Showing posts with label psychological thrillers. Show all posts
Showing posts with label psychological thrillers. Show all posts

Sunday, February 16, 2020

On painting and powerpoints and psychopaths

The painting was of the master bedroom, a room I should have worked on first, because of how dark the paint was on the walls, a navy blue that might look okay in some rooms but only if there's a lot of light, and there isn't; never mind the peeling paint, the cracks.

I want something white, bright, pristine. Still, it takes a weekend just to gear myself up to start, move the furniture out, dust, vacuum. I have a million other things to do. Two school presentations to plan, five writing classes. My writing partner has a book due and she needs a last-minute proofread of her out-in-October novel Five Total Strangers, and that takes precedence over everything.

This book is good, like falling under a spell.

A page turner, but I try to read it slowly to catch mistakes. There aren't many, only a handful of typos, a dropped word here and there. The story, which I already know from numerous brainstorms and discussions, still surprises me and sucks me in. A teen girl is desperate to make it home to her mom, but a snowstorm grounds her plane. Her seatmate offers a ride and our MC pushes aside her doubts (she doesn't really know this girl; the weather is bad, there will be three others in the rental car--strangers-- and everyone is kind of weird... ) The trip goes downhill from there, everything that could ever go wrong on a car trip,

plus, a psychopathic stalker. I love books like this. Meanwhile my own book is stalling,

right on the verge of the climax. In a Rom Com, that's the break-up, and even though everything in this story has been leading to this point, now that I'm here, I'm hesitating, churning, rethinking the scene. These characters that I’ve grown to love over the past few months are about to turn on each other.

Suddenly, it all seems silly, what I’m doing, writing a book instead of painting my bedroom, instead of working on my school presentations, instead of marching in the streets. I don't know why we-- any of us-- do the things we do.

Because... it's what we do?

I send a corrected copy back to my friend, slap a second coat of paint on the bedroom walls, finish up a school presentation, take a moment to double check my voter registration, dive back into my book and watch the pretend people I love break each other's hearts.



Tuesday, October 3, 2017

How to Make a Natalie D. Richards Book... (a story in four parts, as told by her critique partner. me.)

Part One opens at a haunted house. It's Natalie's brilliant idea to take a writing retreat in the most haunted town in Ohio--

a quaint, artsy town on the Ohio River, with darling shops and restaurants, an old railroad bridge spanning the river that we walk across several times. The loveliest of cottages to rent (which also happens to be haunted!) Oh, and on the other side of the street from the lovely cottage, a creepy barn with skulls peering out of the windows.

We are too freaked out by the events of the weekend to think much about doing more than praising the heavens that we survived it, but several weeks later, Natalie tells me that she has an idea for a new book...

well, two ideas actually:

Idea number one is that freaky bridge we walked across multiple times, the metal beams and the precarious-looking slats beneath our feet. The clusters of locks, each one etched with the initials of long ago romances.

Idea number two is a broken boy. "His name is Theo," Natalie tells me. "And I'm trying to push him away,

because I know he's not a parent-approved hero. He has ADHD and Oppositional Defiant Disorder. Honestly, he's a bit of a mess. But he's breaking my heart, Jody," she says, "and I can't stop thinking about him. About the way people see him and talk about him, and never see the rest of who he is.

Maybe it's messier or more difficult, but kids like Theo feel all the things other teens feel. They have hopes and dreams. They fall in love. I want to write him," she says, "because I can't not write him. I know his story deserves to be told."

So, I say what any good critique partner would say: Go write it!!

Which leads us to

Part Two.

Here is a fun thing Natalie and I do every single weekday morning:

She calls me on her drive in to work and after giving me an update on the horrific traffic and her daily fun swing through the Starbucks drive-thru so she can get a peppermint mocha, we talk shop. I tell her what's going on in my WIP and she tells me what's going on in hers. (Okay, we also talk about our kids, our husbands, our dogs, and the latest crap news we've woken up to and how we are supposed to write books in this world, but then inevitably we move our conversation back to writing because it is what we do.)

The book she's writing is called "The Haunted Bridge Book."

And it is stressing Natalie out. She's got the boy, Theo, in all his broken-ness, and messed-up-ness figured out, but she's struggling with the girl. Her name is Paige and she's got a secret crush on Theo but Theo's done something terrible to her. Not sure what yet.

And then, omg, Natalie knows what Theo did. And it's horrible. Will it work? Can she write this book? My guess: yes. Because Natalie, I've come to learn very quickly, is a master at writing books.

Not that they spill out easily for her. We spend the next few months in daily discussion about Theo and Paige. There's lots of anxiety involved, in the writing of it for Natalie and in the character of Paige, who, interestingly enough, is consumed by anxiety, about food, about germs, about her parents and their expectations for her, and especially about Theo and what he did to her...

We work through plot holes and structural problems. Character motivation. Roadblocks. What happens next? What the heck IS this book, anyway?

A moment of insight for Natalie when she realizes she is not writing a thriller, but a supernatural horror-- and supernatural horror, by definition, cannot be logically explained.

After roughly four months Natalie finishes the first draft, and--

Part Three--

she sends the file to me to read.

I LOVE being one of Natalie's first readers. I am a fan of her books and even though I have talked with her through the play-by-play, behind the scenes, piecing together of the manuscript, it's always cool to sit down and open her file for the first time.

I write comments as I read. Mark passages that are strong, and flag places where I am tripped up. There's a moment about two thirds of the way through, where I feel like we've mind-melded. I'm in her head and she's in mine. I see the book on the page as she's written it and I know the story that she's trying to tell. I sense where it's falling slightly short and I can pinpoint where she's hit it exactly right.

We have more phone conversations. We send flurries of emails back and forth.

She goes back in for round two. Round three.

Round four after she's gotten her letter back from her editor. And after she's gotten her copyedits. And after she sees her final proof.

Time passes, and the book is out of her hands, the publisher and book designer and cover artist and marketing people doing what they do. Natalie's writing another book. We talk on the phone. We puzzle through plot holes. We analyze possible character motivation.

Today, she's working through a traumatic kiss scene. The traffic into the city is bad. Our kids are worried about the state of the world. Forget the Peppermint Mocha. She is going all in on the new Maple Syrup Pecan Latte at Starbucks.

Today is also Part Four. 

Her book We All Fall Down is officially out in the world. In bookstores. In libraries. On Amazon. I still call it "The Haunted Bridge Book."

The cover is gorgeous, don't you think?



But here is what I picture:




------------------------------------------------------------------------------------------------
Lifelong Ohioan, Natalie D. Richards, spent many years applying her writing skills to stunningly boring business documents. Fortunately, she realized she’s much better at making things up, and has been writing for teens ever since.

A champion of aspiring authors, Richards is a frequent
speaker at schools, libraries, and writing groups. She lives in Ohio with a Yeti, a Wookie (her dogs) and her wonderful husband and children.

Where to find Natalie:

Website: Nataliedrichards.com
Facebook author page:
Twitter: @Natdrichards
Instagram

Buy her books here:
Barnes and Noble
Amazon

And here's a teaser for We All Fall Down...


A new romantic thriller―with a dash of horror―from the author of One Was Lost and Six Months Later

Theo's always been impulsive. But telling Paige how he feels? He's obsessed over that decision. And it's time. Tonight. At the party on the riverbank, under the old walking bridge, site of so many tales of love and death.

Paige has had a crush on Theo since they first met, but she knows her feelings are one-sided. She's trying to move on, to flirt. A party at the river is just what she needs. Except a fight breaks out, and when Paige tries to intervene―Theo's fist lands in her face.

All Theo and Paige want to do is forget that fateful night. But strange events keep drawing them back to the bridge. Someone, something is determined to make them remember...and pay for what they each did.





Sunday, November 20, 2016

Three Simple Ways to Build Suspense (Guest Post by Yvonne Ventresca)


I'm so excited to host fellow YA author and blogger Yvonne Ventresca On The Verge today. Yvonne's latest novel Black Flowers, White Lies is an un-put-down-able page turner, a psychological horror thriller in the vein of my favorite Lois Duncan novels Summer of Fear and Stranger with My Face. Fast-paced, nail-biting books like these read fast, but I can tell you, they are not easy to write. Want to know how Yvonne does it? 

Read on:

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Special thanks to Jody for hosting my guest post today! I’m Yvonne Ventresca, author of the young adult novels Pandemic and Black Flowers, White Lies. I recently had the chance to teach writers about suspense at New Jersey’s SCBWI Fall Craft Weekend. Here are some of the highlights from my workshop:



Suspense can be created at the highest level with the overall story question. 

Will Katniss survive The Hunger Games? Will Eleanor & Park find happiness together? Will the owls be saved in Hoot? This story question is critical in keeping the reader turning the pages.

At the nitty gritty level, however, suspense is created by the building blocks of paragraphs. While it might seem that a gripping scene should be filled with short and fast-paced sentences, there is another way to create tension. Adding relevant, vivid details to a scene can actually stretch the apprehension.

This technique slows down time so that the reader can anticipate what will happen next. (For more about this, check out the nonfiction writing guide, Conflict & Suspense.) 

Here are three simple ways to expand a tense scene:

1. Add interior monologue. This gives the reader access to the character’s worries and concerns while increasing anticipation.

2. Add relevant sensory details (what a character touches, see, hears, smells, tastes). This helps the reader imagine the scene while also stretching the tension.

3. Keep sentences vivid by using the active voice instead of the passive voice. Passive voice sentences are based on the verb “to be.” These types of sentences, while okay for a blog post, don’t offer much impact in fiction. For example: “it was raining” (passive) versus “the rain pounded the roof” (active). Another example: the snow was shoveled (passive) vs her favorite son shoveled the snow (active). You can learn about passive voice (with zombies!) here. In general, the active voice specifies who/what is performing the action.

How can these three ideas be combined to increase suspense? 

I always find it easiest to understand writing concepts with an example, so here’s an excerpt from Ten by Gretchen McNeil. (Many thanks to Gretchen for allowing me to use this!) Ten is a suspenseful young adult horror novel, inspired by Agatha Christie's classic And Then There Were None.

In this particular excerpt (pgs 275-277), the main character, Meg, has learned the identity of the killer (which I will NOT reveal!) and has found a boat. With the killer not far behind, she boards the boat, hoping it will provide an escape from the isolated island where they’ve been trapped. The story text is in white; my observations are in purple.     

Excerpt from Ten

She leaped to her feet and ran to the captain’s chair. The keys were still in the ignition, and as she frantically tried to turn the engine over, she said a silent prayer promising to go to church with her mom every day for the rest of her life if only the damn engine would start. [This is a nice bit of interior monologue.]
“The harder you make it,” [X] said, “the worse you’ll suffer, I promise. Just come out and let me shoot you.”
She felt the boat shift. [Sensory detail.]
Oh my God. He was climbing aboard. [Interior monologue.]
Meg spun around, frantically searching for a place to hide just as a gunshot rang out. She instinctively hit the floor as the port window of the wheelhouse shattered. Broken glass sprinkled across the cabin floor. . . . [All active sentences. “The floor was covered in glass” would have been passive. “Broken glass sprinkled” is active and a nice visual.]
      Meg huddled behind the captain’s chair and forced herself to think as rationally as possible. . . . She had two choices. . . . [There’s interior monologue here to help the reader understand the setting. She analyzes hiding below deck or going up, then chooses up.]
As quickly and quietly as she could, Meg crawled across the floor of the boathouse. She had to bite her lip to keep from crying out as shards of glass cut into her palms and knees, digging deep into her flesh. [Sensory details! Ouch!] The three feet across the wheelhouse felt like three miles, [More interior monologue so that we understand her agony] and her hands and legs were bloody by the time she reached the starboard door. . . .
Just in time. She barely got the door completely closed when she heard a crunching sound. Boots on broken glass. [Sensory detail! She’s not safe yet!]

I hope the next time you revise a nail-biting scene, these tips help. As Oscar Wilde said, "This suspense is terrible. I hope it will last."



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Bio: Yvonne Ventresca’s latest young adult novel, the psychological thriller BLACK FLOWERS, WHITE LIES (Sky Pony Press, 2016) was listed at the top of Buzzfeed’s must-read new YA books for fall. Her debut YA novel, PANDEMIC, won a 2015 Crystal Kite Award from the Society of Children’s Book Writers and Illustrators. 

You can learn more about Yvonne and her books at YvonneVentresca.com or on social media here: Facebook | Twitter | Blog | Instagram | Pinterest


About Black Flowers, White Lies: Her father died before she was born, but Ella Benton knows they have a special connection. Now, evidence points to his death in a psychiatric hospital, not a car accident as Mom claimed. When strange, supernatural signs appear, Ella wonders if Dad’s trying to tell her something, or if someone’s playing unsettling tricks. 

As the unexplained events become sinister, she finds herself terrified about who—or what—might harm her. Then the evidence points to Ella herself. What if, like Dad, she’s suffering a breakdown? Ella desperately needs to find answers, no matter how disturbing the truth might be.