Posts Tagged daily post

#AuthorToolbox 07: avoiding perfection

Via: Daily Prompt – Study & Loophole

Lately, I have been thinking a lot about sainted characters. It all started when I sat down to watch John Carpenter’s 1978 slasher success Halloween for the first time [yes, truly]. After a month-long Christmas movie binge, I was ready to shake things up a bit and, although fully prepared to be blown away by the cult classic that apparently gave birth to so many of my favorite horror movies from the 90’s, twenty minutes in, it had me rolling my eyes and sighing in exasperation. Jamie Lee Curtis is Mary Sue:

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Media: Giphy

The Virginal Barbie: Despite being all shiny and blonde with a great body, Curtis’s character Laurie is the shy girl-next-door who can’t bring herself to divulge her feelings to the boy she likes, making her the unattached dream girl who won’t give a man any lip.

The Sharpest Tool in the Shed: Not only is she at the top of every class, she’s probably also psychic. She is the first to notice the man-in-the-mask watching her and her friends as well as the only one who continues to sense his foreboding proximity throughout the movie.

A Goody-Two-Shoes: She can’t break rules properly even when she tries. The one time she allows herself to be peer-pressured into smoking a little pot, she ends up right in front of the sheriff. Though her transgression goes unnoticed, she chooses to walk the straight and narrow for the rest of the movie.

The Old Reliable: She always picks up the slack. She can be counted on to drop off keys to a real estate client for her father, make popcorn for her babysitting charge, and relieve her best friend from babysitting duty while the said best friend spends the night doing the dirty.

It’s Lonely at the Top: Early on in the movie, we see her experiencing all the teen angst that accompanies an austere lifestyle and become sympathetic to her plight.

A Badass Martyr: Even when the killer slices open her arm, her first lookout is to make sure the kids are safe, maternal instinct in guerilla warfare mode. And she’s pretty resourceful with a knitting needle too. Who doesn’t love a girl who can simultaneously knit and kick butt when called to action?

DIE, FEMINISM, DIE! But, even aside from the misogynistic rigmarole, that is a tall order for any character. And while I accept that, in horror movies, death following sex is expected, by the end of the movie, I was convinced that the only reason Laurie survived was that she didn’t show any skin. By the end of the movie, I wanted to throw her out the bedroom window. Sadly, while I believe the makers of Halloween intended Laurie to be The-Li’l-Lady-That-Could, fiction writers are equally prone to creating accidental Mary Sues. I would have to say, tar me with the same brush.

MY TOO-PERFECT CHARACTER

Only, mine was a Gary Stu. When I first started writing I’ll Be True in 2012, I understood little about structuring plots, developing characters, weaving conflicts, or building tension, etc. I was confident I had a voice and was often praised for my diction, which was good enough to publish the first draft of my story on a public platform, a.k.a. this blog. Besides, I was too hopeful that having an actual audience would cure me of my habit of abandoning stories before they were finished being written. Embarrassing as it is to admit, it wasn’t until I wrote the entire novel and read back all twenty-six chapters to myself that I realized my protagonist’s romantic interest, who also happened to be the second MC, was insufferably unspoiled.

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Media: Tenor

Matthew Halls was a wish-fulfilling Mr. Perfect I had written when I was going through a rough patch in my longstanding relationship. He looked good on paper, was always the voice of reason, and had the luck of Indiana Jones with a heart the size of a blimp, talent oozing out of his pores, and sexual appeal enough to melt the staunchest woman’s core (which he promptly did). He had little in the way of challenges other than to convince the heroine that she loved him enough to call for a change in her attitude towards relationships. In other words, he was unreal, he had no character arc, and I was, literally, driven to tears of frustration. Worse, in the process of creating the perfect man, I committed the cardinal sin of treating my hero like a plot device. [His hideous magnificence remains unedited in my posts should anyone care to torture themselves]

WHY AVOID TOO-PERFECT CHARACTERS?

If the above examples of Mary Sue and Gary Stu do not convince, here’s how too-perfect protagonists may lead to bad fictions:

saintToo perfect to be human. Readers are everyday flawed people so a character who is free of flaws becomes unrealistic and one that is hard to relate to. Besides, it is very hard to sympathize with a holier-than-thou character in peril because they make us feel less than our best selves, so a reader would not feel as vested in seeing the character through to triumph.

No challenge too great. Too-perfect protagonists come with broad skillsets that make accomplishing goals and overcoming obstacles very easy for them and their one-dimensional quality boring for the readers. Plots are driven by conflicts and, with a Johnny-On-The-Spot, the tension never quite gets the opportunity to build up properly, which can cause the reader to disconnect too early.

Well, what’s there left to hope for? People want to read about ordinary characters persevere in extraordinary ways. A character in a similar or slightly better circumstances than the reader can motivate the reader’s aspirations towards life; conversely, a character who has all the assets one can desire to lead the perfect life might make a reader want to go to sleep and never wake up. After all, who can compete against Batman?

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Media: Me.Me.

To be fair to us, authors, it’s too tempting to write the too-perfect character. Even if we, ourselves, do not fit the mold of our ideal person [because, really, who does?], we wish to see it come alive somewhere – live [vicariously] a little. Writing heroes is also more comfortable than writing anti-heroes or villains because subconsciously we are worried how that might reflect on us as human beings. If we do remember to sand the edges by inserting a couple of character flaws, we are just as quick to make excuses for them. Should we write them real challenges, as creators, it is in our nature to mother them into victory.

At our worst self, we’re lazy and don’t want to sweat by putting in the level of thought and work hours necessary to clean up after a messy character: Stories are made of struggles; struggles need solving; someone’s gotta do it; why not Mary Sue? But every time we throw miracles in our character’s path, we are chiseling away at the compelling story we could be writing. As an outsider looking in, readers tend to discover conflicts sooner and notice opportunities for resolution faster than the characters themselves, which may prompt vexation in the reader but also cause them to hold on.

 

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Media: SpudComic

Think about it, how often have you groaned during the stairwell chase scene when the protagonist runs up the stairs to get away from the predator? It seems their gut instinct should be to run down and let gravity do most of the work as they look for the quickest exit from hell. Unless, of course, the character is Batman, in which case he wouldn’t be running or, if he did, he has probably already sent out a signal and the Batplane is waiting for him by the rooftop. As a kid, I had promised myself that I would learn to drive, ride a motorbike as well as a horse, and hotwire a car, just so if I ever needed to escape a villain, I would be all set. I haven’t yet learned to do any of that, am clinically overweight that I’m too lazy to remedy, and have low stamina that I blame on my intellectually-inclined personality. If my life was a novel and I a Girl Scout, I’d be the first to be eaten by a bear during camp. So… obviously not the protagonist of my own story.

 

HOW TO AVOID WRITING TOO-PERFECT CHARACTERS?

The good news is, if caught in time, an author can put a flawless character back in his box. It requires careful examination and takes a few nips and tucks to fix perfection but it can be done:

Give. Them. Flaws. Well, that’s obvious, but here are a few tips to remember as you do –

  • It’s best not to depend on flaws that are superficial or an in indirect praise such as a crooked nose (who’re you kidding; you know that’s sexy) or being a total klutz (wasn’t Meg Ryan absolutely adorable in French Kiss). The surest way to make the flaw compelling for the readers is to ensure that it is mired in the character’s past and has had time to fester to become a real problem.
  • The flaw shouldn’t be too blatant or exaggerated. Flaws lose credibility when demonstrated in absolute so they should never be dealt as such, unless the intention is to mock. Most people work in gray areas and so should the character’s flaws. Only sociopaths are completely sure of themselves all the time.
  • The flaw needs to be persistent until the character learns to reign it in, which should happen at approximately the same time as the plot reaches resolution. The last thing the story needs is the narrator telling the reader about the character’s flaw but when the time comes to show, the character works in an opposite manner.
  • A flaw that connects back to the central conflict in the plot is a great flaw. Flaws bear significance to the story when they cause the character to take a misstep that challenges their goals.

For that matter, stop fixating on their endowments. Yeah, yeah, he’s hot-stuff but must she swoon every time he walks into the room? The more words are spent describing the protagonist’s pros, the less time is used to show their cons.

Turn their strengths into a source of weakness. Shakespeare was a genius in romanticizing flaws. The same qualities that would establish a character as a hero in the beginning of a play would cause their tragic demise by the end. E.g. the bravery and determination that returns Macbeth victorious from war transforms into unchecked ambition where he kills the king he swore to serve before turning mad with guilt and paranoia, which eventually leads to a bloodbath under his tyrannical rule and then his death.

Make them do something you find truly objectionable. This may even be out of character where the one time they do something wrong, they get caught and then are left picking up the pieces for the rest of the story.

Put them back in the real world. The universe, even one existing in a fantasy, is governed by its own laws, which no character is above. As such, when the character defies the rules of this universe, there should be repercussions for the character to deal with. Their actions will have an effect on other characters just as they must be affected by it.

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Avoid deus ex machinas. Remember that one time when we were driving down the I-10 and were almost abducted by aliens but then a pterodactyl swooped in and ate the aliens before flying off into the sunset? Yeah, never happened. Not even on The X-Files. Sudden supreme forces that step in without preamble to save the day for the protagonist just make the plot ridiculous.

Pass some of your character’s skills to others. The protagonist can’t be an expert on everything or be everywhere at the same time – nor should you ask them of it. Instead, insert other characters into the story who are able to take over some of the protagonist’s responsibilities. Even Harry had Ron and Hermione; and Dumbledore and the Order of Phoenix and the DA and Snape and a bunch of other dead guys, etc.

What I’m trying to say is, in case you lost the plot in that circuitous ramble, unless you have decided that a Mary Sue/Gary Stu works for your story, they best be avoided. But, hey! as the original Mary Sue was written as a satire to parody the unrealistic heroines in some of the early Star Trek fanfictions, sometimes they can be the key ingredient to a successful story.

Whew! My obvious flaw is the inability to edit because this has gone on for long enough. But I would love to read about what are your thoughts on too-perfect characters.

Perhaps there is a Mary Sue that you feel spoiled a story for you or one that worked out really well? Or, like me, maybe you once wrote a Gary Stu who you eventually had to kill but who imparted you with great insight before his death?

 

Nano Blog and Social Media Hop2Finally, a word on the Author Toolbox Blog Hop:
#AuthorToolboxBlogHop is a monthly event, hosted by the gracious Raimey Gallant, featuring various resources and learnings for authors written by authors. It is open to writers at all stages of their careers and the rules of sign-up are available in the overhead link. Also, if you are just interested in connecting with actual authors and see what they have got to say, the sign-up page has a list of participants to direct you to their pages. Happy reading and writing, fellow authors!

 

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Wednesday Reflections #34 – The Christmas Wife by Elizabeth Kelly

Via: Daily Prompt – Brilliant & Undulate

28028105Title     The Christmas Wife

Author     Elizabeth Kelly

Genre     Contemporary Romance | Holiday Romance | Christmas

Publisher      Elizabeth Kelly

Publication Date      November 29, 2015

Format      eBook

Setting     USA

ISBN     9781926483528

Synopsis: Deacon Stone, CEO extraordinaire of one of the world’s largest independent toy making companies, is in big trouble. His dear grandmother has finally lost her marbles and threatened to bequeath her controlling shares of the family business – the same toy company that Deacon worked his buns off for over the last decade to rescue from certain bankruptcy – to his greedy ill-equipped cousin if he doesn’t marry before Christmas. Not only does Deacon have an aversion to tying the proverbial noose around his neck but the real challenge is that he has less than a week to do the deed. When his best friend suggests he hires an escort to be his wife for the month, he brushes the idea off as incomprehensible. Then six-years-old Hattie, the daughter of his weekly maid Claire Brooks, glides into his living room, breaks a priceless figurine, and hands him the answer. As single mom Claire gets fired from the cleaning company for the damage caused, Deacon pays an apology visit to the Brookses’ dilapidated apartment to find them living in a state of destitution. Furthermore, he discovers their eviction notice, threatening to render the mother-daughter duo homeless, and suddenly a wife-for-hire doesn’t sound implausible. He realizes that Claire being a dedicated mom in dire straits would never reveal the duplicity of their marriage to anyone for fear of psychological repercussion on Hattie and promptly offers the family shelter in exchange of a marriage of convenience. He even sweetens the pot by offering Claire a hundred thousand dollars as long as they can maintain the charade until New Year’s Day when his grandmother would sign the shares over to him. For Claire, there really is no contest when given a choice between defending her dignity and securing a comfortable future for her daughter. And as long as she can put up a convincing act where everyone believes her marriage to Deacon is real but Hattie doesn’t get too emotionally drawn in, everyone can leave the marriage unscathed come new year. Except once married, the volatile sexual chemistry between Deacon and Claire begins to take precedence over a promise to remain detached and when Hattie and Deacon begin to form new bonds, fake family starts to look dangerously close to the real deal.

Experience: I rated this book 5* on Goodreads – not because I found it “amazing” (as the site’s rating system defines) or even because it was technically flawless. But because, having tried and failed to enjoy the works of a series of newly discovered [by me] authors in 2017, I was tearfully relieved to see that Elizabeth Kelly remembered to dot her i’s and cross her t’s before publishing the novel. And it seems this work was self-published too so bravo!

The book itself banks on an evergreen plot structure in the romance genre – a marriage of convenience – that it liberally peppers with lots of sensual scenes between the newly married couple and then honeys up with the beautiful formation of parent-child bond between a reluctant stepfather and a guileless child. It’s not an ingenious story arc but it guarantees success. I don’t think Kelly aimed to wow her readers with this but rather tried to provide them a homey romance to snuggle up with during the holidays – at least that is how it came across to me and, for once, I’m grateful for the salute to simplicity. Whereas recently I have read too many novels desperately gunning to discombobulate readers by adding an inordinate and unnecessary number of plot twists, The Christmas Wife chose to remain old-school and I found that refreshing. I fell in love with romance novels while reading the early cozy romances written by Sandra Brown and this was sort of a throwback to the sensations they aroused – The Hallmark Channel with a crackling fire smoking up the pages.

Another groan factor for me in 2017 was reading how comfortable so many authors are about treating their characters like plot devices, randomly called to action or left to collect dust as the scene of the moment requires. As though everyone but the main characters is afterthoughts. I have read an actual scene where the hero and heroine – secretly in love with each other – are arguing over something absolutely mundane that the heroine’s roommate is helping to moderate, when because the heroine ingenuously trips and the hero gallantly catches her, they become wholly engrossed in discovering adorable freckles on one’s nose and golden flecks in the other’s eyes, having a conversation that would consume minimum ten minutes in real life while the roommate is floating in the background like a ghost stuck in time without any occupation or even objection to being ignored. While the interaction between the hero-heroine was certainly titillating, the roles of the other characters felt insignificant and implausible. This actually was approved by a notable publishing house and then went on to becoming a YA bestseller. And no, the book didn’t get better after that; rest of it was just as inane.

In a happy contrast, Hattie received a salient role in this novel, despite being a child character in an adult romance. Usually, one would find a novel featuring a single mom/dad using the kid(s) to simply cutesy up the plot – like a pet. They may be part of the conflict or the charm but mostly inactive other than when required to either foil or foster the romantic plot. Not Hattie. She got as much downtime with Deacon as her mom and actively contributed to selling the beauty of “fam-dom” to the resolutely-single hero. And not only did she build bonds with the stepdad but also charmed a shrewd grandmother and formed an alliance with a member of the opposition (the son of that inept cousin trying to weasel away Deacon’s company). This novel was not about only the romantic characters. Kelly did not forget the little people – or rather, the little people had large parts to play.

Meanwhile, the adults behaved like adults and not hapless props acted upon for the sake and break of the romance. Here, the hero and heroine made informed decisions unlike a lot of recent romances where the main characters take rash decisions in the beginning of the novel and for the rest, are juggling the pieces of their lives while they choose to remain blind to the changing dynamics in the said romance or become easily misled due process of salvaging their egos. Conflicts invariably equal to secrets and miscommunications. Again, Kelly broke the mold when neither Deacon nor Claire is relegated to such star-crossed roles. Throughout the novel, both characters had an active hand in how their marriage would be upheld, in its catch or release, whether tightening the hold over their congealing relationship or letting go. They weighed their options as well their constraints before entering the marriage, they chose to become sexually involved letting the other know their individual limits in the relationship, and, when necessary, they each backed off and allowed the other enough space to get their bearings sorted. I felt it was their understanding of each other’s wants that made the ebbs and flows of tension so well-paced and believable. Despite the odds that brought them together and despite the fact that they entered a fake marriage, they always remain a truthful ally to one another. In this lie, they are a unit and that makes each partner a strong support system for the other – in a way, a much healthier foundation for marriage. And it was a relief that the tension was not dependent on yet another incident of “forgot to pass the message” or “didn’t reach the venue quickly enough to stop the villain from gaining center-stage”.

The only objection I had to the novel, though, was that there was no concrete foundation to build the romantic arc upon. What I mean is, while there was oodles of lust between our romantic couple and all, there was no other reason for one individual to fall in love with the other individual. Perhaps I felt this way because there was no real character development in either Deacon or Claire but only the outlook of the “ideal family” they created and fell into character with. Throughout the novel, the most we see of each character as individuals is that one is a hardworking bloke while the other a dedicated mom but everything else they undergo is purely circumstantial. Thrown in such close quarters, any set of individuals would form these bonds, an adult unless heartless would melt towards a precocious child, a married couple with the opportunity and license to initiate a sexual relationship may take advantage of their conjugal rights. And in the process, these people may develop soft corners for each other but it seemed that it could be any rich rescuer or any mother-daughter act that would have done the job. I think it was here, in the enriching of the characters, where simplicity took away rather than added to the novel. But then again, since the novel was no race to becoming the next great American romance, this deficiency is easily overlooked.

Recommendation: If you’re ever in need of an uncomplicated and soothing romance with a little heat, look no further. And you know as well as I that Christmas romances are good to read all year round.

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WRITING CHRONICLE #33: a last shout out to new beginnings

Via: Daily Prompt – Almost & Finally

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We’re almost at the finish line. A minute to go before it’s 2018 in Bangladesh while many of you have already welcomed in the new year and others are preparing for this evening’s celebrations.

So I thought I’d leave a final note for this year. It’s been good enough. Perhaps not as fast as I would have liked for my career as a novelist but I still wrote a lot more fiction and on the craft of writing fiction than I have in my entire adult life. I discovered a few good reads that I fell in love with and read a lot of things that I absolutely hated – but most importantly, each material provided me with some learning to improve my own fiction writing skills. Also, my blog took off and has now come into its own confident form.

Speaking of which, to work more on my novel writing, I will only be blogging once-a-week in 2018 unless something major prompts my quill to superfluity. I will be alternating the weeks between my WRITING CHRONICLES and WEDNESDAY REFLECTIONS posts – i.e. except for the third week of each month when I will be dedicating said week’s posts to my #AuthorToolboxBlogHop community.

So to all my readers and fellow bloggers,

A HAPPY NEW YEAR & EVEN HAPPIER READING!

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WEDNESDAY REFLECTION #33: The Shop Around the Corner VS. You’ve Got Mail

Via: Daily Prompt – Proclivity & Confess

poster2b-2bshop2baround2bthe2bcorner252c2bthe_01Title     The Shop Around the Corner

Starring     James Stewart, Margaret Sullavan, and Frank Morgan

Director     Ernst Lubitsch

Writer(s)    Samson Raphaelson and Miklós László

Genre     Romance | Comedy | Drama

Release Date     January 12, 1940

Filming Location     Metro-Goldwyn-Mayer Studios, Culver City, California, USA

Parental Guidance     TV-G

IMDB Rating     8.1

Synopsis: Alfred Kralik (James Stewart) is the First Salesman at the Matuschek & Co. boutique store, which has allowed him a rather comfortable bachelor’s living thus far. Sure, his relationship with the store’s owner Hugo Matuschek (Frank Morgan) is more-often-than-not contentious given that, whenever invited to share an opinion, he ends up challenging the old man’s decisions for the benefit of the store; nevertheless, he also knows that his longstanding tenure with the company and faithful efforts towards its success is appreciated by the big guy, albeit grudgingly. Besides, with a wonderful staff under his supervision, Alfred wouldn’t change a thing about his life. That is, until a steady mail correspondence with an anonymous woman has him wondering about married life and he decides, come Christmas, he will ask Matuschek for a raise. Just around the same time, a woman walks into the store and tries to cheekily talk Alfred into giving her a job by applying to his optimism regarding the upcoming Christmas sale that is likely to demand additional help. Alfred is less than approving of having his gullibility played upon by this Klara Novak (Margaret Sullavan) and refuses her a position. However, Klara, with her salesmanship, manages to impress Matuschek into hiring her and what follows is weeks of resentful verbal combat between Alfred and Klara where neither is aware that the other is the secret pen pal each has been gradually falling in love with. With just a week to go before Christmas, the epistolary lovers decide to finally meet and Alfred gets ready to ask Matuschek for a raise. Alas! His recent exchanges with the boss, who himself has been rather preoccupied with marital problems, is rockier than usual and Alfred ends up getting fired instead of being promoted. When Alfred decides to keep his date anyway, he discovers his mystery girlfriend is, in fact, Klara and there ensues a disastrous evening for both. Meanwhile, other events bring on unforeseen twists of fate for Matuschek that does not bode well for anyone related to their “shop around the corner”.

youve-got-mail-posterTitle     You’ve Got Mail

Starring     Tom Hanks and Meg Ryan

Director     Nora Ephron

Writer(s)    Nora Ephron, Delia Ephron, and Miklós László (play)

Genre     Romance | Comedy | Drama

Release Date     December 18, 1998

Filming Location     Manhattan, NY, USA

Parental Guidance     PG

IMDB Rating     6.6

Synopsis: Kathleen Kelly (Meg Ryan) is the owner of an independent children’s bookstore in Manhattan, NY. It was whimsically named The Shop Around the Corner by her late mother, who had founded the enterprise as the local creative resource for children, from everyday reading requirements to the most unusual literary undertaking – a responsibility that Kathleen was only too happy to inherit and now upholds with relish. All this, and her reflections on the mundane topics that interest her, she relates to a mystery man she met in a chat room many moons ago and with whom she has since been keeping up a steady e-mail correspondence. Though neither reveals any particulars about their lives that may compromise their identity to the other, it is clear that their online relationship gradually takes precedence over their individual longtime love affairs. Enter Joe Fox (Tom Hanks), the heir to the mass book retail chain Fox Books, who has been entrusted to expand the family business nationwide and whose current project is ready to commence operation, literally, just around the corner from Kathleen’s store. Kathleen’s fellow storekeepers are wary of this major corporation, which they feel should be considered a formidable adversary, intending to seduce readers away with its cutthroat discounts and designer coffee. Kathleen, however, feels Fox Books’s impersonal salespeople and overstocked shelves are no threat to the knowledgeable service and rare book collection that The Shop Around the Corner provides. At first, it seems that Kathleen’s predictions will ring true, as the community rallies around her store. Even Joe, who harbors something akin to survivor’s guilt over all the independent establishments he has put out of business, becomes enchanted by Kathleen’s naturally gracious disposition towards her patrons and genuine desire to help young readers connect with the world of books – though he cunningly hides his identity from her. However, when Fox Books begins operation, sales at The Shop Around the Corner begins to decline. And when Kathleen discovers Joe’s deception about his professional identity during a later chance encounter, she vehemently condemns him as a spy and the two cross words. Yet, each continues to remain unaware that the other is their online confidant. So while on cyberspace, Joe guides Kathleen to “go to war” with her rival, in the business world, a bitter struggle for survival ensues between the two that forces each to discover a previously dormant side to their natures – and maybe learn to accept the other for their better sides in the process.

Experience: THIS is what watching romantic comedy is all about – discovering the many ways people overcome everyday challenges to learn about their individual weaknesses and strengths to converge as a unit that is better for being a whole. I don’t know how many times I have seen You’ve Got Mail. My DVD experienced its share of wear over the years before I finally laid it to rest when online streaming became the norm. Therefore, it’s funny that it took me so long to get around to seeing The Shop Around the Corner, the original movie from which the famous Hanks-Ryan feature was remade. What did I discover? Well, despite the much higher rating on IMDB for the old B&W classic, I think Nora Ephron made a vast improvement. So much so that it deserves discussing.

You know how sometimes you hear actresses complaining that Hollywood greatly prefers telling stories about male rather than female characters, that there are more hero-centric movies than heroine-centric? If you watch The Shop Around the Corner and You’ve Got Mail back-to-back, you will realize that it ain’t all wack. The original screenplay was filmed entirely from the perspective of James Stewart’s character Alfred Kralik even though the plot aimed to show how a pair of mystery correspondents who, despite acting as foils to one another in their physical realm, unbeknownst to them, may fall in love over anonymous letters. It is a meeting of the minds that transcends all other superficial qualities one regularly seeks in one’s mate. It is the realization that even daily interactions with a person may only reveal so much about them to form an honest verdict of their character. Indeed it is a story that deserved to be told from both sides of the veil since something must’ve made Klara Novak fall in love with a man she knew not in person as much as Alfred did with her but alas! Luckily, Stewart is a talented actor and the story does not suffer from his singular presence on the screen. Also, the steady earnest gaze of his soulful long-lashed eyes is dreamy beyond comparison.

Mercifully, some six decades later, women finally gained greater access to the rein in Hollywood and thus could endeavor to do better. Ephron put on her hard hat and rewrote the screenplay to tell the story how it should have been told. By adding just twenty minutes to the plot, we are presented deeper insights into both the main characters’ backstories, discovering who they are as individuals and not just the superficial perception that each form about the other. I love how, this time, the screen presence is equally divided between Kathleen Kelly and Joe Fox. I love how both the lead characters are allowed time away from one another that demonstrate their actual individual lives and responsibilities. We no longer witness who they are just over a series of arguments. They are given ample room to breathe as separate entities so that when they come together, we can savor the full-bodied texture of their romantic endeavor.

And I’m grateful that we can have more of those letters read to us – letters that were the key component to the main characters falling in love. With The Shop Around the Corner, by the time I reached the end, I couldn’t see why Alfred and Klara finally choose to be together – not after all we initially see is how horrible each is to the other when they personally interact. It almost seemed that when it finally came for the curtain to fall, the two couldn’t walk away from each other simply because they had held fast for so long to the idea that the person writing the letters was the love of their lives that admitting they were wrong would be too great a blow. I did not see love but resignation. Comparatively, in You’ve Got Mail, whatever compromise each character makes with their ego is more believable – in fact, it seems like no great sacrifice. When Joe and Kathleen first begin to fall in love, we can see why those letters compel them to emotionally stray from their respective lovers despite the uncertainty that lurks in their minds regarding the moment they should really meet lurks. When they finally fall in love, it is a person with whom they know they can genuinely share the mundane realities of life – that they once only discussed over letters – without becoming bored. It’s also love that blossoms because two people allowed themselves to wait around long enough to be proven wrong about the lacking of the other’s real self to see how great the other person truly is. The months of war becomes only a prelude to a love that is irrevocable and a friendship that is enduring.

Which brings me to the main gripe I have towards the makers of the original movie. It’s not so much as the lack of focus on the female lead character – Margaret Sullavan did receive first billing in the credits, so there’s that at least – but the fact that Klara is never given the opportunity to rise in our esteem. In fact, if I ever re-watch The Shop Around the Corner, it will only be because Alfred managed to impress me with his integrity and resilience; and should I turn myself away from the opportunity to re-watch it, it will be because Klara managed to annoy me with her myriad of character flaws. Klara is self-serving, whether she is talking a customer into purchasing an unnecessary and trivial cigarette box by pawning it off as a candy box or suddenly complimenting the supervisor she despises to get out of working late on a night she has a date. Klara is manipulative in a way where she repeatedly tries to lead others in conversations so that they would give her what she wants but think it was their own idea. But most of all, Klara is spiteful; she demonstrates a natural tendency to say hateful things, attacking Alfred with a certain regularity and feels no remorse for the hurt they cause unless it has a chance of coming back to bite her in the ass. In comparison, we see genuine guilt etched in Kathleen’s face when she witnesses the hurt her words cause Joe; it is immediate and it is sincere even though she is reluctant to admit that she is at fault. And even though when she does get around to apologizing she also slips in a compliment to herself by professing it is uncharacteristic of her to not be a nice person, we also can be sure she truly is sorry to have caused hurt and that she knows that she has no right to do so. And since there is no self-interest in her apologies other than to rectify a misbehavior, the apologies are not hollow. While Kathleen’s personality just takes a wrong turn every time she comes into close proximity of Joe Fox the corporate big shot, we can’t be as sure that Klara is not self-promoting and mean. So when Klara claims she had found Alfred attractive, it rings abrupt and false, but when Kathleen cries she had hoped her mystery man would be Joe, we have to believe her. Frankly, I feel that, once the novelty wears off, marriage between Kathleen and Joe has much higher chances of survival than Alfred and Klara.

Recommendation: Giving a final recommendation at this point seems superfluous, but unless you wish to do a comparative analysis of the two features, spare yourself from watching The Shop Around the Corner. Contrarily, my heartiest wishes to you for watching You’ve Got Mail; they rarely make sensible romance movies like that anymore.

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WEDNESDAY REFLECTION #32: Holiday Affair

Via: Daily Prompt – Relate & Calling

holiday20affair001Title     Holiday Affair

Starring     Robert Mitchum, Janet Leigh, and Wendell Corey

Director     Don Hartman

Writer(s)    Isobel Lennart and John D. Weaver (story “Christmas Gift”)

Genre     Romance | Comedy | Drama

Release Date     December 24, 1949

Filming Location     Paramount Studios, Hollywood, California, USA

Parental Guidance     TV-G

IMDB Rating     7.2

Synopsis: Mrs. Connie Ennis (Janet Leigh) is a young widow with a precocious six-year-old son Timmy (Gordon Gebert). Though Timmy is too conscientious of the daily challenges his mother must face to ever ask for anything that might hurt her dignities in being unable to provide, Connie slogs away at her job as a comparison shopper to make a comfortable living. An indubitable friendship exists between the mother-son duo that prevents her longtime boyfriend Carl Davis (Wendell Corey) from gaining an official entry into their family. Though he is a fairly successful lawyer, cares for Timmy dearly, and an all-around nice guy who promises to provide a safe loving home for Connie and her son, she repeatedly turns down his marriage proposals, assuring him that when her heart is fully recovered from the loss of her army husband, she will ask him for his hand. But then Connie meets Steve Mason (Robert Mitchum), a children’s section salesman at the department store where she purchases a train set on Christmas sale for her client. When Connie returns the toy the day after her purchase, Steve calls her out on her deception but, instead of passing her on to the store authorities, he takes pity on her and writes her a refund. As a result, Steve loses his job and spends the day assisting Connie in her professional shopping. Through a series of mishaps, Connie and Steve are separated and then he eventually ends up on her doorstep, much to Carl’s consternation. What follows are days of confusions in which Connie proposes to Carl even as she is drawn to Steve for his forthright manners, Timmy has his first temper tantrum, and a mysterious Christmas present arrives from “Santa”. Oh, and yes, someone ends up in jail.

Experience: Traditionally, December is the month when one would find me immersed in Christmas jollies. I sing, watch, and read all things red, green, and snowy. Since it’s been a month since my post-surgery recovery began, keeping me from any physical activity beyond eating, rolling over in bed, and making the obligatory trips to the loo, my winter binge began early this year whence it progressed uninterrupted. And though there is a bounty of Christmas entertainments out there, I eventually had to play roulette on what to watch next. And sometimes when you toss it up to fate, you end up catching a big one. I have to say, Holiday Affair was an unexpectedly heartwarming and sensible romantic comedy that just about made my season.

While I love B&W cinemas to bits, the element in midcentury romantic comedies that, I always felt, there could have been less of are the comedic devices used. The farce, the puns, the slapsticks, the double entendre, the frequent cases of mistaken identity – there was just so much of it back in the days. Yes, I fully appreciate how much writers and directors of the time relied upon such ruses to reward the audience with some much-needed relief from the mounting romantic conflict but I have often found them just as unnecessary to the plot as not and their impacts somewhat forced. I admit there are actors who managed to efficiently portray these “funny accidents” in a believable way, but the accidents themselves are distracting nevertheless – and not altogether relatable. Or rather, if you miss such a scene, you haven’t missed anything momentous to the story arc. I was happy to see that Holiday Affair kept these parlor tricks under tight wraps and rather focused more on satire and situations, observations and even self-derision to generate humor, often delivered with deadpan sobriety. This produced an effect much more in keeping with the struggles that surrounded the young family of a fallen soldier and those who come into intimate contact with them. Even the little plot twist involving the jail scene, though surreal and absurd, managed to amplify the consistency of each major character, helping them forward with their respective character arcs.

No, instead of slapstick comedy, this movie presented some truly insightful scenes that endeared it to me. I loved Steve’s direct approach towards nailing Connie’s issues with love and romance. He does not apologize for his feelings for her but he can also understand that she needs to make her own decisions and would not settle for scraps. I love how Carl does not blind himself to what is happening, his character is consistently loyal to Connie’s happiness but he also knows that his own happiness cannot be achieved by ingratiating himself to another. But most of all, I love how even little Timmy is so self-aware and willing to be taught and guided onto the right path, even when he is having a hard time adjusting to the surmounting changes in his life. He can appreciate the reasons behind the actions of the adults around him and truly is a responsible little man even as his soul is uncorrupted by self-interest.

In fact, it is the sincerity and generosity of each major character that onsets the conflicts in this movie. Connie is falling in love with Steve but doesn’t want to cheat Carl out of the conclusion to their relationship that he has been awaiting so long. Carl is pleased that Connie is finally ready to marry him but is unsure what brought on this change of heart and doesn’t want her to sacrifice herself. Steve is forthright about his feelings but, though often lacking tact, he is insightful and tries to help everybody. And little Timmy, a child with such a generous heart that he would sacrifice a deeply coveted toy by first hiding his desire from his mother and then by returning the gift to help a friend out with the refund, inadvertently brings on some terrifying crisis. It seems that everyone’s self-dilemmas get in the way of everyone else’s happiness. But even when one character accidentally acts as the foil to another’s wishes, you can’t blame them for it. Generosity of spirit is the making and breaking of all conflicts in this movie and that’s what makes it a great Christmas story.

Finally, a note for Gordon Gebert, the child actor playing Timmy. Bravo! According to his records, Holiday Affair was his first credited role on screen but to see him act, you would not believe it. As the saying goes, the kid had a calling. Yet, for some reason, the character Timmy was considered a small role by Hollywood standards, which I feel is a total failure to recognize talent – since he had as many dialogues and scenes as the lead actor, which he performed with great gravitas. Gebert went on to perform in other roles in tinsel town though not in anything well-recognized. An utter underutilization of human capital, if I saw any. Not for little Gordon though; he went on to become an architect.

Recommendation: I really really liked this movie. To reiterate, it was rationally hilarious and had intelligent characters that benefited from the honest efforts of the actors who portrayed them. And most of all, it touched all the right notes that call out to the bounty of Christmas.

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WRITING CHRONICLE #32: of recovery and waste

Via: Daily Prompt – Silent & Bliss

So I have returned – my health rallied and my mind itching to get things moving. Though my doctor has informed me that I will need a second [precautionary] surgery to fully eliminate any danger, it will be some time before she again puts me under the scalpel – or scoop, in my case.

Gruesome.

Anyway, I realized something about my author self in this past month of doing little more than lying in bed. I’m never more desirous to work on my novel as when I am experiencing a physical or scheduling constraint. It’s just as when I was slaving away like a house-elf for the corporate sovereigns. Then, too, I was desperate for the day when I would finally break free of my executive commitments and start writing the stories I am meant to write.

The day after my farewell at the office, I sat down at my laptop and wrote for nearly seven hours in one stretch. That first day, I had become unaware of any physical want that may draw me away from my creation; the consciousness of hunger, bladder pressure, or optical stress lay dormant before the high of being able to write without accountability to anything but the words adding pages to my manuscript. I ended up drafting the second half of my first [complete] novel in just over three months. Ecstasy!

That raw energy petered off all too quickly. Not that it bruised my ego at the time, as I fell back on the comfort of the new diversions that came my way. First, it was the online fiction writing course I did at the beginning of this year, which took eight weeks to complete. The exercise spurred me into writing a series of random flash fictions and short stories. By the time that was over, I was blogging on a daily basis. The challenge of responding to the WP Daily Prompt was so attractive and exhaustive that I allowed it to become an excuse to not begin editing my novel – after all, editing isn’t as much fun as drafting.

Then there was the Amazon writing contest, which at least got me to draft, edit, and publish my first [sellable] novella. A major milestone. And because I managed to accomplish the feat in less than a month, I felt motivated to dedicate more of my time and effort to writing fiction and consciously reduced blogging to twice a week. Sad to say, I didn’t devote myself to the endeavor nearly as much as I should have.

The shameful truth is I became lazy and complaisant. There’s plenty of time, I thought. After all, if I can produce and amend over 37,000 words for publication in less than 30 days, how long can it take to revise one 75,471-word draft? All I need to do is give two months to the task; maybe even less since the chief story was already written down. Pffft! Piece of cake! I got this!

And then this surgery. BOOM! Suddenly, my mind was flowing with scenes and prose, plots and characters for a new novel. Suddenly, I knew exactly which chapters I needed to slash from my first novel and what I should write to replace them in order to arrange the arcs of the story and characters into one cohesive piece. Yet, there I was, having to hold back the reins because I couldn’t even so much as sit up on my ass as type a page on my laptop.

Oh! How I writhed. I could take pills to allay the sting of my wound but there wasn’t any respite from the slow agony of the words blooming in my head, awaiting harvest. I was on edge with the heavy knowledge that these ideas could slip away just as quickly as they surfaced if I didn’t document them fast enough. This galvanizing commotion could quell at any moment. It made me irritable.

But, still, I misdirected the blame.

Arrogantly, I assumed that my problem was the inability to convert all this creative verve into anything productive. That it should return at such an inopportune time. If it weren’t for this stupid surgery, I could be listening to the symphonic clacking of the keys on my laptop, basking in the pride of writing fiction once more. The fault lay in my illness.

The fault did lay in my illness but the true nature of that illness dawned on me only when I went for a follow-up at the hospital. “Another surgery in a few months’ time.” No sooner did I realize that there will be another episode of lengthy convalescence in my near future when I wouldn’t be able to write that I finally came to term with the real threat. That I had been whiling away not-writing fiction for many months before the surgery took place. That before the advent of this renewed desperation to work on my novels, I had so easily settled into recuperative sluggishness because it was no different from the sedentary state I was already living. The recovery period is a mere month or so; what was I doing with my time when I was healthy?

I wasn’t having a mortality crisis but neither was six weeks a death sentence. Instead of grinding teeth over my temporary infirmity, I should be frowning upon my enduring wastefulness. Because despite my confidence in being able to write and publish a novella in under a month when I put myself to the task, the truth was that I wasn’t putting myself to the task. So I haven’t got this at all. I lacked industry, I lacked commitment.

Because speaking of that mortality crisis I wasn’t having, six weeks could have been a death sentence. It would have been a sorry end if I didn’t have at least one or six bestsellers to my name when the time came. And how mortifying when all those people who called me foolish for giving up a flourishing career to build castles in the cloud were proven correct. How would I even show my face to them then? Closed casket for me!

You know, we, writers, often take procrastination as part and parcel of the profession. We console ourselves with the idea that idleness does not really exist for us because we are always observing, formulating. A more stirring precept to hold fast to would be that we are slowly dying. There is just no time to waste.

So? Write.

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Wednesday Reflections #31 – Rules of Magic by Alice Hoffman

Via: Daily Prompt – Faint & Dancing

the-rules-of-magic-9781501183874_hrTitle     Rules of Magic

Series     Practical Magic #00

Author     Alice Hoffman

Genre     Historical Fiction | Magical Realism | Fantasy | Witches

Publisher      Simon & Schuster

Publication Date      October 10, 2017

Format      eBook

Setting     New York and Massachusetts in the 1960’s

ISBN     1501137492

Synopsis: The Owenses are one of the oldest witch families of the New World, their lineage dating back to Maria Owens, who fell in love and had an affair with a married man, John Hathorne, who in order to hide his sins, branded her a witch and tried her during the Salem Witch Trials of 1692. A brokenhearted Maria, then already pregnant with Hathorne’s child, had cursed her own future family to caution them from ever falling in love – a curse that would bring ruin to anyone they fell in love with. For generations, witches of the Owens clan tried to escape the curse, leaving their family home in the little town of Massachusetts to find a “normal life”, as did Susanna Owens. But magic born of blood cannot be eschewed and so Susanna instituted rules to keep her children from discovering their magical heritage. Yet Franny, Jet, and Vincent always knew they were different and, like any other children, they broke all the rules. The eldest Franny was difficult but intelligent and inquisitive; she always thought the fact that birds flocking to her was a curious power to have, but being protective of her siblings, chose to turn a blind eye to her abilities. Jet was the beautiful kind mediator; she could read minds but chose not to reveal what she discovered out of respect for others’ privacy. Vincent, the first male to be born into the family, was heart-stopping handsome and possessed a gift for music; his charismatic ability to cast a lure on others was discovered soon after his birth when a mesmerized nurse had tried to steal him away and he was the first of the siblings to enjoy wielding his powers. However, by the summer Franny turned seventeen, all three Owens children had their turns in experimenting with their abilities. And though they were not aware of any elderly Aunt Isabelle, when Franny and her siblings were called to visit her to learn about magic, they were excited to go. Over the course of the following few months, the siblings come to learn about their family history and power as well as the privileges, responsibilities, and tribulations that come with it. And over the span of the next few decades, the siblings come to learn how everything they learned from Aunt Isabelle was absolutely true.

Experience: I had originally planned to do the review for this novel the Wednesday before Halloween. However, I had just finished reading Elizabeth Gaskell’s North and South at the time and my head was still too full of Margaret and Thornton, so I put off reading Rules of Magic for a couple of days. Then it took me two weeks to finish reading this book – not because it was boring but because it was so languidly mystical.

Despite the topic of the novel, the central theme of the story was truly family and love. If one begins reading the book with expectations of bangs and pops, or potions and spells, one could sift through the entire plot without extracting more than a handful of notes. Rather the magic lay within the dedication Franny placed in ensuring her brother and sister were well taken care of, the undying love Jet possessed in her heart for a man born of the enemy to her bloodline, and the pursuit of self-worth that Vincent ventured upon even as he simultaneously accepted the magic in him while despising the fate his power portend. And through all this, each sibling must come to an understanding with the curse put on their love life and find the grounds upon which they build their own future – but not without plenty of encouragement and protection from each other. The life of magic is not for the faint of heart. The story demanded that it be read with heart and patience because patience is what each of the characters required most to endure all that entailed their inheritance.

The characters were so well developed that it was difficult for me to accept they were not real. It was as though Hoffman truly watched their lives unfold over the decades and were summarizing the events as she remembered them. There were little action or dialogue, the book having been written mostly in exposition, speaking more about how each character interpreted what their magic was and how their experiences with magic confirmed or refuted their original theories. And while this bode that I could not chase through the book in a hurry to reach the end – au contraire it rather slowed me down because there was no opportunity to skip a line lest I miss out on an important thought trail from one of the characters – the passages were by no means prosaic but rather lent the narrative a spiritual quality.

Having both read and seen Practical Magic, I felt Hoffman produced a historical account of the ancestors of Sally and Gillian, the protagonists of the original book. And in the process, quite dispelled the assumptions both the sisters of Practical Magic and I, as a reader, made about the aunts. Whereas in Practical Magic the aunts appeared rather matter-of-fact about their heritage and thought it pointless to shield their wards from the injustice magic rendered upon the family, both personal and social, here, we come to realize how much the aunts concealed about their own lives from Sally and Gillian. Once the girls became their charges, they set aside their past and allowed the girls’ happiness to become the central concern and were more than happy to let them live their lives and discover magic on their own terms without piling their own past fears, disappointments, losses, or even triumphs to overshadow the lives of their wards. While Rules of Magic may be faithfully read as a stand-alone and one need not have read or watched Practical Magic before venturing onto this book, reading Rules of Magic did give me a better understanding of the Frances and Jet in Practical Magic. I cannot help but respect the aunts in the original more for reading about the sisters in the prequel.

As for the “rules of magic”, Hoffman does share many of them – first as instructions and then with the exceptions tot he rules. We are allowed to experience the rules as the siblings (returning to Franny, Jet, and Vincent) successfully break them, come to accept them, and then learn to circumvent them, each playing a cat-and-mouse tango with fate in their turn. It was delicious to watch sisters and brother experiment with the unique power inherited by each as well as the general rules they found in their family grimoire – and even the forbidden texts meant to lead them astray of the course of “not to bring harm”.

Although, I must say few of the witches or wizards in this book cared much for that mother of all rules, harming others and self frequently enough to get out of binds. If anything, I think this was one place where Hoffman could have added a little – including some direct consequences of the magical manipulations the siblings and their aunts rendered would have brought on consistency to the rules. However, all we get to read about is a few blisters from telling uncomfortable lies. Yes, the siblings face their share of hardship but those seem to be unavoidable lessons of their inherent magic rather than the consequences of harms they cause others. Apart from this inconsistency, I think Hoffman wrote yet another masterful tale, weaving together an utterly believable myth.

Recommendation: It will be a bit of a slow read, I tell you, but if you’re into magic and if you’re into the power of family, this book is for you.

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WRITING CHRONICLE #31: name game

Via: Daily Prompt – Panacea

elucidata-hello-my-name-is-640x456Naming characters is one of my favorite activities in the fiction writing process. There are so many beautiful names out there, entrenched in the regions from whence they originate, the time in which they were first derived, the meaning hoped the bearer would inculcate – as a storyteller, I feel as though we are blessed with the opportunity to use so many of them. Without having to really populate the earth with our progeny, of course.

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Image: The Illustration Cupboard

But naming characters requires some thought. Once our story is published, we’re stuck with them, so choosing names should be done wisely. And it’s not only the main characters that require such deliberate consideration. Think Mr. Thomas Gradgrind in Charles Dickens’s Hard Times. Though not quite the minor character, he was no protagonist either; but his name was selected precisely for its phonetic traits, which were meant to be attributed to the role he plays in the plot. Mr. Gradgrind was a middle-class businessman and later MP, but more importantly, he was the head of an educational system that only ever dealt in facts and had no patience for the human frailties known as emotions. He ground the rules and morality into the students and he graded them on their ability to churn out factual statements. Anything more or less was unacceptable, even among his own children. The reason we cannot fully hate him, even though we are wary of his methods and can immediately sense the ominous results they portend, is because he genuinely believes his methods are there for the benefits of his charges. Such is the tragedy of the man Gradgrind and his name squarely sets that tone among Dickens’s audience from the very first paragraph of this iconic novel.

 

Now, I do not consider myself anywhere as accomplished as Dickens or Shakespeare in choosing character names but there are some great directions I rely on. I thought I’d share them with you this week:

Time Period. Not so much as the period in which the story is set, but rather when the character in question was born. Certain names come into vogue in certain eras and this is a good clue to keep in mind when putting the backstory together for the character.

Locality. Another important factor in making the character feel real is giving them a name popular in the region where they hail from. This obviously may be the place where they were born but another avenue one can take is naming the character after the place of their ancestors. One of the things I truly appreciate in the stories written by today’s authors is how diverse their characters are starting to emerge as, rightfully reflecting the globalized communities of our real-time world. If the author wishes to enhance on that, they can easily factor in the character’s ancestral region as source of their name.

Parents. To reflect upon the riddle from The Conjuring 2,

I am given and I am taken.
I was there at you first breath,
But you did not ask for me.
But I will follow you till your death.”

Our names are given to us by our parents/guardians. Therefore, our names are as much a reflection of who our parents/guardians are as who they hope for us to grow up to be. It is only later through the passage of life that our names begin to engender the traits that become us through our accomplishments or failures. Until then, our names are really the properties of our parent’s/guardian’s hopes and dreams. How is that for the name being an important part of the character backstory?

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Genre. We can just as easily rely upon the fictional realm in which the characters exist. Depending on the theme of the story, we can name the characters to symbolize the story’s distinctive features, e.g. a whacked up title like Lord Voldemort for an evil wizard bent on being unique and reigning over magic and non-magic folks alike. Obviously, Adolf Hitler was taken.

giphyRoot Meanings. Or we may name the characters the way parents often name their children in real life – to attribute certain qualities upon the bearer of the name. I always found it curious that Emily Deschanel’s character Temperance from the popular TV series Bones should have been named thus by her outlawed parents. Perhaps they wished for her to have a more moderate lifestyle than they experienced. In any case, Temperance Brennen certainly did grow up to demonstrate restraint in all things emotional, which allows her to so objectively and pragmatically view the world around her. However, we can get more creative with this where, instead of simply picking qualities for names, we name characters after roots of the characteristics we hope for, e.g. naming a very pious woman “Lisa” (meaning Devoted to God). There are a great many websites dedicated to relating the roots and meanings of each name. I started off with behindthename.com but trendier sites have cropped up since.

Alliterative Names. I love alliterating when writing. I know it is almost taboo in the author craft management community (unless specifically used as humor, of course) but there you have it – it is one of my writing vices. But you know where alliteration is perfectly acceptable? Names. Daniel Deronda, Peter Parker, Severus Snape, Bugs Bunny, Steve Stifler… Regardless of genre or medium, history is full of famous fictional characters with alliterative initials for their names.

Pronunciation. Speaking of alliteration, it does make for some tongue-twisting prowess to make them roll off the tongue. A character’s name should ideally be easy to pronounce without needing an instruction manual from the author. However, sometimes authors like to throw us off on purpose to add mystery to the characters, e.g. in Jane Eyre, until the titular character tells her young student Adele her name and Adele repeats after her, who – other than people from old England – could have guessed Eyre to be pronounced “Aire”? I always thought it looked more like “ire” myself (but that might be due to my personal rather-abrasive feelings towards the author). Or the fact that my brother still protests, “What the hell kind of name is Her-my-oh-knee? It’s supposed to be Her-me-own!” Well, take it to the Greek. While Brontë and Rowling could get away with it, not all of we possess the genius to follow suit and survive.

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Name Generators. If the above guidelines are of no help to finding you the perfect name, chuck ’em and just generate a name online such as with fantasynamegenerators.com. This particular website, really a cure-all for me, has a solution for all sorts of permutation-combination of names according to genre, region, pop culture, and whatnot. Also, sometimes it’s just fun to click around to see what the site spews up.

A FINAL WORD OF CAUTION

The idea of coming up with names for your characters is to make them sound realistic (unless you are deliberately aiming for exotic) that is in keeping with the theme and setting of the story. However, at the same time, one needs to cross-check that the characters’ names do not echo in the real world, i.e. to avoid at the best of one’s ability to have a real-life person come back and say you stole their name for your character. Remember: in fiction, murderers have no middle names. It is a trick of the trade to leave out the middle name to avoid accidentally matching your character names with real people. The good news is that while editing, you still have the opportunity to change the names of your characters as many times as you like – only also remember to change the name EVERYWHERE that it appears in the manuscript.

Once you have named your characters, for the sake of skillfully managing them, try to keep the names consistent, which is, there should be a standard name by which the character is addressed unless there is a certain sect within the story which addresses the character with a variant or pet name, as well as dissimilar to other characters, i.e. try avoiding too many characters with names starting with the same initials, similarly sounding names, or names that rhyme with one another, etc.

But most importantly, have fun naming names!

 

[Now, for a personal message: This will be my last WRITING CHRONICLE post for the month of November as well as what I am assuming the first-half of December. I will be posting a blog for WEDNESDAY REFLECTION this week too but after that I’ll be out of commission until somewhere mid-December or however long it will take to recuperate from the surgery I will be undergoing next week. Not to worry! At this moment, the doctor says it is a precautionary measure and we will know more once the post-surgery tests are completed. Wish me luck because I hear it’s going to hurt like @#$% once the local anesthesia wears off!]

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WEDNESDAY REFLECTION #30: Crimson Peak

Via: Daily Prompt – Ghoulish & Mystery

ec22screens_1_webTitle     Crimson Peak

Starring     Mia Wasikowska, Jessica Chastain, and Tom Hiddleston

Director     Guillermo del Toro

Writer(s)    Guillermo del Toro and Matthew Robbins

Genre     Drama | Fantasy | Horror

Release Date     October 16, 2015

Filming Location     USA | Canada

Parental Guidance     R

IMDB Rating     6.5

Synopsis: Edith Cushing (Mia Wasikowska) always knew there were ghosts. As a child, she lost her mother to the Black Cholera. The night Mrs. Cushing was buried, her ghost appeared to Edith with a cryptic warning to “Beware of Crimson Peak”. Edith received a visit again with the same warning fourteen years later, when she had blossomed into a young woman of unassuming charm – albeit bookish – and keen determination to prove herself as a novelist, with the blessing and encouragement of her businessman father Mr. Carter Cushing (Jim Beaver). While Edith prefers writing to society, she suddenly finds her world expanding with the return of her childhood friend Dr. Alan McMichael (Charlie Hunnam), who just set up a practice in town after completing his medical studies, and the mysterious inventor Baronet Thomas Sharpe (Tom Hiddleston), who is trying to gain her father’s confidence in order to gather the capital to build the machine that would help him mine the red clay on which his family estate sits in Cumberland, England. Attraction between Edith and Thomas is instantaneous and he takes advantage of this in hopes of gaining an ally before her father. Thomas’s sister Lady Lucille Sharpe (Jessica Chastain), who accompanied him to help gain the capital, is not impressed, having hoped her brother would have picked a more affluent and vapid quarry. Neither are Mr. Cushing and Alan, who had their own misgivings about the brother-sister duo from the start. Mr. Cushing hires an investigator to learn more about the newcomers, only to discover their very disturbingly suspicious history, and confronts the siblings about their intent towards his daughter, writing them a cheque to leave Edith alone and return to England. He also tells Thomas to break Edith’s heart so that she may move on, which Thomas does with angry reluctance but publically, announcing he will be gone the next day. Except the next morning, Mr. Cushing is brutally murdered and Thomas, who stayed back even though Lucille left, confesses to Edith that he had broken up with her under her father’s instructions. As Edith comes to learn about her father’s murder, Thomas takes advantage of her distress and marries her. Thomas takes Edith back to his home in England, with Edith hoping to have a new beginning with her husband. Only now Thomas is physically distant and avoid consummating their marriage while Lucille is cold towards her and perhaps a bit too intrusive about their marriage bed. Pretty soon Edith is visited by gruesome red ghosts on a nightly basis and is told that the family estate is referred to by the locals as “Crimson Peak”.

Experience: I’m not easily scared by horror movies, only ever startled when things jump out of the shadows and have actors screaming. This movie, however, instated its creep-factor from the first act. I’m not sure what it was, really. Maybe it was the hovering carcass-y melancholically-draped specter of Edith’s mother that crawls into bed with her when she is a child that did it [I mean, who hasn’t ever slept with their back to the wall out of vigilant fear as a child, right?] or the historic setting of the movie and romantic undercurrent between the various characters that made me feel invested and empathetic, or the appallingly possessive way that the Baronet’s sister watched his love and married life progress, but I could feel the morbidity of this movie take hold from the preamble. It definitely put me in the mood for all things evil and ghastly for this Halloween.

I felt the casting of the movie was very well done. From Jim Beaver to Jessica Chastain, everyone showed just the level of curiosity and invasiveness that the characters needed to possess to make the relationship dynamics – one of the most important mechanics of the plot – emanate from the screen. The characters themselves were well-developed and complementally contrasted one another. On the one side you have the open and honest friendship between the Cushings and Alan, on the other side you have the sinisterly co-dependent devotion between the aristocratic siblings. Watching the two worlds merge, split, and then reconnect was interesting and rather flawless.

Going back to the actors, Beaver was as usual just the right level of encouraging and frustrating as a parent to the honestly devoted daughter that Wasikowska played. As always, Hiddleston pulled off the younger sibling, misunderstood and committing immoral acts against those nearest to him (though here misguided by his sister) with aplomb. Once again I found myself wondering should I be disgusted by the character he portrayed or accept him for his redeeming potentials. I found Chastain, as always, alluringly potent. I think it might be her strong bone structure or set facial features or the matter-of-fact regard of her eyes, but Chastain always casts best as a woman of indomitable resolve, which her acting ability greatly complements. Next to her, Wasikowska featured a pale contrast, which cast a perfect effect to play the deceptively polite but equally gritty new woman of the household (I loved how Edith chased after the ghosts to get to the bottom of the mystery despite being utterly petrified by them). Hunnam took a back seat for most of the movie, acting mainly as a supporting role and a necessary plot device to help Edith out once she solves the mystery and rescues herself, but I admired the fact that he could remain subtly in the background until called to action without trying to overpower the screen.

With regards to the plot itself and the script was written and directed with a steadily accelerating pace. While there was little in the way of plot twists (the audience today has wizened up too much to the evil that lurks in people’s hearts to really be surprised with anything), the real mystery was how the truth will unfold and what will Edith do once she is faced by it (I think I was surprised by her last reaction more than anything). But all in all, there was just enough creepiness to make it interesting.

Recommendation: Totally worth watching this Halloween! Or any dark wintry night, really.

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WRITING CHRONICLE #30: plots and the way they move

Via: Daily Prompt – Gratitude

Plot – one of the seven pillars (others being character, conflict, setting, theme, POV, and style) of fiction. Though harboring deceptively similar traits, it should be viewed as different from the story. However, when I first picked up the craft of fiction writing, I could not find the plot in my stories for the life of me. It was there, but I didn’t see what it was. How was it any different from the story itself? Until I came across the following pearls of wisdom from one of the most masterful storytellers of our history:

 

Let us define plot. We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. ‘The king died and then the queen died,’ is a story. ‘The king died, and then the queen died of grief,’ is a plot. The time-sequence is preserved, but the sense of causality overshadows it. Or again: ‘The queen died, no one knew why, until it was discovered that it was through grief at the death of the king.’ This is a plot with a mystery in it…”

~ E. M. Forster

The above words of Forsters helped me put things in perspective and review my work, correct errors in my technique, and raise the value of the stories I was writing. Thankfully, not too late in my writing journey to inflict any irreparable damage to my style.

As the years wore on, I came across other educational literature, both online and within books, that helped me identify plots in stories written by others as well as formulate plots of my own. A safe bet for finding them is to look for changes that move circumstances in the story from point A to point B. Again, it requires looking for the causality that will achieve the desired resolution in the conflict introduced:

A tangible event that forces change upon the characters.

E.g. After the death of an all-knowing headmaster, a warrior-student is forced to set out on a journey with his best friends-cum-comrades to discover and destroy the objects that tether an evil wizard’s soul to Earth in order to overcome his reign once and for all. (Harry Potter and the Deathly Hallows by J.K. Rowling)

A decision that changes a character’s circumstances.

E.g. A father decides to leave his post as a clergyman and removes his family to an industrial town where the daughter has to navigate the society of a new breed of working class and masters whose life force is the dignity earned through hard work, as well as butt heads with a proud but honest manufacturer whose heroics is not always apparent. (North and South by Elizabeth Gaskell)

Change in the relationship dynamics between characters.

E.g. A self-centered social princess who enjoys meddling in the lives of her peers out of a misguided perception that “she knows best” is only ever called out by her politically correct older step-brother but eventually realizes she enjoys his overbearing guidance and admires his integrity but is no longer confident that she is worthy of his attention. (Clueless by Amy Heckerling)

Internal change in a character.

E.g. A young woman prides herself on the accuracy of her study of characters of those around her, becomes prejudiced against an aristocratic man of natural proud bearings after being inadvertently slighted by him and hearing accusations of his misconduct against another man but eventually discovers that she allowed herself to be thoroughly misled and proceeds to witness his generosity towards those he cares for. (Pride and Prejudice by Jane Austen)

knowing myself

Change in reader’s perspective of the situation.

E.g. A divorced woman, who makes multiple errors in judgment due to her incessant state of inebriation, is obsessed with her ex-husband’s budding new family and tries to recover her life but begins to piece together a sinister past through wild flashbacks that foreshadow that the guilt might not be hers alone. (The Girl on the Train by Paula Hawkins)

Character coming to the realization that there will not be any change at all.

E.g. A recluse author, under the pressure of trying to come up with a novel that will rival the success of his first, begins to write a female character who likes his dog and whom he starts to fall in love with, bringing her to life and later decides to allow her freedom of will, only to realize that once free, the character is no longer satisfied with her life with him alone, and feels morally compelled to set her free from his domain. (Ruby Sparks by Zoe Kazan)

Such classic plotlines are the fail-safes of writing fictions. Of course, one cannot simply rely on them to succeed. No, success is achieved by adding originality to these storylines in a way that lifts the characters off the pages – and that is entirely up to the author’s creativity. And even more complicated than deciding on the “causality” to induce the story arc is deciding how the plot will progress to make the story plausible.

So once you have decided how you will add the plot to your story, how do you move it forward? There are many methods of plotting you can use, and here are some approaches to get you started:

Traditional Approach – Ideal for planners, this is the method you use to first break down the entire story into chapters, then briefly summarize what happens in them as well as the contribution to the story arc that each makes.

Synopsis – Similar to the Traditional Method, the Synopsis is ideal for planners but who wish to allow themselves more creative room in writing individual scenes to build on the general plot as they progress. Here, the writer also outlines the entire story but without breaking it down chapter-by-chapter or scene-by-scene. The ending is often loosely introduced in the synopsis or may be left blank. The synopsis is a good practice for later if the author wishes to gain representation in traditional publishing.

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Image: Wikimedia

Freytag’s Pyramid – Though the 5-act dramatic structure was almost abandoned in the mid-nineteenth century, German playwright Gustav Freytag not only brought it back into use but streamlined this outlining method by choicely breaking down the course of plot into Exposition (background information on the major elements introduced in the fiction), Rising Action (introduction and build-up of the conflict), Climax (turning point where conflict is at its most volatile), Falling Action (where conflict unravels and the final suspense/doubts are exposed), and Denouement (where the story’s loose ends are drawn together).

Three-Act Structure – This simplifies the 5-act structure by diving the plot into three segments as the name suggests and putting specific elements in each, which is left up to the author to decide on. Most commonly, the three-act structure is broken down into the introduction plus rise of conflict, climax, and resolution. This structure is becoming more popular as it is often now advised to introduce the inciting incident in the novel as early (often even scene one) into the story as possible to capture the audience from the get-go.

Hero’s Journey – This method engenders the three-act structure by specifically dividing the plot to induce the character arc for the MC. In the first act, the hero receives but refuses a call to action, thus showing his/her reluctance to get involved; in the second act, a series of trials are forced upon the hero that may test his/her physical prowess as well as intelligence, emotional, and ethical quotient; and, in the final act, the hero triumphs over the antagonist.

The Snowflake Method – Introduced by Randy Ingermanson, this method does not attempt to systematically outline the plot but rather starts with writing a one-sentence summary or loglines that defines and entices the storyline, then picks out specific elements in the story such as characters, conflicts, epiphanies, goals, etc., lists them out by rote, and adds details to them which will mechanize plot progress. This method is ideal for people who prefer discovering their way through the plot as much as the reader.

Draft Zero – Finally, the food of the pantsers and who think plots should remain mysteries until they are well on their way through the first draft [for creative freedom, of course]. The writer focuses on speed as they write a mock draft, allowing plenty of gaps in scenes to be filled in later. The writer courses through the story too quickly to allow for anything such as fatigue or “editing impulses” to set them back or keep them from reaching completion.

Of course, authors are welcome to combine any of these methods to ensure optimal output from themselves. After completing the draft of my first novel and realizing how my plot was all over the place, making my MC’s character arc plausible but not achieved via the right course, I took to employing a combination of Traditional Method and Draft Zero – it saves me a lot of time later that would be otherwise spent filling in plot holes.

What are your plotting processes?

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