Why are books better than their movie counterparts? There are several reasons, but I believe the strongest has to do with insight into the mind. We are given a telepathic link to the point of view character’s mind. But that link streams data in bits instead of a massive info dump (in good writing anyway).

This can be problematic if not done right. We all love a good twist ending. That mental whiplash, once everything seems to be resolved, can be an exhilarating experience. I remember watching the Sixth Sense when the child psychologist discovers he’s dead.

I immediately wanted to watch the movie again. When I did, it was a totally different experience. But the twist wouldn’t have worked if he knew he was dead all along. Consider that for a moment. In twists where the characters know what is going on, but not the reader, a twist comes across more like fraud than hand-clapping thrill.

That’s because there is an unspoken agreement between the reader and writer. The writer promises a good story, an exciting tale, an emotional journey. The reader promises to go along with the ride and believe the words and trust the characters as they are presented. When the reader discovers that the characters were withholding critical information, even though there had been an apparent telepathic link, then that trust is broken and the reader feels deceived, not entertained.

There are many ways to help the reader discover along with the POV characters so that discovery becomes a journey. The one gimmick I’d like to discuss is amnesia.

The Maze Runner did it well, forbidding the reader much of the world where juveniles run mazes. Because of Thomas’s amnesia, the reader is sucked into the story, waiting with baited breath every bit of information they can glean together from the world before them.

I recently read a book where amnesia was used well. Sleeper Protocol by Kevin Ikenberry was a fantastic sci-fi novel where the main character discovers his identity and memories through a series of scientific supported phases under the supposition that rediscovery (integration) can be detrimental to the mind if it happens too quickly.

The sixth sense was essentially an amnesia story, disguised. That’s why it worked so well.

Others, like Dan Brown’s Inferno, use amnesia as a tool to propose a purpose and deciding event for the character in order to up the stakes, or increase the drama and embellish the character arc.

Arguably one of the best amnesia tales is Jason Borne whose head wound left him with no prior memory although he had exceptional skills, spoke foreign languages, knew martial arts and spy craft and so on. Also it allowed the reader to empathize with someone who killed people for a living.

Fifty First Dates used amnesia to tell an incredible, funny, and yet heart-wrenching love story.

I myself have an amnesia novel in the works. It’s temporary and as it wears off, the reader discovers the apocalyptic world, as fascinating as it appears, isn’t at all what it seams and instead turns into an exciting thriller.

To write the piece, I did extensive research on the brain and memory loss. In my world, it has to be, believable. Basically there are different parts of the brain where memory is stored. Episodic memory involving experiences and events are different than Semantic Memory involving facts and concepts. These two types are stored in separate parts of the brain. This is why Jason Borne doesn’t remember any specific event but he knows at this altitude he can flat out run for thirty minutes and not break a sweat.

This is also why is would not make sense for Thomas of Maze Runner to recall his name but nothing else. Unless of course there was some medical, scientific, magical reasoning for it that James Dashner covers well.

What are some of your favorite amnesia stories?

I live in Arizona with my family, wife and five kids and a little dog. I write fiction, thrillers and soft sci-fi with a little short horror on the side. I hold an MBA and work in finance for a biotechnology firm.

I volunteer with the Boy Scouts, play and write music, and enjoy everything outdoors. I’m also a novice photographer.

You can read some of my works by visiting my Wattpad page and learn more at www.jacekillan.com.

Deedle di ti dee…….Two Endings!

April 11, 2017

Kim May

Ideas & Plotting Kim May Plot Structure Science Fiction 2 Comments

(Is the song stuck in your head yet?)

Whether it’s a sad ending, a happy ending (no, not that kind), or even a cliffhanger, endings can be hard to write. I know when I’m finishing a first draft I always wonder if there’s a thread I forgot to tie off or if there was enough denouement. Doubts like these can get the better of you. One doubt that doesn’t often pop into a writer’s mind is if the story needs two endings.

That’s pretty much what happened when I wrote Schrodinger’s Bar.

Schrodinger’s Bar is a short story I wrote for the Fiction River: Tavern Tales anthology. It’s about an alien refugee that finds a job at a very unusual dive bar. What makes this story really unique is that it has two endings that happen simultaneously. That’s right. Just when the reader thinks the story is over, not only do they get a second conclusion, it’s one that happens at the exact same time as the first instead of being another option.

Yes, it’s a very tricky thing to pull off. So how did I do it? I had a very good editor. No, seriously. It was all her idea and she walked me through it. Yeah, I know. That doesn’t really help you but I did learn how in the process.

Here’s the thing, gimmicks like this rarely work. Instead of it being a cool literary device it often comes off as cheesy or even lame. The only reason this one isn’t cheesy or boring is because of the title. Since the story — and specifically the dive bar — is a clever play on Schrodinger’s theory it gives me the allowance to do this. In fact, as my editor told me, this story really needed a gimmick like this to be good. Doing it with one ending would have been a missed opportunity.

But I hear you ask, “what if your story doesn’t have a quantum superposition but you still want to do two endings?” Well, that still has a prerequisite of sorts. Lets revisit the video I posted from Clue. Clue has three endings, each funnier and just as plausible as the others. Each of the possible solutions to the “who done it?” works because during the film, each suspect is without an alibi. It’s never highlighted during the film but if you watch closely you’ll see that it’s true. So if you want to pull off multiple endings, you need to do the same sort of prep work. Set up the scene, make sure you’ll have the plausibility you’ll need for each variation in each ending and at the final climactic moment, that’s when you start the divergence. In Schrodinger’s Bar that moment is when Myla has to decide to stay or go. In Clue, it’s the moment Wadsworth decides to reveal who the killer is and how they did it. The divergent endings all start at that same moment and progress to their individual conclusions. However the story as a whole needs to end before it becomes a Groundhog Day- like phenomena. You can certainly loop them around and around like that if you want it just takes more prep work.

Like I said. Tricky. Once you get it to work though, it’s really darn cool!

If you’d like to read Schrodinger’s Bar, you can purchase the anthology in print and digital here.

And you can find out more about Kim May here.

The Wizard Behind the Curtain

April 10, 2017

Colette Black

Action & Adventure Colette Black Our Favorite Fiction Plot Structure Storyline Tension No Comments

As a child watching The Wizard of Oz, I never suspected a bumbling old man hiding behind a curtain to be the “great and terrible Oz.” I was completely taken aback when Toto pulled back the drapes and revealed the traveling salesman who was pushing all the levers and buttons. I still revel in the concept of a man behind a curtain, but I prefer much darker motives, the pushing of people’s buttons more than any machine, and a more illusory curtain. A good example of this is Brandon Sanderson’s Mistborn trilogy.

In the very first book we find our heroine, Vin, taken in by the heroic mentor, Kelsier, who is instigating a plan to destroy the evil and immortal emperor. What they find lurking behind the emperor is much more sinister and complex than any of them had imagined. With many stories, it’s in that moment when our antagonist becomes a mere contagonist and the plot gains that extra dimensional layer, that I find myself moved.

In the original Star Wars series, Darth Vader is a horrible villain, even a danger to his own son, until we discover “the emperor.” Again? What is it with emperors? What a lovely twist when the contagonist proves to be a victim who turns into the final hero. It turns an ordinary hero’s journey adventure story into a redemption story, giving the entire series not only more depth, but the opportunity to add interesting sequels and for Hollywood to bring in some serious money. I’m sure they don’t mind.

I have a book coming out soon through Brick Cave Media called Moon Shadows and I have to tell you, I love to hate my man behind the curtain. He has his reasons, but he’s seriously psycho. From science fiction to fantasy, from mystery to horror, we all wonder if there might be someone hiding in the shadows, someone even worse than the monster we see in the light. As a writer, playing with that suspicion is a good part of the fun. Often, the best suspense lies in the man behind the curtain, or depending on the story, maybe the psycho behind the shower curtain.

Colette Black Bio:

Colette 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

From a Certain Point of View

April 7, 2017

fictorians

Character Karen Pellett POV Storyline Tropes & Archetypes No Comments

A Guest Post by Karen Pellett

Our view of events in stories, and in real life, is frequently tainted by our past and emotions. Two individuals who have similar stories will react to another person’s actions differently based on their personalities and personal experiences. Thus, giving our history the ability to become metaphorical sunglasses, tinting the truth of what is before us. And, because of this, allows the main character’s “enemy” to fool easier through the power of incomplete truths.

In the sixth Star Wars movie, Return of the Jedi, when Luke Skywalker returns to Dagobah to finish training, only to find that is mentor, Yoda, is dying. Afterwards Luke has a heart-to-heart with the ghost of Obi-Wan Kenobi. “Your father… was seduced by the Dark Side of the Force. He ceased to be the Jedi Anakin Skywalker and “became” Darth Vader. When that happened, the good man who was your father was destroyed. So, what I told you was true… from a certain point of view.”

That revelation was a prime example of incomplete truth—once the knowledge became apparent to the main character, their perception becomes completely altered as they are forced to re-evaluate their beliefs. Darth Vader was a bad guy, plain and simple. But learning that Darth Vader was once Anakin Skywalker, someone’s husband and father, changes Luke’s reality. He was forced to re-evaluate the truth that he thought he knew.

Throughout the Harry Potter series, Harry has a distinctive personal enmity toward the Potion’s Master, Severus Snape. J.K. Rowling gives the reader permission, from the start of the series, to despise Severus Snape. For one, he had the gall to despise Harry’s father (James Potter). Secondly, Snape openly showed hostility toward the chosen one (it didn’t matter that Harry never wanted to be the chosen one). Only at the conclusion of the final book/movie, after Snape is killed by Nagini, does Harry learn that his emotions and past tinted everything he thought was true. Only then is Harry forced to re-evaluate everything he thought was real. Only then does he see the sacrifice and honor of a once hated man, turning Snape into an individual that Harry admired enough to give one of his sons the name Albus Severus Potter.

Other examples of incomplete truths include the M. Night Shyamalan movies The Sixth Sense and Unbreakable where we view the story from the incomplete truth of the main character’s lives. It is only in the end that we are given the lens of truth, revealing the stories from a whole other angle giving the characters, and the viewers, a complete mind-flip moment.

Incomplete truths often tend to be blessed happenstance on the part of the author/creator, but if done well can come across brilliantly. If done poorly, can cost you your reader’s faith & trust. The true brilliance is when an author is skilled enough that they plan out the incomplete truths or omissions from the start. This is why I love the work of Brandon Sanderson. The story Warbreaker is told from the point of view of two Idrian princesses—Vivenna and Siri. At the beginning of the story, the princesses’ planned futures are switched, pulling the proverbial rug out from under the feet. Siri is sent to marry the God King while Vivenna is left feeling lost. Taking matters in hand, Vivenna decides to be the heroine of her own story, and marches off on her own to rescue Siri from the horrible life that Vivenna was meant to live. I thought I knew where the story was headed, and I was enjoying the ride. Then, halfway through, Sanderson flipped everything that Vivenna, Siri, and even the readers, thought they knew on its head; unravelling the twisted and incomplete truths. Only later, if you go back and look, do you realize that Sanderson hints of reality scattered throughout as brilliant nuggets of creativity.

So, next time you find yourself reading or watching a story that mesmerizes you with a mind-flip moment, go back and see if you can determine for yourself—is the use of emotions and history making it easier for one character to fool another through incomplete truths? And if so, was it simply a beautiful happenstance, or was it planned brilliance on the part of the creator?

Karen Pellett:

Karen Pellett is a crazy woman with a computer, and she’s not afraid to use it. Most of her time is spent between raising three overly brilliant and stinkin’ cute children, playing video games with her stepsons, and the rare peaceful moment with her husband. When opportunity provides she escapes to the alternate dimension to write fantasy & magical realism novels, the occasional short story, and essays on raising special needs children. Karen lives, plots & writes in American Fork, Utah.