Kristen Lamb

Author, Blogger, Social Media Jedi

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Posts Categorized: Speculative Fiction

It’s back to school for everyone – not just kids. Vacation’s over. Fun’s over…or maybe the fun is just beginning.

This fall, W.A.N.A. is back with new classes, new instructors, and lots of exciting announcements coming up. Bookmark W.A.N.A. and make sure to subscribe to my blog to stay up-to-date with all the news!

Don’t forget to hop on over to the W.A.N.A. Tribe to join in our daily writing sprints in the chat room! The Tribe is a thriving community, and we are planning on some awesome upgrades to the entire Tribe experience this fall.

NEW CLASSES FOR SEPTEMBER 2017

Villains & Anti-Heroes: The Characters We Love and Hate. $45.00 USD. Tuesday, September 12, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Hooked: Catching Readers in the First Five Pages. $40.00 USD. Thursday, September 14, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Turn Your Passion Into A Business: Making Money As A Writer. $40.00 USD. Monday, September 25, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Guilty Pleasures: Writing Suspense, Thrillers, and Crime. Tuesday, September 26, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Outside the Box: How to Read More, Write Less, and Up Your Fiction Game. Friday, September 29, 2017. 7:00-9:00 p.m. EST. Click the image to register!

 

 

Lately we’ve been talking a lot about what differentiates the decent stories from the ones that gut hook us and don’t let go. In my opinion the truly superlative stories stand out in one way. We are not only entertained…we are changed. We aren’t the same person we were when we flipped open to page one and decided to give the story a go.

By the end, through characters, trials, challenges, heartbreak, ruin and victory we are forever a different person. The story generates a chemical change, rendering us a cake that can’t be unbaked.

Great stories (and the authors who pen them) serve us fresh insight into ourselves and others, a different perspective on the world around us. They might reveal a darkness we never noticed or were to afraid to face or offer hope we didn’t know we could have.

Most vital of all, these stories provide perspective we could gain no other way.

Fiction is the only way we can step into the shoes of a broken, pathetic alcoholic (Girl on a Train), an aging heavy metal rock star burdened by false guilt who never truly escaped the sadistic father who turned his childhood into a hell (Heart-Shaped Box).

We can know what it is to feel like life is no longer worth living once we’ve outlived our usefulness even if we are young (A Man Called Ove). We can experience the gross injustice and humiliation of being a black maid in the American South during the 60s (The Help) no matter what color our skin.

Regardless of race, faith, gender, or background, stories allow us into a perspective to experience life, to encounter our own wounds (wounds common across all of humanity) from a different vantage point. We come to appreciate how seeing our pain worked out through another gives us the psychic distance necessary for us recognize then heal the pain that in real life we can’t yet touch…without screaming.

The Battle of Logic & Emotion

I find it interesting that scientists really don’t have a definitive reason WHY we dream. Is is the brain defragging? The subconscious mind revealing what we can’t see when we’re awake because the left brain rushes in with a logical explanation?

When left brain gets a vote, it’s all too easy to miss the wolf in sheep’s clothing.

He wasn’t being mean. It was a joke. He’s right. I don’t have a very good sense of humor.

But fiction? Fiction is emotion. Fiction is primal and hooked directly into the right brain. Dreams are not ruled by logic, but they are extremely limited in what they can do once we’re up and have had our coffee. But, there’s another way…STORY.

Yet how do so many of us tackle our demons?

If you’re like me, you read self-help books about self-esteem, boundaries, forgiveness and healing and while these books can offer a lot of great information, (in my POV) they’re talking to the wrong side of the brain.

We can read all the self-help books about forgiveness, but what happens when we come face to face with our betrayers? When we have to be in the same room with flesh-and-blood villains who have zero remorse over the ruin left in the wake of their actions? The liars, pillagers, and plunderers we once supported, loved and trusted…who knifed us in the back and never shed a tear after leaving us like this.

I can tell you what happens when we face these folks.

We’re calm and composed and easily recall the breathing exercises, meditation, and self-affirmations spoken into a mirror. We stare into our betrayer’s face knowing we’re a better person who’s done a lot of therapy and exercises. We even composed long letters of how this person hurt us, burned the letters and let the embers fly away on zephyrs delivering our pain into the sky and to the unicorns.

And everything is okay because we know hurting people hurt people….and….

%$#& THAT $#!%!

Reptile brain rises up like a hidden viper threatening to sink its fangs into left brain’s soft gray matter if is says one frigging reasonable word.

While left brain is the calm, enlightened negotiator, reptile brain is Old Testament and Old School and believes an eye for an eye. Right brain is raw emotion and the one who’s closest to the reptile (brain) inside all of us.

What happens next in such a confrontation can be placed anywhere on a large continuum from getting in a shouting match spewing venomous words to ending up on an episode of Dateline.

Right brain is creative, thus good at hiding bodies.

Why Fiction?

Yes, self-help books and therapy, etc. have a place, but I don’t think they’re nearly as well-suited for healing wounds as story is. Why is that?

Because we cannot heal emotional wounds with logical poultices.

It’s like trying to halt a runaway MRSA infection with anti-depressants. Infection is virus and it needs something anti-viral, equipped to surround and dismantle the invasion.

Same thing goes for psychic wounds.

The wounds created BY emotion (betrayal, abandonment, exploitation, abuse) can only be healed WITH emotion. Inner demons and wounds are by nature emotional, thus in the realm of the right brain (and limbic brain). This means the right brain is far better suited (perhaps even DESIGNED) to stop the “infection” and heal the damage.

When we read fiction and vicariously experience our hurts, failures, disappointments, betrayals through another set of eyes, it’s a way of facing our villains in life. We get a place to feel these emotions, but better still? Story shows us it is possible to come through the fire not only healed, but stronger and better.

By reading all kinds of stories with characters battling a vast variety of problems, we can experience far greater empathy, compassion, understanding and forgiveness. It’s also far more effective than coldly analyzing our baggage on a flow chart.

Mending the Broken 

For me, my greatest AH-HA moments have come from fiction. Stories have allowed me another way of looking at myself and my pain.

The most recent example of this came from Heart-Shaped Box. Sure it’s a horror, the story of a vengeful ghost hot on the tail of an aging rock star. Yet, oddly enough, this story changed my perception of myself more than a stack of self-help books and years of well-meaning therapists ever did.

Fifty-four-year-old rock star (Judas Coin) is on the run from a vengeful spirit with his goth girlfriend (Georgia) who’s half his age. I could relate to Georgia, though our backstory is different.

She believes she’s damaged goods, worth nothing and grateful for the crumbs that fall from the table. She’s had a hard life filled with exploitation, pain, failure and shame and, as a result, chooses men she knows will hurt her because suffering is what she deserves.

The Lightning Strike

Judas and Georgia have a conversation at a Denny’s during a brief reprieve from the ghost who’s hunting them and end up on the topic of kids. She says she’s never had kids because she’s too afraid they’ll find out about her. Judas asks what exactly her kids would find out. This next bit is some of the most powerful dialogue I’ve ever read.

Georgia: “That I dropped out of high school. That when I was thirteen I let a guy turn me into a prostitute. The only job I was ever good at involved taking my clothes off to Mötley Crüe for a room full of drunks. I tried to kill myself. I been arrested three times. I stole money from my grandma and made her cry. I didn’t brush my teeth for about two years. Am I missing anything?”

Judas: “So this is what your kid would find out: No matter what bad thing happens to me, I can call my mother, because she’s been through it all. No matter what shi##y thing happens to me, I can survive it because my mom’s been through worse, and she made it.”  ~ Heart-Shaped Box by Joe Hill (page 171).

I remember this part of the novel hitting me like a bolt from the sky and I burst out crying, the moment of catharsis so raw and visceral. I once was Georgia (maybe a part always will be). Because of my life experiences, I too believed I was damaged goods.

Because I empathized with Georgia (similar demons) I could vicariously experience her breakthrough, that WOW moment when Judas completely reframes what she’s just said. She isn’t “damaged goods” at all. Rather, she’s like furniture that’s been battered and scratched that collectors pay big bucks for because it’s “distressed” and thus more interesting and far more valuable because of its damage and scars.

I’m sure a zillion well-meaning friends or shrinks told me the same thing. Probably read similar notions off faded Post-Its on the bathroom mirror, so why didn’t the happy, happy mantras stick? Why didn’t these affirmations melt me, undo me and remake me?

It’s because that left-brain approach is too sterile, and it doesn’t shove us face first into what we need to face. Fiction, on the other hand is ugly and dirty and raw. It provides intimacy and slams that psychic distance tight (while we still are technically “safe”).

Real fiction, the good stuff, reveals that the worthless “damaged goods” in truth, are valuable and maybe even priceless. The story shows the protagonist his or her worldview, their perception of themselves is faulty and through the crucible remolds the protagonist into what we call a hero. This is why I challenge all of you to be fearless in your stories, because if you can be fearless? So can your readers and they will love you for it.

What are your thoughts? I like good self-help books and therapy is important and often vital. But fiction really has a way of grabbing me by the scruff and shaking me. Have you ever read a book that completely revealed something about your own wounds? That helped you? Gave you insight? Helped you heal?

I believe all genres have the ability to give us tremendous healing and hope y’all will check out my Speculative Fiction Class where we are going to bore into the grit and heart of the dark stuff.

I love hearing from you!

For the month of AUGUST, for everyone who leaves a comment, I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

July’s winner will be listed next week.

****And MAKE SURE to check out the NEW CLASSES classes below (including writing layered characters and strong females) and sign up!

Summer school! YAY! We’ve added in classes on erotica/high heat romance, fantasy, how to write strong female characters and MORE! Classes with me, with USA Today Best-Selling Author Cait Reynolds and award-winning author and journalist Lisa-Hall Wilson. So click on a tile and sign up!

Blurb - Cait Reynolds
BLURB BOSS: Writing Blurbs that SELL BOOKS. $45.00 USD. Friday, November 10, 2017. 7:00-9:00 p.m. EST. Click the image to register!
BRAND BOSS! When Your Name Alone Can Sell. $45 USD. Tuesday, Nov. 14, 2017, 7:00-9:00 p.m. EST. Click the image to register!
PLOT BOSS: Writing novels readers want to buy! $40 USD. Thurs., Nov. 16, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Bad Boys. $45.00 USD. Friday, November 17, 2017. 7:00-9:00 p.m. EST. Click the image to register!

I am a sucker for a strong female character and these gun-wielding, sword-swinging gals are skyrocketing in popularity both in books and film. 2017 has served up both Wonder Woman and Atomic Blonde, two characters who are as different as Amarillo and the moon, and this has given me a lot of food for thought.

What makes a female character truly bad@$$?

Last week I watched the pilot for Midnight, Texas and, like most shows, I’m undecided how I feel about it. It usually takes at least three episodes for me to get a clear picture of whether I want to remain or bail.

I loved True Blood and am a fan of Charlaine Harris. As a Texan and an author who writes stories set in Texas, this series of course piqued my interest.

Overall I enjoyed the pilot, but there was one scene that bugged the dickens out of me and thus prompted me to write a post about creating strong female characters.

More about Midnight later and what hit the sour note.

There’s No Mystery Why the Bad@$$ Female Has Gained Appeal

Being an older gal, I remember a time when every woman in every show twisted an ankle. She huddled in a corner panicking and weeping waiting for a man to save her instead of standing up and being useful instead of just decorative. I also recall being a seriously ticked off five-year-old.

Why was she just sobbing in a pile instead of picking up the gun? Tire iron? Whatever.

As a kid of the 80s our female action heroines were Charlie’s Angels *rolls eyes* but it was a start…even though this magazine cover (below) gives me gun safety apoplexy.

*Kristen breathes into paper bag*

But back in the day it was a fresh idea. Take some pretty women with lots of lipgloss and even more hairspray, hand them guns and —> POWER.

Oh-kay….

Terminator & The Tectonic Shift

For me, Terminator 2 was a tectonic shift in how women could be viewed in terms of an “action hero” especially since I was the only girl in 1985 taking martial arts instead of ballet. When I initially competed in karate, there were no “girls” divisions so I competed against boys.

With T2, finally there was a female action hero for me!

Yet, it seemed like Hollywood completely missed the point of Sarah Connor. Yes, in T2 she is all buff and devoid of emotion, fixated on a singular objective and willing to use any means to get there.

But that was because the STORY compelled such a character. After what Sarah endured, witnessed and survived in T1, she inadvertently became the very thing she sought to destroy. In her desire to defeat the Terminator, she’d become the very thing she hated.

Kyle Reese gives us the foreshadowing of this in T1.

It can’t be bargained with. It can’t be reasoned with. It doesn’t feel pity, or remorse, or fear! And it absolutely will not stop, ever, until you are dead!

He says these words regarding the Terminator, yet this is eerily prophetic regarding Sarah in T2.

The Sarah Connor of T2 was a METAPHOR, not the singular template for what makes a bad@$$ female action hero.

Yet, T2 set the pattern for over two decades of one-dimensional, bitter, unfeeling and often unlikable female action heroes from Lara Croft in Tomb Raider, to Evelyn Salt in Salt, to the female assassin Fox in Wanted and now we get Lorraine Broughton in Atomic Blonde.

Though I haven’t seen Atomic Blonde yet, I’ve watched enough clips and trailers to know she’s basically John Wick with boobs. Which *shrugs* is cool.

To be clear, I watch and enjoy a lot of these movies and I think they have a place. For instance, no one expects James Bond or Ethan Hunt (Mission Impossible) to be dimensional.

We expect these guys to have fast cars, cool gadgets, woo beautiful and often dangerous women, and take out the bad guy in new and creative ways. I’m certain Atomic Blonde will deliver the same, because that’s the movie’s goal.

Yet, in my POV, the female action hero who can shoot and fight as well or better than any man has gone from breaking ground (and glass ceilings) and devolved into a die cut trope. In short, this assembly-line character is low-hanging fruit when it comes to storytelling.

I’m sure Atomic Blonde will have all kinds of cool fight scenes and I’m beyond impressed with Charlize Theron and what she did to prepare for the role. Atomic Blonde is groundbreaking for me in that Hollywood cast an over-forty female and not some twenty-something Megan Fox clone.

For that? They get major applause from me.

I know Lorraine Broughton will thrill and electrify me. She will not, however, be my hero which makes me wonder WHY?

Why Wonder Woman is STILL My Hero

One of the many reasons the newest rendition of Wonder Woman had me in tears through most of the movie is the creators ignored the low-hanging fruit and reached higher…MUCH MUCH higher.

We weren’t handed (yet again) what boiled down essentially to a man with girl parts. We had a fully realized and definitively feminine heroine. Additionally, her femininity didn’t “lessen” her.

The story showed us that a woman wasn’t required to become a man in order to be powerful.

THIS is what I feel is a superlative example of a female action hero. Yes, she is amazing with her fighting skills and ability with weapons etc. but the creators didn’t stop there. What made Diana even more powerful (to me) was she possessed innocence and naivete and was motivated by love and compassion not some bitter backstory.

For me, Wonder Woman demonstrated more power in a singular act of undeserved mercy than every Jolie female bad@$$ combined. Being powerful is more than the ability to be violent.

In fact, authentic power is often the opposite.

Back to Midnight, Texas

As mentioned earlier, I enjoyed the pilot and look forward to more episodes, but one scene really rubbed me the wrong way and if the show wants me to root for Olivia, they are off to a bad start. There’s a scene where the band of “supers” for lack of a better word, need to detain protagonist Manfred Bernardo to pepper him with questions when he unexpectedly moves to the town.

Okay, fair enough.

But Manfred is a psychic with the demeanor and physical prowess of a high school English teacher. Why then did Olivia (resident female bad@$$) find it necessary to sucker punch him in the face with brass knuckles to knock him out/detain him?

First of all, no one bothered, I dunno, asking him to come for a chat. Maybe start there? Over some chips and salsa? Even some salsa dosed with Benadryl?

With so many other options, why brass knuckles? Brass knuckles would have crushed his nose and likely cracked orbital sockets and cheekbones. The sheer factual inaccuracy of the results of such a blow irritated me.

Manfred wouldn’t have been simply rendered unconscious, he’d more likely be in surgery to cobble his face back together with wire and bone grafts.

Also, sucker punching a man who’s done nothing wrong (and who’s only been amiable) in the face with brass knuckles was overkill. It was needless and not what truly powerful characters do, especially ones I’m supposed to root for.

Olivia can show off all she wants with throwing knives and shooting arrows indoors and all of her bitchiness and brooding doesn’t make her a better character, it makes her a tiresome trope. And authentic bad@$$es don’t ambush unarmed people who’ve done nothing wrong and assault them.

Though so far I like the story concept and other characters, this gal is off to a real bad start with me.

I dislike Olivia for the same reasons I stopped rooting for Arya Stark (though Game of Thrones is chock full of despicable characters). I was on Arya’s side and could ignore a lot of bad things she did (she was a survivor). I was able to overlook a lot of brutality…until she was needlessly cruel, then? I was done.

In the end, there will always be audiences eager for the emotionless femme fatale who’s as volatile as she is violent. But, I feel there is great opportunity for writers to dig deeper and reach higher and offer us a wider range of female bad@$$es. If we don’t, then we are like painters who only use black paint, and thus are limiting what we can create.

Wonder Woman has shown us there is a middle-ground between the helpless victim and the pointless brute.

For me? I desire to create strong female bad@$$es characters I wouldn’t mind little girls aspiring to be, and I feel we need more of these women. I would want my daughter to be like Wonder Woman. Evelyn Salt? Atomic Blonde?

Um, yeah. No thanks.

What are your thoughts? Do you have mixed feelings about many of the female bad@$$es? I don’t mind them, but come on! Can we get something different? What do you think makes a female character powerful?

Who are your favorites? Did you cry all through Wonder Woman too? I was so elated to see my childhood role model portrayed so brilliantly. And I loved that all the Amazons were different ages, shapes, sizes, races and that’s another post. But WOW!

I love hearing from you! And I am not above bribery to hear your thoughts 😀 .

For the month of JULY, for everyone who leaves a comment, I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

****And MAKE SURE to check out the NEW CLASSES classes below (including writing layered characters and strong females) and sign up!

Summer school! YAY! We’ve added in classes on erotica/high heat romance, fantasy, how to write strong female characters and MORE! Classes with me, with USA Today Best-Selling Author Cait Reynolds and award-winning author and journalist Lisa-Hall Wilson. So click on a tile and sign up!

Blurb - Cait Reynolds
BLURB BOSS: Writing Blurbs that SELL BOOKS. $45.00 USD. Friday, November 10, 2017. 7:00-9:00 p.m. EST. Click the image to register!
BRAND BOSS! When Your Name Alone Can Sell. $45 USD. Tuesday, Nov. 14, 2017, 7:00-9:00 p.m. EST. Click the image to register!
PLOT BOSS: Writing novels readers want to buy! $40 USD. Thurs., Nov. 16, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Bad Boys. $45.00 USD. Friday, November 17, 2017. 7:00-9:00 p.m. EST. Click the image to register!

 

Monday we brushed the surface of speculative fiction and why it can be such a powerful and world-changing genre when executed well. In my opinion (based on years of experience with new manuscripts) this genre shares a lot of the same pitfalls as literary/character-driven novels. If we aren’t careful, world-building—while vital—can take over and obscure the human story.

While literary authors don’t face the perils of too many dragons or spaceships, they can run into a similar world-building dilemma with prose and too much inner demon navel-gazing self-exploration. The world-building is “internal” and vital, but the key is to make sure this “inner world” is serving the story not smothering the life out of it.

Though what we are talking about today can be useful for virtually any genre, it plays a special importance in genres that come part and parcel with elements that can easily become distractions.

Lasers, spaceships, magic, demons, technology, kingdom rivalries, portals are necessary for spec fic and fantasy. Yet we are wise to appreciate that these elements, while potentially beautiful, can easily get of control.

Like the wisteria I planted that tried to eat my house.

Just like a mystery must come with a crime and a romance requires an HEA, spec fic and fantasy also possess ingredients fundamental to the very definition of the work. It would be weird to have a science fiction with no “science” or a fantasy with nothing “fantastical.” Our job as the author it to make sure everything harmonizes.

Yes, while we need superlative world-building, WB alone does not a story make. Readers don’t want to hang out on our personal holodeck (or in our Literary Barbie Dream House). They long to be invited along on an adventure, and to become part of that adventure.

Empathy is the mechanism (plug) that connects the readers’ consciousness into our characters (socket) where they experience the raw energy of the stories we tell. Insert plug into couch cushions, small houseplants or mini-blinds and nothing happens aside from looking like an idiot. A socket with no plug serves no purpose and vice versa.

Connect them together?

This is where characterization becomes a game-changer.

When reading Stephen King’s Danse Macabre, there were a couple of assertions King made that really opened my eyes as to what made the difference between the fun escapist fiction versus the books we read for generations.

Power vs. Resonance

All spec fic and fantasy are about power. Monday we mentioned there are different types of fiction to serve different needs. Some fiction is just mind candy, a place to escape and get away and get some mental R&R away from “adulting” and that is a good thing. We need books like that and readers enjoy them.

Robert E. Howard’s Conan the Barbarian books are a prime example. These are standard sword and sorcery tales and Howard wrote more than fifty of these himself. Other authors added to the trove of stories about Conan.

Yet Conan was a character who always had power, never lost it and only wielded it. In King’s words, these were “tales of power for the powerless” which explains why I loved books like these so much as a geeky teen (definition of “powerless”).

According to King (and I concur), the great fantasy fiction (and spec fic) revolves around those who find power at great cost or who have power and lose it tragically. This is the crossroad where tales of Conan and the legends of King Arthur part ways.

When we look at Lord of the Rings the Hobbits are given what they always longed for. They wanted adventure and they learned that the smallest of all can make the largest of difference. This quest reveals strengths and abilities they were unaware they possessed. They come to learn they can fight in battle, brave trolls and orcs and giant spiders and ride horseback while battling vast armies.

They learn they are smarter, braver, tougher and stronger than they dreamed possible. That of all the races, they alone could resist the temptation of Sauron’s Ring of Power, rendering them the only ones capable of destroying it and thus saving Middle Earth.

Yet there is a heavy price.

Innocence.

Yes, they save the Shire, but can never return to it. Not really.

We witness this in one of the final scenes of Return of the King. We see our band of Hobbits in the same pub and while the other Hobbits they saved are drinking and dancing and laughing, our party sits quiet, somber, broken and grieving far too much death and loss.

They’re sharing more than a round of pints. They share a dark suffering reflected back in each others eyes and wounds that never will fully heal. They will never be the same.

Great power has been granted…but at tremendous cost.

Same thing in horror. In Stephen King’s It the children (even as adults) refer to themselves as “The Losers Club” because they are the outcasts of Derry: the fat kid, the boy with the stutter, the geeky class clown, the “white trash” tomboy girl, the Jew, the black kid, and the mama’s boy hypochondriac. The least likely to destroy a creature as old as time are the ones who discover they’re the only ones who can defeat it.

But, again this power comes with tremendous sacrifice and at great cost. They didn’t ask to be heroes but rose to the call knowing what it would mean.

Did We Mention the Supers?

Spec fic also covers super heroes, super villains, etc. The comic world is all spec fic. Yet, if we look at all the great superhero comics and movies, we see a similar pattern. How many superheroes/super-villains have been created over the past several decades, yet of that number, how many endured? Or have been elevated to modern legends?

Arm Fall-Off Boy, Color Kid, Skateman, Vibe, and no I am not kidding Squirrel Girl all made it into the comic world only to exit just as readily. All of these superheroes failed for a number of reasons beyond being stupid ideas to begin with.

The creators became too fixated on a “different superpower” and so I guess that is how one comes up with a Vietnam veteran who fights crime on roller skates or an even more lame@$$ superpower of being able to…change the color of things.

*scratches head*

Super powers were not enough to make these characters into super heroes and thus they were quickly (and eagerly) forgotten.

As I hear it Arm Fall-Off Boy is serving time in Pensacola for disability fraud, Vibe was sued for sexual harassment, and Squirrel Girl lives in NYC near Central Park with her life partner Color Kid who found his true calling…interior design. Skateman was unavailable for comment.

All kidding aside, super powers alone were never enough to elevate these “characters” into the staple heroes/anti-heroes/villains we know and love even today. There had to be resonance and resonance comes from what King described…those who find power at great cost or who have power and lose it tragically.

Resonance is why we remember Batman, Spiderman, Mr. Freeze, Harley, Wonder Woman, Two Face, Joker, and Captain America and why they’ve been reinvented time and time again.

Resonance is why audiences cheer for anti-heroes like Deadpool, The Punisher and Spawn. Resonance is the difference between the mundane and the memorable and resonance comes only with creating dimensional characters with human flaws and emotions.

What are your thoughts? I always had a fondness for villains with tragic backstory. Mr. Freeze? *clutches chest* What resonates with you? What characters and stories connected to you? What stories, movies, television shows fell flat and why? I am no comic expert, but which ones were your favorites and why?

I love hearing from you! And I am not above bribery to hear your thoughts 😀 .

For the month of JULY, for everyone who leaves a comment, I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

****And MAKE SURE to check out the classes below and sign up! Summer school! YAY! We’ve added in classes on erotica/high heat romance, fantasy, how to write strong female characters and MORE! Classes with me, with USA Today Best-Selling Author Cait Reynolds and award-winning author and journalist Lisa-Hall Wilson. So click on a tile and sign up!

Blurb - Cait Reynolds
BLURB BOSS: Writing Blurbs that SELL BOOKS. $45.00 USD. Friday, November 10, 2017. 7:00-9:00 p.m. EST. Click the image to register!
BRAND BOSS! When Your Name Alone Can Sell. $45 USD. Tuesday, Nov. 14, 2017, 7:00-9:00 p.m. EST. Click the image to register!
PLOT BOSS: Writing novels readers want to buy! $40 USD. Thurs., Nov. 16, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Bad Boys. $45.00 USD. Friday, November 17, 2017. 7:00-9:00 p.m. EST. Click the image to register!

 

On Friday, we explored how shame is the beating heart of great fiction, how probing the shadow sides of human nature is what can separate the mundane from the magnificent.

All fiction has its place. Some fiction is purely fun and escape and the world needs more fun and feel good. Certain books are simply a holodeck to get away from the mundanities of life, the overwhelming pressures of being an adult (kids, laundry, bills, car repairs). They serve as a place of rest and we all could use more of that!

But that isn’t all fiction.

Many writers (myself included) desire to go far deeper with our fiction, explore wounds and human issues, poke and prod at larger social dilemmas using the narrative form to expose that which is diseased and show it can be overcome. Speculative fiction is an excellent outlet for this. This genre offers a myriad of ways to help us mere humans face all the stuff we fear the most.

I am breaking out of my comfort zone and now offering new classes specifically for the genres I love and read the most. In August I have a class on Speculative Fiction and one on Character-Driven Stories (which includes but is not limited to literary fiction and can greatly enhance genre fiction) before I leave for New Zealand to keynote.

Why did I pick these two to start with? These are my favorite kinds of books to read, which means I’ve read a lot of these kinds of stories.  I also find it fascinating how (believe it or not) great speculative fiction has a lot more in common with literary than one might believe.

What is Speculative Fiction?

Speculative fiction is an umbrella term used to describe narrative fiction with supernatural or futuristic elements. This includes but it not necessarily limited to fantasy, science fiction, horror, utopian, dystopian, alternate history, apocalyptic fiction, post-apocalyptic fiction.

Basically, all the weird stuff.

(And forgive me because today we are using seriously broad strokes.)

But what makes the difference between the laughable 1950s science fiction matinees and the long-forgotten pulp fiction versus the works of Philip K.Dick? What makes The Road literature even though it’s a post-apocalyptic novella? Why is Heart-Shaped Box or Wool so deeply disturbing and simultaneously resonant?

Why do star-packed big-budget films like Jupiter Ascending fizzle? Yet Blade Runner is a science fiction staple worthy of being remade for the newest generations to enjoy?

Plot

It’s easy to dismiss speculative fiction as escapist fluff and some of it is. But, when we look to the great speculative fiction, we see the authors are disguising explosive social commentary within narrative so it can be viewed and experienced behind the safety-glass/containment field of story.

By using story, we writers place the reader into this world then (hopefully) generate empathy that is impossible to create any other way. I’ve seen the movie I, Robot countless times and I bawl EVERY time during this scene.

Yeah this is me…

Stepford Wives was a commentary on the women’s liberation movement. Animal Farm was a treatise on socialism and the dangers of groupthink. The peril that comes with handing over too much power to those who claim to have noble and benevolent intentions without asking the hard questions.

Brave New World was Huxley’s stab at a culture propelled by temporary highs, unlimited choices and instant gratification while rejecting that which endured (love, family, marriage), because that which lasted required time, sacrifice and work. He showed us an eerily accurate picture of what society could become if we were not vigilant…and is now probably rolling in his grave.

*Makes note to write story about Huxley haunting Instagram*

Do Androids Dream of Electric Sheep? was Philip K. Dick’s commentary on artificial intelligence and just because we can play God, should we? What sort of moral implications are involved? These are issues we are now facing for real, that are no longer fiction and we are being tasked with the tough questions.

Is it wise to create and sell sex robots that come with a “frigid” setting? What happens when we extend the logic of this? Blade Runner. We get Blade Runner. Also a bizarre escalation/reinvention of the previously mentioned Stepford Wives.

All these great science breakthroughs that float across our newsfeed are now fertile ground for new and possibly even better stories that prod the science with ethical dilemmas.

We show the world it’s upside down and maybe even ways to right it.

I believe that the great speculative fiction writers have always been the conscience of culture, the voice that whispers things like, “Just because we can, doesn’t mean we should.” Or, “This really is a big deal and can go ugly really easily.”

Horror does a lot of that as well. Good horror writers tap into the subconscious angst and gives it a face. What happens when society is allowed to continue to devalue human life? When mobs are handed permission to call the shots? Let’s chat about this after watching The Purge.

To Make it BIGGER, Make it Smaller

When we care about everything, we care about nothing. Additionally, the human mind can’t truly grasp the loss of a billion lives. It doesn’t resonate because it can’t compute.

Thus the great spec-fic plots make the big small. We tell a small story of one person or a group of people as it plays out on the far larger stage. World War Z anyone?

This is why so many Hollywood movies about asteroids hitting the planet fizzle while The Road simply guts us.

Not All Big Stories are Big

Sometimes speculative fiction isn’t addressing something big, rather it dives into the intimate and deeply personal. Heart-Shaped Box is about a vengeful ghost out to destroy an aging rock star and anyone he loves. While the supernatural elements are terrifying, what is so beautiful and moving about this story is how the characters are forced to face and conquer inner demons they would have been happy to bury if not running for their lives.

The human story is what elevates this from a forgettable scary book into a work that prods at the deep dark places of the characters (and by extension the reader).

Character

Writing speculative fiction is really tough. It has a lot in common with literary in that it can turn preachy or fall flat so easily. Too many writers get fixated on world-building, when world-building is backdrop and can never substitute for story.

Spec-fic is tough and I swear it is the souffle of fiction. If we aren’t careful and look away one second? Yeah.

Plot of course matters in that we need a core story problem to drive the story, but characters are vastly important (possibly even more important). We must develop multi-dimensional characters with flaws and problems to set on this adventure because gizmos, gadgets, spaceships, magic, chainsaws, gore and ghosts alone are not a story.

We don’t need a bigger asteroid…we need a better story. Story is what is going to rattle the cage, not the two-ton spider. More blood or teeth won’t scare us and won’t change us.

In a world where we are overwhelmed with doom and gloom, where any debate on-line easily devolves into ranting, I think spec-fic is more important than ever in human history. Story is the place where the armor goes off and the heart is exposed and then able to be changed, fixed, remolded, and softened.

What are your thoughts? Do you love horror? Dystopian? Science fiction? What are your favorites? I LOVE HEARING FROM YOU! What makes spec-fic great? Or fall flat? What are your pet peeves?

I love speculative fiction, even though it took about 4 years to figure out what other writers meant by “speculative fiction.” I am a horror and science fiction JUNKIE. And I love the good stuff, the stories that poke and prod and that people can’t help talking about, debating, discussing in a way no Facebook rant-fest can. Which, again, is why I am thrilled to be offering a new class on it!

****And MAKE SURE to check out the classes below and sign up! Summer school! YAY! We’ve added in classes on erotica/high heat romance, fantasy, how to write strong female characters and MORE! So scroll down and sign up!

For the month of JULY, for everyone who leaves a comment, I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

NEW CLASSES WITH USA Today Best Selling Author CAIT REYNOLDS!

Obviously, I have my areas of expertise, but I’ve wanted for a long time to fill in some gaps on classes I could offer.

Cait Reynolds was my answer.

She is an unbelievable editor, mentor and teacher and a serious expert in these areas. She consults numerous very successful USA Today and NYTBS authors and I highly, highly recommend her classes.

Gaskets and Gaiters: How to Create a Compelling Steampunk World July 21st $35 w/ Cait Reynolds 

Lasers & Dragons & Swords, Oh MY! World Building for Fantasy & Science Fiction July 28th w/ Cait Reynolds $35/ GOLD $75/ PLATINUM $125

Baby It’s Hot in Here—Writing Erotica & High Heat Sex Scenes August 4th $45 General/ $90 GOLD/$150 Platinum

Classes with MOI!

Branding for Authors  July 27th $35

Elements of Literary—How to Write Character-Driven Stories August 3rd $40

Beyond Planet X, Monsters & Chainsaws–Mastering Speculative Fiction August 10th $35

Classes with Award-Winning Author Lisa Hall-Wilson

Growing An Organic Platform On Facebook July 22nd $40

Method Acting for Writers—How to Write Deep POV August 1st $85 (two-week intensive class & lifetime access)

Beyond Lipstick & Swords—Writing Strong Female Characters September 9th $40