Thanks to my readers, I’ve uncovered some wonderful ideas on how to integrate facts into fiction.
In regard to the credibility issue of my juvenile heroine in THE TRAZ opening a bank account on her own, one readers suggested Katrina could phone the bank to discuss account policies or she could pick up a brochure on juvenile accounts. Although this would satisfy some, I’m not sure it would work for everyone, since an astute reader would quickly realize that the phone call or the brochure was as fictional as all else in the story, i.e. not necessarily credible.
I had an idea of my own—have an old and wise character relay the information that juvenile accounts are easily opened. If readers view a character as wise as trustworthy, they will likely be willing to believe (at least in the context of the story) what he says.
I could have had Katrina's grandfather say, “Katrina, did you know you can open a bank account in your name and your parents wouldn’t be able to touch it?” However, I wove this information in more seamlessly by having the grandfather gift Katrina a sum of money and tell her to go to his bank and ask for a certain teller who was expecting her. He told Katrina that by opening an account of her own, her alcoholic mother wouldn’t be able to misspend the money on booze.
I was very happy with the way that turned out. It didn’t seem at all like I was forcing an issue, sticking in facts to make sure readers knew I’d done my research, or overworking a detail that, in the long run, has little to do with the plot.
Perhaps, if writers create credible characters that readers can bond with, that credibility will naturally spill over into the action, plot, and scenes. Perhaps?
For further discussion on credible characters, I invite you to read my article "Credible Crime Characters" at http://criminalmindsatwork.blogspot.com/
Eileen Schuh
Author, SCHRÖDINGER'S CAT
http://www.eileenschuh.com/
Showing posts with label criminal minds. Show all posts
Showing posts with label criminal minds. Show all posts
Thursday, January 27, 2011
Wednesday, January 12, 2011
Facts & Fiction
At first glance, it may seem silly for fiction writers to do research for their stories--unless, perhaps, one is writing historical fiction. After all, most people don’t read novels expecting to be educated. (Does anyone really care if laptops were around in 1995 when my young heroine in THE TRAZ acquired one?)
Actually, I've discover that many people do care, and the more obvious the factual error the higher percentage of readers notice and care. Why? Because it interferes with the images the written words are creating in the minds of readers. If readers can’t imagine the action happening, rather than focusing on the characters and plot, they’ll try to adjust the scene they are reading to fit the reality they know. This spoils their enjoyment of the story.
Although laptops were around in 1995, if my story had taken place in 1955 and I threw in a laptop, I think you can imagine how distracting that would be. As a reader, you’d be poised to experience this tale in the world of 1955 and then suddenly, you’d be jolted away from the story by the incongruity.
Very skillful writers can make anachronisms meld smoothly into the plot so the reader doesn’t notice or doesn’t care, but alas, most of us are not close to being that talented.
As I often incorporate little known facts into my stories, even though my research is impeccable it remains a challenge to smoothly convince readers that the story is credible. For example, in THE TRAZ, Katrina, my 13 year-old heroine, opens a bank account in her name only and deposits a large sum of money that her grandfather gifted her. Her guardian has no control over the account.* Alas, fiction writers can’t use little asterisks and footnotes to cite sources but must find other ways to promote their credibility.
Some authors use a plethora of details to lend authenticity. One mystery I read had four paragraphs on what contact lenses were like in 1965—I found that quite distracting, especially since contact lenses had nothing to do with the murder.
Other writers will use the back covers of their novels (Author, Eileen Schuh, who bought her first laptop in 1995, .... Or ‘thank you’ pages (Eileen wishes to thank Sarah Butland for providing valuable banking info…) or sometimes their blogs and/or websites to shout to the world that they know of what they speak!
Oh….wait a minute….
*This scenario complies with Canada's banking laws and policies.
If you have a helpful hint on how fiction writers can increase their credibility, please leave a comment below.
For more research hints visit my blog at http://criminalmindsatwork.blogspot.com/
Eileen Schuh, Author
Schrödinger’s Cat
http://www.eileenschuh.com/
Actually, I've discover that many people do care, and the more obvious the factual error the higher percentage of readers notice and care. Why? Because it interferes with the images the written words are creating in the minds of readers. If readers can’t imagine the action happening, rather than focusing on the characters and plot, they’ll try to adjust the scene they are reading to fit the reality they know. This spoils their enjoyment of the story.
Although laptops were around in 1995, if my story had taken place in 1955 and I threw in a laptop, I think you can imagine how distracting that would be. As a reader, you’d be poised to experience this tale in the world of 1955 and then suddenly, you’d be jolted away from the story by the incongruity.
Very skillful writers can make anachronisms meld smoothly into the plot so the reader doesn’t notice or doesn’t care, but alas, most of us are not close to being that talented.
As I often incorporate little known facts into my stories, even though my research is impeccable it remains a challenge to smoothly convince readers that the story is credible. For example, in THE TRAZ, Katrina, my 13 year-old heroine, opens a bank account in her name only and deposits a large sum of money that her grandfather gifted her. Her guardian has no control over the account.* Alas, fiction writers can’t use little asterisks and footnotes to cite sources but must find other ways to promote their credibility.
Some authors use a plethora of details to lend authenticity. One mystery I read had four paragraphs on what contact lenses were like in 1965—I found that quite distracting, especially since contact lenses had nothing to do with the murder.
Other writers will use the back covers of their novels (Author, Eileen Schuh, who bought her first laptop in 1995, .... Or ‘thank you’ pages (Eileen wishes to thank Sarah Butland for providing valuable banking info…) or sometimes their blogs and/or websites to shout to the world that they know of what they speak!
Oh….wait a minute….
*This scenario complies with Canada's banking laws and policies.
If you have a helpful hint on how fiction writers can increase their credibility, please leave a comment below.
For more research hints visit my blog at http://criminalmindsatwork.blogspot.com/
Eileen Schuh, Author
Schrödinger’s Cat
http://www.eileenschuh.com/
Tuesday, October 26, 2010
Writing what you don't know
As with every rule, the 'write what you know' advice to authors is often broken. Over the course of a novel, an author is bound to run into a circumstance, law, technology, setting, or activity that they're unfamiliar with in real life.
Of course some genres require less research and accuracy than others. For example, a fantasy author would have more leeway with facts than a writer of historical romance.
Russell Brooks wrote an interesting blog "I’ve never held a gun, but I still shoot people" (http://criminalmindsatwork.blogspot.com/ ) about the firearms research he did for his crime novels.
I, too, write crime fiction. The heroine of my Back Tracker series solves cyberspace and computer crimes. Now, although I've had a computer since PCs first came out in the early 80's, since one needed to know dos to run one, and even though I have been online since online became a word--I really know tweet all about today's computer technology and even less about the Internet, networking, intranet, and other such things that are part of our interconnectedness. I'm also not in any mood to listen to lectures on this subject or enroll in a techie course.
All the same, my novels are quite accurate, have been at times prophetic, and will, I'm sure, prove believable to the geekiest of computer geeks.
For an example of what kind of research I do to ensure I stay within the realm of believability on this subject of which I know so little, check out my blog Cyber Crime Villains on http://criminalmindsatwork.blogspot.com/
Scanning news headlines for story ideas is one of my favourite pastimes. It's a much more 'Eileen-friendly' research option than listening to even 10 minutes of a computer nut's expose.
Headlines about software gliches in Iran's nuclear reactor and America's F-35 fighter jet beg to be turned into novels about espionage, or sabotage, or...the possibilities are endless.
Intriguing stories can be build around international crimes via computer technology and secret technology peeking over the horizon. Online sex scandals, internet luring, child porn, and cyberspace hate crimes provide the juice needed to create gripping, emotional tales.
Behind every computer is a vulnerable human who can be blackmailed, bought, seduced, or...the possibilities are endless. Which may be why I was able to draft 10 novels in my Back Tracker series and never run out of inspiration and never repeat a plot.
For more information on my Back Tracker novels visit my website: http://www.eileenschuh.com
Eileen Schuh, Author
"Schrodinger's Cat"
http://www.eileenschuh.com/
Of course some genres require less research and accuracy than others. For example, a fantasy author would have more leeway with facts than a writer of historical romance.
Russell Brooks wrote an interesting blog "I’ve never held a gun, but I still shoot people" (http://criminalmindsatwork.blogspot.com/ ) about the firearms research he did for his crime novels.
I, too, write crime fiction. The heroine of my Back Tracker series solves cyberspace and computer crimes. Now, although I've had a computer since PCs first came out in the early 80's, since one needed to know dos to run one, and even though I have been online since online became a word--I really know tweet all about today's computer technology and even less about the Internet, networking, intranet, and other such things that are part of our interconnectedness. I'm also not in any mood to listen to lectures on this subject or enroll in a techie course.
All the same, my novels are quite accurate, have been at times prophetic, and will, I'm sure, prove believable to the geekiest of computer geeks.
For an example of what kind of research I do to ensure I stay within the realm of believability on this subject of which I know so little, check out my blog Cyber Crime Villains on http://criminalmindsatwork.blogspot.com/
Scanning news headlines for story ideas is one of my favourite pastimes. It's a much more 'Eileen-friendly' research option than listening to even 10 minutes of a computer nut's expose.
Headlines about software gliches in Iran's nuclear reactor and America's F-35 fighter jet beg to be turned into novels about espionage, or sabotage, or...the possibilities are endless.
Intriguing stories can be build around international crimes via computer technology and secret technology peeking over the horizon. Online sex scandals, internet luring, child porn, and cyberspace hate crimes provide the juice needed to create gripping, emotional tales.
Behind every computer is a vulnerable human who can be blackmailed, bought, seduced, or...the possibilities are endless. Which may be why I was able to draft 10 novels in my Back Tracker series and never run out of inspiration and never repeat a plot.
For more information on my Back Tracker novels visit my website: http://www.eileenschuh.com
Eileen Schuh, Author
"Schrodinger's Cat"
http://www.eileenschuh.com/
Monday, October 4, 2010
Juvenile Crime Characters
Using juvenile characters as either victims or perpetrators in crime novels adds many dimensions to a story. In both my young adult and adult novels, I’m especially prone to characterizing ‘criminal kids’.
Youngsters cast in evil roles pull at caring adults’ heart strings, especially if traumatic life circumstances precede their acts of violence and criminality. The nurture/sympathy vs hatred/fear ambivalence that juvenile criminals arouse can be used to create tension both in co-starring adult characters and in readers.
In addition to the more commonly portrayed child/child and adult/adult relationships, a story with a criminal kid character provides an opportunity to explore the special adult/child relationship. That “position of trust” can be portrayed as protector/protected, teacher/student, leader/follower or perhaps even abuser/abused.
The possibility that one bad choice by a child is going to forever ruin her life creates emotional intensity. A writer can deepen that suspense by having an evil adult character manipulating that criminal child.
Because laws are often much gentler toward youth than adults, the criminal behaviour of kid characters can easily be portrayed as resulting in redemption, salvation, remorse, growth, and learning, which opens the opportunity for creative and fulfilling endings—the story can be about so much more than “crime doesn’t pay” or “the cops always get their man.”
A human being’s brain doesn’t physically develop the full capacity to anticipate the results of one’s actions until one is around 25-years-old. A writer, by exploring the results of poor choices, parasitic relationships, and adult weaknesses and manipulations, can help youngsters avoid making costly and/or deadly mistakes.
Written correctly, novels that include juvenile characters can serve as learning tools not only for children but also for the adults in their lives.
For a peek at some “real” criminal kids in the news check http://criminalmindsatwork.blogspot.com/2010/09/criminal-kids.html
For more information on my novels, visit my website at http://www.eileenschuh.com/
Eileen Schuh,Author
"Schrodinger's Cat"
http://www.eileenschuh.com/
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Youngsters cast in evil roles pull at caring adults’ heart strings, especially if traumatic life circumstances precede their acts of violence and criminality. The nurture/sympathy vs hatred/fear ambivalence that juvenile criminals arouse can be used to create tension both in co-starring adult characters and in readers.
In addition to the more commonly portrayed child/child and adult/adult relationships, a story with a criminal kid character provides an opportunity to explore the special adult/child relationship. That “position of trust” can be portrayed as protector/protected, teacher/student, leader/follower or perhaps even abuser/abused.
The possibility that one bad choice by a child is going to forever ruin her life creates emotional intensity. A writer can deepen that suspense by having an evil adult character manipulating that criminal child.
Because laws are often much gentler toward youth than adults, the criminal behaviour of kid characters can easily be portrayed as resulting in redemption, salvation, remorse, growth, and learning, which opens the opportunity for creative and fulfilling endings—the story can be about so much more than “crime doesn’t pay” or “the cops always get their man.”
A human being’s brain doesn’t physically develop the full capacity to anticipate the results of one’s actions until one is around 25-years-old. A writer, by exploring the results of poor choices, parasitic relationships, and adult weaknesses and manipulations, can help youngsters avoid making costly and/or deadly mistakes.
Written correctly, novels that include juvenile characters can serve as learning tools not only for children but also for the adults in their lives.
For a peek at some “real” criminal kids in the news check http://criminalmindsatwork.blogspot.com/2010/09/criminal-kids.html
For more information on my novels, visit my website at http://www.eileenschuh.com/
Eileen Schuh,Author
"Schrodinger's Cat"
http://www.eileenschuh.com/
Monday, September 13, 2010
You know you're a crime novelist when...
The top ten traits of a crime novelist:
10. When you don’t answer the phone because you’ve just stepped out of the shower you worry for the rest of the day that the robber who called to ensure no one was at home is going to show up on your doorstep–or in your basement.
9. When you see the flashers of a cop car behind you, you’re pretty sure they are pulling you over to ask for your help in solving a major crime
8. You are certain that at some point in your life you are going to discover human remains and it won’t be in a funeral home or a graveyard
7. You know the number for Crime Stoppers and have to resist calling in tips on what murder investigators ought to be doing. You also want to read them your list of suspects.
6. You think your novel is more exciting and more realistic than that "other author’s" True Crime books.
5. You vehemently deny that you ever wanted a ‘real’ career in law enforcement. And you lock all your doors and are in bed by 10:00 pm–unless you are in the middle of writing an exciting scene. In which case you go to bed two hours before your alarm goes off.
4. You believe you would be a good candidate for the next Commander in Chief of the RCMP and are a bit disappointed when no one calls.
3. You believe that cops are simply engaging in an grand conspiracy of denial when they say real-life policing is not nearly as exciting as it is on TV.
2. The lady crossing the street in a wheelchair looks suspicious to you.
AND...the top trait of a Crime novelist:
You think publishers are rejecting your manuscripts because they are afraid either the police or organized crime will come after them if they print your novels
Eileen Schuh
Author "Schrodinger's Cat"
http://www.eileenschuh.com/
10. When you don’t answer the phone because you’ve just stepped out of the shower you worry for the rest of the day that the robber who called to ensure no one was at home is going to show up on your doorstep–or in your basement.
9. When you see the flashers of a cop car behind you, you’re pretty sure they are pulling you over to ask for your help in solving a major crime
8. You are certain that at some point in your life you are going to discover human remains and it won’t be in a funeral home or a graveyard
7. You know the number for Crime Stoppers and have to resist calling in tips on what murder investigators ought to be doing. You also want to read them your list of suspects.
6. You think your novel is more exciting and more realistic than that "other author’s" True Crime books.
5. You vehemently deny that you ever wanted a ‘real’ career in law enforcement. And you lock all your doors and are in bed by 10:00 pm–unless you are in the middle of writing an exciting scene. In which case you go to bed two hours before your alarm goes off.
4. You believe you would be a good candidate for the next Commander in Chief of the RCMP and are a bit disappointed when no one calls.
3. You believe that cops are simply engaging in an grand conspiracy of denial when they say real-life policing is not nearly as exciting as it is on TV.
2. The lady crossing the street in a wheelchair looks suspicious to you.
AND...the top trait of a Crime novelist:
You think publishers are rejecting your manuscripts because they are afraid either the police or organized crime will come after them if they print your novels
Eileen Schuh
Author "Schrodinger's Cat"
http://www.eileenschuh.com/
Wednesday, August 5, 2009
Empty Eyes
I had several requests for a followup to my article, "I met a man with empty eyes." I have now posted one on my website.
Take a peek.
Empty eyes, Empty heart
Eileen Schuh,
Canadian writer
www.eileenschuh.com
Take a peek.
Empty eyes, Empty heart
Eileen Schuh,
Canadian writer
www.eileenschuh.com
Thursday, July 16, 2009
Criminal Minds
I'm very flattered that Cheryl Tardif has chosen to feature my article, 'I met a man with empty eyes..." on her blog spot.
Check out my guest blog at: Criminal Minds at Work blog
Eileen Schuh,
Canadian writer
http://www.eileenschuh.com/
Check out my guest blog at: Criminal Minds at Work blog
Eileen Schuh,
Canadian writer
http://www.eileenschuh.com/
I met a man with empty eyes. . .
It wasn’t that his eyes were dull. Oh, no! They sparkled. That shine, however, was not emanating from his soul, but was merely reflecting the world he was seeing.
I was a young girl, eighteen, straight off the farm. He was tall. Good looking with his dark wavy hair and tanned smooth face. Broad shoulders strained at his T-shirt. His IQ was slightly above 140. He was a genius. He was a psychopath. A sociopath.
He was a dangerous man.
I knew all this because I’d read his case file. I was meeting with him so I could get the little box beside “forensic patient” on “First Year Psychiatric Nursing Required Learning Experiences” record checked off. It was only my second month of hands-on training, so there were pages of little boxes left to go. Other than the ones beside ‘attending an autopsy’ and ‘making a bed’, ‘forensic patient’ is the only one I remember.
The ‘forensic patient’ was obviously enthralled by my presence. Life on the locked ward of a Psychiatric Hospital offers few thrills to those incarcerated there. I could tell by the way his empty eyes rested on the space between my white nyloned knees and the hem of my uniform, that I’d made his day. He didn’t rest his eyes there long, however. Just a quick glance, and then he was cocking his head, raising an eyebrow, and staring deeply into my eyes. A gentle smile lifted his lips and a dimple appeared on his chin.
I knew instantly, that like Dr. Hannibal Lecter when he met Jodi Foster in the movie “Silence of the Lambs”, this man was reading my soul. . . .
To read the rest of this article, go to:
I met a man with empty eyes at EileenSchuh.com
Eileen Schuh,
Canadian writer
http://www.eileenschuh.com/
I was a young girl, eighteen, straight off the farm. He was tall. Good looking with his dark wavy hair and tanned smooth face. Broad shoulders strained at his T-shirt. His IQ was slightly above 140. He was a genius. He was a psychopath. A sociopath.
He was a dangerous man.
I knew all this because I’d read his case file. I was meeting with him so I could get the little box beside “forensic patient” on “First Year Psychiatric Nursing Required Learning Experiences” record checked off. It was only my second month of hands-on training, so there were pages of little boxes left to go. Other than the ones beside ‘attending an autopsy’ and ‘making a bed’, ‘forensic patient’ is the only one I remember.
The ‘forensic patient’ was obviously enthralled by my presence. Life on the locked ward of a Psychiatric Hospital offers few thrills to those incarcerated there. I could tell by the way his empty eyes rested on the space between my white nyloned knees and the hem of my uniform, that I’d made his day. He didn’t rest his eyes there long, however. Just a quick glance, and then he was cocking his head, raising an eyebrow, and staring deeply into my eyes. A gentle smile lifted his lips and a dimple appeared on his chin.
I knew instantly, that like Dr. Hannibal Lecter when he met Jodi Foster in the movie “Silence of the Lambs”, this man was reading my soul. . . .
To read the rest of this article, go to:
I met a man with empty eyes at EileenSchuh.com
Eileen Schuh,
Canadian writer
http://www.eileenschuh.com/
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