Try Seasonal

 by Charlotte Hinger

I have a neighbor who goes all out for Halloween. Their display is enormous. I'm intrigued by the figures every year. A lot of them are motion activated. For instance this dead woman holding a dead baby begins to rock. It's hideously frightening. 

It's a funny thing how people love to be scared. Steven King has written a wealth of books that are based on the occult or issues that scare the daylights out of people. The first scary book I remember reading was Washinton Irving's Ichabod Crane. And my Halloween neighbor has an image for that.

And don't trust this bar tender. He offers you a drink when you approach, but don't risk it. Rumor has it that he's up to no good. 

If you would like to write westerns with a specialized appeal, how about this dude for your cover?

Editors love stories that are appropriate for a special event or a season. If you have one in mind, go to work. Submit to Ellery Queen Mystery Magazine or Alfred Hitchcock Mystery Magazine right away for consideration for next year's fall issue. Yes, magazines work that far ahead. In fact, now is a good time to polish up a story for new year's Christmas issue. 

Submissions timed for a particular holiday just might tickle the editor's fancy

Never let the truth...

 ...get in the way of a good story.  Mark Twain

Fiction requires the suspension of disbelief. If we pick up an epic fantasy, we have no problem accepting a world of orcs, dragons, and magic. But it seems the closer the story world is to our own, the more rigid our factual expectations from the author. Years back, I was engrossed in a WW2 historical thriller about a Nazi plot to kill FDR and was especially drawn in when the assassin crept into the US through Juarez. How often does my part of the country get mentioned in any book? Then, as the assassin journeyed north, listing towns along the way, the author made the mistake of writing "Truth or Consequences." That to me was a hard stop as back then, the town was known as Hot Springs. At that point, the author lost me, though in terms of the plot, the error mattered little.

In my current work in progress--a police procedural of sorts--I try hard not to go down the rabbit hole of research, a difficult challenge when digging through police operational manuals, court records, and news articles. I want to get the details right, then I remind myself when watching a show like Bosch, I don't know what's true or made-up. Just have it sound plausible, that's all that I need. It's fiction, not a documentary. 

Recently, I visited Mount Rushmore and naturally, when I returned home, I had to rewatch Alfred Hitchcock's masterpiece thriller, North by Northwest. The climax of the movie is the final chase from the Vandamm House and down the face of Abraham Lincoln. For the sake of the story, the house is located a convenient running distance to the sculpted face of the mountain. Turns out, there was never a Vandamm House or anything like that ever built on top of Mount Rushmore. Hitchcock needed this plot device, and never mind the facts, poof, there it was on the screen. 

Writing fiction is a compromise. Gotta give the reader enough factual bread crumbs to keep them following the story yet not so much that you turn the narrative into a doughy mess. We're writing entertainment and so must focus on the emotional, vicarious journey that readers expect. Never let the truth get in your way.

Love a Good MacGuffin!!!

by Thomas Kies

  

In his last blog, Mario Acevedo mentioned a story device called a MacGuffin.

What exactly is a MacGuffin? The term originated with Alfred Hitchcock who said, "In crook stories it is almost always the necklace and in spy stories it is most always the papers".

If you read books, watch movies, or play video games, you most certainly have encountered a MacGuffin. It’s a plot device that motivates the characters and is the engine that drives the story forward.  But in reality, the MacGuffin has little or no real value or meaning.

Some famous examples of MacGuffins are:

● The briefcase in Pulp Fiction (what WAS in there, anyway?)

● The letters of transit in Casablanca

● The Death Star plans in Star Wars

● The Holy Grail in Indiana Jones and the Last Crusade—or the Ark of the Covenant, or the stones in the Temple of Doom, or the Crystal Skull (awful movie).  Or…whatever else is in the new flick. 

● The Maltese Falcon in The Maltese Falcon (Loved the book, loved the movie!!)

MacGuffins can be objects, people, places, or concepts. They can be tangible or intangible, concrete or abstract, realistic or something from a fever-dream. They can be sought after by the good guys, the bad guys, or, even better, both. They can be revealed, hidden, lost, found, stolen, destroyed, or forgotten.

MacGuffins are great story props and often where the real tale begins.

The MacGuffin is there to create conflict and tension.  And all stories are moved by conflict and tension.

It helps drive the story forward. It gives the characters a reason to pursue their goals, face obstacles, and overcome challenges. It also provides a source of mystery and intrigue for the audience, who may wonder what the MacGuffin is, why it is important, and what will happen to it.

However, a MacGuffin is not the same as a theme or a message. A MacGuffin does not have to be symbolic or meaningful in itself. It does not have to reflect the deeper issues or values of the story.  As a matter of fact, maybe it shouldn’t. 

 It does not have to be explained or resolved by the end of the story. In fact, sometimes the best MacGuffins are the ones that remain ambiguous or irrelevant. Once again, think of Pulp Fiction and whatever was in that briefcase.  Everyone wanted it, but we never find out what it was.

A good MacGuffin is one that enhances the story without dominating it. It is one that sparks curiosity without demanding attention. It is one that drives action without dictating outcome. It is one that matters to the characters but not to the audience.

Humphrey Bogart, playing Sam Spade, describes the Maltese Falcon as the “thing that dreams are made of.”  The Maltese Falcon, of course, turns out to be a fake.  The ultimate MacGuffin. 

Do You Know the MacGuffin man?

Let's talk about the MacGuffin.

For those unacquainted with the term, it's one Alfred Hitchcock used often and an approach of which he was very fond. 

Briefly, the MacGuffin is something that the characters in a story believe is important, it's even important for the furtherance of the plot, but is not in itself terribly important. 

It was first coined, it's been claimed, by writer and script fixer (or scenario editor) Angus MacPhail, an old friend of Hitchcock's and who contributed - uncredited- to the scripts of both his remake of The Man Who Knew Too Much and Vertigo.

An example is the microfilm in North by Northwest, which is almost an aside in the storytelling, and the money Marion Crane steals in Psycho. It's what kicks off the whole journey to that shower and what happens afterwards but is so insignificant subsequently it's hardly mentioned again.

You might even argue the statuette of the bird of prey in The Maltese Falcon is the ultimate MacGuffin. Everyone wants it, the storyline is about finding it, but in the end it turns out to be fake. The story is about the search and the character interplay, the actual object doesn't really matter that much.

In Alex Cox's cult film from the 80s 'Repo Man', it's a strangely glowing case (memories there of Robert Aldrich's film version of 'Kiss Me Deadly'). A case also features in 'Pulp Fiction.'

And more recently, we have the Rabbit's Foot in Mission Impossible 3. What on earth is it? I don't know but it doesn't matter. The characters believe it to be important and that's enough.

I suppose it could be argued that the identity of the killer in some police procedurals - especially those where the culprit turns out to be someone perhaps barely introduced before - is also a MacGuffin. It's the investigation that matters and the people who are conducting it, not necessarily the person whose collar is felt. That may well be a controversial opinion but I'm from Glasgow and we fear nothing.

That was the driving force behind almost every episode of Columbo, I believe. I don't include the ones based on Ed McBain stories for which the makers abandoned the formula which gave us the identity of the killer up front. That showed us knowing the killer didn't matter - what was important was the way Columbo tripped them up and the wonderful character by-play along the way.

So, class, the MacGuffin is a catalyst to get the plot moving, it's not the plot itself. Write that down.

So why am I thinking of MacGuffins?

I've written a book on spec and I have pulled a MacGuffin. The thing is, it's only now that it's out on submission that I have realised! It didn't occur to me while I was writing or reviewing.

There is an item that everyone is desperate to find but really it's merely a device to kickstart the plot and to draw in the characters, because they are what the book is really about. Especially the protagonist who - and I can't believe I'm going to say this because it sounds so phoney - embarks on a journey both physically and psychologically. Yes, I'm cringing but I can't think of another way to explain it.

Obviously, I'm not going to expand on what that MacGuffin is or anything about the plot save to say that, despite my gut-wrenchingly arty-farty description above, it is a fast-moving adventure. (Publishers, please contact my agent).

I hope commissioning editors see it for what it is and not a flaw in the storytelling.

I'd be interested in hearing other examples of MacGuffins - and whether not any writers, whether published or aspiring, feel a MacGuffin is a valid tool in our belt or a cheat.

Our deal with the devil

I just received a new Samsung smartphone. It replaces the iPhone I've had for many years and was so out-of-date that I couldn't download the few apps I might've found useful. The new phone is an amazing piece of technology and so pretty. It's got way more capability than I'll ever use. In fact, my first chore was deleting many of the apps that came standard. Years back, when cameras were first installed on a cellphone, I thought, "That's dumb. Who would bother?" So much for that prognostication.

But my use of the Samsung is haloed with trepidation. Everything I do on the phone is tracked and recorded, then fed through computers to build my profile and from that, predict what I'm going to do next. We've all had the experience of searching for something on one platform, our phone for example, and then finding similar search results when we access Facebook on the computer. We know we're being constantly watched but act like we're cool with it. People who opt for smart speakers like Alexa astound me. You're okay letting a corporation put a microphone inside your house? Then again, every new car is a rolling fountain of your personal information. Where you went. When. What you listened to. What you accessed on your phone. With every passing day, privacy means less and less. We've become a society of exhibitionists exploited by professional voyeurs.

Last week I was watching Hitchcock's North by Northwest and I noticed a scene in a hotel where people retreated into phone booths to make calls. Contrast that when a couple of days ago, a young woman passed me by on the sidewalk while she was doing a video chat and discussing her recent trip to the gynecologist.

Our attitude toward technology, more specifically, social media and communication is increasingly bipolar. The Wall Street Journal ran an article about the detrimental effects of this constant exposure to social media (mostly by phone) for young women. The same issue then published a piece about using phone apps to improve romantic relationships. Which is it?

The surveillance Orwell predicted in 1984 is tame compared to what we've willingly accepted. Winston and Julia never carried a pocket device that tracked their every move or recorded every snippet of conversation. At the present, our individual ensnarement in the web seems benign. It's all about convenience. But the dark side looms ahead. You've no doubt heard of doxxing, which is the publication on social media of your private details such as residence, contact information, place of work, family and their addresses for the purpose of harassing you into silence or banishment. In the not too distant future, expect what I hereby coin "idoxxing," meaning the public disclosure of your internet search history. What naughty things have you been looking up? Shame. Shame. Shame.

What interests me more as a crime writer is how all this technology creates the illusion of security and safety. Idoxxing will be used for blackmail. Also, every advance in cyber security only exposes more gaps to be leveraged by the bad guys. Our homes and financial accounts have never been more vulnerable. Once criminals crack into any system, they're free to loot and pillage. Nest eggs will vanish into the electronic ether. You can buy a device that blasts a signal over a broad spectrum to disable cellphones and wifi connections within a perimeter for the purpose of robbery or worse. The victim can't call for help and all the security systems are shut down. Pretty slick gizmo. Watch for it in my next crime novel.

I be the teacher

When I first got published way back in 2006, I looked for opportunities to share what I'd learned both to promote myself as an author and to make a little scratch teaching on the side. I contacted the creative writing department at my alma mater, the University of Denver, and was politely told that despite my three-book deal from HarperCollins, thanks, but no thanks. The reason for turning me down was that I lacked an MFA.

Since then, I've been on scads of panels and seminars, mostly gratis. One exception to the no-money-for-you situation was Lighthouse Writers Workshops, who take pride in making sure that presenting writers are rewarded with more than thank yous. Those gigs led to other paying opportunities at the Colorado Writing School, the occasional honorarium from libraries and assorted universities, and teaching a course on graphic novels at Front Range Community College.

Interestingly, my latest teaching assignment was with the Regis University Mile High MFA program, me still sans MFA. Like other creative writing programs they've expanded to include genre fiction, meaning commercial fiction, which is what I write. My first opportunity with them was to teach an afternoon craft seminar. The next semester I was assigned a student to mentor, and the following semester I got two different students. What I just finished was the 2018 Winter Residency, during which the students arrive on campus for an intense ten-day schedule of workshops and seminars, from 9AM to 8PM everyday. It might not sound that grueling but by the mid-residency intermezzo, I was ready for the break. The last two days of the residency felt like the final miles of an army conditioning march.

What most impressed me about the experience were the wonderful writers that I met, both the students and the faculty. The poets were especially noteworthy with their incisive and inspiring works. My students were exceptionally well read and very articulate during their critiques of one another's submissions.

A notable moment: At a meeting with my fellow instructors--all literary writers--several of them discussed upcoming works scheduled to be published in Ploughshares and Glimmer Train, which got me thinking...that if I were to get something published in those magazines it wouldn't add much to my credentials as a writer of speculative fiction. Then again, if I mentioned that I had pieces in Clarkesworld or Alfred Hitchcock's Mysteries (which I don't), it wouldn't have meant anything to these instructors. Aside from that, we shared a lot of similar experiences about the publishing industry. Mostly like, don't expect much promotion or a lot of money!

One unexpected accolade was that another instructor told me she recognized my input on a student's work because of the strong improvements in structure and plot development. I've learned a few things writing genre.

Among the new friends that I met at Regis were Kristen Iversen, Sophfronia Scott, and Christine Sneed, who were all visiting professors and acclaimed writers. Kristen wrote Full Body Burden, a memoir about growing up close to the Rocky Flats nuclear weapons plant (and she had read my book, The Nymphos of Rocky Flats). Sophfronia presented an amazing look at her newest novel, Unforgiveable Love, a retelling of Dangerous Liaisons set in post-WWII Harlem. Christine has earned an enviable reputation for her short fiction, and her collection, Portraits of a Few of the People I've Made Cry, is at the top of my reading list.