, but I’d love to know
which book covers really impressed you and why.
ALSO, TOMORROW:
We'll have an interview with Wayne Thomas Batson, where he discusses the idea behind his new series, PLUS he gives tips for writing Middle Grade stories.
Merrie Destefano is represented by Natalie Lakosil of the Bradford Literary Agency. Merrie’s published work includes Afterlife and Feast (both with HarperVoyager), Fathom, The Plague Carrier and Waiting For Midnight (with Ruby Slippers Press), and How To Draw Zombies (Walter Foster). She’s also the editor of Victorian Homes magazine and founding editor of Cottages and Bungalows magazine. She is the founder and owner of Ruby Slippers Media and Ruby Slippers Press, and her website is here.
Merrie Destefano is represented by Natalie Lakosil of the Bradford Literary Agency. Merrie’s published work includes Afterlife and Feast (both with HarperVoyager), Fathom, The Plague Carrier and Waiting For Midnight (with Ruby Slippers Press), and How To Draw Zombies (Walter Foster). She’s also the editor of Victorian Homes magazine and founding editor of Cottages and Bungalows magazine. She is the founder and owner of Ruby Slippers Media and Ruby Slippers Press, and her website is here.
Monday, April 21, 2014
Research... but, how?
So there’s been this story rattling around in my brain for a couple years now, but I haven’t known how to even begin. I've wavered between casting it as a proper historical drama or a more fanciful steampunk tale – the problem with starting is that either way I had no idea where to begin all the research this particular story requires.
Until I read this lovely post by Michelle Ule and her extremely helpful step-by-step research process on the Books & Such Literary Management blog.
In summary, Michelle recommends:
I’m excited to learn who they are, what they wear, how they speak - and whether or not they'll submit to the indignities of dirigible travel over Lake Erie.
What are your favorite research techniques? Do you write first, research later? What are your favorite go-to sources?
Jane Wells has always gravitated toward reading material that pushed other people’s buttons. In 2nd grade it was a dinosaur book that upset her teacher at a Baptist school. Now it’s vampires and dystopias that catch her imagination. In them she finds parables and allegories illustrating God’s ancient plan in a language that is uniquely modern – and easily understood by people who may have never set foot inside a church. Glitter in the Sun and Bird on Fire are the results.
Until I read this lovely post by Michelle Ule and her extremely helpful step-by-step research process on the Books & Such Literary Management blog.
In summary, Michelle recommends:
- Start with the synopsis. How else will you know what to research?
- Read everything!
- Google, Google, Google. Fact check, fact check, fact check.
- Join online interest groups.
- Save interesting documents. She emails interesting documents to herself and stores them in a labeled email folder for easy future reference.
- Yay! Pinterest!
- Yay! Movies!
- Yay! Travel!
- Talk to everyone, you never know who will have fascinating input.
Now the story in my head has moved from rattling to clamoring, the characters moving from mere shadows to almost substantial ghosts.
I’m excited to learn who they are, what they wear, how they speak - and whether or not they'll submit to the indignities of dirigible travel over Lake Erie.
What are your favorite research techniques? Do you write first, research later? What are your favorite go-to sources?
Jane Wells has always gravitated toward reading material that pushed other people’s buttons. In 2nd grade it was a dinosaur book that upset her teacher at a Baptist school. Now it’s vampires and dystopias that catch her imagination. In them she finds parables and allegories illustrating God’s ancient plan in a language that is uniquely modern – and easily understood by people who may have never set foot inside a church. Glitter in the Sun and Bird on Fire are the results.
Always a writer, Jane’s “real jobs” have included newspaper journalism, youth ministry, sewing machine sales and marketing for a publishing house. Currently she is back to “just a writer” again, while juggling all the typical domestic duties of wife and mother, homeschooling two boys, managing two needy Golden Retrievers and answering to one very demanding cat.
Monday, April 14, 2014
Why do some people like to read scary stories?
By Merrie Destefano
A writer is writing.
October winds blow outside her window, leaves gather in shadowed corners of the yard and nearby trees sway, branches creaking.
The writer is writing a scary story.
Why do some writers always return to the dark side of literature, spinning out tales that make readers sit on the edge of their seat? Perhaps an even better question, and one that I’d like to discuss here, is why do some people love to read scary stories?
While, I can’t answer this question definitively, I can offer some suggestions.
1. ADRENALINE RUSH: This is my favorite answer, although many of the others are just as good. We read scary stories so we can experience artificial situations of “fight or flight.” These scenarios, whether real or imagined, get your body ready for action by giving you an extra dose of adrenaline. Your heart beat speeds up, your breathing increases and your blood pressure increases—in other words, it’s like an instant dose of caffeine combined with heavy exercise. You’re ready to leap over tall buildings in a single bound, although you may be screaming “Mommy!” all the way.
2. FAMILIARITY: You’ve been here before and you liked it. You’ve been reading scary stories for years, you have a list of favorite authors and you’re waiting in line, with sweaty palms, when his/her next book releases. You stay up late (reading these stories is always better at midnight, right?), turning pages while everyone else is asleep. But the truth of the matter is you can’t sleep, can you? Not until you know what happens next…
3. A VISCERAL REACTION: The desire to feel something strongly—no matter what the emotion is—can drive readers to these books. Detailed descriptions of eviscerated body parts in zombie stories may not get you excited, but there are plenty of readers out there who live for this stuff.
4. TO FEEL ALIVE: Similar to the answer above, books that put you on the edge remind you that you are alive. You’re not watching some soap opera at lunch time; you’re hunched over a novel wondering if the heroine is really strong and smart enough to survive that demon horde that’s been chasing her for the last twenty pages.
5. TO CONQUER THE DEMONS: We all have our demons, things we’re afraid of but don’t want to admit. Things like clowns (It), menacing dolls (Chucky), the end of the world (The Stand), rampant pestilence (Contagion), rabid dogs (Cujo), vampires (Interview with a Vampire) and serial killers (Darkly Dreaming Dexter). By vicariously facing your fears in a novel, you’re able to tame them, or at least, imagine that you’ve tamed them. Until they show up the next night, waiting for you in the closet.
6. TO EXPLORE THE UNKNOWN: There are boundless supernatural realms, where wonder and horror walk side by side—realms where people rise from the dead or where someone learns the future in their dreams or where someone is giving an extraordinary power. There’s just enough enchantment and mystery to make you want to know more, and just enough danger to make you glad this is fiction.
7. TO FEEL STRONG EMOTIONS: Anger—hatred—fear—love—surprise—terror—repulsion—empathy…Scary stories have all these emotions and more trapped between the pages, just waiting for an innocent reader to come along and release them. Before you know it, you’re experiencing the same emotions. Again, this is similar to Number Three, but I felt that it needed to stated again. (It is my list, no?)
8. TO PROVE WE CAN SURVIVE: Isn’t that what it’s all about? You’re secretly taking notes, so if X, Y or Z ever really happens, you’re ready. Doesn’t everyone know what to do in a zombie/alien apocalypse by now? And if so, why? Because you’ve all been making a list and checking it twice while watching The Walking Dead or Falling Skies.
9. SATISFACTION WHEN TERROR IS OVERCOME:There’s an unbelievably sweet moment when the heroine finally plunges a stake through the heart of the last vampire—almost instantly, your muscles relax, you slump backward in your chair and then breathe a well-deserved long sigh because, without realizing it, you’ve been holding your breath and sitting on the edge of your seat, ready to run.
10. TO PROVE THAT DRAGONS NOT ONLY EXIST, BUT THAT THEY CAN BE DEFEATED: What? Scary stories can give you hope? To quote someone more knowledgeable on this subject than me: “Fairy tales are more than true; not because they tell us that dragons exist, but because they tell us that dragons can be beaten.”―G.K. Chesterton. Watching a character deal with the monster in the closet can give you the courage to face up to your own monsters. Yes, tales of terror can actually be uplifting, when written with that purpose in mind.
Which of these categories do you think you fall into? And what book did read recently that made you feel this way?
The sun goes down, the sounds of the city grow quiet, and the rest of the family nestles, safe and sound in a world of incandescent light. Meanwhile, one person huddles alone in a darkened room, face turned toward a screen, eerie blue light carving shadows on her face while her fingers slowly tap out a message, letter by letter.
A writer is writing.
October winds blow outside her window, leaves gather in shadowed corners of the yard and nearby trees sway, branches creaking.
The writer is writing a scary story.
Why do some writers always return to the dark side of literature, spinning out tales that make readers sit on the edge of their seat? Perhaps an even better question, and one that I’d like to discuss here, is why do some people love to read scary stories?
While, I can’t answer this question definitively, I can offer some suggestions.
1. ADRENALINE RUSH: This is my favorite answer, although many of the others are just as good. We read scary stories so we can experience artificial situations of “fight or flight.” These scenarios, whether real or imagined, get your body ready for action by giving you an extra dose of adrenaline. Your heart beat speeds up, your breathing increases and your blood pressure increases—in other words, it’s like an instant dose of caffeine combined with heavy exercise. You’re ready to leap over tall buildings in a single bound, although you may be screaming “Mommy!” all the way.
2. FAMILIARITY: You’ve been here before and you liked it. You’ve been reading scary stories for years, you have a list of favorite authors and you’re waiting in line, with sweaty palms, when his/her next book releases. You stay up late (reading these stories is always better at midnight, right?), turning pages while everyone else is asleep. But the truth of the matter is you can’t sleep, can you? Not until you know what happens next…
3. A VISCERAL REACTION: The desire to feel something strongly—no matter what the emotion is—can drive readers to these books. Detailed descriptions of eviscerated body parts in zombie stories may not get you excited, but there are plenty of readers out there who live for this stuff.
4. TO FEEL ALIVE: Similar to the answer above, books that put you on the edge remind you that you are alive. You’re not watching some soap opera at lunch time; you’re hunched over a novel wondering if the heroine is really strong and smart enough to survive that demon horde that’s been chasing her for the last twenty pages.
5. TO CONQUER THE DEMONS: We all have our demons, things we’re afraid of but don’t want to admit. Things like clowns (It), menacing dolls (Chucky), the end of the world (The Stand), rampant pestilence (Contagion), rabid dogs (Cujo), vampires (Interview with a Vampire) and serial killers (Darkly Dreaming Dexter). By vicariously facing your fears in a novel, you’re able to tame them, or at least, imagine that you’ve tamed them. Until they show up the next night, waiting for you in the closet.
6. TO EXPLORE THE UNKNOWN: There are boundless supernatural realms, where wonder and horror walk side by side—realms where people rise from the dead or where someone learns the future in their dreams or where someone is giving an extraordinary power. There’s just enough enchantment and mystery to make you want to know more, and just enough danger to make you glad this is fiction.
7. TO FEEL STRONG EMOTIONS: Anger—hatred—fear—love—surprise—terror—repulsion—empathy…Scary stories have all these emotions and more trapped between the pages, just waiting for an innocent reader to come along and release them. Before you know it, you’re experiencing the same emotions. Again, this is similar to Number Three, but I felt that it needed to stated again. (It is my list, no?)
8. TO PROVE WE CAN SURVIVE: Isn’t that what it’s all about? You’re secretly taking notes, so if X, Y or Z ever really happens, you’re ready. Doesn’t everyone know what to do in a zombie/alien apocalypse by now? And if so, why? Because you’ve all been making a list and checking it twice while watching The Walking Dead or Falling Skies.
9. SATISFACTION WHEN TERROR IS OVERCOME:There’s an unbelievably sweet moment when the heroine finally plunges a stake through the heart of the last vampire—almost instantly, your muscles relax, you slump backward in your chair and then breathe a well-deserved long sigh because, without realizing it, you’ve been holding your breath and sitting on the edge of your seat, ready to run.
10. TO PROVE THAT DRAGONS NOT ONLY EXIST, BUT THAT THEY CAN BE DEFEATED: What? Scary stories can give you hope? To quote someone more knowledgeable on this subject than me: “Fairy tales are more than true; not because they tell us that dragons exist, but because they tell us that dragons can be beaten.”―G.K. Chesterton. Watching a character deal with the monster in the closet can give you the courage to face up to your own monsters. Yes, tales of terror can actually be uplifting, when written with that purpose in mind.
Which of these categories do you think you fall into? And what book did read recently that made you feel this way?
Merrie Destefano is represented by Natalie Lakosil of the Bradford Literary Agency. Merrie’s published work includes Afterlife and Feast (both with HarperVoyager), Fathom, The Plague Carrier and Waiting For Midnight (with Ruby Slippers Press), and How To Draw Zombies (Walter Foster). She’s also the editor of Victorian Homes magazine and founding editor of Cottages and Bungalows magazine. She is the founder and owner of Ruby Slippers Media and Ruby Slippers Press, and her website is here.
Friday, April 4, 2014
Fiction Friday: Something a little bit different
For several weeks, the members of Ruby Slippers Media have
been posting snippets of our work here. At first, I had planned to share a bit
of my published work, maybe something from Afterlife or Fathom. That’s the
reasonable thing to do, right? Show you something that will intrigue you and
possibly cause you to buy one of my books. But I’d rather show you something I’m
working on right now—something that’s not finished and that you couldn’t buy,
even if you wanted to.
The newest creation always burns the brightest and gives off
the most heat, in the creator’s heart anyway.
So, below is part of chapter 4, from my current WIP, titled The
Summer of Fire and Ice.
Chapter 4
The room was brighter than any I’d been in before, with four
oil lamps burning and a full fire crackling in the hearth. A welcoming heat
rolled over me and I removed my cloak, carefully watching John as he stared
down at the furry limbs spread across the table. They were from different animals,
one hind leg was longer than the others and had silver fur, while the other
legs were a dark grey; the torso was barrel-chested and wide and covered with
black fur. I glanced in the nearby wheelbarrow and noticed that in the left
over pieces, all of the heads save one had been crushed.
John reached into the barrow and drew out the one head that
was still intact, jaws swinging open as he carried it to the table. I
recognized it immediately. It was the head that had landed at my feet when I
opened the front door.
I stepped back in horror, afraid its jaws were moving of its
own accord.
“Do not worry, Mary,” John said. “It was only a reflex.
Before long, the joints will stiffen, but for now they move easily. The beast
is dead. But watch this.”
He took a stick and prodded one of the wolf’s legs. It
flinched, as if trying to get away from the stick.
“What’s happening?” I asked.
“I’ve never seen this before, except in frog legs, but this
is why I came here. For years, I’ve been looking for the right place, the right
circumstances. I thought if I got to a crime scene in time, I might discover
it, but I never did. Then I heard about how every year, there were mysterious
violent deaths here, in the mountains that surrounded Lake Geneva, and I heard
that sometimes the dead bodies that were left behind weren’t fully dead.”
He lifted his head to look at me, his dark eyes so deep that
I worried I could get lost in them.
“I don’t understand. How can something be dead, but not
fully dead?” I asked.
“I don’t know. But it sounded so close to the theories of
Erasmus Darwin, that I had to explore it. I was the one who convinced Byron to
come here, when he had to leave England. He knew some of the local folklore, so
he thought this might be an intriguing intellectual adventure.” John was
watching me, his gaze moving from my eyes to my mouth, then back. “But I didn’t
know that he was going to invite you or Claire. I would never have willing
brought either of you to a place that might be dangerous.”
“I’m not afraid,” I told him, realizing that it was true. “I
don’t fully understand these theories, but I would like to know more.”
He smiled and, for an instant, the room seemed even
brighter. There was a childlike innocence in his expression that I had never
noticed before. Perhaps he had been hiding it from me, just like I tried to
hide my bouts of melancholy from others.
“You were right when you said I was about to perform an
experiment,” he said as he drew several items from the bag he always carried
with him. He began by threading a long, curved needle with pale, flaxen thread.
“I’m going to try stitching the animal back together. I don’t know what will
happen, especially since I have pieces from different wolves here, but if there
really is life left in this flesh, it’s possible I may be able to—”
He paused, as if he didn’t dare finish his sentence. So I
finished it for him.
“Bring it back to life.”
He nodded. Then he began to sew.
…….
I hope you enjoyed that portion of my latest creation! Thank
you for stopping by to check out what’s going on at RSM blog. I hope you find
something wonderfully beautiful and slightly scary to read for this weekend!
My book recommendations, if you're looking for something
to read:
Lips Touch Three Times by Laini Taylor
The Hallowed Ones by Laura Bickle
Ironskin by Tina Connolly
Charm and Strange by Stephanie Kuehn
Merrie Destefano is represented by Natalie
Lakosil of the Bradford
Literary Agency. Merrie’s published work includes Afterlife and Feast (both with HarperVoyager), Fathom, The
Plague Carrier and Waiting
For Midnight (with Ruby Slippers Press), and How
To Draw Zombies (Walter Foster). She’s also the editor of
Victorian Homes magazine and founding editor of Cottages and Bungalows
magazine. She is the founder and owner of Ruby Slippers Media and Ruby Slippers
Press, and her website
is here.
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