Character Development

You can’t tell the assholes from the bitches from the idiots from the arrogancia without a scorecard

The image below is of a sign at my gym a few days back. My gym routinely posts “Questions of the Day.” I wish they’d keep a list of the responses because some of them are priceless.

And it occurred to me that such a device would be a good tool for character description purposes, much like how the calendar was used to set a scene in Setting Scenes with Props.

click for larger image

 
Let’s say you want to demonstrate a character who wants to portray themselves as an intellectual, someone knowledgeable:
Emerson read the Question of the Day. “Are you talking just the nucleus or are we including the electron shells?”
Lori shook her head. “I don’t know. I just pick the question from a file. I wouldn’t know the difference between…what did you call it? Shells?”
“It makes a difference.”

We can also show that Emerson doesn’t know what they’re talking about:
Emerson read the Question of the Day. “Are you talking just the nucleus or are we including the electron shells? It makes a difference.”
Lori picked up the sign and read the question. “Not really. It’s asking about atomic mass, not nuclear mass. Even then, the nuclear weights would compare similarly to the atomic weights unless we asked about isotopes for elements side-by-side on the periodic table.”
Emerson’s face flushed. Pam chuckled in the office. She came out and high-fived Lori as Emerson hurried down the stairs.

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Oakley Hall’s “The Art & Craft of Novel Writing”

A definite keeper. A resource. Read it twice and will read it again.

Rarely have I read a book that covers the entirety of a subject so well, so elegantly, so masterfully, with detailed examples and explanations. I had trouble finding pages I didn’t dogear, highlight portions of, make notes on, et cetera. This book is a must for anyone learning/practicing/perfecting their craft. My great loss is my local library not carrying any of his books. I’ll spend the money to see how this wonderful teacher applies his craft. If he’s half the master at writing as he is at teaching, Whoa!

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Man and Boy; Tennessee, 1932

It’s better to be wise than rich

“Boy, what you straining with?”

“Don’t know, pa. It’s fighting me, though. It’s fighting me.”

“Look at that pole bend. Ease up a bit, boy. Give it some slack. See? Your pole’s not twitching. Whatever it is, it’s not fighting you, it’s dragging. Maybe something crawling on the bottom.”

“But it’s coming, pa.”

“Want me to take her for a spell?”

“I’d like that, pa.”

“Give it some slack before we switch poles. Something that heavy, you got to work slow, might have to get upstream of it to pull it in without snapping the line.”

“Look, pa. There it is. I see it.”

“Damn thing’s in the glare of the sun. What is it? Can you see? Feels like some bottom grass. Pity if we can’t loose the line.”

“It’s a man, pa. A black man.”

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What do you mean, exactly, when you tell me to Read and Write to be an author?

It’s what they don’t tell you that’ll ruin you

Almost every writing-how-to book I’ve read has something about having to read, read, read and write, write, write to be a good author. Few books (nor any classes I’ve taken in classrooms, workshops, online, et cetera) include the two pieces of information without which all the reading and all the writing are…well, maybe not worthless but definitely worth less: How to Read and How to Write.

Reading
Read anything and everything. Read omnivorously. Read trashy novels. Read pulp. Read magazine articles, newspapers. Read onlines. Read prizewinners. Read in and definitely outside your genre.

Here’s what nobody told me; Read for craft, not content.

Pay attention to what you’re reading.

 
Pay attention to how characters are developed, pay attention to how scenes unfold, how things are foreshadowed, pay attention to how mood, atmosphere and tone are constructed to create specific effects. Pay attention to how the author does everything they do to get you to read their story.

Especially pay attention to what they do that makes you stop reading their story.

An example of the former is from Fritz Leiber’s A Pale of Air. I read this story mumbledy-mumbledy years ago and remember literally feeling cold after the first few paragraphs. No idea why and continued blissfully ignorant for ever so long. Take a moment to read the opening and enjoy the chill:
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Rachel, Above the Clouds…but we’re not sure if she’s Flying

To be embraced by passion, as if set on fire by the sun

I recently had a short story, Rachel, Above the Clouds, published by an online, Across the Margins. The original title was “Rachel, Above the Clouds, While Flying” and was written for a writing class I took in the early 1990s. I updated the technology in the story some, not much. Below is the version I submitted and you can use the link above to read the published version.
I’d appreciate your thoughts on which is the better story, and why.


Joseph Carrabis' 'Rachel, Above the Clouds' on Across the Margin

 
“SolarMax Ten to Houston.”

“This is Houston. Go ahead, SolarMax.”

“Ted, you feeling okay today? You sound awful froggy.”

“Guess again, Rachel.”

“Benny? Is that you?”

“Hi, Raech. Long time no hear.”

“What are you doing riding bridesmaid, Benny? I heard you’d gone civ.”

“I have, I have. Mission Control said the last few days had been rough and thought you’d like to hear a familiar voice on your last morning up.”

“How sweet of them. I’m kind of surprised to hear your voice, though.”

“Well, you know. Mission Control wanted to do something special on your last day up and they brought in me.”

“Thank them for me.”

“Will do.”

“Anybody else down there waiting for me?”

“Well…of course, Rachel. There are lots of people.”

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