Louis Arata's Blog, page 17
October 30, 2014
Book Review: You, by Charles Benoit
The most distinctive aspect of Charles Benoit’s You is that it is written in the second-person. Everything is “You went to class … You talk to your girlfriend … You hang out with your friends.” A step removed from first-person, main character Kyle Chase narrates his life from an observational perspective. But by using this technique, author Benoit pulls the reader into the story. He forces a form of engagement that stems from implied empathy. You know what it’s like being a teenager; youremember how it was.
Kyle Chase lives on the margins of his life. He wears a hoodie, hangs out with his hoodie-wearing friends Derrick and Max, has a crush on Ashley. He’s in 10th grade – not a great student, not a bad one, but he is not “living up to his potential.” His mother endlessly lectures him to get a job, his father angrily yells at the TV screen. Possibly the brightest spot in his family life is his kid sister, but even she is cautioned not to grow up like Kyle.
Into this marginalized existence comes Zack McDade, a clever, charismatic young man who pushes across boundaries. A cocky instigator, Zack collects information on his classmates and teachers to eventually use against them. At first Kyle is intrigued by Zack’s fearless noncomformity, but soon he recognizes that Zack is an emotional sadist – he hurts people because he can.
Benoit focuses on Kyle’s choices and non-choices – a trajectory that takes him to a particular moment. He asks whether we are pushed toward certain conclusions or we are the primary actors in our own lives.
A powerful story.
Kyle Chase lives on the margins of his life. He wears a hoodie, hangs out with his hoodie-wearing friends Derrick and Max, has a crush on Ashley. He’s in 10th grade – not a great student, not a bad one, but he is not “living up to his potential.” His mother endlessly lectures him to get a job, his father angrily yells at the TV screen. Possibly the brightest spot in his family life is his kid sister, but even she is cautioned not to grow up like Kyle.
Into this marginalized existence comes Zack McDade, a clever, charismatic young man who pushes across boundaries. A cocky instigator, Zack collects information on his classmates and teachers to eventually use against them. At first Kyle is intrigued by Zack’s fearless noncomformity, but soon he recognizes that Zack is an emotional sadist – he hurts people because he can.
Benoit focuses on Kyle’s choices and non-choices – a trajectory that takes him to a particular moment. He asks whether we are pushed toward certain conclusions or we are the primary actors in our own lives.
A powerful story.
October 26, 2014
A Brief Ghoul-Related Tour of the Second City
Chicago played a significant part as a location when I was writing Dead Hungry. Choosing the right neighborhood for Tucker to live in, the site of Hawthorne University, the places where the Ghouls hang out -- they all helped set the tone of the novel.
Please join me on a brief tour of some of the locations featured in the novel.
Please join me on a brief tour of some of the locations featured in the novel.
The Ghouls Are Pleased
Thanks to all 1,117 people who entered the GoodReads Giveaway. I'll be mailing the books this week.
The Ghouls are happy to find some new friends.
I''m a vegetarian, I swear!
The Ghouls are happy to find some new friends.
I''m a vegetarian, I swear!October 23, 2014
Last Day for GoodReads Giveaway
Today is it! The Last Day to Enter GoodReads Giveaway for a copy of Dead Hungry.
Click on the link below.
Dead Hungry Giveaway
Enter for a chance to win 1 of 10 copies of Dead Hungry.
The Ghouls really want you to.
Zombies think they're hot stuff, but Ghouls Rule!
Click on the link below.
Dead Hungry Giveaway
Enter for a chance to win 1 of 10 copies of Dead Hungry.
The Ghouls really want you to.
Zombies think they're hot stuff, but Ghouls Rule!October 21, 2014
Author Interview at Fire Your Mentor
Harshajyoti Da has a great website on how to become an entrepreneur -- FireYourMentor.com. He features interviews with authors in which they talk about their inspiration, marketing strategies, even their strategies on how to handle negative criticism.
My interview is now live. Check it out!
Fire Your Mentor
October 17, 2014
Storytelling: The Unexpected Necessary
In one of my unpublished novels, Haverlock is called upon by the goddesses and gods to bring a message of peace to a war-torn world. Through magic, he brings to life a statue of the prophet Gerin as a sign of hope to the people.
When I wrote the scene, I had no idea why it was important, other than in a general message-y sort of way.
Later in the story, Haverlock is battling a villainous wizard. In order to save himself, he expends a tremendous amount of magic, which leaves him depleted and defenseless. Without magic, how will he be able to confront the enemy at the climax?
Maybe Haverlock’s magic slowly comes back once he has rested. Sure, that could work, but it isn’t terribly exciting. Besides, what if the magic doesn’t come back at all?
I had written myself into a corner.
Gandalf would know what to do:
Send in the Eagles
Then Gerin the statue steps in. He sacrifices the magic used to reanimate himself so that Haverlock will have the resources to fight the wizard. In an intentionally poignant scene, the statue surrenders the magic and returns to stone – a sort of psychic suicide.
Haverlock grieves over the sacrifice but in the end he uses the restored power to defeat the wizard and bring about peace.
I was sixteen when I wrote this novel, and it offered me an astonishing lesson in storytelling, which is …
I don’t always know why stuff happens.
In the first draft of every book there are scenes I have no idea why they are there. I throw them in and I wait. Sometimes they come to nothing and get excised. But other times – those magical times – a scene offers the perfect solution/reason/rationale to resolve a crisis later in the book.
How does that happen?
Part of it is that the writer brain continues to percolate all the elements of the story. Plots are a series of scenes: This happens, and then this happens, and then this happens. But what pulls it all together, what the writer provides, is the through-line that make the plots become cohesive stories. I call it the Unexpected Necessary: the piece that initially proves puzzling but ultimately crucial to the plot.
I know that some writers have all the elements figured out before they start writing. For me, I like to sketch out a fair amount of the story then allow some degree of discovery along the way. I always stumble upon a scene that is curious and obscured. But if I’m patient, it reveals its magic.
When I wrote the scene, I had no idea why it was important, other than in a general message-y sort of way.
Later in the story, Haverlock is battling a villainous wizard. In order to save himself, he expends a tremendous amount of magic, which leaves him depleted and defenseless. Without magic, how will he be able to confront the enemy at the climax?
Maybe Haverlock’s magic slowly comes back once he has rested. Sure, that could work, but it isn’t terribly exciting. Besides, what if the magic doesn’t come back at all?
I had written myself into a corner.
Gandalf would know what to do:Send in the Eagles
Then Gerin the statue steps in. He sacrifices the magic used to reanimate himself so that Haverlock will have the resources to fight the wizard. In an intentionally poignant scene, the statue surrenders the magic and returns to stone – a sort of psychic suicide.
Haverlock grieves over the sacrifice but in the end he uses the restored power to defeat the wizard and bring about peace.
I was sixteen when I wrote this novel, and it offered me an astonishing lesson in storytelling, which is …
I don’t always know why stuff happens.
In the first draft of every book there are scenes I have no idea why they are there. I throw them in and I wait. Sometimes they come to nothing and get excised. But other times – those magical times – a scene offers the perfect solution/reason/rationale to resolve a crisis later in the book.
How does that happen?
Part of it is that the writer brain continues to percolate all the elements of the story. Plots are a series of scenes: This happens, and then this happens, and then this happens. But what pulls it all together, what the writer provides, is the through-line that make the plots become cohesive stories. I call it the Unexpected Necessary: the piece that initially proves puzzling but ultimately crucial to the plot.
I know that some writers have all the elements figured out before they start writing. For me, I like to sketch out a fair amount of the story then allow some degree of discovery along the way. I always stumble upon a scene that is curious and obscured. But if I’m patient, it reveals its magic.
October 13, 2014
A Suggestion: The Legacy of Frankenstein
In my novel Dead Hungry, Tucker is writing his dissertation on the horror genre, with particular attention on the old Universal Studios Frankenstein series. The wonderful Gothic tones of these movies are usually our first introduction to classic horror movies. Boris Karloff will forever be the nuts-and-bolts Creature, Bela Lugosi is the suavely sinister Count Dracula, and Lon Chaney, Jr. is the tormented Wolf-man.
Not surprisingly, Tucker’s affection for these movies comes right from me. I’ve watched them over and over, and I still marvel at the evolving story over numerous sequels. True, the stories are formulaic and the production values decline over time, but there’s something appealing about the final monster-fests with an all-star team: Frankenstein’s Monster, Dracula, the Wolf-man, and of course the torch-bearing villagers. As a kid, that line-up was enough to capture my attention, and many Saturday afternoons were wasted watching the ensuing mayhem.The films include the following:
DraculaFrankensteinBride of FrankensteinDracula's DaughterSon of FrankensteinThe Wolf ManGhost of FrankensteinFrankenstein Meets the Wolf ManSon of DraculaHouse of FrankensteinHouse of Dracula
Although it’s not usually included, I’d throw in Abbott & Costello Meet Frankenstein. It’s a fun, fitting, comic ending to the series.Now, one of my favorite movies is the original King Kong. The relentless action and the magnificent special effects add up to great storytelling. I’ve always loved the opening line of the movie: “Is this the movie-picture ship?” Let’s cut right to the chase. A quick bit of exposition, and you’re underway.
When Peter Jackson remade the movie in 2005, it wasn’t only a great re-telling; it was also a kid’s Valentine to a story that was very special to him. I loved his version because clearly he loved the original as much as I did.
So, my suggestion is that it’s time for someone to Peter-Jackson the Universal horror oeuvres. Take as a model the recent Marvel Studios’ movies: The Avengers, Spider-man, X-Men, and Guardians of the Galaxy. Wide-spanning stories that all happen within the same universe. What if someone was to do that with the old horror movie monsters? How about build a multi-movie series that culminates in a great showdown of all the baddies?
A suggested title for the series: The Legacy of Frankenstein.
Sounds good to me.
October 9, 2014
Book Review: Stupid Fast, by Geoff Herbach
Maybe it has to do with turning 50, but I’ve been reading a lot of books about high school: Hairstyles of the Damned, Joe MenoThe Perks of Being a Wallflower, Stephen ChboskyStupid Fast, Geoff HerbachYou, Charles Benoit (currently reading)
All very different books with very different voices. There’s tension in Meno’s Hairstyles of the Damned and Benoit’s You. Chbosky’s Wallflowerspoke the most to me personally. And Herbach’s Stupid Fast was fast and loose, a goofy, rambling prose that sounded very much like a teenager’s thoughts.
Felton Reinstein is undergoing a transformation – physical and emotional growing pains. Over the summer, the fifteen year old is going through a tremendous growth spurt, hitting puberty like a freight train. He’s also discovered that he’s Stupid Fast: a natural-born runner, he’s now been recruited for his high school football team.
Herbach excels at capturing the tumbling thoughts, the insecurities and puzzlements about changes in life. Felton doesn’t understand what’s happening to his body, nor does he understand why everyone on his football team is excited that he’s joined. They see amazing potential; he feels like a freak.
The story starts off slow and rambling, in that it takes a while before Felton begins to engage with life. Meanwhile, his mother and his younger brother are having their own nervous breakdowns. Felton wants to connect with them but being fifteen he doesn’t know how.
The story kicks into gear with the introduction of Aleah, the new girl in town. She’s an exceptional pianist and a quirky individual. There’s instant attraction between them, but Felton doesn’t understand why (after all, he’s a freak).
Felton’s burgeoning maturity comes off naturally. This is a kid who is trying to understand himself and his place in the world. He’s learning that life has obstacles and challenges, and that’s okay.
There are two more books in the series: Nothing Special and I’m with Stupid. Both are on my reading list.
All very different books with very different voices. There’s tension in Meno’s Hairstyles of the Damned and Benoit’s You. Chbosky’s Wallflowerspoke the most to me personally. And Herbach’s Stupid Fast was fast and loose, a goofy, rambling prose that sounded very much like a teenager’s thoughts.
Felton Reinstein is undergoing a transformation – physical and emotional growing pains. Over the summer, the fifteen year old is going through a tremendous growth spurt, hitting puberty like a freight train. He’s also discovered that he’s Stupid Fast: a natural-born runner, he’s now been recruited for his high school football team.
Herbach excels at capturing the tumbling thoughts, the insecurities and puzzlements about changes in life. Felton doesn’t understand what’s happening to his body, nor does he understand why everyone on his football team is excited that he’s joined. They see amazing potential; he feels like a freak.
The story starts off slow and rambling, in that it takes a while before Felton begins to engage with life. Meanwhile, his mother and his younger brother are having their own nervous breakdowns. Felton wants to connect with them but being fifteen he doesn’t know how.
The story kicks into gear with the introduction of Aleah, the new girl in town. She’s an exceptional pianist and a quirky individual. There’s instant attraction between them, but Felton doesn’t understand why (after all, he’s a freak).
Felton’s burgeoning maturity comes off naturally. This is a kid who is trying to understand himself and his place in the world. He’s learning that life has obstacles and challenges, and that’s okay.
There are two more books in the series: Nothing Special and I’m with Stupid. Both are on my reading list.
October 8, 2014
Book Review: Critical Mass, by Sara Paretsky
Sara Paretsky’s Critical Mass was my dessert after working my way through Melville’s White Jacket. It was one of those pure pleasure reads in which the author creates an engaging story that has depth. Full of action and bits of history, the latest V.I. Warshawski novel is definitely one of the best in the series.
V.I. is called upon to track down Judy Binder, a drug addict. The search takes her to a meth house in rural Illinois where a shoot-out had occurred and a body was left in a cornfield. An unusual opening for a story that goes back to WWII and nuclear physicists. But that’s what makes the story so compelling.
Paretsky takes on a multi-generational story, spanning great-grandmother Martina to great-grandson Martin. Martina’s love of physics defines her – her early fascination with prisms of light, her scientific acumen, she lives at a slender moment of history in which she is free to work and train alongside male scientists. Then the Nazis come crashing in, and Martina is transported to a labor camp. The novel intersperses flashback moments of her life throughout V.I.’s investigation into murder, early computer designs, and intellectual legacies.
In the present, Martina’s great-grandson Martin has discovered something that “doesn’t add up.” He disappears, and now the head of a computer firm and the NSA are tracking him down. V.I. must put together the disparate pieces of the puzzle, using her sharp intellect and a bit of fortuitous guesswork to finally determine what is at stake and why.
Paretsky’s approach to cover four generations of a family is a gutsy move. It could be difficult to manage that large of a timespan, not to mention the number of characters. But she grounds each generation in its time period, and each family member has a distinctive story arc. Most authors would have tightened it up to maybe grandmother to grandson, but that added layer of a fourth generation is what underscores the legacy of the war; it still continues to touch us, even when we are not aware.
The most compelling aspect of the story is V.I.’s character. I love how she works out the clues – running up blind alleys, trying on different theories, catching on that something is important even if she doesn’t know why. She’s always one step ahead of me, pulling me along, enticing me with what will happen next.
And one final note: Paretesky’s writing is always beautifully crisp and thoughtfully composed. And the last paragraph of the novel … I wish I’d written it.
V.I. is called upon to track down Judy Binder, a drug addict. The search takes her to a meth house in rural Illinois where a shoot-out had occurred and a body was left in a cornfield. An unusual opening for a story that goes back to WWII and nuclear physicists. But that’s what makes the story so compelling.
Paretsky takes on a multi-generational story, spanning great-grandmother Martina to great-grandson Martin. Martina’s love of physics defines her – her early fascination with prisms of light, her scientific acumen, she lives at a slender moment of history in which she is free to work and train alongside male scientists. Then the Nazis come crashing in, and Martina is transported to a labor camp. The novel intersperses flashback moments of her life throughout V.I.’s investigation into murder, early computer designs, and intellectual legacies.
In the present, Martina’s great-grandson Martin has discovered something that “doesn’t add up.” He disappears, and now the head of a computer firm and the NSA are tracking him down. V.I. must put together the disparate pieces of the puzzle, using her sharp intellect and a bit of fortuitous guesswork to finally determine what is at stake and why.
Paretsky’s approach to cover four generations of a family is a gutsy move. It could be difficult to manage that large of a timespan, not to mention the number of characters. But she grounds each generation in its time period, and each family member has a distinctive story arc. Most authors would have tightened it up to maybe grandmother to grandson, but that added layer of a fourth generation is what underscores the legacy of the war; it still continues to touch us, even when we are not aware.
The most compelling aspect of the story is V.I.’s character. I love how she works out the clues – running up blind alleys, trying on different theories, catching on that something is important even if she doesn’t know why. She’s always one step ahead of me, pulling me along, enticing me with what will happen next.
And one final note: Paretesky’s writing is always beautifully crisp and thoughtfully composed. And the last paragraph of the novel … I wish I’d written it.
