Tag Archives: craft

How to Build a Murderer

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Horror and mayhem are all about the villain. Your murderer has to be  as real as and smarter than your hero, whether your hero is a street smart cop, a yoga teacher framed for the killing or a busy body old lady. And really, why would anyone invite Ms. Jane Marple (Agatha Christie’s heroine)  or Jessica Fletcher (Murder She Wrote) to a party? People are falling down dead all around them. All the time.

But I digress.

The challenge in writing a murderer is to push past your own personal revulsion at what the character does and see why he does it.

Why do we love Professor James Moriarty as much as Sherlock Holmes?

Because Moriarty is a whole and terribly wounded person. He has wants, needs and his own (internal) code of conduct. He is at least as clever as, if not more clever than, Sherlock. Moriarty is who Sherlock could have been if he’d been nudged down a different path.

My current work in progress is an urban fantasy thriller. So how did I create a murderer? I did what any writer would do. Research.

I’m probably on the NSA’s watch list based on the serial killer searches I ran from my computer. I read lots of thrillers, murder mysteries, and true crime novels. I took notes.  I read craft books including James N. Frey’s How to Write a Damned Good Mystery: A Practical Step-by-Step Guide from Inspiration to Finished Manuscript.  I highly recommend Frey’s book to anyone writing in this genre. mystery cover

My research confirmed a lot of what I suspected. What makes a good murderer? According to Frey:

“1. Our murderer will be evil.” Frey defines this as someone who is acting out of his or her best interests. I’ll add that this drive toward self-satisfaction will be overwhelming. Our killer doesn’t care who he hurts as long as he gets his selfish desires.

“2.  Our murder will not appear to be evil.”  Sadly, real life bears this principle out. Ted Bundy, John Wayne Gacy, and Aileen Wuornos all looked respectable. Bundy worked a crisis hotline. The idea of evil lurking just under the skin is central to horror stories. Also, if the bad guy is the obvious suspect you fail to create the tension needed to maintain a horror, mystery or thriller.

“3. Our murderer will be clever and resourceful.” Sherlock would not spend his life trying to catch Moriarty if he wasn’t clever or resourceful. The near miss, the hero arriving moments too late, creates tension and makes the chase all that more thrilling. We read thrillers and murder mysteries for the chase and inevitable capture.

“4. Our murderer is wounded.”  A deep psychological wound drives our murderer. After all, he’s taken a step (or several dozen) past the line. He’s gone from thinking of ending someone’s life to actually doing it. Like Jack the Ripper, he may take his crime beyond mere murder and mutilate his victims. He’s shattered the veneer of civilization we all live with, and something outside the normal has made him do it. He (often) justifies killing because of this emotional wound. This is probably the step that most “failed” (defined as stories that didn’t capture my attention) stories miss. Without this driving force shaping your murderer he will feel like a two-dimensional character or a cliché.

“5. Our murderer is afraid.” Even with the thrill of the kill the murderer must worry about apprehension. His fear mixes with an intensifies his other emotions. Your character needs to feel fear whether fear of discovery, losing what he’s built or something else. Fear is a defining human trait. We all fear something. Often many somethings. Fear of failure. Fear of being not good enough. Fear of being discovered as a “fraud.” Without fear a character is a sketch.

Lots of craft books spend time on getting you to flesh out your characters. Your killer should be the most fully realized. You need to know his history and all his actions even though most will never make it into the story – only the results. The psychology of a killer is in many ways more important than his physiology. Merely hitting the high points of psychopathy – like most serial killers in their youth have tortured or killed animals – isn’t enough. Merely hating women isn’t enough. Something in the killer’s path has pushed him over the line from malcontent to murderer.

Did he accidentally kill someone in a fit of temper and “get away” with it but now he has to kill again to protect the life he’s built since (the example Frey uses in his book)? Did he like the thrill? What is he afraid of?

Simply put, if you don’t know how your killer got to the point we find him in this story he’s not going to be very compelling.

Frey spends about 20 pages on developing your murderer and becoming intimate with him. Obviously, I can’t do justice to Frey’s advice in the space of a blog post. But let me leave you with this:

Murderers are three-dimensional characters. They are clever, not just lucky. They are “evil” in the sense that their desires are the most important thing in the world to them. They are highly damaged people. Unless you know what drives your killer (his wound) you can’t know how he kills and won’t keep your reader engaged.

WEB_N Greene-1 You can find me at my blog. Twitter, and Facebook .

 

 

 

Emotional Roller-Coasters

roller coasterStow any loose belongings, settle in, buckle up, and hold on for a wild ride.

Great stories are emotional roller coasters that carry readers out of space and time to another place where they can be dropped into pits of despair or thrown high enough to taste glory.  They hurl readers through dizzying loops and heart-stopping drops.  The vicarious ride explores emotions that readers could never dare consider in real life, but that are necessary to understand nonetheless.

I am not a romance writer, nor am I a horror writer.  However those genres prove so successful because they push the limits of opposite ends of the emotional spectrum.  Just as people flock to the wildest rides at Disney to experience the thrills they can’t get anywhere else, readers flock to stories that push the uttermost limits of the emotional journey.

Great stories are the ones that tap into our emotions.  The ones that make us feel the story are the ones we love, the ones that really affect us, the ones we can’t put down. So as a writer, I need to know how to craft a story to tap into emotions of love and romance while also understanding how to drag my readers down into the shadowy catacombs of terror.  Without those emotions, stories feel weak, boring, uninspiring.

The best stories are the ones we can relate to, and therefore ones we feel the emotional impact of the greatest.  Since we’re talking horror and romance this month, let’s look at a few examples.

JawsJaws.  Brilliant.  Even now, when I hear two simple notes played on the piano, it triggers memories of the movie.  For years after watching Jaws as a kid, I couldn’t help but think of sharks every time I entered the water, any water.  Even though I knew there was no way a shark could swim inland hundreds of miles to an isolated lake where my family was swimming, I’d still catch myself looking around for fins in the water.  That movie touched on universal fear of being helpless in the water and prey to a creature of the deep.  Who hasn’t ever felt that fear?  Because it is so universal, everyone can relate to the characters in the movie, everyone can feel their fear.

That’s why horror movies use the dark so much.  That fear of the darkness and monsters hiding just out of sight is another universal fear, one that we can tap into across the entire audience.

Great love stories are a little harder, I think.  People love different qualities, and love is often very complicated.  Then again, some love stories have proven successful through the ages.  For example, Pride & Prejudice is one of the most popular love stories of all time.  Jane Austen proved she could draw in her audience and tap into their emotions better than almost anyone.  Her stories have spawned an entire industry of copycat stories, most of which are set in Victorian England, although other recent successes in that genre include Downton Abbey and North & South.  What makes them work?

Pride and PrejudiceA few of the obvious components include:

– Protagonists that the audience can relate to, who have to overcome challenges that people still recognize today.  It’s their struggle to overcome those difficulties that make the audience love them and root for them.

– These stories are accurate representations of human nature.  The culture and times may be different, but human nature remains consistent.  We see people we know in these stories, which allows the audience to connect better.

– Happy endings.  People love to claim they don’t need a happy ending, but there’s a reason happy endings work.

The most powerful stories are the wildest of the vicarious emotional roller-coaster rides.  The best love stories transport the audience to another time and place, tightly connect them to protagonists whose struggles are relatable and, after torturing those poor characters almost beyond the limits of endurance, return to a happy place that allows the audience to complete the emotional cycle and climb out of the story back to normal life in a good place, coming away refreshed and uplifted.

On the other hand, the best horror stories take the characters on rides that throw them into a pit of evil where they struggle to survive as most of their companions are killed.  The emotional ride drags the audience down into powerful terrors they would never face any other way and, after driving them to the breaking point, bring them home safe.  That’s why most horror stories end with the one survivor destroying the evil incarnate and limping out of the darkness into the dawn of a new day.  The reader arrives home safe, emotionally spent, satisfied, and newly grounded to face their normal life.

The value of those emotional rides cannot be over stated.  How much easier is it to deal with mundane challenges of our everyday lives after surviving the man-eating shark or the aliens or the zombies?  How difficult are the challenges we face in relationships compared with the obstacles overcome by Elizabeth Bennett and Mr. Darcy?

So get emotional.  It’s the only way to make it real.

Cannot Publish in Ignorance

Road SignI love the theme this month and the stories that have been shared.  It reminds me that we all struggle in life and in our chosen profession.  I do wonder if any non-writers reading these posts might assume we’re all lunatics sharing our stories in an online Writers Anonymous meeting.  We’ve proven it’s a tough, crazy journey on the road toward publication, but we keep plugging away, pursuing the dream, chanting, “Keep at it, and we’ll get there.”

Well, we’ll get there as long as we’re open to learning and growing.  As they say, “Continuing to do the same thing while expecting different results is the definition of insanity.”

So we’re either on our way, or we’re nuts.

Growing up I always dreamed of being a writer and I hand-wrote hundreds of pages of drafts as a teen-ager.  But life got in the way and I pretended to be normal and pursued other interests through college and the first years of family and career.  Then through a series of events in 2004 the desire – the need – to write reignited, and I embraced all those imaginary friends I’d been pretending not to listen to for so long.

I remembered some cool ideas I had worked on all those years ago and thought, “Yeah, I’ll just write that.  I read a lot, so how hard could it be?”

Now almost ten years and millions of words later, I laugh every time I think of that naïve wannabe writer sitting down and typing out those first words, “It was a dark and stormy night. . .”

Actually, those weren’t the first words, but they might as well have been for how terrible they were.  But I didn’t know better so I wrote, and then I re-wrote.  For almost four years I worked on that monstrous first novel that stood at about 300,000 words despite multiple re-drafts.  I confidently sent out query letter after query letter to agents, and accumulated scores of rejection letters.

A wiser man might have quit at that point.

Actually, a wise man would have quit after his wife read the first frantically written 80 pages the very first weekend.  With love in her eyes, she said as kindly as she could manage, “This stinks.”

But real writers are slaves to the Muse, or we are tired of people looking at us funny when we talk to ourselves.  Or maybe we’re just a lot more stubborn than most people, so I kept writing.  The problem was I had no idea why the book wasn’t selling.  I had no clue what was wrong with it.  I mean, my mom loved it, so it had to be ready.

I didn’t even understand enough about writing to work on other projects on the side.  I was blind, stuck in a place I could not get out of, but didn’t realize it.  Think Maxwell Smart, but without Agent 99 to bail him out.

Thankfully I found a way out of that rut of insanity.  I took the Professional Writers Workshop from David Farland.

Amazing.  What a revelation.  They actually train people to write!  I’d been doing it all by pure gut instinct for years, and proving why there was a better way.  In that writing workshop, Dave took the time to meet with me over dinner and discuss my project.  Using small words, he explained some of the reasons why the book would never work – like it was waaaay too long.  I learned many things in that class and some of my blind spots were revealed.

What a milestone!  I finally understood some of the reasons why I was not yet successful.

If I were really humble, I would have appreciated that much honest insight into my many writing flaws.  What really slapped me in the face though was the magnitude of the challenge I faced:  Either walk away from the entire writing gig, angry that the industry didn’t understand a brilliant talent like mine – walk away offended and console my wounded pride by thinking “they’re just not ready for so much pure awesomeness.”

Or I could admit that first attempt amounted to the scribblings of an uneducated beginner not even smart enough to take a class for four years, and all the hard work I’d poured into that novel counted as practice.  I’d written enough to qualify a couple times over for ‘the half million words of crap’ we’re told new writers need to complete prior to writing anything good.  Over-achiever all the way.

So I had that going for me, which I took to mean everything I write now will be awesome.

Bottom line, the goal remained:  I will be a professional writer.  So I had to choke down my pride and, after surviving that, I took my first major step wearing big boy writer pants.  I acknowledged that first epic fantasy story could be treated as an Epic Fail.

Then I threw it away.  All 1000+ pages of blood, sweat and tears.

And I started again from scratch.

Out of pure stubbornness, I didn’t even start an entirely different story.  There was a little more blood to squeeze out of that first stone.  I loved the core of that original idea, so I salvaged some of the world building, some of the characters, and the nucleus of the conflict.  Then I redesigned the plot from the ground up.

Like building modern-day Rome on top of the ancient catacombs.

The resulting story is infinitely better than the original, and I’m now working with an agent to try to find it a home.  And instead of waiting forever for that sale to happen, I’ve actually moved on and since written three other novels and e-published one of them.  Four others are in various stages of outlining, all of which I plan to complete next year.

Still plenty of blind spots, but I try to identify them one at a time.  It’s more satisfying that way and a lot less painful – like lancing a single blister instead of performing open heart surgery on yourself.

Still, it was that first major awakening that salvaged my writing career.  I’ll always be grateful to David Farland for beating me down so thoroughly (in a nice way).  Now that I can walk again, I’m a better writer for the experience.

And now I’m looking forward to paying forward the favor.  You may find me roaming the halls at conventions and workshops, looking for blind spots to destroy.

It’s for your own good.  Some day you’ll thank me.

Get Out of Your Comfort Zone

A guest post by JJ Bennett.

When I was asked to talk about growing as a writer, one thing for me stood out. Every time I pushed myself, I succeeded. So, how on earth do you push yourself when you’re just starting out? Good question. Stop treating yourself like a hobbyist and treat yourself like a professional.

It’s so easy to relax in your comfortable zone as a writer. You write when you can, dabble in blogging, have that one book collecting dust on your shelf, and you call yourself a writer. I’m just as bad as the next person when it comes to procrastination. So, how do you make that jump? It’s fairly simple. Make better choices.

fish

Sounds easy, but it’s not. Let me explain. Professionals have deadlines, meet with other professionals, and work every day in their craft. They don’t let things stand in the way with getting the job done. They work hard and fast.

Let’s get moving in the right direction then. I’d suggest following these guidelines.

1. Attend a professional writing seminar where you’re asked to produce writing.

Yep, other professionals are going to read and critique your work. Get over yourself. You’re a professional.  The best way to improve your writing is to get feedback from other professionals. You’ll be surprised by your growth. While you attend, the pressure of having to write to a higher standard will help you grow as a writer. You will be amazed by the work you produce. Only by being cornered to produce, will you grow at a faster rate than otherwise.

2. Your new best friend is having a deadline.

Professional writers have deadlines. Give yourself some. I’m not talking about goals like I want to write 2500 words a day sort of goals. I’m talking hard deadlines where other people are waiting for your work. If you’re trying to finish that “first book” then pay for an editor before you finish the story. It sounds crazy but most editors (at least the good ones) are months out until they can take on a new client. Pay and get on the list. This way you are invested in the task. You’ve made a commitment to both yourself and the editor. You’re making a “blood oath” so to speak that they’ll have your manuscript in hand in “X” amount of days, weeks or months. Professionals only work under deadlines like these. Get some!

3. Make a place to write.

Not everyone has a beautiful oak carved desk with matching built-in shelves in a home office. Sure it would be nice, but most of us live in the real world. This doesn’t mean go kick your kids out of their bedroom just so you can have an office, but it does mean you need to make a space of your own. It could be a small computer desk in the corner of the front room, bedroom, or even in a closet (if you have a large walk in). Find a space that’s yours and yours only. Remember, you’re a professional. Your area is only for you. I have friends who write in trailers, rent office spaces away from home, and make a space somehow. Wherever your space is no matter how big or small, don’t let the kids do homework there. It’s YOUR SPACE! Ultimately, if something goes missing, is lost, or spilled on… it’s all on you. Taking responsibility is part of being a professional.

4. Make yourself a schedule.

Professionals have their life mapped out. They have a planner or calendar of some kind. It could be on their mobile devise, on a computer, on paper–just somehow get organized. If you have a blog, write down the days you need to post. Write down days and goals to meet your deadlines to others as well as yourself and then integrate it into your family schedule. One schedule to rule them all…

5. Live it.

This one is pretty easy to explain but the most difficult to do. You need to set your priorities.

6. Stay Educated in the Business.

Part of being a professional is staying up on trends. What are people in the field of writing talking about? You need to understand your profession and what’s working and what isn’t. If you read, research, and understand the business side of writing, it will only strengthen you and your standing in the industry.

Getting out of your comfort zone is hard. People don’t like it. It causes stress, inadequacy, and it brings your faults to the forefront. Nobody likes that. It’s hard work and it’s so much easier to coast through life at your own pace than to push yourself. Without that push however, you won’t see that growth that you’re looking for.

chair

If you take these steps to move out of your comfort zone you’ll become a better writer, people will take you seriously, and your writing will show all your hard work and dedication you’ve put into your craft. Sure, it’s nice to sit back in your easy chair and coast through life dreaming of becoming something.  But, you’ll spend all your life dreaming instead of becoming anything. It’s time to put down the footrest and get up out of your chair. Get out of that comfort zone.

 

Guest Writer Bio:
JJ Bennett BioJ.J. Bennett grew up as a Southern California native and moved to Southern Utah in 1989. She and her husband Matt, reside  in St. George with their four kids. Jen is the creator/head of the “Authors’ Think Tank“. A group by writers for writers that supports both traditionally published and independent writers. She has written articles locally for “The Independent” and is currently working on her debut YA novel “The Path.” She enjoys travel, cooking, music, and has a deep desire to become a Bigfoot hunter. Find out more about her at www.jjbennett.com.