The Personal Impact of Writing about Violence

I reported in a recent post titled Where I Get My Ideas how random thoughts, even a single word can coalesce into a potential story line. For me, that word was cult. A myriad of spooky scenarios ran through my head and in an effort to bring a semblance of order to the process I picked up a couple of well-known books on the subject.

I started to read up on the perplexing reasons why seemingly average people get sucked in by charismatic, yet pathological con-men. Why do people allow themselves to be utterly controlled, to be physically, emotionally, and sexually violated?

What drove the brainwashed acolytes of David Koresh and Jim Jones to blindly follow their leader into a brutal and painful death. What was so compelling about Roch Therriault from right here in Ontario, who disemboweled one woman and cut off the fingers and arm of another among his many abuses? What drove his female followers to bear him several more children, even as he languished in prison?

 In my last book, aptly titled, Dark Territory, Signy Shepherd encounters brutal violence. I didn't mean to write it that way, but the characters insisted. The use of extreme violence was no more than a means to an end for the antagonist and to add insult to injury, he reveled in his disgusting deeds. I didn't like writing it, and even re-reading my own words gave me the creeps.

A story with an evil cult leader as the antagonist would be more of the same. Do I really want to go down that road again?

The answer is a resounding NO. I'm not up for more blood on my hands. At least not now.

I put down the cult books. Hid them away, in fact, and re-visited an idea that played around the edges of my mind as I wrote Dark Territory. What if Signy went up against a highly skilled female antagonist. What if no matter what she tried, the other woman always seemed to come out on top?

When I let my imagination roam down that avenue, I envision a clever and complex game of cat and mouse with a potentially shocking outcome.

Clever....complex....kick ass.  One hundred percent Signy Shepherd! 

Even better...no need to scrub off the stink of evil at the end of the writing day.







 

TV/Movie Rights - an update

Received a call from Anne McDermid this morning.

In preparation for the London Book Fair in 3 weeks time, she published her agency catalogue online yesterday. Apparently, this is the way an agent lets publishers and other agents know what the agency has on offer for the upcoming year. Included in her catalogue this year was Blown Red and Dark Territory.

This morning Anne received a call from an agency in New York City (which shall remain nameless until we see what happens) It is safe to say that this agency is among the top ten in the USA and represents some pretty big names. I'm assuming this means they are serious.

The agent that Anne spoke to was, apparently, very excited about the Signy Shepherd series. The agent said the premise is perfect for TV - exactly what networks are looking for. Strong, diverse characters, unique premise, fast-paced action.

Anne is going to try to work out a deal whereby this agency will represent me for TV/movie rights in the US. Early days yet...but, an exciting turn of events.

This initial interest gives me added hope that Anne will be able to sell the book publishing rights to the American and European markets in London this April. Fingers crossed on that one, as well!

The Thrill of a Good Cover Design

The cover is here!! 

When the cover design popped into my inbox from Simon and Schuster, Canada, I have to admit to a moment of emotional overload. After months and months of crafting the first draft, the marathon re-write, the fine-tuning and the copy edits, the arrival of the cover felt like I'd finally reached the top of the mountain.

And, it wasn't only the sense of accomplishment that felt so great. The design itself took my breath away. I know, I know....it's only the cover of a thriller novel but I think that Paul, the design guy at Simon and Schuster created something truly special.

Check it out.

The red colour theme is arresting. What reader could resist picking it up off the shelf for a quick peek?

I love the shadowy lettering behind the title. It feels a little off-balance which reflects the situation in which the protagonist, Signy Shepherd, finds herself.

The girl running toward the viewer is exactly how I pictured Signy! Seeing her long hair billowing out behind her as she races headlong into danger brought a tear to my eye.


The sense of the girl being inside a tunnel and the bright light at her back evoke the train theme which play an important part throughout the story

The target graphic really ramps up the tension

My name is pretty huge which feels kind of weird but they were trying to go for a Sandra Brown/Tess Gerritson look, and I think they achieved that very well.

Thanks to Alison and Paul at Simon and Schuster, Canada.

                                                  You made me feel like dancing!

Hearing Voices: How to Get to Know Your Characters

In my last post, How Do You Get Your Ideas? I discussed the way I use chatty conversations with my characters as a way to generate story ideas.

Someone who read the post was intrigued by the way I described my conversation with my main character, and wanted to know if Signy seemed like a real person to me, like REALLY real. Did I know her as well as my sister or best friend?

The short answer is no, and therein lies one of my greatest challenges. Who are my characters and how can I make readers care about them?

There are plenty of good character development techniques and templates available. They help the writer probe for physical appearance, personality traits, quirks, habits, voice, etc. Supposedly, all this prep work helps the character burst into joyous life the minute you finally put pen to paper.

Unfortunately, this basic process isn't always enough.  Sometimes, despite knowing every detail about your character's food preferences, medical history, childhood friends and bedroom habits, he or she stubbornly refuses to comply with your Frankenstein-ian demands.

I had that difficulty with my protagonist, Signy Shepherd. I knew exactly who I wanted her to be, but never seemed able to capture my vision on paper. No matter how many character interviews I filled out, Signy remained dull and colourless on the page. A flat-lander if there ever was one.

That is, until Sue Reynolds  teacher of the brilliant course, A Novel Approach asked the class to explain how our main character had changed throughout our book. The twist was, that we had to answer using the voice of our protagonist. I closed my eyes for a moment, and channeled Signy Shepherd. Signy being Signy, the first thing she said to Sue, was "That's a stupid question."

Sue said she got goose bumps because she could truly 'hear' Signy's voice - loud and clear.

So did I.

It was the first time I really had a clear sense of my prickly, complex main character, and I've used that technique every time she starts to become a little hazy in my mind.

As a result of our regular chats, Signy and I have developed a relationship over these past three years.

She is very different with me than she is with her mentor, Grace Holder, or her long-lost brother, Alex Nakai. With them, she is confident but guarded. With me, she is open and funny and even a little demanding. I need her to let loose with me because I need her to feel free to come up with even the most bizarre story ideas, without fear of feeling stupid (one of her problems)

And, it works. Not only do these little chats keep Signy fresh and vibrant in my mind, they also serve as an effective way of generating ideas.

Next time you are lamenting that your characters are more than a little one-dimensional, try inviting them into your head for a cup of tea, or a scotch on the rocks if that seems more apropos. Ask a few provocative questions then wait for them to start talking.

Don't worry. They will. You just have to listen.