Transition from written word to film

My husband and I found ourselves imprisoned in front of the TV for a full day recently. He had a back procedure and had to take easy. So, we rented some movies—some were good and some not so good. It’s amazing that we continued to sit and watch bad films when we knew they weren’t going to get better.In our defense, we, forever positive, thought each of them would improve. There were three movies out of four that fit into the disaster slot.

I’m not going into all the titles because I’m sure there are viewers who like them, but the one I was most disappointed in from the viewpoint of a writer was “Dolan’s Cadillac.” This film was adapted from a short story by Stephen King, an undisputed master of suspense. It also had good actors, Wes Bentley and Christian Slater. Actually, we picked up the movie because of Christian Slater and didn’t realize until later that it was adapted from King’s work. A brief synopsis posted on Slater’s website tracks a vengeful widower, Wes Bentley, who seeks revenge against Jimmy Dolan (Slater), the untouchable Las Vegas crime boss who killed his wife.

Suspense was diminished, the viewer knew what was going to happen early on—they just didn’t know how it would happen and even that waned.

My point, it’s sad a work like Stephen King’s can be so diminished in translation to film.

Oh, well--it happens. Wouldn't we love to get our hands on the script?

Good writing, Betty Gordon

Humor in Fiction- Reflections of a Sit-down Comic (Part One)


I have been invited to give a talk on humor in fiction this weekend at Read It Again and Again Bookstore, here in Houston (if you're in the area, I hope you'll stop by!). I thought it would be fairly easy to write a talk on the topic. 


I was wrong. 


I'm going to share parts of the talk over the next week or so, because i hope others will find it helpful. I know I learned a lot by wrestling with the topic.


After some thought—and a fair bit of panic over my chosen topic—I realized I needed to approach this like any talk on a writing topic. That didn’t help as much as I’d hoped, and I couldn’t find any of the books I used to have on writing comedy (and never quite got around to reading), so I turned to Google to see what others of my ilk had to say on the subject. I did find quote by a humorist named Gordon Kirkland-though the quote isn’t funny. It is true.


“Identifying what constitutes humor is nearly impossible. Aristotle tried to define humor. Sigmund Freud tried to identify the purpose of humor. Even Darwin got into the act. None of them could come up with a clear definition of what is and what is not funny.” (Gordon Kirkland)


It is a truth, not universally acknowledged, though it should be, that most of us find it easier to know when something isn’t funny, than explain what is. Humor, good and bad, can be both personal and particular. It can be universal and groan worthy. I could probably reel off a list of sitcoms and start a fight  over which are funny and which aren’t. We may not be able to define funny, but we will defend our version of it from all humor-impaired comers.


None of which helps when we try to add humor to our prose. Let me state the obvious.


Written humor is very different from spoken humor.


A standup comedian has a big advantage over the novelist. He or she knows right away if the joke bombed and can adjust their routine, or even turn the bomb into a new joke. (This can also be a disadvantage.) The novelist may never know if a joke bombed or provoked laughs, unless you read about it in a review somewhere or a reader writes you. 

The Naked Truth About Book Publishing Hits Virtual Book Shelves

SHORT STORIES AND THE “HILL CURVE”…

The short story has held a significant place in literature for countless years and I dare say it will continue to do so. A writer friend of mine commented a few days ago that a short story was much more difficult to write than a novel. She found it hard to maneuver the events of her tale into lengths of 3,000 – 10,000 words. She also felt if she managed 10,000 words, she should go forth to the novella or novel format. Her comments returned me to literature class and a review of the six elements under a plot line—the “Hill Curve.” I still visualize the famous (or infamous depending where you stand with it) curve when I begin a short story. My comments are primarily meant for ‘newbies’ dipping their toes into this concise world of fiction.

I believe most of us would agree that the elements involved in the curve are easy enough with one exception…rising action. Certainly the beginning of a story, or exposition, conflict, climax, falling action and resolution all fit snugly into place much like pieces of a puzzle, but oftentimes rising action rears its ugly head to give us trouble. Most writers accept the idea, at least intellectually, that it shouldn’t be a problem because the action is simply transporting the reader to a believable climax. True, but the road from conflict(s) filled with appropriate rising actions is frequently filled with as many potholes as some of our Houston streets. Keeping the reader filled with energy of the writer’s particular story—excitement, intrigue, terror, etc. is often a demanding task. After the climax, of course, the other side of the hill, the falling action, slides into place and begins solving the characters’ problems. Then joyful, or perhaps not so joyful, resolution concludes the story and the writer rejoices as he types ‘The End.’

Rising actions of a story, in concert with the genre of the tale, may reveal themselves in many ways, but one constant—the events leading to the climax must be compelling.

Good writing, Betty Gordon

Setting The Stage

WHAT COMES FIRST—THE PLOT OR THE CHARACTERS?

For me, the plot comes first. What is going to happen in the story, what conflicts are involved in getting to the, as yet, undetermined end, etc. Then, as soon as I have a flavor of the narrative in my head, my characters jump to the page albeit they are ‘wooden’ at that precise moment. For example, if it’s a crime novel and the protagonist or one of the protagonists is the hero detective, you decide if you want him gruff, hard as nails, dogged, determined. On the other hand, he may be a diligent puzzle solving cop who gives off a calmer exterior. Clothes? The first example would be a rolled-up sleeves kind of guy, he doesn’t like ties or suits although he keeps them in his office closet for times he must wear them. He doesn’t hide his emotions from his staff or suspects who take one look at him and know he means business. He’s not some pretty boy who sits in an office and barks out orders. His hair might be cut military style and he vascillates between wearing military or cowboy boots with jeans. He sometimes skips shaving every day. The second detective is a suit and tie kind of guy who studies color to acquire desired results. If testifying in court, he wears grey with a moderate tie. He doesn’t stand out in a crowd and while his exterior projects calm, his insides are constantly battling for composure. This battle might show itself by nervous movements, constantly running his hands through his hair, chewing on his lips, thumping his fingers on the desk…you get the point.

Once the plot is secure and some of the characters are determined, dressing them is the fun part. Creating actual flesh-and-blood people gets my adrenalin pumping. I keep a steno pad by the computer where I jot down different attributes of each character and the list grows and changes with the story.

A sidenote: Discussing characters’ clothes reminds me how much I loved making clothes for my baby doll or paper dolls when I was young. I could design anything I wanted and color them anyway I wanted. I had good girls and bad girls and their clothes showed their dispositions. As I grew older, I actually sewed clothes for my doll which became extravagant, but thought provoking. I guess I’m doing something similar these days—showing my characters’ dispositions by their actions and clothes.

A question: do you prefer a detailed description of a character when they are introduced or do you prefer bits and pieces dropped at various times? Somerset Maugham was a master at giving detailed descriptions of his characters as they were introduced. The reader could get a flavor of the character quickly and weave him into the story. My personal choice is an author who intertwines the characters’ clothes and mannerisms with the twists and turns in the story. Of course, who can quarrel with Somerset Maugham’s characterizations?

Bye for now, Betty

Dressing Your Characters for Success -- and the Future

I had an interesting email discussion with a friend. She's rereading an old favorite novel, one written in the 80's, and got kicked out of the story when the wedding party in the story trotted onto the page wearing brown spice tuxedos with ruffled apricot shirts. The suspension of disbelief was further eroded when the bride's mother exited the room wearing "Eve Stillman." 


Back then, my friend probably knew what that was. Or maybe not. Doesn't matter if she knew it then, because she doesn't know it now. And if she doesn't recognize the designer, then a new reader, born in the 90's? That reader won't recognize the designer for sure.


There's obviously no way an author can foresee and plan for all possible changes in society and fashion and we want/need to make our stories feel current and "real." How do we make our stories feel current and yet be durable?


It takes a little foresight and some planning, that's for sure. For instance, designer clothes. While you might have your personal favorites, unless they are paying you for product placement, don't dress your characters in labels that haven't been around for a significant amount of time. 


There's nothing wrong with trendy clothes, and they are often important to character creation and consistency, but avoid detailed, time stamped descriptions, such as spice brown tuxedos. 


Try to find a balance between the particular and the general that feels current, but allows the book some longevity and durability. (Just between you and me? I hope that even in the 80's I'd have twitched over the thought of a spice brown tuxedo and apricot ruffled shirts on the groomsmen.)


Before authors go ballistic on me, yes, I know that there are details that will anchor your book in your contemporary setting. That is inevitable and, yes, necessary. The problem with contemporary fiction, it takes time for the time frame to become historical. And while you are waiting, if you don't expire first, children are being born who might discover your fiction, then bump into details that are just out of style.


If you are building a long term career, one that lasts ten, twenty, even thirty years, then you should consider taking the long term view when you are dressing your characters. And if you use contemporary, trendy detail, at the very least, be conscious that you are doing it. Make it a choice, not an accident that will come back to haunt you 20 or 30 years from now. 

THE HEART OF A POET…
When I put fingers to computer keys, I planned to discuss short stories and then my Muse took over: -
Let me begin by saying I enjoy poetry—I enjoy reading it, I enjoy writing it, but I don’t do either anymore because I’m so immersed in writing fiction. However, since my source of inspiration is pushing me to reminisce about poems, I decided to consider the strongest connection, at least for me, between poetry and fiction. It’s probably no surprise that the primary connection is the rhythm of a sentence(s), the rhythmic flow, the cadence that fills the air with blended sounds. Fiction writers are faced with it every time they read their work aloud. When something is off, but the words are correct, the structure is correct, what is it? In my case, it’s usually the rhythm. I find this occurs with names too—one syllable, two or three?
One of my writing professors once told me if an author writes from the heart, the reader will take it to heart. One might argue that a writer always creates work from his heart, but is this true in fiction where our imagination flows into situations we have never encountered? On the other hand, I believe poetry must come from the heart. Good examples are Robert Frost’s poems. One that comes to mind is “Stopping by Woods on a Snowy Evening.” Is this a poem of isolation, philosophical views of a way of life, death, etc.? I’ve heard many good arguments on each item listed. When reading this wonderful poem, I focus more on the rhythm and images his words evoke than the underlying philosophy of his words (that does come later, of course).
So, how does the above dovetail with fiction? There are numerous ways, but it bears repeating that the most significant for me is the cadence and the image(s) the sentence portrays. There are many, many authors whose work reflects beautiful rhythms, but one who immediately comes to mind is a local author many of you know, Rosemary Poole Carter. The following quote is from “Women of Magdalene”: -
“Spanish moss drooped from the low branches of cypress, overhanging
the tributary, whose shadowy course was rarely lit by a patch of sunlight. There
was a dark, damp closeness in the air. No birds sang here, no squirrels chattered
in the trees along this particular stretch of water. Pausing to wipe the sweat from my
brow, I felt a soft breeze and took a deep breath of it. And then I understood the
quiet. My head and lungs filled with the biting odor that silences Nature. …”
Robert Frost would no doubt pen a thought provoking poem from this paragraph.
Now, I’m going to take my iambic rhythm and dimeter meter back to my office and concentrate on whether to use a gun, knife, or poison in my next mystery.
Betty Gordon

Casting Your Film 

DRAW THE READER IN…

As writers, we all search for character descriptions that intrigue, entice, and tickle readers’ imaginations. It’s easier said than done, right? It goes back to the old show don’t tell advice. It’s good advice. Hopefully, the more one writes, the easier this task becomes. There are as many techniques to ‘show’ as there are brilliant writers. I particularly liked Lisa Gardner’s opening in “The Next Accident” which defines emotion in a thought provoking manner, but also uses words that shape warnings: -

“His mouth grazed the side of her neck. She liked the feel of
his kiss, whisper-light, teasing. He drew her earlobe between
his lips, and the giggle turned to a moan. … His fingers lifted her
heavy hair. They danced across the nape of her neck, then slid
down her bare shoulders. …
“One bottle of champagne empty on the bed. Another half gone. Her
mouth tingled with the forbidden and she kept telling herself it would
be okay. … They were celebrating, they were mourning…and either way
champagne sex shouldn’t count with the nice folks at AA.”

This could be read as a simple romantic connection between two characters. On the other hand, since we know Ms. Gardner writes mysteries and/or suspense tales, there are signals that all may not be well for the female character. Certainly she shows the reader a great deal about the young woman in a few sentences. The use of “heavy” in relationship to her hair was interesting as well as the juxtaposition of “celebrating” and “mourning” and champagne sex” with the “nice folks at AA.”

Showing contrasts, particularly for our villains, works wonders. We see this on many television shows—a killer may possess true sensitivities one moment and ruthless ones the next. A great example, of course, is Hannibal Lecter. Who among us can forget the sharp contrasts at play in his story. He is a villain capable of horrific acts but also one capable of appreciating fine music. In other words, good versus evil play off each other.

The study of contrasts leads away from nouns with modifiers to active subject-verb sentences. I have to admit I love a good modifier that creates a wonderful description in my mind, but what about everyone else’s? I used to take time to analyze certain sentences in a book after I finished reading it, but gathering time to do so is hard. Writing about this now, however, leads me to keep aware of juxtapositions and contrasts other writers use and see where it takes me.

Happy writing!

Betty Gordon

THEN AND NOW…

A writer’s journey to publication can be daunting, intimidating, and overwhelming for the pre-published, but it can also be filled with learning, growth, and joyful anticipation. There are many pitfalls along the way—a lot of us succumb to them before we finally grab the brass ring that confirms words folded into our beloved manuscript have made their way into a publisher’s stronghold.

Before entering the fiction arena, I had published poetry and non-fiction, but fiction was an animal with different stripes. I read every book I could put my hands on examining other writers’ efforts to get published. Of course, I went to conferences, took on-line classes, etc. It was all good. I kept my focus on a star overhead confident it would lead me to an outstanding agent, one who would immediately sell my work to a publisher. In the meantime, I listened to all the horror stories about less than perfect agents—I won’t go into them as I’m sure most of you have heard them too, but I will say I met some wonderful agents at conferences who were receptive and welcoming. I also had one very bad experience which, after I had time to reflect, was my fault. Even so, the situation could have been handled better. In the long run, the less than perfect experience proved to be a gift because I learned how to handle an interview storming down the wrong path. This particular conference had a long list of agents, but there was only one available who appealed to me. There was a problem, however, she wouldn’t accept mysteries. The agents who did handle them were filled to capacity. So, when I saw she worked with women’s fiction and since my ‘mystery’ revolved around the lives of four women, I thought (novice that I was) I could turn around and pitch it as women’s fiction. A BIG mistake on my part as it took the agent less than a minute to declare my work a mystery. Her blood pressure shot up and she told me in no uncertain terms that I wasted her time. Her angry display wasn’t necessary, but it certainly made an impression on me. If my manuscript was a mystery, it was a mystery—plain and simple. When I returned home and had time to reflect, I wrote her a letter apologizing for “wasting” her time and closed that chapter.

Time passed. I continued to study, to write, to learn from mistakes and they all led me to my great publisher, L&L Dreamspell, owned and operated by two successful and enterprising women, Linda Houle and Lisa Rene Smith. I don’t tell them often enough how much I value them, but I sincerely do. My wish for all aspiring writers, as well as for published authors seeking a change, is that they find a publisher of L&L’s ilk who will nourish and encourage their growth.

Bottom line—watch for that brass ring, grab it, and ENJOY.

Betty Gordon

Welcome Betty Gordon!


I"d like to welcome author, Betty Gordon to All the World's a Page! I'm thrilled to have this talented author join our blogging team!


About Betty: