Category Archives: Kept

homo-centric at Stories in Echo Park — May 21 2015

books copy 2 That’s right, once again I’m happy to be part of Hank Henderson’s homo-centric reading series, held every third Thursday at Stories (INDEPENDENT BOOKSTORE!) in Echo Park, Los Angeles.

I’ll be reading from “Kept,” my novel in progress (close to done!). Writers Albert Serna Jr. and George Snyder will also be reading there. Check out the link to the homo-centric site (click on the picture to the left) and come on down to join us!
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Writing Groups: Yes, It’s Worth It

Wish I had a beauty like this again. Photo copyright shordzi (Flickr)

Wish I had a beauty like this again. Photo copyright shordzi (Flickr)

So I find myself this week struggling with plot holes in my new book “Kept,” — still slated to be published this year, but not before it’s fixed, edited, prettied up and all worked out. It’s a story about sex and crime, and it’s very plot-driven, though I don’t think it conforms neatly either into a mystery or a thriller formula.

I meet with a writing group every few weeks, and recent meetings have had the other participants questioning characters’ timing and motivation on several issues, prompting me to go back to a timeline I made, as well as my character bios, in the process of clarifying and tightening the story.

While some plot holes (preferably tiny) might be inevitable, I’d rather have none. As the author, it’s excruciatingly difficult to see these sometimes. Hence, the writer group.

Mine is made up of former classmates in the UCLA Extension Writers Program. We meet every few weeks (sometimes every two weeks) and most often it’s four of us. Usually, we all present something, and then critique each other.

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Since constructive criticism is so valuable to a writer and so difficult to accomplish for a reader (or helpful with a framework) I’m going to republish some guidelines here, given to me by one of the best writing teachers anywhere, Claire Carmichael of the UCLA Writing Program.

Assessment of Colleague’s Work – from Claire Carmichael

Apart from the value of your response to each individual, the analysis and evaluation of other people’s writing can give you valuable insights into your own work.

When making your evaluation, always take context into account, including the writer’s overall purpose and intended audience.

Aim for constructive criticism when analyzing another student’s work. Constructive criticism is directed at the writing, not the writer. It uses the highest standards, praising where appropriate, but also focusing on specific problems and areas needing improvement. Constructive criticism provides detailed feedback that includes helpful observations and suggestions.

Points you might consider include:

  • the use and effectiveness of dialogue, description, tone
  • the reality of characters and their motivations
  • pacing and structure
  • Point of view (choice of POV and changes in POV)
  • the writer’s individual voice
  • elements in the writing that particularly engage you
  • anything that confuses or puzzles
  • your emotional response
  • your intellectual response
  • what stays with you after you have finished reading the extract

 

 

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Self-publishing Update #1 – “Kept”

2365800428_0cc260e6a8“Kept,” my upcoming novel, has a first draft in the bag. Or, should I say, in the binder — which is where I put it after I had it printed out.

The very first thing I do with drafts of completed works is read through them (making minimal marks on the manuscript, hard for someone who’s been an editor) to see if the work makes sense. As in, is it coherent? Does it have a beginning, a middle, a climax and a denouement? Because what would be more ghastly, really, that not making sense? Not much I can think of, at least in this realm.

So for you, dear person interested in the steps to self-publishing, this it the first step in editing. The read through. By the way, here is the logline I came up with for “Kept,” which I originally wrote as a spec screenplay:

“Kept” is a desert neo-noir about Jorge, a young illegal immigrant who becomes a target in a deadly real estate scam and must learn to survive a twisted world of double crosses and deception.

which, I’ll admit, only hints at the story but does give you the name of the major character, tells you where it’s set and that it involves crime and real estate. The point of that exercise is for interested parties (producers, actors, etc.) to say “tell me more” or “not for me.” For the novel, a small synopsis paragraph will be better, though I’m not quite at the marketing materials stage yet.

My next task in self-editing is to go through the manuscript editing for plot. Like I said, the read-though indicated coherence, but there are tweaks necessary and desirable. I’ll give you an update once I’m there and let you know what the next step will be.

Do you like this cover concept? (The image of the guy near the windmills?) I wish I owned it, but I may re-create it.

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Draft of “Kept” Almost Finished

2365800428_0cc260e6a8Hard to believe it, but a good first draft of my next novel “Kept” is just a few choice scenes away. I do find that since I started outlining chapters awhile back that they’re a) easier to write and b) require less editing (hopefully it’s because I got the idea down right the first time).

So when will this steaming slice of crime and sex in the hot desert nights of Palm Springs be published? Well, I’m hoping for a summer 2015 book.

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If everything goes well and according to plan, you’ll be able to bring “Kept” along to the beach or the coffeehouse or library or wherever it is you read.

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Character Biography: Nancy Argento from “Kept”

Last night I went to see “Kill the Messenger,” a film about an investigative journalist starring Jeremy Renner as a writer vs. the CIA. I enjoyed it, particularly the details about writers and their lives. My current novel project “Kept” also has a (mostly) plucky reporter character, but let’s admit right here that she’s not going to be giving Woodward and Bernstein agita about their day jobs. So, returning to character bios from “Kept” (here is another and another).  I give you:

Nancy Argento

Sex: yes, Female, and born that way.

Age: 31, 5-5, thin, blond (born in that direction but enhanced). Blue eyes.

Nancy tans easily.

Overall appearance – she’s good looking but not striking. A nice blond girl from the Midwest.

Someone like this, perhaps.

Someone like this, perhaps.

Physical defects: none apparent on inspection.

Heredity: well, she’s got allergies – which makes spring and fall in the desert challenging for her.

She drives a silver Ford Focus, and it’s a new model! Congrats on the wheels, you reporter you!

 

Social class: Middle class, college educated, bachelor’s degree.

Occupation: Newspaper reporter. Hungry for recognition and to land the scoop! She’s quite competitive.

Nancy’s home life: she is single, straight, dates guys in PS. She likes golf pros, it seems. Jocks. She’s found one named Ernst, who is German and often traveling. Originally, she’s from Cleveland. Nancy’s parents very straight-laced, Midwestern background, traditional values type people, the backbone of the old Democratic party in big cities. Nancy tries to pass herself off as a California girl with mixed results.

Religion: she’s Catholic, she goes to church on Sundays or Saturday afternoons at Our Lady of Solitude in Palm Springs.

Despite being a newcomer to town, Nancy is respected in the community.

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Politics: of course she doesn’t say, since she’s a reporter. Our hunch is that she’d lean more liberal in her personal views.

Amusements: She’s kind of bored in Palm Springs. Sometimes she golfs with her boyfriend; occasionally she might go to one of the outlying casinos or make the drive to L.A. or San Diego. She’s a voracious reader and spends a lot of time both physically at the library, and on the internet. She’s also a self-published mystery novelist, and had just done a reading when this story unfolds.

Professional ambition: she wants to get scoops so she can move on to a bigger market, the L.A. Times perhaps, she’d like to win awards. At the paper, she’s still referred to as the “new girl.”

Frustration: She hates it when people lie to her, and she doesn’t always know, but she’s getting better. But she still has some naivete, a real liability for a reporter.

Temperament: Nancy’s easygoing, again perhaps too much, it’s like she turned the “guarded” button to off.

She’s kind of an ambivert – she can force being extroverted when her job demands it but — she’s a writer.

Abilities: she’s fluent in Spanish; pretty much a requirement for her job.

Other qualities: She is poised, she has good judgment mostly, also has a vivid imagination about the motives of people and is always open to changing her mind on something, when presented with new evidence. She is very suggestible that way.

IQ: High

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Kept: Top Ten Locations in Upcoming Novel

Top Ten locations in my upcoming novel “Kept.” With photos! You Betcha! One of the things I liked most about writing my other two books, Benediction and The Forest Dark, was that they (at least I think this) are inseparable from their locations, San Francisco and Los Angeles, respectively.

The project I’m working on now is set in the Palm Springs, California area. Some of these locations are real and some are just made up but set in the desert city. In those cases I looked for a photo which I feel captures the spirit of the story.

images

 

 

 

 

 

  • Greco & Greco — successful Palm Springs Real Estate Office, like the one I found here on North Palm Canyon Drive.

 

trv-art-Palm-Springs-20130222142529756671-620x349

 

 

 

 

  • Desert Sun offices — This is the Palm Springs newspaper.

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  • Spa Resort Casino — Native American casino in downtown Palm Springs.

imgres-1

 

 

 

 

 

  • Deepwell Home of the Grecos — Sy and Pilar Greco live in a house like this in the Deepwell neighborhood.

images-1

 

 

 

 

 

  • Trailer out in Mecca — Jorge Gomez, aka George Gomes, is from a poor trailer park like this in the east valley.

images-2

 

 

 

 

 

  • Empty house where George lives, in Southridge — once George hooks up with Connor Hurst, he starts living in an empty house like this, while it’s being remodeled.

imgres-2

 

 

 

 

 

IndianCanyons

 

  • the Dinosaurs — in Cabazon, just off the Interstate 10. These are really there.

imgres-3

 

 

 

 

 

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More to come!

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Character Biography: George Gomes from “Kept”

Today I’m sharing another small biography of one of the main characters in my in-process novel “Kept.” I refer back to these quite frequently when writing a character; I’ve found that it really helps them come to life for me. Hope you find it helpful/entertaining. Writers, please feel free to use the categories to invent your own characters.

Jorge Gomez: This is his legal name. He’s changed it, anglicized it (effectively, or so he thinks, into George Gomes). (When I think of George physically, I think of the marvelous Mexican actor Gael Garcia Bernal.)

Gael Garcia Bernal

Gael Garcia Bernal

Sex: Male; age 26, height and weight: 5-6, 140.
Coloring: Black hair, brown eyes, light brown skin.
Appearance: he’s got good posture, he’s very attractive when he wants to be, it’s like a transformation from a campesino to a hot latino gay man! He’s lean and muscular. He works at being attractive, which is different from Connor Hurst who just naturally exudes sex.
Heredity: Mexican = mestizo, but looks more European than Indian, a little different from his siblings. They’re from Jalisco state, the Guadalajara area.
Sociological:
Class: from lower working class migrant workers, illegal immigrants.
Occupation: He’s done farm work; when he realized he was gay and good-looking he figured out he could use that to rise above. George is looking for a mentor to help him decide on an “anglo-style” career. His first “gay” job in Palm Springs is as a barback. He works a second job washing old queen’s heads at a hair salon—in addition to the work he does for the Greco & Greco company.
Education: It’s been sporadic. Learning good English is a priority, and he’s pretty good, except for occasional slip-ups. He’s a smart kid. He has a Mexican accent. But, he’s studied a lot of English at night, especially by watching American soap operas. He loves geology, because no matter what happens, the rocks will be here (so he loves the geography in and around Palm Springs.)
Home Life: It was horrible in Mecca, CA! The family lives in a trailer. He’s abandoned them and they are angry, mad as hell. They’ve sent a brother, a cousin, to find him. Both parents are alive, yes! Father (estranged) works in the fields in eastern Coachella and Imperial Valley. Mother sometimes too, but she is sick a lot. Of course, there’s no health insurance. It’s squalor, but better than it was in Mexico. Just barely. Father drinks some, but not ridiculously a lot. He doesn’t live there, which is good, and Alma (mother) is always scheming, trying to escape this life. So far she hasn’t figured out how.

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They are very religious, a very Catholic family, and consult the priest a lot. Jorge was an altar boy and is heavily influenced by the legacy of Catholicism.
Place in Community: He’s an outsider in the gay community. White gays see him as either a low income laborer, or a sex object, or some combination of the two but he’s immediately pigeonholed and finds it VERY frustrating. He’s angry about that. He’s also not an American citizen and constantly afraid of being deported: he’s an illegal.
Political affiliations: He can’t vote. He’d side with Republicans, which puts him at odds with Connor and almost every other gay person in PS. Why? People in his family liked George W. Bush (although that’s hard to fathom) and he’s absorbed that.
Amusements: He likes hiking the mountain (his interest in rocks) also he’s interested in movies. He likes taking care of himself and learning how to be an American, which is his great interest.
Psychological:
Sexuality: he’s gay exclusively. He’s a bottom to Connor’s top. He’s had lots of furtive teen experiences with other Mexican boys but he’s pretty new to the gay community, pretty green and too trusting. He likes to please. He learns fast.
Personal premise, ambition: He’d like the stereotypical American dream of material success. He’s never even been remotely close to that. Beyond that, a lover/partner to look up to.
Frustrations, disappointments: he’s not learning English fast enough or becoming American fast enough. He’s ashamed of his parents and his siblings. He doesn’t mention them if he can avoid it.
Temperament: Mostly even, but he does have a latin temper if provoked. He’s friendly, a little naïve. Somewhat secretive.
Attitude toward life: he’s optimistic about his future. He wants to forget and bury the past.
Complexes: Obsessed somewhat with labels and branding. He’s very materialistic and he and Connor do get along on that point. He’s quite anti-Catholic if pressed. He believes in ghosts and spirits that haunt the mountains around Palm Springs, and he has that in common with the tribe.
Extrovert/introvert: He’s much quieter than Connor. A bit shy. Conniving.
Abilities: He speaks two languages (Spanish and English). He’s good at playing soccer. People feel sorry for him like a puppy and that’s their downfall.
Qualities: Not the best judge of gay men, as he is not practiced. His “picker” is not seasoned. He has very bourgeois taste, which Connor tries to help. He’s got more poise than most Mexicans “just off the ranch,” thus his ability to “pass” in Palm Springs’ white gay community. Plus, he’s cute.
IQ: he’s every bit as smart as Connor, just not as overtly devious—but covert, watch out.

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Character Biography: Connor Hurst from “Kept”

2365800428_0cc260e6a8

Desert windmills and a Connor Hurst-esque character

Today I’m sharing my small biography of one of the main characters in my in-process novel “Kept.” I refer back to these quite frequently when writing a character; I’ve found that it really helps them come to life for me. Hope you find it helpful/entertaining. Writers, please feel free to use the categories to invent your own characters.

His name is Connor Hurst. Physical: 32, White Male. 5-10, 170, dark brown hair, blue eyes. He’s quite muscular, yet hungry looking rather than buff. A stunner! Stands up straight, and he has a swagger. Connor’s fastidious about appearance and perhaps a little vain. He has no defects – at least physically.

Heredity: he is from a WASPy stock, let’s say Scotch/Irish, more Irish, but like everyone he’s a mutt. Will have heart disease problems — if he lives that long.

Social:
Class: White Trash!
Occupation: Connor’s a con man. He’s had various “normal jobs” but had to quit them when he realized how “demeaning” they were. Always involved in off the books type of economy – he’s been a gigolo, escort, drug dealer, bookmaker, small-time theft when absolutely necessary.
Education: Connor’s a high school drop out. He thinks that school is for suckers. But he’s very smart, very street-smart and he can and does read.
In school, he had an attitude problem and was so self-centered.
Home Life: his parents are alive but he’s estranged from them. He often lies to new acquaintances about where he’s from. Originally, it was Little Rock, Ark. Of course, parents are also white trash. Father (Gregory Hurst) is alcoholic, mother (Violetta Gamble) is also a small-time crook. Father provided little guidance and little support. Odd jobs always. Mother was a domestic, she worked in hotels. Now she’s a drug dealer. Has one full-blooded brother Locker Hurst, and one half-brother Duane Gamble. Connor got beat up all the time. His father eventually abandoned the family, and is in Texas or Mexico or dead. They don’t really know.
Religion: Protestant. Southern Baptist.
Race: White, Scotch/Irish.
Place in Community: He has none. Connor Hurst is the ultimate outsider and relishes this and hates it at the same time.
Politics: He avoids politics, but would not trust politicians from either party.
Amusements and hobbies: He likes to gamble. When he goes to casino meetings with the tribe in Palm Springs, he always stops at the tables. He reads the newspaper. Knows how to work a computer as a means for his ends. He likes to shoot things—with guns—target practice. He goes out into the high desert to do that.

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Psychology:
Sex life: Connor prefers men but can be convincingly bisexual when it serves his needs, and can get around a woman pretty easily; after all, he has that charisma.
Personal premise, his ambition: is to have lots of money and ultimately control over his life, and have no one ever fuck him over again or outsmart him. He’d like his “own private island” and would like to buy it.
Temperament: He’s a cocky, occasional jokester type. He’s manipulative but his intelligence shines through.
Attitude to life: Connor thinks he will prevail and is very confident. Perhaps too much.
Complexes: He’s afraid of heights. He’s prejudiced against the Indians, has his fair share of usual white trash prejudice and racism—although he is smitten with Jorge (George), at least in a sexual way. He stuttered as a child. Connor’s still embarrassed about it and angry about the tease, or being teased for anything. He’s an extrovert.
Other abilities: He’s very quick, witty. Speaks some Spanish. Can lie very convincingly. Obviously, knows how to operate a gun—any kind of gun. Knows how to fight with his fists or other handy objects. He’s had some martial arts training.
Other qualities: Can easily judge anyone and “read” them. Doesn’t have a lot of imagination beyond the “get me some money” thing – about what his life could be – hasn’t got that far.
IQ: High. He’s highly intelligent, just not traditionally schooled.

Check back for more bios. The book, “Kept,” will be released near the end of the year.

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Writer’s Workshop: A bit of “Kept”

2365800428_0cc260e6a8Here’s a little excerpt from the new book I’m working on, called “Kept.” It’s a sexy, crime ridden, over-the-top melodrama set out in my favorite decadent dry spot, Palm Springs. Enjoy! Please post comments if you have them. 

From Chapter 2:

Connor Hurst should have washed the truck before rolling up to the Jones home. A more professional, polished look is what he continually strove for each and every day, but this morning it was just not coming together the way it usually did.

The shitty, dusty, red Greco & Greco logos on the silver truck doors were chipped along their edges. Not a good look for the town’s best, if not largest, remodeling outfit, he thought. Better if they were clean and smooth.

On the other hand, Connor looked just fine. He looked so Irish he might have been a Celtic warrior or a leering priest in some other, less ordinary life. He told everybody he was black Irish, though nobody really knew what that meant; even he wasn’t really sure. He guessed his dark hair, so brown it read black, and the blue eyes were evidence enough, and his looks had stunned enough women—and men—over the last few years to make further explanation unnecessary.

Connor and Jacy Martin fell out of the pickup into the 115 degree heat of the fresh, late morning asphalt, its chemical odor signaling what Connor liked to think of as a sign of industrial progress: they were making some headway, their actions had consequences.

And they made quite a pair. Dark, Native American and short, squirrely Jacy’s role was always sidekick to the regal Connor: the shadow side, Lone Ranger and Tonto.

Jacy wasn’t the type to trust too much; he was the type to check behind himself before he spoke. Just in case. But even Connor knew it wasn’t good that Jacy told stories of their tribal chief shooting and killing protected sheep, even if it was on the res, on their own land, in their own fucking nation.

That kind of thing got around.

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Jacy spat on the red gravel oval at the center of the Jones’ circular drive, just missing a perfectly round blue barrel cactus. Connor would ignore this. He’d do the same, but never with anybody around. I mean, come on. He figured the Joneses had to be the richest African-American family in town. They had to be. Look at this place.

The low, Spanish style house loomed substantial from the street, but even that was deceiving. It stood at the top of a small rise, then spread out slowly in back, rooms tumbling down to a pool and a fucking tennis court where the landscape leveled off.

As dark as Alice Jones was, Connor wondered if she needed sunscreen at the pool. She told him she never played tennis. Her son had, though, and quite well, so the court was good luck and they kept it up.

She opened the finely distressed heavy oak door with just one hand—which, of course, showed off her diamond and gold wedding rings, as well as a totally separate emerald on her index finger.

The pounding hammers of the other Greco & Greco workers already inside rose up, as did Jacy’s panting, which reminded him of a nervous dog. Then there was Alice Jones, holding the door wide open, wearing one of her green and black caftans from Africa.  Her tits jiggled. No bra today. She knew he was coming.

Jacy was used to the drill. He entered first after a clipped “Ma’am” to Alice, heading straight for the guys who were finishing up new drywall in the media room, which was next to the library, which was down from the dining room.

Far enough away from Alice’s bedroom which was the only important location.

She clutched Connor by the forearm and led him down the hallway, a gallery where they’d positioned spotlights to hit the artwork at precise sweet spots dictated by a professional curator flown in all the way from New York.

“Mr. Hurst, can you come with me?” she asked. “I’ve got some problems to show you in the back.”

He threw Jacy a smirk, though the smaller man was already out of sight. Small problems in the back, yeah right Alice, I bet you have them, Alice!

At the end of the long hallway a door closed, blocking out the daylight—as so many of these desert homes seemed designed to do. Probably better when you had things to hide.

Outside, in the brilliant sun, white-haired Bernard Jones inched his way up the Camino del Monte cul de sac and saw not just one but two Greco & Greco trucks in his driveway, parked on that almost imperceptible incline. So he had to park on the street. He didn’t like the idea of having to walk the forty or so extra paces to his door. It was hard enough getting out of the 911.

Jacy watched from the media room window, conveniently located at the front of the house, a window, which would soon be fitted with a custom removable blackout shade for movie nights. But today it was still just an empty window.

This is gonna be some trouble. Just what Connor Hurst has coming to him. White boy gets away with too damn much, about time someone kicked his ass! Jacy chuckled into his fist, a spasm of delight racing up his spine, making him jump.

Though Bernard Jones was a short old fart. Would they take it out to the pool, or maybe down to that tennis court? No, Mr. Jones wouldn’t want to get into it that way. He’d have a gun, probably close at hand. Probably had several, look at all this art in here. Plus, there weren’t many around Palm Springs who looked like the Joneses.

But sometimes loyalty trumps the desire one feels for right and wrong. Or maybe it was pure practicality, having to get along with your co-workers no matter who they were. Even if they were Connor Hurst. So Jacy moved into the hallway, a cheerful Indian ready to intercept the rich American.

Meantime Connor had got Alice up on all fours on her big bed, which was covered with a taut, blue-green abstract duvet with contrasting tan-black striped pillows, one of which her head was now buried in.

Her caftan was still partly on, bunched up in folds covering her shoulders and her neck, covering her face. Her beautiful cocoa ass pointed up toward the ceiling. Connor had just entered her, leaning over to whisper, “you like ‘em young, don’t you, Alice, you like ‘em white, too!”

Her voice was muffled by the pillows. “I like ‘em hard,” he thought he heard her say. He wasn’t exactly sure because there was commotion, activity unplanned and unwanted, somewhere not too far outside the bedroom door.

Bernard Jones was now in the hallway, the hallway gallery, where their important and expensive works of art had been positioned by the New York decorator with custom track lighting that had to be redone four times before Alice would approve it.

The heavy, dark wooden door at the end of the hallway, the door to his bedroom, was closed.

Bernard Jones headed toward it.

A short Indian was in the way. “We marked places in the sheetrock where your speakers will go, let me show you Mr. Jones,” the little man said, positioning himself directly in front of Bernard Jones, blocking his advance, trying to turn him around, then again, not trying too hard. “Let me show you the media room, man.”

“Get out of here, you fucking little bug! Alice?”

But Connor had already put it together. He was off poor old Alice, grabbing his pants, his Greco & Greco workshirt, his shoes, looking up to the ceiling for an instant, asking if she’d ever considered some “nice regal crown molding,” then easing himself behind the lux drapes and out the slider door. But not before Alice tossed him a couple of Benjamins—as well as his socks.

“Go!” she whispered, blowing him a kiss, already examining herself in the mirror, arranging the caftan back to its correct matronly order.

*   *   *

 

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Turning a Screenplay into a Novel: The Simplified Version, Ten Tips

Flickr photo c haley 327.

Flickr photo c haley327.

I have a book about the opposite methodology – turning a novel into a script. But I’m not sure a roadmap exists for this what – this expansion, I guess, is what it would be.

I’m in the process now, with a script I wrote a few years ago called “Kept.” The movie I envisioned is a steamy potboiler encompassing the wide diversity of the folks who live out in the Coachella Valley (the Palm Springs, CA area).

I want to elevate the tenor of all this a bit for the novel, so I have to make some small changes which I hope will have a profound effect on the feeling the finished product gives the reader.

Here are some of the things I know I must do, in no particular order. If you’re embarking on a script-to-novel conversion, as many screenwriters seem to be doing these days, hopefully this is helpful:

  • Go back to your character bios and make them real. I always have written biographies for my main (and often secondary, as well) characters, using Lajos Egri’s “The Art of Dramatic Writing” as a guide (he furnishes an outline to follow). For a novel, it’s imperative that you can live and breathe your characters. In a screenplay, I know I’ve often cheated, using archetypes and gulp, cliches.
  • Go Back to Your Themes. Before writing a script (or any fictional thing, really) I list out my themes, the overarching ideas I want to have come through the work. The source I use to prod myself is an old copy of Eric Heath’s “Story Plotting Simplified,” which lists and explains the 36 Basic Plots. For “Kept,” Greed, Lust and Nihilism are essential themes. Your themes for a novel will be more internal than those you chose for your screenplay.

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