Showing posts with label Suspense. Show all posts
Showing posts with label Suspense. Show all posts

Friday, October 22, 2021

Karen S. Wiesner, Tension and Twists, Part 1 (Writer's Craft Article)


Writer's Craft Article by Karen S. Wiesner

Tension and Twists, Part 1

Based on COHESIVE STORY BUILDING (formerly titled FROM FIRST DRAFT TO FICTION NOVEL {A Writer's Guide to Cohesive Story Building}) by Karen S. Wiesner



This will be the first of three posts focusing on how (and why) to build tension and twists into your fiction.

Tension and suspense can be described as the sensation of uncertainty and anticipation in the reader. Without them, your reader is uninterested and uninvolved in your story—cardinal sins where any work of fiction is concerned. 

Tension is any type of awareness that brings the story to the fever pitch of anticipation. Tension must begin at the start of the story and must be kept intense throughout to prevent your reader from being disappointed or bored. 

While many writers probably don’t see a difference between tension and suspense, in the structure of a story I believe tension is the milder of the two. Tension is anxiety, where suspense is agony. So tension could be considered the positive form of the two, because there’s an element of hope in it. With suspense, there’s danger, and it’s generally because something dreadful is coming. 

Think of the movie While You Were Sleeping. There’s no real danger in this romantic comedy, outside of the fact that the heroine might marry the wrong guy. The film crackles with hopeful tension—the viewer worries because she desperately wants Lucy to end up with Jack, not his good-looking but mimbo brother, Peter. What’s at stake is happily-ever-after for two wonderful people. Viewers feel tension, not suspense. 

The danger in the Aliens movie series is of the global-annihilation sort. Viewers are held in agonizing suspense, knowing that if these creatures escape and multiply, the worst thing imaginable will happen—and the viewer dreads it. What’s at stake is total elimination of the entire human race. No happily-ever-after for anyone. 

Both tension and suspense are tricky to achieve and sustain. In each, you’re bringing your audience to the snapping point, and then and only then giving them what they want—temporarily. The tricky, sticky part is that you’re withholding a resolution that the audience desperately wants. If you keep it out of reach too long, you’ll lose your audience. If you give them too much of what they want too soon, they’ll have no reason to stick around. 

Tension and suspense are absolutely necessary in every story. 

Release and Downtime 

Release as any temporary easement of either plot or romantic/sexual tension. Some of the many forms release can take are a kiss, the resolution of a red herring or a clue that seems to solve part of the mystery, or an answer that leads the character closer to getting what he wants. Release, like tension, is part of the causal chain of events essential to reaching resolution. It has to make sense in that chain and become part of its natural progression. 

Downtime is a form of release, but it’s more intense and, like the climax, it happens only once during the course of a novel, during a time of incredible tension. This is the bleakest portion of the story, when all hope has seemingly been lost. The obstacles standing in the way are too numerous, too monumental, too impossible. The main character takes release from the action to reflect on what’s happened and what could have been, and, by all appearances, he seems to give up the fight. During downtime, the character now has a glimpse of the happily-ever-after he’s convinced has slipped from his fingers. This is a temporary respite from the extreme suspense. Characters—and readers!—need this desperately. If you don’t include it, the reader will get so exhausted from the fast pace, she won’t care how the book ends. She’s too tired to care. 

Following downtime, the black moment, as the climax of downtime, comes. The character has no choice but to act at this point. Remember John McClane in Die Hard 2: Die Harder? He felt he’d expended all viable options to save his wife and stop the terrorists. He’s depressed, brought to his lowest point, and he reflects on all that’s happened and what he’s about to lose (this is the downtime). But then the pilot brings a swift end to all dithering when he takes the chance of blindly landing the plane—at exactly the same time the terrorists are attempting to make their getaway (black moment). At that point, John has absolutely no choice but to find a way to succeed. This provides the momentum for the final showdown. 

Here again, I see a difference between release and downtime. Like tension, release is the milder of the two. Release is temporary relief from anxiety, while downtime is temporary relief from agony. Release could be considered the positive form of the two because there’s an element of hope in it. With downtime, the character believes he’s lost everything, danger’s on its way back, and he’s convinced there’s no stopping it. The ultimate dread is produced, because few people can relax when they know everything they ever wanted is about to go down the toilet. That naturally produces restlessness, recklessness, and intense edginess. 

Release and downtime are also absolutely necessary in every story. But only with a cohesive logic in the build-up of downtime, suspense, and black moment, and with an equally meshed logical resolution, will your reader be left satisfied and smiling upon closing the book. 

This in no way, however, means that you can’t throw a twist in at the end of your story—provided that it fits logically and cohesively with what you’ve already set up in the beginning and middle of the book. 

In Part 2, we'll talk about tips for incorporating twists effectively into your fiction.  

Find out more here about COHESIVE STORY BUILDING here: 

http://www.writers-exchange.com/cohesive-story-building/ 

https://www.amazon.com/dp/B00QJ09DQM 

Leave a comment to describe the most memorable tension you've ever experienced in a book or movie. Why do you think it was so effective? 

Happy writing! 

Karen Wiesner is an award-winning, multi-genre author of over 140 titles and 16 series. Visit her here:

https://karenwiesner.weebly.com/

http://www.facebook.com/KarenWiesnerAuthor

https://www.goodreads.com/karenwiesner

http://www.writers-exchange.com/Karen-Wiesner/ 

http://www.writers-exchange.com/blog/ 

https://www.amazon.com/author/karenwiesner 

Friday, October 14, 2016

Guest Post by Karen Wiesner

Here's a guest blog by Karen Wiesner, whose writing manual FIRST DRAFT IN 30 DAYS has been a tremendous help to me (Margaret Carter). It begins with a description of her latest novel, followed by Karen's discussion of the writing of the book and the development of the series:

CROOKED HOUSE {Book 3: Bloodmoon Cove Spirits Series} by Karen Wiesner

Don’t close your eyes…

Nestled on Lake Superior in northern Wisconsin is a small, secluded town called Bloodmoon Cove with volatile weather, suspicious folk…and newly awakened ghosts.

Some doors, once opened, can never be closed again…

Orphan and widow Corinne Zellman is stunned when she receives several urgent letters from a lawyer, telling her she’s the only surviving heir of Edward Buchanan, a relative of her recently deceased husband. Though Corinne ignores the first few summons, too grieved to consider them anything but cruel hoaxes, she takes notice when yet another arrives, this time with a family ring identical to the one her husband wore and lost just before he was killed. Stuck in a dead end job and curious about the family the love of her life seldom spoke of, she reluctantly pulls up stakes and heads to Bloodmoon Cove, where the persistent elderly gentleman lives. There, with her best friend Ruby, she finds Crooked House, the family "estate". Crooked House certainly lives up to its disturbing name, as does Edward Buchanan, who is old and pale and disappears so frequently she can almost believe he's nothing more than a ghost. It isn't long before Corinne begins to suspect that her new family member had ulterior motives for insisting she come live with him. But to believe that is to believe that Rafe Yager, a hardened soldier, is entirely correct when he says Crooked House is dangerous. The longer she stays, the less chance she'll ever leave again.

Ghost hunter Rafe is one of the last descendants of the Mino-Miskwi Native American tribe whose elders disappeared during a ritual at their sacred place at the top of Bloodmoon Mountain. Rafe has come home based on a terrifying vision of wide-eyed, wholesome dreamer Cori losing her soul to an evil she doesn't recognize. Crooked House is falling and its sinister legacy demands recompense for her husband's death--something that was no accident, as she supposed. Can Rafe save Cori from a sacrifice she never meant to make when she unknowingly came to love a monster?

978-1-925191-83-7 (electronic) from Writers Exchange E-Publishing

Crooked House

978-1-329-84940-2 (trade paperback) from

Lulu.com (30% discount)

Trade paperback from Lulu.com (only $4.95!)

Download from Amazon:

Crooked House

Paperback from Amazon:

Crooked House

Paperback from BN.com:

Crooked House

While writing up the proposal for BOUND SPIRITS, Book 1 of my Bloodmoon Cove Spirits Series, I had an idea about writing a series of ghost stories. I love scary, terrifying ghost stories as well as fun or playful ghost ones, but I also like the idea of exploring well beyond the boundaries of what a typical ghost story is. I intend to delve into the depths of supernatural elements with haunted places, cursed objects, portals to other worlds and/or time periods, and even unfathomable creatures from those other realms that have crossed into ours on Bloodmoon Mountain. This is what readers can expect all through this series.

I wasn't sure how to go about developing BOUND SPIRITS as a series until I realized another book of mine (which is a mild ghost story), THE BLOODMOON CURSE, was lagging with its at-that-time current publisher. I knew the town mentioned in that story, Bloodmoon Cove, would be the perfect setting for the series. Long story short, I got the rights back to THE BLOODMOON CURSE after BOUND SPIRITS was in the pipeline and was published by Writers Exchange. THE BLOODMOON CURSE became the second book in my Bloodmoon Cove Spirits Series, but I had to revise it slightly to make it fit this new series angle. From there, book ideas for this series have abounded in my imagination. Currently, I have nine books planned along with a collection of six shorts. You can find out more about them (including a sequel to THE BLOODMOON CURSE, coming early next year and titled RETURN TO BLOODMOON MANOR) here: Bloodmoon Cove

The basis of CROOKED HOUSE was formed when I had a dream long ago with a modern Gothic feel. In the dream, the heroine was visiting some obscure relative of her brand-new husband. When I woke up, I wrote everything down that I could remember on the off-chance that I might someday use it as a basis for a story. While I didn't use the idea verbatim, I was able to utilize parts of that dream for CROOKED HOUSE, the third title in my Bloodmoon Cove Spirits Series, which is newly available.

CROOKED HOUSE has a lot of the classic elements of a ghost story--vengeful ghost, haunted house, tough-guy hero and vulnerable heroine--with some unique twists and turns in the form of a cursed ring, a white-witch best friend who literally has no idea what she's doing, a ramshackle house in Bloodmoon Cove serving as a portal into the spirit world, along with a reluctant ghost-hunter that's one of the last descendants of the Mino-Miskwi Native American tribe whose elders disappeared during a ritual at their sacred place at the top of Bloodmoon Mountain a hundred years ago. That ritual ripped a hole in the mountain and let loose a flood of spirits that haunt Erie County. The heroine Corinne has come to Bloodmoon Cove with her best friend after being bequeathed her recently deceased husband's family estate, Crooked House. Cori hasn't yet realized the witchcraft that was weaved into the fabric of her life and she's only begun to wake up from the trance she's been in when she meets Rafe. In helping Cori break the curse on her stemming from the ring, Rafe may save himself as well.

Rafe and Cori's story starts in CROOKED HOUSE, but I wasn't ready to let go of them when I was finished with this tale, nor of an intriguing plot thread that actually started earlier in the series about a lawyer that caters to the dead with unfinished legal business. Rafe and Cori will make a generous appearance in Book 4, as all the other main and even some of the secondary characters from Books 1 and 2 will, but also in their own brand-new story, ELDRITCH JUSTICE, Book 9 of the series (release date TBA).

One of the things I love the most as I'm developing this series is that the characters from previous books make solid (i.e. not simply "glimpses" from one book to the next) appearances in later books. Considering how small the town is and how involved they are in each other's lives, it makes sense that the developing characters would be seen all through subsequent stories. I can hardly wait to write each one of these books and expand the world I'm creating with them. I hope readers will also be just as excited in seeing more from this series that's already getting five star reviews and has won numerous awards.

Author Bio:

Creating realistic, unforgettable characters one story at a time…

Karen Wiesner is an accomplished author with 116 titles published in the past 18 years, which have been nominated for/won 134 awards, and has 40 more releases contracted for spanning many genres and formats. Karen’s books cover such genres as women’s fiction, romance, mystery/police procedural/cozy, suspense, paranormal, futuristic, fantasy, Gothic, inspirational, thriller, horror, chick-lit, and action/adventure. She also writes children’s books, poetry, and writing reference titles such as her bestseller, First Draft in 30 Days and From First Draft to Finished Novel {A Writer’s Guide to Cohesive Story Building} (out of print; reissue available now in paperback and electronic formats under the title Cohesive Story Building). Her third offering from Writer’s Digest Books was Writing the Fiction Series: The Complete Guide for Novels and Novellas, available now. Look for Writing Three-Dimensional Fiction: How to Craft Lifelike Plots, Characters, and Scenes Using Multilayered Storytelling from WDB, release date June 23, 2017 and available now for pre-order from Amazon.com: Amazon.com. Visit Karen's website at Karen Wiesner. Check out Karen's author page at Facebook, where you can like, friend and follow her: Facebook. If you would like to receive Karen’s free e-mail newsletter, Karen’s Quill, and become eligible to win her monthly book giveaways, send a blank e-mail to KarensQuill-subscribe@yahoogroups.com.

Tuesday, July 19, 2011

Big Love Sci-Fi Part V: Modesty, The Scrimmage Line of Big Love

This series started with Part I Sex Without Borders and continued each Tuesday concluding with Part VIII on August 9th, though we may be back to this subject for additional entries later. 


Here's the first post in this series:
http://aliendjinnromances.blogspot.com/2011/06/big-love-sci-fi-part-i-sex-without.html

And here's Part II in this series:
http://aliendjinnromances.blogspot.com/2011/06/big-love-sci-fi-part-2-drama-of-illness.html

Part III in this series:
http://aliendjinnromances.blogspot.com/2011/07/big-love-sci-fi-part-iii-how-big-can.html

Part IV in the series:
http://aliendjinnromances.blogspot.com/2011/07/big-love-sci-fi-part-iv-mystery.html

http://aliendjinnromances.blogspot.com/2011/06/big-love-sci-fi-part-i-sex-without.html
This Big Love Sci-Fi series is about how a Romance writer (any sub-genre) can create suspense, both romantic-suspense and action-suspense. 


The Love Story is an ingredient I've used in almost every bit of fiction that I've sold so far.  Romance isn't always my focus, but it's always there driving the personal issues of my characters whether they know it or not (yeah, past life karma adds "depth" to characters.)

The Love Story is my personal favorite thing, before, during or after the Romance, because in my life Love is what Makes The World Go Round.

I'm pretty much sure that "Love" is central to all human cultures, even those currently obsessing on teaching their children "Hate." 

Reading Romance is virtually a degree-course in human Psychology,  especially modern Romance, because the modern culture is furiously erasing the border between public and private.  So we're watching characters suffering through the problems that confusion creates.  That two-sides-of-the-coin relationship between Love and Hate is something I don't have to explain to Romance readers.  And today's Romance readers have an in-depth grasp of the relationship between Sex and Violence, too.  So no explanations needed. 

But, ah, "Modesty!" -- that became a political football (scrimmage line; get it?) in the 1970's.  Today it's almost a dirty word, a codeword for repression of women by men  (well, as a matter of pure fact, it was!). 

We're seeing an actual, violent, scrimmage line developing as more Muslim women adopt the veil for reasons most Western women either can't understand or actively despise.  Isn't that curious? 

Yeah, in this blog, I will tread where most would fear to go, and all of it in the name of Love. 

There's a thesis here for this "Big Love Sci-Fi" series of posts.  It could be (maybe) that the general public has little respect for Romance because the general public has no idea what Love is.

Now there's an unthinkable concept!  Unthinkable concepts are what it takes to create SF!  We're onto something Big here. 

 It's going to take a Romance writer, probably SFR writer, to explain that in a blockbuster feature film.  So we need to train up Romance writers to regard "Love" and "Romance" as the "science" in the SFR. 

The first thing a scientist needs to learn in order to become a scientist is to DOUBT EVERYTHING.  Question everything. 

You don't know anything you have not proved yourself.  Other people's proofs don't count.  You can't use a fact in your thinking until you, yourself, have proved it.  That's what you learn in your first Geometry course. 

To lead a readership on a Quest for facts that they can prove in their own lives, an SF writer must ask the kinds of questions the readership would never, ever, be able to pose.  Those are the questions that confound, confuse, mystify, disconcert, challenge the foundations of reality, and ultimately cause the reader to question all their own innermost unconscious assumptions.  The name of this process is "Philosophy" and it enters into fiction writing at the level of "Theme."   Philosophy can be the "science" in the "science fiction" of an SFR novel.  (I've done that many times.)  Philosophy is the source of all the best Themes writers use because Philosophy poses unanswerable questions, or questions that are unanswerable within the confines of the reader's culture. 

Our question today is, "What exactly is the place of Modesty in Love and Romance?"  (if any)

Maybe before we get into the examination of "Modesty" we should agree on a working definition of "Love" vs. "Romance."  (I figure we all know what "scrimmage" means, though we may disagree on what "Love" is.)

For definitions, let's hark back to my Astrology series here -- and assign the word "Love" to Venus and "Romance" to Neptune. 
http://aliendjinnromances.blogspot.com/2010/03/pausing-for-you-to-catch-up-with-me_30.html  is an index to the Astrology series. 

And here are my accompanying posts integrating Tarot and Astrology, all focused just on what a writer can learn from these disciplines (to create this dynamic suspense line for a Love story with or without hot Romance).

http://aliendjinnromances.blogspot.com/2010/03/pausing-for-you-to-catch-up-with-me.html

http://aliendjinnromances.blogspot.com/2010/03/pausing-for-you-to-catch-up-with-me_23.html

Venus forms bonds; Neptune dissolves them. 

Venus rules Taurus, the Natural Second House of material possessions (OK money).  It also rules the Natural 7th House, Libra, of  Relationships and the public sphere of functioning (i.e. not private -- the OTHER SIDE of that barrier we've been working with.)  Venus thus straddles the line between private (your personal possessions and philosophical Values) and public (your spouse, Others that you bond with. )

Neptune rules Pisces, the 12th House of Matters of Ultimate Concern (heaven, idealism here on Earth).  When you die, your ties to Earth and all the people living here dissolve (often gradually, but when not so gradual we find our beloved Paranormal Ghost Romances!)

Neptune blurs your sense of connectedness to "the world" so that your attention can drift to "higher matters" (i.e. Philosophy). 

In a Romance, both "lovers" are in a mental state ruled by Neptune (disconnected from "reality").

That mental state is usually caused by a Neptune transit to a sensitive and significant point in the Natal Charts of both members of the couple. 

Our prevailing, science hammered culture, regards that state of being "in the clouds" as, if not unhealthy at least unrealistic.

Very typically, a shared Neptune transit effect becomes an "Affair."  It can even trigger such an affair in a person who is married, because Neptune dissolves existing bonds and sets you free to drift through a world criss-crossed with anchoring bonds but not notice them.

That is Neptune alters your perception of your own "reality" -- it dissolves your perception of that "barrier" we've been talking about.  Thus in an affair situation, a person may blurt out all kinds of private things about their spouse that they'd never mention to a stranger ordinarily.

Neptune alters your perception of reality and sometimes replaces your personal Ideals or gives you a vision of new Ideals you will then lust after (for a time.) 

The odd thing to consider here is that many world-class Engineers and research scientists are Pisces dominated.  Neptune is art and inspiration, and that's the basis of good science.  Neptune is creativity, the visionary.

Which way Neptune manifests may have something to do with the individual's spiritual development as a Soul.  It is said more advanced Souls manifest Neptune in a useful and positive way. 

The idea is that Neptune alters your perception of "reality" -- and the Question the writer must ask is, "Does this character see reality more clearly under this transit, or less clearly?  Does this other character wax psychic enough to penetrate the illusion of reality and come back with actual knowledge that is really true, despite it defying all common sense?"

Saturn is "common sense."  Neptune is "idealism."

Which reality is true?  That's the kind of barrier-line across which a writer can draw a suspense-line and generate a plot based on a theme rooted in Neptune vs. Venus.

As an aside, President Obama was elected with Pluto transiting opposition his Venus and Neptune transiting his Ascendant (according to one guess at his natal chart).

OK so now Venus. 

One can bond with one's possessions, become a hoarder, a collector, a curator, or just filthy rich.

One can bond with one's "Significant Other"  -- that's the 7th House relationship.  It's social networking, too.

If ordinarily people don't like you, chances are under the right Venus transit (happens every year for a day or so) you might be elected to office, given an award, sell a novel, or get invited to a party (or have one thrown in your honor).

People born with Venus positioned just so are people who are just plain liked, who are popular, make friends easily, and everyone says they're "nice."

So, in today's world, girls who want to be the most popular girl in school (at least with the boys) adopt tight clothing, exposed cleavage (if they have one yet), and show as much skin as possible. In fact, it's a competition among the girls to see how much they can get away with.  (not like this is new)

They're on the market, telegraphing they're ready to put out (sometimes this starts so young they don't even know that's what they're doing.)

Now, fast-forward to her mid-Thirties and two or three kids later, and what do you see?  Assume she's married, has two or three kids, and still has a husband. 

You look at a High School girl or college girl and you know what they're doing.  So?  What else would you expect?  It's not immodest for a 16 year old to put the goods out there.  It is, however, for a 10 year old, or at least I think so, while other mothers might not.  (oh, yeah, domestic dispute scenes over teen dressing have a place in second-time-around Romance novels, where you can get in a lot of characterizing while moving the plot forward at blazing speed). 

You look at this mother of 3, and you judge her by how she's dressed.

If she dresses like a High School girl on the prowl, it's distasteful, and maybe the word hooker comes to mind.  Dressing twenty-years too young is not age-appropriate and invites assumptions.  You might have doubts about her character, intentions, maturity, trustworthiness, values, maybe suspect a mental handicap. 

But if she's 30-something in tight jeans, a low cut tight sweater, or sleeveless shirt, it's just battle-gear for kid-raising.  If she's in a short skirted business suit, it's battle-gear for feeding her kids.  In a business suit she might actually be showing cleavage and today's haircuts might be loose-hair seductively cupping the face.  But that wouldn't be considered "immodest" in the Western world.  Battle-gear is never immodest.

Notice how News Anchors (now almost 50% women!!!) covering hard news show cleavage and hips while men delivering the same information wear suit and tie securely closed?  For a while, female News Anchors wore business suits - started with pants suits, then skirts were a necessity -- now it's slinky-sexy dress.  Sex sells.  But the public perception is that such clothing is not immodest or demeaning of the Anchor's womanhood.  (well the female perception - not at all sure about the men)

If your thirty-year old mother of 3 is going out to a formal dinner, cleavage, sleeveless, clingy satin around the hips, heels to die in, would not be immodest.  If she dresses like that to mow the lawn or hit the supermarket, take the kids to soccer practice, you've telegraphed something totally else about this character. 

So how you dress your characters relative to their age and activity causes readers to judge the character's modesty, according to the customs of the segment of our culture they belong to.

But is "modesty" really about CLOTHING?  Isn't too much cloaking actually immodest because it draws attention, shouts "Look at me! I'm modest!" 

In fact, does modesty have anything at all to do with clothing, or is that a smokescreen to divert attention from the actual issue of "modest?"  (A good Romance theme might be "Modesty is not a Virtue.")

Or maybe clothing just a symbol for the dimension of modesty?

Previously in this Big Love Sci-Fi series of posts, I mentioned that our culture suffers from a blurring of the line between private&public which has led to a loss of definition (Neptune, idealism) of the difference between Private and Secret.  This makes the Romance writer's job much more difficult when developing Romantic Suspense. 

Private is something that's nobody else's business.

Secret is something that is everybody else's business but you are preventing them from knowing it.

Today, the TSA has had to revise their standards for body-searching 6 year olds.  There was a case of a child of that age group who moved during the scan, and was immediately sent for intrusive personal pat-down, which traumatized the child.  This tidbit of news may signal a renewed debate over the difference between private (as in body parts) and secret (as in carrying something harmful to others.)

Secrets make dandy plot devices, and create automatic suspense (when will they find out?)

In today's fiction market, "Private" is much harder to handle because the readers have no actual, concrete idea of what Private really is.

A society which did still have the notion of "Private" would never have allowed the TSA to come into existence, no matter the risk. 

It isn't about government intrusion into private space.  It's about any intrusion into private space.

The entire notion of "Privacy" has become political, and equated with "Secrecy" and thus "Dirty Secrecy."  (Yes, I'm thinking of Wiener and such similar revelations.)

If there's anything in your life that you wish nobody but you to know about BECAUSE it's not relevant to them, then in today's world you are basically taking an asocial stand! 

The public has a right to know (even if Google and Microsoft don't). 

Even if the public doesn't have a "right" to know, your reluctance to reveal is paranoid. 

Now you can argue against that statement.  The software companies, especially "security" companies, go through all kinds of gyrations to "protect" your privacy.

But notice the choice of words.  Security.  Protect. 

Implicit in that is the notion of external hostility (yes, I know there really are hostile hackers doing harm; this is about social philosophy useful to ROMANCE WRITERS, not about politics or reality.)

So why is the "exterior" world hostile?  Because you are keeping secrets.  Anything "private" is now considered "secret."

Here's another TSA anecdote taken from real life.

From this you might conclude that modesty is now illegal in the U.S.A.  (wonderful worldbuilding premise)

I know a family that made an international vacation trip recently. 

They are a middle-aged couple with a 12 year old son.  The husband is diabetic (diabetes I, really problematic on trips, very much life-threatening and developing heart disease which the wife knows about).  For traveling, the wife wore a long skirt and loose blouse, comfortable for sleeping on a long plane trip. 

On the way home, they went through "Security" and passed the screening machine.  But because the woman was not wearing tight jeans and a tight sweater, form fitting clothing, they were delayed for a physical pat-down of the wife, right in front of the eyes of the adolescent boy and the husband who was in distress from the diabetes.  They were racing to make a connection. 

The woman made an issue of the pat-down and demanded a private pat-down, which was provided, but by a man.  She then delayed things further by asking that her husband be present.  A big argument ensued with the TSA worker.  But there was nobody to watch the son.  So he was there while his mother was essentially violated (whether the TSA worker saw it that way or not, the mother experienced it that way.  She had recently encountered a TSA worker via her job who was not fired after being convicted of sex crimes.) 

With all the delay, they missed their connecting flight, a dire problem for a diabetic since food isn't served and with all kinds of food restrictions, there was nothing eatable available to buy on the concourse.  Stress like this takes years off a diabetic's life by deteriorating the organs. 

All travelers have seen this kind of thing happen, had it happen to them, and now a huge segment of the US population has "adjusted."  It's the price of security.  *shrug*

See last week's post about how Big can Love be in Science Fiction?  It was about the sensitivity level going down in our society. 

Subjecting such a wide swath of our society to this kind of intrusive search (and I'm not addressing the Constitutional angles here because that doesn't matter in this subject area) hits and hits on those sensitive areas of our collective psyche and forces us to adapt by become insensitive, coarsened, calloused to sexual intrusion.

Science Fiction writers have long accepted that humans are extremely adaptable.  Many build worlds where humans are altered to be able to live on other worlds where they must adapt or die.  And humans adapt.

We are adapting to this social fabric shift that erases the barrier between public and private, between privacy and secrecy.

But it's a scrimmage line.  Those who want "safety at all costs" are pushing the resisting and desperate line of those who wish to live a life where there exists such a thing as privacy which is not secrecy.

Eventually, it will come to a vote, and Public (Venus) Ideals (Neptune) will be established, probably permanently.  We bond with our Ideals. 

But while it is a battleground, Romance writers weaving Science into their fiction can exploit the tensions across that Public/Private barrier using philosophy as the science.  Just watch the headlines and read between the lines! 


This public debate over privacy may affect the generally accepted definition of "Love" because one of the essential elements of "Love" is Intimacy.  You can't have intimacy without private space that isn't secret.  Intimacy is the exploration (adventure into) the private space of another, sharing private space, melding two private spaces into one.  That which happens in the family stays in the family.

If we give up personal body privacy, we in essence destroy the "family" which is the group that shares private space.  Re-read my posts on astrology, then go learn more about "The Houses" in astrology, which divide the human psyche into 4 quadrants.  It's a graphic depiction of the definition of Privacy.   There's a whopping big Romance novel in this.


Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Tuesday, March 02, 2010

Conversation on Twitter

If you've been following my entries on the blog, you know I'm examining the rising phenomenon of "social networking" as part of the way "publishing" is changing under the impact of the Web and e-book. Those changes are re-shaping Genre, and allowing for the explosion of Cross Genre novels, mixed Genre novels, and mashed universes where characters by one author meet characters from another author's series.

Here is a scattered sample of some of my posts here on social networking.

http://aliendjinnromances.blogspot.com/2008/11/i-love-web-20.html

http://aliendjinnromances.blogspot.com/2009/03/new-cb-radio-come-on-back.html

http://aliendjinnromances.blogspot.com/2009/05/writing-tips-tweets.html

and the attempt by "marketers" to use the social networks to promote their products, many of them bewildered why it doesn't "work."

http://aliendjinnromances.blogspot.com/2009/09/marketing-via-social-networking.html

Twitter has rapidly become one of my favorite social networks because I keep discovering people, and finding links to things I want to know about but had no clue that I was interested in (and thus would not have googled for the subject).

Here is a conversational exchange with a person I follow, who follows me so that I can hear what they're saying and they can hear what I'm saying.

scripteach I greatly enjoyed #TheHurtLocker, but thought the direction rocked, not the script. It felt like it drifted off the rails in 3rd Act.

jlichtenberg @scripteach "It felt like it drifted off the rails" doesn't help a writer learn not to drift off their own rails Say why and how to fix pls

scripteach @jlichtenberg doesn't help a writer learn not to drift off their own rails Say why & how to fix pls In less than 140 characters is hard!

scripteach @JLichtenberg I'll try to blog about #TheHurtLocker soon. For now, the protag's unauthorized mission into city & return home felt false.

jlichtenberg @scripteach Good point about "unauthorized mission" motivation failing. How do you spot that in your own work? #scriptchat

scripteach RT @JLichtenberg: How do you spot in your own work? #scriptchat Beware of what YOU want protag to do v. what the character should want to do

jlichtenberg @scripteach Ur nutshell " #scriptchat Beware of what YOU want protag to do v. what the character should want to do" ROCKS!!! @susansizemore

I flagged Susan Sizemore on that because she and I exchanged tweets about staying with POV character. She tweeted that she'd made herself a problem by following too many minor characters, and that made me think (but not tweet) the complex relationship between following minor character's pov and using minor characters to reveal major character's motivations.

And @scripteach was talking really about a MOTIVATION problem in this very prominent film.

The #scriptchat hashtag can be searched on to produce all the tweets by everyone on twitter who inserts #scriptchat into a tweet -- regardless of whether you're following them or not.

People (ppl) discussing The Hurt Locker use the hashtag #TheHurtLocker and see each other's posts.

Anyone searching on a hashtag may (not will; may) see your tweet if you include that tag.

And they may, not will, follow you to see what else you say.

Having conversational exchanges like this is one the most rewarding and instructive functions of social networking.

Now of course I should write one of my humongous posts on what @scripteach has said and what it means and how you can use it.

For the time being, though, memorize and think about

"Beware of what YOU want protag to do v. what the character should want to do"

I'm not good at nutshells. It would probably take me 2500 words to sketch a means of employing that bit of wisdom.

If you want to research it - check out the writing error technically termed "contrived."

-------
I also found via twitter that the SHOOTING SCRIPT of this film has been released in print with additional pages of illustrations etc. at 160 pages --
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FROM AMAZON:
In addition to the complete shooting script, this Newmarket Shooting Script® Book includes an exclusive introduction by Kathyrn Bigelow, a 16-page color photo section, production notes, storyboards, and complete cast and crew credits.
-----------

And here's more about it on Amazon:
The Hurt Locker: The Shooting Script (Newmarket Shooting Script)

This is indeed a strange new world where to get a story out printed on paper it must first become a major motion picture winning awards right and left.

The alternative is to become a TV commentator.

I ReTweeted (RT) the tweet that alerted me to The Hurt Locker as a script on paper and flagged @scripteach thusly:

jlichtenberg RT @MattDentler: Some thoughts on THE HURT LOCKER screenplay (and the party last night celebrating it): http://bit.ly/baTR84 @scripteach

And @scripteach answered that he would read the script thusly:

scripteach RT @JLichtenberg: RT @MattDentler: Some thoughts on THE HURT LOCKER screenplay): http://bit.ly/baTR84 I'll read script & see what I think

That's why it's called "social networking" -- and that's why marketers can't afford to do it. At no time did the publisher of the shooting script participate in this exchange. I don't even know if they're on twitter. I didn't go out to sell a copy of the script. I was just curious how a screenwriting teacher would explain a script's hole to writing students on #scriptchat so I asked, and got a great answer, and picked up on someone else mentioning a blog about the film's success which has on it a link to the shooting script published as a book on paper.

That's a "net" and it got "worked."  

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com