Beem Weeks's Blog - Posts Tagged "fiction"
Cursing In Stories
The other day I attempted to watch a popular comedian on a DVD I recently purchased. I was at my mother's house when I decided to view the comedy concert. Two minutes into the show, Mom hit the stop button. "Too much," she said. Too much humor? Too much laughing? Nope! Too much cursing--especially that F word.
I can understand Mom's complaint--to an extent. Mom won't watch movies filled with that particular offending word. Some great films have gone unwatched because of that word. Raging Bull is a classic film, but all Mom recalls of that movie is the over-use of that F word.
It is possible to make great films, write wonderful novels, or tell funny jokes without that word. There's a whole history of fantastic movies, books, and comedic shows to prove that statement. But what if the writer is trying to bring that element of reality into his/her story?
A novel about a gangbanger dealing drugs on some inner-city street corner won't have him calling his enemy--the one intent on killing him--a stupid dummy. When arguing over the proper way to dispose of a body freshly whacked by a pair of mobsters, it's not likely they'll toss a bunch of gee-whiz's and golly-wow's into the mix.
For all it's harshness, obscene language is still just that: language. It's how we talk--whether in English or any other dialect. Give a listen to some of those great old James Cagney gangster movies. He's tough, a hot-head, and violent. And while he never utters a curse word--Hollywood code prohibited vulgarity--the performances are intense.
But are they real? Are they genuine?
Does a movie like White Heat stand up against modern classics like Goodfellas or Pulp Fiction? That's for film critics to debate--though I do have my own opinions.
Gratuitous cursing detracts from any story--as does gratuitous sex and violence. But these things do have their place in a story meant to reflect the reality of an era, a place, or a culture. I won't be able to convince Mom of this--I've tried. But that's okay. Each individual is responsible for self. It's your story, tell it how you imagine it.
I can understand Mom's complaint--to an extent. Mom won't watch movies filled with that particular offending word. Some great films have gone unwatched because of that word. Raging Bull is a classic film, but all Mom recalls of that movie is the over-use of that F word.
It is possible to make great films, write wonderful novels, or tell funny jokes without that word. There's a whole history of fantastic movies, books, and comedic shows to prove that statement. But what if the writer is trying to bring that element of reality into his/her story?
A novel about a gangbanger dealing drugs on some inner-city street corner won't have him calling his enemy--the one intent on killing him--a stupid dummy. When arguing over the proper way to dispose of a body freshly whacked by a pair of mobsters, it's not likely they'll toss a bunch of gee-whiz's and golly-wow's into the mix.
For all it's harshness, obscene language is still just that: language. It's how we talk--whether in English or any other dialect. Give a listen to some of those great old James Cagney gangster movies. He's tough, a hot-head, and violent. And while he never utters a curse word--Hollywood code prohibited vulgarity--the performances are intense.
But are they real? Are they genuine?
Does a movie like White Heat stand up against modern classics like Goodfellas or Pulp Fiction? That's for film critics to debate--though I do have my own opinions.
Gratuitous cursing detracts from any story--as does gratuitous sex and violence. But these things do have their place in a story meant to reflect the reality of an era, a place, or a culture. I won't be able to convince Mom of this--I've tried. But that's okay. Each individual is responsible for self. It's your story, tell it how you imagine it.
Dialogue Challenges
Dialogue. It can make or break a story. Dialogue is the lines your characters speak aloud in a written story. They differ from the narrative voice in that even the peripheral characters are given a voice through dialogue.
Writing lines for your characters is not always an easy task--though it doesn't have to be difficult, either. In real life, people speak in ways that may seem impossible to capture on paper. Consider the varying dialects within the same languages. British English has its own patterns and words that differ from American English or the Aussie brand of the language. (And that's not even counting the varying dialects within the same country.) A skillful writer should be able to illustrate that, of the three characters conversing in the opening scene of chapter seven, two are from England while the third is from Australia--without mentioning this every time they speak.
If the writer can hear those voices in his/her head, they should be able to drop in little vocal hints within the written dialogue that give life to the characters and to the stories they tell. But it's not always easy.
When writing my novel Jazz Baby, I had to research the era (1920s) and the region (deep south, USA) in order to capture the voice of , not just my narrator, but of each and every character that utters a line in the story. Some were Louisiana Cajun. They spoke with a twang, had a particular way of saying things, which is not always easy to put onto paper.
Or how about Neesie, the young laundry girl, who befriends the main character? These two girls are the same age, but they come from vastly different backgrounds. Though both were poor, one came from Mississippi and the other from Alabama; Emily is white and Neesie black. They would have had differing speech patterns--as would the better-educated adults who crossed paths with my young narrator. These differences have to come through in the dialogue. There's a rich stew of slang going on in these characters' words. Slang is part of language--no matter where you come from. This is where good research pays off. It takes time, searching for words and idioms used in certain regions and eras, but that extra effort is worth it in the end.
Dialogue is probably my favorite part of writing fiction. These are words and accents that give personality to characters that did not exist until I put pen to paper (or clicked those computer keys) and gave them meaning, reason, and life.
So here's my advice to any writer who might be struggling with dialogue issues: Just write what you hear. Listen to voices on the street or those being spoken inside your head; read works by other authors; study classic films. That little extra effort will usually show up in the finished product. The great thing about language is: it's all around us in so many differing forms.
Writing lines for your characters is not always an easy task--though it doesn't have to be difficult, either. In real life, people speak in ways that may seem impossible to capture on paper. Consider the varying dialects within the same languages. British English has its own patterns and words that differ from American English or the Aussie brand of the language. (And that's not even counting the varying dialects within the same country.) A skillful writer should be able to illustrate that, of the three characters conversing in the opening scene of chapter seven, two are from England while the third is from Australia--without mentioning this every time they speak.
If the writer can hear those voices in his/her head, they should be able to drop in little vocal hints within the written dialogue that give life to the characters and to the stories they tell. But it's not always easy.
When writing my novel Jazz Baby, I had to research the era (1920s) and the region (deep south, USA) in order to capture the voice of , not just my narrator, but of each and every character that utters a line in the story. Some were Louisiana Cajun. They spoke with a twang, had a particular way of saying things, which is not always easy to put onto paper.
Or how about Neesie, the young laundry girl, who befriends the main character? These two girls are the same age, but they come from vastly different backgrounds. Though both were poor, one came from Mississippi and the other from Alabama; Emily is white and Neesie black. They would have had differing speech patterns--as would the better-educated adults who crossed paths with my young narrator. These differences have to come through in the dialogue. There's a rich stew of slang going on in these characters' words. Slang is part of language--no matter where you come from. This is where good research pays off. It takes time, searching for words and idioms used in certain regions and eras, but that extra effort is worth it in the end.
Dialogue is probably my favorite part of writing fiction. These are words and accents that give personality to characters that did not exist until I put pen to paper (or clicked those computer keys) and gave them meaning, reason, and life.
So here's my advice to any writer who might be struggling with dialogue issues: Just write what you hear. Listen to voices on the street or those being spoken inside your head; read works by other authors; study classic films. That little extra effort will usually show up in the finished product. The great thing about language is: it's all around us in so many differing forms.
Short Stories: How Long Should They Be?
Short Story: noun: a story with a fully developed theme but significantly shorter and less elaborate than a novel.
That definition comes from The Oxford American College Dictionary circa 2001. With that definition in mind, what exactly constitutes a short story in today’s literary world? I mean length-wise. Is a short story 500 words or less? Can a shorty run at, say, 1000 words? How about 2000? It’s a difficult notion, this idea of imposing word limits on a creative writer’s work.
When I write, the word count is the last thing on my mind. I am too busy writing the story, constructing scenes, fleshing out the characters.
Recently, one of the sites on which I post short stories announced that they would no longer accept work for their home page if this work exceeded a certain word count. They’d continue to allow the longer pieces to be posted, sure, but just not on the main page, which is where many more eyes see these stories.
I have a problem with that. I’ve never sat down to write a story with a set word count in mind. Some stories might find a good telling within 500 words. I’ve written a few of those. They arrive at that lower count through a natural unfolding of description, narration, and dialogue.
However, many are the stories that take longer to germinate. I have some short stories that run in excess of 3000 words. Stephen King, Clive Barker, Daniel Woodrell, and T.C. Boyle are some of my favorite writers when it comes to the short story form. Some of their work stretches well beyond even that mark. Who in their right mind is going to tell Mr. King his latest piece is just too darn long?
I’m not in Stephen King’s league. But I am a writer. I write and the story unfolds. It’s as simple as that. If the story clocks in at 500 words or less, that just means the tale found a beginning, a middle, and an end in a quicker fashion. Will more people read it because it runs on the shorter side—as that other site suggests? Perhaps. But I am confident that intelligent readers will read a story—so long as it’s well-written and entertaining—regardless of length. These readers that supposedly prefer 500 words or less, do they not also read longer works, like novels? Is their attention span so guided by today’s ten-second sound-bite era that writers must adapt their style to this way of thinking? I certainly hope not!
And just for the record: this piece here clocks in at a mere 439 words.
That definition comes from The Oxford American College Dictionary circa 2001. With that definition in mind, what exactly constitutes a short story in today’s literary world? I mean length-wise. Is a short story 500 words or less? Can a shorty run at, say, 1000 words? How about 2000? It’s a difficult notion, this idea of imposing word limits on a creative writer’s work.
When I write, the word count is the last thing on my mind. I am too busy writing the story, constructing scenes, fleshing out the characters.
Recently, one of the sites on which I post short stories announced that they would no longer accept work for their home page if this work exceeded a certain word count. They’d continue to allow the longer pieces to be posted, sure, but just not on the main page, which is where many more eyes see these stories.
I have a problem with that. I’ve never sat down to write a story with a set word count in mind. Some stories might find a good telling within 500 words. I’ve written a few of those. They arrive at that lower count through a natural unfolding of description, narration, and dialogue.
However, many are the stories that take longer to germinate. I have some short stories that run in excess of 3000 words. Stephen King, Clive Barker, Daniel Woodrell, and T.C. Boyle are some of my favorite writers when it comes to the short story form. Some of their work stretches well beyond even that mark. Who in their right mind is going to tell Mr. King his latest piece is just too darn long?
I’m not in Stephen King’s league. But I am a writer. I write and the story unfolds. It’s as simple as that. If the story clocks in at 500 words or less, that just means the tale found a beginning, a middle, and an end in a quicker fashion. Will more people read it because it runs on the shorter side—as that other site suggests? Perhaps. But I am confident that intelligent readers will read a story—so long as it’s well-written and entertaining—regardless of length. These readers that supposedly prefer 500 words or less, do they not also read longer works, like novels? Is their attention span so guided by today’s ten-second sound-bite era that writers must adapt their style to this way of thinking? I certainly hope not!
And just for the record: this piece here clocks in at a mere 439 words.
My Review of James & the Dragon
James & the Dragon - Farloft Chronicles Vol. 1 by Theresa SnyderMy rating: 5 of 5 stars
I had the pleasure of experiencing this story in its audio book format. James & the Dragon chronicles the tale of a ten-year-old boy, a dragon named Farloft, and other wonderfully written characters that inhabit the mind of author Theresa Snyder. I am so glad Ms. Snyder knows how to write and, more importantly, tell a story.
This is a children's book, to be sure, though there are mature themes, such as a plague that results in the deaths of many in this fictional kingdom. But even as a children's book, adults will certainly discover its wonderful charm and allure. Theresa Snyder paints vivid pictures that enter the mind the way a good read is supposed to. If you have children, I recommend this book. If you just enjoy a good story, I equally recommend this book.
View all my reviews
Spontaneity In Your Writing
When writing a story, be it short or long, do you outline your project first? I do—to an extent. When I sat down to write my novel Jazz Baby, I wrote an extensive outline, diagrammed every twist and turn my story would take from the beginning to the end—and all points in between. Then I wrote the story and so very little of that original outline actually made it onto the pages of the finished product.
Let’s face it: Real life cannot be diagrammed. Life is spontaneous. Things happen that we could never foresee. Death is seldom predictable, yet it visits each and every single person born on this planet.
Spontaneity brings realism to fiction.
That doesn’t mean an author should write by the seat of his/her pants. I’ll outline the bare bones of a story; work up a feel for where it will start and where it will end. But all of that in-between stuff, that’s where spontaneity comes into play. This is usually the fun part of writing. Even I, as author, won’t know the full extent of what a character may say or do until the moment arrives.
But allowing spontaneity to take root is not as simple as just writing whatever comes into your head. If the hero does something that’s out of character, you risk losing readers. In other words, if your hero is an honest guy, you can’t have him stop a robbery in one scene, then watch as he steals money from a Girl Scout in the next scene—unless you’ve already established this guy has those sorts of flaws. This is where a good outline comes in handy. If you’ve taken time to flesh-out your characters, discovering likes and dislikes, quirks, behavior patterns, and such, you’ll be able to insert these characters into scenes that are believable.
However, doing things out of character doesn’t necessarily make for bad storytelling. If there’s a reason, a situation, or even the unexplainable—and it’s done right—a character may behave in a manner that is unrecognizable by even those closest to that person. The American TV series Breaking Bad pulled this off in brilliant fashion over the course of five seasons.
Short stories are a different animal compared to novels—at least for me. I don’t usually outline my short stories (at least not extensively). They begin life as a few words jotted on Post-It notes. These words usually consist of an idea that comes to me while I’m busy doing other things. Last night, I had an idea for a short story. The words on the Post-It read simply: Girl, closet, candle, heroin; trouble with parents. Moody. Eventually, after much consideration, I’ll begin building the story inside my head. When I feel it begins to make sense, can hear the characters voices, and know where I want to go with it, I’ll then start writing the story.
Outlines are important—to an extent. They help keep a story on track, giving the author an understanding of where to start and where to finish. Just don’t get so caught up in the outline that you’ve squeezed all of the spontaneity from your story. Life isn’t diagrammed; it’s filled with shock and surprise and joy and horror. Your writing should be that way, too.
Let’s face it: Real life cannot be diagrammed. Life is spontaneous. Things happen that we could never foresee. Death is seldom predictable, yet it visits each and every single person born on this planet.
Spontaneity brings realism to fiction.
That doesn’t mean an author should write by the seat of his/her pants. I’ll outline the bare bones of a story; work up a feel for where it will start and where it will end. But all of that in-between stuff, that’s where spontaneity comes into play. This is usually the fun part of writing. Even I, as author, won’t know the full extent of what a character may say or do until the moment arrives.
But allowing spontaneity to take root is not as simple as just writing whatever comes into your head. If the hero does something that’s out of character, you risk losing readers. In other words, if your hero is an honest guy, you can’t have him stop a robbery in one scene, then watch as he steals money from a Girl Scout in the next scene—unless you’ve already established this guy has those sorts of flaws. This is where a good outline comes in handy. If you’ve taken time to flesh-out your characters, discovering likes and dislikes, quirks, behavior patterns, and such, you’ll be able to insert these characters into scenes that are believable.
However, doing things out of character doesn’t necessarily make for bad storytelling. If there’s a reason, a situation, or even the unexplainable—and it’s done right—a character may behave in a manner that is unrecognizable by even those closest to that person. The American TV series Breaking Bad pulled this off in brilliant fashion over the course of five seasons.
Short stories are a different animal compared to novels—at least for me. I don’t usually outline my short stories (at least not extensively). They begin life as a few words jotted on Post-It notes. These words usually consist of an idea that comes to me while I’m busy doing other things. Last night, I had an idea for a short story. The words on the Post-It read simply: Girl, closet, candle, heroin; trouble with parents. Moody. Eventually, after much consideration, I’ll begin building the story inside my head. When I feel it begins to make sense, can hear the characters voices, and know where I want to go with it, I’ll then start writing the story.
Outlines are important—to an extent. They help keep a story on track, giving the author an understanding of where to start and where to finish. Just don’t get so caught up in the outline that you’ve squeezed all of the spontaneity from your story. Life isn’t diagrammed; it’s filled with shock and surprise and joy and horror. Your writing should be that way, too.
Introducing Nonnie Jules
***ATTENTION***
Introducing Author ~ NONNIE JULES' highly anticipated debut novel
"DAYDREAM'S DAUGHTER,
NIGHTMARE'S FRIEND"
New Release now on Amazon, Createspace & B&N.com.
To check out an excerpt of this riveting, spell-binding story which is set out of the beautiful city of Houston, Texas, click here. http://nonniewrites.wordpress.com/non...
To read more about Author ~ Nonnie Jules, visit her author page. http://nonniewrites.wordpress.com/
This novel is currently being looked at as a screen-play possibility but you all can help turn that into a reality by simply spreading the word and getting your very own copy! Ms. Jules is hoping for a phone call from the execs of Lifetime Movie Network any day and she truly believes it will happen. The story-line is too great for it not to.
Let's put this story on the map by forwarding and sharing this email with EVERYONE on your email list, with text messages to friends and family from your cell, with post and shares on your Facebook and Twitter as well as simple, yet very effective word-of-mouth.
You may take a glimpse inside the covers by clicking the Amazon links for the title anywhere on this page, but I must tell you, the really good stuff lies well past the preview Amazon offers.
This book would make an awesome gift. How about an autographed copy for that avid reader in your life? Just go to Nonnie's Book Store.
Thank you so much for your support and once again, let's spread the word by forwarding this email to EVERYONE you know!!!
Nonnie Jules, Author
"...and her words breathe life onto paper"
http://www.amazon.com/Daydreams-Daugh...
Introducing Author ~ NONNIE JULES' highly anticipated debut novel
"DAYDREAM'S DAUGHTER,
NIGHTMARE'S FRIEND"
New Release now on Amazon, Createspace & B&N.com.
To check out an excerpt of this riveting, spell-binding story which is set out of the beautiful city of Houston, Texas, click here. http://nonniewrites.wordpress.com/non...
To read more about Author ~ Nonnie Jules, visit her author page. http://nonniewrites.wordpress.com/
This novel is currently being looked at as a screen-play possibility but you all can help turn that into a reality by simply spreading the word and getting your very own copy! Ms. Jules is hoping for a phone call from the execs of Lifetime Movie Network any day and she truly believes it will happen. The story-line is too great for it not to.
Let's put this story on the map by forwarding and sharing this email with EVERYONE on your email list, with text messages to friends and family from your cell, with post and shares on your Facebook and Twitter as well as simple, yet very effective word-of-mouth.
You may take a glimpse inside the covers by clicking the Amazon links for the title anywhere on this page, but I must tell you, the really good stuff lies well past the preview Amazon offers.
This book would make an awesome gift. How about an autographed copy for that avid reader in your life? Just go to Nonnie's Book Store.
Thank you so much for your support and once again, let's spread the word by forwarding this email to EVERYONE you know!!!
Nonnie Jules, Author
"...and her words breathe life onto paper"
http://www.amazon.com/Daydreams-Daugh...
My Review of Daydream's Daughter, Nightmare's Friend
Daydream's Daughter, Nightmare's Friend: One Woman's Journey Through Two Hells by Nonnie JulesMy rating: 5 of 5 stars
Daydream’s Daughter, Nightmare’s Friend by Nonnie Jules opens with a shooting. A teenage girl appears to have pulled the trigger. What would lead an outwardly normal, well-adjusted girl to shoot the primary breadwinner in a home stricken with poverty? Author Jules lures the reader in, sparing few details in this dark read. Think Bastard Out of Carolina by Dorothy Allison for these modern times.
Maiya’s mother is a physically abusive alcoholic with little patience for her daughter (one of seven children fathered by several different men). Bad things happen, which leads to unimaginable and awful secrets far too heavy for a young girl to be forced to bear.
Maiya does have allies in her corner: a godmother who helps the girl deal with the consequences of abuse; a best friend, Charlotte, who wants to shield Maiya from the horrible realities in her corner of the world; loving grandparents who try to do what they feel is right by their granddaughter; and others who drift into her life at various times. But this story is about Maiya, about her struggle for a normal life, about one girl who seeks triumph in the face of certain defeat.
Nonnie Jules has proven herself a skilled storyteller of the first order. As far as debut novels go, this one ranks high on my list. There are some sexually explicit scenes, so this is not a novel for the youngsters. But for those who enjoy a good, solid story, Daydream’s Daughter, Nightmare’s Friend is one you’ll want to read.
View all my reviews
My Review of Damaged Girls
Damaged Girls I by Janice RossMy rating: 5 of 5 stars
Stevie is a man in his mid-thirties. His one obvious vice in life is a taste for young, barely legal girls. The way Stevie sees it, if a girl reaches the age of consent—age 16 in his neck of the woods—she’s fair game.
When Stevie meets the young Jessie, he begins to plot and scheme to make the girl his own. However, after meeting the sixteen-year-old girl’s parents, it becomes clear they do not like the middle-aged Romeo’s intentions toward their daughter. Realizing this won’t be the easy conquest he imagined, Stevie finds solace in his former love interest Jill, who at twenty-one years of age, is too old for Stevie’s tastes.
But Jessie is a stubborn girl. She refuses to allow her father final say where her budding love life is concerned. Cracks begin to appear almost immediately as the relationship begins its ascent. Damaged Girls is a well-written documentation of that which is all too commonplace in our society: One person taking advantage of another for selfish motives. Author Janice G. Ross explores the subject to its very core, bringing to light these character traits that seem to permeate the human race.
Ross presents a great study of characters on both sides of this complicated fence, showing that even the victim in this isn’t really as innocent as one might think. And while the reader certainly won’t feel sorry for the predatory Stevie, the author manages to paint the man as human rather than monster. He has friends who care about him, particularly the story’s narrative voice, a woman named Morgan. But friend or not, Morgan’s goal is to protect the young girl, keeping her from the snare of Stevie’s web. But Morgan just might be too late.
Damaged Girls by Janice Ross is a good, solid read; dark at ties, but quite the page-turner.
View all my reviews
My Review of Fresh Ink Group Showcase #1
This short story collection from publisher Fresh Ink Group showcases an amazing array of talent by indie authors from across the globe. These wonderful newcomers to the world of published authors waste little time in building the foundations of what will certainly be entertaining and successful writing careers.
There are 42 stories contained in the collection, each a winning or runner-up entry from FIG’s annual short story contests. Genres dip into the worlds of Fantasy/Sci-Fi, Humor, Literary, Horror, Hope, Suspense, and more.
The skill level of the authors is consistently impressive. Writers from Canada, India, Japan, and numerous American states, lend their talents to the world of storytelling with unique and fresh new voices.
Writers Holly Riordan, Talya Tate Boerner, and Anna Cates lead the way with 4 winning entries apiece. Another name to watch for is Jasper Grawl, whose novel Valhalla is available from Fresh Ink Group. Grawl has mastered the art of satire with his 1st Place Humor winner “The Big Prologue.”
Each story in the collection is taut and skillfully executed. For those who enjoy great short fiction, this is a book you’ll want on your shelf or on your Kindle.
http://www.amazon.com/Fresh-Group-Sho...
There are 42 stories contained in the collection, each a winning or runner-up entry from FIG’s annual short story contests. Genres dip into the worlds of Fantasy/Sci-Fi, Humor, Literary, Horror, Hope, Suspense, and more.
The skill level of the authors is consistently impressive. Writers from Canada, India, Japan, and numerous American states, lend their talents to the world of storytelling with unique and fresh new voices.
Writers Holly Riordan, Talya Tate Boerner, and Anna Cates lead the way with 4 winning entries apiece. Another name to watch for is Jasper Grawl, whose novel Valhalla is available from Fresh Ink Group. Grawl has mastered the art of satire with his 1st Place Humor winner “The Big Prologue.”
Each story in the collection is taut and skillfully executed. For those who enjoy great short fiction, this is a book you’ll want on your shelf or on your Kindle.
http://www.amazon.com/Fresh-Group-Sho...
My Review of Rave Soup for the Writer's Soul
RAVE SOUP FOR THE WRITER'S SOUL Anthology by Nonnie JulesMy rating: 5 of 5 stars
The indie publishing world is filled with some of the most amazing writers on the planet. Many are raw and filled with potential, just waiting to be discovered by the masses, while others are refined and polished, ready to shine beside any named author the traditional publishing houses serve up. Rave Soup for the Writer's Soul offers a buffet of short stories written by many from both camps.
This collection of short fiction and poetry comes from Rave Reviews Book Club and showcases the talents of club members, many of whom are quickly gaining popularity among fans of indie-published works. Genres vary, offering something for every taste and preference. The talent levels shine.
Readers are treated to samples from some of the better indie authors in the market today. This mini library serves as an introduction to those writers who have also penned novels and poetry collections. If you're a fan of indie and you're looking for a new favorite, this is one of those books that should be on your shelf.
View all my reviews
