Face Off Friday: Movie vs. Book (and Contest Winner!)

The results are in and the winner of the gift certificate is....at the bottom of the page. :)

First, I wanted to talk about movies and books. Tonight I'm going to see New Moon (yes, I've told you, I'm a Twilight dork, so I'm braving the crowds on opening night.) But, I'm going in with relatively low expectations.

Although I am looking forward to the eye candy, I know that movies typically don't live up to experience of the book. Part of this is because movies can't really "tell" you much, they have to "show" everything which, of course, is preferable in novels as well. But it means we can't hear as much internal dialogue and voice and we have to rely on the actors to nail how we pictured the characters reacting. It's almost impossible for a movie to meet the level our imaginations can achieve when reading.

So here's my Face Off Friday question:

 

Should you read the book first so that you can experience the story in it's pure form before seeing the movie?

Or, should you see the movie first and enjoy it for what it is before your expectations skyrocket, then read the book and enrich the experience?

 

I personally am a read first, see movie second person. Although on the few occasions where I saw the movie first (John Grisham's The Firm), I liked the movie much more than I probably would have had I read the book first.

So how about you? What's your style? And have you ever found a movie that was BETTER than the book or that perfectly lived up to your expectations?

Also, just a note, but I hope you all have a wonderful Thanksgiving week. I am hosting family for the week and am doing all the cooking for Turkey Day, so instead of new blog posts, I will be re-running some of my earlier posts that I did before I had most of you following. I will still be responding to comments and such, but I probably won't be making it to very many blogs.

Okay and finally, the winner of the certificate is....NATALIE MURPHY!!! Congrats! I'll be emailing you later today.

Thanks to all of you who entered and I loved all the blog suggestions. I will definitely be covering those in future posts! :)

Here's the random.org breakdown, which picked the winner:

List Randomizer

There were 31 items in your list. Here they are in random order:

1. Natalie Murphy
2. Gavin
3. UberGrumpy
4. Donna Hole
5. Angela
6. Jessica Kennedy
7. Fiction Vixen
8. Stephanie H.
9. Shannon O'Donnell
10. Susan R. Mills
11. jbchicoine
12. Dawn Hullender
13. Julie
14. Julie Dao
15. Amber Tidd Murphy
16. Joshua
17. Stephanie Thornton
18. Stephanie L. McGee
19. Ash. Elizabeth
20. Angie Ledbetter
21. jenheadjen
22. AjFrey
23. Tabitha Bird
24. Patti
25. Alice in Wonderland
26. CKHB
27. Jennifer Shirk
28. Angie
29. melane
30. sherrinda
31. Makita Jazzqueen

Timestamp: 2009-11-20 15:40:43 UTC

**Today's Theme Song**

"Uprising"-- Muse

(in honor of Twilight, a little Muse--my player isn't working, i'm trying to fix it)

What Role Does Writing Play in Your Life?

Yesterday I was catching up on my Tivo-ed Oprahs (yes, I live an exciting life) and I caught the interview with Stephanie Meyer. Oprah asked her what made her start writing Twilight. Stephanie said that she had three kids who were difficult babies--none of them slept through the night until past two--and that she had gotten burnt out and gone into zombie mom mode. So when she had her now famous dream, she decided to write it down. And writing became her way back to herself to discover the person she was and not just the mom/wife/etc.

The interview goes on and I've included the first part below, but I have to say the interview really struck home for me. This could be because my two year old has gone back to not sleeping through the night and has always been a bad sleeper, so I'm feeling a little burnt out myself.

But I realized that writing provides me the same thing that it did Stephanie Meyer--a connection with the person I am underneath all the roles I have. To remind me that I am more than the diaper changer, cook, wife, etc. And honestly, if I didn't have that outlet, I probably would have escaped back to work by now because even though I adore being home with my son, without any other mental challenge, I would have climbed the walls by now.

So that's what writing has done for me. Me and Stephanie Meyer aren't so different. (Well except for that whole writing a novel that captured millions and being filthy rich and famous thing, but I'm working on it.)

So what does writing do for you? What made you start typing or writing on that blank page? How would your life be different if you didn't have writing in your life?

**Today's Theme Song**

"The Sweet Escape"-- Gwen Stefani

(player in sidebar, take a listen)

"Oh no! Melodrama!" she screamed as she collapsed into tears.

 
 

There are a lot of fine lines in writing: creating a sense of place v. bogging down reader with description, creating a new spin on an old idea v. being derivative, creating characters with depth v. backstory overload, etc. Another one that I've had trouble defining the line between is drama and melodrama.

Our stories are supposed to have conflict and drama. What's the point otherwise? However, when that story inches into melodrama we risk losing our reader. Instead of connecting with the characters and feeling part of the story, our readers start rolling their eyes. So how can we tell the difference?

This is especially difficult to determine if we're writing a teen story. I'm not going to stereotype, but looking back at myself as a teen, I was quite melodramatic. My high school was my whole world and every event and emotion was amplified. When my crush didn't like me, it was cause for tears and incessant listening of depressing and sappy music. When a good friend gave me the silent treatment for a week, I thought we would never be able to overcome such a terrible turn of events. So how do we make sure our characters and plot are authentic and believable and interesting without sending it into the realm the soap opera?

First my quick definition...

Melodrama is when emotions, plot, or actions are too over the top. My litmus test is if a scene that is intended to be emotional/heartfelt/painful would tempt readers to groan, roll their eyes, or laugh, then I've crossed over the line.

I'll use Twilight as an example since most of you have probably read it or seen the movie. In the scene at the hospital in the first movie (see pic above), Edward tells Bella she needs to stay away from him for her own safety. Bella sits up, panicked, stuttering "No, you can't leave me! We can't be apart." The line in and of itself is fine, but this scene made me giggle in the theatre. Also, in the book New Moon, Bella's reaction to Edward leaving is um, intense, to say the least. Months of depression and becoming an adrenaline junkie seem a tad melodramatic to me. (Disclaimer: I have admitted to loving Twilight, so please no hate comments from devoted fans. Despite the problems I see in the stories, I can't help but be hooked. I'll be in line on opening night of the next movie.)

So what can we do to avoid crossing this line?

 

• Beware the exclamation point! It's rarely needed and is usually a beacon of melodrama

 

• Watch words like screamed, shouted, sobbed, cried, etc. Use them sparingly.

• Put yourself inside your characters. If A, B, or C happened to you, how would you react? Of course, your character hasn't a different backstory than you, but this will give you a start to find an authentic reaction. I mean, really, how many of us are actually swooning when we see a hot guy?

• Don't have your characters act contrived just to fit a plot need. They're actions must be based on realistic/logical motivations that you've developed in the story. i.e. If a character is mild-mannered throughout, but you need an emotional scene so all of a sudden she flies off the handle with no logical motivation to do so or previous behavior to back it up.

• No TSTL (too stupid to live) characters. i.e. running up that stairs when a serial killer breaks into the house, heroine believing something the bad guy tells her when she KNOWS he's the bad guy. Your readers won't buy it.

• Avoid stereotyped characters--the wise old man/woman, the evil ex-wife/other woman, the naive virgin, the bitchy popular girl, the hooker with the heart of gold, the perfect/infallible male love interest. If you use any of these, you need to make sure there is a twist on it. For example, in PC Cast's Marked series, Aphrodite starts as the stereotypical blonde mean girl, but develops into something much different as the series goes on.

• Watch out for huge coincidences. Yes, when writing, we're playing God, but that doesn't mean we can twist fate to create unbelievable coincidences. Your reader will give a big "yeah right" or "my, isn't that convenient?"

• This is related to the coincidence thing, but be careful of creating conflict after conflict after conflict to where there is no way to believe that all that would happen to one person. The best example I can think of is the first seasons of 24. Jack's daughter's Kim couldn't keep herself out of trouble. How many times can one girl get herself kidnapped or put in mortal danger? It became a joke in our house--how will Kim try to get herself killed this week?

 

And if in doubt, picture a scene through the eyes of a Saturday Night Live writer. How much rewriting would you have to do on that scene to recreate it for comedy/satire on the show? If the answer is "not much", you may have jumped into the melodrama hot tub.

So am I the only one who struggles with this line? How do you determine if you've gone too far? And what are some of your favorite melodramatic books/movies/tv shows?

 

**Today's Theme Song**

"Selling the Drama" - Live

(player in sidebar--go ahead, take a listen)

Face Off Friday: Prologues

It's that time of the week again: Face Off Friday. On today's agenda, the loved/dreaded/maligned prologue. The rumor is that writers love them and agents/publishers hate them. Some quotes from our favorite blogging agents:

 

99.9% of the time, the prologue is vague or doesn’t really give me a sense of the writing or the story that’s going to unfold. I skip them as a general rule. --Kristen Nelson, Pub Rants

It is 3-5 pages of introductory material that is written while the author is procrastinating from writing a more difficult section of the book. --Nathan Bransford's definition

 

Earlier in the week, I talked about the written and unwritten rules of writing I have discovered along the way. The one that many of you had pain over was the fact that prologues are frowned upon. So, I thought I would delve deeper into that topic today.

First, let's define a few types of "pre-chapters":

 

Prologue is a preface to the story, setting up the story, giving background information and other miscellaneous information. --wiki

A preface is an introduction to a book written by the author of the book. A preface generally covers the story of how the book came into being, or how the idea for the book was developed; this is often followed by thanks and acknowledgments to people who were helpful to the author during the time of writing. --wiki

A foreword is a (usually short) piece of writing often found at the beginning of a book or other piece of literature, before the introduction, and written by someone other than the author of the book. --wiki

Okay, so what most of us are dealing with is the first one, as the preface and foreward are typically used for non-fiction works. (However, Twilight breaks this rule--what's new--and uses the term preface for its prologue.)

Prologues are seen in all genres, but are particularly popular in fantasy/sci-fi and thriller/suspense. In fantasy, the prologue often provides information to help the reader understand the strange world that they are about to enter. In suspense, a prologue can contain the killer's point of view or one of his first victims points of view to ratchet up the tension instantly.

So those seem valid reasons to use one, right? What's the problem?

The problem can lie in the fact that the prologue is almost always a big chunk of backstory. And backstory can be dangerous--it risks boring the reader and makes your pace drag. Prologues can also be a sneaky way to hide a slow-moving first chapter. (I have NEVER used this device for this sordid purpose, *cough*.) The latter is how it's used in Twilight. We get a glimpse of the end action--an unnamed victim being stalked by a unknown predator--before we enter into chapter one where nothing much interesting happens for many pages.

However, prologues aren't always terrible. Hush, Hush which I just reviewed recently had a prologue. The brief pages showed a scene that explained what happened to one of the characters to make him the way he was. In this novel, I didn't mind the prologue and its purpose was clear. Could the story have been sprinkled in later? Perhaps, but the prologue was a big shining billboard that said--"hey this is about angels!" and the scene had tension and action, not just flowery language about some random legend.

So when is it a good idea to include a prologue and when do you need to cut it?

Prologue vs. No Prologue

For love of the prologue:

 

• Fantasy/Sci-fi/Paranormal can be difficult to jump into without explaining a bit of the mythology/legend/world first.
• Some of the greats used prologues
• It can build tension early
• You have a helluva twist coming later that you need to foreshadow
• There is history that is vital to your story that must be introduced early

 

Nix the prologue because you are probably using it to cheat and do one of the following:

 

• Set the mood/atmosphere because you failed to do so in the opening chapter
• Info dump because you can't figure out where to sprinkle in the backstory
• Create tension because your chapter one is slow and you can't bear to edit it again
• Not trusting that your reader is smart enough to understand the world you created
• Your story or fantasy world is overly complicated and you want to get the reader a school lesson on it first

 

Another thought:

 

"Writers hope to create suspense and interest by writing a prologue about the person who turns out to be the villain but without identifying that person by name or gender. Sorry, but in my opinion, that's a cheap parlor trick and your reader knows it. You're better off doing the hard work of creating suspense and tension with your hero and heroine."--author Carolyn Jewel

 

I have to admit that I am guilty of loving a prologue. The one I had for my first novel was unnecessary and I was using it as a cheat (cheap foreshadowing). I cut it a few months ago and saw that I never needed it. However, I do have some mythology that could be helpful in a prologue, so even though I haven't added it, I'm constantly tempted. *sits on hands for a moment to keep from typing one up*

However, I am a little afraid of including one based on the may negative opinions out there. Most agents/authors say it should be used as a last resort. I don't want to do anything to hurt my already slim chances of breaking into the world of publishing.

So what's your opinion? How do you feel about prologues in the stories your read? Do you have a prologue in any of your stories? Are you using it for the right reasons or are you worried it's a cheat? Do you think they should be used only as a last resort?

**Today's Theme Song**

"Your Cheatin' Heart" - Patsy Cline

(player in sidebar--go ahead, take a listen)

For Love of the Bad Boy

I just recently finished reading Motley Crue: The Dirt - Confessions of the World's Most Notorious Rock Band . Even though I usually stick to fiction, I picked up the book for a few reasons. One, I'm a big fan of the band. Two, my current WIP's male protagonist is a lead singer in a rock band, so this was helpful research. I'm not going to go into a detailed review. But I'll say that I really enjoyed the book. It was an unapologetic look into the proverbial world of "sex, drugs, and rock 'n roll." So, if you like rock music, don't mind an r-rated (nc-17?) book, and can handle the overuse of the word "dude" in the Tommy Lee chapters, then I would say go for it.

But in addition to being a fun read, this book also got me to thinking about bad boys. They show up all the time in fiction, especially in romance and YA. It's one of our favorite alpha male types both in books (and for some of us, real life). After reading this true life account of four seriously bad boys, I started to wonder why we're so drawn to them and why certain bad boys are appealing and others appalling.

The Motley members were drug addicts, womanizers, and, at times, criminals. Yet women flocked to them even before they were famous or rich. Therefore, something about them was inherently appealing.

Then there are guys like Wes on the current season of The Bachelorette. He's considered the bad boy of the show. And based on last night's reunion show, he was wildly unpopular with the female viewing audience (including me.)

So what's the difference? Where is the line between uber hot and uber jerk? What traits make a bad boy sexy instead of scary? When writing, how do we create that delicious bad boy that will make our reader not just swoon but fall in love in with the character?

I think the key probably lies in the character's motivation. Your bad boy can't just be bad for the hell of it, just because he thinks it's cool. (Yes, Wes, I'm looking at you.) You have to explore the reasons why he is the way he is with your back story. He also has to have some crack in the armor that the heroine can pry into and heal. Because, otherwise, why are we reading?

Since the Motley Crue guys maintained their appeal (in my mind) even after wildly egregious acts, I'll use them as an example of some appealing types of bad boys. (I'm leaving Mick out because he is not an alpha male.)

The "I've always been pretty" bad boy (Vince Neil, lead singer): This is the bad boy who knows he's hot. Girls have always liked him. Attention has come easily. He can get whomever he wants, which can make things boring for him. It can also lead to going through girls like they're disposable. He's not used to being told no.

Crack: He ain't that confident. Sure, he knows he looks good, but he's not convinced the person underneath the looks is all that great.

Other Examples: Eric in the Sookie Stackhouse books (a personal fave of mine), Keenan in Wicked Lovely, Jordan Catalano on My So-Called Life (to pull out an old 90s reference)

What he needs: A heroine that isn't afraid to knock him down off that pedestal and challenge him.

 

The "Up for anything" wild child (Tommy Lee): This guy appears to have no fear or impulse control. Seeks thrills and fun at all times. He's ruled by the Id. Doesn't take anything seriously including silly things like rules, laws, or social mores. Sees relationships as something that would hold him back from thrill-seeking.

Examples: Jules in Erica Orloff's Freudian Slip (who is basically a good-looking version of Howard Stern), Barney on How I Met Your Mother (although his thrill seeking is limited to women)

Crack: He's actually a sucker for long-term relationships. He's so passionate about everything in his life, that when he finds the right girl, he will give himself over completely to love. Tommy Lee turned lovesick both with Heather Locklear and Pamela Anderson.

What he needs: Someone that can keep up with him, but is also a calming force. A heroine who incites enough passion in him that he seeks thrills with her instead of separate from her.

 

The Wounded Soul (Nikki Sixx): This is my favorite to write and read about. This guy's motto is "get them before they get me". He's been hurt deeply somewhere along the way, and now has locked away all true feelings from others. He's easily angered and shuts down when anyone gets close. He can be the most formidable of bad boys because he doesn't care enough about himself to avoid danger.

Examples: Julian in Sherrilyn Kenyon's Fantasy Lover, Edward in Twilight, Jace in City of Bones, Wrath in J.R. Ward's Dark Lover, Johnny Castle in Dirty Dancing

 

Crack: He feels unworthy of genuine love. Nikki Sixx was abandoned by both his parents early on. So later, when people in his life showed him love, he didn't believe them. He'd push them away before he had a chance to care.

What he needs: A super tough girl that can push through that seemingly impenetrable wall. A woman that will call him out on his crap and not be intimidated by his flashes of anger. A woman that will love him fiercely.

So there's my theory. The only bad boys worth writing are the ones that offer a challenge, but that can ultimately evolve. We don't just want to read about the bad boy being bad, we want to see his character heal and reform so that he can keep the good parts (fun, attitude, touch of danger, daring) while taming the undesirable parts (lying, cheating, illegal behavior, etc.).

So, what's your opinion? Do you like a bad boy character or do you think they're overused? What makes you like one better over the other? Who's your favorite bad boy?