A Twist of Lemon

I recently finished "The Book of Heroes" by Miyuke Miyabe (Translated by the incredible Alexander O. Smith), and I adored the book. It's a perfect read for mid-grade all the way up to young adult, although I wouldn't class it as adult fiction like a lot of people. That's beside the point.

Without revealing too much of the storyline, it's all about a fifth-grade girl (Yuriko Morisaki) who has to save her brother from the evil and nasty King in Yellow (a classic figure in Chinese mythology that somehow leaked into the book and turned all kinds of evil.).

It had a good setup, unique characters, a good world--and then came the twist. Twist endings are good, but only to an extent. The end of "The Book of Heroes" teeters dangerously close to the line between a good twist and a sour turn of events--a twist of lemon versus sucking on the whole bloody thing. It can be a fine art to master, and it won't keep your book from getting published, necessarily, but keeping your plot twist lemony fresh instead puckertastic can't hurt, right?

Take "Archenemy" by Frank Beddor. It's the final book in The Looking Glass Wars trilogy, and the trilogy is quite wonderful, as I've espoused in the past. However, that twist ending was sour to me, and to the other fans I've talked to--it was a deus ex machina, which is a big no-no. If you find yourself having to write a deus ex machina to complete your plot arc, I can only say two things:

1: Try to find another way. The last thing you want to do is have your villain struck down by lightning, unless your hero summoned the lightning and struck down the villain him/herself.
2: If you can't find another way, fix it. Edit backwards and drop hints instead of springing something out of the blue for no apparent reason. It's just bad writing.

Now, go out and twist your lemons!
Voss

Research Bunnies

It’s a bit of a departure from speculative fiction, but stay with me—I have a proverbial itch that needs to be metaphorically scratched.

I love research. As much as I may complain about having to do research for a project, if you ask anyone that knows me even a little bit, they’ll tell you just how much I love research. In fact, somewhere in the long-lost annals of this blog, I have a previous post about research. Something to the tune of taking up new hobbies as a form of research. I digress.

The problem is, when most people hear or see the word research, their heart rate skyrockets, memories of restless nights studying meaningless equations about pointless anomalies all to pass a test that may or may not hold any importance in your life five seconds after turning it in—at least, that’s what I’ve heard from other people.

That issue stems from a lack of anything interesting to research in school. Now, I can’t complain too terribly much myself—learning the atomic weight of every element on the periodic table is something I probably would have done on my own eventually, just like I did with quantum mechanics and string theory—but that’s no longer as fun for me.

What we need to do to make our writing research fun, and hence infuse new life and excitement into our work, is research things that interest you, but you’ve never put any real effort into learning about. I can’t say what that will be for you exactly, but try this: think of something you wish you could do, but have next no or no experience and/or skill with/at. Anything could work, not just the traditional jobs for heroes and heroines. There a thirteen-billion-and-four books about cops, cowboys, and knights—I can only think of one with an assistant fashion editor as the main character, and it’s one of my favorite books (The Devil Wears Prada by Lauren Weisberger). The only really important thing is that your desire and passion come through—that alone will make the character believable.

Why, then, should you research what it is to be an assistant fashion editor, a tornado chaser, or a gunsmith? All you need is passion, right?

Mostly, you research because you love what you’re learning about, but you’re also trying to infuse that knowledge into the collective of your lifelong knowledge, and pick up on those tidbits, those holy nuggets of information you can deglaze with the broth of your novel, to add that intense, otherwise unreachable flavor.

Does a hobby or profession not make your blood dance? That’s perfectly all right—think of a place you desperately want to visit—the best thing about it is you can visit anywhere, at any time in the present or past with your writing.

Again: why does it really matter? Sure it adds flavor and realism to your work, but are those things really that important if the rest of your manuscript is to die for?

Let me give you an example of a scene—one version written as someone that put almost no time into learning about their main character’s job, and one that allowed him/herself to live and breathe the profession:

He kneaded the dough, the soft mass squeezing out between his palms and the cutting board. Behind him, too many pots to handle boiled and bubbled, but he maneuvered through the kitchen with mastery, stirring this pasta and that sauce as he let the dough rest. The chef below him handed him a nearly finished plate, his eyes hopeful. With a flourish of his hand, he sprinkled the final ingredient on top, “Perfect.”

All right, I know that was unbelievably bad, and no one would probably ever write that, but I had to make a point—someone that had no understanding of the culinary world could craft something similar.

The same scene again, but from someone that actually knows about cooking:

He leaned his full weight into the dough, kneading the sticky mass into submission. Push, turn, pull. Push, turn, pull. The mantra repeated in his head. He pressed the dough down and out into the flour, turned it up a quarter turn, and pulled it back over itself. Soon, his hands moved the dough into little more than a blur, the vibrant yeast accosting his nose. Picking it up, he pulled the dough taut, plopping the pale, silken sphere into his pre-oiled bowl. He gave it a quick turn and covered it with a tea towel, placing it next to the full stove—the heat would be enough to make it rise, for sure. A popping, burbling pot of fresh marinara called to him. A simple stir released the acidic smell into the air. He joined the flavor of the sauce with the sweet, wheaty tortellini in his head—the dish was nothing new for him at this point. The gentle footsteps behind him signaled his sous chef, a plate of chicken parmesan held out in front of him. The executive chef dipped the back of his spoon into the sauce, careful not to drip any on the edge of the plate, and tasted it—it was a common mistake. He grabbed a jar of Worcestershire from the counter and carefully added a few drops, watching them bleed across the dish, “Perfect.”

Same scene, but much different—you can see that someone knew something about cooking when writing this scene as opposed to the first. It comes from research—the person that wrote the second scene could probably make you a delicious meal thanks to all that he/she learned—I’m not so sure I would let the first author make me rice.

So, join me—learn. There are a whole lot of ways to learn about these sorts of wonderful things as well: books, movies, documentaries, professionals, natives, teachers—I bet, with a little scratching, you’ll find that your friends and families are veritable wealth-springs of interesting information. One of my uncles knows a scary amount about munitions. Another used to pan gold for a living. My first cousin once removed makes his living sewing costumes for the local drag queens in Portland. My friends range from entomologists and geologists to cake decorators and Broadway stars—use them, and I’m sure they’ll understand. I read somewhere that, if you tell people you’re writing a story, they’ll talk to you. I’m strongly considering talking to a pair of Indian Sikh that run a convenience store near my house, just to hear the tales they could tell me—and I’ve never met either of them.

So, grab a cup of coffee (two, if you’re planning to have an informative chat with someone) and get to it.

Voss

The Grandest of Schemes

When authors sit down to do their pre-work on a new project, they find themselves doing a lot of jumping and, if they're anything like me, talking, pacing, and scribbling, just to work out the details of this whole new thingy.

I've noticed that a lot of people that don't write, think we have these grand ideas that start off our novels, that the seeds are diamonds encrusted with gold and dipped in melted silver. They, however, are wrong. Ideas start as something supremely shallow and odd, ninety-nine times out of a hundred, something to the tune of: I want a story with an awesome guild of knights who are awesome.

Of course, no one else needs to know that's where we start.

Next comes the writing two-step: research and planning. Before we write word one, we find ourselves lost, not knowing squat about military strategy. So we read Sun Tzu's "Art of War", the equivalent of Cliffnotes on the subject (really, it's not even fifty pages, I don't think).

Then we realize, "Oh dear, why is my emperor trying to do all of this in the first place? It can't be jsut bcause he wants to rule the world--that's just boring." And we psychologically profile him, finding that he believes whatever he believes that makes him do this.

Next we make maps.

We work out the wealth of each and every country.

We find out the military force available to any one group.

We psychoanalyze their leaders.

We look at the natural resources and major exports of every nations.

And.

And.

And.

You get the picture. Why post this? To inspire others to break the rules along with me: NaNoWriMo is fast approaching, and I think, at least for people that have done it before, it's toime to go balls deep into the next project. So, I invite you to join me and begin planning your next work now...besides, it's only a little (a lot) more than the one week planning deadline given in the official rules, right?

Happy novelling,
Voss