Tag: Character

Them Doore Girls – Narration

Tim Curry invited me to take part in a Hallowe’en podcast with several other authors, each of us reading something we felt fit the season.

Hallowe’en is celebratory to me and mine, and I didn’t think that’s what Tim had in mind.

I have written horror, though.

No, not written horribly (okay, maybe, and I’m getting better (I hope)), and not quite of horrible things (although some of my work is dark, I’ll grant you), so that set me off on a search.

I came up with two things. The first, shared last week, is a concatenation of two chapters in The Shaman, each of which deals with a succubatic kind of creature, Ellewomen. That post is, strangely enough, entitled “The Ellewomen.”

This one, Them Doore Girls, is from a horror story first published in Haunts 1992 and again in my self-published Tales Told Round Celestial Campfires 2016.

FYI, the sound quality is wanting. I find it best through headphones.

Enjoy!

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The Ellewomen

Tim Curry invited me to take part in a Hallowe’en podcast with several other authors, each of us reading something we felt fit the season.

Hallowe’en is celebratory to me and mine, and I didn’t think that’s what Tim had in mind.

I have written horror, though.

No, not written horribly (okay, maybe, and I’m getting better (I hope)), and not quite of horrible things (although some of my work is dark, I’ll grant you), so that set me off on a search.

I came up with two things. The first, presented here, is a concatenation of two chapters in The Shaman, each of which deals with a succubatic kind of creature, Ellewomen.

Enjoy!

Greetings! I’m your friendly, neighborhood Threshold Guardian. This is a protected post. Protected posts in the My Work, Marketing, and StoryCrafting categories require a subscription (starting at 1$US/month) to access. Protected posts outside those categories require a General (free) membership.
Members and Subscribers can LogIn. Non members can join. Non-protected posts (there are several) are available to everyone.
Want to learn more about why I use a subscription model? Read More ch-ch-ch-ch-Changes Enjoy!

Mark Hayes’ Passing Place: Location Relative

I read Hayes’ “The Strange and the Wonderful” in Harvey Duckman Presents V7 and was (am still) amazed by it (I reviewed it in Why It Works for Me – Mark Hayes’ “The Strange and the Wonderful”). I reached out to Hayes and learned “The Strange and the Wonderful” is part of the Passing Place mythos, so asked for an autographed copy of Passing Place.

It took a week to read the book because 1) I’m a slow reader and 2) I was savoring it. Passing Place is a fine meal, an elegant respite from the world’s chaos. I’m leaving the following review in several places and the baseline take-away is READ THIS BOOK!
Continue reading “Mark Hayes’ Passing Place: Location Relative“

Great Opening Lines – and Why! (Oct 2021’s Great Opening Lines)

I wrote in Great Opening Lines – and Why! (Part 3 – Some Great Opening Lines) that I’d share more great opening lines as I found them.

It’s been eight months since I posted some great opening lines. It’s been a while and it was worth it to find this gem; Mark Hayes’ Passing Place.

“The Greyhound pulled away into the thunderous summer storm, leaving in its wake a dishevelled, world-weary figure in the dark, deserted bus station.” – Mark Hayes’ Passing Place

Scene, tone, atmosphere, mood, setting, and character in twenty-four words.

Whoa!
Continue reading “Great Opening Lines – and Why! (Oct 2021’s Great Opening Lines)”

Linda Seger’s “Making a Good Script Great”

Linda Seger’s Making a Good Script Great is one of two books I recently picked up on scriptwriting/screenwriting because…well, basically because I like to learn, and learn I did. There are more pages dogeared, highlighted, and marked up than there are pages untouched.

 
Begin with the concept that storytelling is storytelling is storytelling and it doesn’t matter the medium because regardless of medium you want a strong, visceral reaction from your audience/reader.

Now recognize that any medium will touch on all aspects of getting that strong, visceral reaction to some degree; a character is a character is a character, a scene is a scene is a scene, dialogue is dialogue is dialogue.

Go one more to specific mediums emphasize specific aspects more than others due to that medium’s limitations. Literature can handle 1st Person POV handily, script/screenwriting not so much.

Recognize that and the next item is to learn ways to fake 1st Person POV in a medium designed for 3rd Person Limited/Omniscient POV.

And if you stop there and say to yourself, “But I don’t have to do that when I write a book” you’re missing out on an incredible learning opportunity. Sure, you may never have to do that in a book but learning how to do it and – more importantly – how to work with such a constraint gives you the flexibility to use that technique, parts of that techniques, concepts from that technique, modify it, et cetera, to make your own non-script/screenwriting work sing.

Greetings! I’m your friendly, neighborhood Threshold Guardian. This is a protected post. Protected posts in the My Work, Marketing, and StoryCrafting categories require a subscription (starting at 1$US/month) to access. Protected posts outside those categories require a General (free) membership.
Members and Subscribers can LogIn. Non members can join. Non-protected posts (there are several) are available to everyone.
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