Tag Archives: characters

What the *Bleep*?

It’s been fun, interviewing the other authors with stories in Avast, Ye Airships! Perhaps in the coming weeks, I’ll be able to interview the rest. In the meantime, I’ll resume my normal Sunday postings of writing advice, and today’s topic is profanity in prose, damning in dialogue, characters who curSwearing in dialoguese.

Considerations

Before letting one or more of your fictional characters cuss, there are some thing to consider. First, does swearing fit that character? In real life, some people swear often; some reserve swear words for unusual situations; and others never utter any profanity. It can depend on a character’s background, upbringing, the character’s present company, the character’s age, the character’s feeling, and the situation.

Another consideration is your audience. Some readers get turned off by too much swearing. Some will even put down the book at the first curse word. Others read right through them without being fazed.

You should also think about the level of intensity of the swear word. Yes, they have levels of offensiveness. These levels are subjective, so what’s low on your list might be higher up for others. As an example, the “c” word for vagina is usually consider much more offensive than the words “damn” or “hell.”

It’s interesting to note the categories of swear words, and what it would say about your character if she uses words from one category only. Swear words seem to be broken down by (1) body parts, actions, or emissions, (2) races, (3) genders, (4) ethnic backgrounds, (5) religions, and (6) occupations.

Consider, also, the country and time period of your story. Swear words vary considerably by nationality and over time.

Methods

If you’re going to allow a character to swear, here are some ways to make it effective in your story.

First, don’t overdo it. For most people, swear words average 0.3 – 0.7% of the words we use, though for some the frequency is 0% and for others up to 3.4%. Overuse of swear words can turn off readers, and give the impression that the author doesn’t have much to say.

Consider the deeper meaning of Lord Byron’s quote, “He knew not what to say, so he swore.” (I swore less frequently after my mother-in-law referred to that quote.) Among other things, swearing can be a sign of low intelligence.

As an alternative to using swear words, consider using regular words in a way that accomplishes the same thing. I’m not talking about silly, substitute swear words like “freaking.” I talking about using regular words in imaginative, creative ways. My Dad said his Marine Corps drill instructor could chew out the platoon for ten minutes without using a single swear word, but every Marine felt he’d been cussed out. Here is a website with some great insults using no curse words at all.

Use swear words to reveal something about the character who speaks them. You can even make certain swear words into a character’s catch phrase. That can help orient the reader as to who is speaking when there’s a long string of dialogue without tags.

Be consistent. If a character swears once, have him swear throughout, though you can change swearing frequency or words as a way to emphasize a change in other aspects of the character.

In summary, don’t be afraid to let a character use profanity, if it’s right for that character and right for your story. But don’t go overboard. I’m damned right about that. I swear, or my name’s not—

                                                            Poseidon’s Scribe

March 8, 2015Permalink

Conflict, the Necessary Evil

Ever notice how fiction seems full of conflict? Characters hate each other, fight each other, struggle with problems, strive to survive, etc. Why can’t they just get along together and have nice, trouble-free lives? After all, that’s what we real people want for ourselves, right?

Necessity

You may go ahead and write stories where nothing bad happens, where characters are always kind and thrive in a stress-free environment.

Just one little problem with that notion…no one is going to read those stories. They’d be boring! There is no reason to care about such characters. Their outcome is not in doubt.

ConflictConflict is, therefore, an essential aspect of all fiction. Conflict drives the plot and creates interest in the characters. Since all fiction is about the human condition, and since conflict is inherent in the human condition, your stories had better include some type of conflict.

You might be objecting as you think about great stories you’ve read that didn’t involve any guns, bombs, swords, spears, knifes, or fistfights. Ah, but think deeper about those stories. Did characters disagree verbally? Did a character struggle to survive against Nature’s fury? Was a character conflicted internally?

Conflict comes in various kinds and need not involve violence at all. At its essence, conflict is two forces in opposition to each other. That’s it.

Types

What are the types or categories of conflict? Here’s my classification schema:

  • External
    • Character vs. Character
    • Character vs. Nature
    • Character vs. Society
  • Internal
    • Character vs. Self

Some people add other external conflict types such as Character vs. Technology, Supernatural forces, Fate, or others. To me, those are all included in the basic four types.

How many types of conflict should you include within a single story? Unless it’s flash fiction, I recommend at least two, with one of them being an internal conflict. We live in a psychological age, and readers want to see characters with some depth, some internal struggles, some flaws. Readers don’t even want antagonists to be pure evil; there needs to be some explanation how they turned so bad.

Resolution

I’ve blogged before about the need to ramp up the level of conflict in your story, but what about the resolution of the conflict at the end?

Although I personally enjoy stories where protagonists overcome their adversity through wit, cunning, and intelligence, it need not be that way. Not all conflicts need to be completely resolved at the end. Or the resolution of one major conflict may spark the start of another. Really, the struggle during the bulk of the story is more important than the resolution.

In fact, the protagonist may lose the struggle, as in Jack London’s famous short story, “To Build a Fire.”  That story illustrates that fiction really is about characters contending with difficulties, not necessarily overcoming them in the end. It truly is about the journey, not the destination.

Resources and Summary

There really are some nice blog posts about conflict out there, including this, this, this, this, and this.

Those are my opinions about conflict. You might disagree, and that disagreement itself would represent a type of conflict between you and—

Poseidon’s Scribe

December 21, 2014Permalink

What a Disaster!

Today I’m exploring the world of disaster fiction. There are many, many stories dealing with disasters, from local misadventures to world-wide calamities. I’ll discuss frequently occurring themes in disaster fiction, as well as the reasons people read it. That might help you decide if you want to write such a tale.

DisasterFirst, no disaster story is truly about the disaster. If you want to write about disasters, try non-fiction. As I’ve said before, fiction is about the human condition, so your disaster story is really about the characters, their attempts to cope with the disaster, and how they grow or change as a result.

I’ll make a distinction between disaster stories and post-apocalyptic stories. In the latter, the disaster has already occurred and people are trying to handle the aftermath. In the former, the disaster occurs during the story. I’ll discuss post-apocalyptic fiction in a future blog post.

Types

Though disaster stories are about people, we can still classify them by the type of disaster that occurs, and there are plenty to choose from. You might think all the best disasters have been taken already and the reading public won’t go for one more disaster novel. You’d be wrong; since the stories are about people, there are always infinitely more stories to write.

Disasters can be natural, as with floods or tsunamis, hurricanes, tornadoes, other significant storms, earthquakes, volcanoes, extreme climate change, asteroid or comet collisions, etc.

The disaster could be an accident, such as a shipwreck, airplane crash, train wreck, industrial accident, etc. A car crash probably wouldn’t count, since the disaster really should involve a large number of people.

There are other disasters that aren’t natural, and aren’t really accidents either. Let’s call them calamities, and separate them into plausible and less-plausible scenarios. The plausible ones include pandemics, terrorist attacks, major wars, economic collapse, and loss of electricity.

The less-plausible calamities (my own risk assessment; yours might differ) include: alien invasion, uncontrolled release of technology (such as nanotechnology, robot uprising, creation of a black hole, creation of a super-disease or super-creature, etc.), zombie apocalypse, “return” of vampires or werewolves, and attacks by menacing (usually gigantic) animals.

Themes

You’ll find some common themes in disaster stories. Here’s a partial list.

• Despite how far humans have progressed, we need reminding we are small and weak creatures in a big, dangerous universe.
• As disaster looms, people will react differently, going through the Kübler-Ross ‘Five Stages of Grief’ at different rates.
• A large-scale disaster will collapse the normal societal structure, and other structures will form.
• A disaster brings together strangers who must form a team with a common purpose, such as survival.
• A main character must overcome a personal fear or other psychological flaw and rise to the situation.
• A former leader cannot cope with the disaster; a new and unlikely leader must take charge.
• Often the protagonist’s main goal is either survival (of a group) or rescue of others.
• There are good and bad human reactions to disasters, and the characters who react badly often (though not always) meet a bad end. For example, preparation is better than assuming an unchanging future; clear thinking is better than panic, teamwork is better than uncaring self-centeredness; natural leadership is better than using a chaotic situation to claim power; focusing on the goal is more productive than blaming or finding fault.

Purpose

Why do people read disaster stories? These are among the reasons:

• It’s a chance to “experience” the disaster in a safe way, without having to endure it for real.
• The stories can be taken as metaphors for how we can deal with the smaller-scale mishaps of daily life.
• The tales can be metaphors for some perceived societal defect, as in H.G. Wells’ War of the Worlds.
• The stories offer lessons in preparation as old as the ant & grasshopper fable.

Conclusion

51aDCvEwjvLI would classify only one of my stories as a true disaster tale. “The Finality” appeared in the anthology 2012 AD by Severed Press. In it, a scientist discovers that time itself is coming to an end, not just on Earth but throughout the universe, and there’s nothing anyone can do about it. But just maybe the Mayans were trying to tell us something about that.

May all your disasters be the written kind; that’s the hope of—

Poseidon’s Scribe

November 30, 2014Permalink

Fiction Elements by Genre

In earlier posts I’ve blogged about the various elements of fiction (Character, Plot, Setting, Theme, and Style). I’ve also blogged a bit about the various genres of fiction. Here I thought I’d explore how the various genres emphasize certain elements and de-emphasize others.

For the chart, I used the genres listed in the Wikipedia “List of Genres” entry. As the entry itself points out, people will never agree on this list. Even more contentious will be my rankings in the chart for how much each genre makes use of each fiction element.

Fiction elements vs GenreFor each genre, I assigned my own rough score for each fiction element. I’ve placed the genres in approximate order from the ones emphasizing character and plot more, to the ones emphasizing style and theme more.

Go ahead and quibble about the numbers I assigned. That’s fine. There’s considerable variation within a genre. Also, the percentages of the elements vary over time. If we took one hundred experts in literature and had them each do the rankings, then averaged them, the resulting chart would have more validity than what I’m presenting, which is based on my scoring alone.

But the larger point is that the different genres do focus on different elements of fiction. In my view, character is probably the primary element for all but a few genres. Theme is probably the least important, except for a limited number of genres.

Of what use is such a chart? First, please don’t draw an unintended conclusion. If you happen to know which elements of fiction are your fortes, and which you’re least skilled in, I wouldn’t advise you to choose a genre based on that.

Instead, look at the chart the opposite way. Find the genre in which you’d like to write, and work to strengthen your use of its primary fiction elements in your own work. You might even glance at the genres on either side of your favorite one and consider writing in those genres too.

I can’t seem to find online where anybody else has constructed a chart like mine. Perhaps the only one you’ll see is this one made by—

Poseidon’s Scribe

September 28, 2014Permalink

Interview with a Cometeer

Today I’m interviewing the protagonist, Commander Hanno Knighthead, from my story, “The Cometeers,” scheduled for release by Gypsy Shadow Publishing in early September.

TheCometeers72dpiPoseidon’s Scribe: Greetings, Commander Knighthead, and welcome to our blog—er, newspaper. I’m Poseidon’s—I mean, I’m Steven Southard, the Editor in Chief.

Commander Knighthead: Thank you, Mr. Southard. I’m pleased to be here.

S.S.: Can you tell our readers about your upcoming mission?

CDR K.: Well, I think most people already know we’re travelling into outer space to blast Comet Göker with gunpowder to divert it away from the Earth.

S.S.: Can you remind our readers when the comet is due to collide with Earth, if not diverted in time?

CDR K.: Yes, on September 9th.

S.S.: Of this very year, 1897, is that correct?

CDR K.: Yes.

S.S.: Very interesting. Let’s get to some personal matters. How old are you and where did you grow up?

CDR K.: I’m 35 and I was born and raised at a farm near Emporia, Kansas. Born one year after Kansas became a state, in fact.

S.S.: But you didn’t stay to work the farm when you grew up?

CDR K.: No. After reading Moby-Dick, Two Years Before the Mast, and other such books, I felt the call of the sea. I received an appointment to the Naval Academy in Annapolis, and graduated from there in ’84.

S.S.: Pardon me for asking, but how did your parents pick your first name—Hanno? It’s most unusual. Is it a family name?

CDR K.: (laughs) No. My name is Hanover. Hanno is just a nickname.

S.S.: What was your most recent command in the Navy before being selected for the comet mission?

CDR K.: I was captain of the torpedo boat, USS Hopkins, home-ported in Newport, Rhode Island.

S.S.: Are you married, Commander?

CDR. K.: No.

S.S.: Come now. A good-looking man like you, in the prime of health, with a successful Navy career going? I’m sure there are scores of young ladies who—

CDR. K.: I preferred not to subject a wife to the difficulties of dealing with my life at sea.

S.S.: I understand, though our young, female readers will likely wish you’d make an exception.  How were you chosen for this mission?

CDR K.: That was the shocking part. I’m told President McKinley selected me personally.

S.S.: Really? Why? Did the President know you?

CDR K.: No. When I had the opportunity to meet with him in the White House, he told me he wanted someone able to lead a small group of men in a confined craft on a long mission. I’m honored he chose me.

S.S.: As you should be. I understand the rest of your crew for the comet mission was hand-picked as well.

CDR K.: Yes, hand-picked for their expertise in various disciplines needed on our mission—explosives, mechanics, orbital mathematics, comet geology, physics, and other specialties. They’re from the nine countries that contributed the most to finance the expedition.

S.S.: A multi-national crew, then. Do you foresee difficulties in communication?

CDR K.: Not in communication. They all speak English.

S.S.: Your answer suggests you see difficulties of another kind. Do you?

CDR K.: We’re sending twenty three projectiles into outer space, three of them manned. We’re trying to guide the ones filled with gunpowder so they hit a comet travelling very fast, and we’re trying to keep that comet from hitting the Earth. Of course, I see difficulties. I see nothing but difficulties.

S.S.: I meant, do you see problems with your crew, other than communication?

CDR K.: (hesitates before answering) I think it’s no secret that leading a crew of well-educated civilians experts presents different challenges that leading a crew of a few officers and dozens of enlisted men. Having said that, I look forward to the mission and have full confidence every crewman will do his job.

Steven Southard: I know you’re a busy man, so I’ll end here by wishing you and the rest of the Cometeers complete success. The rest of us are depending on you.

CDR Knighthead: Thank you. We won’t let you down.

As a reminder, my story, “The Cometeers,” will be launched in early September. I think you’ll find Commander Hanno Knighthead has, if anything, underestimated the challenges he’ll face on this mission. Challenges imposed on him by—

Poseidon’s Scribe

August 24, 2014Permalink

Avoid the Dreaded POV Wobble

What’s a POV Wobble? Why should you dread it? What happens if you encounter it? How can you avoid it?

POV WobbleFour vital and weighty questions. An average blogger would shrink from the challenge of answering them all in one short post. But you’ve surfed to no ordinary website. I laugh at such challenges, or at least chuckle in a menacing way.

I’ll assume you understand Point of View (POV) already, perhaps by having read this, or some lesser source. The phenomenon of POV Wobble is when the writer shifts to a different character’s POV without a break in the narration. Here’s a blatant example:

Jetta stared at Cliff over the breakfast table and wondered if he was still happy with their marriage. Cliff thought she must have forgotten he preferred grape juice over orange juice.

That’s not so much a POV wobble as a POV fall flat on your face. We shifted right from Jetta’s mind to Cliff’s mind in the same paragraph. Here’s another example:

Jetta looked up toward the window as she heard a loud, warbling sound from outside.   Neither she nor Cliff could have known an alien spaceship had landed in their back yard, nor understood then the consequences for the human race.

Not only did we leap from just Jetta’s mind to encompass both hers and Cliff’s, but that’s very poor foreshadowing, too. Here’s more:

Her heart pounded. Jetta heard the creak of the outside stairs and sensed the grip of the alien’s hand on the kitchen doorknob.

Sure, she knows when her heart is pounding, and she can hear noises. But she can’t sense anyone else’s hand on a doorknob. Another example:

Jetta and Cliff edged their way to the kitchen’s far side, afraid of making any noise. Flat against the wall, Jetta stood with her hand to her mouth, ready to scream, appearing as if posed for a horror movie role.

Here, the first sentence states they’re both afraid, but we shouldn’t know about Cliff’s fear since we’re not in his POV. In the second sentence, we’re seeing Jetta from the outside, posing, which she couldn’t see unless by reflection in a mirrored surface.

The trouble with POV wobbles is, they mark a shift from third-person limited to third-person omniscient. In other words, you’ve gotten the reader comfortable with being in one character’s head, and then suddenly you lift the veil and reveal stuff that character can’t know. You bounce the reader (maybe only briefly and with subtlety) into another character’s head.

It’s possible some readers won’t notice, or will notice but remain unbothered. Why take the chance? First of all, an editor may catch it and that POV wobble might be enough to get your story rejected before a paying reader even sees it.

You’re thinking, “This seems pretty basic stuff. The POV wobble thing will be easy to avoid. I’ll never fall in that trap.”

Good luck. POV wobble is a sneaky problem. As an author, your aim is to tell a story, to provide maximum emotional response in the reader. It’s too easy, as you’re writing along, with your godlike knowledge of the plot and all characters, to forget (even for a moment) that you’re conveying the story—or at least the chapter—from the limited POV of one character alone.

Someday you’ll want the reader to know something the POV character can’t know. Or you’ll need to describe something the POV character can’t sense.

Avoid POV wobble by (1) choosing your POV character wisely, (2) concentrating on staying in that character’s head. Really put yourself in that character’s mind, and (3) making it obvious as soon as you shift to a new character’s POV, at the beginning of a chapter or after a section break.

You’ll find more great info about the POV wobble phenomenon here, here, and here. That’s it, from a blogger who will never go wobbly on you—

Poseidon’s Scribe

July 27, 2014Permalink

I, Spear-Carrier

Today I’ve invited a guest-blogger to my site. He’s a spear-carrier and his name is…um…

spear carrierThat’s the thing, Mr. Poseidon’s Scribe, I don’t even have a name. My author didn’t give me one. I appreciate you giving me a chance to have my say at your website, but most authors aren’t that nice to us spear-carriers.

I suppose I should back up a bit and explain what a spear-carrier is. We’re the minor characters in stories, the ones who remain mostly in the background. We sometimes get to say a few lines, but never as much as the protagonist, sidekick, or antagonist.

The first spear-carriers really carried spears. Back in the days of Ancient Greek drama, they stood near entrances or with backs against the wall while the main characters had all the fun. Boring! These days, we’re the ‘other ones’ at the party, or walking along the street, or shopping in the store.

Oh, authors always say they need us, and that we’re important, but then they treat us like crap. We rarely get names, usually don’t merit more than a word or two of description, and get no chance at character development. For example, I have no personality at all. None!

Life for us is generally boring, though we do get to react, on occasion, to something said or done by a main character. Whoopee!

Giving us the boring roles, not letting us speak much, treating us like furniture—all of that is bad enough. But there’s something worse.

When a protagonist, sidekick, or antagonist dies, it’s a big deal, with a lot of weeping and wailing. But authors bump us spear-carriers off without a second thought. In fact, the major characters never pause to morn our deaths for very long. Often we’re made to die just to show how mean the bad guy is. How sick is that?

Yeah, I know. Authors (sadists one and all) also treat main characters badly. The protagonist, in particular, has to go through a number of tests and trials as she deals with the story’s central conflict. She endures a lot, for sure, but I’d still trade places any day.

The protagonist gets a name and a personality, and generally comes out okay in the end after having learned something. Even when a protagonist dies, it’s a death with meaning and honor.

When it comes to trading places, the one I’d really like to swap with is the author. I have no desire to be an author, but I have an absolute, passionate craving to see how one of those arrogant writers likes being a spear-carrier. Even for just an hour. Oh, yeah.

Let the author fade into the background for a while and see how he likes it. Okay, Mr. Poseidon’s Scribe, let’s try it with you.

Uh, me?

Yeah. Just stand there. Like that, only with no motion at all.

Like this?

No talking. Did I tell you to talk? No looks of surprise either; stop that. Keep your face expressionless. No, even more blank than that. And hand gestures like that are totally unacceptable.

All right. Now that you’re standing without any motion or facial expression, completely unsuspecting, it’s time to demonstrate just how evil the villain in this story really is. No, Mr. Poseidon’s Scribe, you’re supposed to just stand there—

That’s enough for now. I’d like to thank the spear-carrier for guest-blogging today. I think we’ve learned quite a lot about the lives and secret yearnings of these characters. As an author, I need my spear-carriers. They’re important to my stories. But let’s face it, I can’t give every minor character a name, a personality, a whole lot of dialogue; my stories would go on forever. And if a spear-carrier has to be sacrificed for the betterment of my story, well, that’s the way it has to be for—

Poseidon’s Scribe

July 13, 2014Permalink

Are You Fictional or Real?

Fictional characters differ from real people in interesting and important ways. Thinking you’re one when you’re really the other could have significant and disturbing consequences. Therefore, it’s vital to know which one you are. That’s why, as a public service, I offer the following easy quiz you can take to determine the answer.

Fictional or RealIf you think you’re fictional, but your answers to some of these questions tend to show you’re real, or vice versa, don’t despair. Fictional characters and real people share many characteristics. There’s a large amount of overlap because authors try to depict realistic characters, to some extent. I’ll show you how to score your answers at the end.

And now, the quiz:

1. True or False:  You never say “hello” or “goodbye” when talking on the phone.

2. T or F:  You’ve never said “um” or “er” in conversation.

3. T or F:  You drive either a flashy sports car or an old jalopy.

4. T or F:  You may have been inside bathrooms, but you’ve never actually, shall we say, done a Number 1 or Number 2.

5. T or F:  For you, things seem to go from bad to worse, then suddenly everything turns out okay.

6. T or F:  You have a friend who’s constantly with you and to whom you must explain everything. Either that, or you are a sidekick for someone else.

7. T or F:  Your full name is melodic and memorable, and ether your first name or last name is unusual.

8. T or F:  You are either purely good, or purely evil.

9. T or F:  Your dull, uneventful hours rush by in a blur, but your busy, intense hours pass slowly and meaningfully.

10. T or F:  You’ve long felt a sense of being watched all the time. You’ve had that sense so long you no longer think much about it.

If you answered True to less than six questions, you are a real person. Sorry about that. Real people tend to lead more boring lives than fictional characters. If you thought you were fictional and are just now discovering you are real, I suggest you accept it, get over your disappointment, and learn to fit in.

If you answered True to six or seven questions, this quiz can’t tell you the answer. Observe the people around you and see which behaviors they exhibit. Whichever they are—fictional characters or real people—you are too. The two types don’t seem to mix much.

If you answered True to eight or more questions, you’re a fictional character. If you thought all along you were real and are just now discovering you’re fictional, I’ll offer my congratulations. Your life will rarely be boring. Thousands and maybe millions of real people will thrill to your escapades. Even if your life ends up being short, you’ll be reborn innumerable times and may live forever.

It’s my hope this quiz has been informative and hasn’t caused you any life-changing distress. If it did alter your understanding of reality, I still think it’s better to know than to keep living in ignorance. And, really, where else on the web are you going to get this kind of service? Who else offers this sort of helpful quiz? No one else, but—

Poseidon’s Scribe

June 22, 2014Permalink

Ex-Out Deus ex Machina

Strange term, that ‘Deus ex Machina.’ All it means is ‘the god from the machine’ and if your story’s got one, you probably don’t want it.

Deus ex MachinaAlthough the concept comes to us in its Latin wording, it dates from the plays of Ancient Greece. Performed in amphitheaters, these plays sometimes featured an actor playing the part of a Greek god, who would descend into the final scene apparently from the sky by means of a crane with ropes. The ‘god’ would solve the play’s central problem by means of magical powers.

Over time, the phrase came to mean the late and unexpected introduction in a story of a character, ability, or object that seems to resolve the story’s conflict in some miraculous way.

     Not Recommended
You’ll want to avoid Deus ex Machina (DEM) in your stories because it’s the mark of an amateur writer. You get positive points for burdening your protagonist with difficult dilemmas to solve. But you lose those points and more when you’ve painted your hero into a corner and you can’t get her or him out without resorting to some external savior entering the action at the end.

The presence of a DEM cheats the reader, who is expecting a story about the human condition.  The reader has, therefore, invested some emotional energy in your protagonist, following that hero along through all the conflicts, both external and internal. The reader is wondering how your protagonist will prevail. To introduce a DEM, therefore, is jarring and disappointing.

     Difficult to Avoid
Sometimes you’re working along with your manuscript and you find you’ve put your protagonist in such trouble that, try as you might, you can’t think of a way out. You like the story otherwise, and really don’t want to rewrite in a way that lessens the difficulty and allows your hero to win the day through innate virtues.

These are the times you might be tempted to call in the aid of a DEM. Again, for reasons noted above, it’s best not to do so. In most cases.

     When It’s Right
In the hands of a master storyteller, DEMs can work in two situations I’ve discovered: (1) when the author is making a larger point, and (2) in comedies.

For example, in Edgar Allan Poe’s story, “The Pit and the Pendulum,” the French army conquers the town, enters the Inquisition, and frees the narrator from his horrible prison. But Poe is making a larger point about life and the freeing of the soul to enter heaven when the clock (pendulum) of life ceases.

In H.G. Wells’ novel, The War of the Worlds, it’s true the invading Martians are defeated by tiny bacteria. But Wells is making a statement about Britain’s encounters with cultures having primitive technology. He’s saying that, but for the microbes, even mighty Britain would have been annihilated.

In Monty Python’s movie “Life of Brian,” Brian is saved from a deadly fall by a passing alien spaceship. The DEM literary device is used here for comedic effect.

     A Final Example
If you’re really, really good, go ahead and use a Deus ex Machina. Otherwise, best to avoid them. Let your characters figure their own way out of their jams.

Hmm, as I write this, I have no idea how to end this blog post.

Enter Poseidon, appearing out of nowhere.
Poseidon: “Silly mortal. Just write ‘Poseidon’s Scribe’ below your other babbling text, the way you’ve signed off every other post.”
Me: “Oh, hehe. Thanks Poseidon. You mean like this:

Poseidon’s Scribe.”

June 8, 2014Permalink

Formula for Success

Have you ever written formula fiction? Is it good or bad to do so?  What is it, exactly?

formula 2If your story re-uses the plot, plot devices, and stock characters of other stories, then you’ve written formula fiction.  It’s different from the term genre, in that genre fiction makes use of the same setting and style as other works within the genre, but genre fiction may vary plot and characters considerably.  I termed such writers formulists in a brief discussion here.

Although literary critics tend to dismiss formula fiction, there are so many published stories, it’s difficult to come up with entirely new plots and characters.

Usually there’s a good reason why a writer chooses a formula.  It works!  It’s a curious thing that readers enjoy reading formula fiction.  They’re comfortable with the character types, and although they know how the story will come out, they follow along anyway.  Readers can forgive a great deal if the author tells the story in an interesting way.

I’ll discuss plot types in a future blog post, but with formula fiction there’s no real attempt to vary from a proven plot line too much.  Just re-use what’s been done before, perhaps with slight deviations in setting or style, or specific plot events.

The use of stock characters frees the writer from having to include a lot of explanation or description.  After only a few words, the reader understands all there is to know.  Again, it’s possible to vary a bit from the standard character type, but there’s little need.

I said it’s a curious thing that readers would enjoy formula fiction, but perhaps it’s not so mysterious.  Before there was a formula, there was an enterprising writer (or oral storyteller) who conveyed the story for the first time.  It struck a chord.  It was successful.  After that, why not just do variations on a popular and effective theme?

Examples of formula fiction include romance, horror fiction, and space opera.  Each of these has withstood the test of time because each has appealing characteristics that really reach an audience, and keep on reaching generations of new readers.

In the case of romance fiction, readers enjoy the odd or awkward meeting (the ‘meet-cute’) between man and woman characters who seem opposite or ill-fitting at first, then they warm to each other, only to have a parting of the ways, and finally reunite in love at the end.  An overdone plot line?  Apparently not yet, since this formula sells more books than any other by far.

In horror fiction, at least the cinematic type, the audience sees a mixed-gender group of characters who are isolated in some way and face a horrible entity bent on their destruction.  One by one the characters are killed until only a lone female—the so-called final girl— is left to either defeat the entity or escape.  Another plot line that has not run its course.

For space opera, readers are treated to a heroic character in the distant future, somewhere in outer space, confronting a menace threatening the survival of the hero’s people.  The hero strives against the evil force, and just when it appears all is lost, the hero is able to defeat the menace.  This formula continues to work.

Despite what critics might say, there’s nothing wrong with formula fiction, particularly if you’d like to sell your stories.  There’s plenty of room within the constraints of the formula to display your creativity as a writer.  So, like a mad scientist (Mwahahaha!), go ahead and use your (fiction) formula to take over the world!  Good luck, says—

                                                            Poseidon’s Scribe

January 5, 2014Permalink