Character Models

            When one has a story to tell, it almost always involves people, or characters who make up the tale. A notable exception is Jack London’s The Call of the Wild where the main character is an animal. I have found that for my stories, the plot occurs first, then the people involved slowly reveal themselves. In some other cases, however, I have had an encounter with the character first, then they reveal the story to me. Either way, the people involved are always paramount. The question arises, however, whether the character should be completely fictitious or based loosely on an actual person?

            I see no cut and dry answer for this, as I have done both. Some actors in the works are completely original and exist in the story alone. I have had some, however, who have been shaped and modeled on people I have known. One of my favorite people of all time, my character Robert Latour, is based on a dear old man in John Knox Village. Another of mine, Richard Cacciare, is constructed from the actor William B. Davis, the infamous Cigarette Smoking Man from the series The X Files. I have used models for some of the women in my works as well. The girl at the end of Bleodsian is taken from two actual students I know at the university. Using character-models can be advantageous, so long as you do not lift that person from reality and drop them in your story. You cannot simple write about someone else’s life; merely let the person be a loose guide for you. You can certainly mimic their attire and persona, even copy some of their wardrobe habits, but do not take John Smith as he is and put him in your story. Think lawsuit on this one, especially if John Smith happens to act as my characters usually do!

            Others of my characters are derived from the inner layers of my mind. I admit I have a pretty basic stockpile of characters I use when writing. Most of my women tend towards this stockpiled model, relishing in their raven hair and ethereal appearance. My women usually are black haired, although Caroline Asher started out as a blond. For these women, think Sarah Brightman or especially, Tarja Tururen, from the band Nightwish. I default to these types, what more can I say. The men are typically older, perhaps middle-aged. I understand the need to diversify this collection, and I am working towards that goal with the introduction of new and younger individuals. I just completed An Unbinding Tie where the main individual is a young man, so I am making progress in that direction.  

            When choosing a person for a story, let your mind roam and allow the spirit of the story to work. You need not stalk people. Actually, please don’t. I will not bail you out of jail. Just let each encounter you have speak for itself. The character will say, when the time is right, “that is me.” Then you have a face to put with the idea. Again, no stalking or hunting. Do not take pictures or harass the person. If you know the person, ask them if it is alright if they “model” for you and allow you to probe their personality. Winston Groom, the author of Forest Gump had a close friend who embodied Gump for him, and it was from that friend that Groom got his idea for the ping-pong playing, shrimp boat steering character.

            Lastly, and most importantly, be certain that you limit your connection to the actual person. By this I mean, if you are writing a story which involves a person you know, make the character distanced from the actual person. The living model would not like being accused of something derogatory. Take the image and make it your own. Lawsuits can come out of an issue such as this, and you can be accused of libel. Watch yourself.

            As always, good luck writing!

             

Otherness

            I recently read an interesting blog by another author on writing within the confines of culture and the time of the character or author. There is a huge avenue for historical fiction, but many writers choose to set their stories in the time they know best: the present, and their own present. Although my stories also take place in what I know to be the present, I prefer “otherness” to exhibit itself in my writings.

             Otherness, as it is termed, is the absence of all that is attached to time, to put it mildly. It is not the total absence of technology; my characters are not living in primitive environments, but are very much active in their worlds, although their world is but for a moment. Many of my stories are within the confines of a single “scene,” or episode with little or no scenery change, (some, however, deviate from this patter). With this method I have been able to create a timelessness for the story and allowed it to fully embrace the existential moment.

This is a key component of otherness, the existential moment. Existentialism was a philosophical and theological movement some decades ago which brought extreme emphasis on the moment, the single moment. Paul Tillich, a German theologian, wrote a book entitled The Eternal Now. It is his view that we as humans have lost the past and have not yet gained the future. All we have is the “now,” the eternal now. It is in the single moment that we all exist and have our being, and this idea comes through brilliantly in my writings.

The characters are detached from time and placed in one moment; as mentioned above, many of my writings take place within the span of an hour or less, if one were counting. Few objects are mentioned to set a definite location of time; I neglect to mention certain items such as computers, cell phones, satellites and so forth. I rely on more traditional gothic landscapes and Poe-like scenes, opting for isolation and seclusion without the modern amenities we have all come to embrace.

I admit it is very difficult to sometimes escape our cultural and technological limitations. Technology is so prevalent today and is so much an active part of our lives that it is nearly impossible to write a story without some item of the technological universe creeping in. Computers, internet, wifi and cell phones can all be found on the person, and even in the remotest of woods one is bound to have some type of reception. It is in reaction to all this, I believe, that I choose otherness in my writings.

I admit freely I am at odds with contemporary culture and disillusioned with the state of the nation today. My eyes fall upon a landscape which seemingly offers little to the new generations. Banks fail, the government no longer functions, the bottom is trampled while the top rejoices. When I view all this, I want an escape, not a renewal or re-imagining of thought. I want otherness in my readings, not a constant and blatant reminder of how things are. Otherness is escapism.

If one were to attempt to incorporate this type of style into their writings, I would suggest two things: lose your attachment to the culture, and embrace the power of the moment. First, we as a culture are so absorbed with technological marvels that we feel life has no substance without them. It is perfectly acceptable to include the modern cultural elements; if one is looking for timeless, however, forsake the world and all its entities and rest in the moment. Second, you must embrace the power of the moment. We have behind us a past which is lost forever, and before us a future we have no certainty of gaining. I stare with tear-filled eyes at that which lies both behind and before me, knowing I have neither. What I do have, however, is the moment, the single moment in which all creation exists. Within its confines do I live and breathe and have my being. We have nothing but the now; all else is gone forever, the past slipping and the future fading before me.

This is otherness….

On Literary Inspiration

            Today’s entry concerns the idea of inspiration. How does one become inspired to write, or what inspires a writer? I have heard of different methods and have even witnesses a few. I do believe, as far as prompting goes, that nothing inspires a writer to motivation quite like a deadline! What I am concerning myself with today, however, is the origin of the ideas themselves. It has been my experience that the ideas simply come to me when I least expect them.

            A writer’s mind is ever active, always pulsing and grinding through the daily routine. A tall tree, the smell of paint or a subtle comment can cause the mind to reel and turn in aggressive new ways for the writer. I have had concepts come to me when I was painting, or merely walking. Some of my best ideas appear when I take a stroll and allow my mind to wander, examining the items around me. It is also how I can solve a dilemma in my story.

            I find that old structures often give a degree of inspiration to me. I have one pending project which originated in an old hotel in South Florida. The idea of historicity always moves me; the fact that so many people, from many different time periods, have passed through a certain location always inspires me. Think of the power of their impact on the area they inhabit. Such starters as this always help to get me motivated to write. As a writer of horror, I also find cemeteries and dark forests mentally illuminating. Recently, I have turned to the swamps surrounding the area for a source of inspiration. The majority of my short stories are more location (scene) based than character based, so you may have noticed I placed a lot of emphasis on scene inspiration. Locations are wonderful, but the human experience which occurs in those scenes can be even more powerful.

            Stories of personal tragedy (or triumph) can also lead to a great story idea. It is not plagiarism to read one’s story and draw notions from it (do not simply lift their story onto your pages; that is plagiarism.) If you read about a person who lost a loved one in a drowning accident, or was finally able to marry their soldier lover, then take the underlying concept and translate it. All humanity suffers and rejoices, so take the lessons and use them for your work. On this note, I admit that some of my best ideas have come from the reading of ghost stories; they give ample detail of the area, have an element of historicity to them, and are already imbued with the scary element I so desire. These are the places and things which often inspire me; the inspiration, however can come when one least expects it.

            When an idea happens to arrive in the vaults of your mind, it is best to record it as soon as possible. I keep a book with all my story ideas recorded therein. When I write out my thoughts, I usually write all that has come to mind, neglecting nothing. Remember, you just might not be able to remember those “I will remember this” thoughts, so inscribe them for longevity. The book I keep is replete with scribbled pages and tacked on sheets of paper. I also include any information, such as flyers or maps of a particular area, if such is available. I then date the page so I can laugh when I finally get to the idea two years later! I treat all stories the same: novel and novella ideas are no different than short story ideas. They all come to mind in the same manner and they equally belong to you and to the characters.

            I will touch upon this latter subject again, but it is important to remember that the story idea, once received, belongs to both you and your character. After all, it is their story you are telling, and they must be allowed to make any changes necessary to finish the project. I understand this is a bizarre subject, but as I stated above, I will touch upon this again. I have seen with my own writings, (see Lost in the Fog, on sale at bn.com) where I had a particular ending prepared and the character took it and completely changed it, thus shifting, and certainly changing the content of the whole story. It was amazing, to say the least.

            I have only touched upon this subject in the mildest of forms. Every writer has their own avenues of inspiration and their own pools of ideas. I have shared with you some of my own. As stated above, the majority of my ideas simply come when my mind happens to be overworking a situation. I have had them appear when at work and at play, but almost always when I am preoccupied. It seems to work for me, and many of my greatest works (some of which you can find at bn.com, the link is located to the right) have come from a brisk walk or a solitary moment when employed in some task.

As always, good luck writing and be inspired!