This is my entry in Ali's Writing Prompt Wednesday challenge. See the rules here.
The pile grows. Mostly magazines. Men's Health. GQ. Runner's World. Field and Stream. Seriously, Field and Stream. The man's never been out of Manhattan.
I find a couple Playboys and a Penthouse tucked in the back of his nightstand, and turn to the most rumpled pages. No big surprises. Silicon and airbrushing. These are tossed on top.
And then there's the cookbook. I take my time with the cookbook. Each page is torn from the binding and crumpled, dropped around the perimeter. Certain pages receive special treatment. I tear these into shreds and then shred the shreds.
"Well, it's close, but still not like Mom's. Did you call her for advice? Maybe you should try this one next time. She says even a child could make it."
I click the lighter and hold the flame next to the recipe kindling I've made. The edges catch, quiver and hold the fire. It spreads to the rest. Pages fan, an image becomes clearer, prettier then it blackens and curls in on itself.
That damn paprikash. I'll never have to cook it, or eat it, again.
Thursday, August 20, 2009
Sunday, August 9, 2009
The Masters
Yesterday morning, I watched a couple episodes of Top Chef Masters that I'd missed. There's a big difference between the behavior of the "masters" and the chefs from the regular version of Top Chef.
There have been several challenges on Top Chef where some contestants have stabbed each others backs, sabotaged them during the challenge or thrown them under the bus in front of the judges. Even the ones who haven't openly worked against the others bad-mouthed them in the individual "confessional" segments.
Well, they are competing with each other, right? That's the nature of competition.
Not with the masters. One of the challenges yesterday involved each chef filling a mystery box for another chef. They had to use the ingredients in the boxes to make the meal they would be judged on. Every single chef filled the box they gave away with great ingredients that they knew the receiving chef would love to use. They all said marvelous things about each other during confessionals.
On another episode--during the finals, no less--one chef who finished early helped another by chopping tomatoes for him.
I've seen the same behavior with writers. Those who are unsure of themselves and their talent can be brutal to other writers. They take every opportunity to sabotage and shoot down someone they think of as competitors.
Then there are those who encourage and help each other. Who aren't intimidated by another person with talent. Are they more likely to become the "masters"? We'll see.
There have been several challenges on Top Chef where some contestants have stabbed each others backs, sabotaged them during the challenge or thrown them under the bus in front of the judges. Even the ones who haven't openly worked against the others bad-mouthed them in the individual "confessional" segments.
Well, they are competing with each other, right? That's the nature of competition.
Not with the masters. One of the challenges yesterday involved each chef filling a mystery box for another chef. They had to use the ingredients in the boxes to make the meal they would be judged on. Every single chef filled the box they gave away with great ingredients that they knew the receiving chef would love to use. They all said marvelous things about each other during confessionals.
On another episode--during the finals, no less--one chef who finished early helped another by chopping tomatoes for him.
I've seen the same behavior with writers. Those who are unsure of themselves and their talent can be brutal to other writers. They take every opportunity to sabotage and shoot down someone they think of as competitors.
Then there are those who encourage and help each other. Who aren't intimidated by another person with talent. Are they more likely to become the "masters"? We'll see.
Monday, August 3, 2009
August Goals
I feel like I accomplished a lot in July. Although when I look at the writing goals and how I did on them, not so much. Still, in a more esoteric sense, I accomplished loads. Because I know exactly what the final (and it will be my final, if not an agent's or editor's) version of MMG needs. It's right there. And this isn't like the other "I kinda sorta think this is what it needs" moments. I know. It feels great. And I've made great strides in that direction. It may take a little longer than I hoped. But I'll know when I'm done.
Anyway, here are the writing goals for August:
--Rewrite of MMG
--Prepare TNN/KoS for submission to CWC
--Do critique (0/1)
--Rework MMG query template with awesome input from Jenny & Mary
--Finish MMG short synopsis
Easy peasy, right?
Anyway, here are the writing goals for August:
--Rewrite of MMG
--Prepare TNN/KoS for submission to CWC
--Do critique (0/1)
--Rework MMG query template with awesome input from Jenny & Mary
--Finish MMG short synopsis
Easy peasy, right?
Thursday, July 30, 2009
Serial Killers: Part II
I tried another cozy mystery series. It had a few problems in Book1, but I could chalk that up to freshman jitters. 2nd book, about the same. By Books 3-4, it only got worse. So, I won't be seeing how she does on Book 8 or 9 like I will with Sookie.
What were the problems?
-Two characters in particular almost always use each other's names in dialogue. "Hi, John, won't you sit down?" "Thanks, Jill. That's nice of you." "Don't mention it, John. Did you find out anything about that clue we found yesterday?" "Why yes I did, Jill. Let me tell you about it." And so on. Annoying.
-She likes her protag too much. I can relate to this. My critique group is always telling me I don't beat up my protagonist enough. But I have someone who tells me this, and I fix it. This girl gets everything she wants. I can't relate to that. She even has a "mean breed" dog that no one ever acts nervous around.
-By Book 2, she established that any new characters coming into the circle of friends would be the victim. If 2 new people arrive, one is the victim and the other is the killer. And it's obvious which is which. So why read past the first chapter?
-Doesn't even come close to real police procedure. The protagonist (not in law enforcement) has nabbed a couple murderers by secretly taping them confessing. And apparently this has held up in court. In the most recent one, a key piece of evidence was buried under debri at the crime scene. The police neglected to search thoroughly so it was found during the owner of the property's clean-up. The item so upset the owner that the protag took it back to her house. Then she called a retired detective, after major handling of the thing, who carried it back to his place before taking it in. Can you say "chain of evidence"? Yeah, thought so.
What could save this series for me? Well, start adhering at least a little bit to the realities of what would and wouldn't be admitted into evidence for starters. Then kill off one of the inner circle. There are now about 6 couples (everyone eventually pairs off in this series) and a few incidental characters (who are married, but the spouse hasn't been seen yet). It's getting crowded. It would shake things up nicely, and make any threat more, well, threatening.
But I won't be around to see it. It's too bad. There was potential there. For a while I'm switching back to other genres. Right now I'm reading The Time Traveler's Wife. Present tense bugged me for about two paragraphs, and then I realized it has to be that way. Pulled in hook, line and sinker. Hope it pays off.
What were the problems?
-Two characters in particular almost always use each other's names in dialogue. "Hi, John, won't you sit down?" "Thanks, Jill. That's nice of you." "Don't mention it, John. Did you find out anything about that clue we found yesterday?" "Why yes I did, Jill. Let me tell you about it." And so on. Annoying.
-She likes her protag too much. I can relate to this. My critique group is always telling me I don't beat up my protagonist enough. But I have someone who tells me this, and I fix it. This girl gets everything she wants. I can't relate to that. She even has a "mean breed" dog that no one ever acts nervous around.
-By Book 2, she established that any new characters coming into the circle of friends would be the victim. If 2 new people arrive, one is the victim and the other is the killer. And it's obvious which is which. So why read past the first chapter?
-Doesn't even come close to real police procedure. The protagonist (not in law enforcement) has nabbed a couple murderers by secretly taping them confessing. And apparently this has held up in court. In the most recent one, a key piece of evidence was buried under debri at the crime scene. The police neglected to search thoroughly so it was found during the owner of the property's clean-up. The item so upset the owner that the protag took it back to her house. Then she called a retired detective, after major handling of the thing, who carried it back to his place before taking it in. Can you say "chain of evidence"? Yeah, thought so.
What could save this series for me? Well, start adhering at least a little bit to the realities of what would and wouldn't be admitted into evidence for starters. Then kill off one of the inner circle. There are now about 6 couples (everyone eventually pairs off in this series) and a few incidental characters (who are married, but the spouse hasn't been seen yet). It's getting crowded. It would shake things up nicely, and make any threat more, well, threatening.
But I won't be around to see it. It's too bad. There was potential there. For a while I'm switching back to other genres. Right now I'm reading The Time Traveler's Wife. Present tense bugged me for about two paragraphs, and then I realized it has to be that way. Pulled in hook, line and sinker. Hope it pays off.
Monday, July 27, 2009
How To A Story Russell T. Davies Style
BBC America showed the 5-part miniseries, Torchwood: Children of Earth, last week. I'm a big Torchwood fan so I was pretty sure I'd enjoy it no matter what. My sister, however, tends be quite indifferent about the shows I choose so I didn't expect much reaction out of her. There's a long story behind it, but she prefers things she's familiar with.
It opens with a mother having trouble getting her child to move. They're on the way to school and the kid has just stopped. Not moving, speaking, nothing. One of the Torchwood agents notices this, smiles at the naughty child and goes about getting to work. The shot changes to two girls sitting at the breakfast table, not moving or speaking. Their father bids them a good day and, without noticing their state, leaves. Then a line of children stopped in the process of crossing the street. As the adults reach the peak of frustration, all the children from all the scenes resume moving and talking as if nothing has happened.
My interest is definitely piqued. We have an opening hook. Why are the children doing this?
As the story goes on, it happens again at recess time. This starts to bring more attention from more quarters. And some of those people seem to know why it's happening. Of course, Torchwood gets involved, and we're off. Interest not just piqued, they've got me.
The suspense builds throughout the first episode. The second episode builds on that with a lovely personal reveal near the end followed by gut-wrenching devastation. Oh my god, how are they going to come back from this? Episode three brings us a little hope, but then dashes it to bits. At this point, my sister says, "How the hell are they going to wrap this up in just two more nights?" Seems as if they hooked her, too. Fourth episode our heroes leap into action, we're feeling pretty good, then they're left in an even worse position than they were the night before. Ye gods and small fishes, they aren't going to fail, are they? Then a satisfying conclusion. I won't say whether they succeed or fail. Just that the ending was right.
There is much more going on than what I've summarized here, of course, but it gives a good indication of how the action and suspense build to the climax. It just keeps ratcheting up with only slight breathers here and there. There's a lot of humor in the series, and it's used to good effect. Russell T. Davies, the screenwriter and man behind the new Dr. Who and the whole Torchwood series, also gives enough backstory through character interaction that those who haven't seen the first two seasons will understand a bit why they all relate to each other the way they do. But much more is revealed about two of the characters than we've known. And it's integral to the story, moves it forward and adds another layer of tension to the whole thing.
Brilliant. Just bloody brilliant. Another fine template for how to tell a story. Even if the story isn't a SF/F action thriller. It still works. And it has me pumped to get back to it myself.
It opens with a mother having trouble getting her child to move. They're on the way to school and the kid has just stopped. Not moving, speaking, nothing. One of the Torchwood agents notices this, smiles at the naughty child and goes about getting to work. The shot changes to two girls sitting at the breakfast table, not moving or speaking. Their father bids them a good day and, without noticing their state, leaves. Then a line of children stopped in the process of crossing the street. As the adults reach the peak of frustration, all the children from all the scenes resume moving and talking as if nothing has happened.
My interest is definitely piqued. We have an opening hook. Why are the children doing this?
As the story goes on, it happens again at recess time. This starts to bring more attention from more quarters. And some of those people seem to know why it's happening. Of course, Torchwood gets involved, and we're off. Interest not just piqued, they've got me.
The suspense builds throughout the first episode. The second episode builds on that with a lovely personal reveal near the end followed by gut-wrenching devastation. Oh my god, how are they going to come back from this? Episode three brings us a little hope, but then dashes it to bits. At this point, my sister says, "How the hell are they going to wrap this up in just two more nights?" Seems as if they hooked her, too. Fourth episode our heroes leap into action, we're feeling pretty good, then they're left in an even worse position than they were the night before. Ye gods and small fishes, they aren't going to fail, are they? Then a satisfying conclusion. I won't say whether they succeed or fail. Just that the ending was right.
There is much more going on than what I've summarized here, of course, but it gives a good indication of how the action and suspense build to the climax. It just keeps ratcheting up with only slight breathers here and there. There's a lot of humor in the series, and it's used to good effect. Russell T. Davies, the screenwriter and man behind the new Dr. Who and the whole Torchwood series, also gives enough backstory through character interaction that those who haven't seen the first two seasons will understand a bit why they all relate to each other the way they do. But much more is revealed about two of the characters than we've known. And it's integral to the story, moves it forward and adds another layer of tension to the whole thing.
Brilliant. Just bloody brilliant. Another fine template for how to tell a story. Even if the story isn't a SF/F action thriller. It still works. And it has me pumped to get back to it myself.
Friday, July 24, 2009
If Not Now, When?
As I've stated previously, I've been reading a lot of cozy mysteries lately. The problem I encountered is not exclusive to cozies specifically or to mysteries in general, but it has happened in every one. I think it's something that spans genres. And it drives me buggy.
What is this nefarious writing issue?
The use of present tense words in a past tense narrative.
You might be saying, "Huh?" An example: Betty pondered her relationship with Bill as she stared out the window. She wondered how things had gotten so far out of hand. Bill's phone call this morning upset her so badly, she didn't think she'd ever get over it. But today's blue sky helped cheer her up some. Maybe now she could think things through.
Past tense, right? Pondered, stared and wondered all indicate that we're reading about something that happened in the past. Then "this morning" crops up. Okay, if I'm reading this in the afternoon or evening, I guess "this morning" would be past tense. But it still jars, because I might be reading about that evening and the next day and even a month later within a few pages. The "this morning" I just read about will have happened quite a while ago in the context of the story. Same thing with "today's blue sky" and "now."
Most of the time, leaving out the time stamps can fix it. "Bill's phone call upset her . . ." If it's that important a phone call, you've shown it already, right? So we know where she is time-wise in relation to it. "But the blue sky . . ." "Maybe with a new attitude she could think things through." A little bigger change, but it conveys why she can think better.
It's perfectly fine in dialogue. For the character, it is today. Just not for the reader.
In the big scheme of writing, this probably isn't a huge faux pas. But it bugs me, and I can't be the only one. Do you want to take a chance that the agent or editor you submit to has the same pet peeve?
What is this nefarious writing issue?
The use of present tense words in a past tense narrative.
You might be saying, "Huh?" An example: Betty pondered her relationship with Bill as she stared out the window. She wondered how things had gotten so far out of hand. Bill's phone call this morning upset her so badly, she didn't think she'd ever get over it. But today's blue sky helped cheer her up some. Maybe now she could think things through.
Past tense, right? Pondered, stared and wondered all indicate that we're reading about something that happened in the past. Then "this morning" crops up. Okay, if I'm reading this in the afternoon or evening, I guess "this morning" would be past tense. But it still jars, because I might be reading about that evening and the next day and even a month later within a few pages. The "this morning" I just read about will have happened quite a while ago in the context of the story. Same thing with "today's blue sky" and "now."
Most of the time, leaving out the time stamps can fix it. "Bill's phone call upset her . . ." If it's that important a phone call, you've shown it already, right? So we know where she is time-wise in relation to it. "But the blue sky . . ." "Maybe with a new attitude she could think things through." A little bigger change, but it conveys why she can think better.
It's perfectly fine in dialogue. For the character, it is today. Just not for the reader.
In the big scheme of writing, this probably isn't a huge faux pas. But it bugs me, and I can't be the only one. Do you want to take a chance that the agent or editor you submit to has the same pet peeve?
Wednesday, July 22, 2009
WPW: Plaid Skirts
Writing Prompt Wednesday entry:
"Does a plaid skirt make you dumber?"
"What do you mean?"
"Just what I said. Do you lose intelligence points whenever you see a girl in a plaid skirt?"
"Oh. Well. Yeah, kinda."
"And why is that?"
"Don't know. Must be something from my teens. Catholic school girls and all that."
"I guess I understand it when you're sixteen, but now . . .I don't know. Seems weird."
"Don't you still get kinda dumb around a guy in jeans and a white t-shirt?"
"Not dumb, exactly. Silly, maybe."
"Well, there you go. Hey, I have an idea."
"I don't own a plaid skirt."
"Does a plaid skirt make you dumber?"
"What do you mean?"
"Just what I said. Do you lose intelligence points whenever you see a girl in a plaid skirt?"
"Oh. Well. Yeah, kinda."
"And why is that?"
"Don't know. Must be something from my teens. Catholic school girls and all that."
"I guess I understand it when you're sixteen, but now . . .I don't know. Seems weird."
"Don't you still get kinda dumb around a guy in jeans and a white t-shirt?"
"Not dumb, exactly. Silly, maybe."
"Well, there you go. Hey, I have an idea."
"I don't own a plaid skirt."
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