We’re all professionals here. We’ve fought through pain and fear and so dang much rejection to stand where we are. And we’d like to have a little cash in our pockets as well as a few books under our belts for the trouble.
Part of the process of getting paid is learning the system and how to work it. Figuring out how to best market ourselves, how to read markets, and how to give those markets what they want. How to make things people want and get them to part with their cash for it.
And there ain’t a damn thing wrong with that.
I want every artist out there to make their paper. Pay a bill or two. Maybe not die of starvation. Please stop laughing at the concept of paying a bill or even buying a basic coffee on the proceeds of a sold poem.
But, do you remember that first time you put rolled ink or scraped graphite to paper? Perhaps clacking keys on a glowing screen? The exploration. The creation. The pure, ecstatic joy of it.
Now, be honest with yourself when you think about this next question. Don’t yield to the need to lie. Be straight. Do you let yourself feel that same joy when you write now?
It’s easy to fixate on the artifice of our art, but it eventually pokes through the surface. It can too easily become all our art is—our soul another product we mold for maximum profitability. One that, ultimately, falls too flat and cold to sell well.
We’re taught that craft makes the sales, but most readers don’t care about your perfect scansion. The reason Bukowski and Plath still sell well doesn’t have a single thing to do with their admittedly solid craft. They laid themselves bare. Wrote what they needed to.
People resonate with that.
As a fan, I want you to find that fun again. I want you to go for it. Full bore. No restraint. That weird-ass, freaky thing no one would like and pretty much everyone would judge you for: I want that in my eyeholes.
I want you to play with words. I want you to tell my analytical side to take a flying leap off a short pier into the ever-sucking abyss of heartless nihil. Forget everything every professor and professional ever taught you and have a little fun with those words. Let that early version of you dance in the sandbox of this fallen, idiotic world.
Create the art that only you want to see in the world. Something so specific and weird that you know with every fiber of your being that no one wants. That messed up amalgamation of baby bits and juggled ejaculate. That saccharine sweet adoration we’re all too cool to admit we desperately need in our lives.
As an example, I’ll leave you with my favorite poem from my first published collection, Meaningless Cycles in a Vicious Glass Prison. It’s based on a silly joke from an absurd movie about zombies and murder that few people know about, and I DON’T CARE. I had fun writing it. I want you to have the same fun writing your own stuff.
BY WHOMEVER I PLEASE
It’s a girl’s right, after all. My body, my choice, you know the drill. So, if I want to feel clammy, frigid lips wrap themselves around the meaty edge of my arm while his teeth force their way inside me, spilling forth gushing rivers of my interior juices, then you can just mind your own fucking business and move along.
What are writers to do when they have an idea and the ambition to write something they’re not yet skilled enough to write or don’t know how to tackle? How do you know if your capabilities are inadequate or you’re simply not working hard enough?
Kyle Winkler posted these questions on Twitter the other day, and they intrigued me enough to write this post.
When your literary reach exceeds your grasp
As readers first, writers can comprehend and appreciate writing at a level they’re not yet capable of producing. If you conceive an idea and attempt to write the piece but can’t pull it off for one reason or another, you’ve tried but may not have the skills to complete it or to fully realize your intention for it. Or you haven’t yet stumbled on how to approach it.
This doesn’t mean you’re not working hard enough; you’re simply working to the limits of your capabilities at this point in your career. Stephen King wrote Carrie first and The Stand later.
There’s also a difference between knowing something’s not right and knowing what’s not right—and how to fix it. This only comes with experience and continuing self-education and practice.
Enter the writing process
I recently developed a writing process I hope to perfect so that I’m always producing work. The phases I still find challenging are Ideation, Brainstorming, and Plotting—developing an initial idea into a workable plot with a beginning, middle, and ending. (Character development and theme also fall into these stages.)
“Working hard enough” may mean you shelve a piece, continue to write other things and study writing craft—for years or decades—before you get back to the piece with the increased capabilities to identify what’s wrong or what’s needed and then go on to fix it or otherwise fulfill your initial creative vision for it.
Development of a novella
For instance, I originally got an idea for what I thought was a supernatural horror short story back in September 2004 after reading William F. Nolan’s 3000-word story, “Diamond Lake.” The earliest draft of my story I produced, tentatively titled “Kissing Cousins,” was also 3000 words, dated March 2005.
But the story didn’t work, and I didn’t know why. I sent it out for critique and comments, much of which I incorporated in further drafts. It still wasn’t right, and I was at a loss to discern why.
More edits and another critique in 2007. Still not right.
In 2008 I workshopped this story at Borderlands Writers Boot Camp in Baltimore. I got some great feedback (altogether a terrific workshop experience that really boosted my writing at the time—I can’t recommend it enough), but I still couldn’t make the story work. I vaguely remember another participant saying, “The story should be longer.” That was helpful yet simultaneously frustrating because I didn’t know exactly how to do that—should I pour more words into it simply for the sake of making it longer? (This was the beginning of progressing from something’s wrong to what’s wrong.)
One of the many problems with the piece was that I relied on a lot of “telling.” Looking back on it now, it was an indication that, instead of the narrative of an actual story, I had the narrative of an outline of a story. (This is when I progressed from knowing what’s wrong to knowing how to fix it.)
In 2008, I completed a series of worksheets I’d previously developed from helpful writing texts. This got me closer to the story I wanted to tell, which I’d retitled as “Oddington.” From that process, I expanded some of the outlined portions into dramatized scenes and grew the piece from 3000 words/13 pages to 13,000 words/60 pages. I now called it “Dinosaur Rock.”
I was getting closer but, nope, the piece still didn’t come together. I shelved it for over adecade.
The missing puzzle piece
I wrote no fiction and read little in 2020, especially the second half. Terrible time with health problems compounded by COVID isolation. But at the beginning of 2021, I got back into reading writing-craft books and came upon three by K. M. Weiland: Creating Character Arcs, Structuring Your Novel, and Outlining Your Novel. (Character Arcs was new, but the other two I’d had on my shelves for five years and never read.)
What I learned in these books wasn’t new (I’ve read and studied hundreds of craft books in the past thirty years), but it crystallized a portion of my writing process. Along with the study of theme (The Moral Premise by Stanley D. Williams, Writing Your Story’s Theme by K. M. Weiland, and Writing Deep Scenes by Alderson and Rosenfeld), developing a workable process to get from Idea through Outlining enabled me to fill in the story’s holes so I could get to the Drafting stage. I developed many more worksheets/questionnaires that are now part of my Scrivener project template that I copy to begin a new book.
How I proved my writing process
I codified my writing process and cultivated a new idea received January 21 (for which I highly recommend Meredith and Fitzgerald’s Structuring Your Novel) into a Plot with a beginning, middle, and ending. Using the new worksheets I developed from the Weiland books, I co-developed my protagonist’s internal character arc with the external story/plot arc into a somewhat detailed scene-by-scene outline in a month. I spent another twenty-nine days Drafting. I finished April 18 with the first draft of novel #7, a 40,553-word horror/mystery. You can read more about my stats at Novel #7 Finished.
The previous paragraph is here simply to prove (at least to me) my process works.
While #7 gelled before I began Editing, I wanted to get to work on something new. I toyed around reviewing my ideas file but, clicking through my FICTION folder on my laptop, I came across the dusty “Dinosaur Rock,” and a bloody flower budded in my twisted little mind. Forgetting everything about Lucy holding the football for Charlie Brown to kick, I reviewed the old worksheets and reread the 60 pages I’d written back in 2008.
I was convinced this piece still had potential and that finishing it was imperative because I had something important to say. (Certain pieces nag you for a reason—don’t give up!)
Even though part of my work was done years ago, in that I’d completed a few worksheets, I went through my entire, newly developed Brainstorming, Plotting, and Outlining stages and completed all of my current worksheets.
Lo, and behold, missing pieces showed up, and I began to see what was wrong as well as how to fix it.
I Outlined those plot holes, Drafted the dramatized narrative, and plugged the results into my Scrivener project. I compiled and printed, Edited it, and sent it off to a beta reader last week. “Dinosaur Rock” finally came out to 17,800 words/71 pages, a novella on the shorter side.
It took nearly twenty years, but because I intended to finish the piece, continued to study writing craft and occasionally worked on the story to apply new things I’d learned, I was able to move from something’s wrong to what’s wrong to how to fix it.
Certainly, I have more revision and editing ahead of me, but this piece is finally realized. And I now have a new perspective on “abandoned” ideas and Inspiration in general.
Knowing your process helps get you from something’s wrong to what’s wrong, and perhaps even how to fix it.
The prescient power of ideas
Second, not to get all religious or metaphysical (well, maybe metaphysical), inspiration takes faith as well as hard work to realize.
Have you ever had an idea for a book, but either didn’t know how to execute it or didn’t get around to writing it, and meanwhile someone else published a book based on that same idea? (I’ve kicked myself more than once over this.)
I believe that Inspiration in the form of Ideas is “out there,” seeking any and every channel to be communicated to humanity. Those with sensitive receivers (a.k.a good old-fashioned imaginations) pick up on these Ideas. Fewer have the capabilities and skills to develop these ideas into a Plot that can be encoded as narrative (Drafted). Others who have studied their craft and developed a process are able to realize those ideas into a finished product (Marketed).
Ideas are like seeds that seek to propagate themes in the soil of humanity’s minds. Inspiration, whether it comes from the Divine or the Collective Unconscious or your own creative brain, needs a process to materialize Ideas into marketable material that can be consumed by the reading public.
Some writers are fortunate enough to realize this process early in their careers. And some are blessed enough to have it internalized. I ain’t one of them.
I took AP English in high school. I earned a bachelor’s in English and a master’s in Writing Popular Fiction. I attended many workshops and conferences and classes, read hundreds of books on writing craft, and wrote a lot of unpublishable stuff. It took me fifty years (I started writing horror fiction in second grade) of grueling work to identify and codify a process to generate fiction from Idea to Market.
Inspiration doesn’t take your present skills into account. If you’re open to receiving an Idea, you’ll get it. Your ambition may outpace your capability at this point in time, but ideas and ambition have a prophetic influence on your career: They give you something to work toward and live up to; they call you to develop your art and skills so that someday you’ll be able to realize your literary visions.
Never criticize your capabilities. They are what they are at this point in time. And that’s good reason to keep working hard, reading fiction and writing craft, studying, trying, burying and resurrecting, and trying again. You can’t force professional development, but you can get better over time if you apply yourself.
How to nurture a big idea
If you’ve conceived a story you don’t yet have the ability or know-how to write, the first thing to do is set your intention that you will write it. If you can’t be positive about it, at least remain neutral; anything else is unproductive.
Recognize it will take a while until you get to it. Know that you’ll need to think about it, consciously and subconsciously, until things percolate. Understand you must continue to study and practice to get to where you can write it.
Then do what you can on the project today, even if it’s creating a folder on your computer, starting a Scrivener project with your working title, and making a bulleted list of possible ideas for the piece. (Again, I recommend Meredith and Fitzgerald’s Structuring Your Novel for its chapter on turning your idea into a plot.)
In some small measure, you’ve moved from thought to materialization. Even if you don’t touch the project for a year or a decade, you’ve begun. As further inspiration comes, be sure to capture it.
Granted, not every idea you receive or generate will become published material. I have a slew of ideas I’ve recorded over the past thirty years that remain seeds. A few will someday germinate; others may never progress to Brainstorming. Some might make it to Plotting, where I’ll lose interest in them.
But there are certain seminal ideas that will not let you rest. They may frustrate or disturb you. They haunt you and won’t let you go.
If you’re in possession of one of these, nurture it. Though you may be unable to fulfill that vision today, don’t give up. Set an intention for fruition. Remain neutral and receptive. Do what you can do today. Develop your writing process. Study. Learn. Apply what you’ve learned. Try again.
One day, you’ll find the missing pieces that let you complete the puzzle and see the big picture.
Every scene needs conflict. And every scene must “turn.” Here’s some insight about the turning point, a crucial ingredient of every scene.
What’s a Scene?
A scene is a discrete story segment in which your characters engage in conflict and take significant actions that you portray memorably as if the events were happening in real time. Robert McKee in his seminal STORY recommends that every scene be a story event. And every scene must “turn.”
What’s at Stake for Your Character?
A scene is like a story in miniature: it has a beginning, middle, and end. “No matter locations or length,” says McKee, “a scene is unified around desire, action, conflict, and change.”
A scene begins with a problem or goal that’s based on some value at stake in your character’s life at the moment. What’s at stake? Love? Truth? Safety? Honor? Justice? Meaningfulness? Action genres turn on values such as freedom/slavery or justice/injustice. Educational stories turn on interior values such as self-awareness/self-deception or life as meaningful/meaningless.
In chapter 1 of THE SIXTH SEED, my protagonist Tom Furst’s freedom is at stake, both personal and financial.
Examine each of your scenes and identify what’s at stake for your character.
What’s Your Character’s Objective?
Tom’s goal is based on a desire to change the current state of his freedom.
In each scene your character pursues an immediate, short-term desire. This scene goal must be sub-goal of his or her greater story objective. In a scene, your character goes after this scene goal by enduring conflict or opposition to make a decision or take a specific action.
The scene portrays this push and pull. The process is built on beats, individual units of action and reaction. Your character says, “Stop doing that.” The opposition says, “I won’t.” Beat by beat, this dance of behaviors escalates progressively. The last beat must end with a turning point.
Deliver the Unexpected
In this process of mounting action/reaction between your characters, their conflict produces a big reaction that your character failed to anticipate. McKee explains that:
The effect is to crack open the gap between expectation and result, turning his outer fortunes, inner life, or both from the positive to the negative or the negative to the positive in terms of values the audience understands are at risk.
Your character asks, “Why won’t you stop doing that? It’s hurting me.” The scene antagonist replies, “Because your best friend likes what I’m doing. And I’m in love with him.” BAM!
In this way, a scene creates change in a minor yet significant way. So how do you set this up?
Polarity Must Change
Once you’ve highlighted the core issue, state the charge of that value at the start of the scene: positive or negative.
For example, with Tom Furst in THE SIXTH SEED, the value of freedom at the start of chapter 1 is negative. He’s between a rock and a hard place and needs to increase his freedom to gain some financial breathing room. His goal is to undergo a vasectomy (a procedure so intense you have to read it for yourself!), a small step in gaining that freedom back—or so he thinks.
Your characters begin the scene with two things: the current charge (+/-) of their core value at stake, and their immediate goal. Then, they:
Encounter the opposition (who also has a goal and value of their own)
Engage in conflict (exchange escalating behavior beats)
Finally experience an outcome
This outcome is the turning point of the scene—the moment where your character’s value changes polarity.
The effects of turning points, according to McKee, include: surprise, increased curiosity, insight, and new direction. The turning point provides new information and a goal for the next scene.
At the end of the scene, what is the state of your POV character’s value? Is it positive, negative, or both? Compare the charge at the beginning and the end. If the value doesn’t change polarity, then why is the scene is in your narrative? McKee points out:
If the value-charged condition of the character’s life stays unchanged from one end of a scene to the other, nothing meaningful has happened; it is a nonevent. If a scene is not a true event, cut it. If the scene is only there for exposition, it needs more justification. Every scene must turn.
How to Make Your Scenes Turn
Craft your scenes using the following process:
Begin with a value at stake in your character’s life. Base a scene goal on that value. (You could also start with the goal and discover the value at stake.)
Determine the motivation and goal of your scene’s opposition. (Your antagonistic force cannot exist merely to give your character an ass-pain.)
Over the course of the scene, challenge and threaten the state of that value through conflict between your character and the opposition. Beats should escalate logically and progressively (not leap a chasm from rationality to absurdity or from laxity to high tension).
Determine the final beat that is the turning point, the reaction that bears the fruit of surprise, increased curiosity, insight, or new direction.
Evaluate whether the beat process and turning point have changed the polarity of your character’s value. If not, keep working.
What is the outcome of the turning point—the surprise, curiosity, insight, or new direction? This is the starting point for your next scene in this plot line.
Note: If you’re a pre-plotter or outliner, you might find it useful to map the value/goal/turning point/outcome for each scene to ensure that your scenes are linked logically in a greater chain of cause-and-effect over the course of the narrative. Just as beats escalate to a turning point in each scene, so do scenes escalate to major turning points or reversals in the broader narrative.
Test this process by analyzing scenes from well-written books. Apply the process to your own scenes. If you find it helpful, I’d love to hear from you. Please like this post and subscribe. And spread the word!
For the last seven years, I’ve worked full-time from home, and by the time my work day is done, I’m ready to get the hell out of the house. Most evenings, Saturday afternoons, and Sunday mornings, I camp out in one of the many coffee shops on the east side of Pittsburgh. But even this routine is wearing on me.
So I decided to do something new and adventurous: the Motel Writing Binge.
This is where I go somewhere—sometimes for research, sometimes just to get away—find a cheap motel, and binge-write for an evening and a morning.
Research in Clarion and Oil City, Pennsylvania
For instance, last weekend, I needed to do some research at Clarion State University for novel #6. A friend who lives in this quaint little town took me for a tour of the campus while I snapped pics with my iPhone and we caught up with what’s going on in our lives. Here are a few photos from the campus.
After dinner, I fired up my laptop in the junky little room and wrote til 11:00 p.m. (This particular Super 8 Motel room was more like a Crappy 2…)
I woke at 5:30 a.m. the next morning, snagged some unspectacular yet complimentary foodies and COFFEE in the motel office, then went back to writing til 10:00 a.m. Then I traveled to Venango College (now a branch of Clarion University) and checked out the tiny campus. (My protagonist in novel #6 gets his nursing degree there.)
I drove in to Oil City, which I’d never been to before. I discovered the Venango County Museum of Art, Science, and Industry, so I made a donation and learned about the historic oil boom in the area—and about Rattlesnake Pete.
They happened to be holding a street fair, so I listened to the live music, visited the vendors’ booths, and bought some jewelry. Then I devoured half a barbecued chicken and came home pleased with my weekend adventure and the work I got done.
At the Terrace in Brockway, Pennsylvania
I had no research to conduct in this little town in northern PA, but I always pass through there on the way to my parents’, so I parked my carcass at the Terrace Motel on Main Street last night. Better digs than last weekend’s Super 8. I brought leftovers with me, which I ate cold. (I’m a tuff sumbitch.) Then I wrote for three hours on novel #6.
I woke at 6:30 a.m. this morning, hiked across the empty highway in the drizzle and got myself some breakfast and a huge COFFEE at the Sheetz. I wrote til 9:30, when I threw my stuff in the car and then drove further north to my family reunion, where I laughed too loud and ate too much.
My take on the motel writing binge experience
I would say that anything that jolts me out of the familiar routine helps to fuel my creativity.
Motel binge-writing doesn’t cost a whole lot ($46 for the Terrace), but it’s not free either, so I want to get my money’s worth. I have all my basic needs met (bed, bathroom, reading lamp and electrical outlet), but there are none of the distractions that seem to lure me away as they do at home. It’s hard to believe I get distracted by things like laundry and watering the plants, but I do. Usually it’s Facebook…
If your cheap motel is in the middle of nowhere, there’ll be nothing out there to distract you, either. Except maybe for the yahoos in the room next door. Just make sure you bring shampoo, any writing resources you may need, and that you have access to COFFEE if you need it.
I had a couple of great weekends, and I can’t want to do it again. If you’re considering this option, all I can say is, give it a try!
I finished ahead of schedule, completing the first draft the evening of April 4, 2013, at a total of 51,167 words—very close to my revised goal of 52,500. I was ecstatic! Since the beginning of 2013, I’d been spending two hours almost every weekday evening, and three to six hours on Saturdays and Sundays, plotting and writing. My all-time daily writing record was 2528 words on 3/26; my weekend writing record was 5024 words on 3/29-31; my daily average came out to be 1339/day.
I forced myself to let it cool for a week (well, almost a week) while I worked on getting DEATH PERCEPTION ready for release (next month). Today I exported THE BEDWETTER Scrivener project to a Word file and printed out the entire draft: 241 pages. I will begin my read-through tonight, making notes in the margin. Here’s a peek at the first draft. 🙂
I’ll keep you updated on my progress. In the meantime, drop me a line!
I’ve started to keep track of my writing progress and wanted to update you in a more comprehensive way than my daily Facebook status updates and tweets.
Idea Development in THE BEDWETTER
I originally received inspiration during some time off I took at the end of last year. I got the idea about a young man being punished in a horrifying way for wetting the bed. I used those two weeks to formulate a big-picture plan for the story, filling out plot and character questionnaires, just getting to know the story.
From that point on, I began to hear this character’s voice and was often interrupted by creative “downloads” of information that I would later work into scenes and dialogue.
Plotting of THE BEDWETTER in Truby’s Blockbuster 6
I spent all of January and the first half of February doing more detailed plotting using John Truby’s screenplay development software, Blockbuster 6. The application leaves a lot to be desired, but it enabled me to draft a list of scenes and arrange them in the right order. Then, I fleshed out each scene, answering questions such as:
My challenge in writing this scene
My strategy for writing this scene
The scene goal (POV character’s desire)
The character’s plan to achieve the goal
The opponent in the scene
The scene’s conflict
Any twist revealed
The scene’s moral argument (value A vs. value B)
Blockbuster 6 also enables you to include the structures of up the three genres in your story (for example, horror, thriller, and myth); track six storylines; and monitor key words, symbols, and tag lines.
I completed a scene form for 59 scenes in the book, and included in each scene some details about what needs to happen and the information I must reveal when I write the scene.
Drafting THE BEDWETTER in Scrivener
I downloaded the Beta of Scrivener for Windows over a year ago and played around with it, but didn’t use it seriously. I got serious with THE BEDWETTER. I created folders for characters, research, and scenes. Scrivener 2.0 isn’t perfect either, but it offers scads of cool project management features geared toward writers. I love using it now and likely will continue to do so.
Starting mid-February, I began taking my Blockbuster scene sheets and writing actual scenes from them. Weeknights I would spend two to three hours in any one of half a dozen coffee shops around Pittsburgh’s east end—the same on Saturdays and five hours on Sundays—drafting scenes and making progress. I didn’t start keeping detailed stats until March 3, but here are my word count stats so far:
My initial goal for a first-person, present-tense novel in this voice was 42,500 words. But by the time I finished the beginning scenes and started writing the middle, I realized it would be longer. My present goal is 52,500. We’ll see where it comes in at when I’m finished. And I already have 45 scenes; my total will exceed 59.
Read the First Scene of THE BEDWETTER
I invite you to read a draft of the first scene. I’m warning you, it’s dark. (I’ll confide that some of it has been tough to write.) But I must remain true to my inspiration. This story wants to be told, and I’ve never before enjoyed such a flow of ideas and writing.
I’ll keep you updated on my progress. In the meantime, I’d love to hear from you!
The number one rule in writing is that if you want to write, and write well, you must write every day. Poetry is no exception. When I decided I wanted to become a poet—something I distinguish greatly from being a fiction writer—I knew it wouldn’t be easy. Poetry doesn’t have a huge market, it certainly doesn’t pay well, and to add to the frustration, when you throw genre on the table, you’re looking at a dead end.
Except you’re not.
I’ve dabbled in literary—as I think every up-and-coming poet should—but anyone who knows me realizes my heart is firmly cemented in the black shadows of horror. So not only am I a poet, but I’m a horror poet, and contrary to the monsters and creatures that we all know and love, we do exist and there is a market for us.
And for you, if you’re willing to take the jump.
My connection with poetry has always been very visceral and intuitive, and I’ve come to realize, that unlike my prose, it’s not something that I can just sit down and work on routinely like a job. I need inspiration, crave it, and much like a succubus, I bleed the art form dry when I’m done. It’s hard for me to describe it, but for anyone who has seen what Bo does to her victims in Lost Girl, you can get an idea of how poetic energy works for me. Before I can act, I need a source. A vein. Something living that I can tap into.
Usually it’s art.
Most of the time it’s music.
Sure, I have times where I experience a swell of emotion spiraling inside of me and it’s easy to find the words to expel it, but other times I need to look at or listen to something so I can get hold of its story. Pinterest has been a great optical vessel because I can sweep through pages and save visuals and sayings that speak to me, and make collages or boards based on a specific piece or particular emotion. This is a great way to do character studies or pinpoint locations, and I find myself coming back to it more and more when I need assistance purging a poem.
Spotfiy, however, is my auditory mistress. I pace my writing based on the song I’m listening to, and I recently became enthralled with artists such as Jill Tracy, Johnny Hollow, and Sopor Aeternus. Their music is dark, seductive and beautifully gothic; it’s a wonderful aid when it comes to soft, psychological horror. But I would be lying if I didn’t say that one of my favorite pastimes as a horror writer is creating and administering the kill scene. In poetry, you don’t have the luxury of going on for pages about a kill. You have to be quick, fast, practiced, and effective. Much like if you were actually going to commit a murder.
So let’s write a horror poem using this process.
Step 1: Find your victim. Put on your favorite, high energy song or look up a piece of artwork. (These don’t have to be scary. They just have to elicit emotion). For example, here’s my current inspiration:
Currently playing: “Click Click Boom” by Saliva
Victim: A stalker
Step 2: Predict their next move. If it’s not scary, how would you make it creepy? If it is, how does it make you feel? This will give you your topic. Here are thoughts I jotted down:
Observations: He doesn’t see me watching him, watching her. He thinks he’s going in for a kill, but doesn’t realize that tonight… he’s the victim.
Step 3: Stalk and take notes. Write down individual words or phrases that come to mind when thinking about the subject matter.
Notes: Oblivious, sloppy, unaware, misogynistic, rape, watching, young, pain, knife, old blue jeans, broken, pervert, swelling sex, doesn’t understand, who does she think she is, I deserve this, curls, masturbation, innocence, gun.
Step 4: Go for the kill. Be creative and don’t limit yourself. Feel free to play.
Here’s what I came up with using this process.
Her Stalker’s Stalker
By Stephanie M. Wytovich
He watched her pull her auburn hair
Back into a loose ponytail, moaning
As flyaway strands caressed her teenage face.
He stroked the barrel of his gun, pretending it was her
Fragile hands around his cock,
Thinking, hoping, that after tonight he
Wouldn’t have to imagine it anymore.
He liked to watch her like this—
Catch her in the throes of passion
As she discovered her womanhood,
Felt what it was like to touch herself
Between the legs—but what he didn’t
See, was me. Me pulling back my soft,
Black curls into a ponytail, and
Fingering my knife as I watched him
Watching her, while I planned my kill.
I’d love to know how this process worked for you. Send your creations and trophy kills to wyt3319(at)gmail(dot)com, and I’ll showcase your poems on my blog at: http://joinmeinthemadhouse.blogspot.com/
Stephanie M. Wytovich
About Stephanie M. Wytovich
Stephanie M. Wytovich is an alum of Seton Hill University where she was a double major in English Literature and Art History. Wytovich is published in over 40 literary magazines and her collection of poems, HYSTERIA, will be released this summer. She is currently attending graduate school to pursue her MFA in Writing Popular Fiction, and is working on a novel. She is the Poetry Editor for Raw Dog Screaming Press, a book reviewer for S.T. Joshi, Jason V. Brock, and William F. Nolan’s Nameless Magazine, and she plans to continue in academia to get her doctorate in Gothic Literature.
Every story, no matter how long or short, begins with a kernel of an idea. I like to call it the What If? moment. With MIAMI SPY GAMES the basic idea presented to me was, “What if there was a weapon that could turn people into zombies?”
That was what was pretty much dropped into my lap when Hobbes End Publishing came to me with the idea to write this story. I love a challenge, and when they gave me the three main characters and not much about them, I was even happier. I was allowed to create the story as I wanted, and it wasn’t being treated as some kind of adaptation, where I’m given pages and pages of notes and storylines and forced to implement them.
It’s always fun when you’re given the keys to another kingdom, I suppose. But you know what ended up happening? MIAMI SPY GAMES became my world. I populated it with secondary characters, created all the bad guys and situations and settings, and The Powers That Be let me run with the ball.
The story progressed in ways I didn’t expect, like certain minor characters stepping up and moving the plot along in intelligent ways, and certain characters’ personalities having an effect on the people around them. The bad guys ceased to be one-dimensional cartoons and became real and suddenly more deadly, and the ACES team weren’t just three pumped up killing machines who made no mistakes and had no feelings.
There became several What If? moments during the writing, and each character had to find their path while bumping into the other people around them. Like in real life.
And the story kept progressing.
If you have any questions about the MIAMI SPY GAMES series, I’d love to hear them: email@example.com.