Wednesday, April 3, 2013

The Undefined Element of a Fight Scene


Today I am restarting a series of popular blogs on writing the fight scene. The following, with minor edits, is the only blog I plan to repost here from that series.

Over the course of a series of blogs on writing the fight scene, which you can find on my old blog site (http://davidalanlucas.blogspot.com/) , I have gone into the mechanics of fighting and how to try to capture those on the written page (novel, screenplay, short story, and so forth) .  I have written about the psychology and general strategy of the trained and untrained fighter. We have discussed the general places to strike and how the weaker opponent can easily defeat the stronger opponent. But, before we can step further, there is one element that we need to explore--an undefined element of passion.

I use the word passion with a great deal of trepidation. Most people might imagine passion to be emotion. It's emotion, but only a portion of it in the context with which I use it here. The word passion is used here to define the determination and the core from which your character (or you yourself in real life) drive yourself to win the conflict. If you have watched and read enough fight scenes you have seen the well written scenes and the ones that have struck you falsely. Not because the fighter or fighters did something that was improbable (or simply impossible). It was because the fight scene seemed arbitrary--derived solely because some formula said there had to be an act of conflict at that spot.

The good fight scenes are organically grown from your protagonist need to confront the antagonist. Ask yourself:

Why is the protagonist fighting? A fight is dangerous  or even deadly.
Why don't they just run away? 
What does the protagonist risk if he fails loses?

The really good fight scenes are not only organically grown from the protagonist, but the antagonist.  Your antagonist doesn't think he is the antagonist. He thinks he is the hero.  Treat him as such. Ask yourself:

Why is the antagonist fighting? A fight is dangerous or even deadly.
Why don't they just run away? 
What does the antagonist risk if he fails loses?

The outstanding and memorable fight scenes take this organic growth even further, by asking the following questions:

What does the character gain if they lose the fight?
What do they lose if they win?
What do they win if they lose?

You may have just blinked reading these last questions, so let us explore them by using a few examples. While I don't know what you read or watch, I will use a few examples:

In Star Wars--the Original trilogy--Luke Skywalker fights Darth Vader, his father twice. In the first fight, he risks losing his life. Vader only cuts his hand off and rips off his innocence by declaring Luke was his son. In the second fight, Luke is determined to win his father back to side of light. He first risks losing his life. What does he win? He does bring his father back, but at the same time he loses his father.
In Star Wars--the prequel trilogy  (made after the original series)--Obi-Wan Kenobi fights Anakin Skywalker, his pupil and self-proclaimed brother. He has to stop Anakin and try to get him to come back to the light. Obi-Wan risks losing his life and possible failure as well as losing his friends to the dark side. Obi-Wan wins the fight. He does lose his friend and leaves him for dead (or dying really). Anakin loses all he loved for a mechanical suit and the dark side.
In Dr. Horrible's Sing-Along Blog, Dr. Horrible, in this tongue-in-cheek reverse tale of where the villain is the hero, goes to fight his arch-nemesis Captain Hammer. Dr. Horrible risks losing his opportunity to join the Evil League of Evil that he dreams to join and his life--for failure is clearly to be met with his own death. The opposite of this is what he will gain if he wins.  What he does lose when he wins is the love of his life, Penny, as she dies in his arms and perhaps his own desire to be what he has become--for in the end, after all the celebration, he is alone and looks lost to himself.

There are a lot of other examples I could have chosen from. Instead, I ask if any of my readers would take a moment, think about the questions above, and write in the comments about a story that you can diagram as the above.

Thank you for reading and please visit www.davidalanlucas.com and www.thewriterslens.com. You can also follow me on twitter @Owlkenpowriter and the Writer’s Lens @TheWritersLens. Fiction is the world where the philosopher is the most free in our society to explore the human condition as he chooses.

Monday, April 1, 2013

A Quick Chat with 'Wreditor' Suzann Ledbetter Ellingsworth

A Quick Chat with 'Wreditor' Suzann Ledbetter Ellingsworth
By Brad R. Cook

T.W. Fendley and I recently had the chance to talk with noted author and editor, Suzann Ledbetter Ellingsworth. We asked her a few questions and she gave us a few answers!

Suzann Ledbetter Ellingsworth
Suzann Ledbetter Ellingsworth is multi-published, fiction and nonfiction writer and an editor--in her parlance, a wreditor.  Suzann is a Writers Hall of Fame of America inductee, past faculty member for Washington University's Summer Institute, and a contributing editor for Family Circle magazine for a decade. 

By Suzann's definition, wrediting is an editing perspective evolved from experience on both sides of traditional publishing: as a writer undergoing the editorial process, and as an editor teaming with writers to bring their stories to compelling life.  Teaching is the core of Suzann's private client editing process.  Her unique techniques will hone and polish a current project, and pay dividends applicable to future ones, too.  

Learn about her editing services at www.TheWalkingDeadline.com
All her books are available on Amazon and both websites: 

Look for the ebook A Lady Never Meddles with Murder, the sequel to A Lady Never Trifles with Thieves.  Coming soon.

Suzann will be speaking at St. Louis Writers Guild’s Workshops for Writers on Saturday, April 6th, 2013! T.W. and I wanted to give her a chance to introduce herself, and allow everyone else to learn about this amazing writer and editor!

How much fact is in your fiction?
From 60-90%, the difference generally between contemporary novels (60%) and historical novels, (90%) all of which were based on real people and/or real events. It's mandatory fiction tell the truth, which lends to a factual infrastructure. Characters and situations must be relatable and identifiable to a real-time reader. It doesn't matter whether the lead character is a rabbit, a Roman slave or a Rhode Island nuclear physicist. Authenticity on all levels is key, which means portraying a relatable, complicated, human being commensurate with the back-drop era, setting, avocation/vocation, societal and cultural mores, et al.

Nothing kills faster a story for a reader than a writer's arrogant and dumb excuse fiction is lies, all lies, so to heck with a knowing his/her stuff to best, conscientious ability. To believe otherwise cheats the writer's creative bounds, and to my mind, disrespects the intelligence of a reader willing to devote time, and likely, money, to a story. That isn't to say a writer's scrupulous efforts won't net an error or six. Writers are human, too. But make the majority authentic, right, and relatable, and the weensy, accidental boo-boos will be forgiven.


What makes your book/characters unique?
Honest, I'm not being a smarty-pants, but what makes my books and characters unique is I wrote them. I could hand over the synopsis to any one of them to another writer, and beyond the blueprint aspect, the other writer's novel wouldn't resemble mine at all. If I qualify for a unique label at all, it's because writing herded me from magazine articles to book-length humor to biography to fiction. Except on closer examination, the three primary facets--humor, history and biography--pretty much interweave in my novels, too. What may seem like a stray from nonfiction to fiction is nearer a skip, than a leap. At root is an ongoing fascination with what makes people tick. If history is circular, the human emotional trajectory is pretty much linear. If it weren't, contemporary readers couldn't possibly relate to Eyre's or Poe's or Homer's. The more the surrounds change, the more the people populating them remain the same.


If you could borrow one person’s zest for writing and/or life, whose and why?

Hands down, Stephen King. He's a writer's writer. Nothing has stopped or much gotten in the way of being a writer. It isn't what he does for a living, a writer is who he is, whether an individual reader likes, loves, or detests his storytelling. Mr. King hasn't written for the money--hasn't needed the financial proceeds from his work--for decades. Yet a life-threatening hit-and-run accident didn't silence him for long, and pneumonia didn't stop him from accepting long-deserved National Book Award honors. No one I can think of more respects the storytelling gift serendipitously bestowed on him--and by extension, fears more what life would be, or could be, if it just as serendipitously winked out one morning.


Not every idea is a winner. Written or not, what’s the most ill-conceived story idea you’ve ever had?

I chose this question, because ill-conceived story ideas never get much beyond my "Hmm . . ." stage. The reason they don't, is I'm a rabid disciple of the power of synopsis. If a hot, shiny idea can't go the synopsis distance, it's brain flatulence, not inspiration. Why any writer would begrudge the time and effort to whip up a synopsis-style test-drive is beyond me. Seat-of-the-pants dive-ins may sound all artsy and creative and free, but in actuality, are self-laid traps. Freestyling is all but guaranteed to turn an already fraught job into a self-imposed obstacle course laced with plot-exploding devices. At the least, seat-of-the-pants imposes far more start-overs, back-ups and (assuming one doesn't quit when obviously behind) post-draft revisions, than laying the synopsis groundwork in the first place.

Ideas aren't a dime a dozen. A dime a gross, maybe, at most. They're imagination's guppies: the more you have, the more you will have. A jillion too many to ever write to completion.


The Writers’ Lens is about “Bringing fiction into focus.” What brings your writing into focus – the characters, the stories, the love of words?

The characters. Always, always the characters. Characters are plot. Characters are story. Characters are the sole reason for stories. Take any novel's alleged plot – of which there are either seven basic ones or twelve, depending on whether you extrapolate the original seven deadly sins to squeeze out five more. Now change original characters to a different cast of characters. By no means will the resulting story resemble the original. West Side Story's plot is Romeo & Juliet's plot. Except it isn't, and not simply because the settings/eras differ.

Plot is a 20 x 40-foot concrete slab. What rises from it, be it a 3b/2ba rancher, a Tudor, an A-frame, a Cape Cod, Victorian, a burger joint, or a multi-car garage is characterization.

Many thanks to Suzann for agreeing to chat with T.W. and I

Want to learn more from Suzann Ledbetter Ellingsworth?
She’ll be presenting at St. Louis Writers Guild Workshops for Writers…

The 12 Step Program: How to SHOW, How to NOT Tell
Presented by
Suzann Ledbetter Ellingsworth
Writers of America Hall of Fame Inductee and Editor

Saturday, April 6, 2013
10 am to Noon
Kirkwood Community Center
111 S Geyer Rd. Kirkwood, MO
Free for SLWG Members, $5 for non-members

For more information visit www.stlwritersguild.net

Brad R. Cook is a historical fantasy author and President of St. Louis Writers Guild. Please visit www.bradrcook.com or follow me on Twitter @bradrcook  https://twitter.com/bradrcook

Friday, March 29, 2013

From the Crime Writer’s Library—Making Crime Pay—by Harold S. Long


In my freshman year in college, I began to explore writing mysteries and crime. I had already spent several of my formative years dealing with criminal investigation due to various adventures which started with the Police Explorer Program. I already had read books on criminal investigation and books on psychology (at the time there was very little written about criminal psychology—and nothing that my library owned), but I didn’t really know what was needed to make a mystery good. So I went to the library and found a book titled Making Crime Pay. It was by a mystery writer whose name I’m uncertain of right now—and was then. I liked that book well enough that I wanted a copy for myself to refer to.

I marched down the block to a local bookstore looking for it. The bookstore didn’t have it and all I could remember was the title. So the bookstore owner looked up the title and ordered it. When the book came, it wasn’t the book I wanted. The book I received was Making Crime Pay by Harold S. Long.  At first I stood at the counter very disappointed. Then I opened the book and couldn’t believe what I had stumbled on. This book was written by a professional criminal diving into the realities of the criminal justice system from the criminal point of view and giving advice on things like “how not to get caught,” “how to instruct your wife to talk and not talk to the cops,” and so forth. I forgot the mystery-writing book entirely. What I had here was the written version of a professional criminal’s mind in my hands. To borrow the modern vernacular—“SCORE!” Yes, I was literally a kid let loose in a candy shop.

This book is out of print, as I suspect his others are as well. It was published in 1988, but despite the advances in technology, the information within—especially as you read it from a psychological point of view, will give your criminal characters more depth and understanding. In fact, I use the book as a kind of checklist to see if I have my criminals behaving in a correct manner versus something I may have picked up from television or the movies that is incorrect. (Though a lot of crime drama now days is on the money with the behavior.)  The ultimate goal of writing my criminals is that I want to see the crime through their eyes and in their mind. I may have a “detective” trying to solve the case. They may or may not see things the way the criminal does. If I, as the author, only know how the “detective” sees it then I have robbed my readers.

In future posts, I will discuss these other books as a source for the crime writer. His other books are:
* Surviving in Prison
* Successful Armed Robbery
* How to Collect Illegal Debts
* Getting Started in the Illicit Drug Business

Thank you for reading and please visit www.davidalanlucas.com and www.thewriterslens.com. You can also follow me on twitter @Owlkenpowriter and the Writer’s Lens @TheWritersLens. Fiction is the world where the philosopher is the most free in our society to explore the human condition as he chooses.

Thursday, March 28, 2013

No fooling--JAGUAR HOPE free until 4/1!

Jaguar Hope cover
Get your copy here!

FREE March 28-April 1!

Two black jaguars become the symbol of hope for a race facing extinction when they accompany a dying traveler back to her home planet.
JAGUAR HOPE, a novelette, tells of the ill-fated journey to Earth’s Age of Crystal in this action-packed prequel to my historical fantasy novel, ZERO TIME.
If you don’t have a Kindle, you can download the free app onto your computer: Kindle    Kindle Cloud Reader 

Wednesday, March 27, 2013

The Fear of Success


Normally when I write about fear, I am discussing how to create it in a book through suspense, foreshadowing, or emotional response. Today, I will discuss fear as the author in his or her career feels it. There are two major fears in the writing industry. The first is the most common.  It is the fear of failure. Writers often talk about the fear of failure. That fear comes in many ways. It can be in the form of the fear that a pitch will not be right. It can be in the fear that your manuscript is not ready or in the fear that you will never make it as a writer.  The fear of failure can cripple a writing career.  The fear of success can kill that career while it is still in the womb of possibilities.  Those who feel the fear of failure can identify it easily. Those who fear success—at least in my personal experience—may only realize it in an epiphany.

That was my discovery of this fear. It is why I have chosen that topic for today’s posting.  Before I go into the fear of success, I would like to share a little personal background. Like most people I have fears. But I have usually pushed past them. I have the fear of heights, but I have angel repelled (that is repelling facing the ground) and jumped out of planes.  I have had the phobia of spiders, but it doesn’t stop me from either getting rid of them in a non-lethal way or killing them—nor from me camping in the woods.  I also know the fear of facing multiple opponents in the street and being attacked. That has not stopped my martial art training from kicking in (excuse the pun), doing all I needed to do, and resolving the issue satisfactorily (for me). 

On top of all of that, I know success. I haven’t had a lot in the writing world, but I have known it outside of that in my personal life and been able to prove the naysayers wrong. I have had a history of success against the odds.Why then do I have a fear of success?

Allow me to paint a picture for the reader. Over the past few years, my life has changed drastically. I think that now as it becomes stable I can finally see this fear. I have been divorced. I have lost my independence when I had to move in to take care of an elderly parent after my other parent passed away from complications from cancer.  Over the Iast year and a half, I have had to nurse back to health to be semi-independent again after a drastic change in their health. On top of all of that , I have had a chaotic and drastic work schedule that, when thrown in with all of the rest, as made my normal writing schedule resemble what you might see if you let toddlers loose to play “dump the boxes” in a jigsaw puzzle store. With all of this being juggled, I developed a fear of success—something totally unknown to me. Out of the chaos I believe came my fear.

What is this fear? What does it do to you? How do you overcome it? Fear is fear. No matter the fear, the effects can be the same. Frank Herbert once wrote a definition of fear that I feel transcends all of the definitions given to us by the sciences of psychology, medicine or law. He wrote, “Fear I the mind killer.” The feeling of fear can best be described, without going in to the various symptoms, as the dying into inaction.  

Before I go into how I am going to face this fear in my writing career with what I have learned in my martial arts training, I am going to share with you a great list of what the fear of success can be, result in and what those with this fear believe.  In preparation for writing this blog, I scoured various psychology blogs and posts. The following list is from one of the best blogs I found that summarized it into lay person language. The following is from “Handling Fear of Success” by Jake Lawson (http://www.livestrong.com/article/14659-handling-fear-of-success/)

“Fear of success is the following:
* Fear that you will accomplish all that you set out to, but that you still won't be happy, content or satisfied once you reach your goal
* Belief that you are undeserving of all the good things and recognition that come your way as a result of your accomplishments and successes
* Opposite of fear of failure, in that fear of failure is the fear of making mistakes and losing approval--Fear of success is the fear of accomplishment and being recognized and honored.
* Lack of belief in your own ability to sustain your progress, and the accomplishments you have achieved in your life
* Fear that your accomplishments can self-destruct at anytime
* Belief that no matter how much you are able to achieve or accomplish, it will never be enough to sustain success
* Belief that there are others out there who are better than you, who will replace or displace you if you do not maintain your performance record
* Belief that success is an end in itself; yet that end is not enough to sustain your interest and/or commitment
* Fear that once you have achieved the goals you have worked diligently for, the motivation to continue will fade
* Fear that you will find no happiness in your accomplishments--that you will be perpetually dissatisfied with life.

What are the negative consequences of the fear of success?

Fear of success can result in:
* A lack of effort to achieve goals you have set for yourself in school, on the job, at home, in relationships, or in your personal growth
* Self-destructive behavior, such as tripping yourself up to make sure that you do not sustain a certain level of success or achievement you once had in school, on the job, at home, in relationships or in your personal growth.
* Problems making decisions, being unable to solve problems
* Losing the motivation or the desire to grow, achieve and succeed
* Chronic underachievement
* Feeling guilt, confusion and anxiety when you do achieve success--this leads you to falter, waver and eventually lose your momentum.
* Sabotaging any gains that you have made in your personal growth and mental health, because once you become healthier, a better problem solver, and more "together,'' you fear that no one will pay attention to you. You are habituated to receiving help, sympathy and compassionate support.
* Your choosing to do just the opposite of what you need to do to be happy, healthy and successful
* Reinforcing your chronic negativity, chronic pessimism and chronic lack of achievement since you cannot, visualize yourself in a contented, successful life
* Denouncing your achievements and accomplishments, or seeking ways in which you can denigrate yourself enough to lose what you've gained

What do those who fear success believe?
* I have worked so hard to get this far, yet I need to keep on working hard; I'm not sure the effort is worth it.
* I know people care about me when I am down and out, but will they like me when I am on top and successful?
* I've never been happy before, so how can I be sure I'll be happy once I achieve my goals?
* I am nothing, and I deserve nothing.
* How can people like me if I succeed in reaching my goals in life?
* I can't sustain the momentum I would need to achieve my goals.
* How can I be sure that my good fortunes won't go sour and be destroyed?
* There are always more demands and more needs that have to be met in order for me to be successful, no matter what I do it will never be enough.
* They are all better, brighter, smarter, and more talented than I am. I really don't deserve to be successful.
* It's hard to be at the top.
* Everyone is out to shoot down the head man.
* No one really likes a winner.
* Everyone goes for the underdog.
* I am happiest when I am under pressure and challenged.
* Hard work, no play and constant effort make me happy. What would I do if it were different?
* I feel so guilty when I realize how much I have been given in my life.
* I'm always afraid I'm going to lose it all.
* Starting over again gives me meaning and a sense of mission and purpose.
* I'm so bored with what I've accomplished. What's left to do?
* Everyone has the right to fail in life, and I have the right to choose to fail if I want to.”

Facing this fear is not uncommon, even for the best of writers. There will be a link to a speech given by Neil Gaiman that you should listen to. He does not come out and say “hey, I have had this as well,” but if you have read the above you will hear him talk about.  It is good to know that we are now alone.  
How do you overcome this fear? Mr. Lawson further goes into ways to overcome this fear, as do many articles on Psychology Today and other sites.  Allow me to apply my martial art’s experience to this question.

Here are my seven steps:

Step 1: End Your Internal Focus
Stop thinking about what the “outside world” is going to do or demand of you. Thinking like that only creates FUD—Fear, Uncertainty, and Doubt. By creating FUD in you, you become distracted from your goals and your potential.

Step 2: Externalize Your Focus

When you focus on what the “outside world” is going to demand of you. This is where your opponent (fear) wants you to reside in your mind and it is the last place you want to be at.

You need instead to focus on having a plan. 

Before I go any further, let me make a drastic example of the difference between internal focus and external focus.  This is a concept that can be very difficult to understand. Many people, when faced with confrontation or of something unknown in their lives, want to focus internally. “What if I can’t make a living?” “What happens if . . .?” That path leads to fear.  You must externalize your focus and not fix upon what can happen to you.  Instead focus on what you can do for others with your talent and abilities. 

Externalizing your focus includes analyzing what exactly is causing your fear and how you can use that fear to your advantage.  It is analyzing what your specific reason is for even writing outside of the simple “I like to . . . need to write.” It is not about having something to say, but what is it that you are saying that can affect someone else—whoever that person is. Finally, externalizing your focus allows you to analyze the best method of attacking your fear as if it was a physical opponent. By turning the table s on the cause of your fear, you have taken control of the situation.

Step 3: Know Your Abilities and Trust in Them

With the fear of success comes the doubt in your abilities. Stop that. Most people fail to understand that everyone’s abilities are unique to themselves. I blame part of this on the way people are taught to write for school and another part on the “imitate other writers to learn your craft” mentality.

Many writers start by trying to imitate some other writer because they like the way that writer approaches a topic or what their method is. If you are just learning their method or approach to improve or sharpen your skills, then you are doing ok.  If it starts to be a road block because you don’t think you are as good as [insert any author’s name], then you are not trusting your abilities and I doubt you know what they are.  There is no perfect writer out there nor is there any magical method—formula—or 90 day process you can follow that will give you success unless you trust in yourself and your abilities.  If you can’t do that, you are on the road to either fearing failure or success. That is not a road you want to be on. Aren’t you better than that?

In other words: Take everything you are, even what you consider to be a disadvantage and learn to look at it in ways that you can see it as an advantage.

Step 4: Have Determination

The long hard road to get published will create FUD. Our changing industry and business models, where once stood a publishing house of great fame now is a crater of its collapse will create FUD.  FUD weakens your determination to succeed and will create the fear of success—because success is now seen as a possible road back into failure.

Someone has said that it takes at least ten years of hard writing practice and writing four novels to even begin to see the glimpse of success.  If that is true, that is a lot of effort you are wasting because you are afraid to take the next steps that you know to take to find success.

By turning your focus externally your determination strengthens.  See your plan in your mind, see your goal accomplished before it is, and it will become a self-fulfilling prophecy.

Step 5: Have a Plan and Execute Your Plan

This is the number one mistake of over 90% of the world’s population in achieving anything their dreams.  What is your plan?  Before stepping into the dangers of trying to get your work published, do you have a plan? Why not? You have a plan if your house catches fire, right? What about a tornado? Or what if you are in an accident? These are events you are not trying to make happen and I bet you have a plan for them, don’t you? So why not a plan for your success as a writer?

What if someone, an agent or an editor you have met, suddenly asks you to pitch to them--have you thought about what you would do?  Go back to your abilities.  If you are any kind of artist (which writers are), then you have been training with everything you read and write. Do you belong to a writing group that has workshops or lectures? Then, if you have been paying attention, squashing your own ego and letting in the speaker’s message,  you have been training.  The question is what have you been training for?  BE HONEST with yourself. To win a competition? To show off to your friends?  To have just one book published?  These may be important to you, yet it is the mistake many l artists make if it becomes the primary focus.    When you train, think about the real “competition”, the one where the stakes are highest…and then create a plan of training that takes you into the competition with yourself.

Yes…yourself. You are your own greatest opponent and roadblock. If you weren’t then you wouldn’t have fear of success.

If you have done your job, you have a plan.  Actually you probably have many all of the things you have learned and tried.  The important thing to remember is to choose a plan before you find yourself in the situation.  This is how you beat your opponent—yourself and your fear.  First, by having a plan in advance you don’t waste the critical time you need trying to think of how you will face any level of success.  Second, your opponent (fear) has a plan.  That plan is more than likely as simple as keeping you where you are. But beyond that, it has no plan.  You, if you have thought about it properly, even are able to create variations of those plans as you execute your plan.  Third, the most important thing is to execute that plan.  If you focus on the plan then you have no room to focus internally.  Further by focusing on your plan, you can adapt and adjust.  By having a plan, you take the initiative in creating your road past your fear into success.   By having the initiative you overcome FUD.
                                
Step 6: Know What You Are Willing to Fight For

What about defeating the odds and getting published or overcoming your fear of it makes you think that you are not engaged in a fight? With this in mind, what I am about to say may sound like I just contradicted the last five steps. I haven’t.

Despite of all that society may try to teach about grabbing opportunity, running away “to live and fight another day” is not an act of cowardice.  So ask yourself, what are you willing to put all of your dreams on the line for?  Be honest with yourself.  It is easy to say that you are willing to do it for the money or the chance to get published.  But think about it?  Is this worth putting up a everything for? Maybe it is. But then, why are you fearing it? Visualize the situation in your mind. Visualize where you would be two or five or even ten years down the line. Is it worth the fight then?

Now imagine someone offers you the chance to claim success on your terms, or near to it as possible, with some hard work on your part.  Is it worth the fight?  Did your answer change?  This is critical. Before you find yourself in a situation, you must decide what level of success you truly desire.  

Step 7: Have “No Mind”

The idea of “No Mind” may seem odd.  It most certainly does not mean to write and go into anything without thinking! What it means is to stop thinking about what others are thinking about your work.  Stop thinking about what any passersby or someone you may never meet again will think of your work—even stop thinking what your critique group may think.  Think only about your plan and executing it.  Control the situation.  Execute your plan as you have foreseen it, with adjustments as the situation dictates. This is the determination to execute the plan with a single mindedness that it seems as if you have had no other thought in your head and thus as if it required no thought on your part at all.

Now it is time for me to push past this fear, forget the man with the clipboard and make good art. (Watch the video and the reference will make sense.)

The Neil Gaiman video: http://youtu.be/ikAb-NYkseI

Thank you for reading and please visit www.davidalanlucas.com and www.thewriterslens.com. You can also follow me on twitter @Owlkenpowriter and the Writer’s Lens @TheWritersLens. Fiction is the world where the philosopher is the most free in our society to explore the human condition as he chooses.

Monday, March 25, 2013

Write-Ins


Many writers approach writing organizations looking for critique groups, people to give them feedback on their writing and so on. What is rarely asked for or offered, at least on a consistent basis, is a chance for writers to come together—breaking their lonely bubble—and simply write. Setting time apart in this hectic world where most writers have to keep at least a primary full time job to pay the bills while they work equally hard, if not harder, to get their list of novels they are working on into a publisher, bought by the public, and marketing their work out to the world.  That is one of the purposes of having write-ins.

Many of us have our writing schedules—and sometimes those schedules are interrupted by life’s commitments. Write-ins are a time to commit to the art. A write-in is a gathering of writers who will go to someone’s home, or a bar, a coffee shop, a bookstore, or somewhere where they can ply their creative craft for a set time.  There, gathered with other writers, you can share and feed on the creative synergy being created—driving you to work and not feel alone.  It is also a time when you can pick other writers’ brains to break writer blocks, get suggestions, or test a story’s hypothesis. 

Writing organizations, usually due to size and the amount of time it takes to manage a write-in, will not put together write-ins on a constant schedule.  How does a writer access these wellsprings of creative juices? If you want a write-in, you should create one.  While it is difficult for a writing organization to do it, it is not difficult for a few writers to pull it off.  All you need is:
1. A group of writers who you believe you can write around;
2. A group of writers who want to do it (they can all be of the same genre or of various);
3. A place to hold it (Ask your local coffee shops, bars, etc. or just show up.);
4. A way to organize it (Social media that has a way to create events is a great platform.  Or if everyone has outlook or Google Calendars, they will work as well.); and
5. A simple set of rules (like how to signal to others that you are writing or ways it is ok to interrupt others who are writing to bounce questions off them).

Write-ins are not all about the writing.  They are also times to be social with other writers, reminders that you are not alone in the art, and a chance to share each other’s successes or hindrances.  But, with that said, it is important to remember that the primary purpose of a write-in is in the name: WRITE!

Thank you for reading and please visit www.davidalanlucas.com and www.thewriterslens.com. You can also follow me on twitter @Owlkenpowriter and the Writer’s Lens @TheWritersLens. Fiction is the world where the philosopher is the most free in our society to explore the human condition as he chooses.

Saturday, March 23, 2013

From the Crime Writer’s Library—Killer Instinct


In the past, I have taken down a book from one of my ever-growing library of books on crime and the criminal sciences. Today I pull down a video series that I find just as informative and useful as any of the books.  It is Killer Instinct.  This was a reality television series on the Cloo cable television channel. Unlike many shows who share the title “reality television,” this actual was the real thing. It was a true crime series starring on of the FBI’s leading—actually former supervisor agent—Behavioral Analyst (the public call them Profilers) as he walked the audience through thirteen real cases.  Behavior Analyst do not only become involved in serial murder cases, but in cases where the local police have become baffled and need a fresh set of eyes and a different view to look at it. As the tagline for the show goes:  “  . . . I analyze crime scenes from a unique perspective—inside the mind of the killer.”

Cloo described the series as: “Prepare to enter the mind of a killer with the new criminal profile show that will take you inside the heads of some of America’s most brutal, surprising and unpredictable criminal cases.  Each week we will follow host Mark Safarik, a former FBI Profiler and one of America’s foremost authorities on criminal behavior, as he takes us through a past case in fascinating, forensic detail. Each episode will be an intriguing look in criminal behavior and the thought processes that go on behind the scenes of a crime. Full of surprise suspects and sudden revelations, viewers will discover that nothing is as it first appears…when you have a Killer Instinct.”

In each of the thirteen episodes, Mark Safarik walks us through:
·         The real job of the Behavioral Analyst and the crimes they have to deal with;
·         How interviewing techniques can elicit the truth from those who don’t want to tell you the truth;
·         How the criminal mind works—what the evidence says about the behavior and what that says about the criminal;
·         Where the Justice system can fall down and where it wins; and
·         Much more.

When I watched this show for the first time, I was scrambling for my notebook.  Between all the times I viewed it, I have filled more than one large notebook with notes. If you are interested in seeing a little more on this series or learning more about Mark Safarik, I will put a list of links after this blog. While Cloo has canceled the show, you can find it on Cloo and the Bio channel.

If you wanted to view this series, you can find it on Amazon and on Itunes.  Sadly, I was unable to find it on Netflix—so, yes I bought it on Itunes. 

Do you have a reference book you like to use for your crime research?  Don’t be shy. Please share the title, author and why in the comments.  I will take a look at it and I may include it in a future From a Crime Writer’s Library post.

Thank you for reading and please visit www.davidalanlucas.com and www.thewriterslens.com. You can also follow me on twitter @Owlkenpowriter and the Writer’s Lens @TheWritersLens. Fiction is the world where the philosopher is the most free in our society to explore the human condition as he chooses

List of links:
Behind the Yellow Tape Interview with Criminal Profiler Mark Safarik: http://www.blogtalkradio.com/behindtheyellowtape/2012/01/14/interview-with-criminal-profiler-mark-safarik
Cloo Station website about Killer Instinct: http://www.cloo.com/series/killer_instinct/
If you search on YouTube, you will find more.