The straight and well-defined line of the Plot Planner is an attempt to control the twistier and often blurry reality of the Universal Story. Plot twists engage readers. Each time the dramatic action twists in an unexpected (and carefully foreshadowed) direction the protagonist is forced to define new goals and perform difficult tasks, pointing the reader in the direction of her true goal.
At each of the
4 Energetic Markers, imagine and list five horrible
antagonists that create five most horrible events. Look for people and action that feel the most thematically true to the protagonist's ultimate transformation AND that twists the story in a new (and carefully foreshadowed) direction. The Plot Planner guides the direction and degree of story intensity and provides a place for expansion. Each horrible thing broadens the readers appreciation of the protagonist's sense of self beyond the limitations of what was currently visible in the story.
The New England Horror Writers (NEHW) just today followed me on Twitter, @NEhorrorwriters and RTed one of my tweets to their followers. I followed back with the comment how horror writers penetrate our deepest fears and bring darkness to light.
In real life most of us run from the dark. We're afraid of the unknown and always looking for the light or dulled to an ashy grey. We deny our feelings and our protagonist's their shadows. We attempt to navigate the straight and narrow line of the Plot Planner, afraid of losing control of the story and falling into an abyss.
The braver you are, the bigger your story. Rather than confuse the reader, each plot twist spins the story deeper into the darkness of what haunts the protagonist, urges her to take heart and gather her courage for her next defined test of initiation and, in the end, brings the light and her true personal power.
At each step deeper, name the emotion. Search for the truth in the emotion. Convey that step, that emotion in an active, energetic and meaningful way, fulfilling the three major plot lines:
Character Emotional Development Plot -- emotion
Dramatic Action Plot -- steps taken / resistance met
Thematic Significance Plot -- defines that action / the meaning of her emotion
At each twist and turn and dark thing that happens as she pursues lofty ideals define her next specific short-term goal. Imagine the next horrible thing, obstacle, challenge, demon she meets. Foreshadow and twist the forward action in yet a different direction that affords a new view of her. Show emotions thematically true to her.
Each time an antagonist twists the story in a new direction, the protagonist defines a new goal like an arrow flying in the direction that brings forward her true purpose, releases power and provides her the freedom to conquer her fears and align with the final confrontation in her willingness to transform.
For more on plot twists
:
1) The Plot Whisperer Workbook: Step-by-step Exercises to Help You Create Compelling Stories2) The Plot Whisperer: Secrets of Story Structure Any Writer Can Master
Fascinating plot consultation today. The writer knows how she wants the story to end -- the Climax -- and needed support to find a way to get there.
I have found that writers who know the end of the story early on in the writing of a story often are able to stay on track more easily than writers who have no idea where they are going (though if you're one who has no idea of the end, eventually you'll finish the first draft and thus, eventually will know the Climax and have the same advantage as the writer who knows the Climax before starting out).
Either way, knowledge of the climax determines so many of the earlier decisions you need to make.
The action the protagonist takes at the climax reveals what traits, knowledge, and skills are necessary for her to prevail. Thus, these necessary skills will be missing at the beginning and she will need relearn or rediscover them throughout the middle. Some skills she will be learning for the first time, but the true skills necessary for success at the climax are rediscovered after having been lost or buried due to her backstory. This is a backward approach to developing a character, deconstructing the end character to determine who she is at the beginning.
Most writers write with a forward approach to developing a character. You fill in a flaw, a strength, and five other character traits on the character profile. Either you begin writing first and the character reveals these traits to you, or you decide upon the character traits first and then construct a character using those traits. However, today was the writer who represent those who write from the climax back to the beginning.
What kind of writer are you?
Steeped in nature and beauty, surrounded by writers willing to take a risk, for five days, I went through the process of creating and analyzing plot at both the scene and the overall story level.
Several writers at last week's plot retreat were local. The rest flew in from Nevada, Colorado, Mississippi and handful from southern California. Some of the writers knew me from plot consultations and previous workshops and retreats. Others were familiar only through my book and/or other plot tools and YouTube Plot Series.
The focus on Character Emotional Development plot brings up opportunities to use the writing life as examples writers can relate to along with classic novels, memoirs, and screenplays. That, in turn, always challenges me to examine my own writing life which reflects my internal life or spirit.
My professional goal is to support writers in developing plot. What used to stand in my way was fear and insecurity. I never could let that stop me because of the belief that if I don't continue taking steps toward my goal, I lose the gift.
For a time, I celebrated the confidence I found in conquering my fear and insecurity thanks to writers generous feedback. After this plot retreat, I know I still have a distance to travel.
After reliving all the amazing moments over the past five days, I began spotting specks here and there in the magnificent tapestry we created together. Worry cropped up in the one or two writers confusing body language and feedback and I found myself growing smaller. In the knowledge that antagonists support profound character transformation, of course, I feel gratitude to both the writers acting as allies and the shape-shifters who acted as antagonists, too. Rather than feed the strength of the antagonists by wallowing, however, I mine the lessons there. Having done so, I am able to deliberately shift my focus from the worry and, instead, revel in the majority's effusive and deep-felt gratitude.
It was an incredible five days. Thanks to each of you for taking time out of your busy lives and attending. You touched my heart in deep and wonderful ways.
Fill in the Character Profile below for your protagonist (the character who is most changed by the dramatic action), any other major viewpoint characters and, if there is one, the character who represents the major antagonist for the protagonist. If you decide to do it for yourself as a writer, too, I'd love to learn your answers. You do not have to include your name.
1. What is this character's goal?
Following the in-depth article Emotion Makes the Plot article about tips for creating emotion in your characters, I offer the following.
Use of the following behaviors, which impede effective communication, are effective for creating conflict and tension and deepen character:
Walking away
Sarcasm
Blame
Short Temper
Withdrawal
Not listening
Talking over
Looking away
Shouting
Anger
Criticism
Intellectualizing
Debating the complaint
Threatening to leave
Counter-complaints
(List is thanks to my dear friend, Teresa LeYung Ryan, and Emillo Escudero. Thanks!)
Gotta run. More later.
Hope these help....
Character makes the story. Character draws us into the story. The reader and the audience have to like the characters before they will commit to the story.
A blah protagonist, passive, and pretty quiet (like writers often tend to be) makes for a blah, passive, quiet story.
To spice up the protagonist, give her a goal. The goal has to be specific and quantifiable. Gets her moving. Gets the story moving.
Give her something to do.
Start the story with a dramatic question:
Is she going to... or not? Will he.... or not? Did they... or not?
She takes steps necessary to answer the question.
A concrete goal gives protagonist action so the reader can react to what the character does rather than merely follow her internal monologue.
Get her moving. Let her actions define her.
Cut all flashbacks.
For more on goal setting:
- read my article in the March '10 issue of The Writer (on book stands mid-Feb.)
A dear, dear friend asked me what I thought of an editor's comments regarding her latest book. Having been told that the book did not have a wide enough appeal to a general audience but rather more valued by family and friends who could fill in the gaps, my friend turned to me.
First let me say that my friend is a terrific writer -- she has a wonderful way with words and though this latest book comes closer to a true story than her first book -- a collection of short stories -- I agree with the editor.
Without having dropped the veil on her own personal story and the deeper story of her relationships, the reader never has a chance to see how she is changed by the journey she undertakes in the story. Instead of more closely concentrating on her inner evolution, she focused on the outside. And, by keeping herself at a distance, the reader in the end is robbed of the true joy of reading -- identification.
Universal appeal comes through the character -- the inner plot, not though the dramatic action -- the outer plot. The protagonist (in a memoir, that means you, the author) drives the story and the allows for an emotional involvement on the part of the reader.
Yes, my friend wrote herself in such a way that she comes across strong and both empathetic and sympathetic. However, without a clear goal and an clearly identified inner problem that gets solved, the reader is left to fill in the gaps.
Key elements in the character inner plot:
1) The protagonist must grow throughout the story in a believable and meaningful way.
2) Protagonist goal = must be specific. The goal is what motivates the character and is what allows the reader to gauge when the character comes closer to goal and when she is thrust further away. What does the character want and why?
2) The character must reveal themselves to the reader. This can be accomplished through dialogue and descriptions, and through the actions she takes. In whichever way the writer finds to "show" the character, the character's emotion must be included = Character Emotional Development.
3) The secondary and minor characters act as real people who offer comparisons and contrasts to the main character, thus expanding the readers' understanding of the protagonist and of the overall theme itself.
4) Is the character struggling against herself and an external antagonist? Whether an inner demon or flaw and / or an external antagonist, we must understand the obstacles in the way of the protagonist achieving her goal to more fully appreciate the growth she ultimately makes.
Question: I know the entire story. I'm just not sure how much to tell.
Answer:
Tell only the parts that show more about:
1) the character emotional development -- this info should come in stages, revealing deeper and deeper layer, the deeper and deeper the reader reads
2) the theme -- as the plot advances, the thematic significance of the story deepens
3) the dramatic action -- action becomes dramatic when filled with conflict, tension, suspense, and / or curiosity -- the sense of threat either internally driven or external
4) the details that make up with world the characters live in -- use only authentic and specific details and go for as much symbolism as possible
Tell nothing more. Show nothing less.
As an addendum to Plot or No Plot, I'd like to clarify the Plotless...
When I say literary novels are plotless, what I mean is that the Character Emotional Development plot-line is at the fore and drives the story. Dramatic Action is present, though generally as a prop more than a plot. Thematic Significance makes the entire story worth reading. And... the Universal Story Form is always flawlessly present.
By: Martha Alderson, M.A.,
on 12/1/2008
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Welcome!
Today begins a month-long opportunity to craft a draft of your writing into a story.
First, take time to congratulate yourself! You've done what many have talked and dreamed of doing -- you've written an entire story from beginning to end. Celebrate!
Next, craft the project into a coherent piece worthy of publication. During December, take the steps needed to analyze what you've written and brainstorm for an effortless draft two in January '09. Revision your project before actually rewriting the manuscript.
Everyday this month, I'll provide tips and tricks and inspiration.
No writing required.
Following are a couple of caveats for our month together:
1) Do NOT show anyone what you've written so far. The first draft of any writing project is considered the generative phase. At the end of the generative phase, a writer is often faced with a manuscript full of holes and missteps, confusion and chaos. This is part of the process in that editing and/or an unbridled internal critic in the generative phase risks stifling the muse, which often results in stagnation.
Your first draft is a fragile thread of a dream. You know what you want to convey, well, maybe and sort of. Few writers can adequately communicate a complete vision in the first draft of a story, especially when writing by the seat of your pants. Allow others to read your writing now and you risk losing energy for your story and becoming overwhelmed by the task ahead of you.
2) Do NOT read what you've written. I know, I know. You're anxious to read your hard work. However, the longer you give yourself before actually reading your first draft, the better. If you read your manuscript now, you're still close enough to the work that you'll automatically fill in the gaps. Give yourself distance first. This allows you to read your work more objectively later.
Let's get started!
By now, you know who the protagonist of your story is. Stories are about character transformation. The character who is transformed by the dramatic action in your story is your protagonist. Fill out the following for your protagonist. If the major antagonist in your story is a person, fill out the following for that character as well. If you have more than one point of view character, fill out the form for that/those characters, too.
CHARACTER EMOTIONAL DEVELOPMENT PROFILE
Character’s name:
Dramatic Action Plotline
Overall story goal:
What stands in her way:
What does she stand to lose:
Character Emotional Development Plotline
Flaw:
Strength:
Hates:
Loves:
Fears:
Dream:
Secret:
Good luck! And remember, as tempting as it is, do NOT read your first draft. That will come later. For now, use what you know about your characters to fill out the form.
I recently received the following:
"I've a topic for you. What about the no-plot novel? I've always argued that a novel doesn't need a plot as long as it has a point, also there's the whole "character is plot" argument. The plots in my books are neither here nor there, just things to get my characters to do while I write about them."
I'm not certain what he's getting at here. "...as long as it has a point." I assume this refers to the deeper meaning of the piece or the Thematic Significance. "....character is the plot." I assume this refers to the Character Emotional Development. "...just things to get my characters to do while I write about them." This, I assume, is the crux of his query -- no dramatic action? Perhaps. If the "things" involve conflict that the character then has the opportunity to respond or react to emotionally, I'd say he is writing a novel with plot.
Again, I define plot as a series of scenes deliberately arranged by cause and effect to create dramatic action filled with conflict in order to further the character's emotional development and provide thematic significance. In other words, when the dramatic action causes the character to be changed at depth over time the story means something.
What do you think??? Is he writing with plot or no-plot? Perhaps I'm reading too much into what he's written because I dread thinking he's writing with no conflict involved. Don't get me wrong, I believe character carries the story. Still, even with beautiful language, internal conflict without any external conflict, could end up a slow, boring, flat read indeed.....
Read the rest of this post
Hi Martha,
Here's a question that I'm almost too embarrassed to ask.
My SceneTracker is strong from Chapter 1 Scene 1 through Chapter 3 Scene 7.
I have the big scene for Chapter 5 Scene 15.
It's the empty 7 scenes between that is making me anxious and doubt myself. I could develop characters in each scene and provide their POVs but I feel like I should know the flow and what will happen next "because she did this ...."
Does this happen to others?
And what would be the best way to prime the muse to have the characters tell me the rest of the story?
Do your characters "talk" to you? I've heard writers say this.
What do you honestly think?
Writing in North Carolina
Dear Writing in North Carolina,
One technique would be to leave the scenes empty for now and forge ahead.
If you believe that the Climax -- the final big scene before the Resolution at the End -- determines what comes before, the sooner you reach the Climax the better.
Sounds like creating Dramatic Action filled with conflict, tension, suspense and curiosity is intuitive for you and Character Emotional Development less so. Why do I say that? You wrote first that "I could develop characters in each scene" and followed with your gut feeling: "I feel like I should know the flow and what will happen next "because she did this ...."
Stay in your strength while keeping the goal of writing your first draft all the way through. The important thing is whatever keeps you writing.
My characters seem to take up residency in every aspect of my life for as long as it takes me to finish a project, which can be a long time. I usually know the end before I begin. I take it draft by draft by draft, knowing each draft will deepen my vision of the project as I sink deeper into the story and spend more and more time with my characters.
Look to research to help dream up and develop scenes. Once you know:
1) what the character wants
2) what stands in her way
3( What she stands to lose
4) The character's flaw
Find inspiration and ideas in researching the unusual world you'll develop in the Middle, any major historical, political, spiritual, scientific events during the time period including contemporary.
I'll put the word out for input from other writers.
Good luck.
Sincerely,
Martha
By: Martha Alderson, M.A.,
on 1/14/2008
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One of the most fascinating aspects of being a plot coach for writers is learning about other writers' writing process.
Usually, I find that writers have a preference for communicating their projects through one plotline initially over the other three plotlines --- character emotional development, dramatic action, and thematic significance.
Most writers divide into one of two groups -- developing characters versus developing action. However, every so often I find a writer who approaches a story through the thematic significance or deeper meaning of the piece. Recently, I worked with a writer who not only excelled in thematic significance, she was drowning in it.
Sara, I'll call her, is a memoirist. Throughout the plot phone consultation, Sara’s fears of not being able to do what she had set out to do constantly interrupted the flow. Her self-doubts about her abilities and worthiness were doing to her what they do to all of us -- stall, cripple, and damage the writing process more than any lack in actual writing abilities.
To protect herself from her fears, Sara stayed in her head. She seemed incapable of bringing the story down into her body. As difficult as it was to get her to consider the dramatic action needed in her story, she was oblivious to developing the characters. Sara had spent years intellectualizing her memoir. She had never written a word.
Sara had strong beliefs she was determined to bring forward, points to prove, judgments to render. When given the chance to stay in the intellectual, Sara's voice grew strident. I sensed she had to force herself to bite back true anger. Yet, her bitterness was the very emotion preventing her from actually ever writing her story. To get around her anger about the unfairness of the establishment, I kept asking her to consider the protagonist's (her) transformation and what actions got her there.
We finished the consultation after more than three hours with a good plot planner in place. However, I worry about whether or not she’ll ever get beyond her self-doubts and anger to actually get out of her head and write the story. I hope so. The story has merit. We’ll see….
*FYI: For a technique to determine what parts of your life to include and which to cut in your memoir, go to http://www.blockbusterplots.com and click on Memoir Writers.)
**FYI: Sure, lots of natural-born storytellers excel at all three approaches to writing at once. But, for the rest of us, a firm understanding of our strengths and weaknesses can help us achieve balance in creating our stories.
I have a test for writers to determine whether they are a character-driven writer versus a dramatic action-driven writer on http://www.blockbusterplots.com/test.html
OR
Ask yourself if you prefer to develop the character and break down at coming up with conflict, tension, and suspenseful dramatic action? Or, are you great at creating breakneck excitement on the page, but come up short when it comes to character?
OR
Do you live through your mind and like to intellectualize about life? You could be best at developing thematic significance.
Are you active and live through movement and your body? You could be best at developing dramatic action.
Are you spiritually driven -- this does not mean religious, but spiritual? You could be best at character emotional development.
By: Martha Alderson, M.A.,
on 1/7/2008
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I have purchased and read your book "Blockbuster plots pure and simple" and I still don't understand. I'm starting with a basic logline for a plot and don't know how you come up with scenes if you don't even know what the story is about. It would seem to me that in order to create scenes or follow the plot planner portion of the book you need to know more about how the story is going to unfold than you know when you just get the idea. It feels like there is a step missing between the initial idea and being able to come up with scenes.
What am I missing?? Please help!
Thanks,
Muriel
Dear Muriel,
Often, with a firm understanding of the Universal Story form and the natural trajectory of a story, writers can better come up with scenes needed to create a story.
If character most intriques you, start with the character emotional development profile (info can be found in BBP, on the website, and in entries below).
If dramatic action ideas bubble forth, start with the action.
Study the three biggest scenes in a story: The End of the Beginning, The Crisis, and the Climax (in the second half of BBP -- Plot Planner portion of the book -- also, the blog has info on these three critical scenes below).
See if you can visualize any of those scenes in your story.
How do you get your character from the beginning to the End of the Beginning?
What events are you interested in exploring, writing?
Do you plan to use any true historical events?
How can those events work into creating one of the three major plot lines (examples are in the book and below)
or....
Start with whatever you've got. Write that in scene. Then ask yourself: because that happens, what happens next.... Write that scene. Then ask yourself again -- if that happens, what happens next?
Hope this helps.
I'll put the word out for other writers to give their ideas as well.
Great good luck.
Sincerely,
Martha
Loads of plot consultations this month. Writers scramble to achieve this year's goals, before it's too late....
Haven't had time to debrief here, what with the holidays. But I was just feeling on top of Christmas, had a quiet moment, and decided to tackle emails. The first new email unanswered by me -- 12/5 -- is the following... I haven't blogged lately, so I thought I'd post and answer her email here at the same time, to save time.
I hope her question and comments might help other writers interested in character growth or character emotional development.
Writer's Question and Comments:
I can't begin to tell you how helpful your two DVD workshops and book have been to me! They are so clear and well-done that I do believe I've got it! (The Great Gatsby and Tom Sawyer).
I have my story in mind and have outlined all 60 chapters, about three scenes each, and examined each scene and plot. However, I am weak in developing the other characters in my story and how to show their growth or lack of growth. I feel I'm contriving a scene to show how main characters deal with one delay after another to build tension. Could you recommend a method or specific one of your DVDs to help with this? For example, I'm reading Pillars of the Earth by Ken Fowlett right now ... there is one escape scene where the main character is attempting to saddle a horse and get away from the antagonists and she keeps dropping the reins and is unable to quickly get on the horse to make her escape. This seems like such a simple device and yet a couple of pages are dedicated to describing how it's going for her. I can hear your "voice" so clearly that I laughed out loud ... yes, this is exactly what you mean when you say to have it get bad for the protagonist, then make it worse, and then make it worse several more times. The tension that scene built was palpable!
I plan on consulting you when my project is complete for a full analysis. Since I am really just beginning, I don't have enough for you right now.
Thank you again. I do hope you can recommend something for me. I'd really appreciate it.
Writing in North Carolina,
Nancy
Dear Nancy,
Thank you for your kind words! What a wonderful gift. Thank you.
I feel like you're asking two questions here:
1) How to develop "the characters in my story and how to show their growth or lack of growth."
2) How not to contrive "a scene to show how main characters deal with one delay after another to build tension."
#1 is about the character. I hope this isn't redundant since you've seen the DVD, but I recommend using the Character Emotional Development Profile info to help.
The Beginning 1/4 of your project, you introduce the flaw and fear and hate.
The Middle 1/2, you develop the flaw and fear and hate.
The End 1/4, you show the transformation.
In other words, you don't have to show the growth until The End. Should be smooth after you've written the Climax (last big scene of the entire project.) Once you determine how the character will show her transformation in the Climax, just go back into the scenes that build to the Climax and show the character as she moves closer or further away from her goal.
#2 is about character, too, but is mostly about the dramatic action.
Which one probably depends on whether you are a character driven writer or dramatic action driven writer (there's a test at http://www.blockbusterplots.com, if you're not sure which you are).
In other words, are you building a scene to show character growth first and the dramatic action second?
Or, are you building an action scene first, and have the character react to the action second?
Either way, if you're writing scenes through cause and effect, your scenes can't be contrived. If each scene grows out of the scene that came before --- "because that happens, what happens next?" -- then the scenes are organic and formed out of causality.
Great good luck on your project.
Winter Solstice tonight -- tomorrow the days begin getting longer........
Lots to be grateful for, including your generous words.....
Sincerely,
Martha
Q: My current story has my two main characters. The P.O.V. shifts from one to another in alternating chapters as the chase continues to a surprising climactic ending. I have written a plot summary (chapter by chapter so I know where it is going) and what the arc of the story will be. I have completed three chapters so far, but would appreciate any tips you might share with me on plotting my story with a shifting P.O.V. in this way
A: A quick tip I can give you is this ~~ on your banner paper, draw two plot planner lines, one above the other. One each for the two major characters. Use these lines to plot out their individual plots. Develop a plot profile for each to help with their individual character transformations. This way you're ensured to have two deeply developed characters and are able to plot out their individual stories and how the two intertwine with each other.
By: Martha Alderson, M.A.,
on 10/29/2007
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The following are questions that came up after the last post. Thought the questions and answers might help other writers so I include them below. Happy plotting...
Q: So basically it’s the scene(s) in the climax section that we have to watch out for in terms of the final CED, to see if the character has evolved from the initial fatal flaw in the beginning of the story?
A: Yes, the scene in the Climax is what each and every scene has been driving towards throughout the entire story, which is why it's a good practice NOT to go back and start over again until you have written all the way to the Climax and are pretty sure what that scene is. If you find yourself in that cycle of constantly going back and beginning again, you'll perfect those early scenes that may end up being cut when you finally understand the Climax. Once you know the Climax, you have a much better idea of how best to begin the project.
Q: And what you are saying is that it is suffice by just marking it in a different color to denote the arc or character journey in emotional development? Subplots, therefore don’t need to be marked separately in Plot Planner because it is intertwined within the Dramatic Action?
A: Some subplots deserve their own Plot Planner. In that case I recommend that one line is above the other so you can see how the subplot works with the major Dramatic Action and Character Emotional Development plot.
Q: On the last question, so summaries don’t show thematic details?
A: On a subtle level, thematic significance shows up everywhere ~~ in scene and summary ~~ though word choice, mood, etc. However, you only plot out scenes on the Plot Planner and on the Scene Tracker.
Q: (Anyways, how would we know to mark the summaries for Theme in plot planner if we don’t even track that info in scene tracker). Is my understanding then to just mark those scenes (not summaries) whether above or below the line, that have thematic details, correct?
A: This is true only in later drafts. The Thematic Signficance does not always emerge until after the story becomes more stable ~~ beyond the first couple of drafts. In the early drafts, don't worry about the Thematic Significance. You'll have enough to work with just honing down the Dramatic Action plot and the Character Development plot.
I apologize if I seem to be reiterating my questions, I just want to make sure I am interpreting your response correctly. I know you are extremely busy and I really do appreciate all of your help.
ps. You're right, PP and ST is addicting. And I have resumed back to my writing with more confidence! By the way, I ordered your DVD with the focus on CHildren Writers and eagerly await to be enlightened by your method again. Perhaps by watching you explain your method, I'll get a greater sense on everything you have written in your book.
A: Yes, I believe you will get a greater sense of how the Plot Planner works and how the Character Development profile helps to build the Character Development plot line. Let me know what you think.
Q: Was also wondering, are all of your DVD workshops pretty similiar and touch on everything that is on the book or do you delve into any advance topics on plotting for example with the DVD you have that uses Memoir of a Geisha?
A: The DVDs are different in that they are live workshops that were taped (some better in quality than others).
Thanks in advance Martha for everything and for your continued support!!!
A: Thank you, and great good luck with your project!
Dancing to Almendra
Author: Mayra Montero
Translated from the Spanish by Edith Grossman
Publisher: Farrar, Straus & Giroux
ISBN-10: 0374102775
ISBN-13: 978-0374102777
Dancing to Almendra takes place in Mafia-dominated 1950’s Cuba before Castro takes over. It begins with a bizarre killing of a hippopotamus at the local zoo and young journalist Joaquín Porrata is sent to write up the story. Joaquín usually covers fluff pieces but desperately wants to be a real reporter covering more important things. He stumbles onto something at the zoo where he learns that the killing of the hippo was a warning to mob boss Umberto "Albert" Anastasia, who really was murdered in 1957. Joaquín starts investigating and begins to uncover an incredible story. He is threatened, beaten, warned and scared the hell out of, but he keeps on investigating and uncovering more and more.
As the investigation deepens, Joaquín’s life starts to spin out of control. He travels to New York, meets both Meyer Lansky and George Raft and finds out much more than any person should know about the Mafia.
The characters are all intensely interesting and detailed. Joaquín’s father and brother Santos, his lesbian sister and his tragic martyr of a mother are all fascinating. Yolanda, the ex circus performer, one-armed mulatta lover of Joaquín as well as Santos Trafficante and mother of a trapeze artist is simply too wild and wonderful not to love.
The story is told in Joaquín’s hard-bitten, matter of fact voice with alternating chapters told in a mystical way by Joaquín’s lover Yolanda. The Cuba of the 50’s comes to life with Mayra Montero’s incredible writing. She paints a decadent picture of nightclubs, music and gaudy casinos where an underlying threat of revolution is bubbling to the surface.
Dancing to Almendra is a gorgeous book about a crazy time and Montero manages to paint both the garish, brightly lit surface as well as the darkness underneath it all with a deft hand.
Dancing to Almendra
Author: Mayra Montero
Translated from the Spanish by Edith Grossman
Publisher: Farrar, Straus & Giroux
ISBN-10: 0374102775
ISBN-13: 978-0374102777
Dancing to Almendra takes place in Mafia-dominated 1950’s Cuba before Castro takes over. It begins with a bizarre killing of a hippopotamus at the local zoo and young journalist Joaquín Porrata is sent to write up the story. Joaquín usually covers fluff pieces but desperately wants to be a real reporter covering more important things. He stumbles onto something at the zoo where he learns that the killing of the hippo was a warning to mob boss Umberto "Albert" Anastasia, who really was murdered in 1957. Joaquín starts investigating and begins to uncover an incredible story. He is threatened, beaten, warned and scared the hell out of, but he keeps on investigating and uncovering more and more.
As the investigation deepens, Joaquín’s life starts to spin out of control. He travels to New York, meets both Meyer Lansky and George Raft and finds out much more than any person should know about the Mafia.
The characters are all intensely interesting and detailed. Joaquín’s father and brother Santos, his lesbian sister and his tragic martyr of a mother are all fascinating. Yolanda, the ex circus performer, one-armed mulatta lover of Joaquín as well as Santos Trafficante and mother of a trapeze artist is simply too wild and wonderful not to love.
The story is told in Joaquín’s hard-bitten, matter of fact voice with alternating chapters told in a mystical way by Joaquín’s lover Yolanda. The Cuba of the 50’s comes to life with Mayra Montero’s incredible writing. She paints a decadent picture of nightclubs, music and gaudy casinos where an underlying threat of revolution is bubbling to the surface.
Dancing to Almendra is a gorgeous book about a crazy time and Montero manages to paint both the garish, brightly lit surface as well as the darkness underneath it all with a deft hand.
Every now and again, some nonfiction comes along that TOTALLY captures me. First it was Devil in the White City, then it was Maximum City, and now it's Sweet and Low, by Rich Cohen.
Like the jacket says, "Millionaires. Mobsters. Power. Corruption. Fraud. Scandal. Saccharin". (And an A-Z Read!)
I love when I learn stuff. Like Canarsie used to be a swamp where the mob dumped bodies. Like the sugar packet wasn't invented until the late 1940s. Like Saccharine isn't a carcinogen (What!)
This is a family tragedy of epic proportions. It's a study of that 3 generation theory. He who is hungry builds the business. Next in line holds the fort. Next in line watches it all float away. While that isn't exactly what happens here, the reader cannot help but feel badly for patriarch Ben, who though quite unlikeable, really built something from nothing. Imagine watching your son screw the whole thing up.
Post war NYC has always fascinated me, and though it sounds cliche, I will say it ... the city is a character in itself. After living here for a decade, I feel an uncomfortable kinship with NYC, and I delight in reading about it.
Cohen's style is incredibly readable. Though I slow down for nonfiction, I was compelled to have at it until it was finished (3 days of commuting). I loved it. My colleagues are probably sick of hearing about it, but Sweet and Low is one of those books that makes me say, "No really...listen to this! You won't believe this!"
Just read it!
I guess I'm lucky that I always know how a story is going to end. :)