Truth behind the fiction: A close call that became story fodder

By guest author Elise Abram

Photo by Talesin for Morguefile

When I was a teenager, my family business had a booth at the Canadian National Exhibition in the Food Building. My brother and I ran the booth during the day and my cousins at night.

I was very insecure as a teenager. I wasn't popular, I didn't like the way I looked, I didn't like who I was, and I didn't date. So when a cute boy approached me to strike up a conversation at the counter one day, I was incredibly flattered. When he left, he said he'd come back a few days later to continue our conversation, which he did, only this time, he started spouting religious dogma in the middle of the conversation, which turned me off.

He told me the name of the organization he worked for and I went to the Coliseum Building to check it out. He wasn't there when I went, so I approached, questioned the people working there, and collected some flyers.

It turns out they were in the business of seeking out teens for the purpose of converting them to their way of thinking. I liken their organization to a cult, because in later years, a number of deprogramming stations for their organization and similar ones, popped up around the GTA.

I was worried, but we came up with a plan:  the next time he came around, if I was in the back, someone would tell him I was busy, and if I was at the counter, someone would call me into the back on some "urgent" business. It just so happened that when he next came, I was in the back room and my brother told him I no longer worked there. He never came back.

When I was brainstorming for THE NEW RECRUIT, I thought about this experience and what might have happened if I hadn't had the support system I did. What if I'd ignored the warning signs and went with the recruiter because I was lonely, or if he had something to offer me that I couldn't find on my own?

THE NEW RECRUIT explores this question. Judith, my protagonist, is sixteen-years-old and she feels like an outsider. She's lonely because her mother has passed away, her father is always at work, and she has only one friend. She desperately wants to find a job so she can help her father with the finances and so he will be around more often.

When she meets Cain at the mall, he strikes up a conversation with her, offers her a job, and eventually recruits her into his cult of ecoterrorists, which he is able to do because he makes her feel special, offers her something she can't find on her own, and she doesn't have a support system in place to protect her from going with him.

THE NEW RECRUIT is timely in that it deals with the question of how a child with a seemingly normal upbringing can easily separated from her family, brainwashed, and coerced into doing something that horrifies the majority of the population.

About the author

Elise Abram is high school teacher of English and Computer Studies, former archaeologist, editor, publisher, award winning author, avid reader of literary and science fiction, and student of the human condition. Everything she does, watches, reads and hears is fodder for her writing. She is passionate about writing and language, cooking, and ABC’s Once Upon a Time. In her spare time, she experiments with paleo cookery, knits badly, and writes. She also bakes. Most of the time it doesn’t burn. Her family doesn’t seem to mind.

Connect with Elise Abram:
Blog /  Facebook / Twitter / Amazon Author Page

About the book

The New Recruit
Genre: YA Contemporary
Pages: 214

Sixteen year old Judith Abraham feels like an outsider. She has just transferred to a new school, has only one friend, and suffers from social anxiety, but when recruiter Cain Barrett offers her a job, her whole life changes. Things are great at first, but the more she learns about Cain's world of climate crusaders, the more she questions his motives behind singling her out. Will Judith find a way out before it's too late?

THE NEW RECRUIT is the first book of a trilogy (followed by Indoctrination) by author Elise Abram, winner of the 2015 A Woman's Write competition for I WAS, AM, WILL BE ALICE. THE NEW RECRUIT is a young adult contemporary romance for the new millennium. In a time when jobs are scarce, politics are unstable, and the future is uncertain, millennials are ripe for recruitment by cults, groups offering a stable world view in exchange for total devotion. THE NEW RECRUIT is meant to be a cautionary tale exploring how, without love and support from those around them, our disenfranchised youth can be so easily misguided.

Buy Links:
Amazon / Google Play /  Apple iBooks / Kobo / Barnes & Noble

Giveaway

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Have you ever had a close scrape with danger and wondered "what if things had gone differently"?

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Happy Anniversary Harry Potter: a blogging retrospective

This week marks the 20th anniversary of the publication of Harry Potter and the Philosopher's Stone (know in the US as Harry Potter and the Sorcerer's Stone because publishers assume American readers are too dumb to pick up anything with philosopher in the title, or know anything about medieval history or alchemy...but I digress).

Dumbledore's costume, WB studio tour, London (my photo)

I was first introduced to the series shortly after the first two books became available through Scholastic in the US. A reading specialist in my book group felt we just had to give them a try. She reads heaps of kidlit and knew these books were something special, bringing together tropes from fantasy, mythology, coming of age, and boarding school stories. They're fun and smart and got reluctant readers willing to work through their reading struggles to find out what happens next.

Having my husband read the series aloud to me, so we could enjoy the books together, became one of the defining bonding experiences of my early married years. He has gone on to develop college courses that suss out philosophical themes in the books, and has given a number of conference talks and published books chapters on epistemology and ethics in Rowling's work.

My contribution to Harry Potter fandom has been largely connected with this blog. I've participated in some blog hops, did a series of thematic character analyses, and eventually spun off a short-lived online fan 'zine.

So for your enjoyment, I offer links to my many Harry Potter-themed offerings.

Literary analyses

The Slow Growing Hero (Neville Longbottom)
What Makes a Villain? Part 1: The Dursleys and Malfoys
What Makes a Villain? Part 2: Umbridge and Voldemort
What Makes a Villain? Part 3: A Hero in Villain's Clothing (Severus Snape)

Thestral Gazette

I created this fan-fiction "underground newspaper" with a team, to provide muckraker-style "yellow journalism" pieces about "hidden Hogwarts revealed by those in the know." Pieces are cross-posted HERE.

Mrs. Norris's Secret Identity Revealed
Gilderoy Lockhart's Exciting New Book Release!
Snape's Secret Admirer
Fast, Loose, and Aria-Belting: Professors After Hours
Viktor Krum Reuintes with Former Girlfriend
Discovery: Mer-mating
Umbridge Unmasked
Ask Abby Gabby: Advice for Wizards and Witches (first feature)
Advice for Wizards and Witches (second feature)
Being Bullied? Weasel Your Way Out
Elves Gone Wild
Cauldron Chatter: Cloaked Items (gossip column)
Special Report from Hogwarts Florida Campus

Blog Hop posts

The Benefit of Books First (guest post by the hubs)
Wrock on! About the fandom creation "wizard rock"
Quidditch anyone? About collegiate "muggle quidditch" teams
Spinning New Yarns: Fan Fiction and Fan Art
Ravenclaw Heaven: Harry Potter meets Academia
Who Would Be Your Mates? Create a friend trio with two Hogwarts students

Miscellany

Harry Potter themed party ideas part I and part II
My photos from the Harry Potter WB Studio Tour near London and Hogwarts meme

And for fun, a quick list of my favorites:

Book in series: Harry Potter and the Goblet of Fire
Film: Harry Potter and the Prisoner of Azkaban
Male character: Neville Longbottom
Female character: Hermione Granger
Professor: Remus Lupin
Scene: Escape from Gringott's in Deathly Hallows
Spell: Accio (summoning spell)
Method of transit: aparation
Magical creature: House elves
Magical event: Yule Ball

How long have you been a Harry Potter fan? What are your favorites from the list above?

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The dilemma of "contemporary" fiction and one possible solution

I write stories about teens facing real-world problems in a today-ish setting. I say today-ish, because the biggest dilemma of writing a contemporary story is this:

The world doesn't stand still while you write. Major changes happen every day, to cultures, to landmarks, to technology.

Those unanticipated changes can make your story absolutely laughable.

I'll give an example from one of my books. I started writing it after a trip to the UK in 2006, and had spent the weeks doing heavy on-the-ground research. But for various reasons I won't go into here, I didn't finally publish that book until 2012.

Guess what happened in the UK in 2012? The London Summer Olympics.

One of my scenes that takes place in a London train station, which I'd blocked out step by step in 2006, couldn't have happened the year I published. Big modifications were made to all rail stations in anticipation of the Olympics that upped the level of security. Yet I knew readers would expect my "contemporary" story published in 2012 to be set in 2012.

So what's a writer to do?

Backdate your story. It's that simple.

I now call my stories "near historical" because they are set in the late-2000s (Never Gone, 2007-08; Almost There, 2009). This enables me to "lock down" particular landmarks, technologies, and character interaction with world history (for example, my protagonist would be old enough to actually remember 9/11). It helped me make decisions about what tech would be available and most likely used, considering my characters' socio-economic backgrounds. The rapid change of tech and trends among teens alone makes "near historical" a good option for YA contemporary authors.

How you add in time markers depends on your story. Here are some ideas:

Dated chapter titles
Dated correspondence (snail mail, e-mail) within the story
News headlines or broadcasts (quoted or paraphrased)
Mentions of historic events
Mentions of time spans
Mentions of birth or death dates
Character participation (direct or indirect) in historic events

What do you think of the "contemporary fiction dilemma"? What other solutions besides writing "near historical" have you seen used effectively?

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Mystery blogger: nine things about me

When I first started this blog in 2009, blog "awards" were all the rage. I think 2010-11 was a peak period, in which I received and passed along more than a dozen. By 2013 no one was doing them any more, and it made me a little sad. I can see how they might seem like public chain letters, but by golly they are fun. They give you something entertaining to blog about when all your creativity has gone into finishing a fantastic chapter the night before.

So I will not be joining the anti-blog-award brigade. Nope. I'll be having some fun. So here goes....

There are rules to this award, of course…
Rule 1: Put the award logo/image on your blog.

Rule 2: List the rules.

Rule 3: Thank whoever nominated you and provide a link to their blog.

Big thanks for the nomination to awesome A-Z Blogging challenge co-host J. Lenni Dorner, who I knew on Twitter for some time before becoming blog buddies.

Rule 4: Mention the creator of the award and provide a link as well.
About the creator: Okoto Enigma’s blog 
The creator’s name, Enigma, means mystery, thus the title of the award.

Rule 5: Tell your readers three things about yourself.

1) I can identify nearly any early 1980s pop song within five measures or less. I was obsessed with America's Top 40 in my misspent youth. (I could have been memorizing Pi to the 400th decimal place or all the world capitals or something a little less frivolous). My husband sometimes makes me demonstrate my skill for guests.

2) I did props management and set decoration for about a dozen college productions, as well as for some community theatre shows. Once I'm an empty nester, I will likely take it up again. It is so much fun to build the material culture for a play.

3) I'm convinced that one of my childhood homes was haunted. We often heard movement in distant rooms, and one of the bedrooms had a distinct cold spot. I sensed the presence of our ghost more than once, particularly in the daytime when playing alone. My sense was that it was a young woman who'd perhaps died in childbirth and continued going about the business of taking care of her family, as if unaware she was dead.

Rule 6: Nominate other bloggers. (I'm going to cheat a little on this one. Twenty is a bit much).

Faith Hough
Jean Davis
Nick Wilford
Samantha Dunaway Bryant
Tyrean Martinson

Rule 7: Notify those people.

Rule 8: Ask your nominee any five questions of your choice, plus one weird or funny question.

The questions I have for my nominees are:
1) What are three things on your "bucket list"?
2) Which authors have influenced you in terms of genre, style, or theme?
3) What book's milieu (place, time, culture) would you most like to live in?
4) What are your favorite writing resources?
5) What's the best book you've read recently?
Fun/weird bonus:  Have you ever developed a "book crush" on a fictional character? Who and why?


I was asked
1) What is the most memorable trait or visual oddity of a fictional book character you’ve read?

Anne Shirley's intense flights of fancy into imaginary worlds (Anne of Green Gables series). I didn't read the books until post-college and felt like L.M. Montgomery could have been writing my girlhood (minus the orphan thing, and living in the 1880s, obvs).

2) What most motivates you to buy a new book to read?

New printed books are a purchase I have to justify because of the space issue and the expense. I have to be convinced I will read it more than once, use it as a resource or model text, or will likely share it. A great sale might also convince me. I'm freer about picking up used books and ebooks--the former aren't as big an expense, the latter less a clutter creator.

3) How do YOU make an educated guess as to if a book by an author you haven’t read before will be “good” BEFORE you read any of it?

The description has to grab me. I can more quickly get past an ugly cover than this. And I never buy or download stuff--even freebies--without reading a sample. Because a great cover blurb of an interesting premise sometimes doesn't translate into style that draws me in. I'm a voice-driven writer and tend to be a voice-driven reader also.

4) What’s your favorite comfort food?

Mashed potatoes. My husband has a killer technique of boiling garlic cloves with the potatoes, then hand-mashing the cooked garlic into the cooked potatoes, along with sour cream, butter, and white pepper.

5) Where do you look for blogging inspiration?

My monthly critique group meetings often provide fodder, as does Twitter--sometimes a random post will catch my eye, sometimes a grammar or spelling error in a tweet will inspire an editing topic.

Weird/funny question: Do you have a celebrity encounter story you can share?

I am almost phobic about rubbing elbows with someone famous and doing something stupid, so I tend to go out of my way to avoid contact, even when given special access, like at comic conventions. So if there's a celebrity around, I will be trying to quietly creep away.


Rule 9: Share a link to my blog’s best post.
Rebel that I am, I'll share two. :-)

One of my analyses of Harry Potter characters continues to get the most hits. It's third in a series

What makes a villain? Part 3: Hero in Villain's Clothing

A newer post with nearly as many page views is this one on my revision process:

How I Do It: Identifying Story Weaknesses

Q4U: Do you miss the "good old days" of writing blogs (before 2012)? 
Answer any (or all) of my six questions listed under "rule 8."

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Candles, moonlight, and...yawn

True confession. I feel like I ought to like reading romances. I generally prefer a happy ending to a sad one. But each time I've tried one--especially the Kindle First offerings to Prime members--I've been disappointed.

The romance plot model has become so entrenched, it no longer allows room for any genuine surprises. I know there will be some dumb thing that separates heroine and hero at roughly the midpoint and that dumb thing will clear up in a matter of chapters. I know the heroine will be beautiful, as will the hero, though one or both will be clueless about this or insecure in some way. If one of them has a deep, dark secret, the counterpart will have a corresponding one. Even in the hands of a great wordsmith, the formula clunks along as usual, boring me to tears.

I'd love to know if there are established writers out there who have earned a free pass to write plots that don't follow the predictable formula of boy-meets-girl, boy-loses-girl, boy-wins-girl-back-again. I'd like to see some heroines who aren't the usual healthy, educated, white, and beautiful. How about a blind protagonist, or one with a learning disability, or someone biracial or average looking but brainy, or even disfigured (say an amputee veteran)? You find characters like this in literary fiction, women's fiction, romantic comedy, YA and MG. It would be great to see their love stories, and have a departure from the same-old, same-old.


Is there a genre you've tried but just can't connect to? Why do you think that is? 

Is there a romance author doing something unique I might actually enjoy? Do tell. 

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Building great characters through research

Research often gets a bad rap in fiction-writing circles. Everyone seems to know at least one aspiring author who got lost on the Planet Library, having followed one interesting tidbit after another deep into the stacks, never to return. Never to actually turn the acquired knowledge into a story.

No one wants to become that guy.

One the other extreme, some consider doing any research a waste of time, since fiction is supposed to be "all make believe." But make believe that doesn't have some grounding in researched reality will likely be drawn from your limited experience, or worse, from cliches.

Somewhere between these extremes of no research and nothing but research is the sweet spot of doing some research. As Robert McKee says in Story, “No matter how talented, the ignorant cannot write. Talent must be stimulated by facts and ideas. Do research. Feed your talent. Research not only wins the war on cliché, it’s the key to victory over fear and its cousin, depression.”

Today, I'd like to touch on a few areas of research that will help you build fantastic, memorable characters. When you take the time to know your characters' worlds deeply, you'll be able to develop more dynamic plots and relationships, and you'll be more equipped to develop each character's unique voice in dialogue.

Knowledge base

In order to write realistic characters and create believable plots, you need to know what your characters know—or at least a big enough slice to accurately represent their daily activities and thought patterns.

How educated are your characters? What special areas of knowledge or training do they have?
Read up as much as possible on topics that would interest your character. Educate yourself about the routines and general lifestyle of their particular vocation, whether an elementary school student or astrophysicist, a milkmaid or Baronet. Use written resources to build your general knowledge, develop questions to ask experts, and create lists of things you’d like to observe.

Cultural/historical influences 

If you’re writing a protagonist who isn’t an autobiographical stand-in for yourself, chances are this person has a different history and may be shaped by different cultural influences. She might be from another generation, another socioeconomic class, another geographical region, another subculture.

Familiarize yourself with important historic events that happened during their lifetime, as well as the lifetime of key family members (parents, siblings, grandparents). You might be surprised especially when writing younger characters: events that shaped your life may have no relevance to them at all. Characters from previous generations might have had contact with technology you’ve never heard of, and be deeply shaped by problems long forgotten in our day (are you noticing a pattern here?).

People from other cultures have different sets of stars and heroes. They value different virtues, and overlook (or punish) different vices. They have different ways of interpreting history and their own circumstances than you might looking in from the outside. So dig in. Get to know your character’s cultural world.

Your goal should be to understand your character’s surrounding influences and the choices s/he is likely to make based on those influences.

Family dynamics

No matter what genre you write, it’s helpful to do some reading in the social sciences. Because everyone is typically born or adopted into a family, research on family dynamics can be useful.

Some helpful sub-categories to explore:
• Marriage dynamics
• Birth order and personality
• Sibling dynamics
• Intergenerational influence and conflict
• Rights and responsibilities of various family roles in history

If you write about a futuristic setting, these works may become jumping-off points for world building. Consider a world in which no middle children exist, or where marital bonds are for a fixed period, say ten years. How would that affect individual families and culture at large? Speculative fiction writers might also find it helpful to read about family dynamics in ages past, such as texts from ancient Rome about family life.

Associations

Associations are “tip of the mind” thoughts that, like icebergs, show only a portion of the whole story. Most of the mass is hidden under the surface, whether it’s a mass of history or emotion. Associations can be a shorthand way of showing what kind of past experiences the character has gone through, what he values, and what forms of culture shape him. Associations show up in the way characters describe things, and especially how they make comparisons, such as similes and metaphors. Here are two examples from my novel Never Gone:

Images burst in my mind like sudden sun through stained glass.

This person is someone who frequents:
a. sport arenas
b. churches
c. suburban malls

“Crikey,” Uncle says. “We’re in Dante’s eighth circle of hell.”

This person is...
a. a man of the soil who works with his hands
b. an Irish dancer who dreams of becoming the next Michael Flatley
c. an educated bloke who has studied Classical literature

The simile and metaphor in each of these examples pours a great deal of back story into the characters without my having to tell you “Dani grew up attending church every Sunday without fail,” or “Uncle Philip took a First in Classics before attending law school.” As a reader, I’d be bored being told these rather dull facts. It’s far more interesting to see how life experiences shape the characters’ minds.

In the second example, I used a particular kind of association, a reference to other literature (or film or music) called an allusion. Allusions can be used strategically to bring themes of the other work to bear on yours. My example alludes to Dante’s Inferno. In it, the eighth circle of hell (ditch nine) is for “sowers of discord”—people who cause conflict and dissension between others—and their fate is to be cut to pieces. This is thematically important to the story, and the uncle’s role especially.

Before you begin researching associations, brainstorm to determine a few key environmental pieces for each character, whether they are career, family of origin, hobby, or other influence. Having more than one will make for an interesting, multi-layered personality, rather than a repetitive, one-note character. These elements should be important for how the character interacts with others and move the plot along, otherwise they will become tangents that muddy the story rather than enhance it.

Research the environmental factor and record key terms, images, events, allusions, etc. that can be worked into your character’s conversations and thought life.

Which of these areas of research intrigues you most? What things do you need to research to make your current project's characters more vibrant and realistic?

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Why you should stop trying to get motivated

image credit: Felicia Santos for morguefile

As the school year enters its final weeks and summer fun is so close around the corner, homework is about the last thing kids feel like doing. I don't know about you other parents out there, but homework battles in my house have gone from bad to worse in my home of late.

Research nerd that I am, I went on the hunt for advice about how to get through the final marking period, ending strong without bloodshed. I tripped across a short e-book by life coach Dennis Bumgarner, Motivating Your Intelligent but Unmotivated Teenager.  What I found most striking in his approach to the whole "movtivating" and "unmotivated" issue is his breakdown of why sticks and carrots rarely work, and also WHEN motivation happens.

Hold onto your hats, because this concept is a game changer:

"Performance precedes motivation." 

Bumgarner argues that beginning a small piece of a task will motivate continued steps. Not cheerleading. Not rewards and punishments. Not lectures or logic.

Doing.

I think this insight has broad applications for nearly every step of the writing, editing, submission, design/formatting, marketing parts of creating written work.

Trying to "get in the mood" to write or chasing one motivational strategy after another is a waste of time. Simply start a little something. You only discover the intrinsic rewards of writing by actually writing, not by dreaming about writing, talking about it with other writers, pinning pithy quotes on Pinterest, or whatever other supposedly motivation-building (but useless) strategy you've attempted.

Write some words, any words. Flow comes when you overcome that initial inertia.

What do you think of the maxim "performance precedes motivation"? Can you think of instances where this idea has proven true for you?

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