Category Archives: The Writing Life

The Best Beer I’ve Ever Had

Three years ago tomorrow, I enjoyed the best beer I’ve ever had. I’ve always liked finding a good beer and sampling them responsibly. One stands far and above the others.

In 2014, as Saint Patrick’s Day rolled ever closer, I was depressed and with great reason. In late February of that year, I contracted a necrotizing fasciitis – a skin eating infection – that nearly killed me. When I was discharged from the hospital at the end of February, I was a mess. Sitting in our basement on the reclining couch, I spent hours staring out the window. The couch was the only place I could sleep without being completely flat on my back – which was a “no-go” and despite all the things we’d done to finish the basement and make it part of our home, it wasn’t. I was in another world down there – visited by family several times a day as I alternately slept and pondered why I hadn’t died. I was starting to find myself in a bad place, and two things happened that both pulled me out of depression and set the course for my writing career.

They were completely unrelated.

The first I’ve written about one of them before. I owe a substantial part of my recovery to my friend Neil Clarke. Neil is the editor of Clarkesworld Magazine and the editor of the SFWA Bulletin. I met him on an airplane to San Antonio for WorldCon a few years back. He’s also my celebrity stalker – but that’s an entirely different story. Neil also survived a life threatening event a few years before my episode. So, one dreary March night, I did something I never dreamed I would have done. I wrote an email to Neil and asked him how he’d been able to come back from his massive heart attack. I needed some kind of touchstone to help light a path from where I was. In the months prior to my illness I’d written the first drafts of TWO novels in the space of about six months. My productivity levels had been amazing. Yet, sitting there on my ass with nothing to do but let my skin recover, I found I could barely watch TV or play video games much less write. So I emailed Neil.

And he wrote me back. His words, very simply, lit the tiny little flame that became my lantern out of depression. I saw Neil at WorldCon in Kansas City last year for the first time since my illness. We both held back tears. I am forever grateful to him for simply saying “it will be okay.”

As I recovered at home, I had a wonderful nurse named Paula who came by every day, and then every other day, and then a couple of days a week as things stabilized. I found out she was a retired Army nurse, and we got along swimmingly. On St. Patrick’s Day, I joked that I’d love to have a beer. I was on intravenous antibiotics at this point (2X per day) and they were very potent. Paula looked at me and winked – “I think you could split one today, as long as you get outside and walk.”

That day, I took my wife’s arm and walked to our mailbox and back. It’s only about 300 meters roundtrip, and it was hell, but we took it slow and I walked. When we got home, I texted my friend Scott and told him I’d walked outside and was feeling better. And I told him that Paula had said I could split a beer.

His response? “I’ll be right there.”

And he was – carrying a couple of bottles of Boulevard Brewing Company’s Double-Wide IPA. My wife got the glasses out and we poured it out and shared a beer – sitting on the very same couch where I’d doubted my very existence in late nights of little sleep. It was the best beer I’ve ever had in my life. From there, things came around quickly. Having been an active duty Army officer, I knew that when my medical situation hit the Army’s system there would be chaos, but it took more than a year for my infectious disease specialist to release me from treatment. I relapsed and spent another agonizing night in the hospital. I took antibiotics for more than eleven months. As I recovered, I was promoted a final time. I sold my debut novel to a very strong small press. Most importantly, I kept digging out and the light was just as bright as I remembered.

I came away from my experience valuing a lot of things, and friendship is right near the top. My writing buddy Amity Green came to my hospital room with other friends in tow and then showed up one day to sit on that basement couch and write with me. We really didn’t write much – crying a little was the order of the day. My writing group, Fiction Foundry, came to our house and crowded around me on the couch to do our critiques. My writing friends help to save my life, including a man I call my brother, James A. Owen.

James has a penchant for sending out positive memes and quotes on a daily (hourly sometimes!) basis. He sent one in particular that essentially slapped me in the face and said – “Get back to it.” I’ve included it below:


I’ve been fortunate to make a lot of friends in the writing world and every single one of them are a vibrant part of my life. We’re not alone on this writing journey and the more Tribe you can build, the better it will be.

The BFF in Fiction

I’ve often found that my favorite characters in stories are the trusty side-kick. Let’s face it Batman is a little crazy, while Robin gets the luxury of being a little more relaxed. Funny even, in the latest installment of Lego Batman. I prefer Ostin to Michael Vey. In my own Jagged Scars Series Wendy is amazing, but Kev is secretly my favorite. Do NOT tell the others.

Since seeing the topic for this month’s blog posts, I’ve been wondering why I’m drawn to the side characters. Why they make a story great for me? And after some pondering, I think I’ve come up with my answer.

The protagonist (main character) of the story has a few specific jobs. One of them is to go through the most pain and make the most changes in their lives. Often against their will. That’s why we read stories, to see characters fight their own tendencies and eventually rise above their limitations to a new level of “them.” Which can make them stressed out.

The side characters, often the best friend, doesn’t need to go through quite as much. A good story will give them a character arc, but it’s not usually as drastic. Which gives them the chance to be more fun.  They’re there to provide comic relief and/or to be a confidant for the protagonist. Or to call the protagonist out when they’re off the deep end.

For instance, who tries to warn Frodo about Gollum in the long trek to Mordor? Who hasn’t been blinded by pain or regret or the ring? Who carries Frodo when Frodo can’t take another step? Sam. That’s who. And while Sam goes through quite a bit, his journey is more relatable in many ways than Frodo’s. He’s concerned about his friend, like many of us would be, and is only trying to help.

In the newest Spiderman: Homecoming trailer, we see Peter Parker beating up bad guys. It looks like he’s having a great time, but Tony Stark warns him to back off. But Peter doesn’t want to. He thinks he’s ready. He says:

“I’m sick of him (Tony Stark) treating me like a kid all the time!”

Ned, who we’ve already seen is Peter’s best friend (because who doesn’t kill a man when he drops your Lego Death Star?), says, “But you are a kid.”

Ned sees what we can see as the audience, that Peter is reckless, and probably in over his head. Ned tries to talk him off the ledge. He isn’t blinded by the situation like Peter. He can still think clearly, because he’s not the one with super powers who wants to save the world.

A hero needs that. Someone to ground them. Someone to make smart remarks when the moment gets too tense. Someone who will come back after the hero pushes them away.

That’s why we need friends in fiction.

Warrior of Light

(Guest post by William Heinzen)

Friendships play an interesting role in fantasy literature, and especially in epic fantasies, which feature large casts of characters. My novel, Warrior of Light, focuses on a young man named Tim Matthias who aids a group of refugees in their struggle against the evil sorcerer Zadinn Kanas. Tim is a figure of prophecy known as the Warrior of Light, destined to face Zadinn in an apocalyptic final battle. Tim’s quest is a true hero’s journey, beginning with him living in the relative peace of the South. Events outside his control, however, soon propel him into Zadinn’s domain within the war-stricken North. Along the way, Tim must come to terms with his own powers, facing a set of increasingly dangerous threats before ultimately facing Zadinn himself.

Many classic fantasy novels, from The Lord of the Rings to The Wheel of Time, contain variants of Joseph Campbell’s hero’s journey. Writers frequently use this framework because, as fellow blogger Nicholas Ploucha succinctly wrote, “it works”. However, as I was writing Warrior, I asked myself how I could include a fresh perspective on the hero’s journey. As I studied Campbell’s diagram, I noticed only minimal references to the hero’s companions. Oh, they’re in there – the archetypes in the journey include the hero’s “allies” – but such mentions are brief and easily overlooked.

I reasoned, however, that no victory happens in a vacuum. It’s all well and good to have a central character upon which the fate of the world rests, but what about the people around the character? In short, what about the hero’s friends? Every hero needs an everyman—the character the audience can relate to, the one without the power/mystique/destiny, the person who is simply trying to get by in life but nonetheless finds themselves caught in events much bigger than them.

And so I came up with the character of Boblin Kule, who is just as important to Warrior of Light as Tim himself. Unlike Tim, Boblin lives in the North. He has no magical powers, there are no prophecies about him, and if he had his way, he’d be sitting at home reading a good book. But he doesn’t have a choice—Zadinn has wiped out every last dwelling in the North, and so Boblin is on the run with a group of refugees, doing what he needs to do to survive.

Boblin’s friendship with Tim serves several purposes. He introduces Tim to the history of the North, and in doing so provides the same information to the reader. He keeps the action grounded—while Tim is using the Lifesource to burn his enemies to ashes, Boblin is fighting with sword, dagger, and fist (whatever gets the job done). He acts as a moral compass when Tim begins to question his role in the refugees’ quest, stepping in and reminding Tim of what they are fighting. Tim exists in the story to provide an enormous, heroic force capable of rising up and defeating the all-encompassing evil that is Zadinn Kanas—but Boblin exists so the reader has someone to relate to. After all, where would the great heroes would be without their friends? Sherlock without Watson? The Doctor without his companion? Frodo without Sam?

In each of the preceding examples, notice how the value the hero’s friend provides value to the reader/viewer. Ultimately, the friend provides a way to better understand the complexities of the hero at the heart of the story. The friend is a surrogate for the audience themselves, and it’s the same with Tim and Boblin. One has the Lifesource, the other has his sword, but both are an essential part of the Warrior’s epic journey.

When writing your own fiction, then, consider the ways in which the companions around the central character can enrich the story. In many ways, they may be the opposite of the hero, providing necessary balance and contrast to the tale, and providing a way for the readers to better relate to and understand the world within. When these friendships are crafted properly, however, I think we’ll find our stories are better for it.

***

William has been telling stories ever since elementary school, when he discovered the only thing better than reading about sorcerers was writing about them. He holds a degree in English with a concentration in creative writing from the University of Jamestown in Jamestown, North Dakota.

William lives in Bismarck, North Dakota, where he enjoys hunting, fishing, being outdoors, and, of course, reading and writing. Warrior of Light is his first novel. Find him at www.WilliamHeinzen.com or www.Facebook.com/WilliamHeinzenAuthor.

Stab Them in the Back

 

For all of you “Agents of Shield” fans, I think you’ll remember that wrench in your gut when you realized, but didn’t want to admit, that Grant Ward was Hydra. Not only was he Hydra, but he was also quite psycho. Everyone’s favorite character started betraying and killing all of his friends. Except for the recently acquired girlfriend, whom he creepily stalked.

One of the most painful and effective ways to keep our readers enthralled is through the backstabbing friend. What’s the best way to set that up and make it work for you? Let’s look at a few examples from those who draw blood well.

1) Neither the protagonist nor the reader sees it coming. In my opinion, this is the best way to have friend stab friend. It does take finesse, however. For one, you can’t have the stabbing friend act in contradiction to his final evil goal. That doesn’t mean he can’t help your protagonist, seem to empathize, and even help the protagonist further their own goals. It does mean you have to watch out for temporal contradictions. If something nasty happens to the protagonist and the stabbing friend is hiding in the shadows on the dark side, he can’t also be helping his “friend” at the same time. It also means that anything the stabber does for your protagonist has to either not effect his own goals or must further them in some way. He can save his friend’s life, it can seem that it’s because he legitimately cares, and we can find out later that it was only because the backstabber needed information. Besides Grant Ward in Agents of Shield, another great example is in Brandon Sanderson’s Warbreaker. (spoiler alert) Throughout the entire novel, Siri finds in Bluefingers a confidante she can trust, until the very end when he and the Pahn Kahl people turn against her and the kingdom.  He was the one person she thought she could trust and with that paradigm shift is a plot twist that changes everything.

2nd) The character doesn’t see it coming, but the reader does. This sets up a time-bomb scenario for the reader where they can see the betrayal coming, don’t know exactly when it will happen, but as the suspense builds and the stakes grow higher, so does the interest of the reader.  Who can forget the disappointment we feel as Edmund gradually becomes more and more entwined with the evil queen in The Lion, the Witch, and the Wardrobe? We see his betrayal coming, but his poor siblings have no idea until he’s gone. We can unfold the tragedy with carefully placed clues that the reader puts together piece by piece, gradually discerning the awful news that they hate to admit may be true, like in the famed Narnia series. We can also slam the reader with the betrayal for greater impact, putting them suddenly on the edge of their seats as they wait for the protagonist to find out.  Either way works and I think the best choice is whichever one fits with the flavor of your book. Is it wrought with mystery so the betrayal is one of many factors or is it a book of many twists, turns, and tragedies where this can be one more layer on the cake?

3rd) We see the possibility, but nobody knows what will happen, including the friend who betrays. I thought this was done rather well in Dr. Strange. Yes, I admit it, I’m a Marvel movie fan. Stephen Strange is championed by Baron Mordo from the moment Strange arrives at Kathmandu trying to find healing. Mordo mentors him, worries for him, and cares for him. Mordo’s negative reaction when he discovers their leader has been using forbidden magic all along is a sign that not all is well. Mordo seems to come around, helping Doctor Strange save the world, and it’s not certain what Mordo will do until the moment comes.  Even Mordo doesn’t seem certain what he’ll do. And then he turns his back on his friends and becomes the next super-villain. If we hadn’t already known that Anakin becomes Darth Vader, we might have been on the edge of our seats wondering if he’d really turn to the dark side or come to his senses. Because we do know, it becomes an example for the scenario above. We know it will happen, but how and when is the question. I think the unsure betrayer is one of the most compelling and heart-wrenching scenarios in fiction. It gives our protagonist’s friend a great sense of depth as they struggle with the decision. This one is also hard to pull off well, because we must show those forces of good and evil push and pull in a side character while still keeping the protagonist as the focus. Done well, it’s quite powerful.

I could probably name a dozen more types of backstabs, but I’m not willing to make this post any longer. What are some great backstabbing moments you’ve seen? What are some movies/books that you feel have done it well or some styles other than what I’ve listed above? We’d love to hear from you.

Colette Black Bio:
Author PicColette Black lives in the far outskirts of Phoenix, Arizona with her family, 2 dogs, a mischievous cat and the occasional unwanted scorpion.  Author of the Mankind’s Redemption Series, The Number Prophecy series, and the upcoming Legends of Power series, Colette writes New Adult and Young Adult sci-fi and fantasy novels with kick-butt characters, lots of action, and always a touch of romance. Find her at www.coletteblack.net