A high percentage of Apprentice Writer's family members are glued to the TV today, by turn is agony and ecstasy on the whim of a soccer ball.
The Eurocup 2008 quarterfinals continue, with ludicrously fit, passionate men filling up the screen in a dozen camera angles including straight-from-the-top, UFO view) being ludicrously fit and passionate. The crowds in the stands are somewhat less fit but no less passionate. Or colorful, for that matter, since having a costume/wig/chest coloration lively enough to warrant notice by the cameras can liven up a long, long game.
Makes AW wonder: any fiction out there with soccer as a backdrop? She herself knows of none, whereas American style football makes an appearance in many a contemporary novel.
Gentle Readers,what say you? Do you know of such a book, or any other that features a different type of sport? (Apprentice Writer herself considers pondering on this subject sufficent exercise for the day).
Sunday, June 22, 2008
Monday, June 16, 2008
Laughter Reviews #18 - Keeper
Time for another review with the focus: funny or not?
MR. IMPOSSIBLE
Loretta Chase
HISTORICAL ROMANTIC SUSPENSE
Premise
Brilliant linguist teams up with disgraced aristocrat to rescue abducted brother among pyramids.
What Works
Just about everything. Daphne starts out with a triple handicap including her status as highly sheltered young woman, scholar who must use her brother as a front and feign constant ignorance due to lack of acceptance of female academic expertise, and with low self-esteem due to being systematically undermined by her late, much older husband. Her re-education starts with a bang almost from page 1, when her brother is kidnapped and she must not only figure out how to negotiate the foreign world of Egypt and the stifling world of British societal structures on her own but set out in her brother's pursuit while staying a step ahead of antiquities thieves, unwelcome admirers, poisonous snakes...
Such a unique and appealling heroine needs an equally unique hero. Sent to Egypt as a last resort by a father who effortlessly directs decisionmaking of the British nation but is at wit's end about what to do with his hellion son, we first meet Rupert as he observes Egyptian soldiers tormenting a defenceless local citizen. Rupert's assessment of the unsportsmanlike odds is enough to merrily fling himself into the melee, leading to a spell in chains in a dungeon. It is here that the two encounter one another, in what is arguably one of the funniest and unique first meetings between characters destined to be a couple.
"...’That man is an idiot.’
'Yes, madam, but he’s all we’ve got’ said Beechey.
‘I may be stupid,’ Rupert said, ‘but I’m irresistibly attractive.’
‘Good grief, conceited too’ she muttered.
‘And being a great, dumb ox’ he went on, ‘I’m wonderfully easy to manage.’
‘He’s cheerful, madam’ Beechey said, ‘Is it not remarkable how he’s kept up his spirits in this vile place?’
Obligingly, Rupert began to whistle.
‘Obviously he doesn’t know any better,’ she said."
The gradual flowering of Daphne and Rupert's relationship in the quiet moments between desert jaunts, target practice, donkey communication, Daphne teaching Rupert Arabic, assasination attempts, pyramid secret tunnels etc. etc. is a joy to behold. Rupert treats Daphne as a person of intelligence as well as a desirable woman, ultmately leading to her acceptance that she is not unnatural. Daphne expects Rupert to be sensitive to and respectful of the people and culture around him, leading Rupert (who due to size and propensity to 'break heads', has always been labelled the dumb ox he describes himself) to exercise his insight, consideration, and leadership qualities. From the moment they meet, there is never any question they'll end up together; how they get to their happily-ever-after through a maze of whizzing bullets, hieroglyphs and rope ladders is a huge amount of fun.
What Doesn't
The lurid cover.
Overall
Apprentice Writer would never have thought that Egypt could be as appealling as in Elizabeth Peters' wonderful "Peabody" series. But Daphne and Rupert are neck and neck with Amelia and Emerson in charm, smarts, chemistry, and derring-do.
She will admit to being a little worried about how the British/Egyptian interaction would be handled, partly (as regular Gentle Readers know) because Apprentice Writer is somewhat sensitive about this issue in general, partly because of wording in a previous work by this author. Lord of Scoundrels is rightfully considered by many a masterpiece of this genre. Apprentice Writer enjoyed the humorous interactions between hero and heroine very much (the way the shooting incident plays out is peerless), but due to emotional neglect/abuse during his childhood, the hero experiences frequent doubts about his worthiness, including a feeling he shouldn't lay his "...blackamoor hands" on his wife's fair skin (he is of English/Italian descent). The components making up the hero's distorted self-image and how these are brought into healing reallignment are complex and should in fairness not be reduced to this one phrase; but even so, having the hero link his feeling of unworthiness with darker skintone tore this reader unhappily out of the story.
To Apprentice Writer's relief, there were no such jarring word choices in 'Mr. Impossible'. There was a moment when it seemed matters might be skating close to the edge of paternalistic views, in a scene where Rupert declares to a bemused Daphne that he needs to take certain actions in regard to two servants because he is '...the father'. But the Egyptians in question are in fact minors, and for Rupert to take action on their behalf in the absence of parents of their own is a positive thing. Other characters the hero and heroine encounter all seem to be judged by their own merits and flaws rather than sweeping generalizations.
BUT DOES IT MAKE YOU LAUGH? YES!
"Mr. Impossible" actually contains more dramatic than comedic moments, but the quality of the funny bits is so good that they stuck in this reader's mind long after the book was closed. This story has a place of honor on Apprentic Writer's Keeper Shelf.
It also raises high hopes for the author's most recent release,
Your Scandolous Ways,
on shelves now. Apprentice Writer is one chapter in, and so far, the buzz of '1800's James Bond in Venice' is justified and delicious.
MR. IMPOSSIBLE
Loretta Chase
HISTORICAL ROMANTIC SUSPENSE
Premise
Brilliant linguist teams up with disgraced aristocrat to rescue abducted brother among pyramids.
What Works
Just about everything. Daphne starts out with a triple handicap including her status as highly sheltered young woman, scholar who must use her brother as a front and feign constant ignorance due to lack of acceptance of female academic expertise, and with low self-esteem due to being systematically undermined by her late, much older husband. Her re-education starts with a bang almost from page 1, when her brother is kidnapped and she must not only figure out how to negotiate the foreign world of Egypt and the stifling world of British societal structures on her own but set out in her brother's pursuit while staying a step ahead of antiquities thieves, unwelcome admirers, poisonous snakes...
Such a unique and appealling heroine needs an equally unique hero. Sent to Egypt as a last resort by a father who effortlessly directs decisionmaking of the British nation but is at wit's end about what to do with his hellion son, we first meet Rupert as he observes Egyptian soldiers tormenting a defenceless local citizen. Rupert's assessment of the unsportsmanlike odds is enough to merrily fling himself into the melee, leading to a spell in chains in a dungeon. It is here that the two encounter one another, in what is arguably one of the funniest and unique first meetings between characters destined to be a couple.
"...’That man is an idiot.’
'Yes, madam, but he’s all we’ve got’ said Beechey.
‘I may be stupid,’ Rupert said, ‘but I’m irresistibly attractive.’
‘Good grief, conceited too’ she muttered.
‘And being a great, dumb ox’ he went on, ‘I’m wonderfully easy to manage.’
‘He’s cheerful, madam’ Beechey said, ‘Is it not remarkable how he’s kept up his spirits in this vile place?’
Obligingly, Rupert began to whistle.
‘Obviously he doesn’t know any better,’ she said."
The gradual flowering of Daphne and Rupert's relationship in the quiet moments between desert jaunts, target practice, donkey communication, Daphne teaching Rupert Arabic, assasination attempts, pyramid secret tunnels etc. etc. is a joy to behold. Rupert treats Daphne as a person of intelligence as well as a desirable woman, ultmately leading to her acceptance that she is not unnatural. Daphne expects Rupert to be sensitive to and respectful of the people and culture around him, leading Rupert (who due to size and propensity to 'break heads', has always been labelled the dumb ox he describes himself) to exercise his insight, consideration, and leadership qualities. From the moment they meet, there is never any question they'll end up together; how they get to their happily-ever-after through a maze of whizzing bullets, hieroglyphs and rope ladders is a huge amount of fun.
What Doesn't
The lurid cover.
Overall
Apprentice Writer would never have thought that Egypt could be as appealling as in Elizabeth Peters' wonderful "Peabody" series. But Daphne and Rupert are neck and neck with Amelia and Emerson in charm, smarts, chemistry, and derring-do.
She will admit to being a little worried about how the British/Egyptian interaction would be handled, partly (as regular Gentle Readers know) because Apprentice Writer is somewhat sensitive about this issue in general, partly because of wording in a previous work by this author. Lord of Scoundrels is rightfully considered by many a masterpiece of this genre. Apprentice Writer enjoyed the humorous interactions between hero and heroine very much (the way the shooting incident plays out is peerless), but due to emotional neglect/abuse during his childhood, the hero experiences frequent doubts about his worthiness, including a feeling he shouldn't lay his "...blackamoor hands" on his wife's fair skin (he is of English/Italian descent). The components making up the hero's distorted self-image and how these are brought into healing reallignment are complex and should in fairness not be reduced to this one phrase; but even so, having the hero link his feeling of unworthiness with darker skintone tore this reader unhappily out of the story.
To Apprentice Writer's relief, there were no such jarring word choices in 'Mr. Impossible'. There was a moment when it seemed matters might be skating close to the edge of paternalistic views, in a scene where Rupert declares to a bemused Daphne that he needs to take certain actions in regard to two servants because he is '...the father'. But the Egyptians in question are in fact minors, and for Rupert to take action on their behalf in the absence of parents of their own is a positive thing. Other characters the hero and heroine encounter all seem to be judged by their own merits and flaws rather than sweeping generalizations.
BUT DOES IT MAKE YOU LAUGH? YES!
"Mr. Impossible" actually contains more dramatic than comedic moments, but the quality of the funny bits is so good that they stuck in this reader's mind long after the book was closed. This story has a place of honor on Apprentic Writer's Keeper Shelf.
It also raises high hopes for the author's most recent release,
Your Scandolous Ways,
on shelves now. Apprentice Writer is one chapter in, and so far, the buzz of '1800's James Bond in Venice' is justified and delicious.
Thursday, June 12, 2008
Score One for the Goldfish!
Last night, for the first time in her life, Apprentice Writer received a call from Alaska.
Not recognizing the telephone area code, she almost didn't pick up for fear of yet another sneaky telemarketer. Happily, though, she did, and had the pleasure of speaking with a lovely woman named Carolyn Ellis.
Carolyn had called to say that Apprentice Writer won the Alaskan Break Up Writing Contest.
Apprentice Writer made her repeat it three times.
She was understandably (she thinks) confused due to background noise of teething toddler, toothbrushing schoolaged sons getting ready for bed, dull crowd roar from the televised Eurocup soccer match between Switzerland and Turkey (who, BTW, also won), and, most important, her understanding that writers are supposed to enter contests for 3-5 years before starting to final and win. Or something like that.
But no, Carolyn insisted that Apprentice Writers ten-page scene of how the heroine from CUPID AND A TOOLBELT discovers her fiance in flagrante delicto and proceeds to break up with him in a very unusual manner, in which said goldfish has a starring role, was chosen from all entries to be sent to agent Laurie McLean of the Larsen Pomoda Literary Agency for a reading.
Apprentice Writer is in shock. And awe.
Whatever may become of the agent reading, this moment is pretty darn sweet. Do all writers crave external validation? From people not obliged by closeness with the writer to provide it?
Gentle Reader, if you have a sweet validation story - please share.
Not recognizing the telephone area code, she almost didn't pick up for fear of yet another sneaky telemarketer. Happily, though, she did, and had the pleasure of speaking with a lovely woman named Carolyn Ellis.
Carolyn had called to say that Apprentice Writer won the Alaskan Break Up Writing Contest.
Apprentice Writer made her repeat it three times.
She was understandably (she thinks) confused due to background noise of teething toddler, toothbrushing schoolaged sons getting ready for bed, dull crowd roar from the televised Eurocup soccer match between Switzerland and Turkey (who, BTW, also won), and, most important, her understanding that writers are supposed to enter contests for 3-5 years before starting to final and win. Or something like that.
But no, Carolyn insisted that Apprentice Writers ten-page scene of how the heroine from CUPID AND A TOOLBELT discovers her fiance in flagrante delicto and proceeds to break up with him in a very unusual manner, in which said goldfish has a starring role, was chosen from all entries to be sent to agent Laurie McLean of the Larsen Pomoda Literary Agency for a reading.
Apprentice Writer is in shock. And awe.
Whatever may become of the agent reading, this moment is pretty darn sweet. Do all writers crave external validation? From people not obliged by closeness with the writer to provide it?
Gentle Reader, if you have a sweet validation story - please share.
Monday, June 9, 2008
Julia Quinn / Eloisa James Benefit Auction
Julia Quinn and Eloisa James are authors who hardly need introduction. They are enduring stars in the historical romance sky, who maintain a joint bulletin board with lively reader discussions, and have now decided to direct their popularity towards a deserving cause.
For the month of June, they are hosting an AUCTION to benefit the recently bereaved family of a board member. Many goodies are available, from Advanced Reading Copies of upcoming releases, to autographed copies of bestselling books, to entire series, to items of special interest to writers.
For more information, go here:http://eloisajames.net/board/viewforum.php?f=76
For the month of June, they are hosting an AUCTION to benefit the recently bereaved family of a board member. Many goodies are available, from Advanced Reading Copies of upcoming releases, to autographed copies of bestselling books, to entire series, to items of special interest to writers.
For more information, go here:http://eloisajames.net/board/viewforum.php?f=76
Tuesday, June 3, 2008
TWIN REVIEWS
Two mega-buzz accompanied releases of recent months were Ann Aguirre's GRIMSPACE and Meredith Duran's DUKE OF SHADOWS.
Mega buzz generates storms of reviews; there are many, many traditional reviews in print and cyberspace for gentle readers who care to peruse them. Apprentice Writer proposes something different: twin reviews. Why? First, she came upon one by recommendation from the other. When authors heap high praise on other authors, it's often worth paying attention. Second, she read them at the same time. Third, there are some remarkable parallels, despite one being a sci-fi suspense type story, and one a historical romance. Fourth - who's going to stop her? That's the beauty of having your own blog!
PREMISE
Sole survivor of a spectacular and politically far-reaching spaceship crash joins renegades intent on toppling the monopoly of a big-brother type galaxy conglomerate.
Sole survivor of a spectacular shipwreck arrives in India on the eve of politically far-reaching native uprisings intent on toppling British occupation and joins those caught in the crossfire, trying to suvive.
COVER ART
Typical 'butt-kicking heroine' type cover in blue tones with female figure sporting long hair, pants, midriff-baring top, and tatoos. There are countless such covers, but still, would probably have attracted Apprentice Writer's attention enough during a bookstore meander to pick it up.
Yet another in a sea of headless, bare-chested male torsos. One would think there is an unbelievably huge swell of people who hope to become thoracic surgeons, judging by the gross tonnage of freshly waxed, anonymous manchests in the aisles. Apprentice Writer would never have picked it up without word-of-mouth. The gold tones and minaret in the background are nice, though.
HERO
March is a mercenary with psychic abilities which brought him to the brink of insanity before he learned to control them. Unsurprisingly in such a person, he is physically and emotionally hardened. Due to loss and innate character, he is not in the habit of getting close to anyone - yet, perhaps to atone for earlier actions, routinely puts himself at risk so as to protect those more vulnerable. He mirrors the heroine in being emotionally guarded and not backing down from a fight. A satisying hero; AW's favorite moment with him was during his interaction with a newborn of a non-humanoid alien species.
Julian is of mixed English and Indian descent and as such, forever caught between two worlds, neither fully ignored nor fully accepted by either group. He receives a lot of attention from women attracted to his great looks, a lot of derision from men threatened by his influence and unwilling to accept the warnings he offers in regard to Indian anger prior to the uprising, and rebuffs from both sides of his family. Outright hate and racial bigotry from the cousin who would have inherited the ducal title and holdings did Julian not exist (no one who reads romance will be surprised to learn that this person is the heroine's fiance), and requests to keep his distance from the Indian relatives with whom he spent part of his childhood but who now find it difficult to have a British member amid rocketing anti-British sentiment in their community. He mirrors the heroine in being more or less socially adrift. A satisfying hero; AW's favorite moment with him was any in which he interacted with the heroine.
HEROINE
Sirantha (known as Jax) is struggling to keep things together, with no clear memory of the catastrophic events that claimed the lives of so many, fearful that she may indeed somehow be partially to blame, and certain of an unpleasant fate in some form or another with her employer determined to make her the scapegoat. When a stranger appears to break her out of the facility and off the planet for his own reaons, she takes the opportunity and runs with it. Which pretty much characterizes the action for the remainder of the story, in a whirlwind of action-adventure with a side of romance and frequent stirrings of self-examination thrown in.
Emmaline was supposed to have arrived in India as a sheltered heiress, accompanied by loving parents, feted by the British community as the fiancee of aristocrat and Indian Army officer Marcus. Instead, she arrives traumatized by physical hardship and emotional loss, and is subjected to the moralistic suspicions of a community refusing to believe that the sailors who rescued her left her untouched. An artist, she is curious about her new surroundings and immediately drawn to the local people and colorful marketplace, but soon learns that she is to remain solely with her compatriots in 'safe' places. Feeling increasingly stifled, she is also disillusioned about her fiance, and decides to return home. Then the country explodes with uprisings. How she reacts - immediately while her life is in peril, and later when her sanity is - forms the rest of a compelling story.
OFF NOTES (WARNING! SEMI SPOILERISH COMMENTS!)
Jax spends a whole lot of time reflecting on how people don't like her and she doesn't blame them. Yes, her thoughts are distorted by grief and fear that she may be culpable, and yes, the story is told first-person so a fair amount of rumination is part of the package, but the frequency of her bemoaning how unlikable she is and being surprised when someone is halfways decent towards her got old fast.
Emma spends a lot of time reflecting on how Julian disappointed her by not seeking her out again as promised following the uprisings. Yes, she has genuine (if falsely understood) reasons for thinking this and yes, his apparent abandonment so soon after the loss of her parents and break from her fiance is an almost fatal blow. But - hello? - he didn't leave her to go to the races or a poker game. He left to try and use his unique position to prevent massive bloodshed and save his family. By contrast, Emma spends no time at all reflecting on the fate of other individuals whose personal actions led to her survival. While literally in the midst of fighting for one's life, this is understandable. But four years later, she still has given no apparent thought to the Maharajah who opened his small Kingdom as a place of refuge to British women, to the crown princess who orchestrated her escape from murderous sepoys, to the detachment of Indian soldiers who remained loyal to the Raj and escorted her to safety across the hazardous countryside. All of them may have had a lethally steep price to pay for choice not to hand her over to the mob. If Apprentice Writer recalls correctly (remember: she flew through these books) Emma does not even bother to ask Julian the fate of his family when they meet again, so wrapped up is she in his link solely to her. To be fair, she does agonize over the fate of some others, and is truly saddened when she does learn of his family. Also, her behaviour is in keeping with a spoiled single child upbringing. But it aggravated AW so she chose to mention it (see: 'my blog, I can do what I want' above.)
RACE RELATIONS
One of the most appealling aspects of sci-fi (at least, those examples with which AW is familiar) is that the human characters no longer make distinctions among themselves. They're all from New Terra or Old Earth or wherever, and that's that. No continental/appearance/ligual distinctions. If there is conflict, it is usually with other life-forms, but even so, there is usually a marked degree of shipboard- and planetside integration of species. 'Grimspace' takes the concept a step further by reflecting on relationships with species that are not humanoid. The team lands on a planet whose dominant life-form is perhaps best described as amphibian. Events cause Jax to ponder whether she somehow values such life less than humanoid life, and criticizes herself for projecting humanoid thoughts where they may be inappropriate. It was a fascinating and thoughful jaunt into new territory, and one this reader hopes the author will continue to explore.
Whether she wishes it so or not, Emmaline's world by contrast is tragically defined by distinctions of 'us' and 'them'. Regular readers of this space know that AW has marked thoughts on the topic of novels set in India; she was delighted to find that the author avoided potential pitfalls by the simple but brilliant strategy of having characters with heroic and villainous traits distributed among Brits as well as Indians, and by having Emmaline be a true artist. This ties back to Apprentice Writer's philosophy that art, music, and food are the ultimate uniting forces of humanity, in the sense of her belief that a 'true' artist will find inspiration in the landscape, architecture and people of whatever place they find themselves, a 'true' gourmet will always be interested in new tastes and cooking techniques, and a 'true' musician will always be interested in new sounds and instruments.
AUTHOR
Ms. Aguirre maintains a lively internet presence, came up with an excellent marketing strategy for this, her debut novel (in the form of an entertaining quiz helping readers identify with key characters as well as a great prizes in a word-of-blog contest), and without intending to do so nevertheless slaps slow-producing Apprentice Writer in the face by working on and completing multiple manuscripts per year despite having small children.
Ms. Duran maintains no internet prescene that AW could detect, came up with an excellent marketing strategy for this, her debut novel (in the form of winning Gather.com's first chapter contest and thus securing a contract), and without intendind to do so nevertheless slaps slow-producing Apprentice Writer in the face by dashing off this novel for a little light relief in between completing her Ph.D. (shades of Diana Gabaldon.)
OVERALL
Jax, alone with her thoughts in a locked cell, grieving the death of her pilot and life partner, dreading the return of the sadistic conglomerate interogator determined to force a confession of guilt out of her. Emmaline, alone with her thoughts on the endless sea, grieving the loss of her beloved parents, dreading the ease with which she might choose to let herself slip under the waves but also the reception she might receive in straitlaced British India should she survive.
Both of these stories grabbed this reader by the throat from the opening paragraphs and never let go. Absolutely gripping. Apprentice Writer has no hesitation in recommending both for readers who want an intense, thought-provoking story with memorable main characters.
Being emotionally wrung out (in a good way!), she will now recuperate with something on the lighter side, and restore her balance with a hit of funny. Bring on the chicklit.
Mega buzz generates storms of reviews; there are many, many traditional reviews in print and cyberspace for gentle readers who care to peruse them. Apprentice Writer proposes something different: twin reviews. Why? First, she came upon one by recommendation from the other. When authors heap high praise on other authors, it's often worth paying attention. Second, she read them at the same time. Third, there are some remarkable parallels, despite one being a sci-fi suspense type story, and one a historical romance. Fourth - who's going to stop her? That's the beauty of having your own blog!
PREMISE
Sole survivor of a spectacular and politically far-reaching spaceship crash joins renegades intent on toppling the monopoly of a big-brother type galaxy conglomerate.
Sole survivor of a spectacular shipwreck arrives in India on the eve of politically far-reaching native uprisings intent on toppling British occupation and joins those caught in the crossfire, trying to suvive.
COVER ART
Typical 'butt-kicking heroine' type cover in blue tones with female figure sporting long hair, pants, midriff-baring top, and tatoos. There are countless such covers, but still, would probably have attracted Apprentice Writer's attention enough during a bookstore meander to pick it up.
Yet another in a sea of headless, bare-chested male torsos. One would think there is an unbelievably huge swell of people who hope to become thoracic surgeons, judging by the gross tonnage of freshly waxed, anonymous manchests in the aisles. Apprentice Writer would never have picked it up without word-of-mouth. The gold tones and minaret in the background are nice, though.
HERO
March is a mercenary with psychic abilities which brought him to the brink of insanity before he learned to control them. Unsurprisingly in such a person, he is physically and emotionally hardened. Due to loss and innate character, he is not in the habit of getting close to anyone - yet, perhaps to atone for earlier actions, routinely puts himself at risk so as to protect those more vulnerable. He mirrors the heroine in being emotionally guarded and not backing down from a fight. A satisying hero; AW's favorite moment with him was during his interaction with a newborn of a non-humanoid alien species.
Julian is of mixed English and Indian descent and as such, forever caught between two worlds, neither fully ignored nor fully accepted by either group. He receives a lot of attention from women attracted to his great looks, a lot of derision from men threatened by his influence and unwilling to accept the warnings he offers in regard to Indian anger prior to the uprising, and rebuffs from both sides of his family. Outright hate and racial bigotry from the cousin who would have inherited the ducal title and holdings did Julian not exist (no one who reads romance will be surprised to learn that this person is the heroine's fiance), and requests to keep his distance from the Indian relatives with whom he spent part of his childhood but who now find it difficult to have a British member amid rocketing anti-British sentiment in their community. He mirrors the heroine in being more or less socially adrift. A satisfying hero; AW's favorite moment with him was any in which he interacted with the heroine.
HEROINE
Sirantha (known as Jax) is struggling to keep things together, with no clear memory of the catastrophic events that claimed the lives of so many, fearful that she may indeed somehow be partially to blame, and certain of an unpleasant fate in some form or another with her employer determined to make her the scapegoat. When a stranger appears to break her out of the facility and off the planet for his own reaons, she takes the opportunity and runs with it. Which pretty much characterizes the action for the remainder of the story, in a whirlwind of action-adventure with a side of romance and frequent stirrings of self-examination thrown in.
Emmaline was supposed to have arrived in India as a sheltered heiress, accompanied by loving parents, feted by the British community as the fiancee of aristocrat and Indian Army officer Marcus. Instead, she arrives traumatized by physical hardship and emotional loss, and is subjected to the moralistic suspicions of a community refusing to believe that the sailors who rescued her left her untouched. An artist, she is curious about her new surroundings and immediately drawn to the local people and colorful marketplace, but soon learns that she is to remain solely with her compatriots in 'safe' places. Feeling increasingly stifled, she is also disillusioned about her fiance, and decides to return home. Then the country explodes with uprisings. How she reacts - immediately while her life is in peril, and later when her sanity is - forms the rest of a compelling story.
OFF NOTES (WARNING! SEMI SPOILERISH COMMENTS!)
Jax spends a whole lot of time reflecting on how people don't like her and she doesn't blame them. Yes, her thoughts are distorted by grief and fear that she may be culpable, and yes, the story is told first-person so a fair amount of rumination is part of the package, but the frequency of her bemoaning how unlikable she is and being surprised when someone is halfways decent towards her got old fast.
Emma spends a lot of time reflecting on how Julian disappointed her by not seeking her out again as promised following the uprisings. Yes, she has genuine (if falsely understood) reasons for thinking this and yes, his apparent abandonment so soon after the loss of her parents and break from her fiance is an almost fatal blow. But - hello? - he didn't leave her to go to the races or a poker game. He left to try and use his unique position to prevent massive bloodshed and save his family. By contrast, Emma spends no time at all reflecting on the fate of other individuals whose personal actions led to her survival. While literally in the midst of fighting for one's life, this is understandable. But four years later, she still has given no apparent thought to the Maharajah who opened his small Kingdom as a place of refuge to British women, to the crown princess who orchestrated her escape from murderous sepoys, to the detachment of Indian soldiers who remained loyal to the Raj and escorted her to safety across the hazardous countryside. All of them may have had a lethally steep price to pay for choice not to hand her over to the mob. If Apprentice Writer recalls correctly (remember: she flew through these books) Emma does not even bother to ask Julian the fate of his family when they meet again, so wrapped up is she in his link solely to her. To be fair, she does agonize over the fate of some others, and is truly saddened when she does learn of his family. Also, her behaviour is in keeping with a spoiled single child upbringing. But it aggravated AW so she chose to mention it (see: 'my blog, I can do what I want' above.)
RACE RELATIONS
One of the most appealling aspects of sci-fi (at least, those examples with which AW is familiar) is that the human characters no longer make distinctions among themselves. They're all from New Terra or Old Earth or wherever, and that's that. No continental/appearance/ligual distinctions. If there is conflict, it is usually with other life-forms, but even so, there is usually a marked degree of shipboard- and planetside integration of species. 'Grimspace' takes the concept a step further by reflecting on relationships with species that are not humanoid. The team lands on a planet whose dominant life-form is perhaps best described as amphibian. Events cause Jax to ponder whether she somehow values such life less than humanoid life, and criticizes herself for projecting humanoid thoughts where they may be inappropriate. It was a fascinating and thoughful jaunt into new territory, and one this reader hopes the author will continue to explore.
Whether she wishes it so or not, Emmaline's world by contrast is tragically defined by distinctions of 'us' and 'them'. Regular readers of this space know that AW has marked thoughts on the topic of novels set in India; she was delighted to find that the author avoided potential pitfalls by the simple but brilliant strategy of having characters with heroic and villainous traits distributed among Brits as well as Indians, and by having Emmaline be a true artist. This ties back to Apprentice Writer's philosophy that art, music, and food are the ultimate uniting forces of humanity, in the sense of her belief that a 'true' artist will find inspiration in the landscape, architecture and people of whatever place they find themselves, a 'true' gourmet will always be interested in new tastes and cooking techniques, and a 'true' musician will always be interested in new sounds and instruments.
AUTHOR
Ms. Aguirre maintains a lively internet presence, came up with an excellent marketing strategy for this, her debut novel (in the form of an entertaining quiz helping readers identify with key characters as well as a great prizes in a word-of-blog contest), and without intending to do so nevertheless slaps slow-producing Apprentice Writer in the face by working on and completing multiple manuscripts per year despite having small children.
Ms. Duran maintains no internet prescene that AW could detect, came up with an excellent marketing strategy for this, her debut novel (in the form of winning Gather.com's first chapter contest and thus securing a contract), and without intendind to do so nevertheless slaps slow-producing Apprentice Writer in the face by dashing off this novel for a little light relief in between completing her Ph.D. (shades of Diana Gabaldon.)
OVERALL
Jax, alone with her thoughts in a locked cell, grieving the death of her pilot and life partner, dreading the return of the sadistic conglomerate interogator determined to force a confession of guilt out of her. Emmaline, alone with her thoughts on the endless sea, grieving the loss of her beloved parents, dreading the ease with which she might choose to let herself slip under the waves but also the reception she might receive in straitlaced British India should she survive.
Both of these stories grabbed this reader by the throat from the opening paragraphs and never let go. Absolutely gripping. Apprentice Writer has no hesitation in recommending both for readers who want an intense, thought-provoking story with memorable main characters.
Being emotionally wrung out (in a good way!), she will now recuperate with something on the lighter side, and restore her balance with a hit of funny. Bring on the chicklit.
Wednesday, May 28, 2008
CRAFT: Finding the Funny II
An article by Apprentice Writer which recently appeared in RomANTICS (the newsletter of her writer's group):
"Finding the Funny, Part I looked at breaking writing down into micro- (word) and mid-level (sentence and paragraph) writing to locate spots with potential for comic zing. Part II concentrates on the macro-level.
Macro Level: Scenes, Chapters, Characters, and Recurring Themes.
As scope of writing widens, humor insertion becomes more challenging. Writers can experiment with different techniques.
The well-known actor’s ‘rule’ of avoiding scenes with children or animals since they tend to steal the thunder can be put to good use:
“(For my blind date I decided to) borrow (St. Bernard) Mother Theresa. As soon as the leash hooked on to her collar, Mother Theresa grabbed the other end in her mouth and walked herself out the door. At the puppy playground, she lumbered off (until) a tiny yelping whirlwind of tricolored fur exploded from a tunnel. Mother Theresa froze. ‘Clementine, sit!’ the man who wasn’t Harrison Ford ordered. Mother Theresa sat. ”(Claire Cook, ‘Must Love Dogs’)
“Telephone: was Magda. ‘Bridget, hi! I was just ringing to say in the potty! In the potty! Do it in the potty!’ There was a loud crashing noise followed by the sound of running water in the background. ‘Magda!’ I yelled. ‘Sorry, hon’ she said, ‘I was just ringing to say tuck your willy inside the potty!’ ‘I’m in the middle of work’ I said pleadingly. ‘Fine, rub it in, you’re very glamorous and important and I’m stuck at home with two people who (don’t) speak English.’ “
(Helen Fielding, ‘Bridget Jones: The Edge of Reason’)
Running gags can be effective, especially when turned on their heads after readers become accustomed to them:
“’You’re going to be okay, sir’ said Detective Mary Mary, yelling over her shoulder for a medic. ‘Call me Jack’ whispered Chief Inspector Jack Spratt (of the Nursery Crimes Division), ‘We’ve been through enough. I’ll be honest, Mary-‘ ‘-You should call me by my first name too, Jack.’ ‘Sorry. I’ll be honest, Mary-‘ ‘That’s better.’ “ (Jasper Fforde, “The Big Over Easy”)
Daring writers can try tweaking reader perception:
“The entire crime writing fraternity bade farewell to the last ‘locked room’ mystery at a large banquet held in its honor. (Then came) shocking news - the ‘locked room’ concept had been murdered – and in a locked room. The banquet was cancelled and police are investigating.”
(Jasper Fforde, “The Big Over Easy”)
Then there is the rich source of humor to be mined from the fact that a large percentage of all laughter is based on incongruity; something unexpected happens. Incongruity can take multiple shapes.
Physical humor – This is the earliest form of humor to develop, proven by babies as young as eight months laughing when someone falls down. For obvious reasons physical humor is easier to achieve in visual rather than literary media, but carefully done it can add a burst of flavor:
“I’m crouching under the utility sink in the laundry room, clutching Doug’s socks. Not all his socks, just one from each pair, to slowly drive him insane or better yet, drive him back home. I consider trying to stuff myself into the one empty dryer, I consider standing next to the wall (to) blend in with the surroundings, (then I) dive to the floor, pull the stacked laundry bags out (of their shelf), tuck myself in, and pull them back over me. The door opens and Doug walks in.” (Eileen Cook, “Unpredictable”)
“Somebody pushed her out of Heaven. She could have landed anywhere in the earthly realm; pavement, grass, the middle of the ocean…MarineLand in Niagara Falls. Or more precisely, the killer whale tank in MarineLand. PLOP.”
(Michelle Rowen, ‘Angel With Attitude’)
Dialogue/actions contrary to stereotypical gender/age/appearance expectations:
“I start crying again, and the grandmotherly old lady lays a gentle hand on my arm and brushes past, muttering ‘Move it, you feeble lush.’ Resolve in future to keep my airborne Marys virginal.” (Lee Nichols, “Tales of a Drama Queen”)
Under- or over-reaction:
“Bill and Enid were walking through Tadger's Wood one day, when suddenly they saw the collapse of Roman Imperialism. ’Gosh’ said Bill."
(Monty Python’s Flying Circus)
“Lord Berne gazed in the general direction of France.”
(Loretta Chase, “The Devil’s Delilah”
Juxtaposing a highly charged moment with something ordinary:
(Deciding whether to help release an aristocrat from chains and possible torture in an Egyptian dungeon:) ’That man is an idiot.’ ‘Yes, madam, but he’s all we’ve got’ said Beechey. ‘I may be stupid,’ Rupert said, ‘but I’m irresistibly attractive.’ ‘Good grief, conceited too’ she muttered. ‘And being a great, dumb ox’ he went on, ‘I’m wonderfully easy to manage.’ ‘He’s cheerful, madam’ Beechey said, ‘Is it not remarkable how he’s kept up his spirits in this vile place?’ Obligingly, Rupert began to whistle. ‘Obviously he doesn’t know any better,’ she said.
(Loretta Chase, ‘Mr. Impossible’)
Mix-ups are a useful device:
“This morning (I) got my antihistamine and spermicide sprays confused. I now have a vagina that can breathe more freely and nostrils I can safely have sex in for at least six hours.” (Kathy Lette, ‘A Stitch in Time’)
Unusual perspective:
“…this was right around the time endive was discovered, which was followed by arugula, which was followed by radicchio, which was followed by frisee, which was followed by the three M’s – mesclun, mache, and microgreens – and that, in a nutshell, is the history of the last forty years from the point of view of lettuce.” (Nora Ephron, “I Hate My Neck and Other Thoughts on Being a Woman”)
The Wrongest-Possible-Person can be tailored to fit many scenarios:
’Dear Sir, You sound too good to be true, but perhaps we could have a cup of coffee together anyhow.’
‘Dear Madam, Might I have the privilege of buying you coffee at Morning Glories at 10:00 a.m. this Saturday? I’ll be carrying a yellow rose.’
(at Morning Glories): ‘What are you doing here and where’d you get that rose, Dad?’ (Claire Cook, ‘Must Love Dogs’)
======================
Obviously, this is only a starter list for humor-seekers. More can be found in workshops, advice from favorite comedy writers, and, not least, by stopping to analyze “Why and at which writing level?” every time you read something that makes you laugh.
May the comedy muse smile on you in your quest to brighten your readers’ day.
(Some quotes modified to fit article format)"
Any favorite funny quotes from Gentle Readers?
"Finding the Funny, Part I looked at breaking writing down into micro- (word) and mid-level (sentence and paragraph) writing to locate spots with potential for comic zing. Part II concentrates on the macro-level.
Macro Level: Scenes, Chapters, Characters, and Recurring Themes.
As scope of writing widens, humor insertion becomes more challenging. Writers can experiment with different techniques.
The well-known actor’s ‘rule’ of avoiding scenes with children or animals since they tend to steal the thunder can be put to good use:
“(For my blind date I decided to) borrow (St. Bernard) Mother Theresa. As soon as the leash hooked on to her collar, Mother Theresa grabbed the other end in her mouth and walked herself out the door. At the puppy playground, she lumbered off (until) a tiny yelping whirlwind of tricolored fur exploded from a tunnel. Mother Theresa froze. ‘Clementine, sit!’ the man who wasn’t Harrison Ford ordered. Mother Theresa sat. ”(Claire Cook, ‘Must Love Dogs’)
“Telephone: was Magda. ‘Bridget, hi! I was just ringing to say in the potty! In the potty! Do it in the potty!’ There was a loud crashing noise followed by the sound of running water in the background. ‘Magda!’ I yelled. ‘Sorry, hon’ she said, ‘I was just ringing to say tuck your willy inside the potty!’ ‘I’m in the middle of work’ I said pleadingly. ‘Fine, rub it in, you’re very glamorous and important and I’m stuck at home with two people who (don’t) speak English.’ “
(Helen Fielding, ‘Bridget Jones: The Edge of Reason’)
Running gags can be effective, especially when turned on their heads after readers become accustomed to them:
“’You’re going to be okay, sir’ said Detective Mary Mary, yelling over her shoulder for a medic. ‘Call me Jack’ whispered Chief Inspector Jack Spratt (of the Nursery Crimes Division), ‘We’ve been through enough. I’ll be honest, Mary-‘ ‘-You should call me by my first name too, Jack.’ ‘Sorry. I’ll be honest, Mary-‘ ‘That’s better.’ “ (Jasper Fforde, “The Big Over Easy”)
Daring writers can try tweaking reader perception:
“The entire crime writing fraternity bade farewell to the last ‘locked room’ mystery at a large banquet held in its honor. (Then came) shocking news - the ‘locked room’ concept had been murdered – and in a locked room. The banquet was cancelled and police are investigating.”
(Jasper Fforde, “The Big Over Easy”)
Then there is the rich source of humor to be mined from the fact that a large percentage of all laughter is based on incongruity; something unexpected happens. Incongruity can take multiple shapes.
Physical humor – This is the earliest form of humor to develop, proven by babies as young as eight months laughing when someone falls down. For obvious reasons physical humor is easier to achieve in visual rather than literary media, but carefully done it can add a burst of flavor:
“I’m crouching under the utility sink in the laundry room, clutching Doug’s socks. Not all his socks, just one from each pair, to slowly drive him insane or better yet, drive him back home. I consider trying to stuff myself into the one empty dryer, I consider standing next to the wall (to) blend in with the surroundings, (then I) dive to the floor, pull the stacked laundry bags out (of their shelf), tuck myself in, and pull them back over me. The door opens and Doug walks in.” (Eileen Cook, “Unpredictable”)
“Somebody pushed her out of Heaven. She could have landed anywhere in the earthly realm; pavement, grass, the middle of the ocean…MarineLand in Niagara Falls. Or more precisely, the killer whale tank in MarineLand. PLOP.”
(Michelle Rowen, ‘Angel With Attitude’)
Dialogue/actions contrary to stereotypical gender/age/appearance expectations:
“I start crying again, and the grandmotherly old lady lays a gentle hand on my arm and brushes past, muttering ‘Move it, you feeble lush.’ Resolve in future to keep my airborne Marys virginal.” (Lee Nichols, “Tales of a Drama Queen”)
Under- or over-reaction:
“Bill and Enid were walking through Tadger's Wood one day, when suddenly they saw the collapse of Roman Imperialism. ’Gosh’ said Bill."
(Monty Python’s Flying Circus)
“Lord Berne gazed in the general direction of France.”
(Loretta Chase, “The Devil’s Delilah”
Juxtaposing a highly charged moment with something ordinary:
(Deciding whether to help release an aristocrat from chains and possible torture in an Egyptian dungeon:) ’That man is an idiot.’ ‘Yes, madam, but he’s all we’ve got’ said Beechey. ‘I may be stupid,’ Rupert said, ‘but I’m irresistibly attractive.’ ‘Good grief, conceited too’ she muttered. ‘And being a great, dumb ox’ he went on, ‘I’m wonderfully easy to manage.’ ‘He’s cheerful, madam’ Beechey said, ‘Is it not remarkable how he’s kept up his spirits in this vile place?’ Obligingly, Rupert began to whistle. ‘Obviously he doesn’t know any better,’ she said.
(Loretta Chase, ‘Mr. Impossible’)
Mix-ups are a useful device:
“This morning (I) got my antihistamine and spermicide sprays confused. I now have a vagina that can breathe more freely and nostrils I can safely have sex in for at least six hours.” (Kathy Lette, ‘A Stitch in Time’)
Unusual perspective:
“…this was right around the time endive was discovered, which was followed by arugula, which was followed by radicchio, which was followed by frisee, which was followed by the three M’s – mesclun, mache, and microgreens – and that, in a nutshell, is the history of the last forty years from the point of view of lettuce.” (Nora Ephron, “I Hate My Neck and Other Thoughts on Being a Woman”)
The Wrongest-Possible-Person can be tailored to fit many scenarios:
’Dear Sir, You sound too good to be true, but perhaps we could have a cup of coffee together anyhow.’
‘Dear Madam, Might I have the privilege of buying you coffee at Morning Glories at 10:00 a.m. this Saturday? I’ll be carrying a yellow rose.’
(at Morning Glories): ‘What are you doing here and where’d you get that rose, Dad?’ (Claire Cook, ‘Must Love Dogs’)
======================
Obviously, this is only a starter list for humor-seekers. More can be found in workshops, advice from favorite comedy writers, and, not least, by stopping to analyze “Why and at which writing level?” every time you read something that makes you laugh.
May the comedy muse smile on you in your quest to brighten your readers’ day.
(Some quotes modified to fit article format)"
Any favorite funny quotes from Gentle Readers?
Tuesday, May 20, 2008
CRAFT: Finding the Funny
An article by Apprentice Writer recently published in "RomANTICS" (the newsletter of her writer's group) and containing some favorite quotes:
"FINDING THE FUNNY, PART I
Do humorous scenes, characters and dialogue simply flow from your keyboarding fingers whenever your manuscript needs them?
Me neither.
Those lightning bolts from the comedy muse are rare and unpredictable. In between, the funny often needs to be coaxed along. Sometimes, breaking the writing down can help locate hidden spots with potential for comic zing.
Micro Level: Words
The smallest writerly building blocks often offer an easy way to inject humor.
Names have unlimited possibilities:
Hallelujah Clegg (Janet Mullany, ‘The Rules of Gentility’)
Grimauld Place (J.K. Rowling, ‘Harry Potter’ series; refers to a grim old place)
Village of Toot (Laura Kinsale, ‘My Sweet Folly’)
Nouns can be systematically examined for switch from a regular-type one to a more amusing one. Rubber boots are funnier than shoes, camels are funnier than horses, a cactus is funnier than grass, and so on. The same logic applies to verbs, adjectives and adverbs:
“Freya’s voice, prematurely leathered from smoking, scratched its way through the line.” (Lani Diane Rich, ‘Crazy in Love’)
“The other man gave Vimes a smile of manic friendliness. (His) pullover had a queasy zigzag pattern in many strange, unhappy colors.”
(Terry Pratchett, ‘Thud!’)
Sometimes, it’s possible to poke gentle fun at specific time periods and the obscure vocabulary unique to each:
“Where is your friend?” “He is exploded.” “Was he the victim of a revolutionary outrage?” “No, I meant to say he was found out.”
(Oscar Wilde, ‘The Importance of Being Earnest’)
”The hero, a handsome, well-bred man, pursued the heroine, crushing his lips to hers in a hansom cab and rumpling her pelisse. The villain, equally well-bred, did just about the same thing, except that in addition he thrust his hand inside her fichu.” (Margaret Atwood, ‘Lady Oracle’)
At the most creative extreme, inventing a word can up the humor quotient:
“Gabe ran hell-bent-for-leather holding a panful of lasagna, intent upon a pastafarian act of self-sacrifice. Theo caught him, but eight pounds of steaming cheesy goodness sailed through the window, scorching the (attacking zombies) and pollocking the wall with red sauce. ‘That’s it, throw snacks at them!’ shouted Tuck. ‘Fire a salvo of garlic bread next!’ ”
(Christopher Moore, ‘The Stupidest Angel’)
Mid Level: Sentences and Paragraphs
Many frequently occurring sentence/paragraph types are good candidates for amusement.
Physical descriptions of people, places and things offer loads of opportunity:
“What he looked mostly like was the part of the rocket that gets jettisoned over the Indian Ocean, plus a black homburg.”
(Donald E. Westlake, ‘What’s So Funny?’)
“…after much panicked scanning of the Scottish mainland, (he) discovered the location of the wedding somewhere in the middle of the Atlantic. ‘I thought it was in Edinburgh!’ Seb roared. ‘It’s practically in Iceland,’ his stabbing finger a good quarter inch off the far northwest coast of Scotland. Anna stared at the island whose shape bore a startling resemblance to a hand making an uncomplimentary gesture with its middle finger.” (Wendy Holden, ‘Bad Heir Day’)
Units of measurement and timelines are great:
“(He’s) not a cop, Tiny. Not for seventeen months.” “I think the transition takes a little longer,” Tiny suggested. “Maybe three generations.”
(Donald E. Westlake, ‘What’s So Funny?’)
“7:15a.m. Hurrah! (Am) in functional relationship with adult male thereby proving not love pariah…Maybe Mark Darcy will wake up and talk to me about my opinions.
7:30a.m. Has not woken up. I know, will get up and make him fantastic breakfast with eggs Benedict or Florentine.
7:31a.m. Depending what eggs Benedict or Florentine actually are.”
(Helen Fielding, ‘Bridget Jones: The Edge of Reason’)
Variations of well-known quotes can be effective:
“If you keep your head when all around you are losing theirs, it’s just possible you haven’t grasped the situation.” (Erma Bombeck; refers to Rudyard Kipling’s famous poem ending with “…then you’ll be a man, my son!”)
“It is a truth universally acknowledged that a single woman of fortune and passable good looks amuses herself in London with fashion, philanthropic works, and flirtation, until a suitable gentleman makes an offer.” (Janet Mullany, ‘The Rules of Gentility’; refers to Jane Austen’s ‘Pride &Prejudice’ opening lines)
Lists are wonderful because they can either start out reasonably and become increasingly silly, or can include one item that sticks out like a sore thumb:
“There were trolls in the Watch, plenty of dwarfs, one werewolf, three golems, an Igor and, not least, Corporal Nobbs (that was a bit of a slur on Nobby, [who] was human,[but] he was the only one who had to carry a certificate to prove it) so why not a vampire?”(Terry Pratchett, ‘Thud!’)
“No reprieve. In a world full of wars, famine and Bratz dolls, the angels or gods or whoever had bigger things than her to deal with.”
(Lani Diane Rich,‘Crazy in Love’)
Writers are often warned against inclusion of clichés. But clichés can work well in comedy, especially if given a twist:
“(The welcome party was) packed with people dressed in various interpretations of luau wear. Hawaiian shirts dominated, but there was also a healthy contingent of sarongs and one grass skirt. The guy in the grass skirt didn’t have the legs for it.” (Jennifer Crusie, ‘Manhunting’)
=======================
Part II will look at the macro-level of writing.
(Some quotes modified to fit article format)"
Any humor location techniques Gentle Readers may care to share?
"FINDING THE FUNNY, PART I
Do humorous scenes, characters and dialogue simply flow from your keyboarding fingers whenever your manuscript needs them?
Me neither.
Those lightning bolts from the comedy muse are rare and unpredictable. In between, the funny often needs to be coaxed along. Sometimes, breaking the writing down can help locate hidden spots with potential for comic zing.
Micro Level: Words
The smallest writerly building blocks often offer an easy way to inject humor.
Names have unlimited possibilities:
Hallelujah Clegg (Janet Mullany, ‘The Rules of Gentility’)
Grimauld Place (J.K. Rowling, ‘Harry Potter’ series; refers to a grim old place)
Village of Toot (Laura Kinsale, ‘My Sweet Folly’)
Nouns can be systematically examined for switch from a regular-type one to a more amusing one. Rubber boots are funnier than shoes, camels are funnier than horses, a cactus is funnier than grass, and so on. The same logic applies to verbs, adjectives and adverbs:
“Freya’s voice, prematurely leathered from smoking, scratched its way through the line.” (Lani Diane Rich, ‘Crazy in Love’)
“The other man gave Vimes a smile of manic friendliness. (His) pullover had a queasy zigzag pattern in many strange, unhappy colors.”
(Terry Pratchett, ‘Thud!’)
Sometimes, it’s possible to poke gentle fun at specific time periods and the obscure vocabulary unique to each:
“Where is your friend?” “He is exploded.” “Was he the victim of a revolutionary outrage?” “No, I meant to say he was found out.”
(Oscar Wilde, ‘The Importance of Being Earnest’)
”The hero, a handsome, well-bred man, pursued the heroine, crushing his lips to hers in a hansom cab and rumpling her pelisse. The villain, equally well-bred, did just about the same thing, except that in addition he thrust his hand inside her fichu.” (Margaret Atwood, ‘Lady Oracle’)
At the most creative extreme, inventing a word can up the humor quotient:
“Gabe ran hell-bent-for-leather holding a panful of lasagna, intent upon a pastafarian act of self-sacrifice. Theo caught him, but eight pounds of steaming cheesy goodness sailed through the window, scorching the (attacking zombies) and pollocking the wall with red sauce. ‘That’s it, throw snacks at them!’ shouted Tuck. ‘Fire a salvo of garlic bread next!’ ”
(Christopher Moore, ‘The Stupidest Angel’)
Mid Level: Sentences and Paragraphs
Many frequently occurring sentence/paragraph types are good candidates for amusement.
Physical descriptions of people, places and things offer loads of opportunity:
“What he looked mostly like was the part of the rocket that gets jettisoned over the Indian Ocean, plus a black homburg.”
(Donald E. Westlake, ‘What’s So Funny?’)
“…after much panicked scanning of the Scottish mainland, (he) discovered the location of the wedding somewhere in the middle of the Atlantic. ‘I thought it was in Edinburgh!’ Seb roared. ‘It’s practically in Iceland,’ his stabbing finger a good quarter inch off the far northwest coast of Scotland. Anna stared at the island whose shape bore a startling resemblance to a hand making an uncomplimentary gesture with its middle finger.” (Wendy Holden, ‘Bad Heir Day’)
Units of measurement and timelines are great:
“(He’s) not a cop, Tiny. Not for seventeen months.” “I think the transition takes a little longer,” Tiny suggested. “Maybe three generations.”
(Donald E. Westlake, ‘What’s So Funny?’)
“7:15a.m. Hurrah! (Am) in functional relationship with adult male thereby proving not love pariah…Maybe Mark Darcy will wake up and talk to me about my opinions.
7:30a.m. Has not woken up. I know, will get up and make him fantastic breakfast with eggs Benedict or Florentine.
7:31a.m. Depending what eggs Benedict or Florentine actually are.”
(Helen Fielding, ‘Bridget Jones: The Edge of Reason’)
Variations of well-known quotes can be effective:
“If you keep your head when all around you are losing theirs, it’s just possible you haven’t grasped the situation.” (Erma Bombeck; refers to Rudyard Kipling’s famous poem ending with “…then you’ll be a man, my son!”)
“It is a truth universally acknowledged that a single woman of fortune and passable good looks amuses herself in London with fashion, philanthropic works, and flirtation, until a suitable gentleman makes an offer.” (Janet Mullany, ‘The Rules of Gentility’; refers to Jane Austen’s ‘Pride &Prejudice’ opening lines)
Lists are wonderful because they can either start out reasonably and become increasingly silly, or can include one item that sticks out like a sore thumb:
“There were trolls in the Watch, plenty of dwarfs, one werewolf, three golems, an Igor and, not least, Corporal Nobbs (that was a bit of a slur on Nobby, [who] was human,[but] he was the only one who had to carry a certificate to prove it) so why not a vampire?”(Terry Pratchett, ‘Thud!’)
“No reprieve. In a world full of wars, famine and Bratz dolls, the angels or gods or whoever had bigger things than her to deal with.”
(Lani Diane Rich,‘Crazy in Love’)
Writers are often warned against inclusion of clichés. But clichés can work well in comedy, especially if given a twist:
“(The welcome party was) packed with people dressed in various interpretations of luau wear. Hawaiian shirts dominated, but there was also a healthy contingent of sarongs and one grass skirt. The guy in the grass skirt didn’t have the legs for it.” (Jennifer Crusie, ‘Manhunting’)
=======================
Part II will look at the macro-level of writing.
(Some quotes modified to fit article format)"
Any humor location techniques Gentle Readers may care to share?
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