Writer's Blog

Friday, November 7, 2014

Muses: Stephen King and Paul Reubens


            Somedays I don’t feel like writing at all.  If pushed, I can always find something to write about if given a topic.  However, there are days when I don’t feel like finding a topic.  It’s pathetic, really.  I only have thousands of books here at home and hundreds on writing alone.  All it takes is opening up one book to a page, reading a little and writing in reaction to it.
            There are always, however, a thousand reasons for me not to start writing every day.  My most common excuse is that typing on the computer aggravates my back, neck, as well as some pre-arthritis garbage I have going on.  But, as like anything else, once you push through the wall, you keep going.  Today was one of those days again.  I am participating in Nanowrimo’s National Writing Month as I’ve done for the past three years.  I’ve been home most of the day as it is Teacher’s Convention weekend and all day long I’ve been avoiding typing up five pages of writing.  It shouldn’t be that hard;  twenty years ago I used to write 10-15 pages a day.  Most of it was garbage, but I still turned out a complete work every few months.  My filing cabinets are full of unsold work.  But now, with chronic pain and eight million things to distract me, it’s difficult for me to find the one to two hours I need to type five pages.  And when I hear that writers like Stephen King push out 20 pages a day, I just feel useless.
            But, that’s ridiculous thinking.  Nobody is Stephen King.  He makes $100,000,000 a book because of his ability to create fully flushed out, fascinating page-turners one after another.  (It’s important to note also that Stephen King has stated that he also has filing cabinets full of garbage at home.)
            What is important is that you write every day.  It doesn’t matter if it’s one page or one sentence.  Either way, if you are writing every day, by the end of the year you should have at least one finished literary work:  a novel, a screenplay, a stage play.
            The other day, I was scouring Youtube for interviews with Paul Reubens, a.k.a. Pee-Wee Herman, I think that many people who grew up in the 80’s have a special love of Pee-Wee Herman.  He made us laugh at our own silliness.  Reubens just spent over a million dollars restoring all five seasons of Pee-Wee’s Playhouse in a brand new boxed set. After watching one interview with Paul Reubens, I was interested to learn more about this lovely soul. 
            One of the interviews I found was surprising to me.  Reubens was talking about writing.  He hates it!  He would rather do anything else but write.  In fact, he started Pee Wee’s Playhouse out of a state of panic.  He had been turned down to host Saturday Night Live and in his distress and worry of never working again, he came up with the idea of producing his own children’s show.  This was a perfect example of making lemonade out of lemons.  He produced the show and the rest was history.  He is now a world-wide branded name.
            When it came time to write the first Pee-Wee film, Pee-Wee’s Big Adventure, Reubens had no idea how to write a screenplay.  So, he picked up a How To book by filmwriting master, Syd Fields, and literally worked his way through the book page by page to create Pee-Wee’s Big Adventure.  He said he did such a good job following Syd’s format that now film schools study the screenplay.  He joked, “On page 30 I lose my bike and on page 60 I find it. . . “ 
            Anyone can write, including those who hate writing, and if you don’t know where to start, pick up a book.   If Reubens, who hates writing, can write a film that grossed $40,900,000, then what can you do when you LOVE to write?
            Here’s a couple of suggestions that I’ve used and taught to writing students of all ages.  The first is the What If? Response.  What you do is take a few moments scouring a book or Internet issues and ask yourself What If?  What if the key to ending worldwide terrorism was in the minds of children and we’re just not listening?  What if evil didn’t triumph over good in the film Chinatown - -  how would it end then?  What if Pee-Wee Herman had an evil twin?  All you do is ask the question and suddenly you have a story to tell.  It doesn’t matter that it’s based on something else – as you continue to write, it will take on a life of it’s own.  Eventually you will edit out the question you started writing with and end with something entirely new and different.
            Another good writing technique is called Loop Writing.  You time yourself for ten minutes or so and just write anything that comes to your head.   Ironically, this is the technique I used to start this blog.  After ten minutes, stop, underline what you think is either the main idea or most important thing you wrote and write for another ten minutes on that idea.  You can keep looping your writing every ten minutes or so if you like until you finally hit a rhythm.  Once you hit on the right topic, you won’t want to stop writing. 
            The third is to type  “Writing Topics”  or “Writing Ideas” into an Internet search and see what comes up to strike your interest.  If you feel like spending a couple of bucks, head to the book store (or try the library) and purchase a book or computer program designed to furnish you with writing topics or outlines.  You’ll be surprised how many things are out there.  And it doesn’t matter if 10,000 people start writing on the same topic, they will come up with 10,000 distinctly different stories.
            There are many, many more ways to get started in writing, but the utmost rule is Just Write.  If you put pen to paper or fingers to keyboard and just begin to write, then you’re halfway there!  Pull up your word processing program right now and get started!
        
            If you'd like to participate in November Novel Writing month, go to Nanowrimo.org and sign up.  It's free!
Please check out my new novel  Luke Aloysius:  Bloodline on Amazon:


Peace!


Thursday, November 6, 2014

Tease Me, Stan Lee. . .





            I’m 13 again.
I was just having a conversation with my 10-year old cousin, Little Chris.  We have a special bond.  We have entire conversations based on Marvel Comics.  He’s a big Captain America fan, I like Loki.  We both think Stan Lee is awesome.  Little Chris tends to forget that Marvel Agents of Shield is on television, so each week I text him to remind him just as the show is about to start.  When I see him next, we talk about all the mysteries in the Marvel movies and television shows. I try to have these conversations with adults, but they just think I’m nuts. (I probably am . . .)           
            Our newest conversation is discussing the possibilities of the upcoming Avengers:  Age Of Ultron film.  I recently read that Loki and Heimdall are making an appearance in Age of Ultron.  Little Chris was as excited about this as I was.  We discussed what this scene would entail.  Does Heimdall discover that Loki has taken Odin’s place on the throne of Asgar?  If so, is Heimdall now in trouble with Loki?  Do they fight again?  Does Loki make Heimdall disappear in the same way his father has vanished?  Hmmm .. . . questions, questions, questions. . .
            And yet, knowing Marvel comics, we probably couldn’t predict what this scene would be about.
            This brings me to today’s topic:  Teasers.  There are all kinds of teasers in writing.  In television, a teaser is the first 30 seconds or so of a television show before they cut to the opening credits and commercial.  The teaser’s job is to hook people in so they don’t change the channel.  You leave them with burning questions so that they will stay tuned in.
            Another version of the teaser is foreshadowing.  Foreshadowing are hints of what’s to come in a novel.  In my opinion, there are two kinds of foreshadowing:  Subtle and In Your Face.  Subtle foreshadowing is in extremely well-written stories where something is mentioned, seemingly in passing, and it isn’t until the big reveal that you realized how important that detail was.  J.K. Rowling is a master at Subtle foreshadowing.  She would mention people or things in Book 1 of the Harry Potter series that didn’t become important until the seventh and final book.  For example, when Harry’s Aunt Petunia states that Lily was always hanging out with “that boy,” you automatically think “that boy” was James, Harry’s father.  It isn’t until the seventh book that you realize “that boy” was Severus Snape, unveiling a crucial piece of information that finally unravels the entire mystery regarding Snape’s relationship with Harry and Harry’s family.
            In Your Face foreshadowing is when you know that something is important, but you may not be sure how it is important.  For example, a dead woman is missing a shoe.  You know that dang shoe will show itself before the end of the story.  Where is it?  Who has it?  And why?  This is a device commonly used in murder and detective stories. 
            Marvel Comics films have end-teasers and short films which are In Your Face.  We know these characters and situations are important to the entire Marvel Universe, but we’re not exactly sure why.  And the Marvel fans can’t get enough of surmising the connections.  Every little detail is a clue that is argued in chat rooms across the Internet.  It’s brilliant marketing.
            The idea that you should take away from all this is to drop hints in your writing.  Foreshadow the story to come, give your readers Subtle and In Your Face clues.  And, absolutely, if you are writing a series of stories, plant teasers for what’s to come.  Think of the book series and film series you loved.  What was it that kept you coming back for more?  Guaranteed part of it was that new questions opened at the end of the novel demanded to be answered in the next.  As they say in show business, “Always leave your audience asking for more…”
Please check out my new novel  Luke Aloysius:  Bloodline on Amazon:


Saturday, November 1, 2014

Writing For Children

Happy Belated Halloween!
I'm baaaack!

Actually, I never went away.  I've been writing consistently and for the past year or so, I started a Teaching Google Site for my students and others.  It consists of links to videos that expand on the literature they are reading in class.  My students have been having fun watching the videos and connecting them to their reading and writing.

Many people today will complain that kids today don't want to learn, but I don't think that's true.  I feel that kids always want to learn, they just want to learn about what's interesting to THEM.  This brings me to the point of my long-awaited blog for today:  Writing for Children.
There are people in the industry who mock Children's Book Authors for ridiculous reasons.  They are being foolish.  Authors like Roald Dahl, J.K. Rowling, and Dr. Seuss have been laughing all the way to the bank for years.

It's not as easy to write for children as you think.  The first thing you need to know about writing for children is that you cannot write the same way that you do for adults.  That may seem simple, but it's not.  In writing on a child's level, you have to keep many things in persepective.  You cannot write like it's your literary thesis; children will close the book after the first sentence.  However, you cannot write DOWN to children.  This ticks them off.  I've taught literature to children for over a decade and I can tell you that they know when a writer is "Talking to us like we're stupid."  The key is to write as if you are speaking to a friend and are being conversational.  A perfect example of this is George Orwell's Animal Farm.  While Orwell can write on a highly academic level (read any of his literary theory), he writes simply and eloquently in this children's novel.  [Animal Farm is much more than a children's novel and is a powerful allegory about Totaltarianism for adults, but that's another topic for another day.]

Second, a children's book should teach something without looking like it's teaching.  If you read the Harry Potter stories, J.K. Rowling teaches many life lessons without children ever knowing it.  The most important theme in the Potter series is the power of LOVE.  Love conquers all, transcends all, forgives, and lives eternally.  Kids get that from reading these books, without being TOLD that's the lesson.

Third, you need to know the age level you are writing for and use the appropriate vocabulary.
Children's Books is a broad topic that covers Picture Books (Pre-K), Children's (lower grades), Middle Grades/Tween (10-13), and Young Adult (14-17).  It might help you to remember the Five-finger Rule that we teach elementary and middle school children to use.  Students are taught to open a new book to a random page and begin reading.  For each word they don't know, they are to put up a finger.  At the end of the page, they determine their JUST RIGHT books as follows:
One to two fingers = the book is too easy for them.  Choose another one to read.
Three to four fingers= Just Right.  Start reading.
Five or more fingers=  Not yet.  This book will be too challenging.  Save it for later.
So, the object is to use challenging words for the grade level, but not too many.  A twelve year old who does not have learning disabilities will be past reading Dr. Seuss and Roald Dahl, but books like Night by Eli Weisel and stories by Mark Twain may be too difficult for him.  However, books like Harry Potter and The Maze Runner may be just right.

In short, I'd go by the words of J.K. Rowling who said in an interview that in writing the Harry Potter series, she wrote what she wanted to read and what made her laugh.  She wasn't trying to impress anyone, she just was inspired to write a story about a little boy with a lightening bolt scar on his forehead.
Please check out my new novel  Luke Aloysius:  Bloodline on Amazon: