I grew up among middle-class everyday folk. Language was one thing that separated groups of people as I had come to know them. When I was young, every once in a while I’d hear someone say, “Oh my! She talks so uppity!” Read More
Tag Archives: amount
MA: I’m pleased today to welcome back a fellow Rocky Mountain author as my guest-blogger, Linda M. Faulkner. Linda first “guested” with me on January 29, 2010, just about one year ago. During that interview, she talked about her mystery novel, Second Time Around. When you finish reading today’s blog star with Linda, I’d encourage you to go back and read the first interview I did with her: Fellow Rocky Mountain Mystery Writer Linda Faulkner Rappels Down To The Child Finder Trilogy
Linda has written both fiction and non-fiction. She also pens a column, Business Sense, in The Weekender, a monthly entertainment newspaper (Orlando, FL) and articles for both regional and national magazines such as Three Rivers Lifestyle and Rough Notes. A tremendous body of Linda’s work appears in the insurance industry, where she has developed, written, and instructed numerous continuing education workshops and seminars. Visit Linda’s web site at: http://www.lindamfaulkner.com.
Your first published novel was a mystery. What prompted you to write a non-fiction business book?
LF: Actually it was a combination of two things. I’d been doing a significant amount of freelance writing in the insurance industry and it seemed an extension of that. Also, my husband (who loves gory science fiction movies and TV series but believes fiction will rot your brain) suggested it. Between my freelance writing and the fact that I’d founded several businesses, he felt I was more “qualified” to write business books than fiction. It sounded like a good idea, so I tried it.
MA: How is writing non-fiction different from writing fiction? You don’t get to make up stuff, do you?
LF: Actually, writing non-fiction has seriously improved my fiction—for several reasons. First, because non-fiction needs to be tighter than fiction, and because it’s not jazzed up with dialogue, it’s essential to use words that will make the greatest impact. Using those skills is definitely transferrable.
Having said that, the rules of grammar and punctuation and spelling don’t change with the genre. Neither do the rules of outlining and plotting, although it’s MUCH easier to outline (or plot) a non-fiction book. When I analyzed exactly how I outlined in non-fiction, and applied the technique to my fiction, it actually made the process easier!
And as far as making stuff up goes, sure you can make stuff up. You just can’t change facts or figures or statistics. I tend to teach by using examples and, while most of the examples I use in my business book are true stories, some of them are … fiction.
MA: Can writers benefit from the lessons in Taking the Mystery Out of Business?
LF: Absolutely! Writers are independent business people. They’re responsible for marketing, sales, building and retaining relationships, customer attention, and all the other things that people who have “real” jobs have to do.
MA: Well, Linda. I know you have a plane to catch, so we need to cut this off here, but I wanted to thank you for joining us today. Once again, Linda’s website is: www.lindafaulkner.com. Read More
MA: Today I am delighted to welcome Charles S. Weinblatt as my guest author. Charles was born in Toledo, Ohio in 1952. He is a retired University of Toledo administrator. He is the author of Jacob’s Courage and Job Seeking Skills for Students. His biography appears in the Marquis Who’s Who in America and Who’s Who in American Education. Charles was a frequent Toledo television news guest, providing business, economic and labor-management insight. He received the 2004 Douglas Frasier Swift Award and he was awarded a certificate of achievement by Chrysler Corporation.
Charles, welcome! Please tell me a little bit about your professional or personal background, and what you did before writing professionally.
CW: I was born in Toledo, Ohio in 1952; raised the only child in a middle-class home. My father was a pioneering Toledo (OH) psychiatrist, starting his practice in 1932. He was well known in the professional community. He was also a football star at The University of Toledo in the 1920s and again at Michigan, while in medical school. Tremendously intelligent and gentle, he was the perfect role model. My book is dedicated to my dad, who gave me all of the tools to become a good person. It is also dedicated to the six million lost souls murdered by The Third Reich. They are gone, but will never be forgotten.
I am a graduate of The University of Toledo, with a bachelor’s degree in Psychology. My post-university career spanned 31 years; the first 15 years devoted to psychiatric and vocational rehabilitation counseling, followed by 16 years at The University of Toledo. During my last nine years at the University, I created and led The Division of Organization Development. My division helped businesses improve their performance. We generated consulting opportunities for faculty and earned considerable revenue for the University.
My biography appears in the Marquis Who’s Who in America and Who’s Who in American Education. I continue to live in Ohio with my wife, who is a retired special education teacher. We have two adult children.
MA: So what brought you to writing fiction?
CW: I’ve been writing as long as I can remember. As a child, I wrote short stories and even some poetry. After college, my focus turned to family and career. Writing was pushed away for a while. Yet, the interest never departed and I was happy to return to it in earnest in retirement.
I had to retire at age 51 due to disability. Since I retired at a fairly young age, I decided that I should remain as mentally productive as possible. I decided to pursue writing. I had already been published for non-fiction in 1986, for a textbook called Job Seeking Skills for Students (Kendall-Hunt Publishing Company). After my University career, I turned to fiction. Three years later, my Holocaust novel, Jacob’s Courage, (Mazo Publishers), was published.
I made no conscious decision to write novels. Perhaps, as Mozart once described for his composition, the words were already within me. With Jacob’s Courage, I sometimes felt as though I was taking dictation.
I had known as a young adult that members of my maternal extended family were Holocaust victims. Only after I retired did those thoughts rise to the surface in a way that I could harness. I could not tell the story of my lost ancestors in any other format than a novel. No member of my current family knew enough about our lost relatives to write a memoir or a non-fictional account. No amount of research could produce an explanation for their disappearance into the darkness of Nazi-occupied Russia. Like millions of other innocent Europeans, they disappeared, without a trace. Perhaps they were shot and bulldozed into a trench, as at Babi-Yar, or maybe they were gassed in a death camp, such as Auschwitz, or possibly they perished from starvation, forced labor or the ubiquitous disease that existed in Nazi concentration camps. So, it was to be a fictional account.
I committed myself to creating a story of young lovers who became trapped within the horror and brutality of the Holocaust, as I imagined happened to countless young Jews, although not necessarily my ancestors. My hope was also that this story would be inspirational, perhaps as holocaust education for young people. Nowhere else today is it more important to teach about the Holocaust than with our children and grandchildren. A novel is a good choice for Holocaust education. Rather than dry historical accounts that go in one ear and out the other, a coming-of-age love story can engage youthful minds in a way that non-fiction does not. In the words of writer and philosopher George Santayana, “Those who fail to learn from history are doomed to repeat it.”
I was also able to ground portions of the novel in fact, based upon my 100-year-old mother’s memories. As a child in Russia, she witnessed the brutality and terror of pogroms against her Jewish relatives. And, while these experiences occurred before the Holocaust, they provided significant grounding for important character development. She will soon be 101 years old, yet she can recall with perfect clarity the terror of Russian anti-Semitism.
MA: Please tell my readers about Jacob’s Courage.
CW: Jacob’s Courage chronicles the dazzling beauty of passionate love and enduring bravery in a lurid world where the innocent are brutally murdered. This is a tender coming of age story of two young adults living in Salzburg at the time when the Nazi war machine enters Austria. The historical novel presents scenes and situations of Jews in ghettos and concentration camps, with particular attention to Theresienstadt and Auschwitz. Follow lovers Jacob and Rachael from their comfortable Salzburg homes to a decrepit ghetto, from there to a prison camp where they became man and wife. Revel in their excitement as they escape and join the local partisans, fighting their Nazi tormentors. Finally ride the crowded, fetid train to the terror of Auschwitz-Birkenau. Stung by the death of loved-ones, enslaved and starved, they have nothing to count on but faith, love and courage. From desperate despair, to unforgettable moments of chaste beauty, Jacob’s Courage examines a constellation of emotions during a time of incomprehensible brutality.
MA: How did you develop your protagonists’ characters…I understand you have two?
CW: The primary protagonist is Jacob, a 17-year old Austrian. He’s a very normal young man, eyeing the transition from secondary school to university. Jacob has some of my unique character weaknesses. It was important that my protagonists appear as normal young people, just like anyone else. The secondary protagonist is Jacob’s true love Rachael. Rachael is everything a young man would want; she is beautiful, bright, charming, deeply in love and fiercely loyal. Together, the young lovers are confronted with the most horrifying experience imaginable. To survive, they have only themselves to count on. They were not heroic individuals until they reached the precipice of destruction. I imagine that each of us wishes that we would become heroic under such circumstances.
MA: What are their strengths and weaknesses?
CW: Jacob Silverman is a very normal 17-year old. His thoughts focus upon three things: attending university, becoming a physician and, most of all, his precious love Rachael Goldberg. The young lovers had everything to look forward to, until Germany invaded Austria.
One night, in a terrifying nightmare, more real than life itself, Jacob finds himself older, emaciated and weak, in a large brick building with a roaring fire. He soon realizes that men wearing striped pajamas are burning the bodies of dead naked women and girls. Jacob awoke with acrid smoke in his lungs and a premonition that he would play a role in saving his people, who had been almost completely destroyed.
Sleeping inside of this normal boy was a future leader of men in combat. Yet, to reach that critical point in his life, Jacob would face starvation, sickness, brutality, forced labor and the death of his loved ones. He would need to find uncommon strength of body and spirit; and he would require good fortune, including the ability to play virtuoso violin.
MA: I imagine that with your subject matter, you had plenty of possible antagonists to develop.
CW: With Nazi Germany, it’s not difficult to create a credible antagonist. I created one particularly vicious antagonist, a commandant at Theresienstadt called Strobel. In that concentration camp, Strobel gained complete control over Rachael. This evil man followed her around the camp and made it his business to know everything about her. The result was very ugly.
In reality, the typical Holocaust survivor resided in several different ghettos and camps. Incarcerated Jews (and tens of thousands of others) became a source of free slave labor for The German Armed forces and for German industrialists. They were moved from place to place, as their slave labor could best assist the Third Reich. In addition, concentration camp commandants were often transferred. So, it would have been unusual for the typical prisoner and commandant to have been together very long. But, there were certainly many colorful commandants, guards and kapos at each camp.
MA: Did any of your family’s real-life experiences factor in to the plot at all?
CW: Certainly my fears and desires as a teenager became part of Jacob’s personality. He was brighter than me and far better behaved. Yet, I felt comfortable with his character development. I was far more worried about developing Rachael’s character. It’s a challenge writing a major character about someone of a different gender. Nevertheless, I believe that teenagers, especially young lovers, have some very common personality characteristics. My challenge was more in portraying how those characters changed and developed when faced with the most terrifying experiences imaginable. Holocaust survivors were not the same people that they were when the Holocaust began. No human could absorb the unrelenting daily terror, the death and murder of loved ones, the physical abuse, brutal forced labor and years of starvation and sickness, without it changing their personality. The lucky ones remained sane – and even that is arguable. My characters also had to change, yet without losing the better parts of their psyche. Without passionate love, they likely could not have managed it.
MA: So, what’s in your future writing plans?
CW: I recently completed a children’s book and I’m almost done with a science fiction novel. I’m thinking about writing another Holocaust book, or possibly a sequel to Jacob’s Courage. One thing I will try to avoid in the future is a book as long as Jacob’s Courage. At 524 pages, it was a serious investment in time. Yet, I could not have covered the final seven years of the Holocaust with less material. In fact, at my publisher’s urging, I removed some parts of the manuscript. My science fiction novel will come in at about 200 pages, a much more rapid commitment to reading. Whichever way I turn, I will always be writing something.
MA: You sound like you keep very busy with your writing! Will we see Jacob or Rachael again in a follow-on to Jacob’s Courage?
CW: Because Jacob and Rachael became heroic figures in my Holocaust novel, there is a natural pilot for a sequel. And, because they had to wait a long time in a displaced persons camp, there would be an increased likelihood that they would have immigrated to the Holy Land. They also had simultaneous dreams about being in a place that they later learned was Palestine. With Jacob’s leadership and combat experience, he would be a natural for an officer position in Israel’s nascent armed forces. Rachael would also have a natural role to play in the start of the Jewish nation. So, stay tuned.
MA: I will! Is there anything else you would like to add?
CW: Writing is a talent. Some people are born writers. The rest of us envy them. Still, writing is a skill that can be cultivated. If you think that you might have the ability to be a successful writer, maybe you do. Take writing courses at your local college or university. Participate in continuing education courses. Read books about how to develop your writing skills and take on-line courses. While it’s true that the vast majority of us will never become a renowned author, it feels pretty good to cash a royalty check. It could happen for you. Never give up!
And for those of you who could care less about earning money from it, just enjoy! It feels great to create stories about unknown people in unforeseen circumstances. Whether anyone reads it or not, it will always be your unique creation. For us, writing is not a matter of dollars and sense. It’s a matter of love.
MA: Thanks, Charles. I encourage all my readers to visit Charles’s blog: Jacob’s Courage Read More
Forensic Evidence in Plots
Forensic science could kill your story.
With forensic evidence being able to convict a perpetrator on as little as a millimeter of hair fiber, for example, plots of stories and films could be brought to an end too abruptly. Too, explaining the forensic evidence and showing how it affects the outcome could take over any plot.
When a subplot takes over and becomes the action, this is to lose control of your story. It is important that the main plot hold the most interesting, the most critical action. Then, no matter how contorted a subplot, it will only serve to enhance the main plot. True, too, any twist or turn in a subplot must enhance the main plot action. It cannot be included only to enhance the subplot. There is a risk here of having your subplot become a story unto itself and distract from the purpose it should serve. Any action in a subplot must feed into but not be greater than the main action.
A perfect example of a subplot nearly taking over can be found in the movie, Witness, (1985). The good cop, John Book, discovers fellow officer, McFee, has committed a murder. When John Book discloses this to his boss, Schaeffer, he soon learns Schaeffer is just as corrupt. The bad cops are selling off confiscated drugs. Once found out, both Schaeffer and McFee want to kill John Book.
This is a simple subplot that adds to and is intrinsic to complicating the action of the main plot. This subplot of clandestine activities within the police department blocks the hero from accomplishing his goal of bringing the perpetrator to justice and heightens tension in the story. So, too, does the fact that John Book needs to hide out and heal while yet another person turns him in.
Considering Pamela Wallace won an Oscar for co-writing the script for Witness, how many times can such good cop/bad cop plots be done? If some cops are to be the bad guys in scripts, after the impact that Witness made in films, bad cop plots began taking more drastic turns.
In a thriller I started writing a few years ago, soon after I completed the rough draft of the manuscript, an explosion in forensic science occurred and my story immediately became outdated. A year of work had to be shelved. But my plot is so unique! I kept saying. I had to find a way to save it. I did. To this day, it is still a unique story.
The murders and arson I conjured in my original story could today be easily solved. How could I learn enough about forensic science in order to thwart its proving effects in my plot and still keep the action running?
Then I read, You Can Write a Movie, also written by Pamela Wallace. Finally, I hit upon a way to get around forensic science without myself having to become a forensic scientist.
In Witness, Wallace had crooked cops tampering with evidence. I have crooked cops in my mystery too. However, I could not be satisfied with simply adding crooked cops into the mix. It seemed all too convenient and way overdone in films. But not if you throw into the melee a radical group who just happens to get their kicks from wrongdoing.
In my story, I wanted to convolute the subplot way past the point of simplicity and yet not have it threaten to take over the main plot, as it almost does in Witness. My story has a subplot of not just crooked cops but a group of social renegades as well. But as I said, this was not enough for me. I have further complicated my plot with a hierarchy within the group of bad guys—and girls—all trying to out-do or eliminate one another in order to rise in stature. Then, so as not to distort from the main plot action, anything this group does enhances or thwarts the heroine from accomplishing her goal to help bring the proper person to justice.
While a certain amount of evidence is a must in order to redirect the finger of guilt toward the real perpetrator, my plot becomes complicated when evidence disappears. People within the wicked hierarchy fall or rise to power dependent upon who loses and finds and uses said evidence to climb another rung on the proverbial ladder. While all this is going on, an innocent inmate moves perilously closer to a date with lethal injection.
Ultimately, you cannot get away from using forensic evidence, but if there is no evidence to test, or if it is found and lost again, this heightens the excitement of your plot. If your story lacks excitement or is too easily solved, interrupt the pathway that connects the dots. Maybe kill off the only person who knows about the smoking gun. Let corroboration be found later on. There is no way to get around the fact that forensic science can solve most crimes these days, but only if there is evidentiary proof to test.
While no forensic evidence was needed to solve the murder in Witness, the complications that arose and blocked John Book from accomplishing his goal made for an exciting story. However, you must complicate your story to delay the final scene that forensic science can prematurely bring about. Make your plot as contorted as possible. Because of the splash Witness made by using the simple subplot of good cop/bad cop, chances are, another serious story of this type won’t fly because that kind of plot is simple and would have to be better than Witness. You must complicate your plot and learn something about the forensic information your story needs. The writer need not learn about all forensic science, only as much as must be used to enhance that one plot; enough to hide the true facts from being found too soon.
NOTE: The novel that Mary mentioned writing in this article is her new thriller, Down to the Needle, which was recently released. Read More
MA: I’m delighted to introduce today’s guest-blogger, Mary Slaby (AKA Molly Roe), who hails from the same neck of the woods where I grew up: northeastern Pennsylvania. Mary’s stories use this region as their setting, and weave aspects of the local history and culture into their plots. I am intrigued by her focus on the Molly Maguires, a group if Irish immigrants in the early coal mining days of Pennsylvania’s history. The Molly Maguires fought for better treatment of the Irish community, sometimes using violence as a means of making that happen. My father was a coal miner in this region when he was a young man in the 1940s, and occasionally after a pint or two of ale, he’d spin a tale about the Mollies and the last remnants of the group he ran with back in those days. I was always fascinated by this history – a living history for my dad — so having Mary Slaby visit me and guest-blog about her writing is such a treat. Mary, thanks for coming by. Tell us about your background.
MR: I’ve lived most of my life in Pennsylvania, only about 60 miles from where my ancestors settled when coming to this country from Ireland during the 1840s and ‘50s. I had a wonderful childhood, growing up with an extended family in the old homestead. My husband John grew up in the same home town, but we did not meet each other until college. I attended Immaculata College and Penn State University as an undergrad, then Wilkes and Temple for graduate school. I’m currently a reading and language arts teacher at Lake-Lehman School Junior-Senior High School near Harveys Lake, PA. Read More
Retired DC Detective Turned Author, Joseph B. Haggerty, Arrives on the Scene of the Child Finder Trilogy
With Shame, I wanted to tell the whole story. I wanted to show his life from the beginning. His mother was a prostitute. As for his father, he really didn’t know. His mother would always say it was her pimp, but she couldn’t say for sure. As I say in the book, she would never admit Shame was a trick’s baby. I wanted to show how he learned the pimping game and how he developed his distain for society. How he became a pimp and how he learned from other pimps the best practices in maintaining your stable. A story like this cannot be written as a short story. It is far too complex, not just in understanding how a pimp works, but also in understanding how his victims fall under his spell. I also wanted to show the whole street, not just the women involved with Shame, but the other women on the street, where they came from and how they interact in the whole picture of prostitution.
I’ve written several short stories, poems and a novella about victims of prostitution. I’ve also written another novel, Pimpel, which is about two private investigators who specialize in finding runaways. If a sexual predator victimized them, the child’s family was offered an additional service that guaranteed the child would not be bothered by the predator again. Read More
KING BY RIGHT OF BLOOD AND MIGHT, my one published book, is about a young prince who must discover his birthright as well as the world around him. Raised in seclusion, he had scarcely been beyond the palace walls before he was whisked away to learn about the greater world as well as his own country. There his fate was joined with that of legends and fairytales, and together they were able to cleanse the evil that seeped through the land like a cancer.
On my website, I have the reviews for this book and the synopses for several other of my stories, and on my blog I have samples from nearly all of my stories, and just recently, I’ve started to post up another of my books a chapter at a time.
I really like the genre involving kings and princes and such, so that’s what I chose, but that is by no means the only way I make my choices. Several of my ideas came from particularly vivid dreams. That translates into more than one of my stories taking place in space or in another dimension. Read More