Tag Archives: Kept

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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New Project I’m Working On: Kept

2365800428_0cc260e6a8 The new book I’m working on – at least at this point I think it’ll be a book — is a rework of a movie script I’d written a few years ago, called “Kept.” As in, a “kept” woman or in this case, a “kept” man.

As this photo suggests to those who know some Southern California desert geography, the story does indeed take place in Palm Springs (thank you, unknown Flickr photographer, for sharing this great shot). There’s even a confrontational scene amongst the windmills out there.

What is the process of adapting a screenplay to a novel? I’m finding that some things which work in one art form definitely don’t translate that well to another. For instance, there’s a lot of action in “Kept,” which I assumed in a movie would be covered by editing, special effects, and perhaps a really healthy dose of suspension of disbelief. This won’t work on the novel page too well, if, let’s say, something’s not exactly believable, or is a real stretch.

That’s where some research has come in, to try to find some basis in reality for the actions these characters go through. One definite plus to the novel form is that you’ve got a lot more space to explain things. I think that’s more fun for the writer, too.

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Some of the themes to be explored in the novel “Kept” are, in no particular order: Hubris, Lust (both straight and gay), Greed, and these memes: Crime Doesn’t Pay. Passion is a Deadly Trap. Things Are Not Often What They Seem.

Some of it might be a bit noir-ish. After Dark, My Sweet, the 1990 James Foley film starring Jason Patric, Rachel Ward and Bruce Dern, which is based on a Jim Thompson  novel, was a big influence on me in the development of the script. (It’s also set in the desert, and features a major shootout at the Palm Springs Airport – see it if you haven’t. It also majorly stars Jason Patric’s well-formed ass, but I digress. . .)

My story is updated and centers on real estate crimes and is inclusive – meaning it covers the gamut of desert-y characters you’d find out there today: retired men and women, casino-owning Native Americans, Mexican immigrants, gays, WASP Republican politicians, drug dealers, US Marines, tourists, etc.

I hope to have it done next year. Questions?

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"Kept" first paragraph

I wrote out this graf from my script Kept in novel form to use for a UCLA homework assignment this coming week. I’m actually thinking of novelizing a few of my movie scripts, self-publishing them and selling the potboilers on the internet.

“Jorge Gomez wasn’t really paying attention to the novela, using it mostly for cover noise, as he always did. His hand shook as he fitted the blue contacts into his dark brown eyes, which would make him look exotic, or at least like a Brazilian. He checked out the deal in the mirror tacked up between the upper and lower bunk. Nicely compact and smooth, nobody would know he’d just been standing in his momma’s double-wide in Indio and not in a hotel lobby a half block from the beach at Ipanema. Reaching under the mattress, he grabbed his drivers license with the name “George Gomes”, the four twenty dollar bills, and shoved the beefcake magazine “Macho” – which showed a cover of a naked blond gringo with a big fat dick – further back toward the wall.”
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Is this Jorge, or is this George?

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