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DEVILISHLY GOOD DETAILS

January 15, 2018 by in category The Write Life by Rebecca Forster tagged as , , , , ,

Yesterday my husband and I decided to inaugurate the MoviePass cards our son gave us for Christmas. With one swipe (and $10 a month) we can see as many movies as we like at any theater.

Our first movie would be The Post at our local theater. It took both of us, and the manager, to figure out how to make the card work (which in hindsight should not have been necessary if we understood our phone settings). Finally, we swiped our cards only to find that The Post was sold out. That pushed us to our default selection: any movie that was not sold out. We ended up in a nearly empty theater watching Jumanji, the 20-year-later sequel to Robin William’s wonderful movie by the same name.

Jumanji is a fanciful action-adventure movie about a game that sucks people into an alternate universe and in order to get home, the player must win the game. In William’s version, he was the only one who disappeared. This version has an ensemble cast that includes The Rock, Jack Black and two other actors we weren’t familiar with but who were perfectly cast.

The movie began, the music was ominous, the set up delightful, the locations beautiful and the direction energetic. The kids in the theater reacted with oohs, aahs, and other exclamations of delight.

Oh, wait! That was me oohing and aahing!

Yep, I loved every bit of that movie and when I got home I realized the reason I loved it was because I lost myself in the storytelling. Everyone from the screenwriter to the lighting guy and cast was on board with the creative vision. The premise was quickly and clearly established. Casting was based on character and not on what looks that the producers deemed ‘sexy and salable’. The computer-generated stunts did not overpower the story nor did they last so long that the viewer could literally leave, have dinner and come back and they would still be crashing about on screen. If something fantastic happened – like characters dying and getting shot into space and suddenly falling back to earth again without injury – the viewer accepted it because it quickly became apparent that each piece of this story had a purpose. There was always a payoff that made sense. Threads were wrapped up at the end. The story built to a conclusion and didn’t present it. But better than anything, the actors never broke character. The adult actors were asked to channel their teenage counterparts in the real world that had been left behind. I have seen this transference in movies before but too often the adult actor simply remains an adult. The last time I saw this plot point beautifully executed was in Tom Hanks’s Big.

So, here’s what I want you to do. Before you write another word, before you start editing, go see Jumanji. It is one of the best lessons in pitch-perfect storytelling I’ve had in a very long time. As for me, I’m going back to work and give my manuscript the Jumanji treatment because the devilish details are what make for a heavenly story.

 

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Is Your ‘Plate’ Too Full? by @Rebecca_Forster

November 15, 2017 by in category The Write Way by Maureen Child tagged as , , ,

Is Your 'Plate' too Full? | Rebecca Forster | A Slice of OrangeToday my November plate is officially too full.

It has been piled high with cold, flu conferences, a last minute, out of country speaking engagement and now a medical screening that needs a follow-up. Of course, there are also everyday things that pile on to the plate: bills, calls from my sons, the tennis league I belong to, dinner to cook and bathrooms to clean. I’m not complaining. This is all just life and good stuff if you take the cold and medical appointments out of the equation. Still, filling out my calendar and trying to figure out how I’m going to fit quality writing time in the schedule made me think about the craft of writing a novel. The question on my mind was how much is too much before a reader throws up her hands and pushes the literary plate away?

As a thriller writer, I love to go over the top. Unfortunately, I can get a bit too energetic and take the technique to crazy extremes. It’s a fault. No, it’s worse than a fault. It’s a sin to be so involved with own words that I forget my job is to entertain not challenge someone to wade through my excesses. When I do go overboard, I am giving my readers a reason to push away the literary plate I have served them.

Luckily, there are remedies for ‘too much’ writers like me. In real life we say no to many things, so let’s start saying it in our fiction. Here are three ways to figure out if you just served your reader a plate that is too full.

[tweetshare tweet=”Three ways to figure out if you just served your reader a ‘plate’ too full by @Rebecca_Forster” username=”A_SliceofOrange”]

Echo: A particularly inspired turn of phrase, description or character quirk is a thing of beauty. Constant use of the same phrase or description or a continual reminder of the quirk is an annoyance. Readers are smart and imaginative. They will get it.

Blow-by-Blow : No pun intended, but sex scenes are more effective and dramatic if they are evocative rather than clinical. The same rule of thumb applies to shootouts, character travel or any scene that stops the reader and forces them to linger without a point. Move the story forward using varied sentence structure and only critical physical descriptions.

Cast of Thousands: Have you ever tried to find a friend in a crowd? It’s impossible because all you can see is a blur of humanity. The same thing happens to a reader if there are too many characters populating your book. Think of your book as a play. Characters may come and go but the ones we care about should always be center stage.

While you edit look for the echo, the blow-by-blow and the cast of characters and adjust the emphasis, streamline the structure and your literary plate will go from too full to too fabulous.

Rebecca 

A Finn O'Brien Thriller

SEVERED RELATIONS

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SEVERED RELATIONS

FOREIGN RELATIONS

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FOREIGN RELATIONS

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Stories My Mother Told Me

September 14, 2017 by in category Writing tagged as , , , , ,

My mother will be 93 years old on September 21. She travels with me, reads all my books and is my best friend. I wrote this blog some time ago, but I want to share it again because it deserve repeating that she is an amazing woman. I am so proud of my mom. Happy birthday, mom.

_________

Mom at 92

      My parents made a pact to stand on every continent in the world. When my dad passed away, my mother went to the Antarctic for both of them. That’s when I figured there was a lot I didn’t know about mom.

     When she returned with a bright orange jacket that she got ‘for free’ (don’t count the cost of the cruise) she had lots of stories to tell. Yet, when the excitement of the trip wore off, we both had the sense that we were still standing on a pitching deck with no way to get to calm seas. A big piece of the puzzle – my dad – was missing.

     “Write your memoir,” I said.

“My life wasn’t interesting,” she answered.

But the idea must have taken hold. Not long after this conversation, she called. She was done with her memoir.

“Impressive,” I mused.

It took me months to write a novel and she finished hers in a week. Then I saw why. Her ‘manuscript’ was five pages long and she was eighty-five years old. There had to be more.

And so began a year of weekend sleep-overs as we poured over photographs for inspiration. She had twenty beautifully documented photo albums, a box with pictures when cameras were still a new fangled thing.

There was mom wearing waist-length braids and Mary Jane shoes standing in the Germany village she called home.

She was a teenager in the U.S. while war raged in Europe, catching up the grandmother she had lived with, cousins and friends.

There was my mom posing in a swimsuit she bought with the dollar she found on the street.

Mom in her twenty-five dollar bridal gown perched in the back of a hay wagon beside my father, a skinny, wide-eyed farm boy who would become a doctor.

Mom with one child. Two. Three. Five. Six of us all together. Dark haired and big eyed we were her clones dressed in beautiful, homemade clothes. I remember going to sleep to the sound of her sewing machine.

And there were words! I bribed my mother with promises of Taco Bell feasts if she gave me details. Funny, what came to her mind.

To keep body and soul together when my father was in med school, he was a professional mourner and bussed tables for a wealthy fraternity. My mom worked in a medical lab where the unchecked radiation caused her to lose her first baby. They ate lab rabbits that had given their all for pregnancy tests. They were in love and happy and didn’t know they were poor. But St. Louis was cold, she remembered, and they couldn’t afford winter coats. Still, she insisted, they weren’t poor. I listened and knew they were happy.

She typed, I edited; I typed, she talked. My youngest brother almost died when he was 10. She didn’t cry for a long while; not until she knew he would live. The captain of the ship that took her back to Germany was kind. She dreamed of becoming a missionary doctor. In 1954, she had two toddlers (me and my brother) and another baby on the way when she and dad drove to Fairbanks, Alaska where he would serve his residency at the pleasure of the U.S. Air Force. Her favorite outfit was a suit with a white collar. She loved her long hair rolled at her neck in the forties. In the fifties she made a black dress with rhinestone straps and her hair was bobbed. In the sixties, she made palazzo pants and sported a short bouffant. She looked like a movie star in her homemade clothes. I wanted to grow up to be as glamorous as she was. She still thought she wasn’t interesting.

Mom wrote the forward to her memoir herself. It began:

      A great sense of loneliness fills the house as twilight approaches. In the silence, I can almost hear the voices of my grown children as they recall their childhood years, the laughter of grandchildren and the quiet conversations of friends who have gathered here in years past, echoing through the empty rooms.

       You see, she really had no need of my help as a writer.

We had seven copies printed with a beautiful cover of a sunset. She called the book In The Twilight of My Life and would not be swayed to change it. Mom thought it perfect and not the least depressing. It was, she laughed, exactly right. It was the laugh that made it right. She gave my brothers and sisters a copy for Christmas. My older brother had tears in his eyes. Everyone exclaimed: “I never knew that”.

Now I have a book more treasured than any I have written. I learned a lot about my mom and I realized why I create fictional women of courage and conviction, strength and curiosity, intelligence and, most of all, spirit. It’s because, all this time, I’ve been writing about my mother.

 

 

 

 

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NOVEL EDITS

July 14, 2014 by in category Archives tagged as , ,
I spend more time editing a novel than writing it. Writing is done in a fit of passion, fingers flying furiously over the keyboard as I create heart-palpitating dialogue and brilliant flash-bang action that is never as good as I think it is. It’s sort of like a first date with an absolutely gorgeous human being who is funny and wise and wonderful – only not. What I might have seen in a sultry, shadowy bar after two glasses of wine is not what I face in the light of day. The sooner I acknowledge that, the better.
Editing is the day after the first date. It is addressed with objectivity, reserve, and grave consideration of the future of my novel. Okay, maybe it’s not as grave as assessing a man the morning after a first date but I’m darn serious about it.  It’s taken me years to discipline myself and admit that my writing is never publishable after the first – or even third – go-round.  In fact, it’s so hard to be objective that I made a list of bottom-line, life-and-death edits, so that I wouldn’t be seduced by my own pretty phrase, an arrogant word, or ridiculous scenario.
Here are the 6 edits I can’t live without (and neither should you).
      1)   Same Word Edit: If you use the same word over and over, learn a new one. Words lose their potency just like spices. It is sort of like whining, after a while it’s just another high-pitched sound.
       2)   The Thesaurus Edit: Don’t use big words, vague words, or unusual names. Readers will trip over them, be upset that you are taking them out of the story, and, worse, that you made them feel stupid.  A book is like a float down a river, you never want a reader to run aground.
        3)   The Logical Movement Edit: Move characters from point A to point B with sensible purpose and the story the same way. If you don’t, the reader will be puzzled and spend more time wondering how things happened rather than accepting that they happened.
       4)   Love or Lust Edit: Characters make love if there’s reason to be in love. Be clear about why your characters deserve to be cherished and admired. If they are just in lust, be clear about that too. The two ‘L’ words should never be confused.
        5)   I’m Tired Edit: Readers can tell when an author gets tired. Step away and recharge. Come back at it in full form. 

        6)   The Consistency Edit: A character must stay in character, details build a scene, red herrings need to be revisited and wrapped up. Life in a novel should be tidy at the end even if it’s a marvelous mess of storytelling.
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IT’S NOT PERSONAL, BUT IT SHOULD BE

December 15, 2013 by in category Archives tagged as , , ,
This morning I received three emails.
One was from a lady who in Scotland who read one of my books and joined my fan page. She wanted me to know how much she appreciated waking up and finding that I had responded to her messages.
 The second was from a man in Australia who sent me a list of things he liked about Silent Witness. He highlighted sentences that he particularly liked, but at the end of his note he said “thank you for making Hannah so intelligent.”
The third was from the woman who wrote me my first fan letter. We’ve been pen pals for 28 years. Now we communicate on the computer, but every once in a while we still send one another a card, remember birthdays, the holidays and share information on grandchildren (hers since I only have a grand dog).
The point is that what authors do is extremely personal. It begins with our characters. If we don’t feel them in our souls and translate that feeling into words on the page, our books will be enjoyed but not treasured. When we do make that magic happen and a reader reaches out, opening a personal dialogue with them will make a reader into a fan. In some wonderful instances our efforts also create a friend. 
Here are my top five rules of engagement:
1)   Know the personal history and habits of every character in your book and write as if you live and die with them.
2) When a fan writes, write back with more than a thank you. Acknowledge that you appreciate the time they took to write to you. I am always excited when someone takes the time to read my work; that they go the extra step is like having a cheerleader in my corner. I want them to know that.
3) Start a personal dialogue slowly. There are those fans that would like more of your time than others and those who wish to have a more personal relationship than you might be willing to enter into. It is up to you to set the parameters. For the most part, though, these relationships will be casual, fun and fulfilling for both sides.
4) If a reader contacts you about something in your book that touched them, expound on what got you to that place. For instance, Hostile Witness was inspired by a case my husband handled. As a criminal judge, he sentenced a sixteen-year-old boy to life in adult prison. The character, Hannah, and the plot of that book were based on this experience. It is a bit of personal information that is not too intimate but is interesting to readers.
5) Truly enjoy your interaction with readers, other authors and reviewers. Never look at it as a chore.
We are, perhaps, the luckiest people in the world. Despite the fact that our profession is solitary, the result of our labor is a book that reaches hundreds and sometimes thousands of people. When they reach back, that is the hallmark of success. Embrace real life dialogue; it is part of the joy of writing.

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