Re-Inventing Oneself as a Writer

There are writers who absolutely write the same book not just twice but many times over, no question of it. Like actors, there are many different types of writers. Some are one-book wonders that have a single title come out of the blue to take top honors, awards, bestseller status, but for most of us, we write one book, two, three, etc. until we find we've written ten, twenty, thirty, etc. Some of us are "serial" writers, our nose to the grindstone not of writing the same book over and over but throwing one adventure after another at the SAME character or ensemble of characters.

I fall into the later category, having created something in the neighborhood of 8 series characters, some of whom have lasted through two books, others eleven, most three and four. My last two novels added on to two series as Titanic 2012 continued my fascination with Inspector Alastair Ransom who had earlier had a trilogy. The book after this was purely for kicks, a horror novel, which continued my desire to work again with my character Dr. Abraham Stroud, archeologist and vampire slayer, a book called Bayou Wulf.

A year ago Ransom and Stroud were both "dead" characters according to the 'rules' of traditional publishing, but as a re-invented author, now an Independent Author thanks to Amazon's Kindle store, I can ressurect Ransom and Stroud and any of six other 'dead series characters'....and so I am re-invented anew as an author interested in continuing otherwise dead series. Kindle allows for this.

Even in content, I have taken on a new author personae beyond that of Indie Author....as now with Titanic 2012 complete, I decided to go back to the sea for another seafaring suspense thriller, so am now working on Bismarck 2013, a working title.  You might say I am carving out a new genre -- occult seafaring suspense with science fiction overtones and a good dollop of historical to boot.  OK, not sure what to call these books; perhaps the new label or category should read -- Labeless.

As I am way over-tired, I am goint to let a snippet of Titanic 2012, follwed by a snippet of Bismarck 2013 speak for me here. I am blogging on the "Making of Bismarck 2013  at Dirty Deeds - Advice from a pro  found on Google. Here are the snippets: 


TITANIC 2012

—CURSE of R.M.S. TITANIC—

ONE

Belfast, Northern Ireland, April 3, 1912

Slippage dust choked them. A fine shower of it fluttered about the men like a million black fairies that insisted on entering them. The dark dust created of itself a ghostly, unruly fog. Yet it was so fine, the two wouldn’t have known it was here had not their helmet lights reflected it. The earth around them groaned and stretched as if disturbed from slumber, just awakening. Tim McAffey, one of the two who’d dared enter to inspect the damage wondered why he’d ever become a miner. Then the floating grave ahead of them settled, and he thought of the bonus promised if he did his job. He thought of home and family and food on the table.

“The day ends with little to show,” said mine superintendent McAffey, frustrated and upset. He knew from experience it’d take days if not a week to get the men comfortable enough about this section of the mine to even begin to clean up the mess where some timbers had given way. “Hell, amounts to a sneeze,” he said to the man beside him.

“Minor inconvenience at best,” agreed O’Toole.

@http://tinyurl.com/6753a69

SECOND SNIPPET:
B I S M A R C K 2013

May 5, 1941 aboard the Bismarck, docked in Gotenhafen Bay, Occupied Poland

Adolph Hitler smiled and rocked on his heels, feeling safe, even smug here where the Bismarck had been kept from prying British air patrols—far to the west of where the ship had been built in Hamburg. Here amid multiple land masses, fjords, in the straights between Germany and Sweden.

Hitler felt comfortable here in his 5’10 frame inside his British-made Wellington boots. He smiled and turned his head in all directions from his vantage point on the bridge of the deadliest battleship ever to set sail on the high seas. Her guns were the largest ever assembled on a floating vessel.

Hitler had come aboard with heavy security. There had been yet another recent attempt on his life in Berlin. He had a small army of SS men on all sides of him and four men carrying a crate, a curious wooden crate…something many of the seamen aboard, all lined in rows for the inspection by the Fuehrer, thought interesting. In particular Lt. Commander Ivan Hulsing had noticed the large crate, and he immediately wondered if it had anything to do with the new encryption code machine that Hitler’s top engineers had been working on.

This would make sense. And if so and installed on Bismarck, the admiral and captain of the ship would be deciphering every message sent across the airways between Britain and its allies. Hitler might also ascertain if it was true that the Americans were quietly supplying the British with more than just food and supplies in their so-called humanitarian efforts to back the United Kingdom.

Bismarck was built to lay waste to such foolishness, to destroy anything that dared to move across the North Atlantic. Her guns could hit a row boat fifteen miles off her bow. Ivan Hulsing began to hear the whispers wafting among the rows of sailors lining the deck, all now curious of the box—a wooden crate marked as oranges, ostensibly a gift for Admrial Lutgens whose love for fresh fruit aboard his ship was legendary.

Hitler’s entourage had first come aboard intent on plying directly to the Admiral’s quarters with the crate. Anyone seeing the strain on the faces of the four men carrying the elongated, coffin-sized crate, must imagine it carried more than oranges. Meanwhile, Captain Lindeman and Admiral Lutgens followed Hitler’s men like a pair of puppies in the great leader’s wake. It appeared Hitler, an oddly shaped, small man, which Ivan realized for the first time, was nearly lost in his leather coat—as if it’d been borrowed from a larger man. Hitler had surrounded himself with men selected for the best in Aryan features: blue-eyed, blond-haired six-foot high soldiers in spanking new military uniform and Nazi insignia-emblazoned caps. Alongside such men, the Fuehrer appeared a perfect foil for such men—as Hitler himself was dark-eyed, dark-haired, little-statured man who seemed weak and lost in his uniform by comparison; a man playing at soldier.

And Hitler was intent on getting that crate tucked away in the Admiral’s possession, in the Admiral’s cabin down from the Captain’s quarters. This took the darkly-clad entourage up several flights of stairs and catwalks facing the bridge. Hidden somewhat amid his entrouage, Hitler’s gait was that of a determined ape chasing a female, an ape with a mission fuck over anything daring to get in his path. Determined first to deposit the gift, before anything to do with inspecting the ship or crew.

Once done with the ‘gifting’, this man determined to rule the Earth, would return to inspect Bismarck and the mariners of this mighty ship. Every sailor aboard, including Ivan Hulsing must maintain attention status while awaiting Hitler’s return to inspect the rows upon rows of sailors, two thousand, lining every deck at every level.

THANK you for dropping by and I do hope you will leave a comment in your wake! 
Rob Walker

The Die in Active Dialogue

Can We Talk?

Dialogue is far more than words inside quotation marks…

by Rob Walker

What’s just as important as what your character says? What do you need concern yourself with as you craft dialogue other than just the dialogue? Let’s start with the face.

Whose face? Why the face of the speaker and the features of the other speaker as dialogue means two logues, not one. Facial expressions and features are a starting point. Squints, ticks, licking of lips – it all becomes part and parcel of how it all comes off the page like life itself or remains on the page like a dead, dehydrated piece of road kill.

In other words, now that we know so much about non-verbal communication, it is incumbent upon us writers to think of using three non-verbal “triangulations” just as we would triangulate at least three of the five senses in a scene.

In a dialogue scene eye contact is huge, facial expressions, big, sounds, sighs, rolling eyes, as well as gestures and even how a character sits, legs crossed or not, and how he stands, firm or shaky. Posture and proximity. These are all key to making dialogue action rather than feeling like inaction.
So what does science tell us about body language? Here is a pretty good list of items that I use as I write:

Non-verbal signs of Cooperation:

Standing with feet apart, head tilted high.

Direct eye-contact

Uncrossed legs and arms

Open arms and palms out

Finger to face (as opposed to hand covering face)

Suspicion/Secretiveness:

Hand covering mouth or shading eyes

Head down

Throat clearing

Need for reassurance:

Sucking on pen, pencil, glasses or other item

Clenched hands

Cuticle picking, biting nails

Hand to throat

Defensiveness:

Hands in pockets

Hands locked at back

Hand rubbing back of neck

Body twisted away

Stalling for time by cleaning glasses, pipe, rearranging, etc.

Interest:

Hand to cheek

Chin stroking

Leaning forward

Scratching head

Doubt:

Pacing

Hand over nose

Brow furrowed

Anxiety:

Nail biting

Strained voice

Rapid eye movements

Open Gestures:

Smiles

Eye contact

Affirmative head nods

Rubbing hands together

Interim phrases of agreement or acknowledgement (Eh? Uh-huh? Hmmm, oh, etc.)

Closed Gestures:

Fidgeting

Leaning back (as opposed to forward)

Hand covering mouth

Peering over top of glasses

Crossed legs, arms

Head down

In other words, it is as important to see/hear what a character says but just as important to see and hear what is going on between the spoken lines, alternating with interesting actions the character is involved in and engaged in. This keeps the dialogue interwoven with the action, and the action engaged while speakers speak. Action should not end when a character opens her mouth. Same as with thinking; we are in real life normally involved in multi-tasking as we are thinking, no? Same as when speaking. Your dialogue needs to walk; your dialogue requires legs. When the man says, “Lights, action, camera” include in that list “dialogue” but dial it UP!

My latest madness is found via google at Dirty Deeds – Advice where you can keep tabs on the work in progress – Curse of the Titanic, or google Write Aide, or check out his blogs at www.makeminemystery.com

Do leave your comments!

Rob

No Blowhards In Your Story, Please! BY ROBERT W. (ROB) WALKER

Recently on a chat the issue came up of having a character in a mystery do what we term an “information dump” go on for paragraphs, possibly pages as one character simply “unloads” and tells all. When this happens, and it is almost a given in a rough draft and so many people believe it HAS to happen as the ANSWERS to the mystery have to be disclosed by someone—whether it is a Sherlock Holmes or a Monk or an Obi Wan Kenobi character who has all the answers, or a confession pouring out of the bad guy. Two problems with this “device” is that it has become a cliché in and of itself, spoofed often as in the film Tootsie when Dustin Hoffman does it and by doing so ends the career of Dorothy…and second problem? One of our characters begins to speak, uninterrupted, for a page or two or in whole paragraphs. I fight this on the rewrite, and remember rewriting IS writing.
The answer to the info dump problem is simple. In natural speech, even when someone pleads to “let me get this off my chest before you interrupt” the listener will interrupt. Will ask questions. Will pace. Will shake their heads. Will plead for more information. Will ask why, how, when, where, and then why again. In short good dialogue practices can save your story from having what we call the “blowhard” character who goes on for pages or paragraphs uninterrupted. Read the dialogue below and imagine it in its first draft. In its origin, it was a first person narrative from the mouth of one speaker until I went in and asked after each sentence, what response would my listener have to that? How can I cut and paste what was the original speaker’s line and place it in as the listener’s line? Can I use facial expressions and actions to put an end to the speaker’s speech even if for only a moment. In short, how can I introduce a lot more paragraph indents, giving the second person on scene or a third person in the room reason to interrupt the info dump guy. The dialogue below was once one long, too long paragraph from one speaker but not anymore.

“No, I don’t mean it that way like I expected nothing.”
“Then what did you—ahhh…”
“H-had not a single thought in my head—certainly not consequences.”
“Blank, huh?”
“B-blank, zip.”
“Blippo?”
“What’d I have in my head? Is that what you wanna know?”
“Might help to know, yes, Stan.”
“Red.”
“Red\?”
“Like a swimming pool fulluvit, fulla red, yeah.”
“ Just seeing red?”
“Just seein’ red, yeah.”
“Then it’s true what they say about seeing red, huh?”
“You oughta know, detective.”
Stanley must’ve hit a nerve as evidenced by the silence coming from the tape recorder. Apparently Castle did know about seeing red. Holden certainly did. He’d taken to calling it “the red out.”
“All that love and devotion and sincere concern you had for her,” began Castle’s voice anew, “and she pisses on it. Ruins it. You give over everything to Mary, and she spits in your face. Sure, I get it.”
“Alice, her name was Alice.”
“Mine was Mary.”


AND so it goes. No longer is all this information “dumped” on the reader. This lesson is among the most important a writer must learn. Readers will love you for it. So the next time you catch one of your characters trying to carry the entire info dump load, remember the watchword – Interrupts. Rewrite to include INTERRUPTIONS via dialogue, expressions, and actions taken. In reality put yourself into the story and ask, “Would I stand for some guy talking to me for twenty minutes without clearing my throat and interrupting?

ROBERT W. (ROB) WALKER