Bill Conrad's Blog, page 28
September 9, 2020
Dialogue Is Easy; Scripts Are Difficult
Dialogue is the written form of speech. Sarah said, “Hello, Brad. Did you have a wonderful weekend?” These sentences read just like a person talking.
How does a writer come up with dialogue? That’s easy. A writer thinks about what a character would say, and they write it down. As a bonus, readers have low dialogue expectations because people are undisciplined when they speak. Verbal sentences get loaded with poor grammar, incorrect words, lazy abbreviations, invented words, goofy sounds, and lots of nonsense. “Umm. Ahh, hey. Like, what are you doing dis weekend? You know, after Friday and such? Can you answer that? Now? Today?” Am I exaggerating with that example? Not really. People can be lazy when they speak.
A typical fiction book contains 10 to 40% dialogue. This means that I only spend 20% of my self-editing time on the dialogue. Why? Because dialogue sentences are simple. The spoken information is, and the intent is obvious. However, the sentences supporting the dialogue are a different matter. They are direct, full of feelings, elaborate descriptions, and plot. Readers expect a lot of detail and clarity.
Plays and movies are in a distant category. They use a short [compared to a book] script containing 90% dialogue. The remaining 10% are terse notes about the scene and acting direction. The story within a play or a movie can only be told through dialogue, which makes every word critical.
The dialogue in a script must be perfect for carrying the story and fitting in a short time. A single spoken sentence can make or break the entire work. Want some proof? “Luke, I am your father.” Five simple words made the entire movie. Dialogue does not get much better than that.
I have an idea for two short plays and a movie. Are they any good? If I am, to be honest, I would say they would rate a grade C at this stage. If I worked on the concept, I think I could improve them. I would never consider those concepts letter grade A. Well, why not take the leap? Write a script and submit it. Perhaps I will get lucky, or somebody with more experience could polish it into something extraordinary.
I find creating a script too intimidating, but I enjoy writing dialogue because it is fun thinking about what a character would say.
Besides, readers do not read scripts. Instead, they watch movies or plays. Have you read the script for the epic movie Star Wars? Only the most devoted fan has ever read the script. Why? People enjoy watching the film, and there is no need to read the script. Besides, scripts are boring. Talk, talk, talk. A person reading a script needs all their imagination to view the scene.
A script is only worth something to a person who wants to turn it into a play or movie. Once accepted, many people get involved in production, which leads to another problem. When a movie or play fails, lots of people know about it. However, if a terrible book does not sell, it does not sell. The worst case is a warehouse full of unsold books and a few critical reviews. “Stan’s latest book is not a recommend read.” Granted, the author/publisher would not be too happy.
Does this mean that scripts are the pinnacle of writing? Perhaps. However, scripts are shorter than books, and when they do not sell, the public does not know. Will Hollywood ever get a hold of one of my scripts? Hmm. Probably not. Or is that something to aspire to? Hey, I got this. I could write a script about writing a script. I will call it “play on words.”
How does a writer come up with dialogue? That’s easy. A writer thinks about what a character would say, and they write it down. As a bonus, readers have low dialogue expectations because people are undisciplined when they speak. Verbal sentences get loaded with poor grammar, incorrect words, lazy abbreviations, invented words, goofy sounds, and lots of nonsense. “Umm. Ahh, hey. Like, what are you doing dis weekend? You know, after Friday and such? Can you answer that? Now? Today?” Am I exaggerating with that example? Not really. People can be lazy when they speak.
A typical fiction book contains 10 to 40% dialogue. This means that I only spend 20% of my self-editing time on the dialogue. Why? Because dialogue sentences are simple. The spoken information is, and the intent is obvious. However, the sentences supporting the dialogue are a different matter. They are direct, full of feelings, elaborate descriptions, and plot. Readers expect a lot of detail and clarity.
Plays and movies are in a distant category. They use a short [compared to a book] script containing 90% dialogue. The remaining 10% are terse notes about the scene and acting direction. The story within a play or a movie can only be told through dialogue, which makes every word critical.
The dialogue in a script must be perfect for carrying the story and fitting in a short time. A single spoken sentence can make or break the entire work. Want some proof? “Luke, I am your father.” Five simple words made the entire movie. Dialogue does not get much better than that.
I have an idea for two short plays and a movie. Are they any good? If I am, to be honest, I would say they would rate a grade C at this stage. If I worked on the concept, I think I could improve them. I would never consider those concepts letter grade A. Well, why not take the leap? Write a script and submit it. Perhaps I will get lucky, or somebody with more experience could polish it into something extraordinary.
I find creating a script too intimidating, but I enjoy writing dialogue because it is fun thinking about what a character would say.
Besides, readers do not read scripts. Instead, they watch movies or plays. Have you read the script for the epic movie Star Wars? Only the most devoted fan has ever read the script. Why? People enjoy watching the film, and there is no need to read the script. Besides, scripts are boring. Talk, talk, talk. A person reading a script needs all their imagination to view the scene.
A script is only worth something to a person who wants to turn it into a play or movie. Once accepted, many people get involved in production, which leads to another problem. When a movie or play fails, lots of people know about it. However, if a terrible book does not sell, it does not sell. The worst case is a warehouse full of unsold books and a few critical reviews. “Stan’s latest book is not a recommend read.” Granted, the author/publisher would not be too happy.
Does this mean that scripts are the pinnacle of writing? Perhaps. However, scripts are shorter than books, and when they do not sell, the public does not know. Will Hollywood ever get a hold of one of my scripts? Hmm. Probably not. Or is that something to aspire to? Hey, I got this. I could write a script about writing a script. I will call it “play on words.”
September 3, 2020
Uninventing
In college, my friends and I watched movies every Wednesday night at the pub. (It was not really a pub, but we still called it a pub.) The place had a widescreen projection television that only looked good from a specific viewing angle connected to a low-quality VCR. More than once, they called the event off because the system did not work.
One night, they showed The Princess Bride. I had not been looking forward to watching that particular movie because of its lousy previews. However, I attended to be social, and because my roommate insisted.
Wow, what a fantastic movie. Since then, I have seen it at least 20 times, and I still enjoy every scene. But that is also a problem because I will never experience the same joy of seeing it for the first time.
How great would it be to watch that movie with a fresh perspective? Unfortunately, baring a major brain injury, we cannot uninvent watching a movie. Our only option is to create a new movie and hope it will be good.
What about an awful movie? After it debuts, we will forget it ever existed. Is that like uninventing? Perhaps. However, some people will remember it, and that is the point. A book, movie, or play will always be remembered. Even a shoddy work will leave an imprint that can never be undone.
There is hope. My daughter and I recently watched The Princess Bride. She loved it and quoted lines from the movie. I suppose that is as close to “uninventing” that the human mind can accept.
One night, they showed The Princess Bride. I had not been looking forward to watching that particular movie because of its lousy previews. However, I attended to be social, and because my roommate insisted.
Wow, what a fantastic movie. Since then, I have seen it at least 20 times, and I still enjoy every scene. But that is also a problem because I will never experience the same joy of seeing it for the first time.
How great would it be to watch that movie with a fresh perspective? Unfortunately, baring a major brain injury, we cannot uninvent watching a movie. Our only option is to create a new movie and hope it will be good.
What about an awful movie? After it debuts, we will forget it ever existed. Is that like uninventing? Perhaps. However, some people will remember it, and that is the point. A book, movie, or play will always be remembered. Even a shoddy work will leave an imprint that can never be undone.
There is hope. My daughter and I recently watched The Princess Bride. She loved it and quoted lines from the movie. I suppose that is as close to “uninventing” that the human mind can accept.
August 26, 2020
The Back of My Head
What does the back of my head look like? Obviously, it looks like the back of everybody else’s head. To be sure, I have looked into mirrors, seen the back of my head on video, and looked at pictures of myself. Is that enough? Well, if I do not want to go crazy, then there is more than enough visual proof to prove (to myself) that the back of my head is normal.
I certainly have looked at other people’s heads without issue, and nobody has commented that the back of my head is unusual. Therefore, the leap of faith required for this safe assumption is small. However, I can never be sure what the back of my head looks like because I cannot directly observe it with my own eyes. Yes, I admit this is something I think about and probably should not give it a second thought.
What am I really asking? Am I in a simulation? Am I a character in an elaborate book? Do I have free will? What does this have to do with writing? The tie in is that a writer can create a character from nothing. This “person” will suddenly exist in the author's mind and the reader. “Bob walked into the room.” Just then, Bob became real. He was not born; I imagined him. Is Bob English? Does he have a yellow shirt? Can he speak Chinese? The author and reader do not understand, but does Bob know? He is not real and therefore, cannot answer his own question. However, authors and readers accept that Bob is a normal person. “There is a bug on Bob’s hand.” Now we know Bob has a hand and there is a bug on it.
Should I worry about this profound philosophical question? If I am in a simulation or a character in a book, I probably do not want to know. I have to be content living in a world without free will. As long as you do not read about my death, then I will be fine. Please do not skip a chapter!
I certainly have looked at other people’s heads without issue, and nobody has commented that the back of my head is unusual. Therefore, the leap of faith required for this safe assumption is small. However, I can never be sure what the back of my head looks like because I cannot directly observe it with my own eyes. Yes, I admit this is something I think about and probably should not give it a second thought.
What am I really asking? Am I in a simulation? Am I a character in an elaborate book? Do I have free will? What does this have to do with writing? The tie in is that a writer can create a character from nothing. This “person” will suddenly exist in the author's mind and the reader. “Bob walked into the room.” Just then, Bob became real. He was not born; I imagined him. Is Bob English? Does he have a yellow shirt? Can he speak Chinese? The author and reader do not understand, but does Bob know? He is not real and therefore, cannot answer his own question. However, authors and readers accept that Bob is a normal person. “There is a bug on Bob’s hand.” Now we know Bob has a hand and there is a bug on it.
Should I worry about this profound philosophical question? If I am in a simulation or a character in a book, I probably do not want to know. I have to be content living in a world without free will. As long as you do not read about my death, then I will be fine. Please do not skip a chapter!
August 19, 2020
Lonely Writing
How do authors develop new stories? Inspiration comes in many forms, like a speeding car inspiring a racing story. I come up with my best ideas while riding my bike.
Once the idea is present, a writer has to put it down on paper. There are helpful aids like outlines or index cards, but writing is a solitary process consisting of thinking, writing on paper, and typing. I have tried dictation programs, but there is no substitute for a keyboard.
Writing requires immense effort and focus. Distractions are everywhere, and discipline is essential. Like every endeavor, the process improves with experience.
The essence of writing is mentally organizing thoughts in solitude, and it requires the proper mindset. Now is the time to write. Stop thinking about other things.
I enjoy writing, and I feel privileged to have the opportunity. However, this lonely process presents a paradox. Writers often write about people. It would seem that a writer could bypass the process and interact with people. I suppose characters become “human” interaction, but they are no substitute for the real thing.
Part of the appeal to writing is that the act can be done in solitude. If I need a friend, I can create one. Is this a crutch? Possibly. A few dedicated writers probably need to get out more often.
As I close this blog in solitude, I look around a room and see that I am the only person occupying it. In an hour, I will make dinner and serve it to my family. I look forward to that activity. As for my characters, they will be right where I left them. Are they waiting for me in anticipation? Are they lonely? No, I made sure their lives are full of adventure.
Once the idea is present, a writer has to put it down on paper. There are helpful aids like outlines or index cards, but writing is a solitary process consisting of thinking, writing on paper, and typing. I have tried dictation programs, but there is no substitute for a keyboard.
Writing requires immense effort and focus. Distractions are everywhere, and discipline is essential. Like every endeavor, the process improves with experience.
The essence of writing is mentally organizing thoughts in solitude, and it requires the proper mindset. Now is the time to write. Stop thinking about other things.
I enjoy writing, and I feel privileged to have the opportunity. However, this lonely process presents a paradox. Writers often write about people. It would seem that a writer could bypass the process and interact with people. I suppose characters become “human” interaction, but they are no substitute for the real thing.
Part of the appeal to writing is that the act can be done in solitude. If I need a friend, I can create one. Is this a crutch? Possibly. A few dedicated writers probably need to get out more often.
As I close this blog in solitude, I look around a room and see that I am the only person occupying it. In an hour, I will make dinner and serve it to my family. I look forward to that activity. As for my characters, they will be right where I left them. Are they waiting for me in anticipation? Are they lonely? No, I made sure their lives are full of adventure.
August 12, 2020
Throwing Characters Into a Plot
There are endless varieties of plot types. For example, when multiple characters react to an everyday event. Spy novels have complex plots with many interactions. Mystery novels feed the reader scraps and challenge them to uncover hidden motivations. The classic plot uses three acts to form a complete story.
Of course, I take a unique approach. I start with basic characters, get the readers comfortable with their backgrounds, and then throw them into an unpleasant situation. They react, struggle, and pick up the pieces. Some things happen, and I throw them into another bad situation, followed by another. By the end of the book, they are beaten up and confused. Only then can readers enjoy a nice epilogue.
A few writers appreciate this kind of story. Die Hard with Bruce Willis follows a police officer with issues to an office party. Then he gets hit with all kinds of chaos. Back to the Future with Michael J. Fox has a kid with a crazy friend having a tough time getting his band a gig. Then he is transported back in time.
As a reader, I enjoy these kinds of plots because I can imagine myself taking part in the action. I find it difficult to relate to an outlandish character like James Bond, who glides around danger without consequences. It is perfectly natural for James to parachute out of an airplane onto a speeding train and then have a cup of tea. In actual life, such a feat would require an infinite amount of confidence, skill, luck, training, and support. Even a well-trained special forces soldier would have difficulty performing such a feat. They defiantly would not calmly drink a cup of tea afterward. I cannot imagine any of my readers or myself possessing such an extreme skillset, which makes the story difficult to relate to.
I can imagine being in a plane that is about to crash, having no choice but to save my life by parachuting out and finding that the only place to land is a speeding train. These dire circumstances would force me to react. Is this realistic? No, but it is remotely possible. Bad guys have forced people onto unsafe planes, forced to jump out of airplanes, and trains move all day long. Therefore, I can imagine a character thrust into a horrific situation and surviving.
A person can go from a known place to an unknown place. Right now, I am at my comfortable desk, and by the end of the day, I could be forced to parachute onto a speeding train. (I probably would die in the process.) My point is that I would never plan for such an event and would only attempt such an action to save my life.
When developing a plot, it is impossible to go from unknown to unknown. For example, Darth Vader waking up on the death star. I am never going to be in a different galaxy, a supervillain, or wake up on the death star. I dislike plots that go from unknown to known. For example, if I woke up on an alien planet and tried to get back to earth. I guess this is remotely possible, but unrealistic and more to the point; it is difficult for readers to follow this path.
For 99% of us, our daily lives are boring. The 1% exception is people with action careers such as firefighters, emergency room doctors, soldiers, or police. There are thrill-seekers and people who demand drama. I still consider those to occupy 1%. However, our lives do contain worthy events like car crashes, family members passing away, fires, or terrible arguments. Also, random awful things can happen, such as a kidnapping.
Let’s examine a typical major event. On the drive to work, Tim’s tire blows out, and he hits a tree. Let’s build on that idea. An angry driver cuts Tim off, and he swerves into a school bus causing it to catch fine. Let’s create some more. One of the dead students has a mob boss, father, and he wants justice. Is that combination of unlikely events possible? It is a remote possibility. However, the story would certainly be dramatic and a good read.
During my plot creation phase, I push the plausibility levels to the extreme. My readers encountered a 500-year-old woman, characters on a distant planet, and a colossal spy operation. Do 500-year-old women exist? Biology says no. But how do we lead readers to such a being? I take an average person, throw them into a bad situation, and eventually, they encounter the impossible.
I imagine most authors would scoff at my approach and blatantly jump into a plot. Poof, 500-year-old woman walks into the room. Next scene. This reality disconnect makes characters like Darth Vader and James Bond possible. While I enjoy these fantasy story arcs, I have no desire to write one. I need to stand on a healthy foundation of familiar situations that allow me to leap into the unknown.
Of course, I take a unique approach. I start with basic characters, get the readers comfortable with their backgrounds, and then throw them into an unpleasant situation. They react, struggle, and pick up the pieces. Some things happen, and I throw them into another bad situation, followed by another. By the end of the book, they are beaten up and confused. Only then can readers enjoy a nice epilogue.
A few writers appreciate this kind of story. Die Hard with Bruce Willis follows a police officer with issues to an office party. Then he gets hit with all kinds of chaos. Back to the Future with Michael J. Fox has a kid with a crazy friend having a tough time getting his band a gig. Then he is transported back in time.
As a reader, I enjoy these kinds of plots because I can imagine myself taking part in the action. I find it difficult to relate to an outlandish character like James Bond, who glides around danger without consequences. It is perfectly natural for James to parachute out of an airplane onto a speeding train and then have a cup of tea. In actual life, such a feat would require an infinite amount of confidence, skill, luck, training, and support. Even a well-trained special forces soldier would have difficulty performing such a feat. They defiantly would not calmly drink a cup of tea afterward. I cannot imagine any of my readers or myself possessing such an extreme skillset, which makes the story difficult to relate to.
I can imagine being in a plane that is about to crash, having no choice but to save my life by parachuting out and finding that the only place to land is a speeding train. These dire circumstances would force me to react. Is this realistic? No, but it is remotely possible. Bad guys have forced people onto unsafe planes, forced to jump out of airplanes, and trains move all day long. Therefore, I can imagine a character thrust into a horrific situation and surviving.
A person can go from a known place to an unknown place. Right now, I am at my comfortable desk, and by the end of the day, I could be forced to parachute onto a speeding train. (I probably would die in the process.) My point is that I would never plan for such an event and would only attempt such an action to save my life.
When developing a plot, it is impossible to go from unknown to unknown. For example, Darth Vader waking up on the death star. I am never going to be in a different galaxy, a supervillain, or wake up on the death star. I dislike plots that go from unknown to known. For example, if I woke up on an alien planet and tried to get back to earth. I guess this is remotely possible, but unrealistic and more to the point; it is difficult for readers to follow this path.
For 99% of us, our daily lives are boring. The 1% exception is people with action careers such as firefighters, emergency room doctors, soldiers, or police. There are thrill-seekers and people who demand drama. I still consider those to occupy 1%. However, our lives do contain worthy events like car crashes, family members passing away, fires, or terrible arguments. Also, random awful things can happen, such as a kidnapping.
Let’s examine a typical major event. On the drive to work, Tim’s tire blows out, and he hits a tree. Let’s build on that idea. An angry driver cuts Tim off, and he swerves into a school bus causing it to catch fine. Let’s create some more. One of the dead students has a mob boss, father, and he wants justice. Is that combination of unlikely events possible? It is a remote possibility. However, the story would certainly be dramatic and a good read.
During my plot creation phase, I push the plausibility levels to the extreme. My readers encountered a 500-year-old woman, characters on a distant planet, and a colossal spy operation. Do 500-year-old women exist? Biology says no. But how do we lead readers to such a being? I take an average person, throw them into a bad situation, and eventually, they encounter the impossible.
I imagine most authors would scoff at my approach and blatantly jump into a plot. Poof, 500-year-old woman walks into the room. Next scene. This reality disconnect makes characters like Darth Vader and James Bond possible. While I enjoy these fantasy story arcs, I have no desire to write one. I need to stand on a healthy foundation of familiar situations that allow me to leap into the unknown.
August 5, 2020
My Favorite Quotes
I have been collecting quotes for a few years, and I thought it would be interesting to share my favorites.
** “Any sufficiently advanced technology is indistinguishable from magic.” -Arthur C. Clarke
** “When the boss is a dope, everyone under him is a dope or soon will be." -Jacob Rabinow
** "The probability of success varies inversely with the rank of the observers." -Jacob Rabinow
** "The opposition to a new idea is directly proportional to its novelty." -Jacob Rabinow
** Lenard Nimoy asked Phillipe Halsman a photographer Life magazine about how he got involved with photography. "My career is rather like the story about the prostitute. When someone asked her how she got into her business, she said, 'First I did it to please myself, then I did it to please my friends, then I did it for the money.'"
** "All we are is dust in the wind. Dude." -Ted Theodore Logan (Bill and Ted’s Excellent Adventure)
** “So it's sorta social. Demented and sad, but social.” -John Bender (The Breakfast Club)
** “Life is pain, Highness. Anyone who says differently is selling something.” -The Dread Pirate Roberts (The Princess Bride)
** “This is pure snow! Do you have any idea what the street value of this mountain is?” Charles De Mar (Better Off Dead)
** "Life without you was like a broken pencil. Pointless." Edmund Blackadder III
** "As Cunning as a Fox Who's Just Been Appointed Professor of Cunning at Oxford University." Edmund Blackadder III
** "Never have so many people understood so little about so much." -James Burke
** “There are things known and things unknown, and in between are the doors.” -Jim Morrison.
** "One likes to believe in the freedom of music, but glittering prizes and endless compromises shatter the illusion of integrity." Neil Pert
** "He's old enough to know what's right, but young enough not to choose it. He wise enough to win the world, but fool enough to lose it." Neil Pert
** ”The only women I understand are the ones I invent for my books, and half the time, I don’t understand them, either.” John Steinbeck
** “The major difference between a thing that might go wrong and a thing that cannot possibly go wrong is that when a thing that cannot possibly go wrong goes wrong it usually turns out to be impossible to get at or repair.” -Douglas Adams
** “I don’t do magic. I do science. One takes brains. The other takes dark eyeliner.” -Pickle Rick
** “The universe is under no obligation to make sense to you.” -Neil DeGrasse Tyson
** "Tip #268: Don't feel insecure or inferior! Remember, you're ORGANIC! You could win an argument with almost any rock!" -Firesign Theater
** “The only thing more dangerous than ignorance is arrogance.” -Albert Einstein
** “Don’t listen to the person who has the answers; listen to the person who has the questions.” -Albert Einstein
** “Stay away from negative people. They have a problem for every solution.” -Albert Einstein
** “There is a race between mankind and the universe. Mankind is trying to build bigger, better, faster, and more foolproof machines. The universe is trying to build bigger, better, and faster fools. So far the universe is winning.” -Albert Einstein
There are millions of quotes to choose from and what does my selection say about me? Clearly, I am a snarky individual who enjoys science.
I have written once quote that stands out. “Writing a book is 99% self-promotion and 1% other.” Granted, that is a rip-off of Edison. “Inventing is 99% perspiration and 1% inspiration.” Still, I will claim credit, which is an appropriate way to end a blog full of other people’s work.
** “Any sufficiently advanced technology is indistinguishable from magic.” -Arthur C. Clarke
** “When the boss is a dope, everyone under him is a dope or soon will be." -Jacob Rabinow
** "The probability of success varies inversely with the rank of the observers." -Jacob Rabinow
** "The opposition to a new idea is directly proportional to its novelty." -Jacob Rabinow
** Lenard Nimoy asked Phillipe Halsman a photographer Life magazine about how he got involved with photography. "My career is rather like the story about the prostitute. When someone asked her how she got into her business, she said, 'First I did it to please myself, then I did it to please my friends, then I did it for the money.'"
** "All we are is dust in the wind. Dude." -Ted Theodore Logan (Bill and Ted’s Excellent Adventure)
** “So it's sorta social. Demented and sad, but social.” -John Bender (The Breakfast Club)
** “Life is pain, Highness. Anyone who says differently is selling something.” -The Dread Pirate Roberts (The Princess Bride)
** “This is pure snow! Do you have any idea what the street value of this mountain is?” Charles De Mar (Better Off Dead)
** "Life without you was like a broken pencil. Pointless." Edmund Blackadder III
** "As Cunning as a Fox Who's Just Been Appointed Professor of Cunning at Oxford University." Edmund Blackadder III
** "Never have so many people understood so little about so much." -James Burke
** “There are things known and things unknown, and in between are the doors.” -Jim Morrison.
** "One likes to believe in the freedom of music, but glittering prizes and endless compromises shatter the illusion of integrity." Neil Pert
** "He's old enough to know what's right, but young enough not to choose it. He wise enough to win the world, but fool enough to lose it." Neil Pert
** ”The only women I understand are the ones I invent for my books, and half the time, I don’t understand them, either.” John Steinbeck
** “The major difference between a thing that might go wrong and a thing that cannot possibly go wrong is that when a thing that cannot possibly go wrong goes wrong it usually turns out to be impossible to get at or repair.” -Douglas Adams
** “I don’t do magic. I do science. One takes brains. The other takes dark eyeliner.” -Pickle Rick
** “The universe is under no obligation to make sense to you.” -Neil DeGrasse Tyson
** "Tip #268: Don't feel insecure or inferior! Remember, you're ORGANIC! You could win an argument with almost any rock!" -Firesign Theater
** “The only thing more dangerous than ignorance is arrogance.” -Albert Einstein
** “Don’t listen to the person who has the answers; listen to the person who has the questions.” -Albert Einstein
** “Stay away from negative people. They have a problem for every solution.” -Albert Einstein
** “There is a race between mankind and the universe. Mankind is trying to build bigger, better, faster, and more foolproof machines. The universe is trying to build bigger, better, and faster fools. So far the universe is winning.” -Albert Einstein
There are millions of quotes to choose from and what does my selection say about me? Clearly, I am a snarky individual who enjoys science.
I have written once quote that stands out. “Writing a book is 99% self-promotion and 1% other.” Granted, that is a rip-off of Edison. “Inventing is 99% perspiration and 1% inspiration.” Still, I will claim credit, which is an appropriate way to end a blog full of other people’s work.
July 29, 2020
Character Flaws
In real life, people have many flaws. Some we can correct; some we can mask and others we cannot correct. A big part of our personality involves overcoming, putting up with, and dealing with our own flaws. A big part of our lives involves dealing with and attempting to correct other people’s faults.
For example, I hate cars with loud exhausts. Should I recognize that I have a flaw and ignore the noise? Live and let live. Mmm, no. I despise people who intentionally change their cars/motorcycles to be louder. What do I do about it? Well…not that much. Is this a personal flaw? It certainly is.
When developing a character, it is essential to focus on their flaws. Readers need to know the reasons behind a character’s motivation and character flaws are the key to explaining decisions. Jane steals a car. Why did she turn to the life of crime? Has she stolen vehicles before? A writer must explain Jane’s ethics in advance so that her actions make sense.
Readers dislike actions without foundation. If Jane had a normal day and randomly stole a car, it would confuse the reader. What about a logical explanation? Jane needed money and stole a car. While logical, this explanation does not help. Lots of people need money, and they do not steal. Something inside Jane must allow her to be a criminal.
When I create a character, I think a lot about their flaws, and I like to point them out as early as possible. I also like to limit the number of characters flaws. For example, the principal character in a recent book lacks confidence, is a know-it-all, and has difficulty around women. His appearance, actions, and background are otherwise normal.
When he makes a mistake, we can directly trace it to the above flaws. Of course, in real life, people are more complicated with backstories that begin before birth. However, taking 100 pages to describe a character’s nuances would bore a reader.
I like flaws that people can relate to. For example, arrogance, low morals, lack of confidence, greed, perfectionist, workaholic, bad finances, gambling, and addiction. I stay away from complex flaws: mental problems, complex childhoods, evil influence, altered physics (non-human flaws), heavy religion and bullying. I also avoid controversial flaws: racism, sadistic abuse, and mental/physical disabilities. This can lead to hurt feelings and bad reviews.
In my experience, the flaws are the most important part of a character’s background. Picking the exact flaws takes a light touch and the mark of an excellent writer. Too many, few, heavy, light, complex, or basic will confuse the reader. Yet, not enough flaws lead to a bland character or a character that readers dislike.
For example, Superman. He has good looks, a superb job, a girlfriend, a friendly attitude and his only weakness is Kryptonite. John McClain in the movie Die Hard was an arrogant drunk with a terrible temper. When John wins, we can all get behind the fact that he overcame his issues. We expect Superman to win because he has nothing preventing him.
A character that overcomes many flaws seems unrealistic like they were cheating or got outside help. A character with silly flaws is also difficult to relate to. My good looks intimidate people. I have too much money.
In real life, flaws are a hindrance, and we spend a lot of time dealing with them, yet in a book, they are a fun part of the plot. Is that life imitating art? Or something else?
For example, I hate cars with loud exhausts. Should I recognize that I have a flaw and ignore the noise? Live and let live. Mmm, no. I despise people who intentionally change their cars/motorcycles to be louder. What do I do about it? Well…not that much. Is this a personal flaw? It certainly is.
When developing a character, it is essential to focus on their flaws. Readers need to know the reasons behind a character’s motivation and character flaws are the key to explaining decisions. Jane steals a car. Why did she turn to the life of crime? Has she stolen vehicles before? A writer must explain Jane’s ethics in advance so that her actions make sense.
Readers dislike actions without foundation. If Jane had a normal day and randomly stole a car, it would confuse the reader. What about a logical explanation? Jane needed money and stole a car. While logical, this explanation does not help. Lots of people need money, and they do not steal. Something inside Jane must allow her to be a criminal.
When I create a character, I think a lot about their flaws, and I like to point them out as early as possible. I also like to limit the number of characters flaws. For example, the principal character in a recent book lacks confidence, is a know-it-all, and has difficulty around women. His appearance, actions, and background are otherwise normal.
When he makes a mistake, we can directly trace it to the above flaws. Of course, in real life, people are more complicated with backstories that begin before birth. However, taking 100 pages to describe a character’s nuances would bore a reader.
I like flaws that people can relate to. For example, arrogance, low morals, lack of confidence, greed, perfectionist, workaholic, bad finances, gambling, and addiction. I stay away from complex flaws: mental problems, complex childhoods, evil influence, altered physics (non-human flaws), heavy religion and bullying. I also avoid controversial flaws: racism, sadistic abuse, and mental/physical disabilities. This can lead to hurt feelings and bad reviews.
In my experience, the flaws are the most important part of a character’s background. Picking the exact flaws takes a light touch and the mark of an excellent writer. Too many, few, heavy, light, complex, or basic will confuse the reader. Yet, not enough flaws lead to a bland character or a character that readers dislike.
For example, Superman. He has good looks, a superb job, a girlfriend, a friendly attitude and his only weakness is Kryptonite. John McClain in the movie Die Hard was an arrogant drunk with a terrible temper. When John wins, we can all get behind the fact that he overcame his issues. We expect Superman to win because he has nothing preventing him.
A character that overcomes many flaws seems unrealistic like they were cheating or got outside help. A character with silly flaws is also difficult to relate to. My good looks intimidate people. I have too much money.
In real life, flaws are a hindrance, and we spend a lot of time dealing with them, yet in a book, they are a fun part of the plot. Is that life imitating art? Or something else?
July 22, 2020
Failed Virus Prediction
In a past blog, I discussed how difficult it is to predict the future:
http://interviewingimmortality.com/bl...
In this blog, I wanted to discuss a future prediction that many people should have accurately described. I wrote this during the Covid-19 outbreak of 2020. Let’s review what happened up to this point in history. There have been many real virus outbreaks that provided us with great data about how our society reacts to a virus. Bubonic plague, Spanish Flu, SARS, colic, smallpox, hanta, yellow fever, polio, and typhoid.
In literature and movies, authors/screenwriters came up with many plots (predictions) about how the people of earth would react to a large virus outbreak. Outbreak, The Andromeda Strain, Dawn of the Dead, The Walking Dead, Carriers, Contagion and World War Z.
What is their basic plot? A manmade or natural virus infects humans worldwide, and people become aware of it. The virus rapidly spreads, and governments cannot stop it. Scientists find the cure and earth is saved or they do not find a cure, and only a few survive.
How did people react to Covid-19? Virus (almost) identified, hushed up, formally identified, and over-publicized. People die, but the numbers are confusing. Virus spread, borders closed, businesses/schools closed, businesses opened, and businesses closed. People stopped spreading the virus, and then they stopped caring, which actively spread the virus. For every truthful article, 200+ fake news articles were widely released with little effort to stop them. Virus cure worked on, but 40% of people said they would not take it. The number of infections increases while people pretend everything is normal. As I write this blog, there is a genuine chance that it could doom the human race. What is my reaction? Meh…
There is a radical difference between reality and the predicted plot. The screenwriters and authors got 10% of the basic concept correct, even though they had many examples. How could they be so wrong on so many levels?
I offer an opinion to explain the difference. Fundamentally, our world has changed, and the screenwriters and authors did not realize the extent. The major difference is that we have radically altered our information sources and attitudes. When the screenwriter wrote The Andromeda Strain, people trusted authorities, and the news sources were tame. Now we no longer blindly trust the authorities (even when multiple scientists prove them correct), and there are thousands of news sources, both real and imaginary. Now we are more self-centered and carefree even when this attitude puts us directly in harms way.
I estimate these factors account for 60% of the explanation. If an “Outbreak” type movie plot was written in December 2019, it probably would have been closer to the Covid-19 reaction. The plot would have had fake news, people disbelieving virus facts, conspiracy reactions and vaccine refusal.
The other part that the movie/books missed is embracing the less than ideal qualities of people. We often choose the path of least resistance, do what is fun, ignore potential consequences, and try to make a buck. Making a plan or a plot that ignores these fundamental human aspects will never be accurate. I think this accounts for 20% of the difference.
Futurists and authors like exciting topics. They add drama to make us scared and show people getting the cure to make readers/audiences feel good. Reality is boring and full of people doing strange things. I think this accounts for the final 20%.
Future disaster plots must now use all the wacky Covid-19 reactions. Here is a “new” plot. Astronomers spot asteroid heading toward earth and recommend taking shelter. Reaction: Asteroids are not real because my bother is a scientist, and he told me so. Is this plot out of line? Until 2019, that plot would be absurd. Now? Sounds like the beginning of a best seller.
http://interviewingimmortality.com/bl...
In this blog, I wanted to discuss a future prediction that many people should have accurately described. I wrote this during the Covid-19 outbreak of 2020. Let’s review what happened up to this point in history. There have been many real virus outbreaks that provided us with great data about how our society reacts to a virus. Bubonic plague, Spanish Flu, SARS, colic, smallpox, hanta, yellow fever, polio, and typhoid.
In literature and movies, authors/screenwriters came up with many plots (predictions) about how the people of earth would react to a large virus outbreak. Outbreak, The Andromeda Strain, Dawn of the Dead, The Walking Dead, Carriers, Contagion and World War Z.
What is their basic plot? A manmade or natural virus infects humans worldwide, and people become aware of it. The virus rapidly spreads, and governments cannot stop it. Scientists find the cure and earth is saved or they do not find a cure, and only a few survive.
How did people react to Covid-19? Virus (almost) identified, hushed up, formally identified, and over-publicized. People die, but the numbers are confusing. Virus spread, borders closed, businesses/schools closed, businesses opened, and businesses closed. People stopped spreading the virus, and then they stopped caring, which actively spread the virus. For every truthful article, 200+ fake news articles were widely released with little effort to stop them. Virus cure worked on, but 40% of people said they would not take it. The number of infections increases while people pretend everything is normal. As I write this blog, there is a genuine chance that it could doom the human race. What is my reaction? Meh…
There is a radical difference between reality and the predicted plot. The screenwriters and authors got 10% of the basic concept correct, even though they had many examples. How could they be so wrong on so many levels?
I offer an opinion to explain the difference. Fundamentally, our world has changed, and the screenwriters and authors did not realize the extent. The major difference is that we have radically altered our information sources and attitudes. When the screenwriter wrote The Andromeda Strain, people trusted authorities, and the news sources were tame. Now we no longer blindly trust the authorities (even when multiple scientists prove them correct), and there are thousands of news sources, both real and imaginary. Now we are more self-centered and carefree even when this attitude puts us directly in harms way.
I estimate these factors account for 60% of the explanation. If an “Outbreak” type movie plot was written in December 2019, it probably would have been closer to the Covid-19 reaction. The plot would have had fake news, people disbelieving virus facts, conspiracy reactions and vaccine refusal.
The other part that the movie/books missed is embracing the less than ideal qualities of people. We often choose the path of least resistance, do what is fun, ignore potential consequences, and try to make a buck. Making a plan or a plot that ignores these fundamental human aspects will never be accurate. I think this accounts for 20% of the difference.
Futurists and authors like exciting topics. They add drama to make us scared and show people getting the cure to make readers/audiences feel good. Reality is boring and full of people doing strange things. I think this accounts for the final 20%.
Future disaster plots must now use all the wacky Covid-19 reactions. Here is a “new” plot. Astronomers spot asteroid heading toward earth and recommend taking shelter. Reaction: Asteroids are not real because my bother is a scientist, and he told me so. Is this plot out of line? Until 2019, that plot would be absurd. Now? Sounds like the beginning of a best seller.
July 16, 2020
Switching Gears
I used to own a red 1990 Mitsubishi Eclipse GSX. She was fast, nimble, and underpowered. Wait a minute. Did I say she? Yes, her name was Kim (all great cars need a name.) Kim had a finicky personality, a need for speed, and must have corners. On every drive, Kim challenged me to drive, and we loved the open road. What about the underpowered bit? Kim had less than 120 horsepower and weighed too much. As a result, when I needed to accelerate, I had to drop a gear and boot it. Kim took off like a shot with a whoosh of her turbo. Yeah, I loved every second.
The problem with Kim is that she began showing her age, and I had to get another car. The car I replaced her was an Audi TT 225. That car was better designed, lighter, and had 100 more horsepower. What, no name? He or she had no personality and did not get a name. When I wanted to go faster, I touched (not booted) the accelerator. No gear changes necessary. Also, no joy, and I sold him or her 4 years ago because he or she was becoming a pain.
What does this have to do with writing? Kim, my first Toyota truck, and the Audi were stick shift while the other cars I drove were not. A stick car requires the use of a clutch, which results in vastly different driving experiences. However, I never had an issue. [All right truth. I stalled Kim on several occasions because I forgot to clutch.]
On any day, I could jump in Kim and take off without thinking of it. Or I could climb into my dad’s automatic “Van of Death” (TM) and drive off without concern. I did not require any mental to change stick versus automatic.
How did I accomplish such a feat? Honestly, I am not sure. I suspect humans have some sort of muscle memory that allowed a mind to switch between two radically different car types seamlessly.
I wanted to explore this concept with regard to writing. At present, I am writing two new blogs, self-editing four books, writing two book reviews, and working on outlines for three new books.
Each item has a different plot, style, goal, and characters. When I switch from one to the next, my mental muscle memory kicks in. All the details (names, writing style, and plots) automatically click. This changed has the exact same feeling as switching cars. Have I ever made a “switching gears” writing mistake? Surprisingly I can only recall two in the thousands of hours of effort.
I find it fascinating that my mind can make these jumps. One would think some preparation would be necessary. For example, referring to a list of character names or the plot outline. Books contain thousands of little details, and it is natural to assume that they should be confusing, and switching gears would be difficult. But no. Just like a car, I jump in and go.
What about working on multiple books at once? I have learned the hard way not to. I suppose that would be like driving two cars at once. The human mind is indeed strange. It can do many wonderful things, and yet, it has limitations.
The problem with Kim is that she began showing her age, and I had to get another car. The car I replaced her was an Audi TT 225. That car was better designed, lighter, and had 100 more horsepower. What, no name? He or she had no personality and did not get a name. When I wanted to go faster, I touched (not booted) the accelerator. No gear changes necessary. Also, no joy, and I sold him or her 4 years ago because he or she was becoming a pain.
What does this have to do with writing? Kim, my first Toyota truck, and the Audi were stick shift while the other cars I drove were not. A stick car requires the use of a clutch, which results in vastly different driving experiences. However, I never had an issue. [All right truth. I stalled Kim on several occasions because I forgot to clutch.]
On any day, I could jump in Kim and take off without thinking of it. Or I could climb into my dad’s automatic “Van of Death” (TM) and drive off without concern. I did not require any mental to change stick versus automatic.
How did I accomplish such a feat? Honestly, I am not sure. I suspect humans have some sort of muscle memory that allowed a mind to switch between two radically different car types seamlessly.
I wanted to explore this concept with regard to writing. At present, I am writing two new blogs, self-editing four books, writing two book reviews, and working on outlines for three new books.
Each item has a different plot, style, goal, and characters. When I switch from one to the next, my mental muscle memory kicks in. All the details (names, writing style, and plots) automatically click. This changed has the exact same feeling as switching cars. Have I ever made a “switching gears” writing mistake? Surprisingly I can only recall two in the thousands of hours of effort.
I find it fascinating that my mind can make these jumps. One would think some preparation would be necessary. For example, referring to a list of character names or the plot outline. Books contain thousands of little details, and it is natural to assume that they should be confusing, and switching gears would be difficult. But no. Just like a car, I jump in and go.
What about working on multiple books at once? I have learned the hard way not to. I suppose that would be like driving two cars at once. The human mind is indeed strange. It can do many wonderful things, and yet, it has limitations.
July 8, 2020
Writing for Me
The stories I like to write have many common themes. The largest one is a smart individual who overcomes adversity. I used this theme in a thriller, romance/drama/sci-fi, and spy novel.
This same theme appears in works such as Tom Cruise or George Clooney movies and Tom Clancy or Ken Follett books. Even the light-hearted fantasy movie Shrek is a bunch of bright people overcoming problems.
In pasts blogs, I shared my dislike for horror, superhero, and old west themes. It makes sense that I would not write about such topics. However, there are many themes I enjoy but choose not to write about. For example, The student learning from the master. The traveler who finds themselves in an adventure. The lost soul who finds purpose. The teenager growing up or an adult trying to relive the past.
What about non-fiction? I enjoy non-fiction books and recently read “I am Spock” by Leonard Nimoy. However, writing such a book takes lots of effort, and I have no desire to undertake this task.
On the same note, I enjoy electronics, but I have no interest in writing about that topic. There is a side story here. I applied for an electronics blog ghostwriting job. While I looked forward to this prospect, the job never materialized.
Should I challenge myself? How about writing a horror story? Why not make my next blog a five-paragraph horror story? No pressure. While I agree, it would challenge, I write for fun, and a horror story (or something outside my comfort zone) does not sound like fun. This brings up an important point. A forced story will never be a good read.
I will keep chugging along and writing stories of the type that I like to read. With some luck, my efforts will hit the mark with people who share my interests. What a minute. Did I just write that last sentence with a straight face? Let me check. Am I hoping my books reach twisted readers like me? Hmm. Maybe I need an alternative plan.
This same theme appears in works such as Tom Cruise or George Clooney movies and Tom Clancy or Ken Follett books. Even the light-hearted fantasy movie Shrek is a bunch of bright people overcoming problems.
In pasts blogs, I shared my dislike for horror, superhero, and old west themes. It makes sense that I would not write about such topics. However, there are many themes I enjoy but choose not to write about. For example, The student learning from the master. The traveler who finds themselves in an adventure. The lost soul who finds purpose. The teenager growing up or an adult trying to relive the past.
What about non-fiction? I enjoy non-fiction books and recently read “I am Spock” by Leonard Nimoy. However, writing such a book takes lots of effort, and I have no desire to undertake this task.
On the same note, I enjoy electronics, but I have no interest in writing about that topic. There is a side story here. I applied for an electronics blog ghostwriting job. While I looked forward to this prospect, the job never materialized.
Should I challenge myself? How about writing a horror story? Why not make my next blog a five-paragraph horror story? No pressure. While I agree, it would challenge, I write for fun, and a horror story (or something outside my comfort zone) does not sound like fun. This brings up an important point. A forced story will never be a good read.
I will keep chugging along and writing stories of the type that I like to read. With some luck, my efforts will hit the mark with people who share my interests. What a minute. Did I just write that last sentence with a straight face? Let me check. Am I hoping my books reach twisted readers like me? Hmm. Maybe I need an alternative plan.
