An Experiment in Writing – Part 22: More on Plotlines, Timelines, and Throughlines

Believing strongly that if you want to learn how well you understand something, explain it to someone else.

That’s right up there with if you truly understand something, you should be able to explain it to a three year old.

If you can get them away from their devices, of course.

There’s a difference between I know what I mean and I can explain what I mean.

Herein I hope I explain it as well as I know it.

Leave a comment and let me know.

Enjoy!

 
Think I’m onto something? Take a class with me or schedule a critique of your work.
Think I’m an idiot? Let me know in a comment.
Either way, we’ll both learn something.

Get copies of my books because it’s a nice thing to do, you care, you can follow along, and I need the money.

PS) If you can make a better image, go for it and please send it to me. I’ll re-render the video and give you closing credit.

Fains I (A John Chance Mystery) Chapter 4 – What We Do in the Shadows (rewrite 2)

Yeah…well…deal with it.

I’ve learned to.

Fains I (A John Chance Mystery) Chapter 4 – What We Do in the Shadows

Vincent Quarrals watched Monique Modine exit Martin’s store from deep in the shadows of the Kristoffersen’s barn. Stacey Knox headed south a few minutes earlier.

He considered walking over when he saw her pull in, decided no. She seemed okay enough. He did a cursory read of her background at the state capital using what little Monique knew as a starting point, and something about Knox told him to go deep, go further, do some more reading beyond her litigation histories.

She bought the Campbell’s farm. He never noticed her in town before. What, did she come into town on a lark, saw a broken down farm badly in need of repair with a for-sale sign on it, and decided hot damn, that’s for me? One of the top lawyers in New York City decides to go country?

Bullshit. Only a flake would do that and she didn’t seem the flake type.

Did she even know the Campbell farm’s history?

Sad place if ever there was one.

The Campbells owned the farm since dirt was young. Al Senior, Al and Blanche’s father, never came back from Korea. MIA or POW or KIA nobody knew, and Mrs. Campbell did what she could to hold things together. They dirt farmed their small patch but that gave them enough for themselves and a little more. Kind-hearted neighbors, most of them farmers themselves, bought her overflow. She’d drop off baskets of produce and they’d return the baskets, often with new or at least not too worn clothes for her and the kids.

They raised chickens and pigs. Mrs. Campbell planned on selling off the livestock and Al had none of it. “We have two good breeder sows and all our hens are good layers. I can learn how to slaughter and get things to market. We do this right and we can grow the farm, Ma.”

Ballsy for a twelve-year old kid, but nobody knew what a head for business Al had. By the time he graduated high school he was one hell of a butcher. He handled chickens and pigs with razor sharp knifes and never made a mess. Quiet, quick, and clean, and he proud of it. Neighbors brought their livestock to him for slaughter. He smiled and only took some good cuts for payment.

Al was fourteen, Blanche twelve, and the widow Campbell gets a suitor. Within a year Mrs. Campbell is Mrs. Stockton and Gus Stockton, Mr. Chocolates and flowers and smiles when people are watching, is fists and belt and a water pipe when people can’t see.

Quarrals remembered his parents talking about Gus Stockton when they thought Vince slept, how Gus beat Al and Blanche, at least once beating Al unconscious. By now Blanche was becoming a woman and Gus found other uses for her.

And if Mrs. Stockton said anything?

She’d feel his fists and strop, too.

Just the memory sickened him.

And didn’t Acra grow quiet when Gus died in a freak farming accident, his boot laces caught in the lower fork of a grain elevator, his belt – the same one he used to strop his family – wrapped around one of the tines, and the controls well out of reach.

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Previous Fains I (A John Chance Mystery) Chapters

Get Off My Back

You’ve had a long, hard day.

Work won’t let up.

It drags you down, down, down.

Then you come home.

You just want to pour yourself a tall one, get in a nicely scented hot bath, feel the heat seep into your bones and your muscles relax, put on some nice background music, maybe decide where you’ll order in from because there’s a good movie on tonight you’ve been meaning to watch.

Then, before your keys hit the table, before your briefcase is out of your hand, you remember it’s your turn to pick up the Sheila from their ballgame, Tom’s at his dance class, Verletta got her tuba audition, and little Framke got his recital.

If you’re lucky and don’t care how you look, you might have time to change.

But what you really want to say to all of it and everything is…

Get off my back.

 

Ten Minutes with RoundTable Regular and Humorist, Author, and Graphic Novelist Mark O’Brien

Mark O’Brien’s a sharp-witted regular on our RoundTable 360°s.

He also writes humor, authored children’s books, recently published his first graphic novel (which received honest reviews from Ernest Hemingway and Bob Hope), and often shares his knowledge and experience with grade schoolers.

Hope you enjoy learning about Mark and his work.

 

An Experiment in Writing – Part 21: More on Exposition via Dialogue – Holmeses&Watsons

One of the great things you can do with exposition via dialogue is Holmes&Watson.

Holmes&Watson techniques go back to Plato and occur between two characters (which means it can occur between a character and themselves (Adam Baldwin talking to the mirror while shaving in The Hunt for Red October is an example)), a human and a non-human, two non-humans, … Many times this technique is used in classroom settings when the professor/teacher/lecturer explains to students/participants.

What’s required aside from two characters is that one character be a subject-matter expert or SME, meaning they have extremely deep knowledge of a given field (and often several). The other character has normal/average understanding of things, and some of that understanding is usually flawed.

Sherlock Holmes and Dr. Watson are probably the best known examples of this technique. Holmes explains to Watson how he came up with – to him – obvious conclusions to mystifying situations. This technique – as indicated above – is ancient. Look through any type of murder mystery be it in print, digital, online, a TV show, a movie, and you’ll find one person explaining to the other. It appears in many other genres, too. Whenever the author wants to make sure the reader understands something. The basis for this is using a character to let the reader know how they should react to something happening in the story.

What most people fail to realize is the best Watsons are reader/audience substitutes. They take the place of the reader so the author can explain what’s going on in the story and thus keep the reader up to speed with the plot, et cetera.

Enjoy!

 
Think I’m onto something? Take a class with me or schedule a critique of your work.
Think I’m an idiot? Let me know in a comment.
Either way, we’ll both learn something.

Get copies of my books because it’s a nice thing to do, you care, you can follow along, and I need the money.