A Sidebar Approach to Writing

Copyright 2011 by Gary L. Pullman

According to the Merriam-Webster Dictionary, a "sidebar" is "a short news story or graphic accompanying and presenting sidelights of a major story" or "something incidental," such as a "sidelight (a sidebar to the essay's central theme)."

Many book-length commentaries and analyses of popular entertainment products offer, more or less as fillers, occasional sidebars that provide behind-the-scenes information, summaries, or little-known facts about the various topics that the commentaries routinely cover in their murder to dissect. Dusted: The Unauthorized Guide to Buffy the Vampire Slayer is no exception, offering, as it does, 22 such sidebars, among them speculations concerning “Spike’s Nature,” an account of “The Unaired Pilot,” and “Vampire History.”

From a writer’s perspective, perhaps some of the more interesting (and potentially valuable) sidebars are those that deal with characters’ back stories, histories regarding settings, and proposed plotlines. These items present a handy, dandy way of enriching one’s own narratives: pretend that you are a fan of your own work and that, as such, you buy a book (or a magazine) about the narrative of which you are an aficionado. Imagine, also, that you are the writer (or one of the writers) of the commentary and develop sidebars of the sort that you think fans of the narrative you’re writing your book about might enjoy, particularly ones associated with characters’ back stories, histories regarding settings, and proposed plotlines. Write them about your story, and, presto, you’ve developed some ideas for future chapters of your novel in progress or (should you be so lucky) your ongoing series of novels.

For example, let’s assume that your story takes place in ancient Rome and that you want to create a sense of horror mingled with terror. Perhaps you decide to have a present-day visitor to the catacombs get stranded in the underground burial chambers overnight. This situation (and setting) cries out for a sidebar treatment in which you summarize the history of the local catacombs and given a succinct, but ghastly, description of the place.

If your character is (or knows) a famous person of the period, a sidebar concerning the famous man or woman--perhaps he is an emperor of a visiting queen--will help keep your fictitious portrait of him or her both accurate and intriguing, provided that the sidebar contains not only pertinent facts but also a spicy anecdote or two concerning the historical figure.

An artifact could also deserve sidebar treatment. Again, the facts and anecdotes you include in your sidebar will help you to keep on track and be interesting as you describe and explain the significance of the relic or objet d’art.

Retake

Copyright 2010 by Gary L. Pullman

One of the things I enjoy reading about is how businesses solve problems. When the business involves storytelling, the reading is, for me, all the more interesting.

Consequently, reading about how Merian C. Cooper, the executive producer of Son of Kong (he had also produced King Kong, of course) was told that he had to limit himself to a budge to a budget of $250,000 (originally $238,000), solved the problem of making the movie on a shoestring, as it were, was fascinating.

What he did was to “scale the project back considerably,” Ray Morton recounts in King Kong: The History of a Movie Icon from Fay Wray to Peter Jackson. This scaling back required Cooper to revise “the script, condensing and simplifying all the way through,” so that some scenes were eliminated altogether and the film’s action sequences were combined or juxtaposed without the originally intended transitions. For example, Morton writes:

To save money on recreating the native village and the Great Wall, the scenes set in the village were eliminated--the natives would nor confront the landing party on the beach and refuse to allow them to come ashore, forcing them to row around the island looking for a landing spot. When Denham’s party finally did land, it would be right near the site of the temple, eliminating the need for any lengthy treks through the jungle. The remaining jungle and temple scenes were all consolidated so that they would take place in just two primary locations. . . (95).

Short story writers and novelists don’t face such restrictions, because they don’t have to film their stories. However, by imagining that they are forced, by the vagaries of the economy, the whims of studio executives, or other unanticipated problems, to make similar changes to their plots, settings, or cast of characters, such writers could learn (or hone) their skills in plot development, description, and characterization, which is always a good thing.

Imagine that you are plotting a story about a radio talk show host, while operating a metal detector, which he does as a hobby, finds an artifact in the Nevada desert. It is inscribed with odd characters. Suspecting that the piece may be worth a fortune (and that it may even be of an otherworldly origin), the man attempts to decipher the strange characters inscribed upon the relic. He is unable to find the characters in any of the sources he consults at a major university. Finally, he decides to copy them onto a sheet of paper and take the paper to an anthropologist at the same university. Unable to identify or decipher the characters, the anthropologist consults a linguist. The linguist is a consultant for a secret government project which is recording a history of an alien species in its own language--the strange characters on the artifact that the talk show host found--and the linguist alerts the government that the talk show host has discovered the object that was lost decades ago. The talk show host is taken for a ride by government agents who inform him that the government has confiscated the artifact and threaten him not to divulge anything about his discovery. After going into hiding, the talk show host tells everything to his audience during a show and promises to share the characters with the world in the hope that someone somewhere can decipher them and interpret the message on the artifact that the government has confiscated.

So far, so good, you think.

But, then, out of the blue, you are told that your story cannot feature either an alien species or the government. You have to shoot a retake, as it were, to provide another explanation for the mysterious characters.

Perhaps you come up with something like this: a radio talk show host, while operating a metal detector, which he does as a hobby, finds an artifact in the Nevada desert. It is inscribed with odd characters. Suspecting that the piece may be worth a fortune (and that it may even be of an otherworldly origin), the man attempts to decipher the strange characters inscribed upon the relic. He is unable to find the characters in any of the sources he consults at a major university. Finally, he decides to copy them onto a sheet of paper and take the paper to an anthropologist at the same university. Unable to identify or decipher the characters, the anthropologist consults a linguist. The linguist identifies the characters as belonging to a lost tribe of ancient mystics. Finally able to interpret the characters, the linguist says that they are the words to an incantation that supposedly summons The Nameless One, which he believes is the tribe’s guardian daemon. On his show, the radio talk show host recites the linguist’s “wild story” and reads the translated text aloud, joking that he hopes he hasn’t thereby summoned the tribal daemon.

You’d now have two explanations for the origin and significance of the characters. As a result, you can create a more sophisticated plot. For example, perhaps the linguist’s account of the artifact’s characters is a deliberate falsehood, told to deceive the talk show host as to the true origin and significance of the inscription, which is that it really is a history of an alien species, written in their own language, which the government wants to cover up. When he subsequently learns the truth, the host can then tell everything to his audience during a show and promise to share the characters with the world in the hope that someone somewhere can decipher them and interpret the message on the artifact that the government has confiscated.

By further tweaking the original storyline, you can add more twists to the plot. Maybe your imaginary studio executive says he wants the host to advertise the characters on billboards before he announces the truth bout his discovery on his radio show, and, in major market areas across the country, the strange symbols appear on billboards, without explanation (ore perhaps with the caption, “Curious? Listen to KXYZ radio’s Hot Talk.” At first, you may think the exec’s demand asinine, but what can you do but humor him. You revise your plot, incorporating the billboards. In the process, you must explain why the talk show host posted the message on billboards rather than just explain things on his radio show.

Maybe his show is local, but he wants a national audience. Maybe he wants to protect himself against possible reprisals by the government or the aliens (or both). Maybe he is trying, as it were, to smoke the extraterrestrials out of their hideout, wherever it may be.

In this manner, by forcing yourself to plot and revise, shooting “retakes,” as it were of scenes and acts that you’ve already filmed (that is, written), you may facilitate your creativity as a writer, develop less straightforward (and predictable) plots, heighten suspense, and compose more sophisticated and complex plots.

Learning from the Masters: The Art of the Publicity Ploy

Copyright 2010 by Gary L. Pullman

Sometimes it seems that some novels (and movies) are like Douglas MacArthur’s old soldiers; they “never die, they just fade away” (eventually). Douglas Preston and Lincoln Child have published a “lost” chapter of their first novel Relic on their official website, with the caveat that the chapter really isn’t lost, and never was; it was “just asleep,” which is to say replaced by a substitute. In it, the FBI’s Special Agent Aloysius Pendergast interviews Margo Green, a museum employee who “knows a lot more about what's really going on than she realizes” about the murders Detective Vincent D’Agosta and Pendergast are investigating.

The authors find their characterization of Prendergast and their planting of a red herring concerning the criminal past of New York Times reporter Bill Smithback awkward and unnecessary, respectively, and include the “lost” chapter, presumably, to show their readers that they are not perfect, that writing is a process, and that the resurrection of a discarded chapter can seem, at least, to offer something that, although not new or original, is still somehow worthwhile to a website. However, one gets the impression that the point of publishing the piece is more promotional than pedagogical.

Robert R. McCammon seems to take the opposite approach to generating publicity for his works, refusing to allow his first four novels to ever again see the light of day because of their inferiority to the rest of his oeuvre. Gee, a writer who is that concerned with the quality of his writing must be a writer, indeed! we’re apparently to think. I mean, here is a guy who’s willing to put his art above mere profit. One doesn’t encounter such integrity very often, in or out of the publishing world. The problem with such reasoning is that several of his other early novels are little, if any, better. Usher’s Passing (1984), The Wolf’s Hour (1989), and Mine (1990), for example, are certainly not among the best of which McCammon is capable, although they are still in print. Still, as a publicity ploy, his refusal to allow the republication of Baal (1978), Bethany’s Sin 1980), The Night Boat 1980), and They Thirst (1981) has surely earned him attention and even some respect. (Of course, these volumes may well be published again,. posthumously, earning his estate the money they are not now making for the author himself.)

A Dictionary of the Paranormal, the Supernatural, and the Otherworldly (P - R)

copyright 2008 by Gary L. Pullman

Note: Unless otherwise noted, definitions are courtesy of dictionary.die.net, an Internet dictionary in the public domain.

P

Paganism--any of various religions other than Christianity or Judaism or Islamism.

Palmistry--telling fortunes by lines on the palm of the hand.

Pandora--in Greek mythology, the first woman; created by Hephaestus on orders from Zeus who presented her to Epimetheus along with a box filled with evils.

Panspermia--The theory that microorganisms or biochemical compounds from outer space are responsible for originating life on Earth and possibly in other parts of the universe where suitable atmospheric conditions exist (American Heritage Dictionary)

Pantheism--belief in multiple Gods.

Papyromancy--divination using paper (the author).

Paradigm shift--“a change in basic assumptions within the ruling theory of science” (Wikipedia).

Paranormal--seemingly outside normal sensory channels; not in accordance with scientific laws.

Parapsychology--phenomena that appear to contradict physical laws and suggest the possibility of causation by mental processes.

Penile plethysmograph--“that measures changes in blood flow in the penis in response to audio and/or visual stimuli. It is typically used to determine the level of sexual arousal as the subject is exposed to sexually suggestive content, such as photos, movies or audio” (Wikipedia).

Pentagram--a star with 5 points; formed by 5 straight lines between the vertices of a pentagon and enclosing another pentagon.

Perpetual motion machine--a machine which, once it is set in motion, moves continuously thereafter, requiring less energy to operate than it generates; perpetual motion machines are impossible, as they violate the first law of thermodynamics (the author).

Pets, homing of--the ability of pet animals to find their way home over long distances by unknown means (the author).

Phrenology--a now abandoned study of the shape of skull as indicative of the strengths of different faculties.

Philosopher’s stone--a substance that is alleged to be able to transform a base metal, such as lead, into gold (the author).

Physicalism--the doctrine that only physical things exist and that, consequently, all things that exist are physical (the author).

Physiognomy--the human face, believed to be a key to interpreting character (the author).

Piltdown Hoax--a fraud in which the jawbone of an orangutan was represented to belong to and a human skull which had belonged to an undiscovered early form of human being (the author).

Placebo effect--a therapeutic effect without a pharmaceutical or medical basis, simply as a result of the belief that the substance provided will help to alleviate symptoms or remedy physical condition (the author).

Plant perception--the theory or belief that plants are sentient or conscious of their environment and react to stimuli (the author).

Plesiosaur

Plesiosaur--extinct marine reptile with a small head on a long neck a short tail and four paddle-shaped limbs; of the Jurassic and Cretaceous (dictionary.die.net); some believe that the Loch Ness monster may be a plesiosaur (the author).

Pluto--the Greek god of the underworld.

Poe, Edgar Allan--American author of “tales of the grotesque and the arabesque”; Poe gave the modern horror story its structure and many of its themes (the author).

Poltergeist--a noisy ghost, which is alleged to cause mischief and may be destructive and dangerous (the author).

Polygraph--see “lie detector.”

Possession, demonic or Satanic--the alleged take over and control of a person’s body by Satan or a lesser evil spirit; priests may attempt to evict the spirit by exorcising it (the author).

Post hoc fallacy--see “magical thinking.”

Pragmatic fallacy--“the pragmatic fallacy is committed when one argues that something is true because it works and where ‘works’ means something like “I’m satisfied with it,” “I feel better,” “I find it beneficial, meaningful, or significant,” or “It explains things for me” (The Skeptic’s Dictionary).

Precognition (foretelling the future)--knowledge of an event before it occurs.

Prometheus--in Greek mythology, the Titan who stole fire from Olympus and gave it to mankind.

Pseudo science--knowledge that appears to be or is represented as being scientific but does not conform to scientific principles or cannot be demonstrated as true or false by use of the scientific method; see pyramidology (the author).

PSI--”A term used to demarcate processes or causation associated with cognitive or physiological activity that fall outside of conventional scientific boundaries (ESP, for example)” (Wikipedia).

Psychic--pertaining to forces or mental processes outside the possibilities defined by natural or scientific laws; "psychic reader"; "psychical research"; a person apparently sensitive to things beyond the natural range of perception.

Psychic detective--a person who uses alleged osychic abilities to investigate crime (the author).

Psychic surgery--allegedly, the use of psychic means to perform surgical procedures (the author).

Psychoanalysis--a set of techniques for exploring underlying motives and a method of treating various mental disorders; "his physician recommended psychoanalysis."

Psychokinesis (moving objects by mental means)--the power to move something by thinking about it without the application of physical force.

Psychologism--the explanation of physical, social, historical, cultural, religious, or other facts, principles, beliefs, or values through psychological theory; often used derisively, when this approach is considered reductionistic (the author).

Psychology--the science of mental life.

Psychometry--any branch of psychology concerned with psychological measurements; The art of measuring the duration of mental processes, or of determining the time relations of mental phenomena.

Pterodactyl--extinct flying reptile.

Pyramidiocy--the supposedly scientific study of pyramids and their effects; a pseudo science (the author).

Q

No entries.

R

Rama--avatar of Vishnu; any of three incarnations: Ramachandra or Parashurama or Balarama.

Ramtha--“a 35,000 year-old spirit-warrior who appeared in JZ Knight’s kitchen in Tacoma, Washington, in 1977” (The Skeptic’s Dictionary).

Randi's paranormal challenge--the offer of “a one-million-dollar prize to anyone who can show, under proper observing conditions, evidence of any paranormal, supernatural, or occult power,” made by James Randi, a “magician and author of numerous works skeptical of paranormal, supernatural, and pseudoscientific claims” (The Skeptic’s Dictionary)

Reflexology--the massaging of feet to diagnose and cure disease” (The Skeptic’s Dictionary)

Relic

Relic, holy--a memento, such as bones, a garment, or a body part, that is believed to have belonged to a holy person or saint; see “Christ, foreskin of” (the author).

Reincarnation--a second or new birth.

Remote viewing--the use of psychic powers (and map coordinates) to discern targets or other items of intelligence at specific locations from which the “viewer” is physically absent (the author).

Repressed memory--”the memory of a traumatic event unconsciously retained in the mind, where it is said to adversely affect conscious thought, desire, and action” (The Skeptic’s Dictionary).

Retrocognition--“a type of clairvoyance involving knowledge of something after its occurrence through psychic means” (The Skeptic’s Dictionary).

Revelation--The act of revealing, disclosing, or discovering to others what was before unknown to them.

Rod--“an insect caught in the act of flying by a video camera” and passed off as “some sort of unknown alien life form” (The Skeptic’s Dictionary).

Roswell (New Mexico), UFO--site of the alleged crash of an extraterrestrial spaceship and the recovery of its injured occupants (the author).

Rumpology--“the art of reading the lines, crevices, dimples, and folds of the buttocks to divine the butt owner's character and get a glimpse of what lies ahead by analyzing what trails behind” (The Skeptic's Dictionary).

Rune--any character from an ancient Germanic alphabet used in Scandinavia from the 3rd century to the Middle Ages; "each rune had its own magical significance."