What's Your Core Story?
Deciding on a topic for my first blog prompted a trip down memory lane. In January, I'll graduate from the Master's Program in Writing Popular Fiction at Seton Hill University. I wanted to honor the school by sharing an insight that I learned during my two years of study. Choosing a single memory was a difficult choice--the in-depth program taught me a great deal.
Every residency features a guest speaker from a different genre. All our visitors offered valuable advice regarding the craft, marketing, and creative process of writing. However, the comment thriller author David Morrell made about the psychology of writing has stayed with me since that snowy day in January.
During his speech, he touched upon the theme of "fiction writing as self-psychoanalysis," suggesting that most writers are haunted by ghosts of their past. The memories could be recent, like a Gulf War veteran trying to come to grips with the experiences of combat. However, the "ghosts" often stem from childhood traumas and painful recollections hidden deep within our pysche. Mr. Morrell suggested that writers explore themes from our childhoods in novels. People who were abandoned often isolate their characters. Children who grow up as outsiders create heroes who don't fit in.
In his book about writing, Lessons From a Lifetime of Writing (a fascinating read!), Mr. Morrell uses Dickens as an example to demonstrate his theory. When Dickens' father was sent to jail for failing to pay his debts, young Dickens was forced to leave school for the harsh conditions of factory work. Later in life, when Dickens pursued writing, prisons, poverty, and mistreated children figured prominently in his work.
David Morrell's personal story is captivating and poignant. His father was killed in World War II and his mother couldn't afford to support him. At age four, he was left in an orphanage. Years later, his mother came back for him, yet never knowing his father left an indelible mark. When Mr. Morrell started writing, he found himself exploring the same core story (in different and very entertaining ways). Father-son relationships are a constant in his work, The Brotherhood of the Rose is a perfect example.
I found the topic fascinating. Although our stories are fiction, they are born in our psyche. Pieces of our past insinuate themselves in our novels as we subconsciously explore our childhoods. I enjoy analyzing my books and trying to pinpoint my core story.
My family traveled a great deal due to my father's work. When we lived in Saudi Arabia, I had to pursue my studies away from my parents. This circumstance forced me to learn how to fend for myself--and I learned a few difficult lessons along the way. A common theme in my novels is trust and betrayal. Let's face it, it's difficult to know who to trust, and sometimes it's easier to trust no one.
However, I believe that if you want to be truly successful in life, you need a support system. My protagonists have been burned in the past and tend to be hesitant to trust. To allow them to grow, I often put my heroines in a position where they must rely on others for help--they just have to decipher who is trustworthy.
One Shot, Two Kills is a perfect example. Former sniper Kenya Alexikova lost her entire family--except her sociopathic brother who is seeking revenge. To beat her brother at his own game, Kenya must rely on CIA psychologist Jack Travis, a man she has every reason not to trust.
Whether you're a writer or a reader, you may want to ask yourself what your core story is, and why. It can help define your career/interests and help you understand the underlying impact of your childhood.
I'd love to hear your thoughts on this topic. It would be interesting to learn how your unique background has created who you are as a reader/writer.
KJ
Please stop by the American Title III Contest and vote for ONE SHOT, TWO KILLS from December 18-31. I have given poor Kenya post-traumatic stress disorder and major trust issues--she definitely needs your help! Just send an e-mail to webmaster@romantictimes.com with ONE SHOT, TWO KILLS in the subject line.
COMING SOON: An interview with Warner author Susan Crandall including unique insights about her upcoming release, A KISS IN WINTER!
Every residency features a guest speaker from a different genre. All our visitors offered valuable advice regarding the craft, marketing, and creative process of writing. However, the comment thriller author David Morrell made about the psychology of writing has stayed with me since that snowy day in January.
During his speech, he touched upon the theme of "fiction writing as self-psychoanalysis," suggesting that most writers are haunted by ghosts of their past. The memories could be recent, like a Gulf War veteran trying to come to grips with the experiences of combat. However, the "ghosts" often stem from childhood traumas and painful recollections hidden deep within our pysche. Mr. Morrell suggested that writers explore themes from our childhoods in novels. People who were abandoned often isolate their characters. Children who grow up as outsiders create heroes who don't fit in.
In his book about writing, Lessons From a Lifetime of Writing (a fascinating read!), Mr. Morrell uses Dickens as an example to demonstrate his theory. When Dickens' father was sent to jail for failing to pay his debts, young Dickens was forced to leave school for the harsh conditions of factory work. Later in life, when Dickens pursued writing, prisons, poverty, and mistreated children figured prominently in his work.
David Morrell's personal story is captivating and poignant. His father was killed in World War II and his mother couldn't afford to support him. At age four, he was left in an orphanage. Years later, his mother came back for him, yet never knowing his father left an indelible mark. When Mr. Morrell started writing, he found himself exploring the same core story (in different and very entertaining ways). Father-son relationships are a constant in his work, The Brotherhood of the Rose is a perfect example.
I found the topic fascinating. Although our stories are fiction, they are born in our psyche. Pieces of our past insinuate themselves in our novels as we subconsciously explore our childhoods. I enjoy analyzing my books and trying to pinpoint my core story.
My family traveled a great deal due to my father's work. When we lived in Saudi Arabia, I had to pursue my studies away from my parents. This circumstance forced me to learn how to fend for myself--and I learned a few difficult lessons along the way. A common theme in my novels is trust and betrayal. Let's face it, it's difficult to know who to trust, and sometimes it's easier to trust no one.
However, I believe that if you want to be truly successful in life, you need a support system. My protagonists have been burned in the past and tend to be hesitant to trust. To allow them to grow, I often put my heroines in a position where they must rely on others for help--they just have to decipher who is trustworthy.
One Shot, Two Kills is a perfect example. Former sniper Kenya Alexikova lost her entire family--except her sociopathic brother who is seeking revenge. To beat her brother at his own game, Kenya must rely on CIA psychologist Jack Travis, a man she has every reason not to trust.
Whether you're a writer or a reader, you may want to ask yourself what your core story is, and why. It can help define your career/interests and help you understand the underlying impact of your childhood.
I'd love to hear your thoughts on this topic. It would be interesting to learn how your unique background has created who you are as a reader/writer.
KJ
Please stop by the American Title III Contest and vote for ONE SHOT, TWO KILLS from December 18-31. I have given poor Kenya post-traumatic stress disorder and major trust issues--she definitely needs your help! Just send an e-mail to webmaster@romantictimes.com with ONE SHOT, TWO KILLS in the subject line.
COMING SOON: An interview with Warner author Susan Crandall including unique insights about her upcoming release, A KISS IN WINTER!
