The Slaughter House Four; Horror Story Villains At Their Finest

It's getting close to Halloween which means plenty of scary movies to fill up my evenings. I love horror movies almost as much as I love the characters that bring them to life. Being strange and whatnot, I categorize my the films into five different types of madmen; you have your psychotic masterminds, then the strong and silent ones, also the children who seem to be from the deepest caverns of despair, and the great and wonderful bumpkins from the backwoods.

1.  Those Estranged Ones With PhDs
My favorite horror sub-genre, the ones that really speak to my inner maniac. Dr. Lecter, portrayed best by Anthony Hopkins, is by far the best example of a highly intellectual loon. (And my favorite one at that...) He is a renowned psychiatrist, with a heart-renching childhood that would explain and somewhat support his psychotic tendencies that pertain to his meal choices. Who doesn't enjoy an eloquent plot line featuring a smooth-talking cannibal? Not only are the films very entertaining, but I am hoping that the novels are just as lovely--I am waiting for Half Price Books to have a copy of Silence Of The Lambs. 

2. Silent But Deadly

If you did not immediately think of Jason Voorhees or Michael Myers, then we need to have a heart-to-heart about what movies you should be watching. These two iconic slasher stars never utter a sound during their films; strange but effective. Can you imagine the dialogue? No. Because the fact that they do not take the time to babble about why they are about to end your life makes them all the more frightening. I mean, they do not even acknowledge the fact that they are about to gouge your organs from your chest. And their masks! Oh the masks! The definition of fear is a blood-stained hockey mask. Very impressive screenwriters. Very impressive...

3. Corn Kids, and the Like
They do not have to be in corn to qualify as "corn kids"--my mother has been referring to me as one for years-- but also anyone named Damian, or orphans who seem too sad and needy; ones who always appear when a building mysteriously burns down, etc. They scare me more than any other "villain"; not only because I have an irrational fear of children, but they just seem more violent in a sneaky manor. They are the ones who usually stab people whilst asleep, or worship a plant that tells them to sacrifice adults for their salvation. Shifty little things, never trust someone under five feet tall.

4. The Hills May Have Eyes, But He May Be Missing One

These are the least fun of horror movies--as in I only experience these when I am attempting to spend time with other monstrosities around my age--because there is no rhyme or reason for the blood and limbs that are scattered throughout the settings of these films. The guys who star in these two-hour intervals of "relations", then stabbing, then some more "relations", then someone prevails to kill the toothless wonder with an icepick. These were not meant to be viewed by the public, and yet they seem to be the most popular. Pop culture, why can I not understand you?

So, no, these do not categorize every scary flick out there; ghosts and aliens and vampires and werewolves. Those are the better side of horror, I prefer the ugly step-sister that is full of fake blood and incompetent policemen. It's like choosing a greasy cheeseburger over a nice steak, I am aware, but old habits die hard.

DFTBA

Key Essentials For an Authentic YA Voice

Jordan Dane
@JordanDane



Purchased from Fotolia by Jordan Dane

On Oct 17th at the KILL ZONE blog, I critiqued the first page of an anonymous author’s work –A Game of Days. Some interesting comments on the YA voice came from this post and I wanted to share more on what I’ve learned from writing for the teen market. My personal epiphanies.
 
Writing for the Young Adult (YA) market and capturing the voice of YA is less about word choices (and getting the teen speak down) than it is about getting the age appropriate decisions and attitude right. Urban fantasy or post apocalyptic plots can build on a world that is unique and unfamiliar. Books like the Hunger Games by Suzanne Collins or the Divergent series by Veronica Roth can have its own voice, so teens are familiar with reading books like this.
 
When I went looking for solid examples of teen dialogue or introspection to share at a workshop, I searched some top selling YA books, only to find the voice I expected wasn’t there. Sure there are YA books where authors can sound authentically teen, but to keep up the realism for a whole book can be a challenge and an overabundance of “teen speak” can date the banter or be too much for adult readers to catch. (Yes, adults are HUGE readers of YA.)

As you read through this list, think about how each of these tips might also apply to writing ANY voice, even book intended for adults. Many of these tips work for cross-genre writing.
 
Key Essentials for An Authentic YA Voice:
 
1.) Use First Person or Deep Point of View (POV)—This technique of “deep” POV, or “close third” person, is used in fiction writing as a glimpse into the head of your character. In YA, I think of deep POV or close third as conversational thoughts deep inside your teen. First person POV is like reading someone’s diary.

2.) Don’t be afraid to mix POVs—You can mix POVs (for example, first person for your storyteller and third person for other characters), but since it’s your story, only you can decide how you want it to be told. Many YA stories are in first person, but more authors are exploring a mix. By adding in the element of third person for other characters, you can let the reader in on what is happening outside your character’s head and add twists to your plot more effectively. Plus if you have secondary characters or villains who may threaten your protagonist, letting the reader in on what’s in their head can make the reader more fearful for your hero/heroine. (Most adult books are not in first POV, but first POV is very intimate and fun to write. My current adult book project has first POV for the main character, but third for everyone else. Very liberating.)

3.) Don’t worry about your vocabulary. Today’s teen reader can handle it. There’s no need to simplify your choice of words or sentence structure if the character warrants it. Just be mindful of the experience level and education of the teen in your story. A homeless kid without much education won’t have an extensive vocabulary unless there’s a good reason for it. If you’re writing a futuristic dystopian book, you’ll be world building and perhaps coming up with your own vocabulary or teen life choices or social customs that would be different from a contemporary YA.

4.) Character first or story first? In my adult fiction thrillers, characters usually come at me first, but in YA I think it’s important to conceive a plot then fit the best characters to the premise. This may help you conjure the most fitting character and voice for the story, without creating a cookie-cutter teen that follows you from book to book.

5.) Don't force it. As many kinds of teens there are, that’s how many varied “voices” you can create. As long as the story is compelling and the characters draw in the reader, the voice of YA only needs to match the tone, age, and character of that story. Don’t force voice or language that doesn’t seem real to you. Your protagonist’s voice should come naturally from the story premise and the conflict, filtered through your head as the author. If you force it, it will show.

6.) How does the story and character motivation affect your storyteller’s voice? One of the biggest mistakes writers make in YA usually has to do with the sarcastic voice. Biting sarcasm alone does not make a YA story. Without a reason for this behavior, the author runs the risk of making their character unbearable, unlikeable and a real turnoff for the reader. The manuscript must have a cohesive story with solid character motivation to go along with the attitude. Even if the voice is great, what happens? Something needs to happen. And if your character starts off with a good reason to be snarky, give them a journey that will change them by the end of the book.

7.) Know your character’s motivation. Sarcasm, voice, and maturity of your character must be driven by a reason in your story to add depth. Provide a foundation for the “attitude” your character has and don’t forget a liberal dose of poignancy. A reader can tolerate a sarcastic teen if a scene ends with brutal honesty or catches the reader off guard with something gripping to make the whole thing come to a real point.  

8.) Beware of stereotypes—Avoid the cliché character (the geeky nerd, the pretty cheerleader, the dumb jock). This doesn’t only apply to YA.

9.) Can you relate to your storyteller? Peer pressure, dating, zits, kissing, sex, being an outsider, not fitting in—these are teen concerns that, as adults, we have to remind ourselves about. With each of these words, what pops into your head? Does it trigger a memory, good or bad? Sometimes the best scenes can come from these universal concerns that haven’t changed for decades. Filtered through your own experiences, a scene can carry more weight if it’s still relevant and relatable.

10.) What is your storyteller like emotionally? What effect can raging hormones do for your character? Is everything a drama? Not all teens are like this. Some are withdrawn in front of adults or in social situations. It’s important to ask yourself: What are they like around their friends and who are their friends? I would resist the urge to create a character based on a teen you know if it’s at the expense of your plot. Certain aspects or perceptions of “your teen” can influence your character, but your book is fiction. That’s why I recommend devising your plot first before you place the right teen in it.

11.) Who or what has influenced your storyteller most? Like in the movie, JUNO, the teen girl had a dry wit that sometimes referenced an older person’s humor. Not everything was “teen speak.” She was influenced by the adults in her life, using references she heard from her dad and step-mom. Her pop culture references were peppered into the humor of another generation. She still sounded young, but her dialogue appeal was more universal. Don't be afraid to make up a word or phrase to suit your character's world.

12.) What journey will your storyteller take in your book? Getting the voice right is only half the challenge. Your YA book must be about something—a plot, believable world building, and the reaction and journey of a real teen amidst it all.

13.) Don’t forget the imagery. Teen readers have great imaginations and can picture things in their heads like a movie. Give them something that triggers and engages their imaginations. Picture your book scenes on the big screen and write them that way, but don’t go overboard and slow your pace. Teens get it. Give them a glimpse and move on. They’ll roll with the imagery.

14.) Turn off your parent switch—If you’re an adult and a parent writing YA, you may find it difficult to turn off your mother or father switch, but you should consider it. Kids can read between the lines if you’re trying too hard to send them a “universal parental” message about conduct and behavior. Simply focus on your story and tap into what your teen experiences were—without censorship—and without the undertone of sending kids a special message. Your story will read as more honest, without an ulterior motive.

HERE is a link on a video about one teenager’s story from The Onion News (DISCLAIMER: I had nothing to do with making this video):


 
For Discussion:
1.) Any other writing tips to make your YA voice read as authentic?
2.) What books have you read where the teen voice seemed very real and please share why you thought so?

Cover up!

You saw it on ADR3NALIN3 first. 

March will be an exciting time in my little writing office. Two books are coming into the world and today I'm revealing their covers to you. The PB cover of The Peculiars features Lena and her impossibly long hands. My favorite detail is that wonderful Victorian glove. It’s quite different than the  HB cover which featured a side character, Merilee. Both covers are beautiful and arresting, but they make different promises to the readers.

And the question I've been mulling over is will this cover attract a different kind of reader? We all know that covers are powerful. They're a preview of what readers might expect in the pages. And they're eye candy, meant to intrigue and seduce us into buying. How will I know if a different cover attracts a different reader?

PB's are less expensive than HC's, so, I can't count on numbers sold to tell the story.  I'll have to depend on reader comments as my data points. This is a grand experiment many authors never get to participate in.

The second cover is for Beyond the Door the first in the Time Out of Time series. The cover artist is Victo Ngai and it’s worth exploring her incredible website. 

 

Notice the small hatch marks next to my name? That's the primitive Irish script, Ogham. Clues about this book are coming. And here is the first one.

Looking Up

By Dan Haring

I've always been enamored by the skies. Whether it's shooting stars or sunsets or rainclouds, I've always loved looking up. I don't know why. Maybe it's some desire to escape, to soar above this world. Maybe it's just the vastness of it all. Maybe it's the inability to measure what's in a cloud, or to imagine that the moon is shining down only for me. For whatever reason, I've always loved it. Before digital cameras, I'd routinely fill up rolls of film with pictures of the sky. Now I just fill up my phone.

I was riding down the freeway with my family the other day when I saw a massive cloud churning across the sky. I tried to snap a picture, but a wall of passing trees was too quick and obscured everything. So I had to wait a few miles before I caught sight of it again. When I finally did, it had changed to this:

I know it's not a perfect likeness, but my first thought was, "It's FALCOR THE LUCKDRAGON!" Now, The Neverending Story might be one of those movies that people love because they grew up with it. But being one of those people who did grow up with it, I'm proud to say I love it. If you haven't seen it, you should still check it out. It's a fantastic tale, even if the filmmaking effects don't quite hold up. But back to the point, if I hadn't been looking up, I would have missed this pretty spectacular cloud. 

There's an Ani Difranco lyric that goes "When I look down, I just miss all the good stuff. And when I look up, I just trip over things." I'm not saying we should wander around with our heads in the clouds all the time. Everyone has responsibilities and I'm not advocating we abandon them. But once in a while, take a break from checking Facebook on your phone and look up, look around. See what beauty and inspiration is out there.

You're probably going to trip over more things. But I'd rather do that than miss all the good stuff.