By Beth Terrell
I'm writing this post from Brewster Massachusetts, very near Cape Cod. I'm here for a writer's weekend workshop. I'll write about the workshop next week, since it doesn't actually start until tomorrow. I bring it up now because, if it weren't for this workshop, I wouldn't have spent the last two days driving from Nashville, Tennessee to Cape Cod, Massachusetts, and I wouldn't have gotten a first-hand demonstration of true love in action.
Preparing for a trip like this involves a number of tasks. Do laundry; pack suitcase; make sure manuscript copies are in notebooks and loaded up; read the manuscripts of the other authors; pack a bag to take to the dog trainers' (where they'll be staying while Mike and I are gone); get Mom to take care of the house, cat, and birds; give the animals lots of attention before dropping the dogs off at "Aunt Peg's."
My husband, Mike, is also getting ready for a trip. He and a group of his friends are going to a gaming convention in Gettysburg, stopping at a number of battlefields and museums on the way. But in the midst of preparing for his trip, he took the time to print out maps detailing every step of my route. Not only did he print them, he took them to Kinko's and bound them. He made sure we had AAA memberships and that I had a brochure with all the services listed. He bought me an adapter for my lighter so I can plug in multiple devices at one time. And then he gave me an mp3 player loaded with songs he knew I'd like. When I thanked him, he said, "I'm just trying to make your trip more pleasant."
When I got into the car, one of the first things I did was plug in my GPS ("Daniel"). Mike gave Daniel to me several years ago for our anniversary, and programmed "him" with the British male voice because he thought I'd like that best. He makes sure Daniel's maps are up-to-date so that when I travel, I don't have to worry about getting lost and having to ask for directions.
You'd better believe that, when I got behind the wheel of my little black Honda Accord and plugged in my mp3 player and put the coordinates for the workshop location into Daniel's memory, I was feeling protected, taken care of, and very, very loved.
It's the same way I feel when he drops me off at the front door of a restaurant because it's raining and he doesn't want me to get wet. I don't generally mind getting wet, but it still touches my heart when he does it.
I know the care and feeding of a mystery writer can be challenging sometimes. We spend our "mad" money on writers' workshops and conferences, we need a boatload of reassurance that we do indeed have talent, and--as Ben pointed out after his trip to Croatia--we think of murder at the strangest times.
So I'd like to thank my husband, Mike, for all the many little things he does to show support and love for this mystery writer.
May you all be lucky enough to have someone who'll do the same for you.
Showing posts with label Love. Show all posts
Showing posts with label Love. Show all posts
Thursday, November 5, 2009
Thursday, October 9, 2008
Follow the Love
By Beth Terrell
Once, in a book about acting, I read that, when performing a scene, you have to find the love.
Let's say Bob and Melanie are fighting. If they're fighting just because they hate each other, it isn't especially interesting. There's not much depth or complexity in that. But if they're fighting because he loves her but he's afraid she's in love with another man, and she does love the other man but she also loves Bob, there are all kinds of levels to work with. If John murders Sarah because he hates her, it's flat. And by extension, he seems flat. But if John murders Sarah because he loves Stephanie, and Sarah caused the accident that left Stephanie in a vegetative state...See? Layers. John becomes more complex, more interesting, more believable.
Follow the love.
This advice is useful for writers as well. Thomas Harris's earlier works, Red Dragon and Silence of the Lambs make good use of this premise. In Red Dragon, Francis Dolarhyde is a monster, but he is driven by a yearning for love. Silence of the Lambs is made more chilling (and gripping) by the sense that Hannibal Lecter, in his horrible way, loves Clarice Starling. When he tells her, "The world is a more interesting place with you in it," it sends a shiver through the reader. What could be more terrifying than Lecter's love?
Would Janet Evanovitch's Stephanie Plum series be as popular without the Stephanie/Morelli/Ranger love triangle? I doubt it. I suspect Stephanie's zany antics as a singularly unconventional bounty hunter would wear thin if not for her loving relationships with Morelli, Ranger, her parents, Grandma Mazur, Lula, and even Rex the Hamster. Readers want to know which man Stephanie will choose, what outlandish outfit Lula will wear, what manner of mischief Grandma Mazur will get herself into. We care because Stephanie cares.
Jonathan Kellerman writes a mystery/suspense series about psychologist and police consultant Alex Delaware. Throughout the series, Alex has a deep friendship with a gay detective named Milo and an on-again, off-again relationship with a woman named Robin. These relationships are what bring me back to this series again and again. When Milo, pale and out of shape, puffs up a hill behind Alex in pursuit of a villain, I worry for him. I think, Oh no! Is Milo going to have a heart attack? Whym, oh why did he eat that double cheeseburger?! I know what it would mean to Alex to lose his good friend, and because I know this, every time I read one of Kellerman's books, the stakes are high. It's not the plots that keep me turning the pages book after book (though the plots are intriguing). It's the love.
Writers and critics often complain about Nicholas Sparks. He isn't even a good writer, some say. His writing is simplistic, his plots are dull, and his characters lack depth. Yet, his books strike a chord with readers, who flock to the bookstores to buy his latest works. Hollywood makes poignant movies based on his novels. People openly weep at his endings. They know they are being blatantly manipulated by the author, but they cry anyway. And they can hardly wait for the next book. Why? Could it be because Sparks has a gift for finding and following the love?
It is only when we love that we have anything to lose, and only when a character has something to lose that readers begin to care.
Nicholas Sparks knows that. Readers know it too.
Once, in a book about acting, I read that, when performing a scene, you have to find the love.
Let's say Bob and Melanie are fighting. If they're fighting just because they hate each other, it isn't especially interesting. There's not much depth or complexity in that. But if they're fighting because he loves her but he's afraid she's in love with another man, and she does love the other man but she also loves Bob, there are all kinds of levels to work with. If John murders Sarah because he hates her, it's flat. And by extension, he seems flat. But if John murders Sarah because he loves Stephanie, and Sarah caused the accident that left Stephanie in a vegetative state...See? Layers. John becomes more complex, more interesting, more believable.
Follow the love.
This advice is useful for writers as well. Thomas Harris's earlier works, Red Dragon and Silence of the Lambs make good use of this premise. In Red Dragon, Francis Dolarhyde is a monster, but he is driven by a yearning for love. Silence of the Lambs is made more chilling (and gripping) by the sense that Hannibal Lecter, in his horrible way, loves Clarice Starling. When he tells her, "The world is a more interesting place with you in it," it sends a shiver through the reader. What could be more terrifying than Lecter's love?
Would Janet Evanovitch's Stephanie Plum series be as popular without the Stephanie/Morelli/Ranger love triangle? I doubt it. I suspect Stephanie's zany antics as a singularly unconventional bounty hunter would wear thin if not for her loving relationships with Morelli, Ranger, her parents, Grandma Mazur, Lula, and even Rex the Hamster. Readers want to know which man Stephanie will choose, what outlandish outfit Lula will wear, what manner of mischief Grandma Mazur will get herself into. We care because Stephanie cares.
Jonathan Kellerman writes a mystery/suspense series about psychologist and police consultant Alex Delaware. Throughout the series, Alex has a deep friendship with a gay detective named Milo and an on-again, off-again relationship with a woman named Robin. These relationships are what bring me back to this series again and again. When Milo, pale and out of shape, puffs up a hill behind Alex in pursuit of a villain, I worry for him. I think, Oh no! Is Milo going to have a heart attack? Whym, oh why did he eat that double cheeseburger?! I know what it would mean to Alex to lose his good friend, and because I know this, every time I read one of Kellerman's books, the stakes are high. It's not the plots that keep me turning the pages book after book (though the plots are intriguing). It's the love.
Writers and critics often complain about Nicholas Sparks. He isn't even a good writer, some say. His writing is simplistic, his plots are dull, and his characters lack depth. Yet, his books strike a chord with readers, who flock to the bookstores to buy his latest works. Hollywood makes poignant movies based on his novels. People openly weep at his endings. They know they are being blatantly manipulated by the author, but they cry anyway. And they can hardly wait for the next book. Why? Could it be because Sparks has a gift for finding and following the love?
It is only when we love that we have anything to lose, and only when a character has something to lose that readers begin to care.
Nicholas Sparks knows that. Readers know it too.
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