Mark Rubinstein's Blog, page 45
August 17, 2012
Writing about what you know
We've all heard the old saw, "Write about what you know."
In a general sense, that's probably true, but there's much more to writing than just sticking to those areas with which you are most familiar.
With my background, it's easy for me to write about medicine, or psychiatry, or certain aspects of the army, or about courtrooms, or business matters--all of which are, or have been, part of my life. But I can't limit myself to just those areas, easy as they may be to write about.
So the next logical question is, "If you're going to write about what you know, what do you know?"
We all know much more than we may think we do. We've all had experiences in life.
Haven't we all felt lust, or envy, or love, or anger, fear, anxiety, or sadness? And haven't we all experienced loss, or a sense of triumph, large or small? Haven't we all quested for something, or been scared, disappointed, or felt unsettled, worried, exhilirated, or encountered people of every stripe--those who are kind, gentle, caring, or mendacious, manipulative, even evil? Or people who are naive and childish, while others are braggadocious or intolerably overbearing?
We've all been to school, to parties, movies, concerts, business or professional meetings, and we've all had experiences as kids, as teens, as young adults, and we've encountered illness, threats, feelings of helplessness, hopelessness, or guilt, or shame. And at some point in our lives, we must deal with the death of a loved one, and eventually with the realization that we ourselves are mortal.
In other words, we all live life, and that's what we know.
In a general sense, that's probably true, but there's much more to writing than just sticking to those areas with which you are most familiar.
With my background, it's easy for me to write about medicine, or psychiatry, or certain aspects of the army, or about courtrooms, or business matters--all of which are, or have been, part of my life. But I can't limit myself to just those areas, easy as they may be to write about.
So the next logical question is, "If you're going to write about what you know, what do you know?"
We all know much more than we may think we do. We've all had experiences in life.
Haven't we all felt lust, or envy, or love, or anger, fear, anxiety, or sadness? And haven't we all experienced loss, or a sense of triumph, large or small? Haven't we all quested for something, or been scared, disappointed, or felt unsettled, worried, exhilirated, or encountered people of every stripe--those who are kind, gentle, caring, or mendacious, manipulative, even evil? Or people who are naive and childish, while others are braggadocious or intolerably overbearing?
We've all been to school, to parties, movies, concerts, business or professional meetings, and we've all had experiences as kids, as teens, as young adults, and we've encountered illness, threats, feelings of helplessness, hopelessness, or guilt, or shame. And at some point in our lives, we must deal with the death of a loved one, and eventually with the realization that we ourselves are mortal.
In other words, we all live life, and that's what we know.
August 16, 2012
"One Breath Away" by Heather Gudenkauf
Given the spate of school shootings over the past few years, you would assume a novel about a gunman taking children hostage at a school in a small town would be as suspenseful as it is timely. Unfortunately, I found the suspense lacking and the tension watered down by the novel's construction which was skillfully done, but slowed the novel's narrative drive.
The story is told through the eyes of five narrators, all experiencing the horror and processing it in different ways. They are a mother of two student hostages, their grandfather, a teacher (also held hostage), a police officer,and the mother's 13 year old daughter who is in the school when the gunman appears.
The different perspectives offered by each narrator (either in the first person or third person, in the present or past tense) are interesting, though the first part of the novel can be a bit confusing until the reader sorts them out. Once things fall into place, the story should flow to a furious and compelling conclusion. But the author delves into far too many cul de sacs about each narrator, and bogs down the story's natural flow, which waters down the tension.
Some people would call this a "thriller" because of the subject matter. I think it's more a portrait of a small town, and the dynamics of people involved in a terrifying situation, but the read itself is neither terrifying nor thrilling.
While character development in a novel is very important, it should not feel to the reader like some sticky adhesive holding back the story. After all, when you get down to it, the story is what counts. Three and a half stars.
The story is told through the eyes of five narrators, all experiencing the horror and processing it in different ways. They are a mother of two student hostages, their grandfather, a teacher (also held hostage), a police officer,and the mother's 13 year old daughter who is in the school when the gunman appears.
The different perspectives offered by each narrator (either in the first person or third person, in the present or past tense) are interesting, though the first part of the novel can be a bit confusing until the reader sorts them out. Once things fall into place, the story should flow to a furious and compelling conclusion. But the author delves into far too many cul de sacs about each narrator, and bogs down the story's natural flow, which waters down the tension.
Some people would call this a "thriller" because of the subject matter. I think it's more a portrait of a small town, and the dynamics of people involved in a terrifying situation, but the read itself is neither terrifying nor thrilling.
While character development in a novel is very important, it should not feel to the reader like some sticky adhesive holding back the story. After all, when you get down to it, the story is what counts. Three and a half stars.
August 13, 2012
"Vengence" by Benjamin Black
Under the pen name Benjamin Black, Mann Booker winner John Banville has written a series (five or six novels) about Quirk, an Irish pathologist who tends to get caught up in helping the police solve crimes.
While it helps to have read the earlier novels, "Vengence" can stand alone as a mystery with holding power. The earlier novels set Quirk's character in the context of a traumatic childhood which explains some of his aloofness, and sheds greater light on his relationship with his daughter Phoebe.
"Vengence" begins with an interesting set-up. A successful businessman in his mid-50s invites a 25 year old man, the son of his own business partner, to join him sailing on an Irish bay. When they are far from land, the older man stands up and relates how his own father left him in the street when he was about seven years old, just to test his mettle. After mentioning how he learned to rely on himself, the older man produces a pistol and shoots himself in the chest as the young man looks on in horror.
At that point, the mystery is what made the man do what he did. Things become more ominous when a few nights later, the dead man's business partner (the 25 year old man's father) is found drowned in the same bay. There are indications that violence may have been involved. Are these events tied to each other?
While the mysteries involved aren't earth-shattering, they hold the reader's interest. More intriguing is the author's attention to detail and his ability to describe the most quotidian events with an uncanny eye--the smell of the streets, the look of sherry in a glass on a sunlit day, and other beautifully rendered word pictures. Again, if you get the chance, read Benjamin Black's series of novels about Quirk. They're well worth the read.
While it helps to have read the earlier novels, "Vengence" can stand alone as a mystery with holding power. The earlier novels set Quirk's character in the context of a traumatic childhood which explains some of his aloofness, and sheds greater light on his relationship with his daughter Phoebe.
"Vengence" begins with an interesting set-up. A successful businessman in his mid-50s invites a 25 year old man, the son of his own business partner, to join him sailing on an Irish bay. When they are far from land, the older man stands up and relates how his own father left him in the street when he was about seven years old, just to test his mettle. After mentioning how he learned to rely on himself, the older man produces a pistol and shoots himself in the chest as the young man looks on in horror.
At that point, the mystery is what made the man do what he did. Things become more ominous when a few nights later, the dead man's business partner (the 25 year old man's father) is found drowned in the same bay. There are indications that violence may have been involved. Are these events tied to each other?
While the mysteries involved aren't earth-shattering, they hold the reader's interest. More intriguing is the author's attention to detail and his ability to describe the most quotidian events with an uncanny eye--the smell of the streets, the look of sherry in a glass on a sunlit day, and other beautifully rendered word pictures. Again, if you get the chance, read Benjamin Black's series of novels about Quirk. They're well worth the read.
August 9, 2012
Gillian Flynn: The Evolution of an Author
I just finished reading "Dark Places" by Gillian Flynn, the author of the current best-seller, "Gone Girl."
I've commented on how much I enjoyed "Gone Girl" and why it was such a compelling read. The most valuable thing (for me) about reading "Dark Places" was the chance to see how far Gillian Flynn has evolved as a writer with the publication of "Gone Girl."
While I would give "Dark Places" a solid 3 1/2 stars, it can't compare to the masterful storytelling of Flynn's latest novel. It's interesting to see how the author's writing matured between the two novels. It shows that we tend to get better at doing things by simply doing them.
I've commented on how much I enjoyed "Gone Girl" and why it was such a compelling read. The most valuable thing (for me) about reading "Dark Places" was the chance to see how far Gillian Flynn has evolved as a writer with the publication of "Gone Girl."
While I would give "Dark Places" a solid 3 1/2 stars, it can't compare to the masterful storytelling of Flynn's latest novel. It's interesting to see how the author's writing matured between the two novels. It shows that we tend to get better at doing things by simply doing them.
August 5, 2012
"Gone Girl" without any spoilers
Okay, I hate book reviews with even a hint of a spoiler, or a whisper about what will happen in the story. Unfortunately, I read some reviews of "Gone Girl" by Gillian Flynn that clued me into some of the plot mysteries. I won't do that.
Let me first say this is a wonderful novel filled with plot complexity and wonderful characterizations of Nick and and Amy, husband and wife.
The story unfolds with Amy gone, just disappeared like a vapor into thin air. The narrators are Amy and Nick. The first part of the novel as told through Nick's and Amy's eyes has alternating chapters told by each of them.
In a sort of reverse sequencing, Amy's chapters focus on the past, when she and Nick met and describe the onset of the problems that beset their seemingly perfect marriage. Nick's chapters, on the other hand, begin on the day of Amy's disappearance and progress day by day as this nightmare unfolds.
Slowly and inexorably, Amy's story melds with Nick's as their respective chapters move closer in time.
Eventually, we get to part 2 describing what happens when the police get involved and slowly, the puzzle of Amy's disappearance begins to be solved. But that's only the beginning of the story.
I won't tell you any more than that. I'll simply say the story is a chilling tale of duplicity and devilish manipulation. As a reader, you can't help but turn the pages to find out where it all ends up.
Five out of five stars for a cleverly constructed tale and for hip, stylized storytelling. This is wonderful, contemporary fiction.
Let me first say this is a wonderful novel filled with plot complexity and wonderful characterizations of Nick and and Amy, husband and wife.
The story unfolds with Amy gone, just disappeared like a vapor into thin air. The narrators are Amy and Nick. The first part of the novel as told through Nick's and Amy's eyes has alternating chapters told by each of them.
In a sort of reverse sequencing, Amy's chapters focus on the past, when she and Nick met and describe the onset of the problems that beset their seemingly perfect marriage. Nick's chapters, on the other hand, begin on the day of Amy's disappearance and progress day by day as this nightmare unfolds.
Slowly and inexorably, Amy's story melds with Nick's as their respective chapters move closer in time.
Eventually, we get to part 2 describing what happens when the police get involved and slowly, the puzzle of Amy's disappearance begins to be solved. But that's only the beginning of the story.
I won't tell you any more than that. I'll simply say the story is a chilling tale of duplicity and devilish manipulation. As a reader, you can't help but turn the pages to find out where it all ends up.
Five out of five stars for a cleverly constructed tale and for hip, stylized storytelling. This is wonderful, contemporary fiction.
August 3, 2012
Loving Crime Fiction
I've sometimes been asked what it is about crime fiction I love, and why I write about it. I must say though, I read much more than crime fiction, and am now reading "Gone Girl" by Gillian Flynn. Though it involves crime, it's not pure crime fiction.
But I do love crime fiction. There's something elemental about it--something universal and intriguing about a good crime story--either with or without violence, though most depict violence to one or another degree.
About violence: violent--even murderous impulses--reside within us all. You come across them in news items about wars or murder. You certainly see bloodlust when people rubberneck while passing an accident, or go to some sporting events (mixed martial arts, boxing matches, hockey games, football and wrestling contests). Or, when you read some of the world's greatest literature, or view the foul arc of history.
As a psychiatrist who's done forensic work, I'm aware that violent impulses are universally present. So to pretend they aren't part of human nature is disingenuous.
Sex and violence sell, and there's a reason for that. Despite my years of training in medicine and psychiatry, and no matter how peaceful a life I lead, I'm still intrigued by violence and crime. And so are most people, whether they admit it or not. And that's partly why the best-seller lists are populated by novels about crime and violence.
But I do love crime fiction. There's something elemental about it--something universal and intriguing about a good crime story--either with or without violence, though most depict violence to one or another degree.
About violence: violent--even murderous impulses--reside within us all. You come across them in news items about wars or murder. You certainly see bloodlust when people rubberneck while passing an accident, or go to some sporting events (mixed martial arts, boxing matches, hockey games, football and wrestling contests). Or, when you read some of the world's greatest literature, or view the foul arc of history.
As a psychiatrist who's done forensic work, I'm aware that violent impulses are universally present. So to pretend they aren't part of human nature is disingenuous.
Sex and violence sell, and there's a reason for that. Despite my years of training in medicine and psychiatry, and no matter how peaceful a life I lead, I'm still intrigued by violence and crime. And so are most people, whether they admit it or not. And that's partly why the best-seller lists are populated by novels about crime and violence.
August 1, 2012
Writing. Inborn or learned. Part 2
If someone has an inborn talent for writing along with the desire to write fiction, it's crucual to read, read, read, and to write, write, write.
The value of reading fiction cannot be overestimated if one wants to write fiction. It's fascinating to read novels by different authors and see what they do-how they use language, metaphor, sentence structure, dialogue, descriptions, and how they transition from one scene to another, or from the present to the past, and back again.
A reader can learn a great deal by observing these things, by looking beyond the story's content and observing the writer's form. It's a process-learning about writing by reading other writers-it happens gradually, incrementally, and without the reader quite realizing it. It happens with time and exposure. There's no substitute for reading the genre in which you would like to write.
Again, Stephen King's advice is worth repeating: no matter how talented you are, you've got to write in order to get better at it. So, while nature is important when it comes to writing, nurturing one's inborn ability (by reading) is critical to being a writer.
The value of reading fiction cannot be overestimated if one wants to write fiction. It's fascinating to read novels by different authors and see what they do-how they use language, metaphor, sentence structure, dialogue, descriptions, and how they transition from one scene to another, or from the present to the past, and back again.
A reader can learn a great deal by observing these things, by looking beyond the story's content and observing the writer's form. It's a process-learning about writing by reading other writers-it happens gradually, incrementally, and without the reader quite realizing it. It happens with time and exposure. There's no substitute for reading the genre in which you would like to write.
Again, Stephen King's advice is worth repeating: no matter how talented you are, you've got to write in order to get better at it. So, while nature is important when it comes to writing, nurturing one's inborn ability (by reading) is critical to being a writer.
Writing. Inborn or learned? Part 1
It's the old nature versus nurture question: are some things (talents of many kinds) inborn or can they be learned.
No one has a quick or easy answer to this. For sure, a writer must have certain verbal abilities and love words, whether spoken or written. Such ability comes naturally to some people and there's little doubt that "nature" is involved.
That being said, I'm reminded of Stephen King's excellent book, "On Writing," where he says, "If you want to be a writer, you must do two things above all others: read a lot and write a lot."
Aside from mastering the fundamentals of language and the basics of writing fiction, reading fiction (if you want to write it) is crucial.
I'll have much more to say about this in my next blog.
No one has a quick or easy answer to this. For sure, a writer must have certain verbal abilities and love words, whether spoken or written. Such ability comes naturally to some people and there's little doubt that "nature" is involved.
That being said, I'm reminded of Stephen King's excellent book, "On Writing," where he says, "If you want to be a writer, you must do two things above all others: read a lot and write a lot."
Aside from mastering the fundamentals of language and the basics of writing fiction, reading fiction (if you want to write it) is crucial.
I'll have much more to say about this in my next blog.
July 31, 2012
Writing Every Day
I've been asked if I keep a writing schedule. Yes and No. There's simply no way to strictly adhere to a pre-fixed schedule, just as there's no way to pre-plan your meals for the next three weeks. There's only one scheduling rule I have: I write every single day, no matter what.
Sometimes, other obligations get in the way, but I still find time to write. Even if it's only for 15 minutes, I do some writing each and every day. That's the only scheduling rule to which I adhere.
I find that if a day passes and I haven't written something, it makes the day feel slightly incomplete.
Sometimes, other obligations get in the way, but I still find time to write. Even if it's only for 15 minutes, I do some writing each and every day. That's the only scheduling rule to which I adhere.
I find that if a day passes and I haven't written something, it makes the day feel slightly incomplete.
The Old Man and the Sea
Okay, I admit to regretting all the classics I never read as a kid, or even as an adult. There were many I did read, but was "forced" to as a school kid. One of them was "The Old Man and the Sea." As I kid, I thought it was an "okay" story, and I sort of enjoyed the film with Spencer Tracy, too.
But I recently re-read the novel and realized something had changed within myself. I could actually feel and understand the depth of Santiago, the old man, and understood his feelings about the sea, the marlin he caught, about the sharks, and about his life and the lives of others, as these things are depicted in the novel
And, I could truly appreciate the power and beauty of Hemingway's prose in this novel. His descriptions are magnificent, and Santiago's character emerges in great depth, and the meaning of his struggle with the sea, too; all of it comes out in relatively few pages at the hand of a master.
I guess it pays to re-visit some of the classics that were thrust upon us in school, but with the perspective we now have. It was an awakening for me--a realization of the power of time and maturity and how they impact on one's perceptions.
A fine read it is-"the Old Man and the Sea"-even if you read it long ago when you were a different person.
But I recently re-read the novel and realized something had changed within myself. I could actually feel and understand the depth of Santiago, the old man, and understood his feelings about the sea, the marlin he caught, about the sharks, and about his life and the lives of others, as these things are depicted in the novel
And, I could truly appreciate the power and beauty of Hemingway's prose in this novel. His descriptions are magnificent, and Santiago's character emerges in great depth, and the meaning of his struggle with the sea, too; all of it comes out in relatively few pages at the hand of a master.
I guess it pays to re-visit some of the classics that were thrust upon us in school, but with the perspective we now have. It was an awakening for me--a realization of the power of time and maturity and how they impact on one's perceptions.
A fine read it is-"the Old Man and the Sea"-even if you read it long ago when you were a different person.
