Early review: American Savage

When I was in college, I discovered Savage Love, Dan Savage’s weekly sex advice column. While it’s been years since I’ve read the column, I’ve remained a fan of Savage and his blunt, and often practical, advice. But I have to say, going into American Savage: Insights, Slights and Fights on Faith, Love, Sex and Politics, I wasn’t quite sure what to expect. What I got was a surprising wealth of information.

Make no mistake; Savage is pissed about a lot of things. Topics run the gamut from cheating to gay marriage to Rick Santorum to Washington’s Death With Dignity law to the It Gets Better Project. But for every argument he puts forth, he fleshes it out with studies, other media stories, court cases, and in some instances, personal anecdotes. I had a hard time not bawling at my desk while I read about Savage losing his mother to pulmonary fibrosis (Extended Stay), which lead to his thoughts on Death With Dignity. I may not have remembered the exact reasoning behind spreading santorum, but I did remember the letter that started it all (Rick and Me). And I found myself trying to think of ways to get my coworkers to read the chapter on the Affordable Care Act (Still Evil. Less Evil. But Still Evil.) Also, I wish I could have met his mother. She sounds like a fantastic person.

Here’s the thing about this book: there are likely a number of people who will give it a pass because they find Savage too angry, too gay, too liberal. He’s all of those things (well, except for maybe the “too angry” bit). And he doesn’t apologize for it, which is why I love him, and why I loved this book. The arguments set forth in the essays are sometimes simple (on gay marriage – don’t like it? Don’t get one.) to ones involving multiple citations and statistics (GLBT teens are four times more likely to commit suicide. GLBT teens whose own families are hostile toward them are eight times more likely).

Those are the people that need to sit down and read this book.

I’d only gotten a few chapters into American Savage when I was talking to the BF about it. While familiar with Dan Savage, he hasn’t read much of his work other than a passing glance at Savage Love. I found myself trying to summarize Savage’s reasons for why cheating, on occasion, isn’t a bad thing. I must have done an okay job, because the BF agreed with me. (For the record, Savage’s position was that if one person’s sexual needs are not being met, and every other reasonable accommodation has been made – doing their fair share of the housework/parenting, open communication, et cetera – then yes, it’s okay.) I’ve always looked at cheating as the ultimate betrayal, and so does the BF. But after that chapter…I can see how for others, it may be a viable choice to save their relationship. Weird, I know.

Savage talks about how Brian Brown ended up at his dinner table (and his husband’s reaction to the invitation to dinner). He talks about the gaffs he’s made over the years, including the incident that caused several students to walk out on a speech he was in the middle of giving. And, of course, he talks about gay rights: the right to create a family, the right to marry, the experiences he had as a gay teen growing up in Chicago versus what Terry, his husband, had to deal with growing up as a gay teen in Spokane. He talks about outing and fetish festivals such as Folsom Street Fair and International Mister Leather and why they’re necessary (do you know how many people try self-bondage because they’re too scared to say something about their kinks? How many of them have hurt or killed themselves because of it?), and the debate, staunchly kept in play by conservatives, on whether homosexuality is a choice.

The essays American Savage contains could, and should, serve a purpose: to spark a conversation. Whether it’s on gun control (It’s Happened Again) or being open and communicating effectively with your partner (The GGG Spot), your dinner table definitely won’t be boring.

American Savage: Insights, Slights and Fights on Faith, Love, Sex, and Politics is on sale May 28th.


Guest Post – Raise the Stakes: Twelve Tricks to Make a Fight Scene Exciting

Wondering how to write an effective fight scene? Never fear, editor Rayne Hall has some handy tips on how to make your scenes taut and exciting.

Creating a good fight scene is one of the most challenging aspects of the writer’s craft. Here are techniques on how to give your readers the thrill they expect from a fight:

1.  Give each fighter a compelling purpose and raise the stakes as high as possible. A heroine fighting for her life is more exciting than a heroine fighting for her purse, and a heroine fighting for her children’s lives is more exciting still. If she fights for her purse, raise the stakes by making that purse important: it contains not only money, but the jackpot-winning lottery ticket, only photo of her abducted baby daughter, or evidence that her husband is innocent of the murder of which he stands accused. For her opponent, a street urchin, the stakes are also high:  the money in the purse will buy food for his starving baby sister, or gang members are assessing his performance to decide whether to accept him.

2.  Stack the odds against your protagonist: the more difficult the fight is for him, the more exciting it is for the reader. Give the opponent better weapons, greater strength, and other advantages.

3.  Use a location which is either unusual (a wine cellar, a cow shed, an artist’s studio) or dangerous (a rope bridge across a ravine, a sinking ship).

4.  Use deep point of view: let the reader experience the fight the way the PoV character experiences it. Keep to the PoV’s vision (only what’s immediately before him) and convey his emotions (fury, fear, hope, triumph).

5. Hearing, more than the other senses, creates excitement, so describe noises, especially the sounds of weapons (pinging bullets, hissing arrows, clanking swords).

6. Create fast pace by using short paragraphs, short sentences and short words.

7.  Verbs, more than other words, convey excitement: hack, slash, pierce, stab, race, jump, leap, drive, spin, punch, kick. Choose vivid verbs, and build your sentences around them.

8. Avoid blow-by-blow accounts: these soon get boring. Instead, show only the first few moves, as well as the decisive final ones, and for everything in between, focus on the direction of the fight (‘Fired with new courage, she kicked and punched.’ ‘He drove her closer and closer to the cliff’).

9.  In a long fight scene, let something unexpected happen (the hero loses his weapon and is forced to fight on with his bare hands, the hero’s girlfriend comes to his aid,  the villain’s henchmen join the fight, the bridge collapses, building bursts into flames). This event should change the fight, but it should not decide it.

10.  If your protagonist has a special skill – e.g. she’s good at acrobatics, at oil painting or at basketball -  let her use this skill in a surprising way in the fight.

11. Create a ‘black moment’ when all seems lost. Then the protagonist recalls his purpose, rallies his courage, and fights on to win.

12. If the protagonist wins the fight, it must be from his own efforts, not because of a stroke of luck, divine intervention or outside interference.  Other people may help, but they must not decide the outcome.

ANY QUESTIONS?

If you have questions, would like to share other ideas about how to make fight scenes exciting, or if you want advice for a fight scene, leave a comment. I’ll be around for a week and will respond.

WRITING FIGHT SCENES – THE EBOOK

Learn step-by-step how to create fictional fights which leave the reader breathless with excitement.

The book gives you a six-part structure to use as blueprint for your scene. It reveals tricks how to combine fighting with dialogue, which senses to use when and how, how to create a sense of realism, and how to stir the reader’s emotions.

You’ll decide how much violence your scene needs, what’s the best location, how your heroine can get out of trouble with self-defense and how to adapt your writing style to the fast pace of the action. There are sections on female fighters, male fighters, animals and weres, psychological obstacles, battles, duels, brawls, riots and final showdowns.  For the requirements of your genre, there is even advice on how to build erotic tension in a fight scene, how magicians fight, how pirates capture ships and much more.  You will learn about different types of weapons, how to use them in fiction, and how to avoid embarrassing blunders. Note: The book uses British spellings.

Available from Amazon (US site), Amazon (UK site), Barnes&Noble, Smashwords, iTunes, Kobo, and other online booksellers.

ABOUT RAYNE HALL

Rayne Hall has published more than forty books under different pen names with different publishers in different genres, mostly fantasy, horror and non-fiction. Recent books include Storm Dancer (dark epic fantasy novel), 13 British Horror Stories, Six Scary Tales Vol 1, 2 and 3 (mild horror stories), Six Historical Tales (short stories), Six Quirky Tales (humorous fantasy stories), Writing Fight Scenes, The World-Loss Diet, Writing about Villains and Writing Scary Scenes (instructions for authors).

She holds a college degree in publishing management and a masters degree in creative writing. Currently, she edits the Ten Tales series of multi-author short story anthologies: Bites: Ten Tales of Vampires, Haunted: Ten Tales of Ghosts, Scared: Ten Tales of Horror, Cutlass: Ten Tales of Pirates, Beltane: Ten Tales of Witchcraft, Spells: Ten Tales of Magic, Undead: Ten Tales of Zombies and more.

Rayne has lived in Germany, China, Mongolia and Nepal and  has now settled in a small dilapidated town of former Victorian grandeur on the south coast of England.

https://sites.google.com/site/raynehallsdarkfantasyfiction/


Talking With My Mouth Full

The other day I was talking with a friend at work-

Actually, talking isn’t the best word I’d use. Complaining, whining, or flipping out would be more apt. So. Allow me to start over.

I was flipping out the other day at work. See, it’s May. May is the month in which if I request time off, my supervisor will laugh hysterically and then tell me to go back to my cubicle. The BF knows about May. That’s how bad it gets. Although so far, it’s not been so bad, work wise. So why was I flipping out/complaining/whining?

I do believe I’ve bit off a bit more than I can chew.

Once I made the decision to start doing more book reviews on the blog (and attempting to acquire more advance copies for review), I had to start setting up reminders on my calendar to prompt me to start a new book. The notes would include when I intended to post the review, when the release date was, and if I was reviewing for this blog or Vampire Book Club. Handy, yes?

Handy means there are six books I’d slated for review that are all releasing within a week of each other. One will be getting an early review (Dan Savage’s American Savage will be reviewed next Friday, May 17th). One will go up whenever Chelsea, head review guru for VBC, decides it’ll go up. One won’t have advanced copies (damn you, Heart of Obsidian!). The other three…well, that’s a puzzle. Because I’ve got a rapidly growing stack of library books I’d like to get to rather than having to put them on hold again.

Here’s my problem: I feel guilty. When I request review copies, I do my best not to go full tilt and request everything in sight, knowing there’s no way in hell I’ll have time to read them all. This cuts down on the possibility that one will fall by the wayside and not be reviewed for months, or worse, ever. But that’s exactly what happened here. Two of those three books weren’t on my radar three weeks ago, and then I got distracted by the ooh pretty shiny and snapped them up. Oops.

You’re probably thinking, “But Amanda, that’s not so bad. Just a ton of reading.”

Riiiight. Please allow me to point out my other May obligations to you, all of which normally fall under the heading of Amanda’s Funstuff Free Time Fillers:

The Seattle International Film Festival begins next week. This year I’ll be seeing eight films (instead of the nine I’d originally planned on seeing). Plenty of reading time while standing in line to get in, plenty of reading time while waiting for the film to start, and some hopefully fantastic movies to boot. This DOES mean I’ll be forgoing Hollywood releases for a while. So no Gatsby, Fast 6, or Star Trek for me just yet.

While there’s reading time built in to film-fest going, this does take away…

…from the writing time. And stupid me, I set my writing goal (to be met by June 1) of finishing the novella I’d started a few weeks ago, polishing it, and submitting it. In theory, this is a smart idea. I’m doing it as part of a special call by Entangled, called One Night In… The idea is to take a romance trope and stick it in an exotic locale, and have it be a one night stand or a vacation fling. Fun, flirty, and sassy, no? Yeah, not so much. Came up with an idea right away, the characters, the location, the premise…and every word on the page so far has been like carving my eyes out with a dull knife. It’s easily the worst thing I’ve ever written, but I’m not giving up. I can’t! I promised! I put it in the damn goal bowl! The bright side: I’m almost done. One more chapter, possibly two, and I can move on to the editing process.

Let’s not even mention the part where the BF said to me last month that it was time for us to start house hunting. Or the baby blanket I’ve yet to finish for my now two-year-old nephew. Or the birth announcement I haven’t even started for my now one-year-old nephew. Or catching up on Sherlock Holmes, which everyone continues to insist I watch (I’ve yet to see any episodes).

Trying to accomplish the major goals for this month means letting other things slide. I get up earlier on Saturdays than I used to. Netflix movies sit around, lonely and forlorn, for weeks. TV shows get backed up, and the unread books on my shelves cry for attention that I lavish on my ARCs and library books. It means I can’t indulge my writing ADD and jump from project to project just because one isn’t holding my attention. And I really need to stop buying new Kindlecrack books and reading them right away because it’s a) interfering with those reading goals and b) it’s bad for the bank account.

I am trying, desperately, to stick to some semblance of a schedule for my evenings. You know, my version of GTL (oh, go Google it, why don’t you?). Gym, an hour to an hour and a half of writing time, then the rest of the evening is reading. Has this worked? Eh…sort of. I’m getting better at shunting aside the writing when the words aren’t coming, instead of squeezing them out like blood pricked from my finger tip. I had to return a library book unread the other day because I simply didn’t have time to read it before it was due, and it’s likely I’ll be doing the same today, even though it’s not due for another week. And really, as long as I don’t think too hard about the so-called “fun” things I’ve piled on myself, I’m fine. Then I reach for the wine and toast myself and my ability to not completely freak out. I wrote an 85k word novel during one of the worst open enrollment periods in my career. I can do this.

That’s it. I’m done bitching. Thanks for listening. Got something to bitch about? How do you manage all your crazy obligations?


Oh, for *&$%@!

I’m waiting for the day when an editor gives me notes, and amongst them will be, “Could you tone down the swearing?”

I have a foul mouth. I know it. Working for the man means it’s stifled a little, but you’re still likely to find me cursing a blue streak in my cubicle after dealing with a particularly frustrating phone call. Or when technology craps out on me once again. Or really, any time. I don’t need an excuse. I’m just careful to do it much more quietly these days.

Curse words are a part of my lexicon. They have been for some time. And if you think I drop f bombs like nobody’s business, wait until you hear my friends. I have one who is a devout Christian, but she’s scared to go to church anymore for fear she won’t be able to say more than three words without cursing. The BF often comes home muttering “Fucking traffic”. My college roommate swore like a trucker. Another friend uses “fuckin’” as an adjective on a regular basis.

If I’d been alive in the ’50′s, this would have been me.

My point is, cussing is as natural to me (and my friends) as any other common word. They pop up in our conversations and have since we stopped thinking of them as words to be whispered behind our hands. These words have lost their impact and their nastiness, to an extent, and they often find their way into my stories. A lot. My female characters curse loudly and often, to the point where sometimes I wonder if that aforementioned editor will find it detrimental. Unfeminine. Crass.

Well, shit.

I like pink. And shiny things. I love shoes and count shopping as one of my favorite activities. I squeal over small furry animals and have been accused of babying my cat. I prefer skirts in warm weather and love high heels. Trust me, I’m girly. Plenty girly. What comes out of my mouth doesn’t make me any less so.

But…does it make me come off as less intelligent? Does it make people think my vocabulary is stunted?

There was a discussion in a writer’s group I belong to on Facebook, on the placement of curse words and their appropriateness in writing. One member pointed out that vulgarity is appropriate as it relates to the character, voice, or situation, and should never be gratuitous. And I think that’s the point to remember when dropping a “fuck” or a “shit” in the middle of a sentence. Would your character say it, oh so casually? Is he or she in a situation where words just…fail? What about if your character never swears and suddenly lets loose a torrent of nasty words? My female characters tend to be strong and a bit mouthy, unafraid to call someone on their shit. You bet there’s going to be some blue words littering the pages.

Do your characters swear a blue streak? How about in real life?


Danny Boyle is screwing with your mind

There’s a scene early on in Danny Boyle’s Trance that takes place in a junkyard of sorts. There’s a huge digger scooping up shards of glass and mirror, and the light fractures and blinds and wavers at it hits these piles.

You get a lot of that in Trance.

There isn’t much you can say about this movie without giving it away. A painting by Goya, thought to be lost, is up for auction, and the bidding is fierce and high. At the height of its frenzy, men walk in and throw off smoke bombs. But there’s a protocol in place for situations such as these, and Simon (James McEvoy) follows them to the letter. Right up until the point he’s confronted by Frank (Vincent Cassel). The number one rule is to not be hero, because no piece of art is worth losing a life, and Simon breaks this rule, deciding he’ll take Frank on himself. He gets himself knocked unconscious for his troubles, and Frank disappears with the painting.

Only, the painting isn’t where it’s supposed to be.

Determined to find it, Frank and his gang of merry men push Simon into seeing Elizabeth (Rosario Dawson), a hypnotherapist. The plan is for her to help Simon unlock the repressed memory of where he stashed the painting.

This is the last point in the film where everything makes sense. The first half hour or so is quite linear and easy to follow, up until Simon begins the hypnotherapy to uncover the painting’s location. What follows is a maze of missed cues, wrong directions, jealousy, possessiveness, anger, lust, and deception.

What could have been a mess of a film isn’t. It’s like Boyle found a way to take the knots of David Lynch’s mind and unravel them just enough, leaving behind the brilliance of a complicated and beautiful plot without the headscratching mess. Fragments of light and scenes are woven together to give us a not quite coherent picture as we journey further into Simon’s mind.

Because this is, after all, a trip through Simon’s memories. McEvoy is charming and insane by turns, whether he’s sweating in fear of Frank and his men or laughing maniacally as one of them struggles through his own deepest fears. He’s all over the place, and Simon’s final turn is as twisted as his memories.

As the heist mastermind, Cassel is slick, smooth, and completely in control…until he’s not. He displays a vulnerability you wouldn’t expect for a hardened criminal, and you find yourself cheering for him even when you think you shouldn’t be.

The biggest surprise for me was Rosario Dawson. I would imagine a hypnotherapist would need to have a voice bordering on sonorous. Certainly well modulated and calm, and Dawson does this quite well. She’s fearless, and never once, not even when the sessions grow out of control, does Elizabeth lose her cool.

By the end, you think you know who the bad guys are. And then it shifts, and you think, oh, yeah, that’s better. That’s who the bad guys are.

And then you find out you were wrong, once again.


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