Star Trek: the Writers’ Guide

OK, to the best of my knowledge, there is no such thing as a Star Trek Writers’ Guide, but think about it! To boldly go (split infinitive notwithstanding) where no man has gone before. It’s good advice. As a fiction writer (especially true for fantasy and SciFi writers), your job is to take folks where they’ve never been before. As Mr. Spock would say, “It’s only logical.”

Since space and inter-dimensional travel have not yet been perfected, about the best we writers can do is look for aliens, and interesting characters, away from our own backyard.

I recently made a trip to Wyoming to visit Devils Tower. While there, I noticed several things I’m not accustomed to seeing in Western Washington, let’s call them “appliances,” hanging from the backs of pickups. So I pull up behind this pickup at a red light and right in front of me, literally swinging in the breeze, are a pair of (wait for it)… testicles. Bull testicles by the looks of them – extra large – in bright silver.

Now don’t get me wrong. I’m not picking on people who drive pickups – or even those who have close relations with their trucks. I, too, love my truck. I polish it and equip it with all sorts of gadgets. I even talk to my truck, so I’m not picking on truck owners. Call me a wimp, but I have never had the urge to hang a pair of balls from my trailer hitch. It raises a serious writer’s question, however. What kind of guy feels the need to declare his truck’s masculinity in quite this way. Or is it the driver’s masculinity that’s being trumpeted? Or maybe it’s just a lament for days of old when one’s transportation actually did come with a pair of balls as standard equipment.

As I drove across Wyoming toward South Dakota, I noticed quite a few “male” trucks. I observed one of the owners at a gas station. Sure enough, he had a large cowboy hat, cowboy boots and a belt buckle that could have easily doubled as a silver serving tray. I’m talking large enough to handle an 18 ounce T-bone. And standing right next to Mr. Cowboy was “junior.” Junior appeared to be around 7 years old. His hat was just as big as Cowboy senior's. In fact, he was dressed just like his Pa. Cowboy and mini-cowboy. Cute. A bit scary, but cute. Without his saying a word, I knew the kid wanted nothing more than to grow up and be just like his dad. Admirable. Seriously.

I returned to my truck, stared at it awhile and pondered the meaning of what I have just witnessed. I squeezed a few more drops from the pump and read the warning telling me that the gas may contain up to ten percent ethanol. I wonder if they also add testosterone to the gas in Wyoming. There has to be an explanation for all this, right?

I decide that I just could not, under any circumstances, hang a pair of silver bull testicles onto the back of my truck. I did note, however, that testicles are diverse in Wyoming. They also come in black leather. Those actually looked pretty good. Maybe… nah… well, only if I can find a matching hat. Either way, I gathered some most excellent local color and filed my experience away under ‘male characters, western, wild and very intense.’

Happy Writing!

Bob

Tell Me Something I Don’t Know

Chris Matthews closes his Sunday Political news show each week by challenging his panel of political reporters to tell him something he doesn’t know. It is my favorite part of the show. It is appealing to be educated and ahead of the crowd with a particular piece of information. It works on Mathews’ show and it works in books as well – even fiction books. Or perhaps I should say, especially fiction books.

This week I did some bird watching. We’re fortunate here in the Olympic Peninsula to have a large population of Bald Eagles. There is a nesting pair near our home. The weather is starting to warm up and so are the bugs. While taking photographs, I noticed that the bugs were ‘bugging’ me – and the eagles. Periodically, one would fly off its perch to stretch its wings and avoid its tiny tormentors. Before flying from the branches, the soon-to-depart eagle would call to its mate who would join in the bugling. Not once did one of the eagles depart without letting its mate know it was about to leave.


We also live near the Olympic Game Farm where you can get up close and personal with all sorts of critters. My wife and I took a ride out the other day and were treated to some magnificent displays by peacocks. The males we would display their beautiful plumage before passing female peacocks. This was not unexpected. What was unexpected, at least to me, was the fact that the male peacocks also set their tail feathers ‘abuzz’ by vibrating them at a very high rate, thus providing both an auditory and a quality to their mating dance.

Adding little tidbits of information such as these can liven up your writing and make it more enjoyable. So, go ahead. Tell your readers something they don’t know.


Happy Writing!

Bob

Sometimes Characters Introduce Themselves

Elizabeth, not Liz, not Lizzy, not Beth, but Elizabeth introduced herself in a soft, but self-assured voice. “Im the docent here,” she said with a noticeable air of pride. When I say noticeable, I do mean noticeable. We’re talking Getty Museum level pride, or perhaps the New York Museum of Art – notwithstanding the fact that we’re in a small town museum with a city population of less than 1,000. That’s OK, ‘cause I’m paying rapt attention to ‘Lizzy.’ Sorry, anyone that it is this serious needs to relax.

“This our natural materials exhibit,” Lizzy tells us. “Did you see vase cover over there?” I nod. “Do you recognize the material,” Lizzy asks. “Chicken feet skin,” I offer.

Lizzy is impressed, both with the vase and the fact that I know my chicken feet. Even after being raised on a farm, I had no idea one could skin a chicken’s foot – or that an artist would even want to do so. That said, the vase looked very, uh… uh… distinctive. Artsy and distinctive. Moving right along.

“Did you see the vase decorated with salmon tails?” Of course we did. Actually, there are several vases covered with various fish parts and Liz is just getting warmed up. As for me, I’m starting to panic. I love museums; I love art – even ‘novel’ art which this exhibit certainly is. I know Liz just wants (and I mean, really, really, really wants) us to enjoy the exhibit, but my polite smile is starting to fracture into an amused grin and I do not want to hurt Elizabeth’s feelings. She might, after all, end up serving as the basis for a character in a future work.

Happy Writing!

Bob

Fiction Writing Can be a Witch's Brew

Let's say you want to develop a character that reflects or represents the Republican Party – or perhaps its values. How would you go about doing this? Fortunately your TV is filled with real-life Republicans from Sarah (Drill-Baby-Drill) Palin to Joe the Plumber.

Now, I have no doubt that it would be a lot of fun to base a character on Ms. Palin, but there are good reasons not to do so. Spsst! They're called lawsuits. That's where the witch's brew method comes in. We could start with Eye of Newt (Gingrich). He's a gray-haired, self-assured professorial sort of guy. As a character, he might not have the spark you need to keep a reader engaged for a long work. So, whose personality could we borrow from to "perk up" our bland Newt? How about a sprinkling of essence of pompous? How about Rush Limbaugh?

Now, Rush has been around for a long time – and I'm not picking on his waistline. Stay with me here. He's an incredible influence in the Republican Party and has millions of devoted listeners. Some might argue that Rush is the Republican Party. He is passionate. He is absolutely convinced that he is right. Remember the bumper stickers proudly announcing, "Rush is Right"?

Now, I have no doubt that Rush can figure out what's right for him. He can probably figure out what's right for the Republican Party. Where the "pompous" part comes in is when he's convinced he knows what's right for everybody else. So, you could build part of your character with an element or two of Mr. Limbaugh.

No Republican archetype would be complete without a bit of righteous anger. From whom do we draw this element? There's grumpy Bob Dole who always liked to refer to himself in the third person. Never understood that, but Okay. He's a candidate. My personal favorite, however, is Tom Delay. Now, he's one angry guy.

Okay, so you can put these in the character blender, hit the pulse button and out pops a … Hmm. Out pops a really bad idea. Seriously, would you want to spend 250 pages with such a character?

So where was I going with all this? We tend to start with characters and imbue them with qualities, characteristics and flaws. Character building can also start in reverse. You can build your character around the raw elements of a political movement, a value system or set of beliefs. Why do this? Easy answer. Strong beliefs and passions spark conflict. Conflict begets interest. Strong characters drive stories.

If you were to trap New Gingrich, Rush Limbaugh in an elevator with Tom Delay, I suspect there would likely be zero conflict – up until the time Rush lights up his cigar. If, however, you were to drop Speaker of the House Nancy Pelosi and Congressman Barney Frank into that same nine-by-nine foot enclosed space with Rush and company and conflict becomes a lot more likely. Heck, let's add Congressman John Conyers -- just to make it an even fight. Man, I want to watch that video. Put it on Pay-Per-View and I'm there.

Homework Assignment -- Think about the following TV personalities: Brian Williams, Chris Mathews, the late Tim Russert, Geraldo Rivera, and Oprah. Describe them in no more than three words. When I think of Tim Russert, I think of honorable, committed, highly analytical. When I think of Brian Williams, I see him as 'sincere.' I see Oprah as an inquisitive, intelligent and a very private individual.

What qualities do you think these TV personalities evoke?

In what roles would you cast them in your story? (Doctor, Lawyer, Baker or Cabinet Maker, etc.?)

I think Brian Williams would make a great judge. I could easily see Oprah as a private detective or the lead in mystery novel. I also see Geraldo in a private detective role, although he would likely hail from a seedier part of town. Tim Russert would make a great prosecuting attorney. (He was a lawyer, by the way).

Okay, same questions for the following TV personalities: Katie Couric, Keith Olbermann, Rachel Maddow and Whoopi Goldberg.

Bob

Place: The Final Frontier

Space: The final frontier. These are the voyages of the Starship, Enterprise. Its 5 year mission to explore strange new worlds, to seek out new life and new civilizations…to boldly go where no man has gone before.

Remember these words? Of course you do. For some of you, the split infinitive "to boldly go" causes you to cringe each time you hear it. With bit more literary license, and with apologies to Mr. Roddenberry, I would like to suggest a slight revision.

Place: The final frontier. Your mission is to seek out new worlds and to boldly take your readers where no author has taken them before.

Seriously, despite the pun, a sense of place can give your work more depth and make your characters really stand out against an unusual backdrop. Think of it as 3D writing. How to do this? Well, you can start by going to places that you have not gone before.

When writing Termination for Convenience, one of our characters is placed into a safe-house – which just happens to be a strip club. Naturally, Charlie (my co-author) and I had to research a couple of the local 'establishments.' (I can still hear my wife's questions. "You're going where? For the book? Right!" All this spoken with total disbelief. Not to worry, we had a comfortable couch.)

Anyway, our goal was to observe, how 'the girls' interact with clients, the managers, the sounds, the smells, the behaviors associated with (and I use this term loosely) a 'Gentleman's Club.'

The action on stage beneath the strobe lights is (at least to me) much less interesting than the action in the darkened corners of the clubs where 'the girls' prowl in search of likely prey – someone willing to spend $50 to $100 for a private dance. 'The girls' are much like a wolf pack. Each coolly scans the room like lioness on a hunt. There is almost always an alpha female to whom the other dancers show deference. A casual visitor will think that the male managers and burly security guards are in charge. Not so. The alpha female and 'her pack' is where the true power of the place is centered.

Another place we visited was LA's China Town. We toured some local restaurants, food and specialty shops. We skulked around alleys in an effort to understand the behind-the-scenes operations of this unique locale. Once again, our intent was to get 'a feel' and a sense of the place so that we could incorporate it into the novel.

Often times you do not have to go far to enter a world that is radically different than that which most of us experience on a day-to-day basis. I once visited a slaughter house and observed the process from the death of the animal, its cleaning, gutting, dismembering and processing of the meat all the way to the creation of neatly wrapped packages of 'product.' I can tell you this. Visit a slaughter house and the sights, sounds, and smells of the experience will remain with you for a lifetime.

There are hidden worlds closer than you think and the exploration of these places can be as much fun as the writing. For example, have you ever sat in the cockpit of a fighter aircraft? It is a lot more cramped and spartan than you think. There is none of the romance evoked by the Top Gun movie. Have you ever strolled the narrow hallways and warrens of an aircraft carrier? There are museums that allow you to do both.

Have you ever visited the basement of a modern skyrise building. Ask the maintenance guy in charge if he will give you a tour. The logistics and technology associated with the operation of a large building are impressive. You will need to explain why you are asking and, if you are able to satisfy their security concerns, you might very well be introduced to an invisible and interesting world hiding in plain sight.

Happy Writing!

What is My Character's Motivation?

If you ask yourself only one question about your characters, let this one be it. Of course, this one question will lead you places, so think of it as the classic Lays Potato Chip question. You won't be able to stop at just one. The fun part about characters is not necessarily what they say or do. It is about why they do it.

People behave in strange ways. They pick up strange behaviors along life's rocky trails. Embodying your characters with quirky or interesting traits can be hard work, but it becomes easier as you build the bio for your character. The bio builds depth, but it also helps you create believable character motivation.

The motivation can be shallow or deep. That's your call. An example of a shallow character motivation would be the clueless parents of Richard Head who, understandably enough, hates his name and its abbreviation. Imagine the teasing poor 'Dick' must endure, day in and day out at school. How would this affect him? How would the teasing mold him? Resentment toward parents? Of course. Anger towards his classmates? Absolutely. You can build an entire character bio from this one 'shallow' factor.

But you don't want to create a shallow motivation, do you? No. You want to go deep. Very well. So, where do you go? The bookstore is a good place, but the internet is free. If you do a search for Adult Children of Alcoholics you will come up with a number of websites that discuss the characteristics of people who grow up with one or more alcoholic parents. Frankly, the kids of alcoholics are different. They develop a number of interesting characteristics as they grow up and these remain with them as adults. They like to please. They often blame themselves when things go wrong – even when it is not their fault. Most adult children of alcoholics do not even understand the reasons (or motivation) behind their behavior.

The same situation is true with people who grew up with a parent who was physically abusive. These children are literally molded in a particular fashion and these imprints follow, and affect, them all of their lives.

As you build your character bio, you can do a little research. It can range from minor motivational forces (growing up left-handed, as a red-head, or as a middle child) to the tragically complex, like the ones discussed above.

Homework assignment: Do a little research. How are those who have been adopted different from other children? How might this experience affect your character? What if your character was 'sent away' to boarding school at the age of eight? How might your character have been affected by this experience? What if your character's father was a thief? How would this affect your character's view of the world / relationships with family members?

Happy Writing!

Bob

Attention: Free Writing Classes at Your House!

If you want to learn from some of the best writers in the country, all you have to do is turn on your TV. Granted, you have to be selective. It is, after all, known as the boob tube, but there is some good stuff there. Trust me.

One of the shows I like is Burn Notice which airs on the USA network. I enjoy the show for its entertainment value. It is funny, innovative, filled with clever dialog and interesting tidbits about spy craft. I also like to watch the show simply to watch its writers work. They're good.

There is a front story and a back story. The front story changes every week. It involves Michael Weston discovering a victim or some poor unfortunate in need of his particular talents. The back story moves slowly across multiple seasons. It seems that Michael as been 'burned.' For some unknown reason his spy 'agency' has dumped him in Miami. No cover, no credit cards, no income. For most of us in the mundane world this is called a layoff, but I suppose Layoff Notice wasn't a sexy enough title for the show's execs.

Anyway, the backbone of the story revolves around Michael's attempts to find out who 'burned' him and why. He's up against some sophisticated bad spy guys. They would have to be pretty good since Michael is no slouch at what he does.

Woven around the back story is what I refer to as the weekly problem du jour. In this past week's episode, Michael saves a pair of orphans from a bad-ass gangsta. It is not so much what he does as how he does it. The show creates suspense by having the back-story plot insert itself at a critical moment thus complicating / endangering the planned rescue. It works out every week, though.

The show blends lots of proven TV techniques. Michael has a loyal sidekick, Sam. They form a pretty effective pair reminiscent of Starsky and Hutch and Crocket and Tubbs. Then there is Fiona. Fiona is Michael's on-again, off-again (no pun intended) sexy love interest. Presently things are heating up between the two, but Michael is complicated and Fiona has 'issues,' so the show's writers get to play with some interesting character elements as well.

Even if you do not think you will like the show as I've described it, it is worth watching just to see how the writers handle the plot, scene changes, escalating tension and characterization. The writers also include an effective narrative voiceover by Michael in which he speaks directly to the viewer. 'If you need to build a bomb all you have to do is…' 'A spy is always on the lookout for…'

We care about Michael because he's been done wrong by his agency. We care about the character even more because he's a nice guy and cares about other people. He's a great spy, but has relationship issues with his family and Fiona, so he is even a more sympathetic, and thus interesting, character.

So, remember, class is in session. USA Network. Burn Notice. Check it out.

Happy Writing.

Bob

Point of View

I'll admit that I'm a purist when it comes to POV. When I'm writing from a particular character's point of view, I try to stay there until the scene ends. Modern fiction has become more 'flexible' in this regard and authors slip in and out of various points of view, from one character to another or even to omniscient.

When thinking about character, it helps to think of your character as a camera. What the reader will see, smell, touch, and feel should all be from that character's point of view. The thing to keep in mind as the author is that your character may not always be correct in his or her views and facts, and will certainly not have all the information available to you as the author, or even other characters. Sounds easy enough, but when you are 'writing hot and fast,' it is easy to have spill-over.

As you develop your outline, you should ask yourself, 'From whose point of view do I want to present the scene?'

Take a look at the scene below, presented from the main character's POV and the Number 2 supporting character's POV. Here's the scene setup: Tessie Malone, a nurse by training and profession, is recovering from major surgery… a heart transplant to be exact. She awakes each night to a different murder scene in which she is the killer. She's convinced she is reliving murders committed by her heart donor. But as a nurse, she knows just how impossible this is. The alternative is that she is slowly and steadily losing her mind. Both prospects terrify her.

Before we continue onto the scene, let's talk about the character's name. Everything is done for a reason – even character names which should also evoke impressions. Tessie (a derivative of Teresa) evokes the image of a vulnerable young girl. Teresa is also the name of a saint – also a conscious choice. Malone is just one letter [M] away from alone which is how Tessie Malone feels… alone and vulnerable.

Scene from Tessie's POV…

"Are you Detective Tran?" Tessie asked, willing her hands not to shake. The two cops sitting at the picnic table before her stopped chewing on their sandwiches briefly enough to regard her. The detective to whom she had addressed the question resumed chewing, pausing only long enough to nod with his chin toward the seat opposite him.

"I'm Detective Tran," he said after swallowing and washing it down with a pull from is soda. "You were here yesterday, weren't you?" Tessie felt herself blush and nodded once.

"How can I help you?" Tran asked. She glanced nervously at the other detective who, as if on cue, got up and left.

Tessie had practiced her speech a hundred times, but the polished words had all disappeared. "I wish to report a murder… no. Three murders," she said at last, afraid that the rapid pulse drumming in her ears would drown out the detective's words.

Tran pushed sandwich aside and pulled a small notebook from his jacket pocket. "Did you see the murders?"

"Yes," Tessie said.

"When did they occur?" Tran asked.

"I'm not sure," Tessie said. She felt despair as Tran replaced the notebook into his jacket.

"OK," he said. "Who was murdered?"

"Robert and James Nguyen and a third man," Tessie said. "His first name was Tuan. I don't know his last name."

"How'd they die?" Tran asked.

"I shot them," Tessie said. "Three shots each, one to the body and a double-tap to the head."

"You shot them?" Tran said, stiffening.

"No," Tessie said. "That's not what I meant. I'm not crazy. I'm not." The last came out as a soft wail. She slid a piece of paper across to Tran. "The bodies are in the Port of Long Beach in a cargo container. Here's the number."

"How long have you spoke Vietnamese?" Tran asked. "Your accent and dialect are flawless."

"I don't speak Vietnamese," Tessie said.

Tran smiled. "What language do you think you're speaking now?"

Tessie squealed and leaped up from the bench. "Please go look. You'll see. I'm not crazy."

Now the same scene from Detective Tran's POV…

"She still back there?" Tran nodded once to his partner. "I think she's a whack job. Three days running she stands over there watching us. Gotta be a whacko."

Tran scowled. "We don't what she is, other than distraught. If she doesn't approach us today, I'll go have a chat with her and see what she wants."
"Maybe she wants eat Asian tonight." Tran's partner leered suggestively at him. "Get it? Eat Asian!" John smiled broadly at his crude joke.

"I get it. You can be such a jerk sometimes, John. Did you know that?" John shrugged. "All I'm saying is…" He did not finish the sentence.

"Are you Detective Tran?" the woman asked.

Tran indicated that the woman should take the seat opposite. "I'm Detective Tran," he said after swallowing and washing it down with a pull from is soda. "You were here yesterday, weren't you?" The woman blushed.

"How can I help you?" Tran asked in a pleasant voice that he hoped would help the woman relax. She glanced nervously at his partner. Tran sympathized. He didn't like being around his partner either. He gave his partner a let-me-run-this-one-solo glance and, to his relief, John took the hint and departed.

"How can I help you?" Tran asked once more, careful to keep his tone light and easy.

"I wish to report a murder… no. Three murders." she said.

Tran willed his face and body to remain relaxed. He pushed sandwich aside and pulled a small notebook from his jacket pocket. "Did you see the murders?"

"Yes," Tessie said.

"When did they occur?" Tran asked.

"I'm not sure," Tessie said.

Maybe John was right. Maybe she was a whacko. He closed his notebook and slipped it back into his jacket pocket. "OK," he said. "Who was murdered?"

"Robert and James Nguyen and a third man," Tessie said. "His first name was Tuan. I don't know his last name."

"How'd they die?" Tran asked.

"I shot them," the woman said. "Three shots each, one to the body and a double-tap to the head."

"You shot them?" Tran demanded, unable to retain his calm façade.

"No," Tessie said. "That's not what I meant. I'm not crazy. I'm not."

Maybe, Tran thought, but it's not looking to good from this end. Still, he recognized the names. It was possible the woman was both crazy and telling the truth.

The woman slid a piece of paper across to Tran. She said, "The bodies are in the Port of Long Beach in a cargo container. Here's the number."

"How long have you spoke Vietnamese?" Tran asked. "Your accent and dialect are flawless."

"I don't speak Vietnamese," Tessie said.

Tran smiled. "What language do you think you're speaking now?"

The woman squealed and leaped up from the bench. "Please go look. You'll see. I'm not crazy," she said as she fled the table.

Tran did not bother to pursue her, choosing instead to reflect upon what she had said.

John returned about five minutes after the woman had departed. "Did you get it?"

"Yep," John said. "Teresa Marie Malone. Drives a 2004 Honda Civic with California plates 'SO LATE.' Lives here in Irvine. I got the address. No warrants. No priors. Whack job, right?"

"Maybe," but she speaks Vietnamese apparently without knowing it. "Run it down when we get back."

"Back? Where we going?" John asked.

"Port of Long Beach," Detective Tran said.

"What's in Long Beach?"

"According to Ms. Malone, three of the bangers that are on our pick-up list are in a cargo container there."

"No shit!" John said, staring toward the parking lot where he had followed Teresa Malone to her car.

"No shit," Tran replied. "You know, I've never heard a Caucasian speak Vietnamese the way she did. Had she not been sitting right across from me, I'd have sworn she was from Vietnam. It was weird. Really weird.

"She's a whack job," John said dismissively. "Twenty bucks says there's no container and no bodies."

"You're on," Tran said.
------------------------------------------------------------------------------------------------

In the next post I shall discuss the two scenes and the advantages / disadvantages of each.

Happy Writing!

Bob

Any Twilight Fans Out There???

My wife took me to see the film Twilight last night. She’s read all the Twilight series books by Stephenie Meyer and wanted to ‘share.’ Since we live in Washington’s Olympic Peninsula, it was easy to drive to Port Angeles to see the film and have a pre-movie dinner at Bella Italia, a restaurant featured in the movie. Cool!

I ordered the Mushroom Ravioli which was simply incredible. Imagine my surprise when I found out that this very dish was served in the movie scene at the restaurant. Spooky!

Now that I’m well fed and happy, let’s talk a bit about the storytelling in Twilight. Remember, one our first ‘rules’ of writing. Put your character in danger and keep (in this case) her there. Ms. Meyer (and the film’s director) do a great job of this.

WARNING, if you have plans to see the film or read the book, best to stop here. Plot spoilers follow.

First – Bella discovers that the boy she is totally in love with is a vampire. I think this qualifies as serious danger, don’t you? By electing to continue the relationship, she places herself (not to mention her immortal soul) in even more danger.

Second – Walking along a deserted street at night, Bella finds herself surrounded by thugs and in a possible rape situation. Enter the sullen, brooding, highly protective, (and, according to wife-mate) very good looking) Edward to the rescue. So, we’ve got emotional, physical and ‘mortal’ danger all in play.

Third – Bella gets invited to meet Edward’s family and to join a game of ‘family’ baseball during a rainstorm. (A fun scene.)

Not all of Edward’s extended family are thrilled with Bella’s presence and a couple are continually giving her ‘I-think-I’d-rather-just-drink-your-blood' looks. I suspect vampires are not terribly keen on having a personal relationship with a potential food source. Anyway, more threat. More danger. The author is doing a great job.

Fourth – A group of non-vegetarian vampires arrives on the scene and one decides that he must have Bella “for a snack.” This plot twist kicks off a fierce chase, the inevitable battle between Edward and the non-vegan vampire. The ‘bad’ vampire is vanquished, but at the end of the film, we find that the bad vampire’s hunting partner is stalking Bella and Edward. I just know there’s gonna be another movie, don’t you? (Note: A vegetarian vampire is one that only drinks non-human animal blood.)

I was impressed with the film’s handling of danger. Hard to imagine anything more dangerous than a love affair with a vampire -- even a vegan-vampire, but Ms. Meyer escalates the dramatic tension nicely, thus illustrating that you can start at a high danger point and continue to escalate that danger as the book progresses.

So, here is your assignment. Go see Twilight. Go have dinner at Bella Italia in Port Angeles, WA. Drive over to Forks and enjoy the beautiful scenery of this lovely rainforest area. Have fun and keep a lookout for our local colony of vampires.

Happy Writing!

The Sleeper Must Awaken!

Regardless of whether you choose to publish your work, or even complete it, writing can be its own reward. There is a great line from the novel, Dune, by Frank Herbert. "The sleeper must awaken."

This is what writing does for me. It awakens the senses and encourages me to pay more attention to what is going on around me. I find myself continually looking for bits and pieces of life that can add spice and realism to my fictional characters.

Example: I was recently at a ho-hum cocktail party with a friend who hails from Alabama. Dan speaks with a lovely, sing-song Southern drawl and peppers his speech with all sorts of colorful Southern sayings.

We were standing behind a tall and attractive red-head. We could not help but overhear her tell her companion for the evening that she was 'twenty-eight'. (She looked much younger.) Her comment caused Dan to spin about and say to her, "You ain't done it!"

Now, for you non-Southerners, Dan's statement roughly translates to, "I can't believe you're twenty-eight." But I digress.

The young woman turned around, regarded Dan for a few, quiet seconds, and then replied, "I've done it lot's of times." She then dismissed the interruption by turning around, having completely destroyed my friend, and resuming her conversation with her companion. It was a classic jaw-drop moment. Dan was literally speechless. For almost an entire week, I would often find Dan staring off into space and muttering, "I shoulda had a comeback." Indeed he should have.

The moment was comedic, memorable and excellent example of verbal swordplay. Think about the possible responses the woman could have made:

"Excuse me, but I wasn't speaking with you." (True, but boring.)
"Oh, yes. I am, too, twenty-eight." (Also boring.)
"Hi, I don't believe we've met. My name is ___." (I'm sure Dan would have much preferred this response.)

What I remember most about the woman was her serene confidence, her wicked humor and her quick intellect. If reduced to film, most of us in the room would have been captured in 'forgettable' grey scale, black and white. This woman, however, came across in memorable, full, 3-D color. I want my major characters to be like her. Commanding. Interesting. Bold.

Happy Writing!

Bob