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Kristen Lamb

Author, Blogger, Social Media Jedi

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Posts Categorized: Speculative Fiction

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time, flashbacks, non-linear plot structure, parallel timelines, Kristen Lamb, time as a literary device, In the Woods Tana French, how to write twist endings, story structure

Time is one of many tools we authors can use when crafting a story. This said, bending time takes training and skill because it’s one of the toughest techniques to pull off well. Even those who bend time masterfully will have their fair share of critics because most audiences are accustomed to linear structure.

This is only natural.

We’ve all teethed on stories that have a clear beginning, middle and end. Any story that deviates from this familiar pattern can vex and confuse us.

This is why movies like Memento tend to divide into two camps: those who loved it and those who couldn’t make it through thirty minutes.

Time Has a Proper Order

time, flashbacks, non-linear plot structure, parallel timelines, Kristen Lamb, time as a literary device, In the Woods Tana French, how to write twist endings, story structure

Humans take time for granted, which is why time is one of those things that will wig people out when someone starts tinkering with it. Remember this because we can twist the audience’s assumptions to our advantage (especially in certain genres).

Bending time can disorient and confuse readers, but that isn’t always a good thing.

Most audiences enjoy the traditional Aristotelian three-act structure (which is why the lion’s share of novels are written in linear time). Aristotelian structure has been around over a thousand years for good reason. It’s endured simply because it’s a story structure that reflects time as sane humans experience it.

Time is hardwired into our brains. Our world reflects linear structure.

Morning–>noon–>night. We are born–>we live–>we die.

When old age manifests where childhood should be, something is clearly WRONG (progeria) and has disturbed the natural order.

Time & the Flashback

time, flashbacks, non-linear plot structure, parallel timelines, Kristen Lamb, time as a literary device, In the Woods Tana French, how to write twist endings, story structure

Whenever I’ve blogged about flashbacks being bad, inevitably commenters list a dozen books or movies where the writer (allegedly) used flashbacks all the time and it was super successful.

Clearly, I don’t know what I’m talking about 😛 .

First, I’d like to point out that, while we can learn from film, we must be careful mimicking movies in our work. Movies are visual, whereas writing is completely abstract. We’re creating people and worlds using combinations of 26 letters (and roughly four of those are pretty useless).

No one wants to play Scrabble and get Q.

Movies get a smidge more leeway because the audience can SEE changes in people, places and time and are less likely to suffer a brain cramp. Alas, even in screenwriting, flashbacks are a sign of lazy/amateurish writing for a couple of reasons.

First, most information can be relayed real-time. If I have a character who is OCD (As Good as It Gets), I don’t need to go back and explain WHY the character is trapped with a psychological disorder.

There is no need to hop into a literary DeLorean and go EXPLAIN. Audiences are smart and get that Melvin Udall has OCD by how he behaves.

That’s the whole show don’t tell thing at work.

In the original film version of Silence of the Lambs , director Jonathan Demme toyed with using a flashback for the tense moment when Hannibal Lecter demands Agent Starling part with her most traumatic memory in return for the key to locating Buffalo Bill.

***The time when young Clarice tries in vain to rescue one of the lambs from being slaughtered.

But Demme was too good of a director and Jodi Foster to great an actor. He knew the flashback would wreck the effect and so he nixed it and, instead allowed Foster to show just how incredible a performer she really was (which explains the Academy Award).

Because the story remained in the present, the memory was far more visceral. It intensified the story to nerve-shredding proportions.

Flashback FAIL

In most stories we don’t need to use flashbacks. In many new works I see the writer just about piques my interest, then slams on the brakes, throws it in reverse and takes me back to EXPLAIN WHY.

I have a mantra:

Resist the urge to explain.

Frequently, new writers jump back in time because they’re doing a good job at creating tension. Feeling the tension they’ve generated, they seek reprieve and so they explain. The problem with this is that they are killing the very element (tension) that will keep readers turning pages until 3 a.m.

Explanations are the antidote for tension.

What do we do when our kid acts up? We EXPLAIN. Sorry, he didn’t have a nap today. This serves to allay our own anxiety and relax the bystanders gathered round staring at us.

Explaining might work in life, but for fiction it spells D-E-A-T-H.

If the love interest in our novel is maddeningly evasive?  Leave it alone. Readers will keep reading to see if they find out/figure out what the heck his deal is.

If we go back and explain, “He has intimacy issues because his parents were murdered by a Mary Kay lady on bath salts,” we’ve just handed the reader a great place for a bookmark.

Hmm, question answered. I’ll get back to this later.

Let Them Wait

time, flashbacks, non-linear plot structure, parallel timelines, Kristen Lamb, time as a literary device, In the Woods Tana French, how to write twist endings, story structure

Great writers keep layering on more and more questions that either are a) partially answered b) not answered until toward the end c) some not answered at all.

We can put some humdinger questions in a WIP and refuse to answer them. Seriously. Great writers are sadists. We’re ONLY required to fully answer the core story problem for THAT particular book.

Other than that? We writers are not required to tie everything up neatly with a bow. The best stories leave a smidge of unfinished business. Loose ends generate passion and conversations that linger long after readers have turned the final page.

***Additionally, if we want to write a series, it’s a good idea to NOT answer everything.

Tana French’s incredible book In The Woods does this brilliantly. She does her duty and answers the core mystery: Who killed the Knocknaree girl and why? But, there’s a lot more about Knocknaree’s dark past she withholds (likely so we’d read the rest of the series or because she is a brilliant author, a.k.a. heartless psychopath).

Readers long for catharsis—release—and the longer we (authors) can delay the reader getting what he/she wants, the better.

Flashback Apoplexy

time, flashbacks, non-linear plot structure, parallel timelines, Kristen Lamb, time as a literary device, In the Woods Tana French, how to write twist endings, story structure

Flashbacks generally are a sign of weak writing. Before anyone gets their knickers in a twist, we can go back and forth in time so just be patient.

As I’ve mentioned before I’m a HUGE fan of horror and I love, love, love American Horror Story, particularly Season Four Freak Show. Elsa Mars is one of the most beautifully conflicted villains I’ve ever encountered.

She’s layered, complex, and unpredictable. Every character and storyline is pure heart-wrenching genius.

Then, in Season Five, Jessica Lange left the show and they substituted her with Lady Gaga *face palm*. For me, this is like serving me Tofurkey when I’m used a Thanksgiving turkey a la Martha Stewart. I mean no disrespect to Lady Gaga, but she’s a performer not an actor. ‘

I’m certain they cast her because she’s a huge name (draw) but she didn’t have the acting abilities to take center stage, which is why Season Five (Hotel) and Season Six (Roanoke) are painful to watch.

time, flashbacks, non-linear plot structure, parallel timelines, Kristen Lamb, time as a literary device, In the Woods Tana French, how to write twist endings, story structure

Season Five is like being trapped in a car with a teenager learning to drive a stick. Just about get going forward then REVERSE. The series keeps going backwards to explain to the point that watching became more chore than fun.

In Season Six, AHS tried something different. It takes the form of a television show interviewing survivors and what happened is “reenacted.”

The HUGE problem with this is that no matter how many monsters, how much gore, how depraved the story gets, there is NO DRAMATIC TENSION. Why? Because of flashbacks. We know the people lived or they wouldn’t be sitting there being interviewed.

How can we worry about characters we KNOW are going to make it out alive? We can’t.

Time as a Literary Device

time, flashbacks, non-linear plot structure, parallel timelines, Kristen Lamb, time as a literary device, In the Woods Tana French, how to write twist endings, story structure

All this said, time CAN be used as a literary device. Progressing linearly isn’t always ideal, especially for certain genres. One surefire way to throw readers off is to mess with their sense of time. Non-linear structure is fantastic for mysteries, psychological thrillers, horror, and suspense.

If we choose to distort time, however, there needs to be a good reason for doing so. Let’s explore a handful of reasons…

Unreliable Narrator: Non-Linear Timeline

time, flashbacks, non-linear plot structure, parallel timelines, Kristen Lamb, time as a literary device, In the Woods Tana French, how to write twist endings, story structure

Whenever we open a book (or start a movie) we’re programmed to trust the MC, that what he or she is relaying is truth. Non-linear plotting can use this human propensity to trust until given reason NOT to trust for advantage. Vanilla Sky, Black Swan, Shutter Island, and Fight Club are all superlative examples of twisting truth and trust.

Yet, notice the reason time is fractured in these stories.

The point is to intimate or even emulate madness. We begin trusting the MC but this trust erodes until we’re sucked into the chaos, our bearings lost, internal compass needle spinning and unable to find True North.

Past is Key to Present: Parallel Timeline

Sometimes the story shifts back and forth from past to present. Like train tracks running parallel they flow side-by-side until finally the past timeline converges with the present to solve the core story problem at hand.

We see this in Stephen King’s speculative fiction story The Green Mile. The story opens with elderly Paul Edgecomb in a retirement facility and establishes Paul’s present reality. THEN we go back in time to Louisiana State Penitentiary in the 1930s when young Paul Edgecomb worked as a prison guard in charge of Death Row.

Though we spend much of our time in the 1930s, we’re not going back in time for no reason. What happened decades ago on The Green Mile is essential for revealing a mystery in the present timeline at the retirement home.

A lot of literary works use the parallel timeline (The Joy Luck Club by Amy Tan). Parallel timelines are also employed in general fiction.

The Divine Secrets of the Ya Ya Sisterhood uses parallel timelines to resolve a feud between mother and daughter. Sidda (daughter) must understand the past from her mother’s (Vivi’s) POV in order to forgive her and heal the relationship.

Memory LIES…or Does It?

Mysteries employ this tactic as well, though many authors tend to dribble the past throughout but in the form of memories, dreams, fragments of recollections the MC doesn’t fully trust. A good example of this is James Patterson’s The Murder House.

Can We Trust Our Senses?

time, flashbacks, non-linear plot structure, parallel timelines, Kristen Lamb, time as a literary device, In the Woods Tana French, how to write twist endings, story structure

Ultimately, when we deviate from traditional linear timelines, we’re jarring the readers sense of what she believes she knows. By going back and forth (I.e. In the Woods) we can throw readers off figuring everything out too easily and we make them work for the resolutions they crave.

This said, jumping back and forth willy-nilly is a good way to simply tick readers off. Even when non-linear timelines are executed with mastery, there will always be certain people who will hate it.

I remember walking out of Vanilla Sky feeling like I’d just had a spiritual experience, but the people around me were irate because “that stupid movie was just too confusing.”

There are probably more people who hated Pulp Fiction than those who loved Pulp Fiction. BUT, those who LOVED Pulp Fiction did so with such passion it’s now an iconic movie.

We can’t please everyone. In the Woods was one of those books that made me weep and think, “What am I DOING? I can’t WRITE! Whaaaaaahhhhhh!”

Yet, go check out the one and two-star reviews from readers who “grew bored” or “got confused.”

Whenever we authors play with time, just accept that some people will hate it. But, since no one ever wrote a book that pleased everyone?

Relax.

Caveat Auctor

I want to put a warning in here. Just because we are zipping back and forth in time doesn’t mean our structure is sound. Employing time as a literary device is tricky because we can lose readers very easily.

Many editors loathe ‘flashbacks’ with the power of a thousand suns, but here is a post regarding WHY.

Frequently, if a writer is going backwards and forwards in time, it is more a symptom of major story problems than an indicator of genius. The above post explains how flashbacks can be symptomatic of a flawed or nonexistent plot.

***For those who’d like training in advanced plotting, I recommend the class I’m teaching tomorrow, Beyond Planet X. USA Today best-selling author Cait Reynolds and I are doing a Speculative Fiction Saturday with three classes in a row (World-Building, Character, and Advanced Plotting). The XXXFiles Bundle is the best value. Three classes for the price of two (SIX hours of training) and recordings are FREE with purchase. 

If you want to mess with your reader’s heads, then do it with style 😉 . I’m excited to teach this much more advanced material and hope you guys will join me!

I LOVE hearing from you!

What are some of your favorite movies or books that used time to mess with your head? Which ones did you hate? Why?

What do you WIN? For the month of SEPTEMBER, 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).

***Chris Parrett is August’s winner. Please send your 5000 word Word doc to kristen at wana intl dot com. One-inch margins and 12 point Times New Roman Font, double-spaced. Congratulations!

***FYI: The Speculative Fiction Saturday has been moved to THIS COMING SATURDAY (9/15/18).

The software that powers our virtual classrooms kept crashing our servers #NotFun. Thus, we spent all last weekend upgrading/updating all the tech and it looks fantastic!

Again, for the value, I HIGHLY recommend The XXX Files Bundle (all three classes—world-building, character, advanced plotting—for the price of two). Speculative fiction includes sci-fi, fantasy, dystopian, utopian, horror and basically all the weird stuff. Sign up and we can be weird TOGETHER!

time, flashbacks, non-linear plot structure, parallel timelines, Kristen Lamb, time as a literary device, In the Woods Tana French, how to write twist endings, story structure

Upcoming Classes for September

Brand Boss: When Your Name Alone Can Sell

Instructor: Kristen Lamb
Price: General Admission $55.00 USD/ GOLD Level $175
Where: W.A.N.A. Digital Classroom
When: Thursday, Thursday September 27th, 2018. 7:00-9:00 p.m. EST

REGISTER HERE

 

 

The XXX Files: The Planet X Speculative Fiction 3-Class Bundle

Instructors: Cait Reynolds & Kristen Lamb
Price: $110.00 USD (It’s LITERALLY one class FREE!)
Where: W.A.N.A. Digital Classroom
When: Saturday, September 15th, 2018. 10:00 a.m.—6:00 p.m. EST.

REGISTER HERE

Purchase includes FREE recording of all three classes.

 

Building Planet X: Out-of-This-World-Building for Speculative Fiction

Instructor: Cait Reynolds
Price: $55.00 USD
Where: W.A.N.A. Digital Classroom
When: Saturday, September 15th, 2018. 10:00 a.m.—12:00 p.m. EST

REGISTER HERE

 

 

Populating Planet X: Creating Realistic, Relatable Characters in Speculative Fiction

Instructors: Cait Reynolds & Kristen Lamb
Price: $55.00 USD
Where: W.A.N.A. Digital Classroom
When: Saturday, September 15th, 2018. 1:00—3:00 p.m. EST

REGISTER HERE

 

Beyond Planet X: Mastering Speculative Fiction

Instructor: Kristen Lamb
Price: $55.00 USD
Where: W.A.N.A. Digital Classroom
When: Saturday, September 15th, 2018. 4:00—6:00 p.m. EST

REGISTER HERE

 

 

Pitch Perfect—How To Write a Query Letter & Synopsis that SELLS

Instructor: Kristen Lamb
Price: $45 USD Standard
Where: W.A.N.A. Digital Classroom
When: Thursday, September 7:00 PM E.S.T. to 9:00 P.M. EST

You’ve written a novel and now are faced with the two most terrifying challenges all writers face. The query and the synopsis.

Query letters can be daunting. How do you sell yourself? Your work? How can you stand apart without including glitter in your letter?

***NOTE: DO NOT PUT GLITTER IN YOUR QUERY.

Good question. We will cover that and more!

But sometimes the query is not enough.

Most writers would rather cut their wrists with a spork than be forced to write the dreaded…synopsis. Yet, this is a valuable skills all writers should learn. Synopses are often requested by agents and editors and it is tough not to feel the need to include every last little detail. Synopses are great for not only keeping your writing on track, but also for pitching your next book and your next to that agent of your choice.

This class will help you learn the fundamentals of writing a query letter and a synopsis. What you must include and what doesn’t belong.

So make your writing pitch perfect with these two skills!

 

 

 

 

 

 

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Say it with me: world-building is fun.

Seriously! It’s the only way—aside from global domination—we will ever get to arrange the world exactly as we want. Don’t like green peppers on your supreme pizza? Banish them! Hate people who squeeze the toothpaste tube from the middle? Declare them subversive enemies of the regime!

world-building

Yet, some genres are trickier than others when it comes to creating backgrounds and context. Science fiction, ‘apocalit’ (zombies optional), horror, and dystopias all require as much if not more work than more mainstream genres like historical when it comes to world-building. Why?

Because unlike historical, where it is mostly a matter of doggedly researching established facts, speculative fiction forces us to create those facts.

What’s more, we must do all this while keeping an eye on opposite ends of the setting spectrum. We have to track the big picture logic and global structure as well as check for consistency and catch everyday details.

As if that weren’t enough, we have to embed all of this into prose that is designed to give momentum to the narrative, not serve as a expository guidebook for the Totalitarian-Regime-Next-Door.

world-building

Worst of all, if we don’t get it right, the reader is the one who suffers. Our brains recognize hiccups in logic on a subconscious level. This can lead to reader attention wandering, which can easily become the dreaded…BOOKMARK MOMENT.

Burn the world with a burning reason

Good stories always have at their heart a burning reason. It’s the message, the theme, the desire to share a truth of life that drives us to write. I talk more about the burning reason in this post.

Speculative fiction has given us some of the most memorable burning reasons in all of literature. They incinerate our complacency and comfort zones, leaving only questions and ashes in its wake.

Can’t think of any speculative fiction books off the top of your head? How about:

Farenheit 451, The Hunger Games, The Handmaid’s Tale, 1984, The Lorax, The Stand, Neuromancer, Ender’s Game, Divergent, World War Z, Underground Airlines, Brave New World, Ready Player One, A Clockwork Orange, and Do Androids Dream of Electric Sheep? (just to name a few…)

world-building

Now, imagine doing a lightning round of ‘Name the Theme’ for each of these books. You just started ticking off themes and messages in your head, didn’t you? I know I did. For a fraction of a second, I also relived the deep existential unease each book left me with.

Coming up with the burning reason can be uncomfortable because it means asking hard questions. We have to skate a little too close to the edge of moral insanity. It’s the double-dog dare to look through a mirror darkly and see some chilling truths about human nature.

world-building
UN-Successories

However, if we do our job well in coming up with the burning reason and translating it into world-building, the reader will remember our story long after the thrill ride through post-apocalyptic totalitarianism (zombies optional) is over.

Means to an end (of the world as we know it)

The good news is that once we have come up with the burning reason, we have done the hardest part of the whole exercise. If we feel wrung-out, slightly distraught, and in major need of a glass of wine, then we know we’ve done it right.

world-building

Now that we know why our world exists (i.e. the message), it’s time to figure out how we are going to convey that message. In other words, what are the tangible means that will give us the ability to show-not-tell when it comes to explaining this brave, new, freaky world?

Let’s take Fahrenheit 451 as an example. The burning reason of the story (pun FULLY intended) is to make us question censorship and the role of mass media in society. Bradbury then translates the qualms and questions into both physical objects (paper, books, written word, flame-throwers, the Wall) and social structures (‘firemen,’ the governing laws, the underground culture of dissent).

world-building

In ‘The Handmaid’s Tale,’ Margaret Atwood uses color and clothing to deepen the impression of the politicization of women’s bodies. An old Scrabble game set becomes another tangible symbol of oppression, rebellion, and consequences.

World-building
Women dressed as handmaids promoting the Hulu original series “The Handmaid’s Tale” stand along a public street during the South by Southwest (SXSW) Music Film Interactive Festival 2017 in Austin, Texas, U.S., March 11, 2017. REUTERS/Brian Snyder – RTX30ML9

From the Barbaloot suits of ‘The Lorax’ to the spice and sands of ‘Dune,’ speculative fiction requires a blood sacrifice of something ordinary. We find the everyday things that best represent the burning reason. Then, we offer them up to be stretched, twisted, and torn until they become truly frightening.

Until they become perfect.

Twist and shout

The good news is that we are done with the really hard parts. Figuring out the burning reason behind our world involves uncomfortable questioning. Identifying the tangible symbols requires logic and hard choices. But turning the symbols into that freaky mix of familiar-and-yikes?

That’s fun.

Okay, so maybe you and I define ‘fun’ a little differently. Is it so wrong for a girl to enjoy daydreaming about turning the Four Horsemen of the Apocalypse into Twitter handles that secretly hide the not-so-benevolent intentions of a multi-national cabal bent on eradicating our civil liberties in a post-nuclear-zombie-disaster era?

world-building
This is why writers can’t have nice things.

In all seriousness, this is the part of world-building where we get to flex our imaginary muscles and muscular imaginations. Once we have a tangible symbol, we need to put it through an intellectual stress test.

Let’s look at ‘Ender’s Game’ by Orson Scott Card as an example. The burning reason behind the world-building is questioning how far we are prepared to go to survive as a species. The tangible symbol is a military academy (among other things). The stress test is that Card stretches the concept and purpose of a military academy to its most extreme limit.

While these academies have a goal of instilling loyalty and discipline, producing genocidal sociopaths isn’t in the brochure for West Point.

world-building

We take the concept and purpose of each symbol and either stretch it to its limits…or compress it until it becomes oppressive. The books in Fahrenheit 451 are examples of compression. Books are compressed by fire and memory, leading the reader back up through pondering the concept and purpose of books, and eventually to the questioning of censorship and mass media.

Whoa, did I just bring that full circle? Boom, baby!

The whole world in our hands

World-building is the most fun a writer can have when it comes to distributing death, distruction, and dystopia for speculative fiction. (Legally. Whatever you do in your off-time is your business. *snerk*)

world-building

When it comes to the down-and-dirty process of creating our worlds, there’s no one-size-fits-all approach. While I like to nail down every detail I can, from toilet paper to totalitarianism, other writers prefer creation-on-the-fly. Both methods work. There are also problems with both methods. My way can be a bit too rigid and create unnecessary roadblocks. On-the-fly creation can lead to logical holes the size of the Grand Canyon.

world-building

At the end of the day, both methods require a balance between flexibility and attention to detail. Both techniques work best when we grant ourselves the grace of time. Time to think. Time to imagine. Time for our brains to catch up and wave the red flag of contradicting details. Time to find deeper meanings and motives behinds the symbols and reasons.

Time to create the best dysFUNctional world we can.

What’s your favorite dysFUNctional world? Tell me in the comments!

Regularly scheduled mayhem

No surprise here, but I have SO much more to say about this. I am itching to talk about space operas, zombies, YA dystopias, and flavor-of-the-month apocalypses.

From limits to liminality, I have a LOT to say about world-building in general. Kristen is kind enough to occasionally remove my muzzle and allow me to spout off deconstructionist analyses of various books, shows, and movies. But then, the timer goes off, and the muzzle goes back on. *le sigh*

world-building
…because SOMEONE (aka Supreme Emperor Denny Basenji, blessings upon his paws) is an a$$hole at the vet…

Still, she has found a way to channel my slightly manic musings (after we realized the electro-shock therapy just wasn’t working). Kristen and I are offering a Saturday workshop of three classes about speculative fiction. I’ll be teaching world-building (naturally). You’ll get a double-teaming treat of me and Kristen TOGETHER for the character class. Then, Kristen brings some sanity back to the proceedings (after using the tranquilizer gun on me) with a class on plotting for speculative fiction.

If you’re interested, check out the classes below! More classes listed here.

Building Planet X: Out-of-This-World-Building for Speculative Fiction

Instructor: Cait Reynolds
Price: $55.00 USD
Where: W.A.N.A. Digital Classroom
When: Saturday, September 8, 2018. 10:00 a.m.—12:00 p.m. EST

REGISTER HERE

Speculative fiction may be a way of seeing the world ‘through a glass darkly,’ but it can also be one of the clearest, most pointed, and even most disturbing ways of seeing the truth about ourselves and our society.

It’s not just the weird stuff that makes the settings of speculative fiction so unnerving. It’s the way ‘Normal’ casually hangs out at the corner of ‘Weird’ and ‘Familiar.’

But it’s trickier than it seems to get readers to this intersection without letting them get bogged down in the ‘Swamp of Useless Detail’ or running them into the patch of ‘Here be Hippogriffs’ (when the story is clearly about zombies). How do we create a world that is easy to slip into, absorbingly immersive, yet not distracting from the character arcs and plots?

This class will cover:

  • Through the looking glass darkly: How to take a theme/issue/message and create a world that drives it home to the reader.
  • Ray guns and data chips: The art of showing vs. telling in world-building.
  • Fat mirror vs. skinny mirror: What is scarce in the world? Valuable? Forbidden? Illegal? What do people want vs. what they have vs. what they need?
  • Drawing a line in the sand: What are the laws, taboos, limits of this world? What is unacceptable to you/the reader/the character? How are they the same or different, and why it matters.
  • Is Soylent Green gluten-free and other vital questions: All the questions you need to ask about your world, but didn’t know…and how to keep track of all the answers.

A recording of this class is also included with purchase.

Populating Planet X: Creating Realistic, Relatable Characters in Speculative Fiction

Instructors: Cait Reynolds & Kristen Lamb
Price: $55.00 USD
Where: W.A.N.A. Digital Classroom
When: Saturday, September 8, 2018. 1:00—3:00 p.m. EST

REGISTER HERE

It’s a time-honored tradition in literature to take an ordinary person out of his or her normal life and throw them into a whirlwind of extraordinary circumstances (zombies/tyrants/elves/mean girls optional). After all, upsetting the Corellian apple cart is what great storytellers do best.

It’s also that very same ordinariness and normalcy that first gets the reader to identify then empathize with the characters and stick with them (and the book) through to the end.

But, what do we do when our ‘ordinary’ protagonist lives with a chip implant and barcode tattoo, and our antagonist happens to be a horde of flesh-eating aliens…or a quasi-fascist regime bent on enforcing social order, scientific progress above ethics, and strict backyard composting regulations (those MONSTERS!)?

How the heck is the reader supposed to identify with that? I mean, seriously. Regulating backyard composting? It would never happen in a free society.

This leaves us with two challenges in creating characters for speculative fiction: 1. How to use the speculative world-building to shape the backgrounds, histories, and personalities of characters, and 2. How to balance the speculative and the relatable to create powerful, complex character arcs.

This class will cover:

  • Resistance is futile: What does normal look like for the characters? What’s different or strange, and how to get readers to accept that retinal scans and Soylent Green are just par for the course.
  • These aren’t the droids you’re looking for: What are the discordant elements around the characters? What are their opinions about it? What are the accepted consequences or outcomes?
  • You gonna eat that?: Whether it’s running from brain-eating zombies or fighting over dehydrated space rations, what is important both physically and emotionally to the character? What is in short supply or forbidden?
  • We’re all human here (even the ones over there with tentacles): The basic principles and techniques of creating psychological touchpoints readers can identify with.
  • Digging out the implant with a grapefruit spoon: In a speculative world, what are the stakes for the character? The breaking point? The turning point?
  • And so much more!!!

A recording of this class is also included with purchase.

Beyond Planet X: Mastering Speculative Fiction

Instructor: Kristen Lamb
Price: $55.00 USD
Where: W.A.N.A. Digital Classroom
When: Saturday, September 8, 2018. 4:00—6:00 p.m. EST

REGISTER HERE

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.

Gizmos, gadgets, magic, chainsaws, demons, fantastical worlds and creatures are not enough and never have been. Whether our story is set on Planet X, in the sixth dimension of hell, on a parallel world, or on Earth after Amazon Prime gained sentience and enslaved us all, we still must have a core human story that is compelling and relatable.

In this class we will cover:

  • Discovering the core human story problem.
  • How to plot these unique genres.
  • Ways to create dimensional and compelling characters.
  • How to harness the power of fear and use psychology to add depth and layers to our story.
  • How to use world-building to enhance the story, not distract from it.

***A recording of this class is also included with purchase.

The XXX Files: The Planet X Speculative Fiction 3-Class Bundle

Instructors: Cait Reynolds & Kristen Lamb
Price: $110.00 USD (It’s LITERALLY one class FREE!)
Where: W.A.N.A. Digital Classroom
When: Saturday, September 8, 2018. 10:00 a.m.—6:00 p.m. EST.

REGISTER HERE

Recordings of all three classes is also included with purchase.

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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

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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!

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Kristen Lamb, femme fatale, Wonder Woman, Atomic Blonde, writing strong females, writing badass female action heroes, writing strong females

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.

Kristen Lamb, femme fatale, Wonder Woman, Atomic Blonde, writing strong females, writing badass female action heroes, writing strong females

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*

Kristen Lamb, femme fatale, Wonder Woman, Atomic Blonde, writing strong females, writing badass female action heroes, writing strong females

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.

Kristen Lamb, femme fatale, Wonder Woman, Atomic Blonde, writing strong females, writing badass female action heroes, writing strong females

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.

Will This Change?

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.

Kristen Lamb, femme fatale, Wonder Woman, Atomic Blonde, writing strong females, writing badass female action heroes, writing strong females

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

Kristen Lamb, femme fatale, Wonder Woman, Atomic Blonde, writing strong females, writing badass female action heroes, writing strong femalesOne 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

Kristen Lamb, femme fatale, Wonder Woman, Atomic Blonde, writing strong females, writing badass female action heroes, writing strong females

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?

Kristen Lamb, femme fatale, Wonder Woman, Atomic Blonde, writing strong females, writing badass female action heroes, writing strong females

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.

Compassion…Strong Enough for a Man AND a Woman

Olivia can show off all she wants with throwing knives and shooting arrows indoors and all of her b*^%iness 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.

Kristen Lamb, femme fatale, Wonder Woman, Atomic Blonde, writing strong females, writing badass female action heroes, writing strong females

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’m good. Bye, Felicia.

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? Hollywood portrayed my childhood role model 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!

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